Tracer Back By Popular Demand!

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  Lindi Ortega: Live in Lvrpl

  DiFranco New 2012 Album

  Lost Alone: OTW: 2012

  Lanterns on The Lake: Live/Lvrpl

  Pete Townshend Saves Music!

  Stop the Rock? Nope!

  Dirty Three New LP in 2012

  Last Live Shows Of 2011

  Best Albums of 2011

  Korn: The Path Of Totality

  Rodrigo y Gabriela Tour 2012

  Nickelback: Here & Now

  Within Temptation Live

  Volbeat & Toploader Live!

  Hard Rock Night! Live & Livid!

  Rock Local! Wrexham Central

  Seasick Steve Live

  Other Lives in Manchester

  Black Country Communion - Live!

  The Suzukis Inspired Live Show

  Sound City 2011 Review

  Drive-By Truckers in Liverpool

  Sarabeth Tucek Live

  Glamour Of The Kill: Live At Last!

  My Chemical Romance Live

  Ocean Colour Scene Live 2011

  In A Big Country: Live 2011

  Thin Lizzy: The Boys Are Back…

  The Pretty Reckless Live

  Goo Goo Dolls Live in Liverpool


Andy Gill on The Mercury Prize

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It’s unusual to find a music critic writing a thought-provoking and intelligent piece on the UK music industry. Andy Gill writes for The Independent and this excellent piece appeared in The Independent On Sunday 20 July, 2010, just prior to the release of the Barclaycard Mercury Prize shorlist. It’s also unusual for us to include a piece by an external writer, but we felt it was an important enough piece to include on Shakenstir.

Andy Gill: Glittering ceremonies cannot disguise the problems of the music industry

The nominees for music’s biggest prize are announced today, but the industry is in terminable decline

Tuesday, 20 July 2010

This lunchtime, the list of nominees for music’s Mercury Prize will be announced, an occasion treated with almost as much ego-primping folderol as the announcement of the actual winner, sometime in September. Next year, perhaps, there will be an even earlier event to announce the date of the shortlist announcement? That would probably suit the award’s sponsors, which since the collapse of the original backer - ironically, given the subsequent boom in telephonics, a telecommunications network - have included both hardware companies like Technics and Panasonic and more recently complete bankers like Nationwide and the current corporate partner, Barclaycard.

Indeed, it seems a little absurd to continue referring to the prize as the Mercury Prize, when there are other, pre-existent Mercury Prizes awarded in the fields of Professional Communications (that’s PR to you and me) and Radio and International Travel Catering (the latter perhaps presented in a little plastic tray with a tinfoil lid). Then there’s the Australian brewery that has a Mercury Award named after its cider, which doubtless goes down better with the general public than Speech Debelle’s album did after winning music’s Mercury Prize last year.

So it’s a touch selfish of the Barclaycard Mercury Prize to insist on retaining its original title. There is, however, a certain irony in being named after a company that no longer exists, since that is the condition to which the entire record industry now apparently aspires - what little purpose it once retained now slipping from its grasp like a handful of mercury seeping through the cracks between one’s fingers.

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Digital delivery - or downloading - has been the elephant in the music industry room for the best part of two decades now. Yet the record companies have been as one in their stubbornly ostrich-like refusal to tackle the issue in any sensible way, preferring instead to follow the American industry model of effectively criminalising their own customer base, demanding punitive fines of hundreds of thousands of dollars from teenagers found “guilty” of file-sharing, effectively the modern equivalent of taping albums for friends (which, of course, none of the industry executives would have ever dreamt of doing when they were teens). It’s an extraordinary position for a consumer industry to adopt, the kind of flailing-scorpion death-throes that surely portend ill for its future.

At last week’s Westminster eForum, Peter Jenner - who as former manager of Pink Floyd, founder of Blackhill Enterprises which managed The Clash and Ian Dury, and now Emeritus President of the International Music Managers’ Forum (IMMF) must be presumed to understand a thing or two about the music industry - was scathing in his contempt for the backwards nature of the record industry, with its desperate attempt to cling on to what he described as its “quasi-monopoly rights”. In the old days, artists may have been reliant upon the labels’ distribution systems for getting their product out to customers, but as Jenner pointed out, that is no longer the case. “In the online world, the marginal cost of a digital file is essentially zero,” he explained, making it inevitable that the price of music will be pushed ever closer to zero, too.

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Jenner doesn’t like to use the term “consumer” in the context of the digital realm, however: “In the digital world, we don’t ‘consume’ files: there is no limit to the number of files that can be copied; and every time you send a file to someone else, you increase the supply.” Attempts to stop people copying files, he believes, are as futile and misguided as the prohibition of alcohol in 1930s America. “The music business is about service, not product; but the record companies have always been in the product game.” Rather than the copyright extension for which the labels are desperately lobbying - that being their other obvious existing source of income - Jenner believes that a completely new model needs to be designed which will both satisfy the public’s demand for new content and allow the creators of that content, and those investing in them, to make a decent return on their creativity.

