Monday, August 29, 2011

KRAFTWERK NITE
























An Imense traking of past and present musik from one of the infuential bands an exsistence!

Kraftwerk's musical style and image can be heard and seen in later electronic music successes such as Gary Numan, Ultravox, John Foxx, Orchestral Manoeuvres in the Dark, Human League, Depeche Mode, Visage, and Soft Cell, to name a few. Kraftwerk would also go on to influence other forms of music such as hip hop, house, and drum and bass, and they are also regarded as pioneers of the electro genre. Most notably, "Trans Europe Express" and "Numbers" were interpolated into "Planet Rock" by Afrika Bambaataa & The Soul Sonic Force, one of the earliest hip-hop/electro hits. Techno was created by three musicians from Detroit, often referred to as the 'Belleville three' (Juan Atkins, Kevin Saunderson & Derrick May), who fused the repetitive melodies of Kraftwerk with the booty-shaking rhythms of funk.
Joy Division and New Order were heavily influenced by Kraftwerk. Joy Division frontman Ian Curtis was a fan of Kraftwerk, and showed his colleagues records that would influence both groups.

Programmed by DJ's
Robert Miranda & Joey Radikal

It's all free! Get your pre labor day fix
Thursday September 1st, 2011

Inside Seta Lounge, 2nd Room

DO WE NEED TO SAY ANYTHING MORE!


Wednesday, August 3, 2011

:BLACK DOOR GROUP PRESENTS: TROPIC OF CANCER W/THE PRIDS & THE VIVIDS
























A NIGHT OF NOSTALGIA:

POST PUNK, COLD ELECTRONICS AND DRONE WAVE

––––––––––––––––––––––––––​–––

WITH LIVE PERFORMANCES BY:

TROPIC OF CANCER
http://www.facebook.com/tr​opicofcancerband

THE PRIDS (PORTLAND, OR.)
http://www.facebook.com/th​eprids

THE VIVIDS
http://www.facebook.com/vi​vidsvivids

(THE PRIDS LAST L.A. SHOW BEFORE THE HEAD OFF TO EUROPE
COME SAY HELLO AND GOODBYE)

––––––––––––––––––––––––––​–––

MUSIC SELECTION BY:

DJROCCOHORROR
DJ VIRTIGO

––––––––––––––––––––––––––​–––

INFO:

MONDAY AUGUST 22ND, 2011
8 PM TO 2 AM
21 AND OVER

––––––––––––––––––––––––––​–––

The Prids - Waste Our Time from DJROCCOHORROR on Vimeo.

Sunday, July 3, 2011

THE HORRORS

The new Album "Skying" Will be released by XL Recordings on 11th July 2011 (26th July in the US) It's 1990 all over again!

Thursday, June 23, 2011

THE PRIDS LIVE ON KSPC
























PLEASE DO TUNE IN TO KSPC 88.7 ON MONDAY JUNE 27TH WITH DJ NORA! LISTEN TO HER SHOW GACHAN GACHAN FROM 10 PM TO 12 AM MONDAYS.

Facebook Event Page

Tuesday, June 14, 2011

MAKE MUSIC PASADENA UNDISCOVERED TALENT STAGE

























MAKE MUSIC PASADENA UNDISCOVERED TALENT STAGE

THE BEST OF THE BEST LOCAL TALENT HAS TO OFFER FOR THIS GRAND EVENT!!!

---------------------------------

FULLY INDEPENDENT ARTIST WITH GREAT TALENT;

LIVE PERFORMANCES BY:


DJ JOE LEYVA - 11:00 PM
http://www.facebook.com/LiveItLoveItRockIt


INTERPHASE - 10:00 PM
http://www.facebook.com/innerphase


MANHATTAN MURDER MYSTERY - 9:00 PM
http://www.facebook.com/pages/Manhattan-Murder-Mystery/37001861441


DARIN BENNETT AND THE REQUIEM - 8:00 PM
http://www.darinbennett.com/home.cfm


HEXHAM HEADS - 7:00 PM
http://www.facebook.com/hexhamheads


DJROCCOHORROR - 6:00 PM
http://www.facebook.com/djroccohorror


CIGARETTE BUMS - 5:30 PM
http://www.facebook.com/cigarettebums


RITUALS - 4:30 PM
http://www.facebook.com/RitualsLA


MARIO NOIR - 1:00 PM

---------------------------------

DOWNSTAIRS AREA WITH DJ HERRICK HELL

---------------------------------

AFTER THE FESTIVAL WE WILL CONTINUE UPSTAIRS
ALL NITE!!!

JOIN US:
SATURDAY JUNE 18TH, 2011
1:00 PM SHARP TO 2 AM
21 & OVER AT 35ER ALL AGES FOR THE FESTIVAL

COMPLETELY FREE

FULLY STOCK BAR FOR 21 AND UP

INFO:
http://www.facebook.com/djroccohorror
http://www.facebook.com/djrobertmiranda1984

WHERE:
35ER
12 E. COLORADO BLVD. PASADENA, CA

---------------------------------

THANKS TO ALL OF THE ARTIST OF PULLING
TOGETHER!!!

Thursday, May 26, 2011

SMITHS & MORRISSEY NITE


























DJROCCOHORROR PRESENTS

SMITHS & MORRISSEY NITE

IT'S TIME TO START OFF THE SUMMER BY GETTING TOGETHER
AND EXPERIENCING A NIGHT OF SMITHS & MORRISSEY, C86 Ø
NOISE POP Ø POST PUNK REVIVAL Ø ELECTRONIC SOUNDS WITH
GOOD FRIENDS AND AWESOME MUSIK!

---------------------------------

LIVE PERFORMANCES BY:

THE PRIDS
http://www.facebook.com/theprids


HEXHAM HEADS
http://www.facebook.com/hexhamheads


JOY MUST REMAIN
http://www.facebook.com/pages/Joy-Must-Remain/143822478987533

---------------------------------

SMITHS & MORRISSEY Ø C86 Ø NOISE POP Ø POST PUNK REVIVAL
Ø ELECTRONIC SELECTION BY:

WITH THE BEST IN THE WEST!!!

RAY (FROM KAOS RECORDS + SMITHS/MORRISSEY CONVENTION)

MARIO NOIR

LEE

+ RARE FOOTAGE & VISUALS ALL NIGHT!!!

---------------------------------

VICARS FOR THE NITE

SLOW HANDS
FONZIE • 76ISM • DARIO
X - BUNNY • JEN BUNNY
HAROLD SHROENBERGER
DANNY DIVISION • JOE LEYVA

---------------------------------

JOIN US:
SUNDAY JUNE 26TH, 2011
8:00 PM SHARP TO 2 AM
18 & OVER

ALL THIS AMAZING TALENT FOR A
$5.00 DOLLARS ALL NIGHT!!!

FULLY STOCK BAR FOR 21 AND UP

INFO:
http://www.facebook.com/djroccohorror
http://www.facebook.com/djrobertmiranda1984

WHERE:
801 BAR
801 W. TEMPLE ST. LOS ANGELES, CA. 90012

Thursday, May 5, 2011

DJROCCOHORROROR

Repost
























UNKNOWN PLEASURES

L.A.'s ONLY THEMED SYNTHPOP •
POST PUNK REVIVAL • ELECTRONIC
NIGHT HOSTING DJROCCOHORROR's
(AKA) DJ ROBERT MIRANDA's ANNUAL
SUICIDE BIRTHDAY BASH.

CATERING TO NEW AND CLASSIX THAT
YOU WILL NOT HEAR ANYWHERE ELSE,
GUARANTEED!

PAST LIVE BIRTHDAY PERFORMANCES
INCLUDE:
VEIL VEIL VANISH (SF), BLESSURE GRAVE (SD),
FULL FRONTAL, DEATHDAY PARTY,
THE COLOURIST, SPIDER PROBLEM,
WHO IS CHUY VEGA, CAT PARTY,
CRASH HOLIDAY AND SO ON WE CONTINUE
THE TRADITION.

THIS TIME AROUND WE PROUD TO PRESENT
TWO OF THE BEST BANDS TO BREAK OUT THIS
YEAR:

THE NEW DIVISION
THE NEW DIVISION FACEBOOK

AND SOON TO BE YOUR FAVOURITE:

JOY MUST REMAIN
JOY MUST REMAIN BANDCAMP

FOR UNKNOWN PLEASURES
WE HAVE REALLY SET FORTH AND TAKEN
THE TIME TO HAND PICK GOOD QUALITY
MUSIK FROM ALL OVER THE WORLD FOR
YOU TO COME AND ENJOY. AND OF COURSE
WE HAVE THE SHARPEST DJ's YOU WILL EVER
HEAR FOR THIS TYPE OF SETTING.

ONE OF TOP SELECTORS
TO EVER ROLL
THROUGH LOS ANGELES
THE EVER SO ICONIC:

JACKIE B.
DJ JACKIE B. FACEBOOK

MYSTERIOUS AND UNEXPECTED MATCHED
WITH GREAT, NEW, FRESH SOUNDS:

MARIO NOIR
DJ MARIO NOIR FACEBOOK

SOMEONE WHO HAS BEEN A GREAT
TALENT TO WERK WITH FOR MANY
DECADES:

JOEY RADIKAL
JOEY RADIKAL FACEBOOK

SPECIAL GUEST DJ SET BY:
JOEY MEDINA OF THE TENDER BOX
DJ JOEY MEDINA FACEBOOK

TO TOP THINGS OFF WE HAVE SOME THE
GREATEST FRIENDS HOSTING!

