Jun 30, 2013

CHICO SCIENCE & NAÇÃO ZUMBI

Chico Science & Nação Zumbi (CSNZ) was the former name of the Brazillian band led by Chico Science prior to his death on February 2, 1997. The remaining musicians continued on under the name Nação Zumbi.





CSNZ released two albums by the time of Chico’s death, Da Lama ao Caos (From Mud to Chaos) in 1994 and Afrociberdelia in 1996. Both were critically acclaimed. 

The band was the major name in the fertile musical scene in the Brazillian city of Recife by the 90’s. Together with the Mundo Livre S/A band, they were the main voices of the Manguebeat movement.


The band integrants were:

* Chico Science - Vocals
* Alexandre Dengue - Bass
* Lúcio Maia - Guitar
* Canhoto - Percussion
* Gira - Percussion
* Jorge du Peixe - Percussion
* Gilmar Bola Oito - Percussion
* Toca Ogam - Percussion
* Pupilo - Drums

Jun 27, 2013

YOUTHU YINDI

Yothu Yindi (Yolngu for mother and child) is an Australian band with Aboriginal and non-Aboriginal members. The Aboriginal members come from near Yirrkala on the Gove Peninsula in the Northern Territory’s Arnhem Land. 




The band tries to combine aspects of both musical cultures. Their sound varies from traditional Aboriginal songs which are literally thousands of years old to modern pop and rock songs. In almost all their songs they try to blend the typical instruments that are associated with pop/rock bands, such as guitars and drums, with the traditional didgeridoo and clapsticks. They also adapted traditional dance to accompany their music. In a broader sense they promote the need for mutual respect and understanding in the coming together of different cultures.

Jun 24, 2013

SISTERS OF MERCY


Originating from Leeds, the Sisters of Mercy were described by critic Steve Huey as playing “a slow, gloomy, ponderous hybrid of metal and psychedelia, often incorporating dance beats.” The one constant in the band’s career has been deep-voiced singer Andrew Eldritch. The band is named after the Leonard Cohen song “Sisters of Mercy” according to Eldritch. The band originally formed in 1980 with guitarist Gary Marx and drummer-turned-vocalist Eldritch. Doktor Avalanche, the drum machine, joined them on their second single Alice. Guitarist Ben Gunn and bassist Craig Adams were added to make live gigs feasible, and the Sisters built a reputation through several singles and EPs. Gunn left the band in 1983 and was replaced by Wayne Hussey

They signed to WEA in 1984 and released the Body and Soul single. This featured a re-recording of Body ElectricTrain, and Afterhours. This was followed by Walk Away towards the end of the year. The B-sides were Poison Door and On the Wire. Early releases of this single came with the 7” flexi Long Train (amphetamix).

1985 started with the release of No Time to Cry (backed with Blood Money and Bury Me Deep) and their first album First and Last and Always. In 1985 Gary Marx chose to leave the band, leaving a few days after the recording of First And Last And Always and Marian for The Old Grey Whistle Test program. The final concert of the tour at the Royal Albert Hall was recorded and subsequentally released as Wake on VHS.

During rehearsals for the next album, Craig Adams walked out and was followed by Wayne Hussey. The two of them formed a band and started gigging under the name The Sisterhood. 

Eldritch retired to Hamburg in Germany and started working on the new album. He enlisted the help of former Gun Club bassist Patricia Morrison although it is still unclear to how much she contributed musically to the project. This Corrosion (originally written to be part of The Sisterhood project), was released as a single in 1987. The single was backed with Torch(apparently the song that caused Craig Adams to walk out) and Colours (re-recorded from The Sisterhood album).
This was followed by the album Floodland. The CD version of the album contained Torch and Colours as extra tracks.


