The past 2011 was a great year musical. Luckily this 2012 has fallen short of its predecessor thanks to brutal previous albums such as Tame Impala, Crystal Castles, METZ or Two Gallants. To close the year in the best possible way here we leave you with the Spotify list that includes some of the songs that we have enjoyed in the past November.
This last selection has been most eclectic. With pieces varied styles well, the November playlist for you will enjoy both euphoric moments ('The Mother We Share', 'Upstairs') to those in which we throw blanket and a cup of good coffee (' Even If We Try ',' Last Night I Heard Everything In Slow Motion ').
A couple of months ago it went on sale in the international market "Pines", the third album from A Fine Frenzy, beautiful artistic alterego Alison Sudol. Probably you have not heard about it but the truth is that their songs have appeared in House, How I Met Your Mother, One Tree Hill and some other popular shows on American television programming. Your pop, despite tend toward the mainstream, has a good point and fruity simpleton that makes it different, unique in its kind. As a Madi Diaz still today fills our days with its imposing 'Every Time I Reach Out'.
The latest single from A Fine Frenzy-to-market is 'Now Is The Start', a candid and obviously sweetened piece praised by Fast paced and addictive Alison radiant with his mischievous vocal. Remarkable is also the ubiquitous punch synthesized just wrap this single that serves as a perfect counterpoint to the melancholy end of AFF we enjoy with pieces like the classic 'Ashes And Wine'.
Without further ado here we leave you with this great single. Drop what you're doing and carefully jump to the sky, touching smile!.
Pertti
(guitar), Kari (voice), Sami (bass) and Tony (drums) are the members of
a group of punkrock from Finland, Pertti Kurikan Nimipäivät. Rehearse, compose, recorded in a studio, act and go on tour. Nothing unusual if not for the four mental disabilities in greater and lesser degrees. The
documentary, directed by Jukka Kärkkäinen and JP Passi, accompanies the
four sessions during its strictly musical but also provides a social
portrait of how their disabilities affect their daily environment, the
Finnish welfare system and collects his notes about politics , love, family, and future obligations.
Directors
with respect and affection shown images ranging from tenderness (a
birthday party, a marriage proposal, a celebration of a newborn) to
admiration (innate passion they show in their live performances), but
also the discomfort (episodes of incontinence, tics or fights between band members). A
filter that tries to normalize a music career like any other but it
avoids the moments that manifest their pathologies and limitations of
this bluntly.
One
of the funniest episodes is the visit to the pedicure, moments after a
fight between Sami Kari and ending in a subtle moving reconciliation
after the defeat of the latter in a contest of strength in which it
participates.
Between rehearsals and performances, we follow each of them with the issues they care about and that generate interest. Sami
is a militant political party, Kari is committed to a woman and talk
about starting a family, Toni visits a center for independent assisted
flats when their parents are missing and Pertti is the oldest member of
the band and the most active musically, something
like the leader that we compose and write in a room full of discs and
even meditate on the music ("I hate punk music," exclaims in a moment).
The highlight of the film is the very reflection that make the four on their situation. Conscious
of their disease, they use music to demand respect and reflected in the
lyrics rage and dissatisfaction with their closest headaches as
assisted floors or health centers. Although also sing to what makes them feel good, whether it's a cup of coffee or a birthday party.
They
are accompanied at all times some family and a manager who does not
collect any statement, but suffice ubiquitous presence in all situations
to derive the constant support means to them.
Music is his work and repeatedly manifested. An
absolute dedication to a world that they have no large, which have been
molded (his clothes, his attitude, the way of thinking) and receive
them with a mixture of curiosity and admiration (see people in the
audience that his songs korea like they sing to Black Flag). Attitude
and sincerity, two of the pillars that have defined the history of punk
over the years and something that Toni, Sami, Kari and Pertti sobrados
van.
