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Malcolm Mooney Chats With Amoeblog After The Tenth Planet Oakland Show

Posted by Billyjam, June 17, 2013 11:05am | Post a Comment
As previewed here on the Amoeblog over the weekend famed former Can vocalist Malcolm Mooney visited the Bay Area to team up with his band Tenth Planet,which features members of Negativland, MX80, The Mutants, Neung Phak, Crack:WAR, and Le Flange du Mal, to play two select NorCal shows: Friday, June 14th at The Lab in San Francisco and the following night at The Layover in Oakland. I was among the lucky ones to make it to the latter, Saturday, June 15th, intimate setting East Bay concert which by all accounts, including Mooney's himself, was the better of the two Bay Area exclusives. For the early show, which was scheduled to start at 8pm sharp and had to be over by 9pm (it ran til 9:15pm with an encore) to make room for the regularly scheduled Shockwave DJs night (Tim Diesel and Max Kane), Mooney was supported by the tight four piece The Tenth Planet - including Amoeba Music co-owner Marc Weinstein on drums.

"I've been playing with Malcolm in various forms for 20 years now and this current band is perhaps the tightest most inspired lineup. It was a fantastic show," said Weinstein of the tight, supercharged set that included both new tracks and reworkings of such Can classics as the crowd pleasing "Yoo Doo Right," "Outside My Door," and "She Brings The Rain." Immediately following the show and before he rushed off to get a few hours of  sleep before heading to SFO by 5am I had an opportunity to chat with Malcolm Mooney for a few minutes on Franklin Street right outside the downtown Oakland Layover club. That short dim street light lit video clip (below), that includes a few words from Marc Weinstein, has Mooney talking about the latest Tenth Planet lineup, the Lab versus the Layover shows, and comparisons between making music and painting - Mooney's other artistic passion.

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Can's Malcolm Mooney Performs Two Shows This Weekend in the Bay Area

Posted by The Bay Area Crew, June 13, 2013 06:13pm | Post a Comment

Malcolm Mooney and the Tenth PlanetMalcolm Mooney, original singer for Germany's musical pioneers Can, will perform at two shows this weekend in the Bay Area with his band The Tenth Planet, which features members of Negativland, MX80, The Mutants, Neung Phak, Crack:WAR, and Le Flange du Mal!

Friday, June 14th, catch Malcolm Mooney and the Tenth Planet in San Francisco at the DIVISION OF LABOR Festival (The Lab). Also playing are Fairlight Empress, Ava Mendoza's Unnatural Ways with special guest Carla Bozulich (Evangelista, Ethyl Meatplow, The Geraldine Fibbers), and Allegory Chapel LTD. More info HERE!

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New 12"s @ Amoeba Hollywood 3/1 - Conforce, RVDS, Perseus Traxx, Benjamin Damage, Freeform Five and more!

Posted by Oliver / Matt / Jordan, March 1, 2013 05:26pm | Post a Comment

Conforce - Time DilationConforce
Time Dilation 
Delsin

Boris Bunnik switches over from the dystopic electro of his Versalife project to the Conforce alias by which he's better known. Classic Delsin material here. "Nomad" sets the tone with ominous techno drones, an odd kick meter, elastic bass and big-room creepiness. "Receiver" veers closer to classic Detroit techno tropes, with insistent bells providing the atmosphere over a telltale tom. The patient and precise production of the ep’s opener is still intact, but here it's bolstered by subtle hi-hat drops that feel momentous in context. B-side "Last Anthem’s" rugged kick drum signals this 12”s diversity, ringing in the most floor-friendly track on the record. Closer "Embrace" is a deep, dub techno track with just a sliver of melody, achieving Chain Reaction-worthy hypnosis.

Buy Time Dilation

 

RVDS
Arabian Moon
It’s

Laid back, eastern-tinged acid from the German producer, whose huge “Moon Oddity” (sensing a theme?) on Dial deep-house imprint Laid placed the producer alongside Tin Man in his ability to coax new, emotional sound out of classic equipment. The title track uses a busy 303 bassline against a deep Juno progression, the overall effect not unlike a more narcotic version of Max D’s Cassette Arabic (L.I.E.S.)

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Personal Picks: Kelly's Best of 2012 Year-End Recap

Posted by Kelly S. Osato, December 31, 2012 02:30pm | Post a Comment

flinstones record player stane age bird beak turtle vinyl turn table cartoon hanna barbera
Well, here we are. We weren't thrust into a new dark age oblivion, the world didn't end and neither did my workaday quest for the best music for the day. This year was rife with records that just had to be snatched -- reissues, compilations, and a fair few newbies too.

