It was a very successful year for Dim Mak Records. They have compiled a lot of the highlights for you. Including Bloody Beetroots, Steve Aoki, Mustard Pimp and Atari Teenage Riot.

posted by RZ22 for EYHO Blog Berlin
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click here to watch clip if flash player doesn’t show

KAP BAMBINO HAS A NEW SINGLE: RISE  !

You can order the 7 inch vinyl via their website

http://shop.kap-bambino.com/en/resistance-alpha/

Finally Kap Bambino has managed to create a huge synth sound, Caroline’s vocals never sounded better.

We also love the slower tempo of this track.

posted by RZ22 for EYHO Blog Berlin
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VIDEO PREMIERE OF MUSTARD PIMP’S “CATCH ME” FEAT. ALEC EMPIRE

In anticipation of their newest single, we are proud to announce the video premiere of “Catch Me”, featuring Alec Empire of Atari Teenage Riot.

The complete release of the title track, featuring remixes by DJ Antention, Kanji Kinetic, and Counterstrike, is now available for download on Beatport here , and through all worldwide retailers October 11th.

posted by RZ22 for EYHO Blog Berlin
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CLICK HERE TO WATCH CLIP FILMED BY ZAN LYONS

On July 24th Atari Teenage Riot suddenly took over the mainstage at FUSION FESTIVAL near Berlin, Germany.

The crowd smashed the barriers and invaded the stage during the song “Revolution Action”.

Director Zan Lyons was able to capture what was happening on camera.

Alec Empire:” It was surreal! Totally amazing crowd! Nothing got broke, nobody got hurt! Fusion Festival is a great event. There is no corporate sponsorship, it is politically charged as well. The alternative is possible, we just have to make it become real! We make music so people participate and join in…we don’t want people to just consume that stuff in a passive way… so of course for us playing Fusion in 2010 was mindblowing!”

just.ekosystem.org took photos! Visit the website!

Atari Teenage Riot has confirmed more festivals for this summer as well as European and US club shows.

09.07.2010 RS-Novi Sad, Exit Festival  NEW!!!
15.07.2010 NETHERLANDS-Enschede, Atak
16.07.2010 BELGIUM-Dour, Dour Festival
17.07.2010 FRANCE-Montmartin Sur Mer, Chauffer Dans La Noirceur
05.08.2010 TAIWAN-Taipei, The Wall  NEW!!!
07.08.2010 JAPAN-Tokyo, Summer Sonic
08.08.2010 JAPAN-Tokyo, Summer Sonic
27.08.2010 GREAT BRITAIN-Leeds, Leeds Festival
28.08.2010 GREAT BRITAIN-Reading, Reading Festival
07.09.2010 GERMANY -Hamburg, Übel & Gefährlich
08.09.2010 NETHERLANDS-Den Haag, Paard Van Troje
09.09.2010 GERMANY -Frankfurt, Batschkapp
10.09.2010 GERMANY -Berlin, Berlin Festival
11.09.2010 POLAND-Kraków, Rotunda
13.09.2010 HUNGARY-Budapest, Trafo
14.09.2010 AUSTRIA-Vienna, Szene
23.09.2010 USA-New York City, The Gramercy Theatre
24.09.2010 USA-Baltimore, Sonar
25.09.2010 USA-Pittsburgh, Diesel
30.09.2010 USA-Los Angeles, Keyclub
01.10.2010 USA-Chicago, The Bottom Lounge
www.atari-teenage-riot.com <http://www.atari-teenage-riot.com>

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WIDESCREEN POP ? The Sound of Arrows

By Neale Lytollis

The rise of ?real?, some-might-say-intellectual electronic music in recent years (see Justice, Hot Chip and Digitalism) and bands moving away from traditional indie rock and venturing into more experimental territory (Telepathe, Crystal Stilts, Health being perhaps three of the main contendors), has all contributed to the word ?pop? being more or less on par with ?cunt? or ?fuck? in terms its offensiveness. Pop is shallow and disposable; pop doesn?t topple empires or cause revolutions; it?s cheap and irrelevant and only for dumb kids. This viewpoint is frankly bollocks. Pop as we know it as more than outlasted the latest New Genre of the Season and has been around since the year dot. Not bad for a genre which is allegedly about as useful as a hat made out of custard. Sweden has something of a rep for producing brilliant pop music (I wanted to avoid mentioning ABBA but find that I simply cannot overlook their massive achievements in this field and fuck you if you think I?m square for admitting it) and they?re pretty much done it again. This time in the form of Bright Young Things, Sound of Arrows. The band is currently made up of Stefan Storm and Oskar Gullstrand, two chums from Stockholm who beef up the line-up with an assortment of flashy technology. The band recently de-camped to London to schmooze with the business suits there (they?re doing very well at it) and work on their debut LP, hopefully soon to be released on as-yet-unknown label. Eat Your Heart Out recently caught up with Stefan Storm in a chilly, autumnal Regent?s Park in London.

So, Stefan, how are you doing these days? Busy?

Yes, I would say that I am. But it’s all just because of myself. I’m in the process of finishing our debut album and one could say that I’ve gone slightly mental in the process. I’m spending all of my waking hours working or thinking about the album. I’d hate for me to think back on this period one year from now wishing I’d put in more of an effort.

And how?s life in London? It must be a bit different to Stockholm?

It sure is. London is scary, filthy, messy, confusing and wonderful. Stockholm is small, pretty, clean, orderly and boring. 50/50 would be the ideal.

Why did you choose to work in London? Do you find it more inspirational than Stockholm or were there other more practical reasons to re-locate there?

Out of two reasons. One being that I was excited to see whom we could collaborate with here in London. We’ve met a lot of wonderfully talanted musicians and producers. The second being that I felt I needed to get away from home to be able to fully focus on the creation of this album. It’s much easier keeping professionally busy in a town where you don’t have as many friends.

So apart from going slowly insane and having no friends, how is the work going on the LP?

It’s going quite well. But like every creative process, there are ups and downs. I want for it to be PERFECT, something I’m starting to realize will never happen. Not because the album isn’t turning out good, more because I’ll never be 110% happy. Yesterday I finished what is to become the end credits-like end to the album. It’s very Vangelis / Moroder / Enya.

That?s quite a mix! Magic and Into the Clouds have given us a taster about what Sound of Arrows is all about. Is the album going to include any surprises that we don?t expect?

I guess it’ll be a suprise to some that parts of it will be pretty dark. Or darker at least. But that’s how all good albums are. A journey. Also, I guess to some it’ll come as a suprise just how much we do love our synthscapes. Be prepared for at least three instrumentals.

Sound of Arrows is very striking visually and the video for Into the Clouds has a very specific style. It reminds me of Neverending Story although I guess I am not the first person to think that! Do you think it?s important to bring a fantasy element back to pop music?

I don’t think it’s necessarily important to bring a fantasy element to music. But I do think that the music I like the best inhabits some kind of universe. Some elements that are larger than life. Since neither of us has a larger than life personality, we have to get some help from the visual department.

The video looks like it was made for $1 million dollars. Did you really splash out that much money on it or do you have a very clever graphics guy who made all the fantasy backdrops?

Business secrets.

Is this mystical, other world we see in your videos something you try to transfer to your live shows too?

Definitely, that is mainly why we are looking to sign with a major label. To be able to get some help with realizing our BIG vision for the upcoming live shows. It’ll be an audio-visual experience.

Speaking of which, we don?t see you out and about live so much? Are you guys more of a studio band or are there plans to tour?

Originally, I’m happiest sitting in a studio tweaking a new synth. But we do love a bit of performing now and again. Also, I think we are pretty good at it.

It seems that ?pop? has become a bit of a dirty word recently although I think it?s great and a necessary part of music. Do you dislike the pop tag? Would you describe yourselves differently?

I’ve always loved pop music, so to me that word doesn’t have a negative ring. Some people associate pop with soulless music. Not me, I think the best music is achieved when accesability and creativity meet.

Pop or not, NME and Dazed seem to like what you do and you seem to have generated a buzz in London in a short space of time. Are you signed with anyone at the moment? Are you going with an indie label or a major? Do you subscribe to this rather silly theory that all indies are great and all majors are evil?

Nope, not at all. We all understand when there is big money involved, there will need to be some sort of compromise. But we’d never let anyone tell us not to use certain songs we love. Then I’d rather release it myself.

So tell me, what DO arrows sound like?

Widescreen pop.

Do you both tuck into a big, greasy English breakfast every day before you go into the studio?

Hahaha. Absolutely not. I’ve been a vegetarian for ten years and just recently tried going further and becoming a vegan. What is then left in the english breakfast? Baked beans?! I don’t eat canned food.

And finally, do you like it when journalists flirt with you during interviews?

Hahaha. It’s always nice to be flirted with. Journalist or not.

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check out new EP by best techno act around these days! MOTOR!

Breathing life into the scene again….recently on tour with Depeche Mode, every show these guys do is a blast (if you can dance) …

They are also on tour with Alec Empire next month….

19.11.2009 GB-London, O2 Academy Islington
20.11.2009 GB-Birmingham, Eddie?s
21.11.2009 GB-Manchester, Club Academy
etc…

check out their website for more info

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GODLY GROOVES

by NEALE LYTOLLIS

Sunday; the Sabbath, the day of rest, the Lord’s day.

Whatever you want to call it, it was on the first Sunday ever that God finally kicked back, brewed up an Ovaltine and took a break from six entire days of slaving away laying the groundwork for the unadulterated shit storm the world would soon turn into. It could be argued that given the way things have turned out, God did a bit of a cack-handed job with the whole creation of the world thing.

For a start, Adam would surely just have spent his days fishing and masturbating in the Garden of Eden if God hadn’t created Eve. And surely the snake was a mistake.

Just my opinion of course; my experiences of world planning are limited to say the least and given that I only have one planet to compare notes against I can hardly lay claim to being an expert. Basically, if we want to lay the blame for the world’s problems at anyone’s door it should be at God’s since he (allegedly!) started the whole show and things seemed to go pear-shaped the minute Eve showed her face. So God and his planet building; nice ideas exectuted in record time but fatally flawed nonetheless.

Anyway, back to Sundays. That grating, dull thud at the back of your head on a Sunday morning is not the effects of too much soda water down the disco or a teenage guilt-niggle forcing your brain out of your nose because you slowdanced with someone else’s girlfriend. That itchy, nauseous, white-noise-in-your-head feeling you’re experiencing is actually your conscience telling you you’ve been much, much worse.

You see, in much the same way the Eve was way back when, you’ve perhaps unwittingly also been seduced by the snake. In a figurative sense of course. That slithering, hypnotic, fork-tongued little cretin has managed to insinuate itself way into your heart, curl up there and is slowly squeezing out any sense of right or wrong when it comes to matters of the dancefloor. It’s made you lazy and convinced you that every time you swill up on cheap beer and hit the club to freak to the latest plastic happiness remix from Kitsune or some other godawful bleepy, scratchy drivel from Ed Banger that you’re having the absolute time of your life. And you fall for it every time Goddamn it! So much so that musicians are even taking the piss out of you. MSTRKRFT dropped one of the least inspiring records ever produced recently; dropped being appropriate because I can’t believe that even they like it. Just open iElectroMusicStar, click in some beats and add Clich?-Glitch-Filter and hey presto; instant second LP.

Simian Mobile Disco did more or less the same. The breathless enthusiasm of their debut album, so fresh and immediate that we all wet ourselves when we heard it, has been replaced this time around by a bunch of fat, flabby, custardy tracks which even the way too obvious celebrity mates shopping list can’t lift out of the ditch it landed in. And by Jove, if I hear one more person giggling and turning to jelly at the thought of an imminent new Klaxons LP, I might just have to start my own religious cult which encourages their ritual slaughter. With spoons. Even Digitalism don’t bother anymore. If I was the promoter of the last gig they DJd at and they turned up in crumpled white t-shirts on my shift, I’d have pulled the plug and horsewhipped them on stage until they went home and got fucking dressed properly.

So we’re in an ever decreasing circle. It’s like an yawning great black hole pulling us ? lazy musicians and undiscerning record buyers alike ? into a seething, inescapable cesspool where all we can do (apart from burn) is pull robotic moves to Pop the Glock and bore each other to death about which Maison compilation was really the best. For ever. It’s not even that we’ve been sold a lie because it was true once; it’s just no one can be bothered to admit it. It takes a bit of time and bravery to confess that the current batch of electronic music is really rather shit. You can be dancing in some club, convulsing like a spastic sat on a pylon and twenty minutes in; epiphany. It’s like the Burning Bush or the parting of the Red Sea when slowly you realise: Hey, I’ve been programmed to like this. It doesn’t speak to me. It doesn’t make me feel anything.