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The Warehouse Project: 2010

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The Warehouse Project announce first ever London show in conjunction with Delphic
The Warehouse Project & Delphic present : Acolyte: Ewer Street Warehouse, Southwark: Friday 29th October 2010

Manchester’s Warehouse Project is delighted to announce its first ever London show at Ewer Street Warehouse in Southwark, seeing the cult Manchester club night move south for one night only. The Warehouse Project & Delphic Presents: will see the indie band perform live amongst special guests in the underground South London venue.

In a bold move that will see the Manchester promoters leave behind their Store Street home underneath Manchester’s Piccadilly Station for one night, Londoners will be able to witness what the North of England have been going mad for. Already headlining one of the most anticipated shows on The Warehouse Project’s WHP10 autumn and winter series, Mancunian rock and dance crossover band Delphic will bring their invigorating live performances south, as they play an intimate live London gig with special guests on 29th October. More details are to follow on this event and a limited number of earlybird tickets are on sale for £10 via www.crowdsurge.com/delphic, www.thewarehouseproject.com, www.myspace.com/delphic, http://delphic.cc

The Warehouse Project’s (Manchester) 2010 line up announced : Over 34 parties across 14 weeks to celebrate the premier dance music promoters’ fifth anniversary : Thursday 23rd September – Saturday 1st January 2011

Manchester’s Warehouse Project is pleased to announce the WHP2010 line up which will see some of the biggest international names in dance music and the most exciting up and coming bands perform in the visually stunning warehouse space underneath Manchester Piccadilly Station this year.  Celebrating its fifth anniversary this year, the award-winning Warehouse Project has become one of the UK’s leading dance events.

Kick starting the series, The Warehouse Project is thrilled to announce that Maximo Park, will be making an exclusive trip Manchester for an opening headline show on Thursday 23rd September. Across the 14 weeks of events at the Store Street venue there will be a host of the finest names in international dance music with Eric Prydz (25th September), Richie Hawtin (15th October), Chase & Status (23rd October), Magnetic Man (29th October), Pete Tong (5th November), Sub Focus (6th November), Booka Shade (12th November), John Digweed (19th November), Keiran Hebden (20th November), Simian Mobile Disco (3rd December), High Contrast (4th December) among others.

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In keeping with the ever evolving Warehouse Project concept there will also be a host of nights with the finest in rock, pop and indie music taking to the stage with blockbuster events featuring headliners such as Kelis (Saturday 2nd October), Doves (16th October), Delphic and The Whip (30th October), Four Tet and Caribou (20th November) and a homecoming event for Ian Brown on Friday 17th December. This event follows on from the hugely successful Platt Fields Park event that The Warehouse Project put on this summer attracting 15,000 fans to converge on the Manchester Park.

Dubstep dons Skream, whose recent album ‘Outside The Box’ charted at number four in the Official Dance Album Chart, and Benga have put together an incredible line up for Wednesday 15th December, one of the last dates of WHP10. They will be bringing together some of the top acts across a wide spectrum of bass orientated UK dance music. Although both are performing live together as part of their Magnetic Man project earlier in the series (Friday 29th October), for this night they are dropping solo headline DJ sets. Joining the two on the night will be Toddla T and Redlight’s brand new Roller Express project, featuring the two DJing back to back with MCs Serocee and Dread. Also performing on the night are Shy FX, Jack Beats, Gaslamp Killer, Geeneus, MC Tippa, L-Vis 1990 and MCs Dynamite, Youngman and Dread.

Joining the Skream & Benga present line up will be a very special guest appearance by Ms Dynamite, Ms Dy-Na-Mi-Tee-Hee is back, fresh from a live music hiatus, having won acclaim with Mercury Music Prize and BRIT awards. Recent collaboration, ‘What You Talkin’ About?’ produced by Bristol’s finest Redlight, creating a new sound from Ms Dynamite with an edgier house infused sound.

The Warehouse Project are pleased to announce that this year’s resident DJs will be the superb Jamie Jones, Joy Orbison and Mercury Music Prize favourite Jamie xx. With all three set to perform regularly across a host of the WHP 2010 events expect these 5th anniversary celebrations to push all the right buttons!

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The Warehouse Project’s Store Street events underneath Manchester Piccadilly Train Station have for years been a setting for some of the finest names in electronic music, where world renowned acts and DJs play to 2,000 revellers in a visually stunning industrial space. Known for bringing together the best names across all genres of dance music, as well as some of the best live acts from around the world, it has become an internationally recognised yearly event. The series this year includes over 30 different nights across three months, encompassing a wide range of stylistically varied events, from exclusive live performances to DJ sets.

With many of the events selling out in hours, the hype surrounding the announcement of the acts below is set to send the dance community’s fervour for the WHP events into orbit following this amazing line up to celebrate the fifth anniversary.

http://www.thewarehouseproject.com/

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Sandy Denny: 19 CD Box Set

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Sandy has been called Britain’s finest female singer-songwriter by Mojo and Uncut and is considered a true founder of the British folk rock movement. Her composition, “Who Knows Where The Time Goes?” has been covered by numerous artists as diverse as Judy Collins, Nina Simone and Cat Power and is now regarded as a classic. As well as her solo material and work with Fairport Convention, she is also noted for her duet with Robert Plant on the song “The Battle Of Evermore” from Led Zepellin’s IV. She remains to this day the only guest vocalist on a Led Zeppelin album.

