Mostrando entradas con la etiqueta Cut City. Mostrar todas las entradas
Mostrando entradas con la etiqueta Cut City. Mostrar todas las entradas

domingo, 17 de junio de 2007

Interpol ¿copio la portada de su nuevo disco?

Una de las 28-30 bandas pendientes para mencionar en el blog es Ola Podrida, una banda que descubrí hace un año gracias al blog de gorillavsbear. Antes de hacer un post en condiciones sobre ellos, no nos queda otro remedio que mencionarlos, porque Interpol parece que iba a sacar portada IDÉNTICA a la del album de debut de Ola Podrida. Así que, supongo que Interpol tuvo que cambiarla para no meterse en líos. De todos modos esto va a ser una gran "promo" para Ola Podrida. Y no parece la única "promo" gratuita. Hace unos meses se filtro un disco como si fuera el de Interpol, que resulto ser el debut de Cut city (ya hablamos de ellos en el blog). Y ahora la portada pensada por Interpol ha salido hace nada como portada de disco de otra banda.

Os dejo las portadas para que juzguéis.





Mas en PitchforkMedia.

Y dos temas que rulan por ahí.

-The scale (MySpace-rip) MP3 aqui

-Specialist MP3 aqui

La portada definitiva:



Our Love To Admire is at once unmistakably Interpol and undeniably new. The witty and perverse "No I In Threesome" is an upbeat ode to shaking up a staid relationship propelled by Carlos D's peerless bass melody while the tenderly observant "Pace Is the Trick" proves that the band are still the masters of the dramatic – check the painful pause right before the sinfully satisfying return of Sam's thundering drums and Daniel's ringing lead guitar. The band's impressively seductive evolution is obvious all over the record, but never more so than on tracks like "Mammoth," "Who Do You Think" and on the album's lyrical centerpiece, the ghostly "Rest My Chemistry." While Daniel is understandably proud of the song he cautions against reading too much autobiography into its lyrics. "We always leave the interpretation to the listener," he says. "I mean, you shouldn't watch a movie for the first time listening to the director's commentary!"
Our Love to Admire closes with "The Lighthouse," a funereal dirge that is among the most unexpected and memorable songs ever recorded by the band. Almost entirely percussion-free, the song is constructed around Daniel's mournful guitar and Paul's sparten lyrics. Not only is it one of their finest moments to date, it provides the album's most goose-bump inducing moment, the very same reflex shivers that make Interpol live shows such an exhilarating experience. As the very last song the band recorded for the album it was, they say, the hardest to play. The hypnotic guitar part was played on a 50-year-old guitar that had toxins on the strings, providing Daniel with a blistering and painful sensation in his fingers. The band weren't even sure the track would make it out of the studio, but once they heard Paul's remarkable vocals they were floored. The song – and the album – doesn’t so much end as it bleeds to a close with a long, echoey coda filled with feedback and strin! gs. A fittingly dramatic end to a stunning and emotional journey. Interpol is back, every bit as good as before but charged with a new spirit, a new direction, a new label and, most of all, a new confidence. -Amazon.com

sábado, 5 de mayo de 2007

Cut City - Exit Decades

Hace un mes alguien decidió filtrar "el nuevo material" de Interpol. Resultó no ser tal. Y ese Mammoth no era lo nuevo de Interpol, sino el debut de una banda sueca de estilo similar llamada Cut city.


Italian pop / German pop / French pop

Gothenburg, Westcoast
Sweden

WEB

MySpace

Componentes:
Max J Hansson - vox/gtr
David Hagberg - drums
Oskar Andersson - bass

Sus influencias (recogido en su MySpace):
We live off the sound and sum of distant parts drawn together for no apparant reason; we burn our bridges thoroughly and well; we employ the numb and the dumb; we know the tricks and ticks of a certain trade; we're the perverts at the playground...

The arbitrary noise of egos swelling to unimaginable sizes...



Sobre su disco de debut (recogido en su web):
EXIT DECADES is the effigy of tomorrow burned today. Blazing and roaring it unveils the disparate notions of uncertain caring and common disillusion that propells all life. It embraces the cultural bombs as they're dropped on someone's recluse home. As an objet d'art it pulls the rug from under an abandon playground; a digital ephemera hailing inconsistencies and contradictions.

A collage of words culled from a misguided literary canon, lifted and plagiarized from sources dead and buried. Nothing conceals the cultural monolith comprised of popular artefacts swaying back and forth in attempts of covering lies made up in haste. If the inherit offspring of fashion-ADD holds its dogmatic ground, EXIT DECADES is the sober novelty pushed off a cliff in case of emergency. Where context is an anomaly actively obscured by irrelevant clouds, EXIT DECADES serves as an irresistable loud virtue; where every hand fits every glove, EXIT DECADES aligns itself with the people who would rather be cold.


Discografia:

-EXIT DECADES (6 Feb 2007,www.goldstandardlabs.com)



1. Like Ashes Like Millions
2. Manoeuvres
3. Numb Boys
4. Anticipation MP3
5. Damaged
6. Such Verve
7. Rival Trial
8. Just Pornography (For M.E.)
9. Dull Miles (Exit Decades)

-CUT CITY EP (2005)

1. Postcard
2. Statues MP3
3. Blank Calls
4. This Exile Reads Me

Letras AQUI