I’m on auto pilot here. I just don’t like this. So what do you do? Go back to Nu Rave? Indie rock? Chiptune? If those were the only choices I’d start hiding pills in my socks and start going to Donk parties.

But there is a light; a distant golden glimmer at the end of this fat, flatulent tunnel of muck. And it’s name, rather appropriately, is Godly Grooves. And my God, if this record had floated down into my room on a cloud followed by all the angels and cherubs of the heavens, I couldn’t like it more. Arok and Scientist are German DJs and have clearly been snorting inspiration because they’ve just released the strongest contender yet for Best Record of 2009. A unique and ultimately screwy mixtape of rare 60s and 70s Christian grooves, originally released on obscure, religious labels and selected, dusted down, scrubbed up and remixed into an hour long compilation. Blessed be, they’ve even put it out on a brand new imprint and limited the run of units to a mere 100. So heavenly, so unusual, you virtually lose your powers of description and can just goggle open-mouthed in wonder at how someone could have come up with a record which on the surface of it sounds monstrous but which in reality is the nearest thing we’ve heard this year to perfection. Religious music is usually whack and about as much fun as a day doing door-to-door with the Jehovah’s Witnesses.

This is different; bizarre, crackly Christian tracks sung in German over lo-fi beat samples, fat basslines and off-kilter registers. It has to be heard to be believed. And believe it you should brother. Refreshing proof that there are musicians work out there who can move the boundaries of what electronic music is all about, incorporate hitherto untouched genres and spark off something new.

So will we all be dancing to obscure Christian grooves in the near future? Unlikely. And admittedly taking it in context it probably isn’t the greatest album ever, but the fact that it’s just about the only original thing I’ve heard this year (barring Health and Robot Koch’s LP) makes it worthy of a special mention. Plus the fact that no one will like it makes it all the more attractive. click here to watch

God speed at the disco my children. Amen.

NEALE LYTOLLIS

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ALEC EMPIRE TAKES A BREAK FROM HIS TOUR WITH NINE INCH NAILS AND TALKS WITH YIP YIP TALK ABOUT , SESAME STREET, MUSIC AND NOISE, INDUSTRY AND MORE…

click here to watch original TV Yip Yips

Alec Empire:

” Many of our readers might not know you guys yet…the two creatures from Sesame Street are quite famous out here. I remember driving my parents crazy by adapting the Yip Yip talking style for days, when I was a kid…they did almost turn me into that kid from The Shining…is that a dumb question that you get asked all the time? Or what’s the story behind the name?”

Brian:

“It’s not a dumb question, because it would seem like we definitely got the name from that. In fact, even I thought Jason got the name from Sesame Street for the first few years of doing Yip-Yip with him, until we had one of our first real interviews and they asked if we got it from that. I said “Yes”, and Jason said “No, I didn’t”. I wish we did get it from that, because it would make the question a lot easier to answer. Even I don’t believe Jason’s answer.”

Jason:

“It’s just a stupid name i thought of. It doesn’t mean anything. We had an even worse name before this one and we knew we had to change it, but we couldn’t come up with anything good. Most band names that mean something end up sounding dumb after a while, so we just wanted a name that didn’t mean anything. Something totally nonsensical.”

Brian: “Calm down, Jason.”

click here for more

Alec Empire:

” I got introduced by Gabe from The Locust years ago, have been
listening to your music ever since. Are you part of a scene in the US?
Let us know where you are coming from…”

Brian:

“When we first started, we were really into that awesome wave of weird music from the late 90′s early 2000′s of The Locust, Lightning Bolt, Melt Banana, Arab On Radar, Crom-Tech, Neon Hunk, etc. I think we were really hoping to become part of that scene, and in a way, surprising to us, we kind of did. We were lucky to meet the people and bands that we did, and we are happy to have made it into a scene at all.”

Jason:

“We seem to not quite fit into any particular scene. I think we’re a little bit too happy or silly for the heavy experimental scene, but we seem to have some sort of foothold there anyways. Maybe we would fit better in the electronic/dance scene, but we see ourselves as more like a band and some of that stuff is more like deejays.”

Brian:

“Yeah, like we feel like we don’t fit in as well with the electronic scene, even though we actually probably fit in better there. But really it’s mostly who we’ve met, and who have met us, played with us, and liked us enough to be our friends and take us out on tour.”

Alec Empire:

” Why we love your stuff is because it sounds great, I mean the sound of the music is serious (as opposed to most of these rather stupid digital joke 8bit 2 piece bands in Europe). I find it very interesting
that there seems to be more cool analogue & weird shit coming from the US. Tell us about why you sound the way you do and if there is a philosophy behind it…you know…”

Brian:

“That’s awesome that you see that our music is serious. Not that we are a very serious band, or we want to be taken very seriously, but yeah, I think a lot of people kind of think of us as more of a joke, and we are lumped with that kind of stuff so much, and we never understand why. We are seriously trying to make really interesting and fun music, and we are seriously trying to be a great band, even though we are hardly know what we are doing. It’s been kind of hard, and it’s taken us a long time to get our stuff to what we are doing now. It’s very rewarding when we finish and we know that we have figured out this music that seems to be pretty original and might possibly break some new ground musically, especially when it feels like almost everything has already been done.”

Jason:

“There’s a fine line between fun music and funny joke music. We are trying to walk a few fine lines. We want to make music that is fun, but not a joke. Music that is challenging, but not not too heady. Noisy music that is more than just noise. I don’t know why there is more weird shit coming from the US. I think a lot of people from the US think it’s the other way around.”

http://soundcloud.com/yip-yip/yip-yip-gender-changers

Alec Empire:

” It looks from the outside like you’re doing everything by yourself…since years. You’re even documenting via Twitter when you are about to post new 7inches… and still you have your music up for
free download. Is that impression true, and what do you think about your way of doing things? Does it work as an example for other bands?
Tell us your view on the “business” side of your music…(mainstream bands get praised as revolutionary innovators while they just copy the ideas from bands in the “underground” who have been doing it since
years)”

Jason:

“Giving away free digital downloads is, I think, absolutely necessary in this day and age.
I don’t really want to have anything to do with the ‘business’ side of music but dealing with the business side is unfortunately a necessary part of it for a band at our level. We can’t afford to pay people to do that stuff for us. Lucky for me, Brian takes care of all of that stuff.”

Brian:

“We haven’t been very good with the “business” side of our band so far, and that’s probably why we’ve hardly made any money, and why we have to work at photo labs and deliver food to pay our bills. My view on the business side of music is I think the more people who hear of your music and hear of your live shows, the more money you make when you tour, and maybe you might even make some money off of albums you put out. So the most important thing to me, at least while we are still mostly unknown, is to get us heard.

Putting a price on every song you put out is not a great way of doing that, so we have put a lot of our stuff up online for people to check out and decide if they want to support us by buying our albums or t-shirts, or by coming to our shows. Maybe that kind of carefree idea of putting up one too many songs to download for free is why we are currently label less and wondering if anyone is going to actually put out this album we’ve been working on.”

Jason:

“As cheesey as it sounds, the more you think about the business side, the less you think about the music side. I’d like to say that it’s all about the music, but I’d also like to think that at some point in our lives this music could support us financially. We are nowhere close to that point right now and I don’t know if we ever will be.”

Alec Empire:

” What are your shows like? In what type of clubs do you guys play? And how is your crowd? (this might sound boring but I think more and more bands are just about pleasing the crowd while you don’t seem that kind of band)”

Jason:

“Since we don’t quite fit into a musical niche, we get to play with all sorts of bands in front of all sorts of audiences at all sorts of venues. Our ideal shows are in well-run, all ages, d.i.y. venues with good sound. Those places are few and far between, so we will play wherever we can. Mostly we just want it to be loud. If it’s loud and we can hear our music the way it should be heard, it is a good show for us. If the audience is having fun it’s definetly a bonus.”

Brian:

“The crowds are different depending on where we are playing, and who we are playing with. We we toured with The Locust, the crowds and shows were all awesome. People at the shows usually seemed to know who we were, and were excited to see us. The sound systems were almost always great and really loud, which also helps a lot. Some shows can be weird, like when the crowd isn’t familiar with us, so they just kid of stand there and stare. We will end our set and go backstage and think that we sucked, but then end up talking to a bunch of people who say they loved the show and buy our crap.”

Alec Empire:

” What is your favorite gear when you create new music? You are recording right now as I understand. A new record? Is this going to be different? How do you approach that process?”

Brian:

“Yes, we just finished writing our new album, “Bone Up”. We are going to start recording it very soon. The biggest thing that’s going to be different than our other albums is that this album is going to have us both doing vocals. This album is way more elaborate than anything we’ve ever done.”

Jason:

“In the beginning, we had more of that digital sound because all of those types of sounds were so accessible. We could get toy keyboards at thrift stores and digitally manipulate them with Sound Forge or some other software. But that got kind of boring and digital stuff always sounded sort of hokey to me. It was probably a year before I got my first serious synthesizer and since then I’ve liked analog over digital. Analog synths a lot more fun to play, there’s no programming and everything happens immediately.

And no matter how well you know your synths, there’s always a certain level of sonic unpredictability and slight variation. There are always graduations in digital knobs so you can hear the steps when you turn them. Analog knobs are just a clean sweep. Analog synths are more visually appealing, too. Lately, I’ve become more open to digital stuff. You can get so many sounds out of way smaller devices with digital.

We’ve been using this thing Simmons made called a Multi-Mallet a lot on the songs we’re writing now. It’s like a 90′s yamaha fm synthesis keyboard but with a xylophone-like controller. It has some interesting sounds, and looks cool. We use it on almost all of our new songs.”

Brian:

“Yeah, we like to think that we are using the best of both worlds. Jason uses all older analog synths, I use a mix of old and new analog and digital sounds from all sorts of different things we find, and I use them for the drums and backing sounds. I also use samplers to run everything live, and without that new stuff, we wouldn’t be able to perform this stuff we’re writing live.

Oh, and my favorite gear right now is my Moogerfooger trio (Freqbox, Ring Mod, & MURF), the Simmons Multimallet Jason already mentioned, my Casio CZ-101, and the Alesis D4 drum module.”

Alec Empire:

” What are 5 favorite records? And why?”

Brian:

“Devo – Oh No, It’s Devo – This was the first Devo record that I got, so I think that’s the best way I can pick a favorite Devo album. Devo is the band that got me into synthesizers. If I never got this record and got so into Devo, I probably would have never been so interested electronic music, or started this kind of band with Jason. Devo rules!

watch Devo here

Cardiacs – On Land And In The Sea – This is probably my favorite Cardiacs album because I love every song on the album. It basically has everything that I would ever look for in music in one album. Organs, synthesizers, horns, weird rhythms and rhythm/tempo changes, lots of percussion, a great vocalist, and amazing song writing.

Captain Beefheart & His Magic Band – Doc At The Radar Station – The drumming on this album is insane. A lot of the time when I listen to it I try to only listen to the drums, and I try to think of how I could do anything at all like that with our rhythms. I also love how heavy it sounds without having anything really that heavy going on. The two guitarists are sick on this album. The horn, mellotron, marimba, and gong seal the deal for me. What a perfect combination of sounds. I wish there were more bands like this!

click here for BBC documentary on Beefheart

Nirvana – In Utero – I used to love Nirvana when I was a kid, and then I got back into it even more in the past few years. We started listening to it a lot on one of our tours and decided to try to do our first cover song when we got home. We wanted to do the song “Very Ape” because we thought it sounded strangely like some of the stuff we were writing. Doing that cover first as an instrumental made me appreciate the songwriting so much and helped me understand some better ways of approaching how we wrote our songs. Then a year later when we re-recorded the cover with vocals, that being my first real attempt at vocals in Yip-Yip, it made me see how great his vocals and lyrics are. But yeah, the whole rest of In Utero is awesome too, and has been a huge recent influence on us.