ANGEL ALVARADO
GILBERT VALENZUELA
GEORGE OBSCURE
GIGI CASABLANCAS
HECTOR RAZO
KAMA SUTRA DUTRA
JOHN D. MODE
JIMMY LABRIE
AARON QUEST
ERICK O
DARIO R.
X-BUNNY
THE BLACK DOOR
76ISM
SLOW HANDS
SUNSET JUNCTION

PLEASE DO DRESS SHARP FOR THE EVENT!

JOIN US:
SATURDAY MAY 7TH, 2011
8:00 PM SHARP TO 2 AM
21 & OVER

ALL THIS AMAZING TALENT FOR A
$5.00 DOLLARS ALL NIGHT!!!

GOOD BEERS AND NICE DRINKS TOO!!!

INFO: DJROCCOHORROR FACEBOOK

ALSO: DJROBERTMIRANDA FACEBOOK

WHERE:
LaBrie's Lounge
806 E. Colorado Blvd. Glendale, CA 91205

LISTEN TO:
MARIO NOIR UNKNOWN PLEASURES TEASER MIX

Suicide Bash Teaser by boyracer76

WATCH:
THE BLACK DOOR PRESENTS - DJROCCOHORROR'S ANNUAL SUICIDE BASH PROMO (DJROCCOHORROR EDIT)

Tuesday, April 26, 2011

THE EXPLODING BOY



Here is the video from one my Favourites from Sweden, Enjoy!

Tuesday, April 12, 2011

ISLINGTON BOY CLUB



















One my favourites to cross my path this year is IBC, Great group guys from London who inspire me deeply. Here is their newest release as a free download. Cheers and enjoy IBC.

Listen To:
Islington Boys Club - Misfit Sugar

Islington Boys' Club - Misfit Sugar by islingtonboysclub

NEW YORK CITY
























Taking a short break from L.A. to visit Family and enjoy My second home it's a short stay but excited to go back and see some shows.

I will see how posting goes on the road.

Watch:
Martial Canterel - Three Days (Live at WIERD. August 19, 2009)



Martial Canterel

DET VACKRA LIVET
























I had the pleasure of DJing and hosting The Mary Onettes their first time out to L.A. on May 7th of 2008, Pretty close to the date. They had previously booked shows in 2010 but had to cancel because of the volcano that erupted and caused havoc through out Europe and the UK.

Continuing the Swedish Saga is Det Vackra Livet, Which derives from
brothers Philip and Henrik Ekström who you might recognise from The Mary Onettes. Inspired by their grandmothers memoires and Swedish/Finnish poet Claes Andersson singer Philip wrote fifteen songs in a two months-creative outburst in the fall of 2010.




















I'am quickly falling for this band just as I did with TMO, Give it go yourself.

Watch:
Det Vackra Livet - Viljan

Saturday, April 9, 2011

THE EXPLODING BOY
























I have been a fan of TEB since 2006 and really loving what they have created
the last past years. TEB continues to unveil beautiful sounds to the World, Which these days is getting tougher to find. Excellent music does still exist, Thanks to TEB for giving us the vision.

Lead Vocalist and Friend Johan as well and the rest of The Mates are ecstatic for the forth coming album and have been getting the word out for support and new listeners.

Well here is taste of what's coming and can't really keep them a secret any longer, 2011 is their time! Hope we can see them soon in the States.

”The Black Album” is the third full length release from the Swedish indie-post-punk-wave sensation The Exploding Boy.

The Exploding Boy is one of the most talked about Swedish alternative pop/rock bands in all of Europe, Were the band got amazing reviews for their previous album ”Afterglow” (2009).

The band followed up the release of ”Afterglow” with more than 30 live
shows in Germany alone. The singles ”London”, ”Heart Of Glass” and
”40 Days”, from the above mentioned album; all climbed up to top 10
on the official German alternative chart (DAC).

The Album was voted as ”Album Of The Year” in Belgian magazine
Dark Entries, And Swedish magazine Zero called it ”the best album
of the year within the genre”. It also ended up on the top 10 lists in
the ”Best of the year” readers poll in several alternative magazines.

The Exploding Boy is often compared with newer bands like Interpol and The Mary Onettes, but also with classic bands like The Cure och Joy Division.

The first single from the album is a double A-side release (only digital)
with the songs ”Human” and ”Torn”. A third song was added to the single to
show the broadness of the band. The single will be handled by Hardbeat
Promotions (DE). All three songs can be found on ”The Black Album”.

Along with the release of ”The Black Album” The Exploding Boy will do some promotional shows around Europe. The first one, the official release party,
will be held at King Kong Klub in Berlin (DE) on the 26th of May.
There will also be a second release party in the bands hometown,
Stockholm, Sweden at Debaser on the 7th of June.

TOUR (confirmed dates):
MAY 26 - BERLIN (DE) King Kong Club - Berlin (DE)
MAY 27 - ZÜRICH (CH) - Dynamo Werk 21
MAY 30 - HAMBURG (DE) - Hit The North
JUNE 01 - FRANKFURT (DE) - Das Bett
JUNE 02 - KÖLN (DE) - Underground
JUNE 03 - SINT-NIKLAAS (BE) - OJC Kompas
JUNE 07 - STOCKHOLM (SE) - Debaser Slussen (+ Lowe)

”The Human EP” digital World Wide release: April 15
”The Black Album” world wide release: May 20
























Listen To An Exclusive Track From The Human EP:

The Exploding Boy - Torn

The Exploding Boy - Torn by DJROCCOHORROR

Watch:
The Exploding Boy - Human (2011)



Watch:
The Exploding Boy - London (2009)



Watch:
The Exploding Boy - 40 Days (2009)



The Exploding Boy On Facebook

Thursday, April 7, 2011

DJROCCOHORROR
























UNKNOWN PLEASURES

L.A.'s ONLY THEMED SYNTHPOP •
POST PUNK REVIVAL • ELECTRONIC
NIGHT HOSTING DJROCCOHORROR's
(AKA) DJ ROBERT MIRANDA's ANNUAL
SUICIDE BIRTHDAY BASH.

CATERING TO NEW AND CLASSIX THAT
YOU WILL NOT HEAR ANYWHERE ELSE,
GUARANTEED!

PAST LIVE BIRTHDAY PERFORMANCES
INCLUDE:
VEIL VEIL VANISH (SF), BLESSURE GRAVE (SD),
FULL FRONTAL, DEATHDAY PARTY,
THE COLOURIST, SPIDER PROBLEM,
WHO IS CHUY VEGA, CAT PARTY,
CRASH HOLIDAY AND SO ON WE CONTINUE
THE TRADITION.

THIS TIME AROUND WE PROUD TO PRESENT
TWO OF THE BEST BANDS TO BREAK OUT THIS
YEAR:

THE NEW DIVISION
THE NEW DIVISION FACEBOOK

AND SOON TO BE YOUR FAVOURITE:

JOY MUST REMAIN
JOY MUST REMAIN BANDCAMP

FOR UNKNOWN PLEASURES
WE HAVE REALLY SET FORTH AND TAKEN
THE TIME TO HAND PICK GOOD QUALITY
MUSIK FROM ALL OVER THE WORLD FOR
YOU TO COME AND ENJOY. AND OF COURSE
WE HAVE THE SHARPEST DJ's YOU WILL EVER
HEAR FOR THIS TYPE OF SETTING.

ONE OF TOP SELECTORS
TO EVER ROLL
THROUGH LOS ANGELES
THE EVER SO ICONIC:

JACKIE B.
DJ JACKIE B. FACEBOOK

MYSTERIOUS AND UNEXPECTED MATCHED
WITH GREAT, NEW, FRESH SOUNDS:

MARIO NOIR
DJ MARIO NOIR FACEBOOK

SOMEONE WHO HAS BEEN A GREAT
TALENT TO WERK WITH FOR MANY
DECADES:

JOEY RADIKAL
JOEY RADIKAL FACEBOOK

SPECIAL GUEST DJ SET BY:
JOEY MEDINA OF THE TENDER BOX
DJ JOEY MEDINA FACEBOOK

TO TOP THINGS OFF WE HAVE SOME THE
GREATEST FRIENDS HOSTING!

ANGEL ALVARADO
GILBERT VALENZUELA
GEORGE OBSCURE
GIGI CASABLANCAS
HECTOR RAZO
KAMA SUTRA DUTRA
JOHN D. MODE
JIMMY LABRIE
AARON QUEST
ERICK O
DARIO R.
X-BUNNY
THE BLACK DOOR
76ISM
SLOW HANDS
SUNSET JUNCTION

PLEASE DO DRESS SHARP FOR THE EVENT!

JOIN US:
SATURDAY MAY 7TH, 2011
8:00 PM SHARP TO 2 AM
21 & OVER

ALL THIS AMAZING TALENT FOR A
$5.00 DOLLARS ALL NIGHT!!!

GOOD BEERS AND NICE DRINKS TOO!!!

INFO: DJROCCOHORROR FACEBOOK

ALSO: DJROBERTMIRANDA FACEBOOK

WHERE:
LaBrie's Lounge
806 E. Colorado Blvd. Glendale, CA 91205

LISTEN TO:
MARIO NOIR UNKNOWN PLEASURES TEASER MIX

Suicide Bash Teaser by boyracer76

WATCH:
THE BLACK DOOR PRESENTS - DJROCCOHORROR'S ANNUAL SUICIDE BASH PROMO (DJROCCOHORROR EDIT)

Friday, April 1, 2011

DUM DUM GIRLS

Cover Fridays:

My current crush with ever so beautiful Dee Dee, Check there take on The Smiths classic.

