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theozcorp
...until Cave launched into “Stagger Lee,” that great ode to the profane joys of violence. At this point, everyone just basically started whooping it up and shouting along to the lyric “I’m a bad motherfucker, don’t you know.” It was pure heaven. It was mind-blowing, It was transcendent. It was the liberal arts English professor’s all-time favorite topic “sex and death” all wrapped up into one fleeting sex moment under the stars at Stubb’s. It was one of those moments when you remember why exactly you’re a music person, what music can do to you when it really hits you — one of those moments you carry around for days, that initial blast of euphoria still intact no matter how long your flight home gets delayed or how many bills you fear creeping up in the aftermath of a week-long vacation. -Liz Louche
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theozcorp
Screamadelica really does deserve every bit of praise thrown at it. The record plays with the strengths of electronic music and rock with frenetic glee. These days most rock bands you hear are incorporating at least some influence from club music, but it really needs to be stressed how original this album must have sounded when it came out. And this isn’t a rock band taking some slight or vague influence from dance music. Primal Scream took an approach far less elegant or subtle, yet what they do somehow feels braver by taking Stones and Who-worshipping rock songs and slapping them right next to booming house music. It shouldn’t work. It really shouldn’t work. Really, how does this fucking work? -Miles Bowe
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theozcorp
Swans are a band that conjure primal forms of power: thunder and lightning, fire and brimstone, master over slave, predator over prey. Their earliest albums came out in the wake of New York's no wave scene, a loose, radical contest to see who could make rock'n'roll sound as ugly as possible while still retaining the rhythms and forms that made it rock'n'roll. Swans, not central to the scene, countered with the possibility of wiping out rock altogether. The result was something that sounds sort of like monks chanting in front of a jet engine. Frontman Michael Gira once compared being in the band to "trudging up a sand hill wearing a hair shirt, being sprayed with battery acid, with a midget taunting you"-- a description that could just as easily describe listening to them. - Mike Powell
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theozcorp
It seems important to say these things, as I’ve often found J. Spaceman’s confessions convincing and moving. They are blunt, lucidly anguished, and decidedly un-lyrical, so this is a strange admission for me, as I’m most often taken in by opaque, lyrical prose. Yet Spaceman’s words remind me of the late (and last) John Berryman: “ah Wednesday night is hell.” Both remind me that late-style, in extremis, has little-to-no room for pretense. “It’s too late, too late,” he sings “shamelessly.” Elsewhere, twisting his “Won’t Get to Heaven” into a final resignation: “I won’t get to heaven/ Won’t be coming home/ Will not see my mother again/ ‘Cause I’m lost and I’m gone/ This life is too long/ And my willpower was never too strong.” (These words are the entirety of Spiritualized’s 22-year lyrical content summed up into 33 words, adding, it seems, only the missing mother.
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theozcorp
I want to write about how this is too simple to be moving, but like the lost-love letters I found near a high school recently, sometimes the more honest expression, however pitiful, is the clearest. It is certainly the most vulnerable. Confess your sins and be healed, James writes.) Beyond any accusation of self-pity, there remains a question if Spaceman is too late. He is still miraculously alive. (He thanks his medical staff in Sweet Heart, Sweet Light’s liner notes.) And he never really believed in heaven, anyway. “No God, only religion”: even those who believe I think know that the Name reaches beyond the Name, into the impossible, invisible, anguished core of our materiality. Often, the best we can do is try to speak it. Speaking, singing, ourselves, at least by definition, means there is at least some time left, right? Time to correct wrongs? I don’t blame the naysayers, but I think redemption gets a bad reputation. -Nathan Shaffer
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denisbastos
Sin problemas! Oye, no sea mala onda, la foto está buenísima. No hay propósito comercial en los álbuns de lastfm, nadie gana con esto. Pero ya, he corrigido mi error, perdón.
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MeandCoffee
Vendo un par de boletos para Junior Boys hoy en el Plaza Condesa. $500 por los dos. 5534892608 o 5531941114. Gracias.
