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Mostrando las entradas con la etiqueta música. Mostrar todas las entradas
Mostrando las entradas con la etiqueta música. Mostrar todas las entradas
El problema está definido. ¿Soluciones?
Labels:
mercadeo,
música,
puerto rico,
pulsorock,
punk rock,
rants
1 observations
El problema está definido. ¿Soluciones?
Gracias al foro de pulsorock, se ha generado una interesante discusión sobre el ensayo que escribí sobre el problema del rock en Puerto Rico. Es bueno que la discusión se haya generado y que muchos de tanto los sospechosos usuales como otros usuarios aporten al tema. Alguien me preguntó si esto significa si realmente me importa o me interesa la situación en particular.
A pesar de mis altas tendencias misantrópicas, me importa el hecho de que exista una escena activa de rock/electrónica en Puerto Rico. Yo he sido testigo de que aquí hay muchas bandas tan buenas o hasta mejores que muchas del exterior. Ahora, la cuestión es ver cómo estas bandas progresan del estado inicial y logran salir y darse a conocer.
¿Soluciones? En estos momentos en que la 'industria musical' pasar por la tan llamada 'crisis', que no es otra cosa que la gente ahora tiene más alternativas que someterse a un modelo artístico y económico obsoleto que básicamente explota al creador de contenido de la peor manera posible y al público exigiendo precios ridículos por su producto, la autogestión es algo vital. Sí. Vale la pena repetirlo. No es nada nuevo. Casas y sellos independientes siempre han existido. La cuestión es
que ahora, a pesar de que algunos quieren convertir esto en otro término de mercadeo que perderá su significado y desvirtuará su propósito original, el ser independiente no sólo es vital, sino pone a la banda/artista en mayor control de su catálogo.
Claro, todo ésto conlleva una responsabilidad, sacrificio y un compromiso mayor de parte de la banda/artista, pero a la larga rinde dividendos en términos de dónde, cómo, cuando y con quien el artista decide mover su producto.
Las disqueras o los medios grandes cada vez se vuelven más obsoletos, más lentos, más irrelevantes. Muchos argumentan que para lo único que éstas sirven son para medios de distribución y promoción de los medios. Actualmente yo ni podría estar de
acuerdo con esto. Conocemos demasiadas historias de horror de gente que firma con disqueras grandes con esas mismas promesas y una vez el contrato está firmado, los masters y los derechos de las canciones están en manos de la disquera grande, suceden cosas como por ejemplo, que por alguna reestructuración o alguna excusa similar el artista no recibe la tan prometida promoción y distribución de su producto. O se hace a medias. Y el artista se queda con el disco en el aire o simplemente no se mueve.
También está la famosa caza del público. O sea, como dije anteriormente y si no lo dije en el ensayo anterior lo digo ahora, muchos músicos lo quieren todo en bandeja de plata y tienen expectativas irreales de lo que sucede en éste negocio. O sea, tú no esperes que el local se llene si no promueves tu presentación como debe ser. El Internet no es todo en la vida. También es bueno repartir hojas sueltas, invitar amistades, usar todos los medios a tu alcance para moverte. Si tanto les interesa mover público, siempre es bueno tener a gente que le gusta tu música y reclutarlos como tu "street team". Gente que te ayude a mover y promover la banda.
Bueno, total a la hora de la verdad y a la postre, si tú quieres en realidad apelar a la masa, por lo menos a menos de que toques baladitas con guitarra distorcionada y/o el ritmo que esté de moda en el momento, no apelas a la masa aquí en Puerto Rico. Si en verdad quieres apelar a las masas y ser toda una "estrella", apela al más bajo denominador común. De lo contrario, la batalla por tratar de llegar a las masas es cuesta arriba. No es imposible, pero se requiere de más esfuerzo y sacrificio.
Gracias al foro de pulsorock, se ha generado una interesante discusión sobre el ensayo que escribí sobre el problema del rock en Puerto Rico. Es bueno que la discusión se haya generado y que muchos de tanto los sospechosos usuales como otros usuarios aporten al tema. Alguien me preguntó si esto significa si realmente me importa o me interesa la situación en particular.
A pesar de mis altas tendencias misantrópicas, me importa el hecho de que exista una escena activa de rock/electrónica en Puerto Rico. Yo he sido testigo de que aquí hay muchas bandas tan buenas o hasta mejores que muchas del exterior. Ahora, la cuestión es ver cómo estas bandas progresan del estado inicial y logran salir y darse a conocer.
¿Soluciones? En estos momentos en que la 'industria musical' pasar por la tan llamada 'crisis', que no es otra cosa que la gente ahora tiene más alternativas que someterse a un modelo artístico y económico obsoleto que básicamente explota al creador de contenido de la peor manera posible y al público exigiendo precios ridículos por su producto, la autogestión es algo vital. Sí. Vale la pena repetirlo. No es nada nuevo. Casas y sellos independientes siempre han existido. La cuestión es
que ahora, a pesar de que algunos quieren convertir esto en otro término de mercadeo que perderá su significado y desvirtuará su propósito original, el ser independiente no sólo es vital, sino pone a la banda/artista en mayor control de su catálogo.
Claro, todo ésto conlleva una responsabilidad, sacrificio y un compromiso mayor de parte de la banda/artista, pero a la larga rinde dividendos en términos de dónde, cómo, cuando y con quien el artista decide mover su producto.
Las disqueras o los medios grandes cada vez se vuelven más obsoletos, más lentos, más irrelevantes. Muchos argumentan que para lo único que éstas sirven son para medios de distribución y promoción de los medios. Actualmente yo ni podría estar de
acuerdo con esto. Conocemos demasiadas historias de horror de gente que firma con disqueras grandes con esas mismas promesas y una vez el contrato está firmado, los masters y los derechos de las canciones están en manos de la disquera grande, suceden cosas como por ejemplo, que por alguna reestructuración o alguna excusa similar el artista no recibe la tan prometida promoción y distribución de su producto. O se hace a medias. Y el artista se queda con el disco en el aire o simplemente no se mueve.
También está la famosa caza del público. O sea, como dije anteriormente y si no lo dije en el ensayo anterior lo digo ahora, muchos músicos lo quieren todo en bandeja de plata y tienen expectativas irreales de lo que sucede en éste negocio. O sea, tú no esperes que el local se llene si no promueves tu presentación como debe ser. El Internet no es todo en la vida. También es bueno repartir hojas sueltas, invitar amistades, usar todos los medios a tu alcance para moverte. Si tanto les interesa mover público, siempre es bueno tener a gente que le gusta tu música y reclutarlos como tu "street team". Gente que te ayude a mover y promover la banda.
Bueno, total a la hora de la verdad y a la postre, si tú quieres en realidad apelar a la masa, por lo menos a menos de que toques baladitas con guitarra distorcionada y/o el ritmo que esté de moda en el momento, no apelas a la masa aquí en Puerto Rico. Si en verdad quieres apelar a las masas y ser toda una "estrella", apela al más bajo denominador común. De lo contrario, la batalla por tratar de llegar a las masas es cuesta arriba. No es imposible, pero se requiere de más esfuerzo y sacrificio.
Similar EP gratis disponible
Labels:
Ariel Hernández Domenech,
Daniel Vicente,
mp3,
música,
puerto rico,
rock,
Similar
0
observations
Daniel Vicente y Ariel Hernández Domenech (Noisex Records, Introdujos, Alfalfa y Los Kretinos, AHD) han sacado un tremendo EP de 5 temas y se llaman Similar. A los que gustan del rock ruidoso en la vena de Sonic Youth, Ultra Vivid Scene y guitarroristas de la misma calaña, estarán de plácemes. Cinco temas de un debut de una banda que promete mucho. Espero verlos en vivo pronto y escuchar más material de ellos.Recomendado. Pueden bajar el ep dejando su dirección de correo electrónico por aquí.
El Problema del Rock en Puerto Rico, Parte 665.5869
Labels:
conciertos,
Frecuencias Alternas,
música,
presentaciones,
pulsorock,
rants,
rock
2
observations
Aquí no pasa nada
El problema del rock en Puerto Rico, parte 666.5986
José E. Román
¿Qué nos pasa Puerto Rico? O sea, en este caso no pregunto sobre la existencia o no de valores en nuestra isla. El punto es nulo a esta alturas. Basta con ver las cifras de delitos diarias. Y eso que éstas son alegadamente manipuladas por aquellos responsables de mantenerlas para crear la apariencia de que todo está bien. El punto de esta longaniza no es ése.
Me refiero a una de las quejas constantes en Puerto Rico. "Aquí no pasa nada". "Aquí no traen buenos conciertos". "Aquí los conciertos son caros". Blah, blah, blah, etcétera ad nauseum. Hay varios problemas, o como dirían los maestros del doublespeak que harían a Orwell temblar del miedo, existen varios "retos". ¿O excusas?
Quiero establecer que por rock en este ensayo, incluyo el rock en todos sus variantes y la música electrónica también, que son los géneros en los que me he envuelto. Bueno aquí les va.
1. Somos una isla caribeña. Analizen esa frasesita de cuatro palabras con todas las connotaciones que ésto implica. Logísticamente hablando sale más caro traer a bandas del extranjero aquí. Pasajes, estadía, equipo, etcétera. Añádanle a eso los costos de correr una producción, alquiler de local, licencia de promotor, promoción, etcétera y esa es la justificación de los productores locales para clavarnos a la hora de pagar una taquilla en una presentación. Claro, ellos tienen perfecto derecho a lucrarse, no son una caridad y tienen perfecto derecho de poner el precio que ellos crean para ir al espectáculo.