Dum Dum Girls - There Is A Light That Never Goes Out (The Smiths Cover • DJROCCOHORROR Edit) from DJROCCOHORROR on Vimeo.

Tuesday, March 29, 2011

RINGO DEATHSTARR
























As a long time RDS Fan, I can only say that Alex and the Boys have crushed me but yet again. They are currently beating the crap out of The U.K. touring extensively for their newest release. NME and Club AC30 have a tight leash on them, I knew this time would come.

P.S While on tour with The Wedding Present they stop by almost to the date last year for a small show that no one gave fuck about! L.A. really slept on this one Trust me people, They are stellar.
























Watch:
Ringo Deathstarr - Two Girls



Buy:
Ringo Deathstarr - Colour Trip

Monday, March 28, 2011

SOFT KILL

















SOFT KILL is made up of Tobias and Shiloe, with help from a revolving cast of live musicians. The lyrics are much more hopeful and uplifting than previous projects, with nods to Chameleons UK, early Modern English and Danse Society sound wise.

Watch:
Soft Kill - From This Point On

THE ROTTERS
























The band formed in a hurry after a club offered them a gig, and featured Badwan on drums, Dylan "Rotter" Wigoder on vocals, "Robot" Jess Meek on bass guitar, and Emily "Rotter" Watson (later of London band Boys of Brazil) on guitar. Although not in any way a serious drummer and unable to keep a steady beat, Badwan took up the instrument and played on the band's only single, the triple A-side "Japanese Punk". The Rotters have admitted they are not a serious outfit, wrote all their songs in a matter of hours and never practiced; the band are theoretically on hiatus rather than defunct, but a reunion seems unlikely.

Watch:
The Rotters - Japanese Punk (DJROCCOHORROR Edit)

The Rotters - Japanese Punk (DJROCCOHORROR Edit) from DJROCCOHORROR on Vimeo.

Wednesday, March 23, 2011

TOMMY KEENE
























You should know about Tommy Keene, One of Power Pops finest...

Via His Web:

In 1984, a six-song platter of pop perfection titled Places That Are Gone (Dolphin) put Tommy Keene onto the CMJ charts and atop the Village Voice EP of the Year poll. Blatantly romantic, unapologetically melodic, bittersweet but absolutely invigorating, it was the sort of record that you could put on before you went out on a Saturday night, or sit around and mope to if you didn’t feel like facing the world. It still stands as a powerful statement, not only establishing Tommy as a unique singer-songwriter, but also as a guitarist with a sound as distinctive as Pete Townshend or Johnny Marr.
Tommy made enough noise in the early ’80s to get the majors involved, and in 1986 he released Songs From the Film on Geffen. Produced by Beatles engineer Geoff Emerick, the album featured two MTV videos, “Listen To Me” and a re-recording of Places That Are Gone’s title track, and spent 12 weeks on Billboard’s Top 200. The 1998 CD reissue of Songs also includes one of the all-time great Keene rockers, “Run Now,” with inspired rhythm section work from drummer Doug Tull and bassist Ted Niceley, plus a terrific extended guitar solo. The singer as well as the song appeared in the Anthony Michael Hall movie Out of Bounds. Rent it today and catch Tommy’s 15 seconds of celluloid glory.

After releasing the Run Now EP in 1986, the original Tommy Keene group, which also included guitarist Billy Connelly, disbanded. Without a group, Keene headed down to Ardent Studios in Memphis to record with producers John Hampton and Joe Hardy. The result was Based on Happy Times (Geffen, 1989).

As suggested by the bittersweet title, Happy Times is the darkest album in the Keene catalog. Although his best material has always been infused with melancholia, Happy Times’ tracks like “The Biggest Conflict” and “A Way Out” reveal a more fatalistic outlook. The guitars are heavier, there is less jangle, and there aren’t as many hooky vocal harmonies. Unlike much of his earlier work, Based on Happy Times by no means can be tagged with the dread title of power pop. It is a beautifully crafted, if sometimes brooding, arty rock record.

Based on Happy Times would also be the first time and, so far, last time Keene would work with another songwriter on an album. “When Our Vows Break,” written with Jules Shear, has long been a live favorite and is one of the record’s standout tracks. The album’s leadoff track, “Nothing Can Change You,” can be heard as a cover version by the Goo Goo Dolls on the B-side of the Australian version of their single, “Slide.” And while we’re name dropping, R.E.M fans should note that Peter Buck appears on two tracks, lending some Marc Bolan-style guitar on the Beach Boys cover, “Our Car Club,” and mandolin on “A Way Out." In support of Based on Happy Times, Keene put together a new rhythm section, John Richardson on drums and Brad Quinn on bass, and hit the road for a month-long tour with the Replacements. The tour found the Keene group playing for receptive audiences and would eventually lead to Tommy joining Replacements leader Paul Westerberg as a sideman on Westerberg’s 1996 solo tour.

In 1996, Keene released Ten Years After (Matador), his first full-length album of all-new material in seven years. Produced by Keene and recorded by pop music wunderkind Adam Schmitt, the album contains classic pop hooks and the loudest guitars to date. The album probably comes closest to the sound of a live Tommy Keene show, which, if you’ve never seen one, can be a pretty thunderous affair.

While Ten Years After revealed that Keene had stored up a lot of creative energy in the years between full length LPs, his next effort, Isolation Party (Matador), showed that he could do just as well if not better on much shorter notice. Released in 1998, Isolation Party is more focused than its predecessor (Perhaps due to its being recorded over a few months as opposed to a few years). For the album, Tommy recruited an all-star cast, getting some fine instrumental and vocal performances from former Gin Blossom Jesse Valenzuela and Wilco’s Jay Bennett and Jeff Tweedy. The album’s opener, “Long Time Missing,” ranks among the best songs he’s ever written, and that’s saying a lot when put in the company of “Back To Zero,” “My Mother Looked Like Marilyn Monroe,” “Highwire Days,” and “Silent Town,” all of which, coincidentally, can be heard in sizzling versions on Keene’s next effort, a live disc called Showtunes (Parasol), released in 2000.

Tommy followed up his live album in 2001 with The Merry-Go-Round Broke Down for the SpinArt label. Produced by Keene and recorded primarily in Tempe, Arizona, at the Gin Blossoms outpost, the album leads off with the rousing rocker “Begin Where We End” before branching out into some new terrain with the roadhouse boogie of “Man With Out a Soul” and the 16-minute opus, “The Final Hour.”

Tommy used his next release, Drowning: A Tommy Keene Miscellany (Not Lame), to clean out his closets of 20 years’ worth of rarities, demos and unreleased sessions. One of the best hodgepodge records you’ll ever hear, more than one critic felt Tommy’s spring-cleaning LP bested many greatest hits packages.

Back on the road in 2004, Keene and band joined Guided By Voices on the East and West Coast legs of their farewell tour. Apart from some great gigs, the shows also led to Keene joining Pollard as a member of his post GBV band, The Ascended Masters, for their 2006 U.S. Tour and a limited edition live LP, Moon (Merge).

The year also saw the release of Crashing the Ether (Eleven Thirty), which was performed and recorded primarily by Tommy himself at home with drums by John Richardson and contributions from regular Keene band members and friends. Sonically, the album is dazzling, with big drums and open, ringing guitars. Lyrically it was arguably Tommy’s great leap forward, with subject matter ranging from a nostalgic, black and white snapshot of New York to Warren Beatty to mixed signals via “Texas Tower #4.”

Tommy quickly followed up Crashing the Ether with Blues and Boogie Shoes. an LP with Robert Pollard under the Keene Brothers moniker. Although side projects can sometimes be less than wholehearted efforts, tracks such as “The Naked Wall” or “Death of the Party”—as good a song as Keene or Pollard have written together or separately—show that neither artist was holding anything back. Among the LPs many rave reviews, The Big Takeover magazine called the album a magical “balancing act” between Keene’s straightforward songwriting and Pollard’s more outré moments.

Watch:
Tommy Keene - Marilyn Monroe (DJROCCOHORROR Edit)

Tommy Keene - Marilyn Monroe (DJROCCOHORROR Edit) from DJROCCOHORROR on Vimeo.


Watch:
Paul Westerberg Feat. Tommy Keene - Love Untold (Live On Letterman DJROCCOHORROR Remaster)

Paul Westerberg - Love Untold Feat Tommy Keene On Guitar (Live Letterman• DJROCCOHORROR Remaster) from DJROCCOHORROR on Vimeo.

Tommy Keene

Friday, March 11, 2011

FORMER GHOST
























Thru Out the years it's been really hard finding true passionate musicians that can express compositions with so much heart and conviction, Mixed with an array of styled beats to match the on going persona which is that of Freddie Rupert.

Former Ghosts is a new synthpop project from Freddy Ruppert, formerly of This Song Is a Mess But So Am I. The band is also comprised of Xiu Xiu’s Jamie Stewart, Zola Jesus’ Nika Roza and TEARIST’s Yasmine Kittles. Ruppert is the lead songwriter on this brutally gloomy project. The title of the debut, Fleurs, is a reference to the white-flowered iris (Iris germanica)

FORMER GHOSTS U.K. and European TOUR!

Italian Dates to be posted soon! Check back ASAP!