The Beatles – Abbey Road – Believe it or not, I never really listened to this whole album until this year. With almost any Beatles album, you’ve basically heard every song somewhere before, but I never listened to the whole albums before. There are so many different kinds of songs on the album, and a lot of them are short and to the point. Every songs has this “thing” that happens that just totally makes the song. There’s a lot of great sounds and effects, and the recording is kind of perfect. The vocals are also really great, and with us trying to do vocals now, it’s interesting to listen to stuff with such great vocals and great vocal effects and harmonies, and try to some how apply it to the weird stuff we are doing.”

click here for Beatles – Abbey Road (all DHR records from 1994-2000 were mastered there by the way)

Jason:

“Emerson, Lake, and Palmer – Tarkus – The first side of this record kills. There’s a lot of crazy synth sounds and prog shredding.
Sergio Mendes and Brasil ’66 – Equinox – Mostly I like this record because i bought it at a thrift store without hearing it. I bought it because it has an attractive cover with attractive people on it. The record is great and I wasn’t expecting that. I like the girls’ voices and the music is pretty. Accidently finding a great record is one of the best things in life.

click here for Sergio Mendes and Brasil ’66

Roger Miller – Dang Me – Simple, silly music. Most of the songs on this album are less than 2 minutes and none are longer than 2:30. They are all funny, silly, and/or endearing.
Devo – Duty Now for the Future – Devo is one of the best bands on the planet. I think this is my favorite album of theirs. I can’t say why, but i like it more than Q: Are We Not Men? A: We are Devo.? Like Brian, the first Devo album i purchased was Oh No, It’s Devo and that one will always be special to me because that’s how i got into them. But Duty Now has more interesting time signatures and real drums. They sound more like a punk rock band.
Todd Rundgren – A Wizard, a True Star – Great songwriting, great sounds. Todd Rundgren is a wizard.”

click here for Todd

Alec Empire:

” How do you see the future of music? I mean musically, not the “industry” -no one seems to think about the music anymore, everybody is just about how and why the industry is in a crisis. But what about the music itself though?”

Brian:

“I think there will be less and less full bands as people figure out neat ways of using electronics, samplers, or computers with what they are doing live as a band with just a couple of people. Not that a full band who is great is a ever bad thing, but it will be easier for kids to start bands and keep them going because they won’t have to work with so many people.

I don’t know how some of the full bands we know do it, everything would be so much harder if there were more people in our band. Musically, I think right now it seems like there is a huge merging of all music in popular music and a lot of indie music too. It’s all kind of coming together, which can be neat sometimes, but sometimes just bad.”

Jason:

“I think it’s about time for a musical revolution. With the physical and sonic limitations shrinking to almost nothing, it’s going to be more about songwriting and how people use the crazy sounds that can now be created so easily. Once people start to figure out how easy it is to start a band, there’s going to be a glut of mediocre bands. The next few years are going to be interesting. I think it’s starting already.”

Brian: “Calm down, Jason.”

Alec Empire:

” Who is responsible for your artwork, design?…everything also looks really cool. Is that an important part for you? When I talk to graphic designers or artists, they miss that challenge to make
something visual which represents the music.”

Jason:

“Brian does all of the illustrations, I do all of the digitizing and digital work on them. We design everything together. We come up with ideas for how things should look and I make them look that way.
Brian: Yeah, the art side has always been a big part of what we are doing. Before we started the band, I wanted to be an artist, but after we started the band, I realized that doing it with the band would be a better way to get my art out there anyways. We like bands who do their own artwork, it’s like an added bonus. Sometimes, like this past year, the art part calms down while we try to push the music stuff to a new level, but we always get back to it eventually, like when we finish recording. I’m sure we will start messing with art for the album, new music videos and maybe a zine/single thing. We are already working on new costumes for our next live shows.”

Alec Empire:

” What have you got coming up in the future? Tours? Different plans?”

Brian:

” We are about to start recording this album we’ve been working on, it will probably take us a couple months to finish that, and hopefully by then we will find a label to put it out. By the time we are done recording, we will be ready to start playing live again because we will have learned all the parts from recording it. We were hoping to do a tour in the fall. Maybe we will get to go back overseas like we did last year. I think a lot of this stuff will start coming up once we get this new stuff out there a little bit. We can’t wait to go on tour again!”

Jason:

” I’m ready to start playing shows again soon. I’m excited about bringing this new stuff out on the road. We still have a lot of writing, tweaking, practicing to do before we’re ready for a tour. We’ve been working on this set of songs for over a year now and it is leaps and bounds beyond anything we’ve written before. I want it to get out there as soon as possible, but i want it to be perfect when it does. We really need to bone up if we want to finish it this year.”

Brian:

“Nice call back.”

click here for cool underground live clip

check out YIP YIP on myspace for links, music, tourdates and more

but more important: the YIP YIP website !

subscribe to EYHO Blog – it’s free!

TIME TO STOP QUOTING AND START CREATING!

by Alec Empire

Let me introduce myself; I am Alec Empire and I was born in West Berlin. I believe that I am the only ‘true’ Berliner in the current music scene. As far as I can tell, all the others claiming Berlin as their home, moved there to boost (or kill?), their careers. To be honest, I don’t think it matters that much… or shouldn’t in our age. I find myself talking to people from other continents more than those belonging to the so called local scene (I’m not really sure there is one and even if there is I’m not sure it’s what people would like to believe it is). Whatever, I suppose we all gain from the myth that comes with Berlin. Reality follows our imagination… Let’s hope so.

But it’s not about local scenes or absorbing something intangible from the air in Berlin. If you want to know your future you have to erase your past.
click here for ABC clip

Please excuse my English. I have been touring recently and my crew and band are from France & USA. Somehow we all speak this weird mixture of languages. It’s hard to switch back to normal you know?

I am used to change. Dramatic changes in the case of my country. When I was a child I always sensed that post-World War II vibe – even decades later. Everybody has seen it in a film or read a book; but there are aspects Berliners have never really talked about in public. For example: how many women were raped at the end of the War? We can barely imagine that deep pain and its consequences on society. Then there’s the GDR and the Wall finally coming down. On the surface Berlin looks cool; parties, clubs like nowhere else in the world but to me it always feels like children celebrating themselves, dancing on a mass grave, not knowing, innocent… The beginning of Lord of the Flies.
click here for deleted scene clip

Where I come from, the majority is a potential threat to the individual. The silent majority can decide over life and death of real people, just because they ignore political news on that day of the football match.
watch clip
watch next clip here

Change… Some feel threatened by change and others actually fear it and would become über-active just to stop it from happening. It makes them so nervous. I associate change with new opportunities and taking chances.

But I believe things are really changing. Right now! For the past nine years the music scene has reminded me of a dying dog, bleeding to death, bleeding dry and trying to bite its attackers who stand just out of reach, watching…

Hopefully by now, the majority of people have understood that doing nothing is the most powerful and damaging action they can take these days. Not buying a car, not buying music, not voting. Years ago I went on what most would call a ‘date’ and the girl didn’t know anything, she looked good, but that night I realized I was bored with that shiny surface of everything in our society. When I first heard John Coltrane I knew instantly that there was so much more than I could understand on the first listen. Music can store information and emotions that words and images fail to describe.
watch John Coltrane here

With most music that came out during the ‘Bush Era’ you could dig and dig and discover absolutely nothing. The past nine years have been a black hole – we can admit it now that this era is coming to an end. Musicians were scared, scared of not selling, of not being ‘accepted’. The social networks reflect that perfectly. Become popular at all costs. Lie, fake your profile (I am not talking about making it look the best it can be, but pretending you are someone else), use bots to get that snowball rolling, survive the download madness. If you are reading this and don’t know what I am talking about, compare the past few years with the 40′s or 50′s.

The music scene has been doing the same as the financial world; the exact same. Investing in non-existent capital, trying to create ‘value’ out of thin air. And most people have been busy making sure that they are on the ‘right’ side of things, where most people gather, than listening to their inner voice. Because being alone or out of step seemed to be the worst thing that could happen.

It was safer to quote others. Just don’t take the risk to be the first to try something that you might regret later. That is the worst environment for true creativity.

It has become obvious that capitalism has not brought us what it promised. Short term thinking, maximizing profits only works for a little while and then the whole system collapses.

I am fascinated how the game industry tricked kids into buying Guitar Hero. Do you want to play the guitar? Press this button. Pop Idol (American Idol) – it’s the same thing. Get to the top without skills and do it fast. The real pleasure of playing an instrument is the learning process, and then applying it. To then face your judge: the mob, the audience, the crowd.
click here for free Guitar Hero excitement in the real world

I learned everything I know about music in the ‘underground’ scene. This is where people helped each other. If there is a great musician, who is so innovative that non musicians fail to see it, then everyone helps pushing, giving credits until it is understood (The Crystal Castles hypocritical slogan on the NME cover last year ‘we get sounds that nobody else gets’ while stealing them without crediting couldn’t describe better what I am trying to say here).
click here for copyright private investigators

In the past, major record labels couldn’t live without the Indies, because they were unable to discover the new talent which had the potential to shape the future of music. It strikes me they have learned to love each other. Shrinking sales have made majors adapt marketing techniques which were first explored by the Indies, and the lines have been blurred so much sometimes it’s difficult to tell them apart. It’s like a boxing match where both contesters are just hugging each other. Boring to watch. No tension.

This is about to end now. I love how blogs challenge the traditional music press. The information is going up so fast, you are forced to think! Is that really true? Is that some bullshit hype? Who paid for that???

New music pops up here and there and by the time the machinery wants to grab it to package it and sell its tiny little soul, it’s already gone.

Philosopher Gilles Deleuze comes to mind… Imagine a tree with Red Hot Chilli Peppers sitting on top, Metallica and all the other mega bands just below. In the past every band wanted to climb that tree and take their place, like the monkey chief. In the future there won’t be any trees, friends, there will be only grass. And a lot of it. Fifteen minutes of fame reduced further to the length of a mouse click. In a globalised world, pop music like we used to define it, has no future.

What an exciting opportunity this holds!

www.eyho-blog.com

buy the print issue while it’s out!

www.eyho-blog.com

http://www.gigwise.com/reviews/live/50750/Friday-010509-Alec-Empire-Patrick-Wolf-@-The-Underworld-Camden

we are partying in Amsterdam tonight. having a great time. not these dumb drink yourself stupid so you forget times, it’s more like we met so many supporters again, people who really care…and after months of recording for films this just feels great!

on the way to here I read this German article about how “young people” don’t care about politics anymore and that whole blah. Well, I have seen the exact difference …and not only at our shows, the G20 rallys, Mayday…Heard “Chaostage” Berlin Premiere was sold out in minutes.

To the fifty year olds who try to analyze what’s happening: the new codes are different, they are more complex. A t-shirt doesn’t mean much if you don’t know the person who wears it. We are in disguise.

Will post more soon.

Never give up the fight,

Alec

www.eyho-blog.com

Hi,

autoKratz announce the release of debut album ‘Animal’ for 22nd June 2009.?There are more details on the album announcement in the press release below.

Here is a link to the brand new autokratz cover version of Swastika Eyes, an exclusive?leak which is to signal start the album campaign.

http://www.zshare.net/audio/5925236935a65b80/

Mani and Bobby Gillespie are both big supporters of the cover describing it as “brilliant. proper rocking”

Cheers
Russell

“Fuzzy dancefloor joy that will nudge them into the big league”
NME

“Dance anthems of the Summer”
THE SUNDAY TIMES

?Sure to set any dancefloor on fire?
****5/5 DJ MAG

?Brilliant? LOVE the Swastika Eyes cover?
Mani & Bobby Gillespie – Primal Scream

AUTOKRATZ ANNOUNCE THE RELEASE OF DEBUT ALBUM ?ANIMAL?

June 22nd 2009 will see autoKratz release their highly anticipated debut album ‘ANIMAL’, a record which will see them state their undeniable claim to joining the royalty of electronic music. This extremely significant LP follows the success of autumn 2008?s acclaimed mini album ?Down & Out In Paris & London? and looks set to solidify the bands position as one of Europe’s most exciting new prospects.

autoKratz begin the campaign by unleashing a razor sharp cover of Primal Scream?s Swastika Eyes, a live favourite and a version that both Mani & Bobby Gillespie have got extremely excited about, and given their full support to.

This 11 track album will be released on pioneering Parisian label Kitsune (Digitalism, Klaxons & Simian Mobile Disco), a stable in which David and Russell autoKratz have found themselves very much at home. ?Animal? will be supported by a single release – that of the massive ?Always More? (with dancefloor smashing remixes coming from Yuksek & Shadow Dancer).

The album includes the infectious summer anthem ?Stay The Same?, the driving and relentless ?Can?t Get Enough? and the epic ?Speak In Silence?, all combining to create a remarkable collection of tracks with variety and depth, justifying the bands standing as the flag bearers of the new wave of British electronic music.

Since first storming onto the scene last year, autoKratz have swiftly established a reputation for their distinctly different releases which harbour infectious bass hooks, addictive vocals and compulsive beats & bleeps. ?Animal? however does much more, as the duo explore their songwriting craft further to create an extremely innovative record.

The band have so far received immense support from across the board, finding spots on the playlists of Pete Tong, Annie Mac and Steve Lamacq, whilst receiving club support from the likes of Tiga, Erol Alkan and Brodinski.