19 CD Sandy Denny Boxset to be released through Universal on November 1st

Universal Music is pleased to announce the full track listing and final packaging for the much anticipated, strictly limited edition 19 CD box set, simply titled Sandy Denny. 11 of the CDs feature Sandy’s complete commercial recordings with Alex Campbell, Johnny Silvo, Fotheringay, Strawbs, Fairport Convention and solo with additional content; outtakes, demos and live recordings. There are 8 further CDs of bonus material; unreleased songs, demos, unreleased BBC recordings, alternate takes, live recordings, acoustic versions, and rare radio interviews. In all, there are over 100 unreleased versions of Sandy’s recordings of which 64 are studio takes, 25 demos and 14 live recordings.

Highlights of the new material include;

· Three unreleased songs: the long lost traditional song ‘Lord Bateman‘, pencilled in for her first solo album, The North Star Grassman and The Ravens.
· An unidentified track ‘Ethusel‘ from her early pre-Fairport Convention solo career.
· 12th of Never, recorded for an unspecified Granada project, this abbreviated version of the song was never attempted again.

The alternate takes include;

· Acoustic masters of ‘Fotheringay’ and ‘She Moved Through The Fair‘.
· A solo version of ‘Mr Lacey‘;
· ‘Blackwaterside’ with Richard Thompson, working out the arrangement of this traditional song, performed here without overdubs;
· the original duet of ‘The Way I Feel’ from Fotheringay;
· Unstrung alternate versions of songs from Like An Old Fashioned Waltz,
· Original masters and outtakes from Rendezvous including ‘Gold Dust‘,
· Her very last recording, an acoustic version of ‘Moments’.

Unreleased demos include;

· A superb series of studio demos from throughout Denny’s solo career with tracks from Fotheringay, Northstar Grassman, Like An Old Fashioned Waltz, Rendezvous and the entire Sandy album.
· A series of recordings made at home between 1966-68, restored in the main from the master reels including her first version of ‘Who Knows Where The Time Goes?‘, performed in quite a different manner to previously released versions, and many other self penned, traditional and contemporary songs not recorded in the studio.

· Demos recorded at Sandy’s home in Byfield between 1974-77 restored from the master reels including her final home demo ‘Makes Me Think of You’, which was also her last original composition. The lyrics (reproduced in this set) to the song are the final entry in her notebook.

Other highlight include;

· The first release of Sandy’s live performance with Fairport Convention at the LA Troubadour in 1974, mixed from the master reels. These dates mark the only time Sandy ever performed ‘Crazy Lady Blues’ and ‘She Moved Through The Fair’ live with the 1974 Fairport line up, and the only time they performed Dylan’s Knocking on Heavens Door.

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The set is lavishly packaged and features all new artwork. Each CD is housed in an individual gatefold digipak sleeve  and comes in a beautiful box packed full of memorabilia including;

· 72 page hardback book containing rare and unseen photos
· A reproduction of one of her notebooks containing handwritten lyrics of some of her best know compositions and many unrecorded songs.
· Extensive biography and annotations to key new tracks found in the Island archive
·  Reproduction of a rare A2 colour promo poster for Northstar Grassman and the Ravens
· Copy of the receipt for her first piano
· Copy of an original Island press kit containing press release and 4 press shots for Like An Old Fashioned Waltz
· A collection of bound postcards of never before seen photographs
· Interviews and tributes from artists such as Richard Thompson, Judy Collins, John Renbourn, Bob Harris, Robert Plant, Bill Drummond, Marc Almond, Lee Ranaldo, Rachel Unthank and Jon Boden

A second edition, limited to 100 sets, is available only from the Island 50 web store. It comes with a framed print of the artwork, signed by the artist, Phil Smee, and individually addressed to each purchaser.

Tributes from friends and admirers;

Richard Thompson: Sandy was an original - she was carving an area of music that was really her own.

Bob Harris: Has there ever a better first song written than Who Knows Where The Time Goes? The insight in that song, it shows a wisdom way beyond her years and she write consistently great songs throughout her career.

Rachel Unthank: Her voice was so effortless, graceful and commanding. Don’t listen to her! You’ll realise that the rest of us are wasting your time.

Lee Ranaldo: Sandy always transports me to a unique musical place, and defines a certain time in music history to my ears.  Her music and voice have been elevated to the top-most reverential rungs of all those I hold dear in my musical life.

Marc Almond: When I want to bring up certain emotions I listen to her, and she really is my very favourite female singer.

Bill Drummond: Other generations may have had Ian Curtis or Kurt Cobain, but for me the voice of Sandy Denny is enough for my life time.