Wed 23 Feb CZ Prague Klub 007 Strahov
Thu 24 Feb AT Vienna B72
Fri 25 Feb DE Nuernberg K4
Sat 26 Feb DE Berlin Levee
Sun 27 Feb DE Leipzig Skala
Mon 28 Feb DE Hamburg Astra Stube
Tue 01 Mar TBA
Wed 02 Mar NL Amsterdam Studio 80
Thu 03 Mar BE Antwerp Kavka
Fri 04 Mar UK Brighton Green Door Store
Sat 05 Mar UK Sheffield The Harley
Sun 06 Mar UK Glasgow The Arches
Mon 07 Mar UK Manchester The Ruby Lounge
Tue 08 Mar UK London Cargo
Wed 09 Mar FR Paris L'Espace B
Thu 10 Mar DE Freiburg Swamp
Fri 11 Mar IT - Genova @ Milk
Sat 12 Mar IT - Gambettola, Arci Treesessanta
Sun 13 Mar IT - Rome @ Init
Mon 14 Mar IT - Napoli @ Galleria 19

Watch:
Former Ghost - Hold On



freddyruppert

CHAPTER24

















An amazing new track from this London Based Band, Chapter24 (aka Chapter 24), are Claire (vox), Mel (bass) Mark (drums) & Joe (guitar) - a London, UK based quartet. They are becoming renowned for explosive & eccentric live performances.

Watch:
Chapter 24 - Blisland To Cry

TOM FURSE

















Joining the The Witch Pack, Tom Furse of The Horrors takes on this track, Seems to be the brotherly thing to do.

Wednesday, March 9, 2011

PETER HOOK
























Weds 18th May 2011

The Factory, Manchester

Peter Hook’s The Light perform Joy Division’s second and final album,
their start to finish masterpiece live for the first ever time.
Tickets : £20.11

(Includes a charity donation to MIND and The Keith Bennett Appeal)

On sale this Thursday 10th March from noon, click the link below for tickets

Ticket Info

At this rate Peter should put on another phenomenal show!

Watch:
Peter Hook - Disorder (Live) Why does only have 154 views?

FLATS



















According to there bio they are influnced by:

The sounds of 76 and 77.
First Wave British Hardcore.
D-Beat Sounds.
Crass Records.
Small Wonder Records.
Step-Forward Records.
New Hormones.
Factory Records.
Southern Records.
Flux of Pink Indians.
The Fall.
Mark Perry.
T. Rex.
Thin Lizzy.
Diagram Brothers.
Anti-Pasti.
This Heat.
Chelsea.
Arab On Radar.
The Cravats.
The Buzzcocks.
The Mob.
Subhumans.
ATV.
The Snivveling Shits.
The Straps.
Black Sabbath.
Electric Wizard.
Sleep.
Amen.
John Lydon.
Desperate Bicycles.
Scritti Politti.
THE 36 CHAMBERS OF DEATH.

Love It!

Watch:
Flats - Never Again

KIWI SISTERS
























Some things are just better left unsaid, Some things I despise sharing to the world, A world of undeserving, Here is one of them.

Kiwi Sisters are a collaborative synthpop act from Dallas, Texas centered around Caleb Flores-Gutierrez. It features Taylor Boardman of POTASSIYUM, Riley Tunnell, Abbas Khorasani, and Carl Solomon of Mexican Lions, Keaton Bly of Lumberjack Sluts, and Freddy Rupert of Former Ghosts. The group released Cats and Japan in 2010 and …For the Young and Fertile Bearers of Fruit… in 2011.

Nevermind the statement I have heard it all...KS is genius, Definitely the best of 2011! Fragile but powerful, Caleb just floors me...I hope to get him out to L.A. once He is done recording, Expect beauty. Check out this amazing track, I'm not much of a dancer these days, But if I was...You better hope that the DJ has this one! Embrace them because they are genuine with great things to come.

Watch:
Kiwi Sister - Montauk Monsters

THE CHAPMAN FAMILY
























The Chapman Family are an English rock band from Stockton-on-Tees, that formed in 2006. The band consists of Kingsley Chapman (Lead vocals, guitar), Paul Chapman (Lead Guitar), Pop Chapman (Bass, backing vocals) & Phil Chapman (Drums). The band's debut album Burn Your Town was released on March 7th 2011. They were notably part of NMEs 2009 radar shortlist.

I must say longing the expectation of this album was all the wait, It's the raw Post Punk aesthetic that has whirled me in to really appreciate what these Men are trying to get across. Currently running a tour with O Children (Another Of My Fav's) they have emerge ready to nail themselves to the new brand of DJROCCOHORROR Pop. In a short, Keep a close eye on these Veterans the surely have an honest purity that will have you turning the knob to 10, Good job Mates!

Catch:

- MARCH -

09 - EDINBURGH, Sneaky Pete's, w/O.Children
10 - STOCKTON-ON-TEES, The Georgian Theatre, w/O.Children
11 - HULL, Fruit, w/O.Children
12 - LEICESTER, Lock 42, w/O.Children
14 - YORK, Fibbers, w/O.Children
15 - MANCHESTER, The Ruby Lounge, w/O.Children
17 - BEDFORD, Esquires, w/O.Children [TICKETS]
19 - BIRMINGHAM, HMV Institute, w/O.Children
20 - LANCASTER, Lancaster Library, w/O.Children
21 - CARDIFF, Buffalo Bar, w/O.Children
22 - BRIGHTON, Coalition, w/O.Children
23 - LONDON, XOYO, w/O.Children
30 - HAMBURG, Molotow
31 - BERLIN, Comet

- APRIL -

01 - MUNICH, Atomic Cafe
03 - AMSTERDAM, Upstairs at Paradiso
04 - COLOGNE, Luxor
05 - ZURICH, Mascotte
06 - BRUSSELS, Botanique Bar
23 - STOCKTON-ON-TEES, Stockton Calling
30 - LEEDS, Live At Leeds

- MAY -

01 - LONDON, Camden Crawl
14 - COVENTRY, Kasbah
20 - LIVERPOOL, Sound City

Watch:
The Chapman Family - Anxiety



TCF On Facebook

Tuesday, March 8, 2011

STEVE IGNORANT
























Via Steve:

The American and Canadian tour by Steve Ignorant and Goldblade has been put back to April because, like many bands, of getting visas sorted out in time. Both bands had difficulties which are becoming more and more commonplace these days. Goldblade’s problem was because their bank took 8 days to transfer money to America instead of the expected 1/2 days.

The visa situation for British bands trying play America is becoming unworkeable and moves are afoot to try and do something about it.

Yesterday in Parliament Kerry McCarthy MP asked a question on our behalf about the visa situation as reported in Hansard.

Kerry McCarthy (Bristol East) (Lab): Britain is rightly renowned for the creativity of its independent music sector, but musicians seeking to go and tour in the US face huge bureaucracy and costs when they try to get visas, whereas it is far easier for musicians from the US to come and tour here. May I urge the Minister to take action on this?

Mr Vaizey: It is the first time that that issue has been raised with me, and I would be delighted to sit down with the hon. Lady and discuss it further.

There is more action planned.

Steve Ignorant left a statement on his website
Goldblade website

Steve Ignorant statement on visas

I’m really really gutted to have to let you all know that we have to reschedule our USA and Canadian gigs. There’s a delay with the issue of the visas we require to enter the USA. We hope it will all be sorted soon but we will NOT be able to make the scheduled gigs.

I would ask everyone to please hold onto your tickets and give us about a week to announce new dates. We will reschedule as soon as possible and tickets will be valid for the rescheduled dates, however, if you think ‘fuck it, I want my money back’, then do that and I will completely understand.

I know that loads of you have been planning to travel for these gigs and that rescheduling them will be a right kick in the bollocks for you. I’m really, really genuinely very sorry about this. Please understand that this situation is costing me and the band a load of emotional upset, it’s not the money, it’s the letting you lot down, the bands that we were going to play with, all the people that have worked so fucking hard to put this thing together and if we could have done anything to avoid it we would have. Honestly, with all my heart, there was nothing else we could do. PLEASE, if you could let other gig-goers know that it’s off for now through your emails and face books or whatever means you can please do so. I know these are only typed words and words aint enough but it’s all I can do. To say I feel a right xxxt would be an understatement. This is the worse thing I’ve ever had to do. We really appreciate your support and we will do these gigs one way or another. Here are the rescheduled dates that will be confirmed as soon as our visas are confirmed. Until the powers that be grant us entry there’s nothing more I can do at the moment. Again, I’m really so sorry about all this.

Everything is tbc pending visas but we are hoping they will get issued this week.

All tickets will be good for the rescheduled shows.

April 20 Brooklyn, NY @ Europa
April 21 Montreal, QC @ Club Soda – SOLD OUT
April 22 Toronto, ON @ Opera House
April 23 Chicago, IL @ TBA
April 26 Seattle, WA @ Neumo’s
April 27 San Francisco, CA @ Slim’s
April 29 Pomona, CA @ Fox Theater
April 30 Pomona, CA @ Glasshouse
May 3 Austin, TX @ Emo’s
May 6 Atlanta, GA @ Masquerade
May 7 Baltimore, MD @ Sonar
May 8 New York, NY @ Santo’s – SOLD OUT

Friday, March 4, 2011

SPOEK MATHAMBO
























COVER FRIDAYS • SPOEK MATHAMBO - CONTROL (JOY DIVISION COVER)

He has been surfacing for some time now with a very creative outlook on the modern world. Check this version out and his take on the classix track, Happy Friday.


Watch:

Thursday, March 3, 2011

CAT'S EYES

Fresh new edit from yours truly, Cheers!

Watch:

CAT'S EYES - SUNSHINE GIRLS (DJROCCOHORROR Edit • HQ HD 1080) from DJROCCOHORROR on Vimeo.