Dominion was released as a single after this and the video was filmed in the ancient Jordanian city of Petra. The B-sides were Sandstorm and UntitledEmma, a live favourite, appeared on the 12” release and Ozymandias, a mixup of Dominion being played backwards was released on the CD and the Limited Edition 12” boxset. The final single Lucretia was released in 1988 and the video recorded in India. A video for 1959 was shot at the same time. The B-side to Lucretia was Long Train which had originally been released as a limited edition flexi 7” with the Walk Away single. All the Floodland-era videos was released on VHS in 1989 on the “Shot” video.

In 1989, Morrison was dropped from the band and Eldritch started working with young Hamburg musician Andreas Bruhn. Between them, they wrote Vision Thing. Recorded in Denmark, the band was expanded to include ex-Sigue Sigue Sputnik bassist Tony James and ex-All About Eve guitarist Tim Bricheno. The album was much more rock-orientated than anything The Sisters had done before.

A single, More was released in 1990 (B-Side You Could Be The One) followed by the album,Vision Thing. A tour of Europe commenced, the first Sisters tour since 1985 followed by a disastrous tour with Public Enemy in the US, which was cancelled before all the dates were completed. Doctor Jeep was released later in 1990 (B-Sides live bootleg recordings from 1985) and a German only release of When You Don’t See Me followed in 1991 (with bootleg recordings from 1990 on the b-side). The Sisters toured throughout 1991. After this period, Tony James left the band.

It was decided to release all the early EPs on CD for the first time and Temple Of Love was re-recorded with Ofra Haza supplying the backing vocals. Temple Of Love (1992) was released and was the highest placed single The Sisters had had in the UK charts, peaking at no. 3. This featured an extended version of Vision Thing, the german release of When You Don’t See Me and the remix of Detonation Boulevard on the b-sides. They headline major European music festivals. Tim Bricheno and Andreas Bruhn both officially leave, but Bruhn continued to play live with The Sisters in 1993 along with newcomer Adam Pearson. 

1993 brought us a “greatest hits’ compilation. A Slight Case Of Overbombing with all the A-sides from the beginning of their major label involvement in 1984 to 1993. Notable exceptions are Vision Thing (Canadian Club Mix) which featured on the Temple Of Love 1992 single and Detonation Boulevard (remix) which appeared on a promo CD on Elektra records to promote the album in the US. The single, Under The Gun, a re-working of “Two Worlds Apart” by Billie Hughes and featured Berlin vocalist Terri Nunn, was released in support of the album. The B-Side was a re-recording of Alice. The video complilation, Shot Rev2.0, was released which featured the Floodland, Vision Thing promos as well as Temple Of Love (1992) and Under The Gun.




After this release, Eldritch effectively went on strike refusing to work with the East West record label. The live incarnation of the band reappeared in 1996 playing several European concert dates with The Sex Pistols. Chris Sheenan joined as second guitar. New songs began to pepper the setlist. Chris left the band in 1997 and Mike Varjak took his place. Eldritch subsequently sent East West an album, which they accepted without listening to it, and The Sisters were finally free. The album (known as SSV) is third rate techno, with the drums removed and Eldritch talking nonsense. Although adverts appeared in the music press around that time, the album never saw an official release.

More touring commenced in 1998, but no album was released. A North American tour commenced in 1999. 2000 saw the return of Chris Sheenan and European halls and festivals were played for the next two years. Chris Sheenan started compiling video footage shot at the 2002 festivals for a future DVD release. A video of (We Are The Same) Suzanne was released on the bands’ website, and swiftly removed due to heavy leeching. The audio is still available.

2003 brought more European gigs, but 2004 was a year off. Another European tour began in 2005, which saw the departure of Chris Sheenan, to be replaced by Leeds own Robochrist, Chris Catalyst. Also, taking the place of Adam Pearson was Ben Christo who joined in 2006. Their longest tour yet started that year, beginning in Las Vegas in February and finishing in December in Moscow. 2007 brought 3 European festival gigs in June and July.



The Sisters Of Mercy are currently:

Andrew Eldritch - vocals
Doktor Avalanche - drum machine
Nurse - nurse to the Doktor
Chris Catalyst - guitar and backing vocals
Ben Christo - guitar and backing vocals
. . .