You can pre-order the boxset from this address:
http://island50.sandbag.uk.com/Store/DII-5658-5-sandy+denny++limited+edition+box+set.html


Opeth: Albert Hall: Live DVD

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As part of the ongoing celebration of their 20th anniversary this year, Sweden’s OPETH are releasing audio and video from the band’s recent performance at the Royal Albert Hall. ‘In Live Concert at the Royal Albert Hall’ is set for release on 20th September.

Twenty years and nine records into their legendary career, Opeth’s “Evolution XX: An Opeth Anthology” tour brought the Swedish prog titans to six of the world’s most unique venues, and now, with the release of In Live Concert at the Royal Albert Hall, into the homes of their fans. The performance at the Royal Albert Hall (recorded on 5th April 2010) includes two sets, the first consisting of the band performing 2000’s now-classic, breakthrough epic, ‘Blackwater Park’ in its entirety, and the second, a chronologically arranged selection of material from Opeth’s extensive catalogue, totaling almost three hours of music. The front cover artwork concept pays tribute to Deep Purple´s ‘Concerto for Group and Orchestra’, underlining the band’s longstanding love for their prog-rock roots.

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Thinking back to the concert, frontman Mikael Åkerfeldt said; “Opeth had a magical night playing the Royal Albert Hall. It was a dream come true, and now afterwards, it still feels like a dream. We got it all on film, and this, our third live recording and DVD might be my personal favourite. One couldn’t help to think of all the fantastic artists that played there over the years. Looking back at this night of celebration brings me fond memories of our 20th anniversary—this package is the delayed birthday present. Enjoy!”

The release will be available as two very special configurations: a limited edition vinyl box set, which includes:
· Double-DVD set of Opeth’s performance at the legendary Royal Albert Hall, in its entirety, including bonus features.
· A set of four 180-gram LP’s of the concert’s live audio in its entirety. The vinyl is housed in black poly lined inner sleeves which are packaged as 2 double gatefold set with exclusive artwork. Vinyl only available in this box set.
· Exclusive, numbered lithograph with artwork designed by Mikael Åkerfeldt and longtime Opeth designer, Travis Smith.
· 20-page, LP sized booklet printed on coated paper stock that chronicles the night’s events in photos.
· Expanded, exclusive artwork and more.

Alternatively, a 5-disc set that consists of 2-DVD and 3 CD’s. The set not only includes the legendary evening captured on video, but the concert’s live audio in its entirety as well.

Track listing is as follows:

Set 1
· THE LEPER AFFINITY
· BLEAK
· HARVEST
· THE DRAPERY FALLS
· DIRGE FOR NOVEMBER
· THE FUNERAL PORTRAIT
· PATTERNS IN THE IVY
· BLACKWATER PARK
Set 2
· FOREST OF OCTOBER
· ADVENT
· APRIL ETHEREAL
· THE MOOR
· WREATH
· HOPE LEAVES
· HARLEQUIN FOREST
· THE LOTUS EATER

In other news, OPETH headlined the Bloodstock Festival on Friday 13th August at Catton Hall, Derbyshire (www.bloodstock.uk.com).

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Chickenfoot Interview

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I’m sitting here with one third of Chickenfoot - Joe Satriani, Sammy Hagar and Michael Anthony - we’re missing Chad Smith who is with us in spirit…

I understood that ‘Chickenfoot’ was a working name but it seems to have stuck…

It just went so far on the Internet and got so big. We had other names but people kept referring to us as Chickenfoot. First people kept saying ‘you can’t call yourself Chickenfoot, it’s such a silly name’. And we were on the defensive saying it was just a working name, but younger people especially liked (’kind of a cool name’) it… It was our public statement for a while that Chickenfoot was not the final name but secretly it kind of was… Ultimately we became Chickenfoot, that’s what happened and Chad reminded us the other day that we’d been together for a year and we had become Chickenfoot.

But the music is swampy, it’s funky, it’s hard rock, it’s down and dirty, it’s tripped-out - it’s as stripped-out as a fuckin’ chicken foot…

You guys have been referred to as a ’supergroup’ because you all come from big bands, big backgrounds. Do you feel there is too much expectation put on the band?

I hadn’t really thought about that, as being a ’supergroup’ but within us four we don’t see it like that, we just want to have a great time. When you hang around with these guys you know they are not bringing that baggage with them. The cool thing about being grown-up and being from these big bands is that we’ve been through all the jive of the early years, and that’s perhaps why our band has survived for eleven years.

We all individuals and not twenty-years-old trying to establish ourselves, as Chickenfoot we just want to make great sounds. If people want to see as a ’supergroup’ well that’s up to them.

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Before you guys got together and jammed and decided this is something that could be a band, did you guys have any discussions about what this band should avoid, having been in bands before and made the mistakes…

From that to the recording I don’t think there was any kind of discussion about how we should act or how we should play, or anything…

We had no time… we had other schedules. Between the four of us we have had previous interaction and played together, so we weren’t strangers to this.

We didn’t talk about ‘let’s be like this’ and Joe just came in with his music and starts playing and then Chad chimes and Mike chimes and that’s the way we did it, song by song.