Y como todo esto es una inversión con cierto riesgo, los productores obviamente van a traer a grupos que hayan pegado aquí y les garanticen una entrada de dinero. Por eso es que, para dar un ejemplo, vemos a Los Enanitos Verdes o a Air Supply 17 mil veces al año o en el Día de San Valentín, lo primero que llegue. Añadan a esto el hecho de que al vivir en una isla caribeña, la gente le encanta la rumba, la sandunga y todos esos lindos ritmos afrocaribeños que son parte del DNA cultural y tradicional en nuestra isla. Ergo, algo como el rock, la electrónica, etcétera, es algo extraño para la mayoría del público.
2. El rockero promedio en Puerto Rico es un "quedao". Admitirlo es el primer paso. Aquí los medios y los productores se han encargado de apelar a cierta demográfica y mentalidad específica a la hora de presentar espectáculos. Claro que hay que hacerlos rentables y que atraigan a un público masivo, esto es un negocio, pero tal parece que los equipos de producción de muchos de los promotores locales se han quedado en esta dimensión desconocida musical que se quedó entre los 70 hasta vagamente a principio de los 90 y de ahí no salen en la gran mayoría de las veces. Bueno, a veces salen (ver número tres) con resultados mixtos. Pero una vez logran su objetivo traen a la misma gente ad nauseaum per secula seculorum. Al escuchar lo mismo, lo mismo, lo mismo, la cosa no se mueve, ni progresa.
3. El rockero promedio en Puerto Rico no auspicia y no es un mercado rentable. Gente que ni siquiera paga de tres a cinco dólares para ver una presentación de bandas locales a la que ellos van a ir. O sea, no estamos hablando de gente que no vaya a la presentación ni de gente que de casualidad llegan al local y se encuentran que hay bandas esa noche. Son gente que prefieren gastar mucho dinero en su sustancia favorita de su predilección, legal o ilegal, que pagar 3 o 5 trapos de dólares a bandas que ellos supuestamente van a ver. O simplemente van a ir por el fichureo. Irónicamente muchas de estas criaturitas pagan de 10 a 20 veces el precio de esos espectáculos para ver unas "estrellas de rawk" de afuera que traen aquí por lo menos 10 o 15 años después del cénit de sus carreras. Los locales no van a permitir que toquen bandas si el público que viene a verlas no consume y lo que hace es traerle problemas al local cuando se forma alguna peleita pendeja adentro.
4. No hay una comunidad de música como tal. Sí hay páginas de bandas, de disqueras, etcétera, pero todavía no hay un comunidad cibernética ni fuera de ésta, donde se pueda intercambiar, ver o hablar de música. Se han creado algunas iniciativas como la gente de Discos de Hoy, que su mercado de pulgas era lo más cerca a esto fuera de la red. Páginas como pulsorock.com y frecuenciasalternas.com están en polos opuestos de la cosa.
Pulsorock tiene un número grande de usuarios, pero excepto con enterarte de shows, no hay mucha interacción en sus foros en cuanto a discusión seria de música se refiere. Y la cosa en Pulsorock usualmente es más interesantes con cosas que nada tienen que ver con la música. Primero aclaro que ya no soy parte de Frecuencias Alternas, así que creo que podría más o menos objetivamente comentar sobre eso. Buen show de radio, buena producción. En el portal de Internet presentan artículos y discusión de música, pero falta interacción por parte de la comunidad. O por lo menos no hay mucha presencia comunitaria en el proyecto cibernético todavía. Claro, para ser justos hay que indicar que esta versión cibernética de FA recién acaba de darse un reboot mientras que pulsorock, en alguna forma u otra, ha estado desde 1996. Hace tiempo que no visito prhc.org a ver si todavía siguen activos. La última vez que visité la comunidad estaba bastante activa en cuanto a participación y discusión de música, pero por el mismo nombre, se limita al punk, hardcore y sus vertientes. Si todavía están activos, saludos.
5. Muy pocos medios donde se pueda mover la cosa. Alfa Rock, Radio Universidad y The Buzz son estaciones que incluyen bandas locales en su programación. Hay presencia en MySpace, en blogs y páginas de Internet de las propias bandas, además de los foros mencionados. El rock en Puerto Rico, por lo menos el que no son baladitas pop con guitarras levemente distorcionadas, sigue siendo algo subterráneo que se transmite o por Internet o por el muy mentado "word of mouth". Y es lo que lo mantiene vivo por acá.
6. Falta de movimiento por parte de las bandas. O sea, muchas bandas todavía tienen esta mentalidad de juntarse, tocar, tocar y tocar y esperar que el ejecutivo de la multinacional baje del cielo con el mejor contrato del mundo para firmarlos y convertirlos en superestrellas. A menos de que tu objetivo en la vida es hacer una bandita con tus panas, montar par de covers y una que otra original y joder, que es razonable, válido y simple, tener una banda requiere tiempo, esfuerzo, sacrificio y dinero. Es algo cuesta arriba, pero posible. Hay bandas y artistas que tienen grados postdoctorales en autogestión y que han logrado hacer lo que muchos de los aspirantes a estrellas de rawk quisieran hacer. Producciones, giras, presentaciones, sus propios estudios de ensayo y grabación, etcétera. Ahora, como ellos mismos te dirían, no es nada fácil.
Sé que describir el problema del rock en Puerto Rico en seis razones principales parecerá simplista, pero para mí esas son las razones principales de porqué estamos más atrás que las bolas del perro. Preguntas, problemas, dilemas, abajo por favor.
El problema del rock en Puerto Rico, parte 666.5986
José E. Román
¿Qué nos pasa Puerto Rico? O sea, en este caso no pregunto sobre la existencia o no de valores en nuestra isla. El punto es nulo a esta alturas. Basta con ver las cifras de delitos diarias. Y eso que éstas son alegadamente manipuladas por aquellos responsables de mantenerlas para crear la apariencia de que todo está bien. El punto de esta longaniza no es ése.
Me refiero a una de las quejas constantes en Puerto Rico. "Aquí no pasa nada". "Aquí no traen buenos conciertos". "Aquí los conciertos son caros". Blah, blah, blah, etcétera ad nauseum. Hay varios problemas, o como dirían los maestros del doublespeak que harían a Orwell temblar del miedo, existen varios "retos". ¿O excusas?
Quiero establecer que por rock en este ensayo, incluyo el rock en todos sus variantes y la música electrónica también, que son los géneros en los que me he envuelto. Bueno aquí les va.
1. Somos una isla caribeña. Analizen esa frasesita de cuatro palabras con todas las connotaciones que ésto implica. Logísticamente hablando sale más caro traer a bandas del extranjero aquí. Pasajes, estadía, equipo, etcétera. Añádanle a eso los costos de correr una producción, alquiler de local, licencia de promotor, promoción, etcétera y esa es la justificación de los productores locales para clavarnos a la hora de pagar una taquilla en una presentación. Claro, ellos tienen perfecto derecho a lucrarse, no son una caridad y tienen perfecto derecho de poner el precio que ellos crean para ir al espectáculo.
Y como todo esto es una inversión con cierto riesgo, los productores obviamente van a traer a grupos que hayan pegado aquí y les garanticen una entrada de dinero. Por eso es que, para dar un ejemplo, vemos a Los Enanitos Verdes o a Air Supply 17 mil veces al año o en el Día de San Valentín, lo primero que llegue. Añadan a esto el hecho de que al vivir en una isla caribeña, la gente le encanta la rumba, la sandunga y todos esos lindos ritmos afrocaribeños que son parte del DNA cultural y tradicional en nuestra isla. Ergo, algo como el rock, la electrónica, etcétera, es algo extraño para la mayoría del público.
2. El rockero promedio en Puerto Rico es un "quedao". Admitirlo es el primer paso. Aquí los medios y los productores se han encargado de apelar a cierta demográfica y mentalidad específica a la hora de presentar espectáculos. Claro que hay que hacerlos rentables y que atraigan a un público masivo, esto es un negocio, pero tal parece que los equipos de producción de muchos de los promotores locales se han quedado en esta dimensión desconocida musical que se quedó entre los 70 hasta vagamente a principio de los 90 y de ahí no salen en la gran mayoría de las veces. Bueno, a veces salen (ver número tres) con resultados mixtos. Pero una vez logran su objetivo traen a la misma gente ad nauseaum per secula seculorum. Al escuchar lo mismo, lo mismo, lo mismo, la cosa no se mueve, ni progresa.
3. El rockero promedio en Puerto Rico no auspicia y no es un mercado rentable. Gente que ni siquiera paga de tres a cinco dólares para ver una presentación de bandas locales a la que ellos van a ir. O sea, no estamos hablando de gente que no vaya a la presentación ni de gente que de casualidad llegan al local y se encuentran que hay bandas esa noche. Son gente que prefieren gastar mucho dinero en su sustancia favorita de su predilección, legal o ilegal, que pagar 3 o 5 trapos de dólares a bandas que ellos supuestamente van a ver. O simplemente van a ir por el fichureo. Irónicamente muchas de estas criaturitas pagan de 10 a 20 veces el precio de esos espectáculos para ver unas "estrellas de rawk" de afuera que traen aquí por lo menos 10 o 15 años después del cénit de sus carreras. Los locales no van a permitir que toquen bandas si el público que viene a verlas no consume y lo que hace es traerle problemas al local cuando se forma alguna peleita pendeja adentro.
4. No hay una comunidad de música como tal. Sí hay páginas de bandas, de disqueras, etcétera, pero todavía no hay un comunidad cibernética ni fuera de ésta, donde se pueda intercambiar, ver o hablar de música. Se han creado algunas iniciativas como la gente de Discos de Hoy, que su mercado de pulgas era lo más cerca a esto fuera de la red. Páginas como pulsorock.com y frecuenciasalternas.com están en polos opuestos de la cosa.
