Above is a live studio recording of the great track "Save My City" from San Francisco's Symbols Of The West - a group I predict we'll be hearing a lot more of in 2013. The above version, recorded about a year ago, is slightly different from the new version of the song - the lead single off the duo's debut album A Thousand Lights,” that will be released by Rock Shock It! Records next Tuesday, Feb 26th. The indie electro pair, comprised of members Lauren Stark and Nat Kendall, are actually from Montana but based in San Francisco. The new ten song album, which was recorded at Hyde Street Studios and Magnolia Records with producer Chris Wonzer with later mastering by by TJ Lipple, who had mastered the MGMTTime To Pretend EP and also had recorded Nat’s first release back in 1998. captures their refreshingly unique sound that's built on layered guitars and synthesizers with dreamy hypnotic vocals, and has drawn favorable comparisons to such other outfits as Of Monsters and Men and Beach House. A few nights ago they played theNight Lightin Oakland (the club/bar that incidentally will be showcased here on the Ameoblog in the coming week). To find out about upcoming shows for the band visit Symbols Of The West's website.
All the Internet backlashes and a disastrous SNL performances in the world couldn't wash Ms. Del Rey away. Her Born to Die was Amoeba's bestselling album of 2012 by a longshot. See her Amoeba performance below.
It’s official: Our lists are in and we’ve compiled them to give you our combined knowledge in the form of a top 50 albums list. The following is Amoeba's top picks for 2012 based on those who submitted lists of their favorites of the year. (For world music picks, go here; for classical picks, check out Rubin's list; and see more best of 2012 fun here.)
Everyone seemed to be able to agree on Frank Ocean this year, from independent purists to mainstream fans. It’s no surprise that when compiling our top lists, Frank Ocean easily made No. 1.
“Outside the hype, this guy is the genuine deal. Orange is a cohesive old-school album with vivid modern snapshots of moving to the city and the characters he met there.” — Aaron Detroit
A seer is traditionally thought of as a clairvoyant, a prophet of things to come. Whether you believe such an ability exists, has existed or never did, the 30-minute “The Seer,” the centerpiece of Swans’ excellent return album after more than a decade of dormancy, amazes for its ability to convey such a madness, either by being plagued by visions or the deception, either of self or others, that would come along with proclaiming oneself to be a seer. Michael Gira intones “I see it all” rapidly, without emotion, like someone being driven mad, exploding into an orchestral explosion that lodges itself among the year’s most affecting musical experiences. The rest of the album moves between no wave noise rendered dramatic (“Mother of the World”) and frighteningly beautiful chamber folk, such as the stunning “Song for a Warrior,” abetted by a vocal from Karen O. Though it’s a harrowing experience, The Seer feels entirely essential, even as it sometimes also feels like a thousand ancient hands pulling you into the abyss.