I guess what I’m getting at is personality-wise and coming from different bands did you check each other out, like ‘let me make sure this guy’s not crazy…’

I don’t think the four of us collectively have spent enough time together to know that. Perhaps when we tour we’ll find out more about each other. Joe’s he one who keeps us sane, we’re like, ‘Joe’s not going to go with this, better not do it…’

I’ll tell you right now Chad’s the craziest guy, Joe’s the straightest guy but with the most twisted mind though - Joe’s got this smart mind while Chad’s got this reckless, mind whereas Mike and I will go along with whatever happens…

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Now Joe, this is something you’ve wanted to do for quite some time - be part of a highly rated rock band - the instrumentalist. So let’s say Chickenfoot is successful, what happens to the solo career?

Like the others, regardless of how well this goes, we will all want to keep doing our own thing. From my own perspective it’s quite unique because I did fall into the instumental thing, just by accident and it was so much fun and so natural to do, that I just went with it. I’ve had this amazing career being able to do all that stuff on stage, but this in the last six-seven weeks has been pretty amazing to see the idea of being able to have a few days here and there recording, and seeing it all come together. It was like wow! And I’m in a band with these guys!

What’s Chad’s status of being in this band?

He spoke to me and said that he had a year clear to do this band before the Chilli Peppers re-convened. I recently spoke to John Fruscianti from the Peppers and he basically said that the band had no plans.

The great thing is we have not put pressure on anyone to do this, we’re just rollin’ the dice in the belief of divine intervention… And musically it friggin’ happened like a mutha man! It was beyond anybody’s expectations and we’re hoping it just continues like this. I can’t see anyone wanting to go back and do what they did previously without playing in this band.

I know I don’t!

I cannot see this band going out to play this music. We made a record that was way, way too serious to say well it was this little side project…

Michael, what is it about this band that feels so different?

It feels like it did at the beginning for me. It’s exciting, everybody brings something to the table that makes it sound better than we originally thought. Even Joe’s playing better, he’s playing every damn style at the highest level on this record. It’s like ten records on one, but the thing is Van Halen flagged that. When I joined Van Halen I thought ‘oh my God, this is really great.’ I know these guys are great but I never saw them creative-wise and it makes you go home and want to play better.

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Yes: Keys To Ascension: CD/DVD

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YES RELEASE CD & DVD of CELEBRATED 1995 REUNION TOUR

On 20th September Keys to Ascension, by seminal prog-rock band YES, will be released by Proper Music. The bumper pack of 4 CD’s + DVD captures the magic of the 1995 YES reunion tour, featuring the members of its most celebrated line-up: Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman and Alan White.

This YES reunion with this classic line-up of great musicians was eagerly anticipated by the band’s millions of fans across the world – many wondered if it would become a reality. But in the winter of 1995 and the spring of 1996 the fans got their wish as the classic 1970’s band came together to record new material at Yesworld studios in San Luis Obispo, California. This was followed by a series of three brilliantly staged live concerts in March 1996 at The Freemont Theatre in San Luis Obispo. 20 years might have elapsed between their last live performance but the band gelled magnificently, playing the timeless classics from all phases of their multi-layered career to packed-out audiences of ecstatic fans.

Keys To Ascension is a must-have, not only for the legions of YES fans, but also for lovers of great rock bands. This handsomely packaged CD & DVD set bears testimony to the fact that all the musical magic is still there: stunning technical ability, incredible improvisational skills and a powerful on-stage alchemy. It is the first time that these performances have been available in one package, with the original artwork from Roger Dean.

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Full Tracklisting follows:
Disc 1
Recorded Live at SLO 1996
1. Siberian Khatru
2. The Revealing Science Of God
3. America
4. Onward
5. Awaken

Disc 2
Recorded Live at SLO 1996
1. Roundabout
2. Starship Trooper
Studio Tracks Recorded 1996
3. Be The One
4. That, That Is

Disc 3
Recorded Live at SLO 1996
1. I’ve Seen All Good People
a) Your Move
b) All Good People
2. Going For The One
3. Time And A Word
4. Close To The Edge
a) The Solid Time Of Change
b) Total Mass Retain
c) I Get Up, I Get Down
d) Seasons Of Man
5. Turn Of The Century
6. And You And I
a) Cord Of Life
b) Eclipse
c) The Preacher The Teacher
d) Apocalypse

Disc 4
Studio Tracks Recorded 1995/1996
1. Mind Drive
2. Foot Prints
3. Bring To The Power
4. Children Of Light
a) Children Of Light
b) Lifeline
5. Sign Language

Yes - Close To The Edge Clip from Keys To Ascension DVD from Cannonball PR on Vimeo.