Their formidable live shows across the globe have seen them become one of the most sought after breakthrough prospects in electronic music, with the band enjoying ecstatic responses at festivals across Europe including Glastonbury, Lowlands & Pukkelpop. The album is to be released as the band embarks on a hectic touring schedule with a brand new live show. The autoKratz set combines their trademark rock and roll energy with their remarkably distinctive electro sound; a recipe which has seen them touted as the most significant live electronic act to have emerged in recent years.

Of the album, David says ?As a record, Its unique and its personal. Its captured an energy which I think is genuinely exciting and reflective of who we are as people.? Russell has a similar sense of accomplishment, ?We were so keen to create something out of the ordinary; something people might not expect. The result is songs about us that we hope to have a real impact on people?.

The London based duo, inspired by Daft Punk, Kraftwerk and Underworld, have enjoyed success through remixes for Underworld, Fischerspooner and La Roux and live tours alongside the likes of Digitalism and Underworld. With ?Animal?, autoKratz have undoubtedly embarked on an ascension to prominence that ?will nudge them into the big league? NME.

Animal Track-listing:

1. Always More
2. Stay the Same
3. The Idiots Are Winning
4. Speak In Silence
5. Can’t Stand Without
6. What You Want, What You Got?
7. Can’t Get enough
8. Gone Gone Gone
9. Past Your Heart
10. Human Highway
11. Last Show

here is the original of the song (in case you missed it, we remember there was some controversy in Germany about the song)
click here to watch

www.eyho-blog.com

Alec: “Let’s not beat around the bush…you are our favorite “new” band. Every time we mention it to the German audience, they respond that they only know Ed Banger and Justice. Which is depressing. We feel that your are changing the perception of French music. How do you feel about music in France? Do you even associate yourself to what the media calls the “French music scene”?”

Caroline:” Thank you.

I don’t know what is French music scene, and sure they don’t know we exist too.
we don’t feel to be a part of a family or something…we just try to be and stay bastards in the middle of nowhere.

we dont run after a stamp.”

click here to watch

Alec: “ For those who cannot understand your lyrics. What are your songs about and why do you choose to express yourself this way?”

Caroline:” if you cant understand me, its cause of my strong French accent.
its not a way or a concept…but one thing is sure, I don’t wanna sing like a pop singer.
i prefer my voice was mixed in the music, cause the music is more important, I’m just another instrument in it.

On the new album i gonna put my lyrics for the first time.
All our songs speak about so many different things, my lyrics comes when we create a song,

each tracks give me different feelings, they are like weird poems,for example i speak about: Animals, Ghosts, stupid things, Blond Roses, Acid eyes, Mess in the ruins, Dead lazers, love, unpaid bills, regrets, Blue Screen…”

Alec: “ Your live performance seems to be a very important part of your concept. Do you feel you are able to capture this energy in your recordings? Can you quickly describe how you work on your music? How do you develop your songs?”

Caroline:” no concept.
in live, i just give the human warm side of Kap Bambino, I am the same in the life and Orion too, no theater, hate artschool concept,
i come from the street.
We recording music at home,with the same spontaneous energy of the stage…we do music everyday? (when we aren’t on tour)
we are both sick hyperactive,i hope you can feel this on our records.”

Alec: “ Tell us about your new single! Tell us about your new album! The single sounds a lot more powerful than your previous recordings! When was it recorded, where? What were your influences? It sounds like nothing else!”

Caroline:”? ACID EYES / RED SIGN single , be recording (like usual) at home in our bedroom between July 2008 until December 2008,
in the middle of plastic dinosaurs, pics of cats, real fat cat, dead beers, full ashtray, videos K7, guitars and zombies posters.
in this second album call “BLACKLIST”, we have try to push the limits of our quality sound, but we haven’t buy new stuff,the only thing we have do for the first time is a real mastering.
its a new inspiration, its a new evolution, its a very exciting time for us.
we were influenced by all things we have live in 2008, travels, friends, dead rats, crackers.
For the voice we have decide to stop to use crap effects,we have do this on 2 lp and one EP, and now just need new things for ourself.”

Alec: “ What is the future of electronic rock’n'roll if there is such a thing?”

Caroline:” Born and die.”

click here to watch
Alec: “ Our blog features a lot about films. Do you watch films? and if so, can you name your 5 favorite films? And tell us in one sentence for each one why you made the choice?”

Caroline:” Carnival of Souls – Herk Harvey’s

Aguirre der zone Gotter – Werner Herzog

Dupont La Joie – Yves Boisset

Mondo Cane – Gualtiero Jacopetti

Escape From New York – John Carpenter

and no comment.”

Alec: “ What is your opinion on drugs? Do you think they should be legal? Do you even care about that?”

Caroline:” We don’t do drugs.
its so easy.
we prefer keep open eyes on all.”

Alec: “ How do you define “underground”? Do you think it is important to be “underground”, to be a part of an underground scene? In our opinion underground music must be a threat to society, to the accepted norm. Underground always includes change and innovation? Please discuss!”

Caroline:” When we have created WWilko, or own label in 2001, the “underground” way was just the only road, cause at this period nobody care about our music and artists….and just independent distributors was up for deal our releases.
I’m not sure we have innovated something,
we have just try to release our shit, but for sure we aren’t in the “norm” ahahah
with Kap Bambino in 2003 we haven’t other choices to be underground, especially in France,at the start and maybe again now,they think we are fucking aliens…
we have put blood, arms, sweat, heart, smiles, energy, nerves, joy
go to the post office everyday…all that dedicate to this scene before 8 years,
just for do beautiful vinyls limited edition and promoting artists we like,
and take care to distribute in tiny best records shops in the world..
and you know what?
after all, i think now for me underground mean nothing special…sometimes i ask myself if this scene really exist?or if its a dream?
the most important thing for us, is people get into our music,and artist we promoted.
just try to exist in a simple way and stay wild.
we are in 2009 and its the future !
don’t wanna be a part of a tiny ghetto, underground or not, i don’t care about codes,
with this style of music, for sure we don’t take the risk to be one day in the mainstream industry.
or own revolution its in the music, is our? message,she need to travel with no limits.
i mean a lots of kids,and people around the world need to be involved by underground music artists scene,
and they dont have the money or possibility to buy vinyls,or found stuff in the middle of nowhere in Mexico or in South Africa for example…
just i wanna say,
thanks to the internet, they give us the most beautiful gift ever, the big chance to have a window open on the world.
Before Kap Bambino, Orion and me, never have the opportunity to travel…
we hope flying cars arrive soon,and we wanna go on the moon too.”

click here

Alec: “ Have you seen your music change people? Your audience? Your fans? What feedback do you usually get from them?”

Caroline:” euh i don t know….but sometimes They look very happy.”

Alec: “ I mean you know who we are so it’s probably no surprise to you that I see similarities to visionary German band Ec8or from back in the 90ties? Is that correct or am I completely wrong? In our opinion too many people did miss this band in the past. Do you think they should tour again?”

Caroline:” yes we know you,and have lots of respect for all your stuff
We really love EC8OR, Patric Catani and Gina D Orio are genius, and they are good friends of us too.
they are one of the first duet electronic in the 90′
i have missed them when i was teen,and discovered very late.
Patric Catani is a really really brilliant artist he have so many good side projects, Candy Hank, V.I.P,I’ll till,A*Class…
and Gina have an amazing voice, she’s beautiful.
Of course the world need to know better who they are..they are a lots of fans everywhere in the world.
for sure good people with good taste know already them.

we dont come from hardcore digital scene,
they are nothing sounds like this style in our Bambino music, i mean the drums or synths.
maybe just the energy can be compared ?
we come from Noise, pop, and rock, and put a lots of melody in our sound.
the set up with the laptop on stage,was just a good solution for travel easy.
we recording all tracks with real instruments, broken synths, guitar, drums, and digital keyboards.

you know the problem when your are a duet like us ( girl singer and a boy at the laptop ) journalist or people try to put you in family music….or do comparison with others duet every time.
I’m really happy and proud you compare us with EC8OR, ( but i cant see the link anyway) cause rest of time is really shitty bands.

Orion have start alone Kap Bambino in 2002, and actually dickheads think we are a copycat of Crystal Castle, ahhahah WTF!?
its the joy to be underground,
when your music start to come to the light,people think you are born yesterday…whatever!”

Alec: “ It looks like you release most of your songs on vinyl? Do you think it’s worth keeping vinyl as a format? Is there more to it than just get the songs out? ( I know simple question but so many people don’t get it)”

Caroline:” honestly its just cause we think vinyls are the best format ever !we heart this format for all reasons you know not sure actually is the best way for put the songs out…”

Alec: “ Apart from touring and touring and touring, what are your next plans? Where do you see yourself in the next decade (from 2010 onwards) ?”

Caroline:” Next plans are:
try to survive,
dont forget to kill the beast,
continued to do music every days,
work on a new record,
smoke cigarettes
and wait the death.”

click here to watch

Kap Bambino on myspace
check out the label website of wwilko

“THE WHOLE WORLD SEEMS TO BE ON A BAD DRUG”

Alec Empire , taken from Control Drug of SHIVERS

Hey!

It’s spring 2009! flowers start to grow…slowly but surely!

The Golden Foretaste of Heaven Film by Richard Wilhelmer went down like a storm at Los Angeles David Lynch screening “Engine Collision Fest” and Austria’s “Diagonale” Film Festival.
watch the trailer here

While Alec’s DJ Mix album “Rauschgold” for Staubgold Records gets great reviews (a small selection of online reviews which you might not come across that easily)
digitalisindustries.com
digitalmcd.com
thesilentballet.com
hairentertainment.com

ALEC AND NIC HAVE PRODUCED NEW RECORD CALLED “SHIVERS”, a 7 track mini album (estimated playing time over 30min though). Release Date May 8th.

tracklist

Control Drug

Shivers

Baby Skull

Vampire State

t.o.t.

If You Live Or Die (2009 version feat. Robbie Furze/Big Pink on guitars)

1000 Eyes (The Golden Foretaste of Heaven Film version 2009)

Note: iTunes will have a full concert as a bonus available. (more infos soon)

Watch first part of making of series. in these videos Alec is recording weird synths which will then later make it into the songs. He also gives a quick run down on what’s happening (the films etc.).

Click here to watch

Click here to watch interview

With “Shivers” and the 2009 tour “Past -Present- Future” the Hellish Vortex launches completely redesigned Alec Empire website.
www.alec-empire.com

Make sure you click through the history section. We think the website has been long overdue. It was about time that a site explains Empire’s spider web of productions and projects…. venom

Follow Alec on twitter http://twitter.com/ALEC_EMPIRE
Join Alec on facebook http://www.facebook.com/pages/Alec-Empire/10224966919
Alec’s myspace http://www.myspace.com/alecempire

DATES!!!!!

18th of April Bass Terror official release via iTunes, Beatport and over 60 other online music stores.

20th of April Patrick Wolf/Alec Empire collaboration hits stores. “Vultures” will be available as 7 inch vinyl and digital. Patrick Wolf – Vulture

Click here to watch

ALEC EMPIRE & NIC ENDO

THE PAST – THE PRESENT – THE FUTURE TOUR 2009

Presented by Sonic Seducer Magazine

30.04.2009 Vorselaar (B) – Edma

01.05.2009 London (GB) – The Underworld / get tickets here or here
02.05.2009 Manchester (GB) – Satan?s Hollow / get tickets here or here
03.05.2009 Glasgow (GB) – Ivory Blacks / get tickets here or here Or here
05.05.2009 Norwich (GB) – The Waterfront
06.05.2009 Amsterdam (NL) – Paradiso
07.05.2009 Hengelo (NL) – Metropool
08.05.2009 Reutlingen – franz.K
09.05.2009 Jena – Kassablanca
23.10.2009 Berlin – K17
24.10.2009 Cottbus – Gladhouse / get tickets here
28.10.2009 Linz (A) – Stadtwerkstatt
29.10.2009 Wien (A) – Szene
30.10.2009 Ingolstadt – Paradox / get tickets here
31.10.2009 Leipzig – Lagerhof / get tickets here
more dates added soon.

What else is hot right now?
Alec Empire remixing next Patrick Wolf single “Hard Times”.
Nic Endo officially writing music for David Mack’s Kabuki. (more news soon!)

Film Chaostage (with Alec’s music) starts in German cinemas this month.
click here for full list of showtimes and locations!

DIGITAL HARDCORE UK OPENS FULL ON WEBSTORE!

You requested Flac? You got it!

Make sure you check out completely new digital store at Digital Hardcore Recordings UK

http://digitalhardcore.greedbag.com/

It’s ALL up there.

Support independent artists you like, don’t support hypocrites like Pirate Bay who make millions of advertising and who are financed by right wing business men (to then point the finger at their own users in court, claiming that they do the crime. not cool! Liars!).

Click here to watch

We hope to see you at the shows or parties! Keep thinking about news ways to think! Stay awake!