This past year, all eyes were on Refused. Su (unexpected) sat around the ring like a relaxing balm for all those followers of punk and hardcore living with the sadness of not being able to attend one of his concerts. United States, Scandinavia, United Kingdom ... even Spain (both toured venues such as Primavera Sound in Barcelona) have been the places that has devastated their visceral and direct the formation of Dennis Lixzén mature. The Swedes, full of life and everything that happened in this 2012, have decided to step into the arena to announce via Facebook to this nostalgic journey.
Very classy in his way of writing, Refused have decided to announce his return to the idle with a lovely letter in which they explain, in chronological order, all the sensations experienced throughout his career. The last two paragraphs are intended to present time from the creators of "The Shape Of Punk To Come". "Now everything comes to an end" - commented on the statement. "This has been like us. And that old punk rock golem - "The Shape Of Punk To Come" - has done well. The hatchet is buried, 1998 and not for us a terrible memory. We're going back home, and do it with style. "
Despite voracious reviews designed for a fraction of its former fanbase, Refused have managed to keep their heads held high in the past year. We always left with the indelible image of thunder, and unforgettable live who performed at Primavera Sound 2012. The sound was at the height of the circumstances and the stage of fire Umeå with lashes as 'New Noise', that timeless anthem that still today continues to sound so colossal. The sorely missed once again.
Since 2009, Ellie Goulding's rise to fame has been meteoric media. With only an EP and a debut album - "Lights", 2010 - under his arm, the young British woman has managed to capture prestigious awards, and also with an extensive fanbase that adores from any hidden corner of the country. Just need to see their Facebook fans to know what we're talking about.More than 1,700,000 followers are having the girl Hereford in social network account!. And those who still come after the release of a second album - "Halcyon" which undoubtedly will be most heard in this last stretch of 2012.
I have spent these last days listening to this new album, and there have been some issues that have caught my attention. One is 'My Blood', the second part of the work that gets baste in the same song pop frenzy that characterizes mystical Ellie with a hint more like Florence + The Machine that of other artists of the genre. In its way this song is a real whiplash so we sincerely hope that Ellie deemed as their next single. There are many untapped powder in this easy, and surely that many will surrender to the artist after listening.
So that you can enjoy the theme here we leave you with the studio version and also with the interpretation that Ellie Goulding performed 'My Blood' at the iTunes Festival 2012. Much in one as in another format this song sounds fabulous.
There was much uncertainty and many questions about the future of Gallows. And for good reason: without the charismatic Frank Carter on board the ship, all seemed to sense it was going to be less. Luckily the Watford were ready and got to sign Wade McNeil, consolidated Alexisonfire singer who has helped an LP Gallows premiere the powerful sea. It's called "Gallows" (originality alive!) Has been produced, mixed and mastered by Thomas Mitchener and Steve Sears (Spycatcher) and can be heard in streaming from now through the web of NME.
The compact drops like a real scourge hardcoreta that will delight fans of more aggressive rock and wild. Especially addictive we thought the theme that closes the compact ('Cross of Lorraine'), Wade piece that tears with his voice almost every second that compose it. Speaking about the album, the band has been clear: "did the LP so that would define the Gallows today. It is the first of many releases that come from the hand of Venn Records, our label. This is how to laugh in the face of those who were actually just finished when we were warming up. "
And why do not lack for the latter claim. Carter may no longer be with them but Gallows is life so long as it is shown in the vibrant 'Outside Art'.
If ye could already read our review on "Come of Age" will know that the latest album from The Vaccines we love it. The British have managed to create a sonic aura that envelops the entire disk, always retaining that refreshing hoot how well defined to Londoners. The LP has many themes that we like but there is one in particular that amuses us specially. It is entitled 'Aftershave Ocean' and shows you the best, and most delicate guitar riffs from the creators of "What Did You Expect From The Vaccines?".
Tomorrow I will post an interview I did in these last days to Pete Robertson of The Vaccines. Among some points to discuss, the battery dropped some details concerning this great subject. "'Ocean Aftershave' was born from a silhouette guitarrera who composed Freddie, and that came from an idea of Justin raised letter on a 'sea of aftershave' and the concept of 'get from the air'. The content is about seeing the world as it is and not mask the bad things with a surface layer of positivity. "