Pulsorock tiene un número grande de usuarios, pero excepto con enterarte de shows, no hay mucha interacción en sus foros en cuanto a discusión seria de música se refiere. Y la cosa en Pulsorock usualmente es más interesantes con cosas que nada tienen que ver con la música. Primero aclaro que ya no soy parte de Frecuencias Alternas, así que creo que podría más o menos objetivamente comentar sobre eso. Buen show de radio, buena producción. En el portal de Internet presentan artículos y discusión de música, pero falta interacción por parte de la comunidad. O por lo menos no hay mucha presencia comunitaria en el proyecto cibernético todavía. Claro, para ser justos hay que indicar que esta versión cibernética de FA recién acaba de darse un reboot mientras que pulsorock, en alguna forma u otra, ha estado desde 1996. Hace tiempo que no visito prhc.org a ver si todavía siguen activos. La última vez que visité la comunidad estaba bastante activa en cuanto a participación y discusión de música, pero por el mismo nombre, se limita al punk, hardcore y sus vertientes. Si todavía están activos, saludos.
5. Muy pocos medios donde se pueda mover la cosa. Alfa Rock, Radio Universidad y The Buzz son estaciones que incluyen bandas locales en su programación. Hay presencia en MySpace, en blogs y páginas de Internet de las propias bandas, además de los foros mencionados. El rock en Puerto Rico, por lo menos el que no son baladitas pop con guitarras levemente distorcionadas, sigue siendo algo subterráneo que se transmite o por Internet o por el muy mentado "word of mouth". Y es lo que lo mantiene vivo por acá.
6. Falta de movimiento por parte de las bandas. O sea, muchas bandas todavía tienen esta mentalidad de juntarse, tocar, tocar y tocar y esperar que el ejecutivo de la multinacional baje del cielo con el mejor contrato del mundo para firmarlos y convertirlos en superestrellas. A menos de que tu objetivo en la vida es hacer una bandita con tus panas, montar par de covers y una que otra original y joder, que es razonable, válido y simple, tener una banda requiere tiempo, esfuerzo, sacrificio y dinero. Es algo cuesta arriba, pero posible. Hay bandas y artistas que tienen grados postdoctorales en autogestión y que han logrado hacer lo que muchos de los aspirantes a estrellas de rawk quisieran hacer. Producciones, giras, presentaciones, sus propios estudios de ensayo y grabación, etcétera. Ahora, como ellos mismos te dirían, no es nada fácil.
Sé que describir el problema del rock en Puerto Rico en seis razones principales parecerá simplista, pero para mí esas son las razones principales de porqué estamos más atrás que las bolas del perro. Preguntas, problemas, dilemas, abajo por favor.
Pronto en rojoynegro.org re-ediciones de Macroporno
Labels:
macroporno,
music,
música,
myspace,
pneuma,
psiconautas,
rojoynegro
0
observations
Acabo de hablar con Raymond 8-bit de Psiconautas por telefono y pronto por rojoynegro tendremos el placer de tener el material de su proyecto electrónico que tiene con Jammar Jackson y Bernice (Pneuma) Macroporno en nuestro róster. Me alegra mucho el contribuir en que los muchachos tengan sus cosas documentadas a través de rojoynegro. Más detalles pronto.
Mas re-issues de bandas locales GRATIS!
Labels:
archive.org,
mp3,
music,
música,
rapidshare,
technology,
tecnología
0
observations
Estamos sacando de nuevo diferentes producciones que ya no estan disponibles a traves de Archive.org y Rapidshare. Y nos place anunciar que Noisex records tambien se nos unen a esta iniciativa.
Necronazis/Un Final Fatal - El Ultimo Cigarrillo split CD en Archive.org y en Rapidshare.
Introdujos/Juventud Crasa split en Archive.org y en Rapidshare.
Introdujos - Raro y Descontrolado (Rarezas y Temas en directo) en Archive.org (en Rapidshare pronto)
Introdujos - Milimetros en Archive.org (en Rapidshare pronto).
Necronazis/Un Final Fatal - El Ultimo Cigarrillo split CD en Archive.org y en Rapidshare.
Introdujos/Juventud Crasa split en Archive.org y en Rapidshare.
Introdujos - Raro y Descontrolado (Rarezas y Temas en directo) en Archive.org (en Rapidshare pronto)
Introdujos - Milimetros en Archive.org (en Rapidshare pronto).
Por aquello de que se supone que ESCRIBA ALGO..........
Labels:
escritos,
Frecuencias Alternas,
mp3,
música,
rants
0
observations
Mis crimenes escritos para el blog de Frecuencias Alternas.
Música Local Gratis
El Manual de la Perfecta Cabrona(da): Más Música Local Para Tu Disfrute
Esto no es un regreso: Tavú en Taller Cé 04-19-2008 - La fanaticada de Repressed Dreams AMA este post. Chequéense los comentarios.
Yo <3 a Suturee.
Insultos, comentarios, amenazas y propuestas deshonestas son más que bienvenidas.
Música Local Gratis
El Manual de la Perfecta Cabrona(da): Más Música Local Para Tu Disfrute
Esto no es un regreso: Tavú en Taller Cé 04-19-2008 - La fanaticada de Repressed Dreams AMA este post. Chequéense los comentarios.
Yo <3 a Suturee.
Insultos, comentarios, amenazas y propuestas deshonestas son más que bienvenidas.
El Manual De La Perfecta Cabrona(da): Mas Musica Local Gratis Para Su Disfrute
Labels:
archive.org,
discos de hoy,
mp3,
música,
rapidshare,
re-issues,
tecnología,
tropiezo
0
observations
Bueno y nuestro querido Josu de Discos de Hoy decidió que además de la recopilación de bandas locales que está diseminando gratis por ahí, iba a desenterrar o repartir gratis el último trabajo de su banda Tropiezo titulado El Manual de La Perfecta Cabrona. El CD original ya no está entre nosotros los mortales pero si eres uno de los que no lo pudo conseguir la primera vez, lo puedes descargar gratis en gloriosos sonidos estereofónicos encapsulados en lindos mp3's de 320kbits o en Ogg Vorbis por aquí.
También puedes acceder la recopilación de bandas locales por aquí. Todo esto surgió de una sugerencia que hizo el Sr. José Olivares de Balún para poder difundir el material más allá de Rapidshare. Me tomé la iniciativa de preguntarle a Josu si quería subir los archivos al Archivo de la Internet y una vez accedió, subí el material para el disfrute de grandes, chicos, padres, abuelos, dulces y golosinas.
Posdata: Si gustan de bajarlo en Rapidshare, aquí lo tienen.
También puedes acceder la recopilación de bandas locales por aquí. Todo esto surgió de una sugerencia que hizo el Sr. José Olivares de Balún para poder difundir el material más allá de Rapidshare. Me tomé la iniciativa de preguntarle a Josu si quería subir los archivos al Archivo de la Internet y una vez accedió, subí el material para el disfrute de grandes, chicos, padres, abuelos, dulces y golosinas.
Posdata: Si gustan de bajarlo en Rapidshare, aquí lo tienen.
Fin de Semana BIEEEEEEEEEEN ROCKEEEEEEEEROOOOOOO
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Viernes - Rush en el Choliseo. Arena. Gratis. Tarima, Sonido y Presentacion, Priceless!
Sabado - Shatizar y Mind Of The Dodecahedron o HOW NOT TO DO A SHOW IN TALLER CE PARTE 555. Las bandas montando tarde, empezando tarde y despues se uejan si le cortan el set. $5 perdidos. Total, local vacio por las justas.
Domingo - Catan~o Distrito Cultural - Los Nervios, La Tarde, Polidesto y Mima frente al mar en Catan~o junto con los panas. Gratis and lovely.
Sabado - Shatizar y Mind Of The Dodecahedron o HOW NOT TO DO A SHOW IN TALLER CE PARTE 555. Las bandas montando tarde, empezando tarde y despues se uejan si le cortan el set. $5 perdidos. Total, local vacio por las justas.
Domingo - Catan~o Distrito Cultural - Los Nervios, La Tarde, Polidesto y Mima frente al mar en Catan~o junto con los panas. Gratis and lovely.
Vengo Con Varios Regalitos
Puerto Rico hc-ska-rock-punk sampler gratis 2008 666
bueno se esta enviando a la fabrica el CD sampler que llevo un tiempito tratando de sacar.. muchas gracias a las bandas que me hicieron caso yo lo anuncie a todo el mundo pero las que me respondieron y le dieron seguimiento pues aqui estan..... este disco va a ser para regalar 100% en especial a la gente que no conozca de la escena de PR tanto dentro com o fuera de la isla.... por eso muchas canciones ya ustedes las conocen no es una novedad.