Here follows my personal, "show and tell" style best-of list for 2012:  the year that didn't stop the big wheel a-turnin'. Rather than just dicing up a list of cold-cut favorites, I've included personal events and trends herein that shaped the music I sought and gravitated towards within the past year.


BEST NEW ALBUM OF THE YEAR: Jessica Pratt - JP. No contest. I have naught but the best of things to say about this disc of spun gold and I'm not alone. It seems every Barry, Rob, and Maurice in the blogosphere has been falling all over this record like autumn leaves in the rain. If you really want to know my take check out my real talk review of JP here, otherwise please do enjoy the album's opening track, "Night Faces" below.





 
BEST 2012 REISSUE: It's a tie between two (Numero related) comps: WTNG 89.9FM: Solid Bronze and & Personal Space: Electronic Soul 1974 - 1984. Both platters piled high with private press oddments and rarities one could hardly go more wrong than to miss out on these two exemplary feats of the compilation arts. The former being a point of revision for many in that it is essentially a mix of largely unheard "yacht rock"/AOR triumphs of seventies song-writing sensibilities (man, is it ever sensibly sensitive) that confronts one's moral definition of guilty (listening) pleasures. The latter comp, Personal Space - a seemingly dark horse among the usual reissue fare fleshing out the the tom findlay groove armada late night tales music for pleasure yacht rock am gold smooth music sailing soul comps shelf space, made the rounds among Amoeba staff regularly thus enjoyed a healthy amount of in-store play as well. Chock full of rhythm-box workouts a la Sly Stone, Timmy Thomas and Shuggie Otis, it's a far-out soul/funk excavation of the highest order. Both of these are solid front-to-back listens for the home vinyl library/curio corner.

Album Picks: Frank Ocean, Blanche Blanche Blanche, Jeff the Brotherhood, Plus Albums Out Today

Posted by Billy Gil, July 17, 2012 04:18pm | Post a Comment
Album Picks:

Frank Ocean Channel OrangeFrank Ocean’s music touches such a raw nerve because it’s the rare album that fully appeals on a here-and-now pop level while referencing classic pop — in this case, pop and soul maestros like Stevie Wonder and Elton John — and offering something else entirely. This something else is that human, overexposed, heart-and-mind-on-sleeve content that firmly roots Channel Orange in the social network era. I was late to the game; the first time I heard “Thinkin Bout You” was the day before Ocean very publicly came out of the closet. That happenstance was strange for me — the thing that first struck me about the song, aside from its obvious craft, the kind of instantly memorable hit that combines a suave, easy to follow melody and arrangement with dagger-in-the-heart lyrics, was an indescribable “third” quality beyond music and lyrics that I usually find with my favorite music, whether it’s The Smashing Pumpkins, The Beatles or, perhaps more relatedly, morose ’90s/'00s R&B hits like PM Dawn’s “Die Without You,” Fabolous & Tamia’s “So Into You,” Lauryn Hill’s “Ex Factor” and so on. It’s that sort of feeling that hits you immediately and reminds you of all the stupid unrequited crushes, moments of indirection, and fleeting feelings of serenity in youth. That Ocean possibly wrote the song about his own unrequited same-sex love made sense to me, since that’s pretty much what the song reminded me of. But beyond any personal affiliation with the song, the ability to communicate such universal but difficult to pin down feelings so instantly is quite rare, and so thus should be treasured in the way rave reviews have been pouring in for Channel Orange. Indeed, I think “Thinkin Bout You” is the best song anyone will release this year, and Channel Orange likely will be the album of the year. Beyond that opening instant classic, Channel Orange brims with power. Take the lush Marvin Gaye-meets-How to Dress Well-meets-Kanye West depiction of new parenthood in “Sierra Leone,” its lyrics offering a welcome balance of vagueness and detail devoid of judgment, communicating feelings of joy and trepidation. He celebrates and also exposes the lives of privileged black youth in a seemingly realistic way, beyond the bling-style fantasies of much of hip-hop, in songs like “Sweet Life” and the brilliant “Super Rich Kids,” which sounds like a hip-hop “Benny and the Jets” playing over an episode of the similarly revelatory reality show “Baldwin Hills.” He creates an sprawling, Kanye-style centerpiece with “Pyramids,” an epic track buoyed by raunchy synth riffs that turn glittering in the song’s sweetly disintegrating second half. And he continues to explore his evolving sexuality on a trio of closing ballads, in which he sounds as comfortable and natural singing about love between men, and between men and women. Though that doesn’t at all overshadow the rest of the album, which has more merits in spades to stand on its own, it can’t be ignored, either, as a huge moment for hip-hop — for all music — as a knocking down of barriers in music, sexuality and male image through some of the most dazzling, yet thoughtful pop music being made today.

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