Jun 22, 2013

CRANES

Cranes are a shoegaze/dream pop group fronted by Alison Shaw and formed in 1986. They were originally based on the south coast of England in Portsmouth. The band released their first album on vinyl, Self Non Self in July 1989. 

The intensity of that album garnered very good reviews and caught the attention of John Peel, who picked up on the album right away, with the group recording a session for him in the album’s first week of release. Shortly afterwards they signed to the label Dedicated (which also became home to Spiritualized and Beth Orton) and went on to record their EP “Espero” in 1990, with the album “Wings of Joy” following a year later. The release of “Wings of Joy” caught the attention of Robert Smith of The Cure who picked the Cranes to open for them on their world tour in 1992. 




They then went on to record the albums “Forever” (1993), “Loved” (1994), “La Tragedie d’Oreste et Electre” (1995), and “Population Four” (1997). After a 4 year break, Cranes re-emerged on their own independent label Dadaphonic to release “Future Songs” (2001) and “Particles & Waves” (2004), which saw the band heading in a more electronic direction while retaining the trademark sound of previous releases. In January 2007 the band released a download only album, “Live at Amsterdam Paradiso,” originally recorded in 1991. The show captures the darker, heavier days of the early Cranes and is available only via www.dadaphonic.co.uk. 
In 2008 Cranes albums “Wings of Joy’, ‘Forever’ and ‘Loved’ were re-issued by Cherry Red Records, www.cherryred.co.uk as part of their series of ‘influential artists’ re-releases. In October 2008 Cranes released their self titled album ‘Cranes’.

Jun 20, 2013

XAVIER RUDD



Torquay, Victoria (Australia)


Xavier Rudd (born 1978) is a soulful Australian surf/roots artist from Torquay, Victoria (Australia), which is near the famous surfing location, Bells Beach.



Rudd’s music is compassionate and always manages to render emotion in his fans. His songs include stories of the mistreatment of the indigenous people of his homeland; they tell of humanity, spirituality or the environment. The songs are written and sung with compassion and they urge the celebration of life. 


Rudd is skilled with a variety of instruments, include guitar, shaker, didgeridoo, Weissenborn slide guitar, Tongue drum, stomp boxe, djembe, harmonica, ankle bells, and slide banjo. It’s an experience to watch him perform his songs live, as he plays the guitar, digeridoo and various percussion instruments simultaneously, using a unique stage setup. But the real magic comes when he opens his mouth and his soulful voice spills upon his audience.

Rudd recalls that when he was 10, his dad took him to see Paul Simon’s Graceland tour. “I remember seeing it and knowing that that was what I was gonna do,” he says. “I had no doubt. It sort of made sense, because I’d always lived in my head, in this world of song that was my own little secret. But to see that show and that whole thing happening, I sort of felt comfortable as a human, and thought.” He learned to play the digeridoo, the 50,000-year-old wooden trumpet of the Aboriginal people, by practising on a vacuum cleaner pipe.

Jun 18, 2013

NITZER EBB

Formed in Chelmsford when main protagonists Douglas McCarthy (vocals) and Bon Harris (drums, programming) were just 15, Nitzer Ebb cut a dynamic swathe through the electronic music and Balaeric beat scenes of the 1980s and 90s. They were electro-punks before the genre even existed, at a time when The Prodigy were not even a gleam in fellow Essex boy Liam Howlett’s eye. Militaristic, intimidating yet always accessible, Nitzer Ebb enjoyed a string of ferocious club hits and released five critically acclaimed albums on Mute. From their first-ever single, 1984’s ‘Isn’t It Funny How Your Body Works’ through to their final 1995 single ‘I Thought’, they were a band whose honed aggression, originality and precision were impeccable.