De todas formas el que lo quiera le puedo enviar por e-mail los 26 tracks, se lo quema en un CD y se lo puede pasar al que quiera que es la idea.
asi que dejenme sus emails o envienme uno a discosdehoy@yahoo.com
track list:
1. Oberdebaigot- El anti yo
2. La Experiencia de Toñito Cabanilla$$$- We fuck you spics
3. Psycho Tales- Nube de ensueño
4. Diente Perro- Muerte en patineta
5. Teodoro & Los Neandertales- Goldo y pesao
6. Golpe Justo- Rehen de la violencia
7. Un Final Fatal- Un sitio oscuro
8. Los Espectros- No me llames Jesucristo
9. Hay Silencio- Cualquier Hado
10. Ron Calavera- La muerte y resurrección del ninja yaucano... una noche a la mejicana
11. Reacción Despierta- Maldita incertidumbre
12. Cojoba- Rienda suelta
13. Lopodrido- Estamos todos sin estar
14. Napolnariz- Somos héroes
15. La Virgen del Pozo- El regalo de la furia
16. Necronazis- Zarathustra por siempre
17. Calimotxo- Invisible
18. Dávila 666- En la ciudad
19. Juventud Crasa- Borracho en el cairo
20. La Santa Inquisición- Bajo el mismo brazo
21. Abismo Nuclear- Kathie Lee inc.
22. Tropiezo- Armas de distracción masiva
23. Vic Vega & the Caligaris- Estaba muerta
24. La Bella & las Bestias- Un venenito
25. Jenny Fatale y los Degolladores- Klonopina
26. Sin Oficio- Destrucción social
Pero Josu es tan cool que me envio los tracks y me dio permiso para subir esta recopilacion a Rapidshare. Asi es que disfruten de Puerto Rico hc-ska-rock-punk sampler gratis 2008 666
De una vez que estamos regalando cosas, pueden aprovechar y bajar lo siguiente:
Descojon Urbano - 1991 - 1994 Parte 1 Parte 2
Hijos de Cain - Cristales Rotos Parte 1 Parte 2
Descojon Urbano - Live At Ruse De Guerre, Longbranch Aguadilla 1996
Musica Casual EP
bueno se esta enviando a la fabrica el CD sampler que llevo un tiempito tratando de sacar.. muchas gracias a las bandas que me hicieron caso yo lo anuncie a todo el mundo pero las que me respondieron y le dieron seguimiento pues aqui estan..... este disco va a ser para regalar 100% en especial a la gente que no conozca de la escena de PR tanto dentro com o fuera de la isla.... por eso muchas canciones ya ustedes las conocen no es una novedad.
De todas formas el que lo quiera le puedo enviar por e-mail los 26 tracks, se lo quema en un CD y se lo puede pasar al que quiera que es la idea.
asi que dejenme sus emails o envienme uno a discosdehoy@yahoo.com
track list:
1. Oberdebaigot- El anti yo
2. La Experiencia de Toñito Cabanilla$$$- We fuck you spics
3. Psycho Tales- Nube de ensueño
4. Diente Perro- Muerte en patineta
5. Teodoro & Los Neandertales- Goldo y pesao
6. Golpe Justo- Rehen de la violencia
7. Un Final Fatal- Un sitio oscuro
8. Los Espectros- No me llames Jesucristo
9. Hay Silencio- Cualquier Hado
10. Ron Calavera- La muerte y resurrección del ninja yaucano... una noche a la mejicana
11. Reacción Despierta- Maldita incertidumbre
12. Cojoba- Rienda suelta
13. Lopodrido- Estamos todos sin estar
14. Napolnariz- Somos héroes
15. La Virgen del Pozo- El regalo de la furia
16. Necronazis- Zarathustra por siempre
17. Calimotxo- Invisible
18. Dávila 666- En la ciudad
19. Juventud Crasa- Borracho en el cairo
20. La Santa Inquisición- Bajo el mismo brazo
21. Abismo Nuclear- Kathie Lee inc.
22. Tropiezo- Armas de distracción masiva
23. Vic Vega & the Caligaris- Estaba muerta
24. La Bella & las Bestias- Un venenito
25. Jenny Fatale y los Degolladores- Klonopina
26. Sin Oficio- Destrucción social
Pero Josu es tan cool que me envio los tracks y me dio permiso para subir esta recopilacion a Rapidshare. Asi es que disfruten de Puerto Rico hc-ska-rock-punk sampler gratis 2008 666
De una vez que estamos regalando cosas, pueden aprovechar y bajar lo siguiente:
Descojon Urbano - 1991 - 1994 Parte 1 Parte 2
Hijos de Cain - Cristales Rotos Parte 1 Parte 2
Descojon Urbano - Live At Ruse De Guerre, Longbranch Aguadilla 1996
Musica Casual EP
Rush en PR!! Priceless!!!
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Cena en La Patisserie para 2 con propina: $40
4 birras en el Choliseo: $20
2 botellas de agua en el Choliseo $6
Obtener una taquilla para arena valorada en $155 gratis para ver como Rush pateo culos en el Mejor Show del 2008, so far : PRICELESS!
Sonido, Organizacion, Luces, Tarimas, Set List, INCREIBLE
4 birras en el Choliseo: $20
2 botellas de agua en el Choliseo $6
Obtener una taquilla para arena valorada en $155 gratis para ver como Rush pateo culos en el Mejor Show del 2008, so far : PRICELESS!
Sonido, Organizacion, Luces, Tarimas, Set List, INCREIBLE
She's Noboby's Baby Now
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Nick Cave - Nobody's Baby Now
I'll search the holy books
I'll try to unravel the mystery of Jesus Christ the Savior
I read the poets and the analysts
Searched through the books on human behavior
I've traveled this world round
For an answer that refused to be found
I don't know why, and i don't know how
But she's nobody's baby now..
I loved her then, and i guess i love her still
Hers is the face i see when a certain mood moves me
She lives in my blood and skin
Her wild feral stare, her dark hair
Her little lips, as cold as stone
Yeah, i was her man
But there are some things love won't allow
I held her hand, but i don't hold it now
I don't know why, and i don't know how
But she's nobody's baby now..
This is her dress, i loved best
With the blue quilted violets across the breast
And these are my many letters
Torn to peices by long-fingered hands
I was her cruel-hearted man
And though I try to lay her ghost down
But she's moving through me even now
I don't know why, and i don't know how
But she's nobody's baby now..
She's nobody's baby now
Nobody's baby now
I'll search the holy books
I'll try to unravel the mystery of Jesus Christ the Savior
I read the poets and the analysts
Searched through the books on human behavior
I've traveled this world round
For an answer that refused to be found
I don't know why, and i don't know how
But she's nobody's baby now..
I loved her then, and i guess i love her still
Hers is the face i see when a certain mood moves me
She lives in my blood and skin
Her wild feral stare, her dark hair
Her little lips, as cold as stone
Yeah, i was her man
But there are some things love won't allow
I held her hand, but i don't hold it now
I don't know why, and i don't know how
But she's nobody's baby now..
This is her dress, i loved best
With the blue quilted violets across the breast
And these are my many letters
Torn to peices by long-fingered hands
I was her cruel-hearted man
And though I try to lay her ghost down
But she's moving through me even now
I don't know why, and i don't know how
But she's nobody's baby now..
She's nobody's baby now
Nobody's baby now
Entremeses musicales cortesia de...
Labels:
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Talking Heads - Road To Nowhere
Well we know where were goin
But we dont know where weve been
And we know what were knowin
But we cant say what weve seen
And were not little children
And we know what we want
And the future is certain
Give us time to work it out
Were on a road to nowhere
Come on inside
Takin that ride to nowhere
Well take that ride
Im feelin okay this mornin
And you know,
Were on the road to paradise
Here we go, here we go
Chorus
Maybe you wonder where you are
I dont care
Here is where time is on our side
Take you there...take you there
Were on a road to nowhere
Were on a road to nowhere
Were on a road to nowhere
Theres a city in my mind
Come along and take that ride
And its all right, baby, its all right
And its very far away
But its growing day by day
And its all right, baby, its all right
They can tell you what to do
But theyll make a fool of you
And its all right, baby, its all right
Were on a road to nowhere
++++++
Cop Shoot Cop - Nowhere
Nobody can find you when you're nowhere
Living on the other side of hope
Nobody can hurt you when you don't care
Singing like you're swinging on a rope
Don't worry if you never have been happy
Disappointment is your only friend
It's not like there's nothing to believe in
Every movie's got to have an end
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
How long can you just go on pretending
To be yourself when you know that you're not?
Every movie's got have an ending
Even when there's not much of a plot
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
If your lover used to beat you with his anger (failure)
If your mother used to tie you to a rock
Observe your former life preserved in amber
Like someone pulled the power on the clock
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
Well we know where were goin
But we dont know where weve been
And we know what were knowin
But we cant say what weve seen
And were not little children
And we know what we want
And the future is certain
Give us time to work it out
Were on a road to nowhere
Come on inside
Takin that ride to nowhere
Well take that ride
Im feelin okay this mornin
And you know,
Were on the road to paradise
Here we go, here we go
Chorus
Maybe you wonder where you are
I dont care
Here is where time is on our side
Take you there...take you there
Were on a road to nowhere
Were on a road to nowhere
Were on a road to nowhere
Theres a city in my mind
Come along and take that ride
And its all right, baby, its all right
And its very far away
But its growing day by day
And its all right, baby, its all right
They can tell you what to do
But theyll make a fool of you
And its all right, baby, its all right
Were on a road to nowhere
++++++
Cop Shoot Cop - Nowhere
Nobody can find you when you're nowhere
Living on the other side of hope
Nobody can hurt you when you don't care
Singing like you're swinging on a rope
Don't worry if you never have been happy
Disappointment is your only friend
It's not like there's nothing to believe in
Every movie's got to have an end
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
How long can you just go on pretending
To be yourself when you know that you're not?
Every movie's got have an ending
Even when there's not much of a plot
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
If your lover used to beat you with his anger (failure)
If your mother used to tie you to a rock
Observe your former life preserved in amber
Like someone pulled the power on the clock
What are you waiting for?
Let's get out of here
When you've got nothing
You've got nothing left to fear
(Yeah, hey) Going nowhere...
48 horas despues o como sobrevivi a Iron Maiden y vivi para contarlo
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Hace dos dias vi uno de los mejores conciertos que he presenciado en Puerto Rico. A pesar del calor insoportable que por poco me causa un patatu y el sonido que se oia a veces fatal. Le echo la culpa de esto al ingeniero de sonido porque mis panas que estaban en arena lo escuchaban todo de lo mas bien. Yo estaba a la izquierda en la seccion 114 abajo. Asientos buenos para ver toda la accion. Especialmente para Lightshadow que es mas bajita y eso.
Anyway llegammos cuando el acto de apertura, la banda de la hija de Steve Harris (bajista de los Irons), terminaba. No nos perdimos de mucho. Algo generico. Creo que aptos para los amantes de cosas como Si Sen~or o La Uva. Y si, la cantante esta buena.
