The Gaslight Anthem have just released a new video for the title track of their new album that we just recently gave an 8. Andrew Gilstrap said, “American Slang is a big step forward for the Gaslight Anthem, showing more consistency and ambition than The ‘59 Sound. Naysayers might point to them as a band that’s found its niche, and is content to explore all the nooks and crannies of that niche. But a good listen to the way sharp guitars weave their way through the songs, or to the way drummer Benny Horowitz lays down lockstep rhythms that hearken back to a kind of rock ‘n’ roll that not made much anymore, and it’s obvious that the Gaslight Anthem are hammering away at something important. If not for them, then for a lot of us who love straightforward, ragged-soul rock ‘n’ roll.”
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To quote Moby’s journal, “the nice people at xlr8r asked me to do an old skool rave mix for their podcast series. so, as an unreformed raver, i said ‘yes’”. So, relive those early ‘90s rave days with a 48-minute techno mix from Moby. While his classic “Go” is not included, he does spin “Next Is the E” in with other full force dance tracks.
01 Messiah “Temple of Dreams” (Kickin)
02 Mentasm “I Need Release”
03 Altern8 “Frequency” (Network)
04 N-Joi “Mindflux” (RCA)
05 Ragga Twins “Hooligan 69” (Shut Up and Dance)
06 Awesome 3 “Don’t Go” (City Beat)
07 Moby “Next is the E” (Instinct)
08 Hyper Go Go “High” (Hooj Choons)
09 Fierce Ruling Diva “You Gotta Believe” (React)
10 Bizarre Inc. “Playing With Knives” (Vinyl Solution)
11 Messiah “Xeroxed”
12 Dream Frequency “Feel So Real” (City Beat)
If you haven’t been keeping up with Beck’s online-only “Record Club” enterprise, here’s a quick recap: Teaming up with indie luminaries, Beck has created one-day one-off projects covering entire albums, then releasing the studio sessions one track per week via Vimeo clips. The first few efforts gave at least a little insight into his influences, since you’d expect anyone of Beck’s lineage to play such classics as The Velvet Underground and Nico and The Songs of Leonard Cohen with proper reverence. The Record Club just wrapped up a rendering of INXS’s Kick, which might’ve seemed kitschy if not for the real effort put into it by the likes of St. Vincent’s Annie Clark, Liars, and Os Mutantes; check out the surprisingly tender version of “Never Tear Us Apart”.
Back in 1981, tonal guitarist Glenn Branca released a droning, no wave masterpiece called The Ascension. Four electric guitars took the lead on five instrumentals while bass and drums bashed out mechanically precise rhythms. Branca’s reputation and compositions grew, as did the criticisms held against him. John Cage openly disparaged his style and approach while Branca himself turned to large electric guitar symphonies. If you want to get a good argument going, debate on whether or not Thurston Moore and Sonic Youth would’ve had a career had it not been for an album like The Ascension.
So, why is it that, in 2010, when Glenn Branca assembles another four guitar, bass and drum ensemble to record a sequel to The Ascension, hardly anyone says anything? The album is straightforwardly enough called The Ascension: The Sequel, and it seemed to drop with almost no fanfare at all. A small amount of fans are offering their opinions at rateyourmusic.com here, but professional reviews are absent. It’s puzzling, considering some would look at this event the same way a film buff would look at The Godfather, Part II.
Birmingham, England’s Deluka brought their energetic pop to US shores last year with a five-song EP and they are coming back in a big way this fall with their debut full-length album. Deluka has had a lot of early success, placing a tune in a Rockstar Games video game (“Sleep Is Impossible”) and getting remixes of “Cascade” on Spinner and RCRD LBL!.
Today we’re premiering a new track, “Nevada”, from the upcoming album and also offering a few past highlights as well. “Nevada” is a slice of glittery, electro pop and sounds like a future club hit in the making. The NME has had the best description of the band so far, labeling them as “girl-charged electro-skuzz punk, akin to Ladytron snacking on The Killers for brunch”.