The band’s musical adventures first began in 1982 when McCarthy and Harris, along with drummer David Gooday, formed the group whilst still at school in Chelmsford. Listening to the likes of Abwärts, Neubauten, Malaria, DAF, Cabaret Voltaire, Killing Joke and Bauhaus among many others the boys began experimenting with synthesizers and samples culminating in the release of four singles on their own Power Of Voice Communications label (a joint venture with Pet Shop Boys producer Phil Harding) before Daniel Miller was impressed enough to sign them to his own label Mute.

Nitzer Ebb’s debut album, 1987’s brooding ‘That Total Age’, displayed a brutalist yet polished élan. Following the powerful opening singles ‘Murderous’ and ‘Let Your Body Learn’, the band’s club reputation was truly secured with the release of ‘Join In The Chant’, which in a version remixed by Phil Harding, became a staple in Britain’s acid house and techno clubs.

Having won over club-land the band turned their attentions to the live arena and at the invitation of label mates Depeche Mode, supported them on their huge Music for the Masses tour. Meanwhile original drummer Gooday departed to be replaced for live performances by Julian Beeston, whilst McCarthy and Harris returned to the studio with producer, Flood, to record the follow up to ‘That Total Age’ for the album that would eventually become ‘Belief’ and set in progress a highly creative partnership that would extend over four albums.

The new album once again retained the musical and visual aggression of their previous work. Yet ‘Belief’ also hinted at the band’s growing ability to display a sense of wit, imagination and sheer caustic comment within their music. There were no sacred cows in terms of subject matter or indeed the band’s merciless capacity for piss taking.

Upon its release ‘Belief’ not only attracted much domestic critical praise but also saw their stock rise in Europe. In part this was aided by the series of remixes provided by the band for the singles ‘Control I’m Here’, ‘Hearts & Minds’ and ‘Shame’. Along with additional mixes by William Orbit they helped maintain the band’s popularity in the clubs and encourage the burgeoning fascination in Europe with what was then known as EBM (Electronic Body Music).

In 1990 the band and Flood once again returned to the studio with every intention of upping the ante even further. The resulting album ‘Showtime’ showed further evidence of the band’s progression, combining their trademark energy with a growing musicality that added menacing depths to tracks such as ‘Getting Closer’ and ‘Lightning Man’. The album also spawned a most improbable, though brilliantly effective remix of ‘Fun To Be Had’ by George Clinton, the visionary behind two of the greatest freak-funk bands ever - Parliament and Funkadelic.

Arguably the success of this collaboration acted as a spur for the band’s next release, the EP ‘As Is’. This saw McCarthy and Harris working with four different mixers to reveal the different musical aspects at work within band. Their collaborators included Jaz Coleman of Killing Joke, a recording artist whose musical aggression was even more noted than their own, and Alan Wilder, then of Depeche Mode, who applied his noted production skills to enhance the melodic potential within the band.

It was this potential that the band sought to develop on their 4th album, ‘Ebbhead’. Released in 1991 the album was a full-blooded affair and with Alan Wilder joining Flood in the production hot seat it was perhaps no surprise to hear the rich musical instrumentation now firmly part of the band’s armoury. Any suggestion though that the Ebb were somehow softening up were blown away by the full on pulverising assault of ‘Godhead’, an assault that had by now successfully overcome audiences in the US.




Though it appeared that the main external battles had been won, the band were arguably now having to battle with the internal tensions that naturally had arisen following a decade sustaining an intense level of shared creativity. Four years in the making ‘Big Hit’ finally made the light of day in 1995. The diverse and experimental nature of the band was still there, and in the lead-off single ‘Kick It’, the Ebb showed that they could still easily conjure up those moments that would batter the listener into submission yet make it a strangely rewarding process at the same time. Unfortunately, the band’s decicion to update their sound with grunge-inspired guitars fails throughout most of the album, as the big rock-styled choruses proved incompatible with the band’s signature electronics. Once ahead of their time, but now left behind, Nitzer Ebb found their last release headed straight to the cutout bins.

