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Record Store Day 2015 Celebrations Take Over Amoeba Hollywood

Posted by Amoebite, April 18, 2015 05:33pm | Post a Comment

Amoeba Hollywood record store day

Amoeba Hollywood’s Record Store Day festivities continued on into this afternoon with awesome DJ sets, delicious food and RSD-themed activities. Read about the morning and watch our interview with the early bird collectors in line here. At noon, our friends from Family Industries started silk-screening special RSD 2015 designs onto tote bags and t-shirts, with the proceeds benefiting the Silverlake Conservatory of Music. Starting at 1pm, some of our favorite Los Angeles-based musical artists got behind the turntables to provide the soundtrack for the day. Things kicked off with dream-pop duo Puro Instinct, who took to the decks to play a set of their favorite tunes in advance of their upcoming full-length release. Next up was Knxwledge (or KNX), a beatmaker whose Stones Throw debut drops on May 5. Across the street at Space15Twenty, a special TV on the Radio RSD Art Party kicked off, with guitar player Dave Sitek DJing while vocalist Tunde Adebimpe and Seeds artist Julian Gross drew caricatures. Also at Space15Twenty, Org Music and Shinola provided free Pabst Blue Ribbon, previews of RSD-exclusive titles and a rousing set from Mike Watt + the Secondmen and EvKain.

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The 90s...the best albums of 1993...

Posted by Brad Schelden, November 18, 2012 12:38pm | Post a Comment
1993 and 1994 are probably two of my favorite years of the 90s. These were the best years of Britpop. Some amazing years for British music. Suede, Blur, Pulp, & The Verve all had amazing albums out these years. I had always been into British music since I remember ever being into music. New Wave & Goth in the 80s. And now Shoegaze & Britpop in the early and mid 90s. I gave myself a couple of rules when making these lists for the top ten of each year. I made sure to only pick one album for each artist. I didn't want the list to be a Blur and Suede album every year. So I picked my favorite album from each of those artists. And for the most part my favorite album was the album that introduced me to the band. Not necessarily the bands first album. But my first album by that band. The album that I think of when I think of that band. There are three American bands on my list this year. Still outnumbered by the British bands of course. I had for the most part stopped listening to the radio in 1993. Most of the bands I found out about were from 120 Minutes or Alternative Nation. I was also heavily influenced by my friends and roommates in 1993. This was the first year that I heard Suede, Slowdive & The Verve. I think I probably saw a Suede video when I heard them for the first time. I was hooked within the first couple seconds of the video. This was the band for me. I couldn't get enough of them throughout the rest of the 90s. I was already familiar with Blur but 1993 was really the first year that I really got obsessed with them.  Saint Etienne and Catherine Wheel were probably the albums that I listened to most this year. Where You Been by Dinosaur Jr.Star by Belly just barely didn't make my top ten this year. They were also both listened to a lot by me in 93 and 94. Here it is...my top 10 albums of 1993...

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Albums Out Today: Reissues From Blur, Yaz, At the Drive-In, Plus New Albums and Preorders

Posted by Billy Gil, July 31, 2012 01:11pm | Post a Comment
This week sees a huge set of reissues from Blur, among others ...

at the drive-inAt the Drive-InIn/Casino/Out
 
Though At the Drive-In’s third and final full-length, Relationship of Command, gets more attention for being the post-hardcore band’s breakthrough, At the Drive-In’s second album, In/Casino/Out, is the best representation of the band at the height of its powers. The album was recorded live to capture the band in its native environment, as the band had begun to make their name on explosive live shows that would lead to word-of-mouth expansion of their fanbase, and true to form listening to In/Casino/Out now feels like travelling back in time to when the band was playing basement shows, before Cedric Bixler-Zavala and Omar Rodríguez-López’s The Mars Volta would play to massive crowds in the following decade. You see the beginnings of that band in how Bixler-Zavala crams verbiage into “Alpha Centauri” and the band makes the 3:13 song feel like an epic, but the live recording makes it feel manageable, most of the lyrics spat out quickly and its movements more memorable than the Volta’s proggy opuses. It’s also easy to forget how catchy the band could be, and a run of mid-album cuts proves this, including “Pickpocket,” with its instantly memorable, if incomprehensible screamed chorus. The band would also slow down to great effect on “For Now…We Toast,” which clips the distance between the band’s more melodic and aggressive leanings. But the album stands together as a whole, as well, with song after song coming at you with a warm assault of visceral guitar attacks and complex wordplay.
 