Catch Them:
05/03: New York, NY @ Bowery Ballroom
05/06: Los Angeles, CA @ Natural History Museum
05/07: San Francisco, CA @ The Independent

EXCLUSIVE ANNOUNCEMENT

Cat’s Eyes are confirmed to support Primal Scream at their two London Brixton Academy ‘Screamadelica’ shows on Friday March 25 and Saturday March 26, having been invited to personally by Primal Scream singer Bobby Gillespie.

Limited tickets are available to buy for Fri here for Tickets

Wednesday, March 2, 2011

THE LUMINAIRE

THE LUMINAIRE Retires 2005-2011




















24 November 2010

It is with sadness that we have to announce the closure of The Luminaire and The King's Head on 31st December. It's been a labour of love for a while now, and at this point it makes no sense for us to continue. We hope to be able to do some final farewell shows, probably in late March, and we'll let you know about those through the usual channels.

To all those who supported this independent venue, and the great artists who played here, since we opened back on 1st March 2005; you have our grateful thanks.

We were nothing without you.

Andy, John and all at The Luminaire

The Luminaire opened its doors on 1 March 2005. We were sick of the way bands and gig-goers were treated by promoters and venues. We never understood why things had to be confrontational, why sound engineers snapped at bands who requested basic things, why people who were supposed to love music were disrespectful to those who made it and those who came to listen. We still don't understand it, so you won’t find any of that behaviour around here.

We hoped that if we met our bands with a smile and a handshake, helped them load in, showed them round, offered them clean towels, tea and coffee, fresh milk, beer and water, and somewhere comfortable to sit backstage, and gave them a calm, friendly sound engineer to work with, they'd really appreciate it.

We thought that, instead of acting aloof and moody when people arrived for a gig, we welcomed them and asked how they were and maybe had a bit of a conversation and a laugh, they'd remember that and tell their friends.

And we figured that if we employed people behind the bar who genuinely loved live music and who knew that, when an acoustic act was playing, they had to do their best to serve drinks quietly, it would be greatly appreciated by our customers.

In February 2006, just eleven months after opening, Time Out magazine named The Luminaire as its Live Venue of The Year.

In March 2007, two years after opening, we won Music Week's UK Venue of The Year award.

We've lost count of all the bands who've passed this way, but we thought we'd mention some of the most notable.

Afrirampo
A Hawk & A Hacksaw
Alasdair Roberts
Andrew Bird
Au Revoir Simone
Babyshambles
Barbarossa
Bat For Lashes
Battles
Billy Joe Shaver
Brakes
Brazilian Girls
Camera Obscura
Clark
Colleen
Cougar
Danielson
Datarock
David Thomas Broughton
Diane Cluck
Dirty Pretty Things
Editors
Electrelane
Final Fantasy
Fionn Regan
Fucked Up
Future of The Left
Gemma Hayes
Hanne Hukkelberg
Hot Chip
Howling Bells
Hush The Many
I Love You But I've Chosen Darkness
IAMX
iLIKETRAiNS
Infants
James Morrison
James 'Slim' Hand
James Yorkston
Jamie T
Jarvis Cocker
Jeffrey Lewis
Jeremy Warmsley
Joe Lally of Fugazi
Johnny Flynn
Junior Boys
King Creosote
Larrikin Love
Lightning Bolt
Lisa Germano
Malcolm Middleton
Maps
Mark Eitzel of American Music Club
Mark Gardner
Mull Historical Society
My Latest Novel
Pictish Trail
Redjetson
Rumble Strips
Scout Niblett
Scritti Politti
Shooter Jennings & The .357s
Son of Dave
The Ataris
The Datsuns
The Enemy
The Flower Corsano Duo
The Fratellis
The Mules
The Pipettes
The Veils
Tilly & The Wall
Todd
Trashcan Sinatras
Triosk
Vincent Vincent & The Villains
Wanda Jackson
XBXRX
Young Knives
Youth Movie Soundtrack Strategies

If your in the area catch their last shows starting tonight.

* THE FENCE COLLECTIVE : 2nd March
* MARINER'S CHILDREN : 4th March
* UPSET THE RHYTHM ALL-DAYER : 5th March
* JOHNNY FLYNN (evening) / DRY THE RIVER (afternoon matinée) : 6th March
* PIANO MAGIC + Ringo Deathstarr + SPC ECO + Club AC30 DJs : 7th March

THE LUMINAIRE WEB

Tuesday, March 1, 2011

ELECTRICITY IN OUR HOMES

Formed and based in London, Electricity In Our Homes are utilitarian in sound and vision. Taking inspiration from the best of British DIY, Talking Heads, Sonic Youth and Prince, they wear identical minimal attire and their live shows are an exercise in conciseness (they have been known to play ten-minute sets), often teetering on the edge of chaos.


















Back for 2011

ELECTRICITY IN OUR HOMES - ORANGES by DJROCCOHORROR

Catch Them Live:

E U R O P E

April 6 L'International - Paris, France

April 7 Sonic - Lyon, France

April 8 Le Bourg - Lausanne, Switzerland

April 9 Julie Tippex - Dijon, France

April 10 Le Grillen - Colmar, France

April 15 Beat cafe - San Salvo, Italy

April 16 Mattatoio - Carpi, Italy

April 17 Pollution - Lucca, Italy

April 19 Xanax Party - Turin, Italy

April 20 Della Cira - Pesaro, Italy

April 21 Diagonal Loft - Forli, Italy

April 22 Lio - Brescia, Italy

April 23 Palace - St gallen, Switzerland

U K

May 19 - HMV Institute, Birmingham

May 20 - Milo, Leeds

May 21, 22, 23 - Friends of Mine Festival, Cheshire

July 9 - 1234 Festival, Shoreditch London

July 29, 30 - Farm Festival, Devon

G E R M A N Y

June 8 - Hamburg, Astra Stibe

June 9 - Berlin, Festaal Kreuzberg

June 10 - Leipzig, Festival

June 11 - Stuttgard, Komma

June 12 - tbc

EIOH On Facebook

CAT'S EYES
























The urge to create wonder with sound is rarely indulged in today's utilitarian pop landscape. In an age when a piece of music can be erased with the click of a mouse, there are few artists pouring their heart and soul into what Brian Wilson called "teenage symphonies" - lovingly sculpted three-minute slices of aural heaven, which grip the listener's ears and emotions in equal measure. In that mundane world, Cat's Eyes really are a godsend.

They are a duo, formed by Rachel Zeffira, a renowned Canadian opera soprano and classical multi-instrumentalist based in London, and Faris Badwan, the statuesque singer from noisy British psychedelic-rockers The Horrors. In the collision of their two very separate worlds, something magical has come into being, which brings together all kinds of dualities - pop/classical, traditional/avant-garde, acoustic/electronic, virtuoso/novice, male/female, happy/sad and, why not, good/evil - into a unique and mindblowing whole.

Their debut album, called simply ‘Cat's Eyes', is a romantic pop masterpiece fit to dine at the same table as mid-'60s productions by Phil Spector, Joe Meek or Shadow Morton, but with a fiercely modern, experimental premise, which constantly leaves you wondering just what you're listening to, and how on earth it was created.

For Faris, it is a major departure from the whirlwind noise of The Horrors. For Rachel, too, it has been a big change from the gruelling work of rehearsing and performing operas and classical pieces in some of the world's biggest concert halls.

The two met through friends in 2009, and got on like a house on fire. "I was telling her about my love for 1960s girl groups," Faris recalls, "and how I'd always basically wanted to do a recreation of a girl group." I made her a compilation CD of my favourite songs, then I went away on tour. When we were talking about the stuff Rachel had been involved with, I hadn't really thought about it translating. But while I was away in Sweden, she sent me this demo she'd done, which ended up being the song, ‘The Lull'. In its original form, it had more of a Shangri Las feel."

"I really got into his mix CD," adds Rachel, "and that's when I sent him the track I made, just for fun. Then it just took on a life of its own. We started sending things back and forth, then whenever Faris was back from tour, we'd write a song together."
So, they kept writing, but soon came to the conclusion, according to Faris, that these "had to take on a different life, and end up sounding really unique. There's no real point in recreating something that's happened already. We were interested in exploring new sounds and recording techniques, while keeping within the confines of accessible songs." Adds Rachel: "We wanted the musical arrangements to evolve quite a bit, but to keep the lyrics simple and unaffected."

For Rachel, songwriting for Cat's Eyes became an obsession. After studying music in Vancouver and Verona, she got into composition in London. She's a virtuoso in a number of instruments, including piano, violin, English horn, oboe and cathedral organ, as well as an award-winning soprano.

"For ‘Not A Friend'," Faris recalls, "Rachel had an idea for a song while she was crossing the road somewhere. She sang the beginning line and the first verse into her phone while she was walking along, and on her recording you can hear birds in the background, and then the beep of a car as it swerves to avoid hitting her."

For Faris, too, Cat's Eyes is a very different experience from The Horrors. He's always been the singer and the lyricist, surrounded by a wildly creative band, bristling with musical ideas. Not trained in any instrument, he hasn't been able to feel his way into the non-vocal side of music, until now.

"I was always interested in having a project that makes heavy use of electronics, but still sounds warm and human," he says. To that end, he's been hording synthesizers, echo units, tape manipulation devices, effects pedals and all manner of sound equipment with a view to generating his own electronic sound. So, while Rachel plays "everything from harmonium to Indian tambura", Faris brings his own weird atmospheres, often twisting the vocals and instruments beyond all recognition.