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theozcorp
Achtung Baby is rightly known as one of rock's greatest reinventions because it was so complete. Sure, U2 changed their sound from chiming melodics to lurching, distorted rhythm. But they also changed their attitude, their demeanor, their look, their ideas on how to deal with celebrity. All of a sudden, they were funny, sexy, a bit dangerous-- three things few would've associated with U2 in the 80s. And yet, at their core, the band's values remained constant. They were still ethically minded and interested in the real-life connection between living beings. But the way they went about projecting those core tenets flipped. In TV-news parlance, their attitude switched from "60 Minutes" to "The Colbert Report". -Ryan Dombal
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theozcorp
Basically, The Sophtware Slump is the point where the deflated myth of the American West met the deflated myth of technological salvation. The fear isn't that computers would destroy us, it's that we'd end up living in a futuristic world but still have the same old problems. It's like how David Bowie released "Space Oddity" 10 days before Neil Armstrong walked on the moon: Somehow, he knew people would get lonely up there, because people get lonely no matter where they go...the feeling that life was going to be more or less the same as it had been, only now we'd have to live with the fact that we once thought it'd be so different: the feeling of January 2, 2000. And sad, too. What a sad, sad album. There's not a happy song on it, really. But there's no angst or despair either, because angst and despair are exhausting emotions. Most of the time, Lytle sounds like the archetypal 90s slacker: observant, slow-moving, dulled by a suburban kind of pain he can't shake. -Mike Powell
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theozcorp
I first saw Dan Deacon play live in August 2005...By the time I arrived, a balding, baby-fattened fellow with a patchy Brillo frizz of beard was unraveling a mess of electronics on a table in the middle of the dancefloor.And once all the plugs were plugged and the jacks were jacked, this man, Dan Deacon, turned himself on.What came out of the PA was a barrage of cheap-sounding, rainbow-hued, breakcore-tempo electronic noise.It felt like I was hearing my entire childhood record collection of cheerful kiddie 45s sped up on a hotrodded FisherPrice record player.Deacon himself was dancing along with a joyous palsy, singing through a scrim of squeaky effects. In a night where I'd shown up wanting dance music, Deacon had completely upended my expectations.He also made me a fan for life.A small handful of the grouches stood with incredulous arms folded across their chests and everyone else proceeded to freak the fuck out, almost as wildly as Deacon himself.Welcome to Baltimore. -Jess Harvell
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theozcorp
Lifes Rich Pageant has the distinction of being the first R.E.M. album to feature a band member on the cover. Well, half a band member. The top half features the handsome forehead and full eyebrows of drummer Bill Berry, whose face is cut off at the nose by a low-contrast picture of two buffalo. It's a curious image, embedded with a Buffalo Bill pun, and it playfully nods to the band's refusal to practice expected music-industry behaviors like appearing on their album covers, lip-syncing in videos, writing love songs, or generally revealing too much of themselves beyond the music. Even four albums into their career, they still cultivated an enigmatic presence on Lifes Rich Pageant, starting with that cover and extending to the dropped apostrophe in that title and the mismatched tracklists. Furthermore, the mysterious painted figures and roughly sketched symbols in the liner notes presented the album as something more akin to folk art than folk rock. -Stephen M. Deusner
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theozcorp
The arrival of Deserter's Songs on the nascent V2 label was a brow-raiser in and of itself; but that sense of pleasant surprise turned to dumbstruck disbelief once the CD was dropped in the player. ... Deserter's Songs' opening track, "Holes", however, was something else entirely: Never before had Donahue left his helium-high croon so vulnerable and exposed, and never before had the band's densely textured arrangements been deployed to such moving emotional effect, with the song's eye-welling surge of orchestration and weepy bowed-saw lines perfectly complementing Donahue's crestfallen lyrics. - Stuart Berman
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theozcorp
...now, i'm not just your average "i know all the punk bands" kid. After fifteen months at the good radio station (KAOS-FM in Olympia, Washington) playing great teenage music, i feel that i know rock 'n' roll. i mean, i know it. And i know the secret: rock 'n' roll is a teenage sport, meant to be played by teenagers of all ages - they could be 15, 25, or 35. It all boils down to whether they've got the love in their hearts, that beautiful teenage spirit... -Calvin Johson (1979)
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theozcorp
To spend time with this album is to discover moments of graceful repose, calm beauty, and mature restraint. There is still an invitation to dream, to set sail upon the swells and retreats of those chiming guitars, that dark undertow of bass and drums. And this is still music to take with you as you go out into the world, as you navigate its streets, plains, and highways, fly above it, shuttle beneath it, walk through it gazing in wonder and disappointment. It is music to take out into the real world, to add as a soundtrack to everyday ramblings. ...Explosions In The Sky continue to tap into this special vector of imagination, emotion, and possibility, making everything that much more vivid. Their music traces out those brief constellations of hope that give meaning to the void. It's like Freud said: life's supposed to be transient, like the seasons. You're supposed to forget it, to lose it, so you can be awed when it comes around again. -Richard Elliott
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theozcorp
..."I like that age when you feel misunderstood and still believe in the pure idea that love conquers all"-- perhaps the most concise and astute explanation of that franchise's appeal. That is, however, only one aspect of Li's considerable appeal. As vampire franchises go, she has much more in common with Buffy Summers than the shrinking Bella Swan: Li can kick serious ass, yet even at her toughest, she nurses a persistent desire for a normal and secure life, which-- if her second album, Wounded Rhymes, is any indication-- involves intense love, great sex, and weird dance moves. Li proves a rich and compelling character in her songs, which are dark but also complex, contradictory, and, thank goodness, still rough around the edges. -Stephen M. Deusner