DVD
Recorded Live at SLO 1996
1. Siberian Khatru
2. Close To The Edge
3. I’ve Seen All Good People
4. Time And A Word
5. And You And I
6. The Revealing Science Of God
7. Going For The One
8. Turn Of The Century
9. America
10. Onward
11. Awaken
12. Roundabout
13. Starship Trooper


OMD: History Of Modern

OMD To Release First New Album In 14 Years

Website: http://www.omd.uk.com

OMD (aka Orchestral Manoeuvres in the Dark) return with their first new album in 14 years. History of Modern will be released September 28th in the US via Bright Antenna Records through Warner Music Group’s Independent Label Group. The US version of History of Modern contains the US only exclusive track, “Save Me,” which features Aretha Franklin and is the album’s first single. www.Spin.com has an exclusive interview with OMD’s Andy McCluskey along with the premiere of the new song “New Babies: New Toys.” Daily Motion just premiered the video for the first UK single, “If You Want It,”

Fans have the opportunity to pre-order History of Modern at OMD’s own webstore -WWW.OMD.HASAWEBSTORE.COM. They can choose between a limited edition box set and bundles including autographed vinyl, CD’s and exclusive t-shirt designs. All pre-orders come with an instant digital download of the single, “Save Me.”

One of the reasons OMD have called their brand new album - their eleventh - History of Modern is because they are acutely aware of what it is they’re doing with this release. On paper, this is the UK synth-pop pioneers’ first new material since 1996, but in spirit, History of Modern has more in common with the group’s early ’80s heyday, when Enola Gay and Souvenir, penned by two teenage Krautrock fans from the Wirral, lit up the charts and set the agenda for a bold new movement in British electronic music.

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In tandem with the Depeche Mode and Pet Shop Boys, OMD’s tuneful blend of cutting-edge synthwork, cool minimalism and soulful pop - honed to perfection on the albums Architecture & Morality, Dazzle Ships and Organisation- defined the decade, sold millions of records, and turned childhood pals Andy McCluskey and Paul Humphreys into stars.

“We were trying to be modern,” says Andy, pointing out that, in 1980, OMD were one of the first acts to use a sampler. “After architecture, art and design, popular music was the last of the great modernist movements, and we were genuinely trying to do something new. Quite how we thought we were going to change the world with three-and-a-half-minute pop songs, I don’t know, but we thought we could.”

Fast forward 30 years to the reunited OMD of 2010 and it’s clear that that sense of mischief and youthful idealism still fuels the group. “I suppose the nice thing is that, just like in the early days, we made this record simply because we fancied making a record,” says Andy. “There was no pressure to make a record in order to sell records and sustain a career. It was like making a first album again.”

In these electro-friendly times, OMD’s influence has become ubiquitous. The XX, Brandon Flowers of The Killers, and LCD Soundsystem’s James Murphy have cited OMD as an inspiration, while the likes of La Roux, Cold Cave and The Horrors show traces of OMD’s DNA. Andy notes that OMD is perceived to have its place in the “pantheon of relevant popular music history”, something which seemed unthinkable during the Britpop era, when ’60s revivalism finished off the last incarnation of OMD, a solo venture by Andy (Paul had left in 1989).

Fortunately, by anyone’s standards, History of Modern is an excellent album, one that fizzes with energy and captures the group’s newfound enthusiasm. Then again, between them, Andy and Paul have some 60 years of songwriting and music-making experience, so they do know their way around a hit. Propelled by synth riffs, ‘New Babies: New Toys’ and the two ‘History of Modern’ tracks are very much a return to form, while ‘RFWK’ doffs its cap to Kraftwerk, and ‘The Future, the Past, and Forever After’ has shades of OMD’s northwest contemporaries, New Order. Elsewhere, ‘Sister Marie Says’ echoes ‘Joan of Arc’ and ‘Maid of Orleans’.

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Upbeat and bristling with ideas, ‘History of Modern’ was mixed by Arctic Monkeys/Foals engineer Mike Crossey, and offers a slightly rawer kind of pleasure to the serene melancholy of OMD’s early-’80s moments. In a nice touch, the record’s sleeve was designed by Peter Saville, who was responsible for the iconic artwork of those first OMD albums. Saville was the in-house designer at Factory Records, the label that released OMD’s debut single, ‘Electricity’, in 1979. For many, ‘History of Modern’ will be their first experience of OMD, and one hopes their curiosity will lead them, via YouTube and Spotify, to ‘Organisation’, ‘Architecture and Morality’ and ‘Dazzle Ships’ - key works in the Synth Britannia canon.

The music industry OMD have returned to in 2010 is in a very different state to the one that helped them sell millions of records 20-odd years ago. But their attitude hasn’t changed. “Back then, we weren’t following anybody’s rules but our own,” Andy says. “Today, if you’re considered credible and you still have a relevance, then you’re allowed back on your pedestal. That’s what we’ve discovered to our great delight.

“And this record,” he adds, “is just another part of the jigsaw of us reclaiming our place in the broader picture.”


Soundtraxs: Your Music On Screen!

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August 2010 sees the launch of a groundbreaking new media concept that brings cutting-edge film and music together by offering up and coming bands and musicians the chance to have their music included in a major British independent movie.

Soundtraxs is the brainchild of British independent production company NyAC and is being hosted by leading music video site MUZU.TV. It is the world’s first global online competition, to create a feature film soundtrack. Winning tracks will feature on hotly anticipated new British movie Relative Desire by BAFTA award winning director Michael Baig Clifford.
 

