Amoeblog

New 12" Electronic Releases at Amoeba Hollywood - 06/13/09

Posted by Oliver / Matt / Jordan, June 11, 2009 04:48pm | Post a Comment
Chez Damier
Time Visions 1 
Mojuba

Mojuba presents a new project in collaboration with the one and only Chez Damier. Mojuba G.O.D. (Good Old Dance) was created as a platform for his new productions as well as some classic anthems from the Chez-vault. The very first release will feature the brand new epic downtempo excursion called “Why” which takes Chez’s music to the next level and it will be accompanied by two classic prescription cuts you might been looking for for years! We are speaking about an unreleased version of “Sometimes I Feel Like” from hip to be disillusioned and the Noni hymn “Teach Me” … no more words necessary.  TIP!


Namito
Zorro w/ Phonique & Tigerskin remix
Kling Klong

After the groundbreaking “Seven Lives” in cooperation with his mates Martin Eyerer and Stephan Hinz, Berlin’s finest Persian Namito drops the second bomb from his forthcoming debut album Eleven (to be released end of June 2009). A driving groove, catchy “Get Busy” shouts and a very surprising synthie-breakdown. Just the right ingredients for a big clubtrack. With the help of two other collegues from Berlin (Phonique & Tigerskin) and Canada (Strict Border) on the remix duties, this whole release should stay in the case for the whole summer.


Donnacha Costello
Pleite Reissue
Looking Long

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out this week...6/2 & 6/9...sonic youth...deastro...placebo...patrick wolf...

Posted by Brad Schelden, June 11, 2009 11:58am | Post a Comment
brian moloko placebo
I always get excited whenever there is a new Placebo album. They never let me down. I was bit by the Placebo bug many years ago, back when they just had a small little self titled album in 1996. I think I probably saw them on the cover of a magazine before I actually ever heard the album, but I quickly became a big fan. I loved anything British at the time, and especially anything that was a little bit dark and weird. Brian Moloko was an intriguing man. I have seen him live many, many times and read tons of interviews but still don't really have him completely figured out. But that just makes him all the more interesting. Like many of the other bands that I have stuck with over the years, I associate each of their albums with a time in my life. The albums sort of organize my life for me into more organized sections than I could create myself. The first self titled album came out before I had moved to San Francisco. It actually came out in July, which was the month before I moved to San Francisco from Santa Barbara -- so my new life actually did start with the very first Placebo album, but I didn't really get into it until after I had moved. I listened to it a lot over the years. Often I would listen to it between albums. It helped fill the void when there wasn't a new album by them. Highlights of placebo placebothe album would be "Bruise Pristine," "Lady of the Flowers" and "36 Degrees." But "I Know" is the song that gets me every time I listen to this album. It breaks my heart a little bit, but in a good way. This whole album can really do no wrong for me. The second album, Without You I'm Nothing, came out in 1998 after I had been in San Francisco for a couple of years. This was probably the height of my Placebo obsession, although it honestly has never ever gone away. This was the first tour I saw with them and I was hooked for life after this. I really couldn't get enough of this album. It was a dark and depressing one, but I can't tell you how many times I listened to the song "Without You placebo without you i'm nothingI'm Nothing." It pretty much became the song I would always listen to after the end of any relationship. It always seems like a long song so you can go through a rollercoaster of emotions in just that one song. My other favorites on the album are "My Sweet Prince" and "Every Me Every You." I forever associate this album with my early years in San Francisco. I grew up a lot in these years but also experienced some heartache.

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Hugh Hopper 1945 – 2009

Posted by Whitmore, June 10, 2009 07:09pm | Post a Comment
 
When I was about 13 years old I became a regular customer at Platypus Records on Hollywood Blvd about a half a block east of Vermont in Hollywood. It was all about their inexpensive used records. I still spent a small fortune from money I earned the old fashioned way; recycling cans and bottles, mowing lawns and stealing money from my mom’s purse. I found great records for pennies. And one that left an indelible mark on my rookie ears was the Soft Machine album, Volume Two, released in 1969 and featuring Robert Wyatt on drums and vocals, Mike Ratledge on piano and Hammond organ, Brian Hopper on saxophone and Hugh Hopper on bass and guitars. I think I paid 99 cents for the album.
 
When I bought that record all I knew about Soft Machine was that they were part of some mysterious and legendary English Canterbury music scene, they hung out with Syd Barrett’s Pink Floyd and once toured the US as an opening act for Jimi Hendrix. Volume Two is still one of my all time favorite records. Over the years I’ve worn out more than a few copies.
 