Anyway, poco despues los Irons empezaron su asalto sonico con el discurso de Churchill y de ahi en adelante demostraron porque esta banda es una de las mejores banda del heavy metal y porque la gente los considera como una de las mejores bandas para ver en directo. Bruce Dickinson estaba energico y manteniendo la cosa viva con sus cambios de disfraces en temas como The Trooper, Rime Of The Ancient Mariner, The Huntsman entre otros. La seleccion de temas impecable.
Yo si moria ahi del calor moria feliz. Two Minutes To Midnight en la segunda cancion, luego en el set The Trooper y Run To The Hills. Janick Gers estaba payaseando y brincando. Steve Harris tocaba ese bajo y hacia coros como su vida dependiera de ello. Dave Murray y Adrian Smith intercambiando sus solos y apenas se movian. Y Nicko en la bateria hecho todo un animal. Estos viejitos le estaban dando catedra de como tocar en vivo a todos los presentes.
Las luces y la escenografia muy bien realizadas y an~adian a la atmosfera. Dickinson se curo halagando, arengando e insultados a todos por igual. A los que tocaban fotos, a MTV y a los de seguridad se llevaron varios insultos de los buenos. Y tambien velaba de que todos estuvieran disfrutando del espectaculo. Fue bueno verlo con LS, que no brincaba ni gozaba tanto desde que vimos a Guns N Roses, digo al Axl Rose Tribute Band.
Lo unico que me arrepiento es el no haber llegado temprano para joder con nuestras amistades, pero asi es la vida del trabajador. Luego de salir casi muerto de ahi, comer y beber algo, pude terminar el trabajo que estaba haciendo para poder dormir como a las 4 AM. Y bueno, heme aqui a las 3AM posteado todo esto.
Viene Rush y me los perdere por falta de plata. Oh well.
Anyway llegammos cuando el acto de apertura, la banda de la hija de Steve Harris (bajista de los Irons), terminaba. No nos perdimos de mucho. Algo generico. Creo que aptos para los amantes de cosas como Si Sen~or o La Uva. Y si, la cantante esta buena.
Anyway, poco despues los Irons empezaron su asalto sonico con el discurso de Churchill y de ahi en adelante demostraron porque esta banda es una de las mejores banda del heavy metal y porque la gente los considera como una de las mejores bandas para ver en directo. Bruce Dickinson estaba energico y manteniendo la cosa viva con sus cambios de disfraces en temas como The Trooper, Rime Of The Ancient Mariner, The Huntsman entre otros. La seleccion de temas impecable.
Yo si moria ahi del calor moria feliz. Two Minutes To Midnight en la segunda cancion, luego en el set The Trooper y Run To The Hills. Janick Gers estaba payaseando y brincando. Steve Harris tocaba ese bajo y hacia coros como su vida dependiera de ello. Dave Murray y Adrian Smith intercambiando sus solos y apenas se movian. Y Nicko en la bateria hecho todo un animal. Estos viejitos le estaban dando catedra de como tocar en vivo a todos los presentes.
Las luces y la escenografia muy bien realizadas y an~adian a la atmosfera. Dickinson se curo halagando, arengando e insultados a todos por igual. A los que tocaban fotos, a MTV y a los de seguridad se llevaron varios insultos de los buenos. Y tambien velaba de que todos estuvieran disfrutando del espectaculo. Fue bueno verlo con LS, que no brincaba ni gozaba tanto desde que vimos a Guns N Roses, digo al Axl Rose Tribute Band.
Lo unico que me arrepiento es el no haber llegado temprano para joder con nuestras amistades, pero asi es la vida del trabajador. Luego de salir casi muerto de ahi, comer y beber algo, pude terminar el trabajo que estaba haciendo para poder dormir como a las 4 AM. Y bueno, heme aqui a las 3AM posteado todo esto.
Viene Rush y me los perdere por falta de plata. Oh well.
Music For The Masses? I Think Not! by Alan Wilder (Recoil ex Depeche Mode) - Side-line Magazine
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Un reprint de un excelente articulo por uno de los musicos mas innovadores de la escena electronica de los ultimos 20 an~os. Enjoy!
Editor's note: It was late January 2008 when we contacted Alan Wilder (ex-Depeche Mode) for an article on the shifting musicmarket and the position of the artist in this. The request came at the right time since Wilder had just announced that a limited enhanced single for 'Prey'/'Allelujah' would be released on February 25th, surprisingly not by the record label but by Russian fans. An interview quickly became an open letter from Alan Wilder...
We live in a world of technology - exponentially increasing breakthroughs in all things scientific. So fast that we can't even keep up with it. So why is it that the audio quality of music is degenerating? Music 'sounds' worse. We have stopped listening, we don't have time. We only have time to be smacked in the face by the loudest, most attention-grabbing blast of souped-up noise imaginable until ear fatigue sets in and the desire to 'change the record' takes over. Why are the adverts on TV twice the volume of the regular broadcasts?
It's the only way to get our attention in the VOLUME WAR.
In recent years, a revolution in processing technology has instigated a change in the way albums are mastered. In order to compete, A&R men, producers, even the artists are demanding that mastering engineers, via digital compression, crank up the level so high that all dynamic range is callously sacrificed.
(Compression essentially increases the volume of the quieter elements within a mix while holding steady the peaks of the louder parts)
The effect of excessive compression is to obscure sonic detail and rob music of its emotional power leaving listeners strangely unmoved. In fact, the ear naturally compresses high volume blasts to protect itself - this is why we associate compression with level. Our sophisticated human brains have evolved to pay particular attention to any loud noise, so initially, compressed sounds seem more exciting. It is short lived. After a few minutes, research shows, constant volume grows tiresome and fatiguing.
True excitement comes from variation in rhythm, tone, pitch and a wide range of dynamics which in turn provides space and warmth - something you're unlikely to find in much of today's rock/pop music. If you want a good example, listen to The Arctic Monkeys 'I Bet You Look Good on the Dance Floor' for a bombardment of the most unsubtle, one-dimensional noise.
The download spiral...
At the moment, MP3 compression allows a smaller file to be created by excluding the musical information that the human ear is less likely to notice. Much of the information left out is at the very high and low end (MP3s don't reproduce reverb well for similar transience reasons). So when the already squashed CD master is then consumed via MP3, the flattening effect is enhanced further. The result - an unsatisfying, brittle, indistinct, hollow experience with no punch.
Just as the CD replaced vinyl, we all know that MP3 and other digital formats are quickly replacing CDs as the most popular way to listen to music. This means more convenience but inferior sound (although that may improve over time). Even the audiophiles have moved on to multi-media - the iPod or iPhone being the 'must have' item of choice. Many have lost interest in high-end stereo systems while younger listeners have grown so used to dynamically compressed music that the battle has already been lost.
But this is not the whole story. We are seeing the ramifications of this subtle but significant listening shift for the record industry. You see, it's not just about audio quality. It is about craft, toil. It's about art...
Art for art's sake
Recoil / Alan WilderI am slightly out of the ordinary in that I am not a hugely 'successful' artist in terms of commercial sales and in that sense, I struggle to be heard just like millions of other musicians. However, because of my background in Depeche Mode, I am secure, which has meant (and continues to mean) that I don't have to tailor what I do to conform in any way. The market shift hasn't really affected me that much. It certainly doesn't change how I approach making music. It does reinforce my cynicism towards the injustice of so much good music lost in the mêlée of dross. But that is nothing new. The nature of mainstream radio hasn't improved in any way; magazines have minimal impact, television exposure is more limited than ever - notwithstanding MTV channels which have become more and more marginalised. In fact the best way to get your music heard is through a TV advertisement.
Leaving viability aside for a moment, I would like to see a return to high quality art, embracing all the wonders of technology and science, delivered at a price that reflects the time and effort the artist has put in. Call me old fashioned. Just as one would expect to pay for a hand-crafted piece of furniture or a designer dress or a beautifully printed photograph. Rather than pandering to mass media, why not also produce higher resolution audio - maybe on DVD since that's a format most people can engage with without having to buy new equipment? Combine this with lovingly produced artwork which, if a printed option is too expensive, can at least be downloaded.
Collectors items are becoming a way to escape the turmoil. It makes a lot of sense to subsidise the production of an expensive format for those who really appreciate quality and collectibility by allowing a wider audience to cough up a minimal amount for the fundamental elements.
Some have tried. For instance, Magne Furuholmen (A-ha) released and sold 300 copies of a special 10" vinyl picture disc with hand-painted original sleeves, accompanied by a CD containing all the songs, a poster and a documentary charting the creation of the artwork. The package sold at 100 Euros a piece. Afterwards, all songs were made available on-line for free via MySpace. Hats off to a bold approach which effectively encouraged each serious fan to also become a kind of personal investor.
The successful implementation of a DVD/art/film package such as this by a major company largely remains to be seen. No reason for it not to work as long as the label takes a pragmatic view about downloads - that they can only really act as a promotional tool rather than generating a sustainable source of income.
But really, coming up with a format is the least of the challenges - the difficulty as always is how to sell it.
Certainly trying to get any sort of coverage in the record stores ceased to be a viable option some time ago. The chains themselves are on their last legs (note the recent demise of the excellent 'Fopp' stores) or they are mutating into something different - focusing on games, merchandise, iPod accessories and so on. To ensure their own survival, with their 'no returns' policy, the record stores exert heavy pressure on the record companies by only agreeing to stock 'dead certs' - just the best selling artists, in order to avoid being left with excess stock.
As for marketing and promotion, I want the first listening experience of one of my records to be exactly as I intend it to be heard. For that reason, no longer will I be offering up advance copies for charlatans posing as journalists to sell on E-bay or upload to The Pirate Bay 3 months ahead of release. Considering the amount of advance promotion I get these days, it won't make a blind bit of difference to the sales performance.