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Synopsis: This contemporary fast-paced and time-twisting, thriller sets Jean, nineteen and pregnant, on the road to find her estranged mother, Paula. A compelling journey that starts with death and destruction and takes Jean from an Army barracks via a Midsummer Solstice Festival to an isolated farm house for the final confrontation with her newly found family.

One hot summer’s night Jean abandons her going nowhere life, but quickly finds herself in the no-where to go world of her half-brother, Magpie; Leon’s world of violence and desperation which, thanks to Magpie, is falling apart.

In the middle of the night, Magpie, forced to take Jean with him, flees with their uncle Leon, on his tail. On the road Jean and Magpie discover each other, but eventually, they fall into a trap set by Leon, with the collusion of their mother, Paula. In a final shoot out Jean has to face the reality of the mother who abandoned her, the half-brother she has come to cherish, and the uncle who has done everything for the undying love of his sister, Paula.

Production: Director: Michael Baig-Clifford Producer: Paula McBreen Screenplay: Joanne Lee Cast: Imogen Poots, Harry Treadaway, Karl Markovics Status: Shooting October 2010

Director’s Statement:Two time BAFTA winning director Michael Baig Clifford: ‘Relative Desire is full of action, sexual tension and cinematic vision but I want to hear a pin drop when Jean and Magpie are alone with just a wrecked car and a dead body between them.

Musicians across all genres are encouraged to upload their music onto www.muzu.tv/soundtraxs where members of the public will vote for their favourite tracks. A leading panel of music and film industry experts will then convene to judge the shortlist and the winning ten tracks will feature in the movie soundtrack.

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Soundtraxs provides a fantastic career opportunity for emerging bands as the winners will benefit from full synchronisation fees and ongoing royalty payments, and all music will be licensed on a non-exclusive basis.  The competition will make the soundtrack to Relative Desire sound utterly unique and will introduce a whole new generation of artists to the world of music for film, a domain normally only open to artists in the higher echelons of the music industry.

“Our mission is to bring new original talent to audiences in as many cross-platform partnerships and collaborations as we can. Soundtraxs is a first. It gives new artists a chance to have their music in a feature film by an award winning director,” says NyAC founder Phil Parker. “The concept itself is fairly simple – it is a global online competition. Potential artists, bands, songwriters and composers have the opportunity to upload a selection of compositions or songs at the Soundtraxs site, hosted by digital partners and new media darlings, MUZU. The public will then vote for the songs they want to appear in the movie soundtrack. The top 50 tunes will then be considered by an expert panel, who will choose the final 10 tunes, and those 10 will appear in the final cut of the film.”

“Soundtraxs is more than a music competition.  It provides an opportunity for new graphics artists, who have created animated story boards for musicians to add music to.” adds Phil. “It also allows the public for the first time to collaborate in the creation of a film soundtrack.  Soundtraxs is a collaborative opportunity, giving artists a valuable means to explore new business models within the creative industries.”


Soundtraxs - Bouncer

Further details about Soundtraxs can be found at: www.muzu.tv/soundtraxs


TECNOCTITLAN: Debut!

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TECNOCTITLAN SET TO RELEASE DEBUT SINGLE ‘KEEP CALM AND CARRY ON’ 4th OCTOBER

Say hello to Tecnoctitlan, pronounced TECH-NOC-TI-TLAN, but you can call them TNTT. Set to unleash their electro-pop-rock single ‘Keep Calm and Carry on’ on 4th October.

The Argentinean duo mix Milena’s vocals and rocky guitar amid Ariel’s laptop and keyboard to create an 80’s electronica with rock chick flair sound that makes ‘Keep Calm and Carry on’ so unique. Inspired by the trend for T-shirts bearing the World War 2 message to ‘Keep Calm and Carry on’ followed by ‘Panic Now and Freak Out’ the single traces the story of a boy playing his computer war games growing up to discover too late in the army, that war is not a game. Tecnoctitlan were also influenced by the Mayan calendar, which predicts the end of the world come 2012.

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The video for ‘Keep Calm and Carry on’ continues in this theme of war and video games, made by controversial artist Max Papeschi who, like Tecnoctitlan is not afraid to cause a stir.

Bloggers from around the World are starting to talk about TNTT and tastemaker blog EQ says “Tecnoctitlan is what you would get if Barbie slapped on a scowl and a grungy guitar. Imagine Ken starting to experiment with hairspray, guyliner and Aztec accessories. The Eurythmics might even offer up a raised eyebrow.

Oh yes, electro-rock fans - 80’s androgyny has come full circle in the way of Tecnoctitlan - and it never has looked or felt more sexy”.

‘Keep Calm and Carry On’ is released on October 4th.
Catch Tecnoctitlan live on 22nd August at The Dublin Castle, Camden

This week we introduced you to Tecnoctitlan, now they are here to answer any questions you might have about the pair, such as how would they describe their sound? What inspires them? and how do you pronounce their name? Find out click below…

 

For more information please go to www.myspace.com/tecnoctitlan


LAB Records: FREE

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LAB Records Unique CD Giveaway – Entire roster goes free for a day!