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theozcorp
Disintegration has been described as a sequel to 1982's wrist-slitting fan favourite, Pornography. Yet the two albums are very different. Pornography is dense, claustrophobic and virtually tuneless - in the best possible sense. Turgid and deliberately ugly, drowning in self-pity and occasionally lashing out with bursts of savage loathing, Pornography sounds like depression feels: sucking all positive energy into a black hole of utter negativity. But Disintegration is spacious and melodic, and filled with moments of great beauty. Its pace is stately and elegiac. Bells twinkle like stars in the midnight sky; melodic basslines weave their way through the gentle sadness of sighing guitars and keyboards that rise up like glaciers. Certainly, to the unaccustomed ear, there is doom and gloom aplenty; the abyss is never far away. But this is the Cure we're talking about, after all. These things are relative. Disintegration is a melancholy record, but not a depressed one. -Ben Graham
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theozcorp
'Street Spirit' is our purest song, but I didn't write it. It wrote itself. We were just its messengers; its biological catalysts. Its core is a complete mystery to me, and, you know, I wouldn't ever try to write something that hopeless. All of our saddest songs have somewhere in them at least a glimmer of resolve. 'Street Spirit' has no resolve. It is the dark tunnel without the light at the end. It represents all tragic emotion that is so hurtful that the sound of that melody is its only definition. We all have a way of dealing with that song. It's called detachment. Especially me; I detach my emotional radar from that song, or I couldn't play it. I'd crack. I'd break down on stage. That's why its lyrics are just a bunch of mini-stories or visual images as opposed to a cohesive explanation of its meaning. I used images set to the music that I thought would convey the emotional entirety of the lyric and music working together." -Thom Yorke
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theozcorp
When it came to rock stardom, Eddie Vedder was a socialist. But like so many celebrities before and after him, he blamed the media for his problem—which, presumably, was Pearl Jam selling more records than Gas Huffer—when he really should have blamed himself. Pearl Jam broke bigger than anybody else in Seattle because the band’s 1991 debut, Ten, satisfied a social need: It was spectacularly good at making alienated teenagers (i.e. all teenagers) feel less alone whenever they felt misunderstood by the rest of the world (i.e. every waking hour of the day). Bursting with intensely personal songs that sound universal by virtue of their oversized, near-operatic emotionalism, Ten was neither subtle nor particularly cool, which helped it communicate better and more profoundly with more people than any other rock record of its time. -Steven Hyden
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theozcorp
‘Screamadelica’ is one of this era’s most beautiful, far reaching pieces of musical adventure; a dreamy, occasionally spooked vision of life on the pop frontier, sustained by club culture and brain-wacky chemicals and many kinds of spirit-rousing music. Space travel is an obvious metaphor to portray these consciousness-bending influences. But Primal Scream have handled the idea coolly and exceptionally, preparing the way for us with this summer’s most gigantic single, ‘Higher Than the Sun’. -Stuart Bailie
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theozcorp
Where did that leave the underground? Coincidence or not, many young bands latched onto Spiderland at this time. In this sense perhaps "post-grunge," rather than "post-rock". is a more accurate descriptor for Spiderland's influence in the 90's. Nirvana brought the noisy crunch of the late-80's underground to the mainstream. In an era when the schism between punk and popular was still deeply, proudly, self-consciously felt, many in the underground couldn't reference the Stooges or the Clash without risking the appearance og being no more than alterna-wannabes. The cold detachment of Slint's clean guitars, their subverted vocals, their dramatic juxtapositions-more exaggerated then, say a Pixies chorus- was like an avenue out of the sound being co-opted by the major labels. -Scott Tennent
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theozcorp
Pretty Hate Machine arrived in the final year in office for Ronald Reagan,a fiercely antilabor president whose tax incentives made it easy to close American factories and whose trickle-down economics curbed 1970s inflation while crushing the country’s working people. Reagan’s mantra of personal responsibility focused the blame for lost jobs on workers, and his government cut social programs that could help the newly unemployed, including health care, food stamps, and education.This was the playbook of economic neoliberalism, which would come to be a global strategy to redistribute wealth back to elites. Reagan’s policies drove the U.S. into the postindustrial era at an enormous human cost.Industrial music was one poetic response to this trauma,much like country music was earlier in the history of industrialization.Country rose as a genre at the moment when most Americans had left rural areas for cities, as a kind of modern music about rural, social, and temporal distance. -Daphne Carr
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Alejandro17245
Te doy un tocadiscos de 1968 a cambio de tu boleto, está bien padre es un maletin azul, o sea que puede ir a todos lados contigo
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luzmaria_169
cuanto kieres y para q fecha es? t djo mi mail luzmaria_169@hotmail.com neta kiero ir, ojala me lo puedas vender, salu2.
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unamalacabeza
Yay! Pues ahora me interesa mucho más tu boleto... ¿Qué procede? ¿Cómo nos ponemos de acuerdo?
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unamalacabeza
Hola, me interesa el boleto que vendes para el concierto del viernes. El precio que dices es el de ticketmaster o el de taquilla?
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