Amoeblog

gentlemen take polaroids?

Posted by Mr. Chadwick, July 24, 2009 01:45pm | Post a Comment
cheryl lynn instant love lp coverkevin coyne babble lp coverbad boy lp cover
gary wright touch and gone lp cover
david byrne big blue plymouth 12" coverheart private audition lp cover
wings pipes of peace inside coverlucien francoeur aut' chose lp covermichael jackson polaroid from pipes of peace lp
david hudson to you honey honey with love lp cover
kim carnes lp inner sleeve
sea level lp cover



This Week At The New Beverly: July 24-30

Posted by phil blankenship, July 23, 2009 11:48pm | Post a Comment
This Week At The New Beverly

Our August calendar is now online!
http://newbevcinema.com/calendar.cfm


Friday & Saturday July 24 & 25


As the economic downturn persists and exotic travel seems more and more unaffordable, your best chance for a getaway this summer may very well be this weekend at the New Beverly.
- Tim Grierson, LA Weekly; Read the full spotlight here.

Tokyo! (2008)
http://us.imdb.com/title/tt0976060/
dir. Michel Gondry, Leos Carax & Joon-ho Bong
Fri: 7:30; Sat: 3:00 & 7:30, Watch The Trailer!

New Electronic CD Releases 7/23/09

Posted by Oliver / Matt / Jordan, July 23, 2009 05:03pm | Post a Comment

MORITZ VON OSWALD TRIO
Vertical Ascent CD
Honest Jon's

This is the highly-anticipated debut full-length release by The Moritz von Oswald Trio, comprised of members Moritz von Oswald (Basic Channel, Rhythm & Sound), Max Loderbauer (NSI, Sun Electric), and Vladislav Delay (Luomo). Through Basic Channel and Rhythm And Sound -- his collaborations with Mark Ernestus -- Moritz von Oswald first of all conjured from thin air, then comprehensively mapped out the grounds of a deep exchange between real-deal Jamaican dub and classic, Detroit-style techno. The duo's accomplishment and influence are immense. The repercussions of their work within electronic dance music have been incalculable. Though a departure, Vertical Ascent retraces various signatures of the earlier styles -- the fastidious density of sound, the massive bass and detailed upper registers ("a frequency massage," Ricardo Villalobos has called the album), the stripped, stepping repetitiousness, the seriousness. The striking differences stem from the qualities of live performance (the driving, clattering percussion in particular, and the loose, improvisatory approach), the exploded palette of sounds, including a trace of steel drums, something like a cuica -- and of course, most of all -- the fresh line-up. Vladislav Delay is a drummer and electronic musician from Finland -- like von Oswald, trained in classical percussion (while the third member studied classical piano for 20 years) -- who released a landmark album on Basic Channel's Chain Reaction imprint, before working with a diversity of artists (under pseudonyms like Luomo and Sistol), from Massive Attack to the Scissor Sisters. On Vertical Ascent, he plays home-made metal percussion. From Munich, Max Loderbauer was a partner in the ambient duo Sun Electric. Behind the scenes, his work has ranged between Tresor and Can's Spoon Records. In 2004 he teamed up with Tobias Freund to form NSI (Non Standard Institut). On Vertical Ascent, he plays synthesizers, alongside von Oswald, who also contributes Fender Rhodes and additional percussion. At the heart of Vertical Ascent is a dream crossing of Basic Channel, Larry Heard and Can -- as at home with calypso as it is Stravinsky.