Says Rachel, "I'd play English horn, and he'd put it through pedals, and make it sound completely different. Every acoustic element he was able to distort and manipulate. So an oboe part would become less corny. You'd never know it was an oboe, it's more like an interesting synth sound, maybe. Even some of the opera stuff I was singing for backing vocals, you wouldn't know it, because he would run it through his chorus echo, or some pedal or other into an amp, and play around with the sound until it wasn't recognisable."

After home-demoing their songs, Faris and Rachel recorded them at RealWorld, Peter Gabriel's studio near Bath, with producer Steve Osborne (Doves, Happy Mondays, New Order). Rachel: "We both agreed, he's very talented, and he has no ego - that combination is pretty special". However, pretty much everything was played by one or other of them, including a lot of the string arrangements, which Rachel multi-tracked herself. Some parts were recorded with an orchestra at Abbey Road, but they managed to save on one overhead, as Rachel was able to conduct them herself.

Thanks to their top-to-bottom involvement in everything on it, both Rachel and Faris feel deeply possessive and proud of ‘Cat's Eyes'.

While their music had digressed substantially from the original germ idea of a girl group, they decided that the lyrics should stay simple, and romantic. "It was definitely a different kind of lyric writing for me," says Faris. "The themes are stuff that people have always gone through in relationships, but while they're direct, and most people can connect with them, I don't think they're throwaway."

Having put so much of their extra-curricular time into making ‘Cat's Eyes', and having come up with something unique which evokes their 1960s heroes without copying them, the duo decided that they wanted to promote the project with a series of unusual events. The first took place in December, amid some secrecy, at St Peter's in the Vatican, which they arranged through Rachel's connections there, from her Verona days. They performed a reworked version of ‘I Knew It Was Over' during an afternoon mass, which was attended by seven high-ranking cardinals.

A video from there will be released on the internet in late January. The following month, the debut ‘Broken Glass EP' will be released, with the album ‘Cat's Eyes' scheduled for April. The artwork will feature images created by Chris Cunningham, the celebrated video director, responsible for the scarifying promo for The Horrors' ‘Sheena Is A Parasite'.

Faris summarizes: "We think that people can connect with the songs regardless of the kind of musical background they have. The themes are timeless and ones that most people have experienced. We wanted to present a world for people to make their own connections. We're ambitious for the project. We think we've made something that's really accessible, but not as a result of being cheapened. We want as many people to hear it as possible."

More extraordinary events are planned for March, and beyond. Stay tuned.

‘Broken Glass EP' released 28th February on Polydor, the debut album ‘Cat's Eyes' follows in April.

Thanks to Ticketline.

Monday, February 28, 2011

THE JOY FORMIDABLE

















SXSW SHOWS CONFIRMED
Via The The Joy Formidable Website:
February 27, 2011

We're really looking forward to kicking off our US tour at SXSW and celebrating the release of our record in North America on the same week.

Here are the shows we'll be playing

THURSDAY, MARCH 17th
2PM - NPR PARTY @ THE PARISH
6PM -KEXP PARTY @ MELLOW JOHNNY'S

FRIDAY, MARCH 18th
2PM - WATERLOO RECORDS
10PM - BUFFALO BILLIARDS OFFICIAL SHOWCASE

SATURDAY, MARCH 19th
3PM - ROLLING STONE PARTY @ LA ZONA ROS
6PM - ATLANTIC/CHOP CHOP PARTY @OUTDOOR SPACE

The Joy Formidable On Facebook

ULTERIOR

finally release their debut album.

Via:
CLUB.THE.MAMMOTH.
























ULTERIOR’s long awaited album is finally going to be released on Monday 7th March, with a string of live dates, with support coming from Islington Boys’ Club, including the Album Launch show at Hoxton Square Bar & Kitchen on 9th March and The Hope on 10th, which we’re running! Here are the full Tour dates:

Wednesday 9th March - London
Hoxton Square Bar & Kitchen, 2 Hoxton St, London, N1 6NG

Thursday 10th March - Brighton
The Hope, 11 Queens Road, Brighton, BN1 3WA

The Common Place, 23 Wharf St, Leeds, LS2 7EQ
Friday 11th March - Leeds

The Bodega Social, 23 Pelham Street, Nottingham, NG1 2ED
Sunday 13th March - Nottingham

(click on the links above for more info/tickets)

Wild In Wildlife’ effortlessly wears its references on its sleeve. It is an unmistakable stadium sound synthesis that sonically falls somewhere between Simple Minds, The Sisters Of Mercy and Billy Idol… a shimmering noise-noir-pop production all set to their distinct brand of hypnotic chrome overdrive. Recorded and mixed by long serving band producer Zlaya Hadzic (Sonic Youth / Tortoise) with two tracks also mixed by Robert Harder (Whitey / Brian Eno / Kylie) the end result is arguably their finest hour. Seductive hooks and vocals shine clearly amid the storm, all of which is set to a vicious mechanoid foundation of synthesizers and drum machines; a move that has already set Ulterior crucially apart from their contemporaries.

For a bit for a bit of a taster you can download ‘Big City Black Rain’ now at: www.ulteriorlondon.com

The album is to be released on Speed Records and will be available through both Rough Trade and online through the band’s brand new website. A signed, limited edition hand-silk-screened print comes with the pre-ordered CD and you can also get the T-Shirt! The sleeve artwork is an adaptation of the English contemporary artist and painter and founder of the Neomodern group - Guy Denning’s ‘Where’s Your Famous Golden Touch’.

Ed.

Watch:
Ulterior - Sex War Sex Cars Sex (HQ HD 1080)

Sunday, February 27, 2011

THE JOY MUST REMAIN



















My Good Friend Valentin and his latest project, Fans of Reg Smithies and Wil Hedgie will enjoy his tailored style synth guitar sound to revamp the classic post punk era.

His Bio:

The origin of the band dates back to early 2005. Based outside of Los Angeles this Indie/ART ROCK Band consists of sole song writer Valentin with the help of close friends for live performances. Influenced more by ART and Films than music, JOY MUST REMAIN is just an artistic expression of pent up emotions released through sound...



Val is currently werking on new material due out sometime this year, Do catch him live with his full band....They are one of the cleanest sounding bands I have werk with.

Despise:
The Joy Must Remain On Facebook

MARIO NOIR




















Fresh off the decks Mario hits us with a mix of Killer Textures, Dream Waves, and Smooth Blends.

MARIO NOIR - HEARTBREAK FESTIVAL by DJROCCOHORROR

Despise:
http://soundcloud.com/boyracer76

Saturday, February 26, 2011

THE STONE ROSES

















In the brash of bands the have emerged with the style of C86 & Noise Pop Johnny Marr/Garagish trend through out several years, I could not imagine what My Palette would be like without SR. I really do not like labels but In the early days of C86 just like any other faze was really a tidal wave a bands that stood out, Primal Scream, The Wedding Present They had the same fire as did SR but eventually change their style. In this edition I find that SR had a vision, Something to this day cannot be touched. The album Garage Flowers is timeless, And deserves appreciation although SR does not seem to feel the same about it.

Via Wiki:
The album was recorded in mid 1985 and was produced by Martin Hannett, collecting the band's early songs. The album wasn't released at the time because the band were unhappy with the production and songs. Some regard the production as being of poor quality, particularly with regard to bass. Their self titled album was the band's proper debut 4 years later.

Garage Flower album was finally released in 1996 by Garage Flower, without the band's permission.

The album contains previously unavailable early songs, and early versions of "I Wanna Be Adored" and "This Is the One". The album's title is taken from a lyric in track 11, Tell Me.

Watch:
The Stone Roses - So Young (Misery Dictionary • HQ Audio Only)



Watch:
Primal Scream - Silent Spring (Vintage Video • HQ HD 1080)



Watch:
The Wedding Present - Why Are You Being So Reasonable Now? (HQ HD 1080)

Friday, February 25, 2011

MARTIAL CANTEREL
























Previously called Moravagine is a minimal wave/synth project by Sean McBride from New York. Got a chance to talk to him last spring in LES, Spilled drinks and shared small talk about his projects. His newest release is a "Master Piece" thrilled to see him in April.

























Info:
Martial Canterel Live in Brooklyn NYC, April 17th 2011

Watch:
Martial Canterel - You



Despise:

http://www.myspace.com/martialcanterel

MOTHER/FATHER



Nashville Post Punks Mother/Father have been a treat for me, I Love their clean style solid hooks and stage presence. Enjoyed them at their last stay with us in Los Angeles, We spoke of Hedgie and the love and appreciation we had for Lowlife. Recent dates were booked for a small Southwest tour but suddenly canceled, Let's hope for the best and their rapid return to the road.

Watch:
Mother/Father - Order (HQ HD 1280)



http://www.facebook.com/thisismotherfather

ISLINGTON BOYS CLUB




















No doubt in my mind that this super group of Gents will take over the underground world by storm! Forget your passing †‡▲ trend, IBC proves that they are able to bang out Cult Classix one right after another and beyond ready to shake things up. IBC uses Post Punk aesthetics, beautiful melodies and amazing musical force to get their message across, It werks! Looking forward to future releases from them, Not to mentioned that they are super nice Chaps! Amerikkka keep your ears peeled here's another DJROCCOHORROR band sure to make you a lover.

Next Show In Manchester, UK Thursday March 3rd 2011


























Watch:
Islington Boys Club - Pristine (HQ HD 1080)



Despise:
Islington Boys Club On Facebook

SOLID SPACE





Amazing trax for those who thrive for obscurities, A friend from Brazil turn me on to this one some time ago, She was way ahead of her time. Here is a short but simple bio:

Very little is known about this synth pop band who just had one release titled “Space Museum” in 1982. Musicians were: Dan, Matthew and Jon Winegum.