blur 21Blur Reissues
 

Blur releases a mass of reissues on LP today, as well as its Blur 21 box set, celebrating 21 years of the Britpop band. To these ears, the incredibly solid Parklife and relentlessly experimental 13 have always been the essential Blur albums, but I also have a newfound appreciation of Leisure, their first album. Before they were kings of Britpop, Blur were a fresh-faced band of whelps wielding shoegaze guitars and madchester beats into a neat package, no better than on the funk-inspired “There’s No Other Way” or throbbing “Bang.” Yes, Leisure is sort of Blur’s Pablo Honey, where the band was still finding its footing, but Leisure also stands on its own, thanks to the fact that Damon Albarn and co. had more personality than most of their countrymen in 1991. You saw the beginnings of Albarn’s experimentalism in the percussive elements underpinning the slow-burning alt-rock of “Repetition” and accordion riff looping under the dream-pop guitar squalls of “Bad Day.” Even at its most derivative, such as the “Only Shallow” aping riff of “Slow Down,” Leisure is still a an early ’90s time capsule of a record with plenty of pleasure to spare, and one that hinted at the heights Blur and Albarn would achieve later on. Maybe I just like it now because every song sounds kind of like My Bloody Valentine's "Soon." Regardless, all of the albums are worth checking out, including Blur, Modern Life is Rubbish, The Great Escape and Think Tank.
 
yaz upstairs at eric'sYaz Upstairs at Eric’s
 
In these days of excellent darkwave revivalists like Light Asylum, Yaz and its best album, Upstairs at Eric’s, seem more prescient than ever. The albums big hits all have a certain desperation that often underpins some of the best pop songs. “Don’t Go,” despite its memorable synth hook, boasts lyrics like “I turned around when I heard the sound of footsteps on the floor/Said, ‘He was a killer,’ now I know it's true/I'm dead when you walk out the door.” Vince Clarke, who penned early Depeche Mode classics like “Just Can’t Get Enough” before splitting for Yaz (and later Erasure), offers spare backdrop that favors tiny, interlocking synth riffs rather than big blankets of chords for Moyet to pour herself over. Moyet’s deep vocals hit hard throughout, especially on “Midnight” and the classic “Only You,” slow, sad new wave ballads that would be nowhere without Moyet offering some much-needed soul to a genre often saddled with wispy male vocals. Upstairs at Eric’s is a lot of fun, too, even with its more emotional tunes — Clarke’s synths mimic ’50s rock tropes and disco shimmer to great effect on “Bad Connection” and “Goodbye Seventies,” respectively, while Moyet’s exuberant kiss-offs and creepy laugh make “Situation” one of the best feel-good breakup songs around.

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New Albums Out Today, New Ones Coming in July/August

Posted by Billy Gil, July 3, 2012 06:36pm | Post a Comment
Today saw the releases of new albums by Belle & Sebastian member Stevie Jackson, comedian Doug Benson and a 7” from Animal Collective, among others. Check out what’s out today and what’s coming down the pipe:
 
Stevie Jackson
Stevie Jackson – (I Can’t Get No) Stevie Jackson
 
(I Can’t Get No) Stevie Jackson makes a name for itself quite outside of Belle & Sebastian, coming off like the next in line of a lineage of singer-songwriters who exist on their own terms, from John Cale to Brian Eno to Elvis Costello. Far from just being twee, Jackson rocks out to a new wave beat on “Try Me,” singing “I got pills and I’m lookin’ for thrills/At the same time I want to start a family.” The distinctive, reverb-laden lead guitar he lends Belle & Sebastian is on songs like the lovely display on the Kinks-y “Richie.” And even at his most clearly indebted to Summer of Love-era rock, he creates a varied and thoroughly rewarding listen, notably on the swinging, Mamas & Papas-style “Where Do All the Good Girls Go?”

doug benson
Doug Benson – Smug Life
 
Huge pot fan and hilarious comedian Doug Benson releases two different versions of the same jokes on Smug Life, both performed on April 20 (4/20!) at the same club. It plays like a case study in how varied performances of the same material can yield such different results — in one case, you hear a comment yelled from the audience that gets incorporated into the joke in the later performance.

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Bobby Womack Comes to Amoeba

Posted by Billy Gil, June 12, 2012 07:30pm | Post a Comment
Bobby WomackSoul legend Bobby Womack is appearing this Friday, June 15th at Amoeba Hollywood at 6 p.m. where he’ll be signing copies of his excellent new album, The Bravest Man in the Universe, which is out today.

Produced by former Gorillaz and Blur frontman Damon Albarn as well as XL Recordings founder Richard Russell, on Womack’s first album of new material since 1994’s Resurrection, to say he sounds reinvigorated would be an understatement. Albarn, and Russell’s careful but not overly cautious production work helps Womack stand front-and-center over trip-hoppy beats and beatific synths. Womack cries out on “Sweet Baby Mine” like a man reborn. The title track, meanwhile, begins elegiac, as Womack extols the virtue of forgiveness, before breaking into a steady, string-laden groove that lets Womack do his thing with minimal distraction. A duet with Lana del Rey, “Dayglo Reflection,” is a bit of young-meets-old fun, but it’s still classy, with del Rey’s sultry voice breaks nicely complementing Womack’s rough hues. The headturner here, though, is closer “Jubilee (Don’t Let Nobody Turn You Around).” Womack is on fire as he sings in terrifying ecstasy over a big, nasty synth groove. The album is an excellent restatement from one of rock’s great survivors, and gives Womack a brilliant new palette from which to paint.

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