This past Monday, idiosyncratic composer, art-rock bassist extraordinaire, veteran of some two dozen diverse solo albums and Soft Machine member, Hugh Hopper, succumbed to his year long battle with leukemia. He was 64.
 
In his years before Soft Machine, Hugh Colin Hopper, born April 29, 1945 in Canterbury, Kent, found himself immersed in the burgeoning Canterbury scene and emerging bands like Gong, Hatfield and the North and Henry Cow. In the mid sixties he was working with Daevid Allen and Robert Wyatt in the Daevid Allen Trio. That band evolved into the Wilde Flowers, an almost mythic pop and soul band consisting of his brother Brian, Robert Wyatt, Kevin Ayers and Richard Sinclair that spun off into two influential progressive rock groups, Caravan and Soft Machine.
 
Hopper joined Soft Machine in 1968 after their tour with Hendrix, contributed two compositions to their first self titled album, recorded in New York. Their sophomore release saw Hopper not only adding his virtuoso bass work to the mix but also composing half the tracks. He would remain with Soft Machine through 1973 and the album entitled 6. About the time Soft Machine was moving from a psychedelic, progressive rock sound into more of a jazz/fusion outfit, Hopper departed, recording his classic solo record 1984 at about the same time. His first effort was a decidedly non-commercial adventure filled with avant-garde soundscapes, tape loops, and free improvisation.
 
After his stint with Soft Machine, and in between his own solo projects, Hopper worked with some of the most original musicians of the last thirty years; Carla Bley, Keith Tippett, Robert Wyatt, Elton Dean, Pip Pyle, Stomu Yamashta, Phil Miller, Lol Coxhill, Allan Holdsworth, Chris Cutler, Yumi Hara Cawkwell and bands like Gilgamesh, Isotope and Soft Heap. In 2002 Hopper began a new association with several former Soft Machine members. Originally named Soft Works, they later renamed the reunion Soft Machine Legacy; besides touring extensively throughout Europe and Asia, they’ve also released four CD’s, two studio and two live recordings.
 
After his diagnoses last summer with leukemia, a benefit concert was held for him at London's 100 Club in December, featuring friends and many of his legendary musical collaborators from all phases of his career.
 
Just two days before his death he married his longtime companion Christine.




45RPM SINGLE TURNS 60 AND ENJOYS NEW LEASE ON LIFE

Posted by Billyjam, June 10, 2009 04:26pm | Post a Comment

This year marks the 60 year anniversary of the seven inch single, the 45rpm record that was originally introduced by RCA Records back in 1949 with the release of Eddy Arnold's double sided mono record, "Texarkana Baby" b/w "Bouquet of Roses."

The then new format, at first treated by many with a degree of suspicion, was embraced by RCA as a more compact and more durable replacement for the heavy 78rpm shellac-based records -- the ones known as wax records that would break into many pieces if dropped on the ground.

After witnessing the success of this new format for RCA, Columbia Records followed suit two years later in 1951 and from there demand just snowballed into the sixties and seventies and eighties by which time the format began to lose momentum. There have been several interesting articles written about the 45rpm's 60th birthday, including a wonderful piece written by Robert Benson published on the website JustPressPlay this week which traced the format's history and also noted how, "British trade journals have been reporting that single song 45rpm records are now outselling their CD counterparts and how many American bands are now releasing music via this historic audio medium."

A visit to Amoeba Music in Berkeley, San Francisco, or Hollywood, where there are boxes and boxes and wall displays of 45's (new and old), will also quickly confirm that the once seen as deceased 45rpm is very much alive and well. As you know, vinyl in general (45rpm's, 10" records, 12" singles, and vinyl albums) has been going through a renaissance in recent years.

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Motel Hell w/ Special Guests at the New Beverly Cinema

Posted by phil blankenship, June 10, 2009 03:38pm | Post a Comment

Ryan Rotten and Phil Blankenship
proudly present MIDNIGHT SHOCK!
www.shocktillyoudrop.com


Motel Hell screenwriters Robert Jaffe & Steven-Charles Jaffe IN PERSON, schedule permitting, to discuss the movie!


Friday June 12


MOTEL HELL

It takes all kinds of critters to make Farmer Vincent fritters.

New Beverly Cinema
7165 W Beverly Blvd
Los Angeles, CA 90036
11:59pm, All Tickets $7






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