Portland’s Tu Fawning was formed three years ago by Corrina Repp and Joe Haege and, in that short time, have developed a sophisticated and mature sound that draws from the noirish elements of Tom Waits, the textures and moods of Portishead, and ‘20s and ‘30s big band tunes and folk music. The emphasis is very much on experimentation and messing about with traditional rock instrumentation, so it’s not unusual to hear Tu Fawning trotting out trumpets, trombones and just about anything else that will allow them to augment their jagged riffs with something a bit unexpected. As Haege says, “We’re trying to weave a fabric that is a little more dense, which some will undoubtedly find unnerving. For others, though, ourselves included, it seems to be the last oasis for searching out that emotional high that music can give you. There is just something magical about being able to make your songs sound as though they were played while a giant walks through a valley, a piano is stabbed in a 1920’s basement, drums are beat on a mountain or that you’re singing in a cave.”
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Buenos Aires’ Tremor fuse the indigenous sounds of the Andes with electronic grooves and rock-like riffs and attitude into a potent combination. Composer Leonardo Martinelli is the heart of the group and his background in creating musical scores for film and theatre plays out in the group’s theatrical presentation and ambitious musical scope. Tremor had the honor of being selected to appear at this year’s WOMEX in Copenhagen in October and they have a new record planned for the future, of which this video “Tarkas” will give you a preview of coming attractions. The video was filmed back in June in Brooklyn during a tour to the US and is named after the type of flutes played in the song.
Help Tremor realize their goal of playing WOMEX by pledging your support here.
Oct 21 @ Glazart, Paris France
Oct 22 @ RASA Centre for World Cultures, Utrecht Netherlands
Oct 23 @ Sodra Teatern, Stockholm Sweden
Oct 28 @ WOMEX, Copenhagen Denmark
Here’s a link to the rather charming video for Crowded House’s “Either Side of the World”, from this year’s Intriguer album. Hope all that footage was cleared, guys!
Somewhere in my fingers is a longer post about how Glee has gone completely off the rails, but I need a few days to compose it properly. For now, I just want to open with a question. It goes a little something like this:
If we follow the logic of this season’s “Britney/Brittany” episode (episode 2), Ms. Spears is threatening because her unbridled sexuality can cause students to break out into a massive “sex riot”. However, Madonna, from the first season’s “The Power of Madonna” show (episode 15), still stands as an icon of empowerment and self-expression. How, then, do the writers explain the live song and dance performance in the clip below?
Do we really need to tell the writers of this show that quite clearly takes place in an American high school that they need to do their homework?
Okay, that’s two questions. Maybe I should work on my math. Discuss below.
Jeanne Crain ... Pinky
Olivia De Havilland ... The Heiress
Susan Hayward ... My Foolish Heart
Deborah Kerr ... Edward My Son
Loretta Young ... Come to the Stable
Jeanne Crain … Pinky
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