Not that there aren't any positive sides to fan-shared files. Clearly, people in remote parts of the world - Siberia for example - can potentially be exposed to my music this way, albeit not, as yet, at optimum quality. It's not ideal but better than no opportunity to hear it at all. Even with CDs, in Russia, they are impossible to buy outside of the major cities which is why we get sharp, entrepreneurial fan sites buying up all the city's stock and selling it on to others outside for a small profit margin.
From Russia with love
Recoil / Alan WilderRecoil recently released an enhanced CD including a film and a special booklet. Let's take a look at the process. The 'Prey'/'Allelujah' package was brought about through fan pressure; by those that want a physical product - completists maybe, but also music lovers who prefer the audio and tactile quality of a CD over downloadable 'faceless' products. The tracks had already been available as downloads but it wasn't satisfying for many. The generation gap is showing.
Following a successful promo appearance in Moscow, a local DM/Recoil webmaster managed to persuade Gala Records (EMI's local label - Mute's partner) that it would be worthwhile to release this disc. They agreed - not without conditions mind you. So what was agreed?
Firstly, the promo trip was instigated by an Electro club manager. The club paid for and largely organised the visit. On the back of that, Gala arranged some radio, press and TV. The results were more than encouraging but despite this, the conditions of a release meant that: the fans had to pay for the manufacture of the disc, the fans had to implement pay structures and distribute the disc via their own website, other Recoil fans produced the artwork for a 28 page booklet that accompanied the disc, another fan produced and directed the 9 minute film that was included for 'Allelujah', the artist (me) produced the music in his own studio, the artist funds its own website along with a dedicated webmaster that works for free, the artist and the fans took care of the on-line marketing, promotion and sales support. All these services were provided as labours of love - no cost except for time and effort through sheer will to make it happen. Astounding. And it warms the cockles of my heart.
So what did the record company do, you ask? A good question. The record company organised the parts into a manufacturable product - this means making a production master from existing music mixes and cobbling together a two-page inlay with label copy from existing artwork. The local licensee added cyrillic legal jargon to the inlay and alerted some press and TV. Not much really is it?
Ok, this is not the norm and as such, slightly unfair. It was a kind of one-off experiment. Gala/Mute might argue - a favour. But it is most definitely the way things are going. Why won't they release the CD in the usual way? Because they don't believe the demand justifies the effort and manufacturing costs when the trend is for cheap or free downloadable music.
The Russian project was an interesting experiment but it could only expect limited success given the current view of that country and the customer mistrust that seemed to permeate the whole enterprise. It wasn't an ideal way to try to sell a product but that doesn't preclude the process itself becoming perfectly workable - as long as solid logistics are in place, making it simple and reliable for the customer.
(Note: despite the obvious hurdles, in fact we still managed to sell all the planned stock prior to release, such was the demand)
Pop will eat itself?
Recoil / Alan WilderSo why bother with a record deal at all? And that is what many artists are now asking themselves. Why wouldn't they when they are being told that their company just can't afford to spend any money? Or that the company wants a cut of the artist's live income to pay for marketing. This is why we see the mass exodus taking place, squeezing the already crippled record industry. The artists that find it easiest to walk away are those that are already highly successful, compounding the problem still further. Why? Because the likes of Radiohead and Prince can afford to give their music away as a cheap promotional gimmick in order to create publicity for their respective machines. They get noticed for doing so and benefit in other areas. So with everyone now expecting free music, all the other artists lose what little income they could expect from record sales, even though the love and money spent producing their product hasn't changed.
I've long since given up expecting to make a profit from what I do. And you might expect that I would be full of resentment and bitterness toward my own record company but that's not really it. Mute are victims in all this. The reality is that all the companies are suffering and are desperately clinging on by their fingernails trying to come up with solutions as the rug is pulled from beneath them.
In Mute's case, EMI have inflicted so many spending restrictions and are 're-shaping' and 'streamlining' with department 'centralisation' and the reduction of the artist roster. EMI big cheese Guy Hands describes his business as 'an unsustainable model' with a need to 'reduce waste'.... Garbage collection. Thinly veiled rhetoric meaning CUTBACKS! He talks of 'eliminating duplication and bureaucracy'. Bottom line: 2000 jobs have to go.
More worryingly, he also offers us the information that currently about 3% of the entire roster is profitable and that those that never will be profitable, no matter how the model is changed, can kiss their arses goodbye.
That is about as far away as you could ever get from what I understood as the Mute philosophy, where the profit from major selling acts is used to nurture all the other artists on the label. Art. A record company does not sell baked beans, it exposes art to the masses. An unquantifiable thing. Baked Beans - a quantifiable thing.
But is that philosophy realistic in these times? Clearly not if you're ruled by a private equity conglomerate. The Mute home (now part of the EMI building) is a shadow of its former self. A few lost souls wandering around in a post-apocalyptic daze, like a scene from '28 Days Later'. There are some good people at the label who have their hands tied. And their feet bound. And some gaffer taped firmly across their mouths, helplessly kidnapped having been lured into the corporate machine.
Of course Mute can't just up and leave. It would be like trying to put your house up for sale when you're only renting it. I imagine Daniel Miller is as concerned as the next tenant. He is contracted to EMI as Mute's label boss and his own future I imagine is unclear. Maybe he is tired of the whole business, his original vision impaired beyond repair. I'm sure he is just as passionate about music as he ever was, but who would want to start a new record company in the current climate?
And can the musician act as entrepreneur? Is it fair to expect our scatterbrained creative songwriters and virtuosos to also hold a degree in business management? Formulating their own strategies and marketing models as they go? I mean wasn't this the whole reason record companies and managers came into existence in the first place? From my own experience, simply trying to 'stage manage' what has been a very small-level experiment has taken up most of the first 3 months of the year - valuable time which I intended to spend composing new music.
Business acumen will vary but it is essential for artists and their representatives to try and stay ahead of the game, to think up new endeavors. One could see the return of small art-focused indie labels employing a new modus operandi (it's already happening if you look around) with minimal overheads, operating more as logistical support to the artists, organising the manufacture and effective mail order distribution via the artists websites and other associated outlets. Taking the strain. (This doesn't mean one has to abandon the idea of mass availability via iTunes or similar)
By the time I finish another album, who knows if I'll have a record deal at all? It would be a shame to end my association with Mute after such so many good years but I've got a feeling the decision could be out of my hands. Much depends on the future of Mute/EMI and indeed all the companies. It could be that the major selling artists on Mute just get sucked into the EMI machine and all the others fall by the wayside, including the Mute label itself. It will be a sad day indeed.
So who shall we blame for the whole mess? Do we stick two fingers up at the record companies who have sat around twiddling their thumbs, peddling overpriced re-issues for years while their A&R men bombard us with shallow, faceless pop idol, X factor boy bands? Is it fair to say “... well, you had it coming”...? Or do we accuse the casual 'non-listener' with the attention span of a three year old living in a disposable, homogenized, Paris Hilton-obsessed society, over stimulated with too much life choice? A society that places value in triviality and accepts mediocrity without much question? Or perhaps the devaluation has evolved from the cult of the DJ, where anyone can regurgitate the very essence of rock 'n' roll by lifting an entire 70's funk classic, adding some rap drivel over the top and calling it their own work? Is modern music regarded as an art form at all anymore? Or is it just another business now?
Alan Wilder (Thanks to Bernard Van Isacker for his input)
More info on Recoil can be found at the links below:
www.recoil.co.uk
www.myspace.com/recoil
www.facebook.com/recoil
Editor's note: It was late January 2008 when we contacted Alan Wilder (ex-Depeche Mode) for an article on the shifting musicmarket and the position of the artist in this. The request came at the right time since Wilder had just announced that a limited enhanced single for 'Prey'/'Allelujah' would be released on February 25th, surprisingly not by the record label but by Russian fans. An interview quickly became an open letter from Alan Wilder...
We live in a world of technology - exponentially increasing breakthroughs in all things scientific. So fast that we can't even keep up with it. So why is it that the audio quality of music is degenerating? Music 'sounds' worse. We have stopped listening, we don't have time. We only have time to be smacked in the face by the loudest, most attention-grabbing blast of souped-up noise imaginable until ear fatigue sets in and the desire to 'change the record' takes over. Why are the adverts on TV twice the volume of the regular broadcasts?
It's the only way to get our attention in the VOLUME WAR.
In recent years, a revolution in processing technology has instigated a change in the way albums are mastered. In order to compete, A&R men, producers, even the artists are demanding that mastering engineers, via digital compression, crank up the level so high that all dynamic range is callously sacrificed.
(Compression essentially increases the volume of the quieter elements within a mix while holding steady the peaks of the louder parts)
The effect of excessive compression is to obscure sonic detail and rob music of its emotional power leaving listeners strangely unmoved. In fact, the ear naturally compresses high volume blasts to protect itself - this is why we associate compression with level. Our sophisticated human brains have evolved to pay particular attention to any loud noise, so initially, compressed sounds seem more exciting. It is short lived. After a few minutes, research shows, constant volume grows tiresome and fatiguing.
True excitement comes from variation in rhythm, tone, pitch and a wide range of dynamics which in turn provides space and warmth - something you're unlikely to find in much of today's rock/pop music. If you want a good example, listen to The Arctic Monkeys 'I Bet You Look Good on the Dance Floor' for a bombardment of the most unsubtle, one-dimensional noise.
The download spiral...
At the moment, MP3 compression allows a smaller file to be created by excluding the musical information that the human ear is less likely to notice. Much of the information left out is at the very high and low end (MP3s don't reproduce reverb well for similar transience reasons). So when the already squashed CD master is then consumed via MP3, the flattening effect is enhanced further. The result - an unsatisfying, brittle, indistinct, hollow experience with no punch.