SCRATCH GUITAR PIONEER THE GENIE IS NEVER FAR FROM AMOEBA

Posted by Billyjam, July 23, 2009 01:23pm | Post a Comment

San Francisco avant garde guitarist The Genie, who plays tonight at 111 Minna as part of a must-see, multi-artist show featuring the Lions of Kush from St. Croix, has long been connected to Amoeba Music in some form or fashion. Like many local independent artists, he has had all of his independent releases for sale at Amoeba Music. Beyond that, The Genie, who pioneered the 'scratch guitar" and who over the years has collaborated with numerous artists including Talvin Singh, who invited him to Europe earlier this year to perform, has also performed onstage at the San Francisco Amoeba Music. That was on July 16, 2004, for an instore performance to promote the release of The Genie's debut CD Rebel Music. Also that same year the artist appeared on the Amoeba Music Compilation Vol. V with the track "Before The World Goes." In the time since then, The Genie has never strayed too far from Amoeba, it seems. Two years ago he was featured here on the Amoeblog and he is frequently spotted both inside Amoeba SF (usually digging for hard to find music) as well as right outside the Haight Street store, where he is known to have inspired impromptu performances. Check out the videos above and below, filmed recently outside the SF Amoeba when the artist pulled up in his ride right outside the store, popped some quarters in the parking meter, and proceeded to have an engaging sidewalk show ("Amoeba out-store," I guess you could call it, as opposed to an "in-store"), much to the delight of the small crowd that stopped, gathered and applauded loudly. I hadn't seen or talked with The Genie in a couple of years, so I was anxious to catch up with the always innovative artist to ask him about his music and also about tonight's show at 111 Minna.

Jessie Evans, The Vanishing Lady, Returns To California

Posted by Aaron Detroit, July 23, 2009 11:23am | Post a Comment
Greetings and Salutations!! Welcome to the inaugural post of Amoeba’s Black Light District, a new weekly(ish) blog where we shall traverse in the darker realms of the musical & subcultural universe (i.e. Death Rock, Industrial, Dark Ambient, Transgressive Fiction, Dark Wave, Apocalyptic Folk, Goth, Black Metal, B-Movies, Doom Disco, Synthpop, Ethereal Nu-Gaze, Neo-New Beat, Death-Twee, Infernal Drone and all manner of night-friendly sounds and darkly delights! *cue Evil Doctor laugh). Come forth, for we own the night!

This week, California’s prodigal dark queen,
Jessie Evans, jessie evans is it fire?returns for shows in San Francisco and Los Angeles to promote her debut solo LP, Is It Fire? (Fantomette Records). Jessie spent nearly a decade in the California Punk and Death-Rock scenes honing her chops singing and wailing James Chance-style on her trusty saxophone (as well as a few other instruments!) in bands like The Vanishing and the now rather legendary Subtonix.

The Vanishing relocated from San Francisco to Berlin in 2004 but split up soon after, leaving Jessie free for new ventures.
Autonervous, initially a solo project, blossomed into a collaborative project between Evans and Bettina Koster (of the '80s German band MALARIA!). The duo released an LP and toured in 2006. Autonervous marked a heavy shift in direction for Ms. Evans -- her songwriting became more sultry and less incendiary, her lyrics more minimal and focused. Also bubbling under the dancey beats was a new sense of joy. Egads! Her grimajessie evansce was turning into a smile!

On Is It Fire? that smile has turned into full-on laughte
r, and audibly s
o! It’s not an evil-kind of laughter either, on the interlude track “Micheladas,” Evans can be heard clinking glasses and laughing joyously. The album is indeed a celebration of dark glamour, love and sexuality, from the daring come-on of "Scientist of Love" and the House-y statement of intent, “Let Me On,” on to the horn-y swing of the Autonervous re-take “Golden Snake” and the dark and dreamy sway of “Black Sand” with its chant of “It’s time to get into your body.”

Evans didn’t party completely alone though; in fact, she brought in some heavy-hitters, literally. Both
Toby Dammit (Swans, Iggy Pop), and Budgie (Siouxsie & The Banshees) share time behind the drum-kit on the album. Evans’ arrangements focus heavily on beat and rhythm, which adds greatly to the primal and sexual mood of the album, whilst Budgie ‘s presence definitely lends to some Creatures-esque moments. Also under Evans' employ is horn-blower Martin Wenk (Calexico), and an International Children’s choir. This lady throws one crazy shindig!
jessie evans and budgie
Half of Is It Fire? was recorded at home in Berlin while the other half was recorded in Jessie’s newest beloved city, Tijuana (Evans pays tribute en Espa├▒ol on 3 tracks). Evans’ ridiculously long list of credible contributors gets longer with production and mixing duties handled by Thomas Stern (Einst├╝rzende Neubauten, Crime and The City Solution) in Berlin and Pepe Mogt (Nortec Collective) in Tijuana.

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