Best wishes from Berlin,

EYHO Team

www.eyho-blog.com

Visit The Hellish Vortex store : many rare items up for sale this month

Lowline gives hope in these situations…while it is shocking what stuff major labels send us these days…it just doesn’t reflect on what’s going on. Manchester, Detroit and Berlin have more in common than most people realize…

Check out the free mp3…..Below this amazing cover art from their previous single.

Which we just had to post again. We are telling you…There is great stuff in the UK, you just have to wait for the right emails to arrive!

Robbie Rush took some time to answer a few questions:

LOWLINE

lowline-guninmysidejoeandwillask-remixmastered16bit320

watch video – click here

EYHO Blog: “Describe your band in 3 sentences please!”

Robbie Rush:”Our band make big sounding anthemic songs and draw our influences from a range of different genres including heavy droney rock, dance, and past Manchester bands like The Chameleons. There, I did it in one.”

EYHO Blog: “What do you think about the Manchester music scene? We understand that the city has a great history when it comes to music and new ideas?”

Robbie Rush:”The Manchester music scene is a little bit dead at the moment, everything seems to be following a certain trend and is very “Now”, there are a couple of good bands about though, but you’d have to dig pretty deep to find them! Yea it does have a great history but i thnk that people get a bit too hung up on that so you get a lot of bands trying to rehash something someone did 10-15 years ago. We take our influences and try to make something new rather than just recreating a certain sound.”

EYHO Blog: “Manchester or London? ”

Robbie Rush:”I know what your expecting me to say here, but thats actually a pretty hard question to answer at the moment, both cities have their merits. For people i’d definitely say Manchester, us northerners are just more friendly. Just re-populate London with Mancunians. Beautiful.”

EYHO Blog: “Do you plan to come over to Germany to play shows? “

Robbie Rush:”Yea we’ve always felt that the German music scene might be one we’d slot into nicely, we’re actually playing at The Magnet Club in Berlin on April 3rd and have some other shows in Hamburg and Munich in the pipeline.”

check out Lowline on myspace

New single “Monitors” will be available digitally on iTunes next Monday (17th!)

www.eyho-blog.com

Sunday morning – brings the dawning….

cold coffee……cigarettes….empty bottles…. what a weekend this has been….Berlin is like the slowest city I know….everything drags on and on…

I just tried to watch something…John Q…stopped it..tried to listen to Marvin Gaye…which doesn’t make any sense at all…too happy…

how amazing is David Mack’s work…when will we see a film? I only liked about 17 minutes of Iron Man…to be honest… ….. many labels keep posting us video links, so we put them up here…but seriously the Bush era is over and so are jerks in 80ties clothing and beards hammering on a casio keyboard…and shitty sunglasses… so please just stop sending us that garbage…it is depressing…no not funny…it is depressing…

(oh yes, and Robbie that Lily Allen record you sent me via UPS express last Thursday is the worst! fuck man! the worst! I am so glad that your song is not on there. I REPEAT YOU ARE NOT JULIAN KAYE!!!!)

I can’t even work in the studio because Nic is recording her 30 minute piece the last days…but at least she just handed me this video….

how perfect….

I am glad that Tying Tiffany has moved on from the electro clash thing…she is much more than that…I know you know….

Good Morning Berlin….

4 Days – and counting

Cannes music convention…Midem….biggest joke…now the industry has given up on fighting mp3s…instead they’ll attach advertising….thanks, that the pain ends now…but I can quickly tell you why I never bought that whiny indie ass shit…because it misses everything that I find exciting. I am a human being.

I grew up in the darkest forests of Germany (ok, not me, but my ancestors…brutal vikings who would believe in many gods, sailing the sea, raising beautiful blonde women – those genes are still carried by the best looking supermodels…haha…fuck you UK…you come up with one every decade, while we can’t count them anymore…)…

Last time I went into a record store I was so bored….I was looking in every corner but I couldn’t find it: Sex, Violence, Action, Drama, Crime, Fiction….

instead you get this:

I think I can expect from music what I expect from life….is that too much??? is it???

become a transducer for one night

CLICK HERE!

Tresor pr?sentiert in Zusammenarbeit mit Alec Empire, Think Sync und Shooting People:

“TRANSDUCERS!”

BERLIN – LONDON – WIEN

Europ?ischer Film trifft auf Elektronische Musik
Am 12. Februar im Tresor! (German version)

Musikproduzent Alec Empire stellt in Zusammenarbeit mit Tresor und der Britischen Firma Think Sync und Shooting People ein besonderes Programm zusammen, um den Europ?ischen Film zu feiern!

Genauer gesagt geht es nicht nur darum, spannende neue Filme zu pr?sentieren, die sich jenseits der ?blichen Fahrbahn bewegen und dennoch Pop Appeal besitzen, sondern auch die elektronische Musikszene mit der Filmbranche zusammenzubringen.

Alec Empire arbeitet parallel zum ?blichen DJ/Produzenten “Tagesgesch?ft” mit Film.
(Eine Auswahl ist bei Wikipedia zu finden http://de.wikipedia.org/wiki/Alec_Empire )
In den letzten Monaten schrieb er die Soundtracks f?r 3 spannende Projekte:

“The Golden Foretaste of Heaven”: Der ?sterreichische Regisseur Richard Wilhelmer scharte Schauspieler der jungen Generation (Robert Stadlober und Friederike Kempter in den Hauptrollen) f?r einen Animation Sci-Fi (,welcher nat?rlich in einem fiktiven Berlin der Zukunft spielt: Der Klimawandel hat die einst gr?nste Stadt Europa’s zur Plattenbaumetropole in mitten einer W?ste gemacht. Eine wundervolle Parodie auf den g?ngigen Hollywoodaufgu?.) um sich. Im Tresor findet die offizielle Premieren Party mit Screening statt.

“Phantomanie”: Regisseur Miron Zownir gelang es den unberechenbaren Kultdarsteller Bruno S, der “Kaspar Hauser” aus Werner Herzog’s Filmen, nach 30 Jahren das erste Mal vor die Kamera zu bekommen!

(link zu aktuellen New York Times Artikel ?ber Bruno S. http://www.nytimes.com/2008/12/25/arts/design/25abroad.html?_r=1)

Dabei ist einer der aussergew?hnlichsten Filme gelungen, die das deutsche Kino so lange vermisst hat! Schauspieler wie George Nickel, Vivien Bullert, Natalia Avelon und Geno Lechner steigen in die Rollen bizarrer Figuren, die sich in der “selbstgezimmerten H?lle der Reichen” voller Paranoia ihre eigene Wirklichkeit stricken. Die Russenmafia, verr?ckte Sektenf?hrer, Drogen und Waffendealer, alles ist dabei. Zownir schafft es ein Berlin einzufangen, welches Kurzaufenhalt-Regisseure oft verpassen. Gro?artiges und wahnsinniges Autorenkino! Und am 12. Februar wird es im Tresor mit der offiziellen Premieren Party mit Screening und allem drum und dran gefeiert!

“Chaostage”, ein Film von Regisseur Tarek Ehlail, bei dem unter anderem deutsche Gr??en wie Helge Schneider, Stipe Erceg, Claude Oliver Rudolph, Martin Semmelrogge, Henriette M?ller und Ralf Richter mitspielen. Der Film sorgte seid seiner Vorpremiere vor allem in der Boulevard Presse f?r gro?es Aufsehen, da er kontrovers mit der Geschichte der Chaostage in Hannover umgeht. Bevor der Film im Fr?hling ins Kino kommt, werden Teaser, Trailer und sehr unterhaltsames Material der Deutsch Stars w?hrend der Dreharbeiten gezeigt.
(http://www.chaostage-film.de/new/presse.html)

Ausserdem: Die Londoner Firma Think Sync , die auch eng mit Empire und dem Raindance Festival verkn?pft ist, stellt ein spannendes Programm aus Kurzfilmen zusammen. Zum gr??ten Teil ungesehenes, teilweise die Gewinner des j?hrlichen Think Sync Wettbewerbs, der jeden Sommer in London stattfindet, in dessen Jury unter anderem Fifth Element Regisseur Iain Smith und weitere Gr??en des Britischen Films sitzen.
(link http://www.thinksyncfilms.com/)

Und jetzt zur Party! (Das Line Up sagt alles: Andrew Weatherall, die Legende aus UK, der den britischen Dance Sound wie kein anderer gepr?gt hat. David Holmes, der David Holmes, der die Soundtracks f?r die Ocean 11-13 Filme mit Brad Pitt, George Clooney usw, gemacht hat! )

Alec Empire (DE)
Andrew Weatherall (UK)
David Holmes (UK)
T Raumschmiere (DE)

Nic Endo (US)
Reznik (DE)
Fidelity Kastrow (DE)

special guests: Rummelsnuff

Start 21 Uhr

Party Link!

IT WAS TRUE PUNKROCK!

Alec Empire interviews London filmmaker and musician Zan Lyons

Alec: “I think most of our readers might only be aware of your music, but you
have been almost more active in making films in the last years. Could you
please give them a brief introduction to your work…”

Zan:

“When I started making music the thing that excited me most was that I could do it all at home with just a sampler and computer. It was true punk rock. I’d have an idea turn on my machines and Jam.
I wanted to bring the same energy to films and then combine it with my sound!
All my films are shot, lit and edited by my me on my laptop. I also do all of the visual effects and post production. This means I can take my camera, shoot something and start trying ideas immediately.
It’s a powerful and liberating experience!”

Alec:” Many people say that video games will replace film one day. Do you agree?
Can video games ever achieve the same effect that films can?
Does it even make sense to put both in relation to each other?”

Zan:

“From an industry standpoint video games have already replaced film. Even in our current economic climate video game sales keep growing while film sales are shrinking. I think the reason is a simple one. Value.
Even though games are significantly more expensive than films the experience is much more involved. What happens on the screen is happening to you, not a character you passively empathize with. Film distributors need to start giving audiences more with their DVDs. The same lack of value destroyed music – even though the industry blames downloads. When you buy a game you are buying something that will absorb you for days – even months.
From a personal perspective, nothing will ever replace the magic of cinema and although Games offer a truly interactive form of entertainment, they are not yet able to compete with film in terms of story. Games like Metal Gear Solid and the Final Fantasy series have scratched the surface. I think we’ll start to see the two worlds collaborating in the near future. Brilliant storytelling not better graphics will really take gaming to the next level.”

Alec: “How influential is Asian film right now? It seems that Hollywood steals
more ideas from there than from anywhere else…”

Zan:

“Asia is without a doubt leading the world of cinema. Films like ‘The Ring’ and ‘Oldboy’ have completely changed films and have left Hollywood playing catchup. South East Asia always gets mentioned but India is also producing thought-provoking dramas as well as the colorful entertainment of Bollywood. Also a lot of people don’t realize that Bollywood is the biggest film industry in the world with Hollywood coming second place.
People working in Asia really know their craft and as a result, they make better films for much, much less money than Hollywood. Australian cinematographer Christopher Doyle has worked most of his life in South East Asia. He’s easily the greatest cinematographer working today but I doubt he would have reached this point if been swallowed up by Hollywood or even Europe.
Asian cinema keeps getting better and better and I think it will play a much greater role in years to come.”

Alec: “How important is authenticity or realism for you as a director ? Do they
both even matter?”

Zan:
“My films have lot’s of small details so realism is very important. I always use lighting to create a film’s atmosphere because it’s means the image comes to life in front of me and I can react to it. All of my effects are very simple and usually involve more camera work than computer effects. I want people to believe what’s on the screen.”

Alec: “Can you recommend 3 films to our readers? And explain why they should
watch them?”

Zan:

“The first is ‘In the Mood for Love‘. The way color and music are used to create atmosphere is amazing. It manages to feel like a classic 1960′s film and a modern one at the same time.

The second is ‘THX1138‘. I think this is one of the greatest science fiction films ever made. It has a sense of claustrophobia that I don’t think I’ve experienced since. There’s an impending doom from start to finish and it’s themes of government control feel more relevant today than ever before.

The final film is ‘Who Framed Roger Rabbit‘. It’s a perfect example brilliant family cinema. Children will love the cute charater animation and adults will enjoy all of the film noir references. Most importantly though, it’s 90 minutes of pure mind-bending fun!”

Alec: “Has technology left human imagination behind? Anything can be created
with the help of computers these days, but still most films out there lack
ideas? Why do you think that is?”

Zan:

“Technology can be great when used well but too many people seem to use it to make short cuts and cover over weak ideas. Films like Star Wars and 2001 were at the cutting edge when they were released but the initial ideas were good in the first place so the effects were just enhancements. I think we need to return to this way of thinking and use new technology as a creative tool.”