The cracks that appeared between McCarthy and Harris during the making ‘Big Hit’—as well as longtime producer Flood’s inattentiveness to the group’s material—proved to be decisive and shortly after its release it became clear that another album would not be forthcoming. In fact it would take seven years before the band could bring themselves to talk to each other. Perhaps it was this enforced silence that encouraged critics to reassess the precocious impact and originality of the band, as a number of subsequent artists lined up to cite them as a major influence, or less honourably, simply exploiting the Ebb’s musical template for their own individual gain. Whilst such a situation may be a cause of great annoyance to most bands, the Ebb maintain a healthy level of stoicism. As they say, “That’s the problem with being ahead of the game - the pioneers get the arrows and the settlers get the land.”

In the end of 2005 when the quantity of requests for new Nitzer Ebb live acts went beyond the limits McCarthy and Harris met to discuss the possibility of reunion. Since the beginning of 2006 they started to give concerts and since summer Nitzer Ebb are on reunion tour. A 2CD compilation of best tracks and a bunch of remixes “Body Of Work” was released in may and later, in july, a remixes album “Body Reworked” followed. For the tour Nitzer Ebb hired a new drummer - Kourtney Klein, mostly known for her work in CombiChrist. In august of 2006 it was officially confirmed that Nitzer Ebb are working on the new material. The recording actually started in March 2007. New record is going to be produced by british producer Jagz Kooner and should be issued, according to Douglas McCarthy, at spring 2008.

Jun 15, 2013

STEREO MARACANÃ


Stereo Maracanã is a capoeira eletrofunk music band from Rio de Janeiro, formed at 2002, their first record was “Combatente”, witch was famous for it’s live performances at Rio de Janeiro communities inside a bus with a stage in it, made by the band members and his record label, Maianga.

The sound of Stereo Maracanã is a mix of capoeira, hip hop and electronics sequencers and drums, appreciated by Brazilians and all people around the world.

Some of Stereo Maracanã music’s was selected by a various number of Brazilian compilations, and one of most famous was “Freestyle Love”, included at a compilation named “Brazilians Beats 5”, from a England record label Mr Bongo, open the Europe outboarders to Stereo Maracanã musicians, who was played in the most famous music festivals at Brasil.


In 2007 Stereo Maracanã was invited to performance at           Popkomm in Berlim, Deutschland, after this they played at Brazilian movie festival at Paris, France, and Bruxelas, Belgica.

After they disposed some tracks in the band website made many of gigs in Brasil, and begin to work at the new album named “Mentalidade Safari” now they are preparing a new performance on a Europe gig in 2010.

The band is:

Alexandre Rodrigues aka Jovem Cerebral – Lead Singer
Bruno Pé de Boi – Percussion
Maurício Pacheco – Musical producer
Ruvício Santos – Drummer






SINKANE

Sinkane has played/plays drums/other instruments in Caribou, of Montreal, and Born Ruffians.



He now plays with Yeasayer. Sinkane music is derived from many bands, musical styles and feelings: Kraut, Psychedeli c, Shoegaze, Dream pop, Jazz, Drone, Classic Rock whatever you want to call it. It is ever changing/evolving.


Jun 10, 2013

THE GREENHORNES



Cincinnati, Ohio, United States (1996 – present)



The Greenhornes are a rock band from Cincinnati, Ohio, United States, formed in 1996, and featuring Craig Fox on lead vocals and guitar, Jack Lawrence on bass, and Patrick Keeler on drums. The band has released several full-length albums and singles. Their most recent release is 2010’s “****” (“Four Stars”), the first recorded by the band since their pursuit of other musical projects, such as The Raconteurs and The Dead Weather. The band’s collaboration with Holly Golightly, “There Is an End”, featured on compilation album “Sewed Souls” was the theme song of Jim Jarmusch’s 2005 film, Broken Flowers. 


Lawrence and Keeler, along with Detroit musician and producer Dave Feeny, were in the Do-Whaters, the band formed and led by Jack White of Detroit band The White Stripes for Loretta Lynn’s 2004 album Van Lear Rose. Lawrence and Keeler are now at work in The Raconteurs with Benson and White. Lawrence is also the banjo and autoharp player for another Detroit band,Blanche, which also includes the aforementioned Feeny.

