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AMOEBA MUSIC WEEKLY HIP-HOP ROUND UP 03:13:09

Posted by Billyjam, March 13, 2009 05:47pm | Post a Comment
AMOEBA MUSIC SAN FRANCISCO HIP-HOP TOP FIVE: 03:13:09
brother ali
1) Brother Ali The Truth Is Here (Rhymesayers CD & DVD)

2)
Keeley & Zaire Ridin High (WYXMusicLabel)

3)
Camp Lo Stone and Rob Caught on Tape (Soulfever Inc.)

4) Messy Marv Cake & Ice Cream Mixtape Vol. 2 (SIccness)

5) K'NAAN Troubadour (A&M/Octone Records)

Thanks to Luis at Amoeba Music San Francisco for this week's Hip-Hop Top Five of new hip-hop sellers with the Rhymesayers' Brother Ali in the top slot. His latest CD & DVD combo pack The Truth Is Here is a nine track CD plus a full-length DVD. The first official release in two years from the mid west emcee since he dropped his acclaimed The Undisputed Truth is meant to tide fans over until his official full-length album (producamp loced by Ant of Atmosphere fame) drops in the Fall.

The nine tracks on The Truth Is Here include two sought after Brother Ali B-sides plus seven new & previously unreleased songs including the stellar track "Philistine David" and also "The Believer" -- a collaboration with Slug from Atmosphere. Meanwhile, the full length DVD part of the new package is concert footage of the artist's sold-out homecoming performance on June 7th, 2007 during The Undisputed Truth Tour at Minneapolis' First Avenue nightclub, as well as interviews, the music videos for "Take Me Home" and "Uncle Sam Goddamn," plus commentary by the artist himself.

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The unsung heroines of Punk/Post-Punk/No Wave/New Wave

Posted by Eric Brightwell, March 13, 2009 05:46pm | Post a Comment
Since its beginning, rock music has been a male dominated affair. Women, such as Wanda Jackson, were not just anomalies but curiosities. By the '60s there were plenty of girl groups, female soul singers and a few female-fronted rock bands, but the few actually female-dominated rock bands like Ace of Cups, Fanny, The Girls, Goldie & the Gingerbreads (the first all female rock band to sign to a major label) and even the Shaggs aren't exactly household names. That seemed to change in the '70s, when Suzi Quattro and The Runaways seemed to lessen the shock of seeing girls wielding instruments. Whether he was joking or not, Roger Ebert took credit for the girl rock revolution by creating the Carrie Nations in his screenplay for Beyond the Valley of the Dolls. Things really began to change with onset of the new wave of the late '70s. Not only were there female-fronted bands like Siouxise & the Banshees and Blondie, but there were also bands integrated in various ways, like Talking Heads and later The Mekons, Gang of Four, &c. Now, although you could still listen to the radio for a year without hearing an all-female rock band, it's not entirely out of the question. These bands aren't all entirely comprised of women, but they definitely broke the mold.


The Au Pairs "Come Again"


The Bloods "Button Up" (audio only)

Alela Diane Chats

Posted by Miss Ess, March 13, 2009 02:28pm | Post a Comment
Nevada City native Alela Diane has already made quite a splash with her just-released album, To Be Still. The record was released on her new label, Rough Trade Records and she was written up in the illustrious Mojo as one to watch in 2009. Alela's music sounds fresh and true and it rings with evocative references to nature, life and love. Her voice commands attention with its bold and warbling tones and her songs intertwine tales of days new and old. To read my review of Alela's album, click here, and for images from her Amoeba instore back in 2007, click here. For our recent chat, read on.

alela diane

Miss Ess: Was there a lightning bolt moment when you were young and you realized how important music was for you? What albums/artists were important to you during that time?

Alela Diane: I think I always knew I loved song and melody. I remember being small and hearing my dad’s guitar through the wall as I fell asleep. I’d crash out on random couches as my folks finished up band practice. I remember listening to Patsy Cline with my mom, singing along… always singing along. As I got older I alela diane performingbranched out into more ‘popular’ music of the time and went through my preteen obsession with Hanson: I was not completely sheltered from pop culture, as it turns out. I began to write songs & play the guitar at 19. And shortly thereafter, when I was working at a breakfast café in Nevada City, I realized I was a lot better at singing than I was at filling water and coffee-- so I stuck to it. 

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Belong's October Language: 2006 treasure of static and buzz

Posted by Mark Beaver, March 13, 2009 02:07pm | Post a Comment
belong october language
I get a strange thrill out of stumbling upon albums that sound exactly like what their cover suggests -- in this case, the ancient decaying photo of a pioneer-era buiding, probably from Belong's hometown of New Orleans; the spaces where the color saturates and the many spots where all color and image have been wiped away by time and the elements. October Language is the aural equivalent.

Compared to electronic frontiersmen like Fennesz and William Basinski, Belong (composed, for this recording, of conspirators Turk Dietrich and Michael Jones) make sounds that seem to be in the process of disappearing even as they first appear. The opening track, "I Never Lose. Never Really." begins with a tone like hearing an orchestra muted through the walls of a building, as if the swelling adagio would come through crystal clear if someone would just open the right door. Then it all begins to descend beneath an increasing tide of swirling static.

I find the whole album to be, essentially, meditational. There is a profound silence at the center of it, not unlike modern classical compositions by the likes of Arvo Part, Toru Takemitsu or Henryk Gorecki. The focus on electronics and instruments more often associated with Rock makes October Language more immediately reminiscent of My Bloody Valentine's Loveless than anything within the Classical tradition.

There are very few vocal tones on the album, another factor that pulls it away from the Rock genre, and the pure focus on the build and wane of the sound and atmosphere places it among my favorite listens of the last few years.

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Alvin Ailey American Dance Theater & My Mother Turn 50

Posted by Amoebite, March 13, 2009 01:28pm | Post a Comment
The two most important things in my life have always been, and will always be, the gift of movement and my relationship with my mother. I started dancing 23 years ago at a small studio in Albuquerque, NM. My grandmother worked at the local telephone company and, as fate would have it, the nearest day care center was not actually a day care center, but instead a dance studio. The rest, as they say, is history.
Ailey Dancer
Dance has shaped and moved my life in such a way that it has become my artistic expression, my creative outlet, and my identity. I’ve always known that dance would remain a huge part of my life regardless of what I chose to do with it professionally. My mother has always supported my decision to be deeply involved in the arts, as well as anything else I’ve put my mind to.

Growing up in Albuquerque, there wasn’t much room for diversity in the dance world. Often I was left feeling like the odd one out because of my body type and ethnicity. I was told I was too muscular to become a dancer during my formative years but, because of my mother’s unwavering faith in me, I continued to pursue my dream as a dancer, regardless of what others tried to tell me.

It wasn’t until I was 13 that I became familiar with the New York modern-based dance company, the Alvin Ailey American Dance Theater. For the first time, I felt enlightened seeing a group of 30 dancers, with all different body typesAiley Dancers and ethnicities, coming together to share their gift of movement. It was like a breath of fresh air and validated my existence in the dance world. They gave me faith and because of them, I realized that my hopes for becoming a professional dancer were not merely dreams and out-of-reach goals, but were there for the taking.

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