Alec: “Or is the problem rooted in our society, in which everything , even art
itself, has to serve only one goal: profit making?”

Zan:

“When Hollywood gets it right the results can be amazing. but unfortunately money often gets in the way. There are too many people who see film making purely in financial terms and they are usually the reason for bad films.
I think this will change though. Audiences aren’t stupid, if a film isn’t good people can just download it!”

Alec: “Are you thinking of doing a full length film one day?”

Zan:

“My new album will be a collection of 9 songs with a short film for each one. It will flow together running at about 45 minutes so it’s actually a full-length film.
You’ll be able to either watch it as a complete film or select individual chapters – or just listen to the music. Each viewer will experience it differently.
The music is all instrumental and the films have no dialogue. The sounds and images are heavily synchronized – I wanted to create a world that people get can lost in.

I also have two story-based feature films that I plan on making at some point. I can’t say too much at the moment but they’ll be made in a similar way to my shorts.”

Alec: “You did visual remixes of some scenes of Blade Runner. How did the
audience react to that? This film is often seen as the masterpiece that
nobody is allowed to touch…”

Zan:

“There was a strong reaction to it here in the UK for that exact reason. Audiences loved it though! When it began they thought it was just a live soundtrack but quickly discovered I’d re-edited the film as well. I used heavy synchronization between my own music and various scenes. I remember BBC Radio interviewing me asking if I was trying to make Blade Runner better! I was never trying to improve the film – that would be impossible. It was more like my own version. I had some clips on youtube but was asked to take them down by Warner Brothers:)”

Alec: “Do you think that most film scores push the audience far enough?“

Zan:

“Not at all. The last good film score I heard was ‘There Will be Blood’ It created an almost unbearable tension throughout the whole film.
Otherwise Most film scores sound either made-to-order or like a cynical way to promote a bands music.
Film scores are in real need of a a change!”

Alec: “Where do you think films will be at in 10 years? The same stories told with
different/younger actors?”

Zan:

“I think a revolution is coming! There will, of course be the same old money-making films but I think Digital Technology has put film making in the hands of everyone so I hope we’ll start to see new visions and different methods of storytelling.
There will definitely be less money to make films so people will have rely on ideas instead of funding to make good work. We’re already seeing this with people like Warp Films and Philip Virus.
I think we’ll also start seeing more films that take advantage of the internet rather than treating it as an enemy. Maybe interactive films where the viewer has a say in what happens next.
Like I said, tools that used to be exclusive to Hollywood are now in the hands of everybody. In ten years we’re going to see more films made faster, cheaper and for the RIGHT reasons!”

check out Zan’s films and infos here:

http://www.zanlyons.com
http://www.youtube.com/thisisourpunkrock
http://www.myspace.com/zanlyons

http://www.keepitfast.com/alec-empire-interview/

and yes…in case you haven’t heard already….Alec Empire teams up with Bad Company, Sigma, and MC Master X for a huge party on New Years Eve. BASS TERROR one last time!

Go to the doctor NOW!

Or just check out OUTO

Every time I am in the UK and I play a Japanese record to somebody, I get this pale wimpy face expression back. yes, fuck Fireman and Last Shadow Puppets and all that shit.
Sorry for swearing, but the UK has been pumping shit out into the world especially in 2008…and we are so glad this year is over. (yes you, we don’t hate you because you are worse in football, we are disappointed music fans and we hate most German music…so don’t leave us hanging here, k???)
“OUTO – U.K”

It feels like this decade is over, almost the last century comes to an end now (yes what a surprise it never really ends on December 31st 1999 you know… it crossfades for a bit, and then we all see the new century in all its glory)
“OUTO – Death Of Victims”

Sometimes people ask me “hey Alec, why are you so angry? everything is good in the world. What would you change?” Of course I never even reply to that, because I am not angry per se, actually I have moments of the Jesus Christ mood when I could just hug everybody on this planet and I imagine driving in a Porsche with Korn, those guys from around the corner here in Kreuzberg who talk the Taliban talk, Kathleen Hanna, The Cramps and Ex-chancelor Schr?der …and we are all going on holiday, singing a song in the car, and we are about to cross the border to Poland and shit….so, yes, I sometimes love this world. but if I oculd get my hands onto the education system I would get teachers to teach this album to children age 9.
“OUTO – No Future”

Deal with your anger, it’s ok to confront your aggression, deal with it, make it your friend…do not swallow it down….don’t pretend smiling. Waiters in Berlin are not rude, they are alive because they don’t fake it.

At some point when the American hardcore scene started evolving backwards and make it a business, got t-shirt and merch “entrepreneurs” they lost it (same with Hip Hop by the way)…they lost the reason to exist in this world. That was the moment when I turned to Japanese punkrock.
“OUTO – Skate To Hell (I know kinda week this title, but song is awesome)”

Many people say those guys over there just imitate western music. Well, they don’t know what they’re talking about. These times are long gone (if they ever existed – I doubt that anyway). The bands over there are huge fans of music, they analyse it, they know how to play it, they find their own way of saying the things that need saying.

Just look at the titles here…“British Bulldog”, “Leather face”, “Never Win” and “Crazy Mom”….UK rock bands could shoot as much heroin as they want they would still not come up with song titles like these…British bands have song titles like “tape song” or “love deserter” or “Midnight surprise” – I am fucking falling asleep… the best thing about Berlin is when you are at a minimal techno club night and people joke at the bar about UK bands who talk with their high pitch Russel Brand voices how much rock’n'roll they are…it’s like their parents tought them that…or wait, they went to Paul McCartney’s music school and learnt songs from the white album….

So those Japanese bands they close themselves off the rest of the world, because they don’t care. When I am on tour I love understanding the other countries…this is the real reason why I would go out and play there. When you play music you can connect with people on a different level and you can absorb much more this way.

New century rock’n'roll has this “proud to be dumb” mentality while when I listen to Television (yes, not my generation…way before me) or Nico’s camera obscura, I feel that they were smarter than the rest of the society. they knew stuff most of us don’t or will never find out. They were looking at the goldfish instead of being the goldfish.

Midweek…Wednesday…December 3rd. I made a list and I figured…I know more good stuff than bad by now….I have won. Amazing feeling.

“What a great E.P. clickclickclick, it sounds like stuff by Notwist but not made on a farm in Bavaria , more like in a back building studio in Barcelona . Can’t decide which mix i like more , they’re all great !!”

IAN POOLEY

http://www.ianpooley.com/

(the photo above shows the man himself and his 2 dogs….yes, the EP has frequencies running which are higher than high….if Ian’s dogs react like they do…well… just saying….)

click here
December 1st Release of superbag Bass Terror 2xCD (20tracks) !

Join the competition now!

and win :
the full set (including 2xCD, Hoody, dog tag etc.)
or
the 2xCD plus "Bass Terror" dog tag
or
limited edition "Bass Terror" dog tag   !!!!!!!!!!!

To participate just become a myspace friend of
www.myspace.com/bassterrorberlin
AND
register with www.eyho-blog.com


The winners will be announced next weekend ,
Saturday 29th of November.

In 1992 Alec Empire and Carl Crack started a sound system
called Bass Terror.
About a handful of other DJs joined right away.
They promoted the first ever purist jungle and breakcore raves
outside the United Kingdom.
In Berlin squads and run down warehouses a new sound was
developed.
Journalists couldn't compare it to rave or breakbeat anylonger.
A new term was chosen:

Breakcore. 

The sound was harder, faster and way louder than its UK
prototype. 




One other significant difference: Bass Terror was highly charged
political with its Anti-Nazi and Anti-Racist slogans and artwork.
Empire and Crack saw the extreme right wing having a rising
influence on the German techno scene.
Bass Terror was formed as a movement of resistance.
One of the first tracks released was called "Hetzjagd auf Nazis!"
(German for "Hunt Down And Kill The Nazis").

Frankfurt based techno label Force Inc. Music Works started
a sublabel called Riot Beats to give this sound a new push
and platform.
A year later Alec Empire would start
Digital Hardcore Recordings (1994).

The original EP series were only released on vinyl
in the years 1992/93.
Now 15 years later, Alec Empire is about to re-release these tracks
for the first time in digital remastered format -
plus previously unreleased tracks from that era! 

electronic music is always pre-programmed to a certain extend….any musician who is not improvising completely has prepared material for a concert. (yes, you rock fools, your idols live pre-programmed rock’n'roll careers. birth/hangover/ too drunk too fuck/ slave record deal/ death)

we can only comment…if you give enough monkeys a laptop, the chance is very high that at some point a justice album comes out of that. it was always deeply disturbing that the only good track was the one with SMD…..and they even ran that in their shows……

and the award goes to all the journalists who described justice as the next “chemical brothers” or “daft punk”

THE TRUTH!???? YOU CAN’T HANDLE THE TRUTH!!!!!

Alec Empire: “Please tell us about your new album. What made you come up with the concept? I think it is outstanding that a musician would think himself into such a imaginary world and drags the listener into it.”

Christoph de Babalon:

“My new album “Scylla & Charybdis” deals with the destiny of two greek mythological figures, who once used to be beautiful nymphs and then became monsters because of witchery. I wanted to work with the story, because i find it very touching. I didn’t only want to emphasize the fact that both are monsters and kill lots of seafarers but rather concentrate on the tragic elements of their lives. The pain of suddenly being a monster, they had no choice and no way out of it. I also like the fact that their fate can be seen as a symbol for the Tragic in everybodys life nowadays, as a very real thing and not just a mythological one. Reality of life is not a polished, beautiful or fun thing. It’s tragic and utmost brutal. Bless those who have not seen it, yet. Most of us will end up as tragic monsters or as their victims. Resistance is futile!”

Alec Empire: “Your tracks take time to build up the intensity. This is one strength of your music. It wouldn’t work as a 3min song. Do you think we will see more music which is longer, now that radio is becoming less important in the age of the internet? My secret hope is that the traditional song structure will be forgotten at some point in our culture. Have you ever felt you should write a “song”? or did you ever write some?”

Christoph de Babalon:

“To reach an intense experience, a piece of music has to be dense and compact, rather than just be long. I also feel it is not so much a matter of “song” or not “song”. There has to be a reason why something is three minutes or thirty minutes or three hours long. If it is both long and intense and keeps the suspense, it’s perfect. I like music that spreads out to eternity as well as having a lot of atmospherical information. Music that really creates a world around you and in you.
In these superficial and fast times it seems like the craziest thing to make tracks that are longer than 5 minutes. It seems to be some kind of taboo, because people lose attention so quickly.”

Alec Empire: “Do you think spending time of writing music is important to reach a certain level of intensity? I think it’s an interesting question to ask in these times, when everything happens faster and faster. It sometimes feels that people don’t make the effort to explore music as deeply as they could. You seem to be very careful about how and when you release your music to the public. I think that’s great…. Too many seem to load up their music on the internet right away without thinking. How do you feel about this?”

Christoph de Babalon:

“Of course, Music is a mirror of society, things are going faster and faster. So how do i feel about this? Generally i think, a great work could be done in very short time. It really depends on what the idea is. Also how it is done. I prefer spending a longer period of time on making records, because i discovered for myself that i can go deeper into the feelings and sounds. I try to create different worlds, that takes more concentration and time. For me and the listener. The first idea and selection of instruments usually goes quick, but i take a lot of time sculpturing, taking breaks and listening back. “Scylla & Charybdis”, for example, is the most complex work i have ever done, i worked on it for more than three years! Most music that’s done quickly cannot go really deep or last long. I think its not just a problem of uploading fast, also downloading today is very easy. I Like to play with different formats, as i did with the “Premium Edition”, to make people more aware of what they are listening to. i would like people to do things that are more defined and pay more attention to their lives. I have never followed any trend with my music so I guess it’s OK, I have got the time!”

Alec Empire: “Radio legend John Peel used to love your records? How did that feel to be recognized by such an important DJ ? I really miss him, I feel that we would need a person like him so much right now. Someone who discovers new music and communicates that in an interesting way to people.”

Christoph de Babalon:

“It made me very happy that he supported me. It felt like an accolade. I have always looked up to him and his way of “half of what i know people will like and half of what i think people should like”. There is noone to take his place as far as i can see.”

Alec Empire: “In my opinion you redefined “dark” in this genre. Before your releases, Jungle and Drum’n'Bass had never reached this kind of intensity. When they used “dark” string samples it always felt like a 12 year old acting as Darth Vader or something. What made you go deeper at that point in time? What kind of music did you listen to back then?”