The band is also responsible for composing the soundtrack to a skateboard movie entitled “Mosaic” and released in 2003 by Habitat skateboards.

The band’s latest album, entitled “****”, was released on October 26, 2010, and was released on Jack White’s Third Man Records imprint. The Greenhornes toured America, Europe, and much of Australia and New Zealand in support of the album, through 2010 and 2011. As of 2012, they have reformed, and have begun touring, however no news has emerged on whether the band will enter the studio to record another album, yet.

Jun 6, 2013

SILVER JEWS



Silver Jews’ earliest incarnation was the college band Ectoslavia, formed by future Pavement founders Bob Nastanovich, Stephen Malkmus and frontman David Berman at the University of Virginia in 1989. An exercise in joyous noise, the band disbanded after graduation and the three friends moved to New York to take up various jobs - Nastanovich, a bus driver, and Berman and Malkmus, art museum security guards.

Pavement, a band started by Malkmus post-Ectoslavia, pre-New York, at this point began to gain attention. This attention resulted in a record deal and a constant inferiority plague placed upon the ‘Joos with Berman totally at the forefront of the group. Misinformed music fans now saw the band as a side-project and, even worse, Berman as being not good enough to play with Pavement, many band members being shared between the two bands.





The connection to Malkmus and the now blossoming Pavement was not all negative, however.Drag City, then not the bastion of American folk music it is today, agreed to release the band’s debut EPs which has led to a fruitful relationship (the label continues to release the band’s records, right up to album number 7 in 2008, (Lookout Mountain, Lookout Sea).


The Silver Jews in their later days primarily consisted of David and Cassie Berman who contributed most of the lyrics, and a changing cast of characters. They had numerous indie stars in a rotating line up, including Willie T. of Lambchop, and Brian Kotzer of Tim Chad and Sherry.


David Berman is also a poet and has been published in numerous poetry magazines and journals. He also has a book of poetry and rants entitled “Actual Air,” which was released in 1999 and received favorable reviews from The New Yorker and GQ.


On the 22nd of January, 2009, David Berman announced on the Drag City messageboard that their show on the 31st of January in Tennessee would be their last. “Can’t be like all the careerists doncha know. I’m forty two and I know what to do. I’m a writer, see? I always said we would stop before we got bad.”

Jun 3, 2013

CRUACHAN





DublinIreland (1992 – 1997, 1999 – present)


Cruachan (kroo-a-khawn) is a celtic and black metal band from Dublin, Ireland that has been active since the 1990s. They have been acclaimed as having “gone the greatest lengths of anyone in their attempts to expand” the genre of folk metal. They are recognised as one of the founders of the genre of folk metal. With a specific focus on celtic music and the use of Celtic mythology in their lyrics, Cruachan’s style of folk metal is known as Celtic metal. The band named themselves after the archaeological site of Rathcroghan in Ireland also known as Cruachan. 





Keith Fay had formed a Tolkien-inspired black metal band by the name of Minas Tirith in 1991. Around the same time, he began listening to more folk music and picked up Skyclad’s debut album the wayward sons of mother earth. Originally released in 1990, this “ambitious” and “groundbreaking” album made an impact on Fay and he set out to combine black metal with the folk music of Ireland. In 1992, Keith Fay formed Cruachan with a demo recording distributed in 1993. Keith Fay also credits the Irish rock band Horslips as a “huge influence on Cruachan,” further noting that “what they were doing in the 70’s is the equivalent of what we do now.”

The year 1995 saw the release of Cruachan’s debut album Tuatha Na Gael, an album that “suffered under poor production.” On the strength of this album, the band received attention from Century Media. The band found it amazing to receive interest from “such a big label” but were dismayed at the terms and conditions of the offered recording deal. They refused to sign a “very poor contract” that would have given the record label “the rights to change every aspect of our music.