LAB Records, the home of such prominent pop and rock artists as Just Surrender, Not Advised, MiMi Soya, Portia Conn, Pegasus Bridge, The Morning Of, Blitz Kids, are running a very unique giveaway over at www.labrecs.com/store on September 3rd.

For one day only, LAB Records will literally give away their entire roster for free! As one of the most successful independent labels of its kind out there right now, with 15,000 sales this year alone, LAB has built up a solid following of admirers in its short history, and this is their way of giving something back to their fans.
LAB Records CEO Mark Orr said;  “This is a huge time for the label as we come towards the end of our most successful year to date and prepare for a more mainstream sound in 2011.

“Every label gives away digital samplers but we thought - for one day only - it would be a unique and memorable stand to make all of our CD’s absolutely free. It’s our little way of saying ‘thank-you’ to everyone who has supported LAB over the past 3 years.”

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So come September 3rd, the following releases will be free, while stocks last - all you’ll need to pay is the postage.

Just Surrender - Phoenix
The Morning Of - The Way I Fell In
Portia Conn - I Don’t Care
Lost On Campus - Tell Them I Had A Wonderful Life
Not Advised - After The Fight
Lost On Landing - Sweet Talk
MiMi Soya - I Can’t Stand Pop Bands

For more information on LAB Records please visit:
www.labrecs.com
www.facebook.com/labrecords
www.twitter.com/labrecords

AN INDEPENDENT RECORD LABEL FROM MANCHESTER IN THE UNITED KINGDOM E S T A B L I S H E D 2 0 0 7
Now in its fourth year, the LAB brand is expanding all the time and our bands are now regulars on some of the most infuential music mediums and live events the world over. The label’s thirty-plus catalogue releases have sold tens of thousands of copies, and the LAB brand now enjoys close ties with some of the most forward-thinking individuals and organisations in the industry. Priding itself on a strong ability to spot and develop young talent, the label’s reputation as the perfect stepping stone to a prolifc career enhances by the week.

LAB WORLDWIDE
• Debut US store release, The Morning Of’s ‘The Way I Fell In,’ sold 2100 records in its frst week on sale and peaked at 10 in the Billboard HeatSeekers chart and 75 on the overall US iTunes chart. Recorded with Jim Wirt (No Doubt, Jacks Mannequin) and mixed by Zack Odom & Kenneth Mount (All Time Low, Jimmy Eat World), backed up with full US headline tour & appearance at Bamboozle Festival.
• LAB enjoys fantastic distribution across the globe; with distribution from ShellShock in the United Kingdom, Sonic in the Netherlands & select distribution from ADA / EastWest in the United States.
• LAB’s artists also enjoy success in mainland Europe - UK pop-rock act Mimi Soya regularly headline shows in 700-1000 capacity rooms in Holland and further afeld, whilst over in the UK, The Auteur have appeared at major festivals including T In The Park, Download, Great Escape & Underage Festival.
• LAB’s online store has received orders from six continents & over forty different countries.
• All LAB releases can be picked up from major digital distributors (iTunes, Amazon MP3 eMusic & more), as well as streamed on the likes of Spotify, Rhapsody & Napster.
• Since the inception of the label, LAB has consecutively doubled profts year-on-year, with 15,000 records sold to date in 2010.

LAB IN PRESS
• LAB’s eclectic roster means that our artists receive a diverse mix of print press, from the likes of Kerrang, NME & Rock Sound to the likes of Mizz, Look & Front.
• LAB’s roster receives generous amounts of radio play; Manchester indie-pop quartet Pegasus Bridge became the label’s frst regular Radio 1 band, enjoying spins from the likes of Zane Lowe, Huw Stephens, Vernon Kaye & Lauren Laverne.
• LAB artists videos enjoy regular rotation across all major alternative music channels, most notably Not Advised’s ‘The World’s Not Ready’, Just Surrender’s ‘On My Own’ & ‘An Ink Blot In A Blood Clot’ by Blitz Kids.

LAB ONLINE
• LAB’s offcial YouTube channel has over 60,000 views, whilst across the rest of our social media portfolio we can reach over 2500 followers on Twitter, 3000 fans on Facebook, as well as being able in regular correspondence with our 2,000 address-strong mailing list.
• Across the roster, we boast 25,000,000 MySpace plays, 1,000,000 views on YouTube, in excess of 20,000 Twitter followers, and over 32000 fans on Facebook.

BRANCHING OUT
In 2009 LAB extended the brand to incorporate two emerging companies:
• LAB Apparel launched early in the year with a stylish yet understated range of couture, designed to appeal to upmarket high-street shoppers in the alternative scene.
• LAB Design was formed towards the end of the year by our in-house artwork team, leading the way for inspirational art & branding, and beginning to take business from outside of the roster. As we enter a new decade, the brand takes on new meaning and purpose as the role of the record label changes dramatically.

Watch this space. info@labrecs.com www.labrecs.com
Offce: +44 (0)161 4088 09 Mobile: +44 (0)775 2298 159
LAB Records Ltd, LAB HQ, 48 MM2, Pickford Street, Ancoats, Manchester


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