Christoph de Babalon:

“When I started making music I had no intention of making D&B/Jungle, of course i was influenced a lot by Jungle Techno rhythms but the atmospheres i wanted to work with come from deep within me.
Some sort of melancholical longing. A sea of tears, a universe of sadness, a romatic apocalypse. I always took more atmospherical inspiration from classical music and from books and paintings. I have always seen my music more as an artistic medium to express what I feel about this world than to worship some form of lifestyle/DJ- and Clubculture. I make music for people who look beyond the shallowness of this world.”

Alec Empire: “What do you think about sampling? To me it seems that despite the advanced technology that we have today , most “artists” imitate electronic music from the 90ties. Do you feel the same way? Have you spotted any new talents which actually use technology to move music forward instead of just speeding up the process of making it?”

Christoph de Babalon:

“Sampling is great but i don’t think about it so often. I use technology not to imitate something that has been done before. I use the voodoo of sampling, I feel, I sample atmospheres rather than music. Like sampling a large room with someone crying in the corner on the other end while it’s raining outside. Someone coughing while the orchestra plays a pianissimo. Some poor soul singing in the subway and being barked at by dogs. Because we have this complex technology we must use all the new possibitlities, but incorporate and learn about the past as well. Otherwise we just repeat history, and thats not my idea. The human composer must have dominance over his machines and create something that evokes new worlds.”

Alec Empire: “I thought about the whole history of breakcore and I want to talk a bit about that first….do you remember exactly when we first met? It was this “illegal” free rave near Cologne , in some forrest…if you compare 1994 to where we are now, what do you think has changed and how do you feel about it?”

Christoph de Babalon:

“That rave was crazy. It was very foggy and superdark. Back then it all was very exciting, it was something that just started. This kind of music just hadn’t been there before. We didn’t even call it breakcore. Also there was some kind of youth culture thrill. I haven’t got much relation to a breakcore scene anymore, we are talking about 3rd generation now, and sadly, most “artists” couldn’t add anything to that style. Breakcore now is just boring repetition of formulas and to be honest the whole thing is really DEAD for me.”

Alec Empire: “Please tell us about Cross Fade Enter Tainment. It is one of the few labels which is still going. Has anything changed since you started?”

Christoph de Babalon:

“CFET is not a traditional record company, it’s a label but more like an art project. So at least we won’t go financially bankrupt, perhaps morally. We have taken a break since 2003, because we had done all we wanted at that point and we didnt want to repeat ourselves. We have received some interesting demos, some new concepts are coming up.
A new era has begun for Cross Fade Enter Tainment. We have started working on the next releases already. Stay tuned!”

Alec Empire: “You moved from Hamburg to Berlin a while back. Was there a reason ? What do you think of Berlin ? Some people look at it as the darkest city in Europe, others feel it’s changing so fast, that it is quite superficial. What do you think?”

Christoph de Babalon:

“I live in eastern Berlin in the former Stalin Allee since 10 years. A lot of the GDR-military parades were held here. A lot of history surrounds the place. That’s what I like about Berlin, this crazy history. Not so much a lifestyle thing. Berlin is very complicated and fucked up.”

Alec Empire: “What are your favorite 10 electronic albums?”

Christoph de Babalon:

“No order, only valid now:

Wicked Messenger – Black Tourmaline
Iannis Xenakis – Persepolis
Toecutter – Wetopia
Atari Teenage Riot – The Future Of War
Drumcorps ? Grist
Revolting Cocks – Beers, Steers & Queers
Underground Resistance – Revolution for Change
Cabaret Voltaire – Red Mecca
Atomsmasher – Atomsmasher
Bourbonese Qualk – On Uncertainty”

you can order this crazy packaged album here: http://cfet.com/stores

IM NEBEL DAHEIM

Text: Andreas Richter , Photo: Christoph Voy

Indian Jewelry

Als es mit Indian Jewelry los ging ? die immer nur offizi?sen Quellen deuten auf 2002 ? da gab es Indian Jewelry noch gar nicht. Zu Beginn war es eine Reinkarnationsmaschine irgendwo in Houston, Texas, deren immer wieder wechselnde Namen nur leidlich dokumentiert sind und deren immer wieder wechselnden Mitglieder bis dato lange Listen f?llen. Als Indian Jewelrys unmittelbarer Vorl?ufer gelten NTX+ELECTRIC, als Ursprung der Swarm of Angels.

Halt! Mein Fehler. Der Chronologisierungswahn ist die schlimmste Charakterschw?che dessen, was gerne als Popjournalismus wahrgenommen werden m?chte. Und dann auch noch als Einstieg! Unverzeihlich. Insbesondere hier, denn tats?chlich geht die Geschichte von Indian Jewelry zur?ck bis zur Entstehung des Universums. Vermutlich sogar noch weiter, aber diese Gedankenleistung, das hat uns die Band anvertraut, soll das n?chste Album ausmachen, die m?ssen wir an dieser Stelle nicht auf uns nehmen.
Bleiben wir bei den Fakten. Es gibt keine. Indian Jewelrys geistige Essenz ist die versuchte Antithese zu Warhols ?15 Minuten?-Prognose und deren gegenw?rtige Ausw?chse. Wir reden hier von den Pr?zedenzf?llen einer positivistisch polternden Realit?t der Ruhmverteilung. Wenn also die Tankwarte oder Handyverk?ufer mit ihren ungeschulten, aber irgendwie so richtig ber?hrend klingenden Stimmvolumen mit Close-up auf die gern mannigfaltig vorhandenen k?rperlichen und geistigen Gebrechen ?ffentlichkeitswirksam durch die Konzerts?le und Prominenz-Abdeckereien gepeitscht werden. Und zwar so ?ffentlichkeitswirksam, dass es sogar die noch Minderbemittelteren mitbekommen. Denn auch wenn es dir rundum beschissen geht, keep the dream alive!

Weil, den kann dir keiner nehmen und wer wei?, vielleicht blinzelt Gott dich als n?chstes an, doch selbst wenn du es nur bis in den Recall schaffst, um die Urheber- und Verwertungsrechte k?mmern wir uns in jedem Fall, dort einmal kurz unterschreiben bitte, danke.
In der Realit?t Indian Jewelrys ist jeder gleich unpopul?r und noch nicht mal die im Kollektiv akkumulierte Unpopularit?t greift nach den Sternen. Hier haben wir eine ma?gebliche Abgrenzung zu solchen spektakul?ren, zentral dirigierten Massenaufl?ufen wie Arcade Fire, Polyphonic Spree oder Bright Eyes, die in jedem ihrer choralen Hooks nach dem Feuilleton kr?hen.

Das Kollektiv Indian Jewelry funktioniert eher wie eine demokratisch organisierte, nichtentgleiste Variante der Manson-Family. In ihrem richtungslosen Ideologiebrei arbeiten ausreichend gutm?tige Hippiemotive, um sich selbst glaubw?rdig als Medium einer woher auch immer r?hrenden Energie zu verkaufen. Man darf auf den Kosmos tippen, vielleicht auch auf Libido oder die Abgr?nde der Existenz. Woher das alles kommt, in den Liedern von Indian Jewelry, ist nat?rlich nicht egal, aber wer m?chte da schon seinen Finger darauf legen. Die Band selbst ja am allerwenigsten. Von deren Seite gibt es noch nicht einmal Konzessionen in Richtung einer nachvollziehbaren Aufgabenverteilung. Niemand ist an ein Instrument gebunden, die Vitalit?t des Bandk?rpers generiert sich aus st?ndiger Neuordnung in der Horizontalen. Erfreulicherweise materialisieren sich die mystischen Str?me durch den Bandk?rper als Noise-zerfurchte Romantik, als h?chstes aller Shoegaze-Gef?hle und als geheimnisvoll vernebelte Tribal-Regression.

Das gerade aktuelle Album ?Free Gold? kokettiert mit dem, was die Band gerade nicht ausmacht, gleich auf dem Coverartwork. Mit einer Pyramidenstruktur, die entfernt an die Maslowsche Bed?rfnishierarchie erinnert. Spricht man sie darauf an, bekommt man genau die Unverbindlichkeit als Antwort, die das Wirkungsprinzip der Band wiederherstellt. Es hei?t dann: ? Ein Freund von uns hat das Artwork gemacht. Er hat auch jahrelang in der Band gespielt. Er operiert in einer komplett anderen Welt, deswegen sind wir selber noch nicht dahinter gekommen, was die Pyramide eigentlich bedeuten soll. Es ist eine Frage des Vertrauens. Wenn er meint, es m?sste eine Pyramide aufs Cover, dann glauben wir ihm das.?

Die syntaktische Eindeutigkeit der Zeichen und ihre semantische Uneindeutigkeit sind der Kern ihres Ausdrucks und das wesentliche Mittel ihrer ?sthetischen Inszenierung. Es ist nicht so, dass Indian Jewelry das unwillk?rliche Umherwerfen mit Codes und Slogans und Symbolik erfunden h?tten. Tats?chlich geh?rt das Wegducken unter Ironie-Installationen und das Versteckspiel im Zeichenwald zu den Hauptdisziplinen einer avancierten Hipsterkultur, die sich im Abseitigen auf der richtigen Seite w?hnt, weil ihr f?r die Orientierung im Diesseitigen sowohl die Eier als auch die Kompetenz fehlen. Als ein typisches Beispiel hierf?r sei die ach so provokativ und widerspr?chlich ausgeschm?ckte Myspace-Seite des Yussuf Jerusalem (sic!) empfohlen (www.myspace.com/ridersofallah) – er tanzt nur auf der Spitze des Eisbergs dieser Kanaillen. Nat?rlich kann man Indian Jewelry in diese Szene der neuen Referenz-ratternden Uneindeutigkeit einordnen, die tats?chlich auch hin und wieder kommerzielle Spitzen ausspuckt. Siehe MGMT.

Nur ist Indian Jewelrys Uneindeutigkeit gefestigter, subtiler und auch pointierter als die der verstiegenen Konkurrenz. So pointiert und verdichtet, dass sich aus der Widerspruchsreibung, es entweder mit einem minuti?s ausget?ftelten Plan oder einer neuen Form von Dada zu tun zu haben, ein absolut einzigartiges Unterhaltungsmoment ergibt. Man h?rt ihnen im Gespr?ch gerne dabei zu, wie sie mit stirnsteifer Miene im Angesicht der aktuellen Rezessionsszenarien die gewaltsame Zerst?rung der M?rkte fordern, wie sie zwei Minuten sp?ter Theorien ?ber die Aufhebungskraft des aus Kreativprozessen gesch?pften geistigen Reichtums hinsichtlich einer realiteren Ebbe im Geldbeutel entwickeln (?Wenn du in unser Haus nach Houston gekommen w?rst, als wir dort das Album aufnahmen, h?ttest du einen Haufen Million?re getroffen, die den ganzen Tag mit einer verdammten Zigarre im Gesicht durch die Gegend laufen.

Ein Album aufzunehmen positioniert dich automatisch ?ber dem Geldadel, wenn du dieses Bild auf menschlichen Reichtum anwendest.?) und wie sie selbst eine originell formulierte Bandbiographie zu einem Vexierbild aus Realit?t, historischen Bez?gen und purem Nonsens ausdeuten. Angeblich seien sie von einem Historiker namens Ted Sands darauf hingewiesen worden, dass es sich bei Indian Jewelry um die Fortsetzung der Meriten einer gleichnamigen, str?flich unbeachteten Band aus den siebziger Jahren handeln w?rde. (http://www.nowwearefree.com/indianjewelry.html)

Indian Jewelry treiben ein Spiel aus Legendenbildung, aus selbstinszeniertem Spinal Tap, aus Kontextualisierung in einem Raum des Grotesken und aus leidenschaftlicher Identit?tsverweigerung. Warum sie allerdings in den letzten Jahren in berechenbarer Regelm??igkeit Tontr?ger ver?ffentlichen und das auch noch unter einem fixen Moniker und mit relativ unver?nderlichem Personal, das steht am Ende als die unerkl?rlichste aller Widerspr?chlichkeiten. Vielleicht wollen sie mit all dem ja doch ein wenig Ruhm absch?pfen.

?Free Gold? 2008 CD/LP (We Are Free/Lovepump United)
?Fake And Cheap? 2008 CD/LP (We Are Legion/Deletedart)
?Invasive Exotics? 2006 CD/LP (Monitor/Lovepump United)
?Sangles Redux? 2005 CD/LP (Girlgang/Skinny Wolves)

Indian Jewelry auf MySpace: http://www.myspace.com/indianjewelry
Ted Sands auf MySpace: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=44622516

Andreas Richter

SUNDAY AFTERNOON WITH MSX HURRICANE

After a party like the one I witnessed last night, I get up with such a headache…it’s pounding my brain….like a sledge hammer..and I don’t even drink! X !
Berlin Mitte has spiraled down quite a bit since I was last there…and this is what you get when you do an old friend a favor…nevertheless…it’s always good to experience all kinds of different things. ….I guess…usually it’s the music. last night felt a bit like landing in this big empty space, white, nothing….death but without the thrill to enter the unknown. So in Berlin-West you wake up the next morning…that gray city…everything smells like cigarettes…dry throat. Immediately my mind tells me: Put this CD on…Araki Kenta….come on, you got it months ago in Japan…and you still haven’t even opened it!