Watch:
Solid Space - Destination Moon (Audio Only)

BAT FOR LASHES
























COVER FRIDAYS • BAT FOR LASHES - STRANGE LOVE (DEPECHE MODE COVER)

The Temptress returns with another, Sweet but Murderous! Break out the mirrors were going to danse all night to this one!

LOWLIFE

















One of my top bands of the century...

Words From Brian Guthrie

It's October 2005, and I'm sitting in a hotel bar in Grangemouth, Scotland, with four guys who are meeting in the same room for the first time since 1989. They are Will Heggie, Craig Lorentson, Stuart Everest and Grant McDowall, together known as the original, and many say the best, line up of Lowlife.

The waistlines, with the exception of Craig, are somewhat larger, and some hairlines have receded altogether, but undeniably there is an instant buzz as they click with ease into past roles. There's also a lot of emotion, air is cleared, and what has remained unspoken for many years is now said - it's all quite cathartic, but also very exciting. Before I go on, however, may I first take you back a little further?

Grangemouth is hardly a pretty place. Dominated by a huge petro-chemical complex and vast docklands, it's not the sort of place you'd think of as a natural home to those who are creative, but from this town have sprung artists, actors, authors and many musicians. Back in the early 1980s two well known bands would emerge. One of these was the Cocteau Twins, formed by my brother Robin and his long time pal Will Heggie, along with Liz Fraser, who they first met dancing at the infamous International Hotel punk club, which I'd been running for some years. The other was Dead Neighbours, once described by Sounds as "Scotland's answer to The Cramps".

Dead Neighbours were fronted by the tall and imposing figure of vocalist Craig Lorentson. With his white leather jacket, dark quiff and deep booming voice, he was part Elvis and part Lux Interior, with a dash of Nick Cave thrown in for good measure. Along with bassist David Steel, guitarist Ronnie Buchanan and drummer Grant McDowall (and me at the helm as manager), the band quickly built up a solid following around the country, mainly via an endless run of support and guest slots on tours with The Alarm, King Kurt, The Meteors, The Cult, Red Lorry Yellow Lorry, The Damned and Johnny Thunders.

Their debut album Harmony in Hell hit the indie charts for a couple of weeks in 1982, and live work kept coming in, the band by now headlining quite large venues. However on the eve of the recording of their second album, Strangedays/ Strangeways, David Steel left the band after getting married, and suddenly they found themselves with no bass player. At that point I called Will Heggie, who had recently departed the Cocteau Twins after an arduous European tour supporting OMD early in 1983, and had turned down the chance to team up with Dead Can Dance. Since he'd headed back home to Scotland, I asked if he'd help out on the recording and some forthcoming shows - fully expecting him to tell me where to stick it. Thankfully he said yes, and a day later he was bashing through a rough set in our rehearsal hall in the local high school. More than that, though, the foundations and chemistry that would become Lowlife were now in place. Through happy accident I had brought together a set of very different people, and something magical began to happen.

Within weeks it was obvious that Dead Neighbours were no longer ploughing the psychobilly furrow, and a new songwriting team had begun to emerge with material that broke new boundaries for them. Indeed the finished album even included the original version of Coward's Way, a song that would later become a Lowlife classic. With the Johnny Thunders tour on the horizon, in came guitarist Stuart Everest, another old school chum of Will and my brother, adding yet another new dimension. All the component parts for what would become Lowlife were now in place, and it was no surprise when Ronnie Buchanan left the band after the tour, leaving the other four to move on and develop. The name was borrowed from a song by Public Image Limited.

Thus in the Fall of 1985 Lowlife entered Palladium Studios in Edinburgh to record Rain, their debut mini-album, six songs of blistering intensity and a rare statement of intent. The band had no label, so along with a lot of my faith, hope and charity (ie a bank loan) I set up a label, Nightshift, to release the record. It didn't take long for the press and radio to pick up on it, especially after a glowing review from Ian Gittins in Melody Maker:

"A charming swirl merely hinting at it's designs… Lowlife are infant and suggestive and, with care, could nurture a rare beauty"

Rain made the independent and airplay charts in the UK, USA and France, and it was soon clear that there was demand for a full album. Labels, publishers and booking agents began to track the band (Jim Robertson at ITB was quick to offer an agency deal) and Lowlife's reputation began to grow and grow.

August 1986 saw the release of the album Permanent Sleep, again on Nightshift. Again the response was instant and positive:

"Lowlife practice a mystical form of musical alchemy, with crystalline perfection, transcending descriptive narrative to achieve the perfect cohesion between words and music. This is true holistic music and far greater, far more splendid, than the sum of its parts" (Helen Fitzgerald / Melody Maker)

"Lowlife construct their deep atmospheres through hypnotically mysterious songs… The album glides gracefully from beginning to end with tantalizing intensity, like the lingering glow of autumn" (Ron Rom / Sounds - 4 stars)

"Lowlife meander like a slow and beautiful dream, slipping into gear from time to time to hammer home the killer punch" (Dave Henderson / Q - 4 stars)

At this point I was spending every other week flying down to London to discuss possible deals. Arista were interested, as were Virgin, Cherry Red and WEA, but none were really offering a solid album-based deal, or the money to develop the band and spend the amount of time in the studio Lowlife needed to perfect their craft. After I noticed a small ad in Music Week about a new publishing company called Working Music, I took a flyer and sent them a promo package. A couple of days later I got a call from Jeff Chegwin - yes, of that Chegwin family. Jeff was the twin brother of broadcaster Keith, with the added bonus of a sister, Janice Long, who at the time was in a top position at BBC Radio 1.

A deal was quickly concluded, and with a decent advance in the bank the band quickly knuckled down to recording a new ep, Vain Delights, with a video for the lead track Hollow Gut. Again the reviews were amazing. John Peel, who had aired a couple of tracks early on, was now joined by Janice and several others at the BBC in giving Hollow Gut airplay, while the video found its way onto DEF 2 and Snub TV. Most surprising of all, some of the more teen-orientated music mags like Smash Hits and Record Mirror also began to lavish praise on Lowlife:

"Profound, melancholic and reaches the parts other ephemeral pieces of plastic cannot reach. Who needs a middle eight when the sum total is this evocative" (Lesley O'Toole / Record Mirror)

1987 was to prove a hugely important year for the band. Over the course of six months a second full album, Diminuendo, was slowly, carefully and joyously constructed. As with previous records, these sessions were produced by Keith Mitchell. It was assumed by many that Lowlife would end up on 4AD, but in truth Ivo Watts Russell was never interested in the band. Meanwhile the major labels maintained interest, but no one seemed willing to make a move. In truth, it wasn't totally about the music, and as John Tobler remarked in the trade paper Music Week:

"Lowlife are a band whose virtuosity comes close to excellence, but whose image is fearsome"

The strange dichotomy which always existed was this. As people, the band lived the rock n' roll dream to excess. You may have read about the extremes experienced by the likes of Motley Crue or Aerosmith, but - believe me - those guys had nothing on Lowlife. The band created music of the greatest beauty, style and passion, yet as people they were a strange and bizarre mixture of beer and whiskey drinking hell-raisers, and dedicated crazy pranksters. I know, since I was their main victim… Oh yes, there was the time they decided to wire up the door handle at the rehearsal room to the mains. And the whole packet of Hubbly Bubbly gum squashed into my hair as I slept. And the barrage of fireworks launched at me across a car park. At times I felt like the hapless crooks in those 'Home Alone' movies - I didn't know what to expect next.

Through all of that we were a team, but it was becoming apparent that most people in the business judged the guys next to impossible to deal with. In fact I think many A&R men were simply scared. Certainly the one Grant chased around a dressing room with a chair was. More than once I was asked: "how do you manage the unmanageable?"

That said, we were spending as much money in the studio as any major label signing, and our success on our own independent label meant that in fact there was little another label could offer. On Nightshift Lowlife had complete control of their music and artwork, they liked it that way, and on its release in May 1987 Diminuendo marked another massive step forward. Dreams of what could be possible were now being realised:

"Lowlife emerge from a distant eerie grace, out of an echo or pause with unworldly drama. The isolation, resonance of this music can bring to mind the notion of music of the spheres" (Ian Gittins / Melody Maker)

"A further phase in Lowlife's refinement… evocative and dramatic, but never overbearing" (Dave Fudger / Q - 4 stars)

"Dreamy and bittersweet, this album is mellow and even more than complete" (Alex Kadis / Underground)

"Diminuendo is a landmark album, bustling with feeling, dripping with emotion and soft to the touch. Don't miss!!" (Music Week)

The album appeared just as the band got underway on a lengthy UK tour with Australian band The Go-Betweens in May. Night after night Lowlife gave the headliners a run for their money, but both bands got on really well - too well, in fact, according to the GB's management. After a few nights partying I was told in no uncertain terms that Lowlife could no longer lead the all-too willing Aussies astray, this following a gig when Lindy toppled off her drum stool mid-set. For Lowlife the tour was a great success, finishing with a triumphant show at the Town & Country Club in London on the 10th, playing possibly the best set of their career so far and earning a resounding ovation.

Further headline shows followed, including a prestigious ICA Rock Week gig in June 1987, attended by most of the press and many major label players. This should have been the night when things really took off, but it was not to be. Lowlife played a great show, but unfortunately Jeff Chegwin ending up having an altercation with his wife, which in turn resulted in Craig and Grant dragging their publisher outside onto The Mall. The finale wasn't pretty. To say things changed from that evening onwards would be an understatement. Many a jaw hit the deck, and record company chequebooks remained closed for Lowlife thereafter.