Just as the CD replaced vinyl, we all know that MP3 and other digital formats are quickly replacing CDs as the most popular way to listen to music. This means more convenience but inferior sound (although that may improve over time). Even the audiophiles have moved on to multi-media - the iPod or iPhone being the 'must have' item of choice. Many have lost interest in high-end stereo systems while younger listeners have grown so used to dynamically compressed music that the battle has already been lost.
But this is not the whole story. We are seeing the ramifications of this subtle but significant listening shift for the record industry. You see, it's not just about audio quality. It is about craft, toil. It's about art...
Art for art's sake
Recoil / Alan WilderI am slightly out of the ordinary in that I am not a hugely 'successful' artist in terms of commercial sales and in that sense, I struggle to be heard just like millions of other musicians. However, because of my background in Depeche Mode, I am secure, which has meant (and continues to mean) that I don't have to tailor what I do to conform in any way. The market shift hasn't really affected me that much. It certainly doesn't change how I approach making music. It does reinforce my cynicism towards the injustice of so much good music lost in the mêlée of dross. But that is nothing new. The nature of mainstream radio hasn't improved in any way; magazines have minimal impact, television exposure is more limited than ever - notwithstanding MTV channels which have become more and more marginalised. In fact the best way to get your music heard is through a TV advertisement.
Leaving viability aside for a moment, I would like to see a return to high quality art, embracing all the wonders of technology and science, delivered at a price that reflects the time and effort the artist has put in. Call me old fashioned. Just as one would expect to pay for a hand-crafted piece of furniture or a designer dress or a beautifully printed photograph. Rather than pandering to mass media, why not also produce higher resolution audio - maybe on DVD since that's a format most people can engage with without having to buy new equipment? Combine this with lovingly produced artwork which, if a printed option is too expensive, can at least be downloaded.
Collectors items are becoming a way to escape the turmoil. It makes a lot of sense to subsidise the production of an expensive format for those who really appreciate quality and collectibility by allowing a wider audience to cough up a minimal amount for the fundamental elements.
Some have tried. For instance, Magne Furuholmen (A-ha) released and sold 300 copies of a special 10" vinyl picture disc with hand-painted original sleeves, accompanied by a CD containing all the songs, a poster and a documentary charting the creation of the artwork. The package sold at 100 Euros a piece. Afterwards, all songs were made available on-line for free via MySpace. Hats off to a bold approach which effectively encouraged each serious fan to also become a kind of personal investor.
The successful implementation of a DVD/art/film package such as this by a major company largely remains to be seen. No reason for it not to work as long as the label takes a pragmatic view about downloads - that they can only really act as a promotional tool rather than generating a sustainable source of income.
But really, coming up with a format is the least of the challenges - the difficulty as always is how to sell it.
Certainly trying to get any sort of coverage in the record stores ceased to be a viable option some time ago. The chains themselves are on their last legs (note the recent demise of the excellent 'Fopp' stores) or they are mutating into something different - focusing on games, merchandise, iPod accessories and so on. To ensure their own survival, with their 'no returns' policy, the record stores exert heavy pressure on the record companies by only agreeing to stock 'dead certs' - just the best selling artists, in order to avoid being left with excess stock.
As for marketing and promotion, I want the first listening experience of one of my records to be exactly as I intend it to be heard. For that reason, no longer will I be offering up advance copies for charlatans posing as journalists to sell on E-bay or upload to The Pirate Bay 3 months ahead of release. Considering the amount of advance promotion I get these days, it won't make a blind bit of difference to the sales performance.
Not that there aren't any positive sides to fan-shared files. Clearly, people in remote parts of the world - Siberia for example - can potentially be exposed to my music this way, albeit not, as yet, at optimum quality. It's not ideal but better than no opportunity to hear it at all. Even with CDs, in Russia, they are impossible to buy outside of the major cities which is why we get sharp, entrepreneurial fan sites buying up all the city's stock and selling it on to others outside for a small profit margin.
From Russia with love
Recoil / Alan WilderRecoil recently released an enhanced CD including a film and a special booklet. Let's take a look at the process. The 'Prey'/'Allelujah' package was brought about through fan pressure; by those that want a physical product - completists maybe, but also music lovers who prefer the audio and tactile quality of a CD over downloadable 'faceless' products. The tracks had already been available as downloads but it wasn't satisfying for many. The generation gap is showing.
Following a successful promo appearance in Moscow, a local DM/Recoil webmaster managed to persuade Gala Records (EMI's local label - Mute's partner) that it would be worthwhile to release this disc. They agreed - not without conditions mind you. So what was agreed?
Firstly, the promo trip was instigated by an Electro club manager. The club paid for and largely organised the visit. On the back of that, Gala arranged some radio, press and TV. The results were more than encouraging but despite this, the conditions of a release meant that: the fans had to pay for the manufacture of the disc, the fans had to implement pay structures and distribute the disc via their own website, other Recoil fans produced the artwork for a 28 page booklet that accompanied the disc, another fan produced and directed the 9 minute film that was included for 'Allelujah', the artist (me) produced the music in his own studio, the artist funds its own website along with a dedicated webmaster that works for free, the artist and the fans took care of the on-line marketing, promotion and sales support. All these services were provided as labours of love - no cost except for time and effort through sheer will to make it happen. Astounding. And it warms the cockles of my heart.
So what did the record company do, you ask? A good question. The record company organised the parts into a manufacturable product - this means making a production master from existing music mixes and cobbling together a two-page inlay with label copy from existing artwork. The local licensee added cyrillic legal jargon to the inlay and alerted some press and TV. Not much really is it?
Ok, this is not the norm and as such, slightly unfair. It was a kind of one-off experiment. Gala/Mute might argue - a favour. But it is most definitely the way things are going. Why won't they release the CD in the usual way? Because they don't believe the demand justifies the effort and manufacturing costs when the trend is for cheap or free downloadable music.
The Russian project was an interesting experiment but it could only expect limited success given the current view of that country and the customer mistrust that seemed to permeate the whole enterprise. It wasn't an ideal way to try to sell a product but that doesn't preclude the process itself becoming perfectly workable - as long as solid logistics are in place, making it simple and reliable for the customer.
(Note: despite the obvious hurdles, in fact we still managed to sell all the planned stock prior to release, such was the demand)
Pop will eat itself?
Recoil / Alan WilderSo why bother with a record deal at all? And that is what many artists are now asking themselves. Why wouldn't they when they are being told that their company just can't afford to spend any money? Or that the company wants a cut of the artist's live income to pay for marketing. This is why we see the mass exodus taking place, squeezing the already crippled record industry. The artists that find it easiest to walk away are those that are already highly successful, compounding the problem still further. Why? Because the likes of Radiohead and Prince can afford to give their music away as a cheap promotional gimmick in order to create publicity for their respective machines. They get noticed for doing so and benefit in other areas. So with everyone now expecting free music, all the other artists lose what little income they could expect from record sales, even though the love and money spent producing their product hasn't changed.
I've long since given up expecting to make a profit from what I do. And you might expect that I would be full of resentment and bitterness toward my own record company but that's not really it. Mute are victims in all this. The reality is that all the companies are suffering and are desperately clinging on by their fingernails trying to come up with solutions as the rug is pulled from beneath them.
In Mute's case, EMI have inflicted so many spending restrictions and are 're-shaping' and 'streamlining' with department 'centralisation' and the reduction of the artist roster. EMI big cheese Guy Hands describes his business as 'an unsustainable model' with a need to 'reduce waste'.... Garbage collection. Thinly veiled rhetoric meaning CUTBACKS! He talks of 'eliminating duplication and bureaucracy'. Bottom line: 2000 jobs have to go.
More worryingly, he also offers us the information that currently about 3% of the entire roster is profitable and that those that never will be profitable, no matter how the model is changed, can kiss their arses goodbye.
That is about as far away as you could ever get from what I understood as the Mute philosophy, where the profit from major selling acts is used to nurture all the other artists on the label. Art. A record company does not sell baked beans, it exposes art to the masses. An unquantifiable thing. Baked Beans - a quantifiable thing.
But is that philosophy realistic in these times? Clearly not if you're ruled by a private equity conglomerate. The Mute home (now part of the EMI building) is a shadow of its former self. A few lost souls wandering around in a post-apocalyptic daze, like a scene from '28 Days Later'. There are some good people at the label who have their hands tied. And their feet bound. And some gaffer taped firmly across their mouths, helplessly kidnapped having been lured into the corporate machine.
Of course Mute can't just up and leave. It would be like trying to put your house up for sale when you're only renting it. I imagine Daniel Miller is as concerned as the next tenant. He is contracted to EMI as Mute's label boss and his own future I imagine is unclear. Maybe he is tired of the whole business, his original vision impaired beyond repair. I'm sure he is just as passionate about music as he ever was, but who would want to start a new record company in the current climate?
And can the musician act as entrepreneur? Is it fair to expect our scatterbrained creative songwriters and virtuosos to also hold a degree in business management? Formulating their own strategies and marketing models as they go? I mean wasn't this the whole reason record companies and managers came into existence in the first place? From my own experience, simply trying to 'stage manage' what has been a very small-level experiment has taken up most of the first 3 months of the year - valuable time which I intended to spend composing new music.
Business acumen will vary but it is essential for artists and their representatives to try and stay ahead of the game, to think up new endeavors. One could see the return of small art-focused indie labels employing a new modus operandi (it's already happening if you look around) with minimal overheads, operating more as logistical support to the artists, organising the manufacture and effective mail order distribution via the artists websites and other associated outlets. Taking the strain. (This doesn't mean one has to abandon the idea of mass availability via iTunes or similar)
By the time I finish another album, who knows if I'll have a record deal at all? It would be a shame to end my association with Mute after such so many good years but I've got a feeling the decision could be out of my hands. Much depends on the future of Mute/EMI and indeed all the companies. It could be that the major selling artists on Mute just get sucked into the EMI machine and all the others fall by the wayside, including the Mute label itself. It will be a sad day indeed.