In Los Apson , one of my favorite record stores in the world (which seems weird, now that there are probably 31 stores left on the planet…having a favorite record store sounds like saying this is my favorite gray whale.), so in Los Apson the guy showed me this CD, described it as video game music. And I buy it straight away – you know when you can see what is good just by looking at the artwork.

Even though most of this music makes this silly link to children entertainment. I assume because these sounds remind us of when we were 4 years old and this was the music that came with games and toys. When you enter a new age, you change the music, that’s what it used to be. Now people who are 42 years old listen to music which could have been made for 10 year olds…not even that! it sounds like it was recorded by 10 year olds…just without the imagination, and the fun that comes with not following / knowing too many rules in your life.

One of my first songs that I wrote at the age of ten was called “Don’t touch that stove – you’ll get burnt!” (in German though)….people around me always interpreted as something sexual… so this raises the question: Who decides which music is being liked and understood by kids, when even adults have their music taste on such a tight leash, that the definition of the term “music taste” could be replaced with “poodle” ?

If you want safety in your life, go to bed, stay there and don’t do anything, but don’t listen to music which is not challenging you. Use sound to connect new dots in your brain…it will thank you for it.

Video Game music is not for kids – never has been really. If you really listen back to the 80ties arcade game music, you’ll find music which could be compared to pieces Bach wrote for String Quartets….
So this is when Araki Kenta comes in…I wasn’t expecting anything because of my headache…it got me staring at the speakers….there is this guy somewhere in Japan making this, and some tracks have the quality of the first Neu! album…but done with 8bit computer sounds… he is not trying to be funny…this is serious stuff… I should have played that last night to those art pinheads…and not Boredoms…

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Even though this was my most fun moment… to stand there letting this 12 minute track go on, get heavier by the minute, and one sound engineer screaming in my ear, the lighting guy freaking out, see people leave, others try to wrap their brain around it, and then the handful, we call them the elite in our DJ scene, these are the ones who get it….the top of the pyramid, they react, they understand , they get involved and not just consume! they (still) feel and think….their bodies as one….
If you go to a Baby Shambles concert you see people behave like rice grain… dumb people glued to a dumb band with guitars. total rock’n'roll conformity, created by tabloid magazines…believing like fundamentalists in the old lie, that a drug can make a musician create something exceptional ….at some point around when Bush got elected UK music died…when hero John Peel died, it was totally over….

Look towards the East more…you will find the best music there…it will take a few years until the USA is back on track…like Obama said , it’s a long way…and this is also the case for the music scene…aspirin….and a six pack red bull….the pain will hopefully go away…

Alec Empire

“Anne Clark is playing here tonight – and you’re not Anne Clark”!

Being refused entry to a show you?re actually headlining must be an embarrassing experience and one of the many music biz divas would no doubt throw a massive J Lo-style strop yet Anne Clark takes this kind of non-recognition in her stride. If you were to pass her in the street you?d be forgiven for not recognising her as one of electronic music?s long-term contributors; she?s rather small with mussed up hair and a quiet, unassuming personality.

Clark herself would agree that she doesn?t exactly fit into the traditional female ?pop star? image. ?Having grown up being ?Not The Most Beautiful Girl In School? it was truly magnificent when punk rock arrived and it was what you did that mattered, not what you looked like. Things soon reverted back to how they had been before and women had to be ?babes? or ?whores? to make it. I know I can never be one and hopefully am not the other, so I am very proud to say that I guess it’s my work that matters to people!?

Clark was born in Croydon, London and worked as a nurse in a psychiatric hospital before taking a post in the Bonaparte Records store. She immersed herself in the burgeoning punk/new wave scene when she began booking artists such as Paul Weller, Linton Kwesi Johnson and The Durutti Column to perform at the Warehouse Theatre. Seizing the opportunity to be part of a wave of music where attitude rather than looks mattered most, it?s no surprise that Clark turned to writing and performing and her debut LP, The Sitting Room, hit stores in 1982. Since then, her musical output has been somewhat sporadic with long gaps between releases; she?s an artist who only brings out an album when she feels she has something to say as opposed to churning out nonsense to fulfill contractual obligations. Her new LP, The Smallest Acts of Kindness, is her first in twelve years so why the long wait? ?In 1996 my father died and this had a huge impact on me,? explains Clark, ?I basically lost all interest in writing.

What could I say? What was the purpose of writing really? I felt I no longer had anything to say. By the late 90s I had also grown very tired of the whole music scene. It seemed so stale and sterile. Everything seemed to be about “product” and nothing to do with “quality”. Everything sounded like a derivative of something else.? But while one family tragedy put a complete block on her writing, another opened the doors to her creativity: ?In 2006 my mother died and I had a completely opposite reaction to the one I’d had after my father’s death. Suddenly everything seemed urgent and vital. Life is so short and unpredictable. We have to give it everything we can. I had to write again. This is basically how the new album came about.?

As the first new Clark material to be released in more than a decade this album can surely be filed under ?Eagerly Awaited? and is likely to be a hit with die-hard fans as well as bringing in a few newbies along the way. It?s scarcely a deviation from the typical formula yet can hardly be classed as a mere regurgitation of what she?s done befor. After all, her spoken word critiques and rants are what she does best and this time the impassioned sloganeering is set to sombre acoustic guitars and banging techno beats in equal measure. ?I wanted to be certain that I did something that had value to my audience and to myself. I want to give the best I can. I also want to give something that the audience recognizes but that also challenges them. The most important thing for me was keeping a clear perspective and maintaining my vision of what the album should be.?

Clark?s music has often been described as bordering on Weltschmerz but she is keen to point out that far from being a 24/7 misery she simply uses music as a means to understand and cope with difficult issues: ?I always find it curious that people feel my music is lacking emotion. I fill it to bursting with emotion! Energy and communication are the primary elements to my work. It has certainly never been my intention to release material that makes people depressed or gloomy. I don’t deny that there is an element of melancholy and introspection in what I do but for me the purpose of music, poetry, books is to help us deal with parts of life that aren’t so easy. I think you’ll find the themes of most of the greatest works aren’t always the jolliest!?

With a flair for memorable electronics and certain degree of formality and distance in her music it?s perhaps no surprise that Clark is especially popular in Germany and she herself is very positive about her German fanbase: ?I adore my German audience! They have been so loyal through so many different and difficult periods,? she enthuses, ?For as long as I can remember I have been fascinated by Germany and German culture. Despite all the clich?s, I find German art and culture passionate and full of fire.

There is a romanticism and honesty, a directness that I love in its poetry, music, painting. It touches me very deeply.? In October Clark will set off on a European tour which will see her busy until mid-February. Yet despite the intensity of the schedule, it?s an experience she adores, ?I love touring. For me it is the ultimate part of this whole thing. Everything comes together – the music, the musicians, the audience, the energy shared. This is going to be a very long and no doubt very tiring tour but what a privilege to again be doing something I love so much.?

With a new album about to hit the stores and lengthy tour in her diary, Anne is back on the radar doing what she loves and as an artist with more experience under her belt than most she has seen myriad developments within the industry yet is confident that changes happening now can only work in the artist?s favour: ?I have to say what enormous pleasure it gives me to see the greedy grasping hands of the industry losing their grip on artists at last. The arrival of technology has been like a renaissance for so many musicians. There will of course always be the “pop music industry” and that is fine but for so long “Artists” have lost out to “Products”. Now, through the Internet, downloading sites etc. there is a whole other world for people to discover real music in and for the people that create it to have a platform. It should be wonderful.?

It should indeed. Clark remembers an incident that would have most artists foaming at the mouth: ?I asked one of my record companies for a tiny budget for a re-mix. They gave me half of virtually nothing. That same week a model who had been fucking one of the executives got an advance of ?250,000 to make an album that nobody ever bought!? Her response? ?C’est la vie, eh??

Hey… I’ve been here for 25 years… Nothing here seems strange to me anymore. It’s hard to write about that sort of stuff. I’ve begun to think that Japan is normal and the west is all fucked up.

I work at a shitty radio station. I know that might seem redundant as all radio stations are shitty, but the station I work at is particularly shitty. You know, you have shit, shitty, shittiest, and shitterer. Or as you Germans might say, “Hosen Shisterist.” Ha, ha, ha.

I get lots of really crappy CDs every month from these stupid major labels who haven’t figured out that I would never play their crap records in a million years. Hell, I wouldn’t piss n their mouths if their guts were on fire… Of course, everyone has their price (labels! Please write to me directly at the e-mail address below… Don’t forget our group discounts!)

How to review an album. First off, get real liquored up. I suggest mixing your alcohol like; one scotch, one bourbon, and one beer – repeat. Then sit in a dark corner of your apartment with the lights off and remember back when you were such a pathetic loser in high school and how all the cool kids hated your guts. You just wanted a friend, but no! You weren’t cool enough. Start to think about this and slowly begin to hate yourself – don’t forget to blame your parents too.

Now, when you are really drunk, almost feeling sick, it’s time to delve into that pile of cat feces that those morons call, “This weeks pick of Sony Records (or whatever the fuck the label is called).” Look at that pile of putrid Top 40 corporate crap. Take another drink… Oh, how you hate everything.

Then, put on of the CDs into the CD player. Now onto this week’s reviews.

These are the albums to be released on 11/25 and my reviews:

Viva La Vida/Prospekt’s March ~ Coldplay. Review: What the fuck? These guys are singlehandedly destroying Rock and Roll. Don’t you assholes know that Rock songs don’t have wimpy shit in them like violins? 1/2 beer bottle.

Day & Age ~ The Killers . Review: This is the 3rd or 4th or whatever album by this band from America or Europe or something. My guess is that they have guitars and bass and shit like that. My 18 year old daughter likes this. I might, if I bothered to listen to it. 1/2 beer bottle..

The Greatest Songs Of The Eighties ~ Barry Manilow. Review: No…. Absolutely not!

808s & Heartbreak ~ Kanye West. Review: Kayne West? What kind of a fucking stoopid hippy name is Kayne? Or is it country music? If it were real country music like Flatt & Scruggs, I might listen to it. But, judging from the album, this looks like the rich kid of some hopefully dead country singer. Heart”break” this CD with a hammer.

Everything That Happens Will Happen Today ~ David Byrne, Brian Eno. Review: Cool.

Daryl Hall & John Oates-Live at the Troubadour ~ Hall & Oates. Review: Goddammit! I already said, “Absolutely not!” What? That was for a Barry Manilow record that I gave that review? Well, what the fuck is the difference between Barry Manilow and Hall and Oates? Bleeding hearts… Why don’t they just kill themselves and do us all a favor? 1/2 a coffee enema.

Prospekt’s March [EP] ~ Coldplay. Review: See above.

Electric Arguments ~ The Fireman. Review: Never heard of them. That’s a plus. Give them one spin. If they suck, out the window they go. 3 beer bottles.

Traced In Air (Ltd. Edition) ~ Cynic Review: Limited edition, my ass. Fuck you. I wouldn’t buy your record just because you wrote “Limited edition” on it. Shit. I’ve got a very limited edition for you in my pants (about 3 cm) and me and my tiny penis won’t put up with your stupid marketing crap.. Fuck off.

Well, that’s it for today’s reviews. Hope you enjoyed it as mucas I didn’t. Make sure you stop by the CD shop and buy lots of Madonna CDs for Christmas presents this year.

check out Mike’s piece on voting in the US

The Ballad of Two Hunks

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hey Robbie….come in….you know it sounds so good….you know what I mean? it’s out there , it’s in here…you know…it’s out there, it’s in here…..it’s oouuutttt theeerrreee (slow voice) , it’s iiinnnnn heeerrrreee…..here’s no good anymore….listen to your friend, Terry…here is no good anymore…. you want to rob me? is that what you want to do? then take the money, it’s in the fridge…take it all….Robbie:”no no man…we just want what we’re owed..really…” “Just take it….take it all …here is no good no more – listen to your friend Terry”

these guys aren’t really the new Oasis are they……

hot question of the day: should My Bloody Valentine reform ? Is Manchester Rave back? Do UK bands do anything these days to get signed? Can myspace bots turn you into a rock god?

take two minutes to think about it, but it takes two seconds to make a decision….

(und wenn unsere Intro Jungs wiedermal in einem Jahr dr?ber schreiben, ist es wiedermal zu sp?t…)

big pink’s myspace