That said, press and radio support continued, and our audience carried on increasing. A live-for-television set was broadcast on BBC Scotland on a show called FSD, and was later networked. Ramafied (a brand new song) was recorded for a cassette given free with Underground magazine, and to this day it remains one of Lowlife's most popular songs. The single Eternity Road and ep Swirl It Swings soon followed, and we even survived being ejected from REL studios after another of 'those' nights where the owner, seemingly in fear of his life, could take no more… More utter madness, but more mighty and magnificent music:

"To ignore this would be a mortal sin - for Lowlife to slip away a greater one. Another way to heaven" (Melody Maker)

"Another giant step for Lowlife… sharp and subtle - a confusing coupling as ever" (Underground)

"Another hauntingly atmospheric release - confident, strong and effective" (Music Week)

During 1988 plans were laid for the next album, and in the summer the band started to record assorted demos at Stuart's house on an old Portastudio and even more ancient two-track Revox. These songs were to form the basis of Godhead more than a year later - as well as what has become known as The Black Album, something of a holy grail amongst Lowlife devotees.

What happened was this. The demos were presented to Jeff at Working Music, who in turn was tied to Chappell Music, where one Charlie Gladstone was based. He also ran an in-house label - Idea Records - and it was intended that the album would be financed and released by them. Chappell then pressed up around 250 copies of the 1988 demos in a plain black sleeve and circulated these around the business, mainly at the Midem trade festival in Cannes in January 1989.

Stephen Fellows of The Comsat Angels heard the demos, and agreed to produce the next album at Axis in Sheffield. I personally was a huge fan of The Comsats since interviewing them during my time writing for Sounds. However, all was dependent upon our next option with Working Music and Chappell being exercised to fund the sessions. However US giant Warner Bros Music took over the Chappell operation, and the new regime didn't like what they'd heard about Lowlife, or our reputation, or the ICA incident, or the cost of taking up the option. So we were dropped, and gloom and despondency set in.

I knew I had to get the new album together somehow, but the situation was complicated further by the fact that problems were developing between Stuart and the rest of the band. I was left to do the deed. No-one ever really told Stuart why he was out - he just was and that was that. From that day until their reunion in 2005 the original line-up didn't meet up again. I felt bad about it all, but I had to move on and get the album recorded.

The rest of the band had no idea who to draft in on guitar, so I suggested a guy from Dundee called Hamish McIntosh, who'd released a cult album for Nightshift under the name Fuel. Elliot Davies, at that time the manager of Wet Wet Wet, had heard of our problems with Warner/Chappell, so he offered me the chance to use their Pet Sounds Studio in Glasgow, and work with Ted Blakeway, the Wet's main in-house engineer. Amazingly, with Hamish having only a few rehearsals, the Godhead album turned out to be an absolute treat in 1989. Fears that the two year delay between albums would result in a loss of momentum were soon dispelled:

"Lowlife cast aside past references and perceptions with the most evocatively impressive music… It would be unforgivable if this album remains totally unnoticed" (The Catalogue - 4 stars)

"Lowlife's Godhead takes us back to that classic case of a band who never reap enough acclaim because they won't play the game, but they deserve serious attention" (Martin Aston / Music Week)

"Jesus complexes notwithstanding, Godhead is motivated by desolate rows of plangent guitars, a hollowed out sepulchral bass and the cold botherangst of a singer… If not exactly the head of god, this is about halfway up his midriff - buy it!!" (Paul Lester / Melody Maker)

After Godhead appeared Grant was involved in a football accident and lost a finger. He was a bloody good amateur player, and a regular scorer for Falkirk AFC in the Sunday leagues, but with family commitments now coming to the fore he decided to retire from drumming. Hamish also decided to concentrate on his own Fuel project, so once again I was obliged to perform another 'band-graft' to keep the Lowlife operation alive and kicking. In came guitarist Hugh Duggie and drummer Martin Fleming, who were already established with their own band The Mutiny Strings. I knew them quite well and rated them highly. The idea to merge into Lowlife took quite a hard sell, but I was delighted that the new line-up was refreshed and charged with new enthusiasm. Moreover the chemistry and song writing clicked right away, and I knew then that the band still had a future.

In the short term a compilation album, From a Scream To a Whisper was issued in 1990 to satisfy fans who had recently discovered the band, and missed out on the early releases. Meanwhile the new line up played a few select live shows, and slowly began to write material for the next album. Will also decided (after some persuasion from me) to get involved more on the label side, also doing some low key distribution for other small labels, some highlights of which were introducing UK audiences to the likes of Slint, Blake Babies, Julianna Hatfield and the U-Men via some direct import export.

Behind the scenes, however, bigger business problems loomed. First our local Scottish distributor Fast Forward hit the wall, followed soon after by the spectacular collapse of Rough Trade Distribution in May 1991. The financial hole Nightshift dropped into was huge - we were not classed as preferential creditors, unlike like the taxman - and several original production masters simply disappeared from RTD. I tried to get compensation, to no avail, and soon some of the biggest sellers like Diminuendo and Godhead began turning up in bootleg form, slipping in from countries like Italy and Spain. It was a fraught time, and Nightshift struggled to avoid bankruptcy before a new distribution deal was secured with APT, which had itself risen from the ashes of Red Rhino after the RTD collapse. Again borrowing a substantial sum I got the business side of things back on track, and Lowlife could look forward to a long overdue return to the studio.

By now almost three years had passed since Godhead, yet the promise of what San Antorium would eventually bring had everyone fired up with renewed enthusiasm. This time around we decided to work with Calum McLean, a highly skilled and very ambitious new producer, and possibly the only person around at the time with the brass neck, ego and attitude to take on and work with Lowlife. The sessions went very well indeed, with the band stretching themselves in many new directions, and guest musicians (including Calum himself) adding extra layers to the sonic landscape.

While many fans argue the merit of exactly which Lowlife album is their best, most agree San Antorium in September 1991 was the most technically accomplished. Despite being out of the limelight for so long the reviews, as ever, were uniformly good:

"It's a fine record, but still distanced from the mainstream, still occupying a territory all of its own……they deserve to be recognised as something really special" (Tom Lappin / The Scotsman)

"Inevitably though, Lowlife are most profound when they are devastatingly desolate. They remain immaculate sonic tragedians, utterly peerless" (Ian Gittins / Melody Maker)

"Lowlife certainly have talent, the most of which is shown off here on this album. Worth listening to, perfect!" (M8 Magazine)

It seemed that nobody doubted Lowlife any more, and even Sky News came and filmed the band at work in the studio as San Antorium neared completion. A lot of people wanted the band to succeed and get the big break that they so richly deserved, but sadly it never came. As Lowlife moved further into 1990s the band played fewer live gigs, partly because there just weren't the right people to make it work onstage. The best dates were probably the short tour the band completed in December of 1991. Instead Hugh, Craig and Will continued writing and rehearsing in the back room of a pub every week, using drums machines for the very first time. New material continued to emerge, much of which was pretty experimental and never saw the light of day.

The business gremlins which had dogged so much of our career returned once more, this time when APT folded. Nevertheless, Lowlife rose again and pieced together Gush. It's the darkest of the five core albums, and I suppose the sense of endings, of final closure hung over the entire sessions, especially as family commitments meant that Will had to leave the studio before the album was completed. That said, it still contains some damn fine songs and some of Craig's most incisive and heartfelt lyrics. Again several outside musicians were brought in to augment the basic trio, not least Jason Taylor, then involved in Bay with Aiden Moffat (of Arab Strap), who released two albums on the Anoise Annoys label, which now took on Lowlife as well.

Gush was released in the UK late in 1995, and six months later in North America. As with San Antorium there were no live shows to support the album, and by 1997 it was all over, the band bowing out with a series of acclaimed unplugged shows that showed a freshness and zeal, and hinted at further greatness to come. Lowlife never actually broke up, they just drifted into the past, yet the music lives on. Every day college radio stations play the songs in the US, and thanks to the net there are websites and forums. And now, courtesy of LTM, the albums are available once again in the form of carefully remastered CDs with bonus tracks.

So here we are, back in that hotel bar in Grangemouth, back together again after far too long apart, like some dysfunctional family reunited. And, yes, I am still the brunt of the jokes and pranks as we drink ourselves into the wee small hours. Amongst all the mayhem there was serious talk, reflection and many truths exposed, while plans were even hatched to work together again on new material and maybe, just maybe, some reunion shows. I hope so, since Lowlife live on a good night are truly awesome, and for a band that were sometimes labeled as shoe-gazers, they actually created a sonic storm that really rocked. I kid you not, the power of their music came from a pure and passionate intensity that grabbed you in the gut and tossed you all about.

Meantime if you are new to what Lowlife are all about then suck in the delights of this compilation. We're not saying it's a Best Of, rather it's an introduction and reflection of what the band were all about. For those of you who are die-hard fans, curl up with some old friends once again.

All this is just a flavour of my years with Lowlife. There are many other tales and adventures to be told. For all the heartache, stress and disasters along the way I still would not change a thing, because at the end of the day I don't think I've had so much fun, or laughed as much since. But above everything else it was the music, something unique and so different from my normal choice of sonic pleasures that filled me with joy and wonder. Hopefully we all might meet up somewhere to do it all again, down that mystical path we call Eternity Road.

It is with great regret that I report that Craig passed away on the evening of Friday 4 June 2010. He will be sorely missed.