So who shall we blame for the whole mess? Do we stick two fingers up at the record companies who have sat around twiddling their thumbs, peddling overpriced re-issues for years while their A&R men bombard us with shallow, faceless pop idol, X factor boy bands? Is it fair to say “... well, you had it coming”...? Or do we accuse the casual 'non-listener' with the attention span of a three year old living in a disposable, homogenized, Paris Hilton-obsessed society, over stimulated with too much life choice? A society that places value in triviality and accepts mediocrity without much question? Or perhaps the devaluation has evolved from the cult of the DJ, where anyone can regurgitate the very essence of rock 'n' roll by lifting an entire 70's funk classic, adding some rap drivel over the top and calling it their own work? Is modern music regarded as an art form at all anymore? Or is it just another business now?
Alan Wilder (Thanks to Bernard Van Isacker for his input)
More info on Recoil can be found at the links below:
www.recoil.co.uk
www.myspace.com/recoil
www.facebook.com/recoil
ORIGINAL LINE-UP OF KILLING JOKE PLAY 3 CLASSIC ALBUMS BACK TO BACK ON WORLD TOUR AND RELEASE NEW ALBUM
Labels:
music,
música
0
observations
ORIGINAL LINE-UP OF KILLING JOKE PLAY 3 CLASSIC ALBUMS BACK TO BACK ON WORLD TOUR AND RELEASE NEW ALBUM
Finally, after numerous line-up changes through the years, all original Killing Joke members reunite for new album and world tour.
Drummer, Paul Ferguson, rejoins the line up for the first time since 1987 enabling a whole new generation of fans to see Killing Joke’s legendary original formation. Diehard fans have been waiting for this moment for two decades!
Bassist, Martin ‘Youth’ Glover also steps back into the live arena after a near 15yr hiatus, having not played live with Killing Joke since 1994’s Pandemonium tour.
The tour will see Killing Joke take up a two night residency in most venues offering a different set on each evening. On the first night, they will play their first two albums in their entirety, 1980’s self-titled album followed by the album ‘What’s This…For!’. Their second performance in each city will treat fans to 1994’s Pandemonium and the Island Records singles of ’79 to ’80.
Once described by Ferguson as ‘the sound of the earth vomiting’, Killing Joke is anthemic and grandiose in it’s evocation of nightmare visions. Taking a sarcastic jab at authority and perceived reality to a sonically charged mixture of post punk and metal, Killing Joke’s heavy guitars and pounding tribal drums conjure a primitive atmosphere of doom, gloom and resistance.
Notorious for their use of inflammatory imagery, a backlash against a world they perceived as ever more materialistic, unjust and conservative, Killing Joke, railed against the establishment and created a unique sound from their very conception.
Ironically, in the current musical climate with it’s obsession with rehashing eighties sounds, the 80s saw Killing Joke really pushing music forward, incorporating danceable elements with aggressive, grinding guitars and thumping drums. With elements of
proto-techno rock, their post apocalyptic vision has inspired bands as diverse and influential as Nirvana, Ministry, Nine Inch Nails, Foo Fighters, Soundgarden and Godflesh. Killing Joke have always been and continue to be more than just a band.
Godfathers of post-punk, Killing Joke return with their eagerly anticipated new album to coincide with their world tour. Album release date TBC.
LIVE DATES
September
13 - (JP) Tokyo
14 - (JP) Tokyo
16 - (ES) Madrid
17 - (ES) Barcelona
19 - (IT) Milan
20 - (IT) Milan
22 - (CH) Geneva TBC
24 - (DE) Berlin
25 - (DE) Berlin
26 - (FR) Paris
27 - (FR) Paris
29 - (BE) Brussels
30 - (BE) Brussels
October
02 - (UK) London
03 - (UK) London
TBC - (US) New York
TBC - (US) New York
"At last a ray of sunlight to illuminate these dark days. It is indeed my deepest pleasure to announce the dates of the 29th anniversary of the gathering. As usual we are never content sitting on the laurels of past Glories, a new Killing Joke recording is scheduled this summer!. Both Geordie and myself are thrilled as we hope you are with the line up, such anticipation comes as no surprise considering we have not played together since the Brighton Top Rank in 1982. We always knew this day would come after all it was inevitable. We hope all gatherers will join us in warmly welcoming back to active service our brothers Big Paul and Youth. The mysterious chemistry of the original line up is back, let there be gladness in your hearts." - Jaz
Finally, after numerous line-up changes through the years, all original Killing Joke members reunite for new album and world tour.
Drummer, Paul Ferguson, rejoins the line up for the first time since 1987 enabling a whole new generation of fans to see Killing Joke’s legendary original formation. Diehard fans have been waiting for this moment for two decades!
Bassist, Martin ‘Youth’ Glover also steps back into the live arena after a near 15yr hiatus, having not played live with Killing Joke since 1994’s Pandemonium tour.
The tour will see Killing Joke take up a two night residency in most venues offering a different set on each evening. On the first night, they will play their first two albums in their entirety, 1980’s self-titled album followed by the album ‘What’s This…For!’. Their second performance in each city will treat fans to 1994’s Pandemonium and the Island Records singles of ’79 to ’80.
Once described by Ferguson as ‘the sound of the earth vomiting’, Killing Joke is anthemic and grandiose in it’s evocation of nightmare visions. Taking a sarcastic jab at authority and perceived reality to a sonically charged mixture of post punk and metal, Killing Joke’s heavy guitars and pounding tribal drums conjure a primitive atmosphere of doom, gloom and resistance.
Notorious for their use of inflammatory imagery, a backlash against a world they perceived as ever more materialistic, unjust and conservative, Killing Joke, railed against the establishment and created a unique sound from their very conception.
Ironically, in the current musical climate with it’s obsession with rehashing eighties sounds, the 80s saw Killing Joke really pushing music forward, incorporating danceable elements with aggressive, grinding guitars and thumping drums. With elements of
proto-techno rock, their post apocalyptic vision has inspired bands as diverse and influential as Nirvana, Ministry, Nine Inch Nails, Foo Fighters, Soundgarden and Godflesh. Killing Joke have always been and continue to be more than just a band.
Godfathers of post-punk, Killing Joke return with their eagerly anticipated new album to coincide with their world tour. Album release date TBC.
LIVE DATES
September
13 - (JP) Tokyo
14 - (JP) Tokyo
16 - (ES) Madrid
17 - (ES) Barcelona
19 - (IT) Milan
20 - (IT) Milan
22 - (CH) Geneva TBC
24 - (DE) Berlin
25 - (DE) Berlin
26 - (FR) Paris
27 - (FR) Paris
29 - (BE) Brussels
30 - (BE) Brussels
October
02 - (UK) London
03 - (UK) London
TBC - (US) New York
TBC - (US) New York
"At last a ray of sunlight to illuminate these dark days. It is indeed my deepest pleasure to announce the dates of the 29th anniversary of the gathering. As usual we are never content sitting on the laurels of past Glories, a new Killing Joke recording is scheduled this summer!. Both Geordie and myself are thrilled as we hope you are with the line up, such anticipation comes as no surprise considering we have not played together since the Brighton Top Rank in 1982. We always knew this day would come after all it was inevitable. We hope all gatherers will join us in warmly welcoming back to active service our brothers Big Paul and Youth. The mysterious chemistry of the original line up is back, let there be gladness in your hearts." - Jaz
Como El Cabron Party, pero Mas Cabron Todavia....
Labels:
fiestas,
joda,
música,
parties
0
observations
The March Boys Birthday Bash!
Event InfoName: The March Boys
Tagline: Birthday Bash!
Host: Felo, Cheo y Edwin
Type: Party - Birthday Party
Time and PlaceStart Time: Saturday, March 8, 2008 at 9:30pm
End Time: Sunday, March 9, 2008 at 3:00am
Location: The Forum & The Club - City View Plaza (Edificio I) Suite 103
Street: Carr. 165 Km 1.2, Pueblo Viejo (Casi al frente del El Nuevo Dia)
City/Town: Guaynabo
Radio Free Morituri will get some rest now
Labels:
música,
ramts,
tecnología
0
observations
Bueno, por ahora la estacion de radio ser ira a dormir. Cancele mi servicio de DSL y ya tengo uno wireless. Me va a hacer falta mi proveedor de Internet pero es para bien. Hay que economizar en estos dias. RFM va a regresar con nuevos brios muy pronto, asi que pendientes. Mientras tanto, chequeense el playlist para ver que hemos tocado hasta ahora.
Actualmente estoy
Labels:
cine,
literatura,
música,
rants,
regalos
2
observations
Leyendo: Spook Country de William Gibson
Escuchado: Wu Tang Clan Greatest Hits
Viendo: Nip/Tuck, South Park, Tin Man, TNA Wresting, The Last King of Scotland, El Laberinto del Fauno, American Splendor y y los shows de la WWE.
Comprando: El Router Linkysys WRT54G Linux
Queriendo Comprar: el boxed set de Blade Runner que incluye las diferentes versiones y el Final Cut.
Escuchado: Wu Tang Clan Greatest Hits
Viendo: Nip/Tuck, South Park, Tin Man, TNA Wresting, The Last King of Scotland, El Laberinto del Fauno, American Splendor y y los shows de la WWE.
Comprando: El Router Linkysys WRT54G Linux
Queriendo Comprar: el boxed set de Blade Runner que incluye las diferentes versiones y el Final Cut.
No FCU for chuuuuuuuuuuu
Labels:
música,
presentaciones
0
observations
Me acabo de enterar via Pulsorawk que la presentacion de esta noche se cancelo. Oh well. Business as usual en la escena rockera boricua. Palante.
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