The Bewitched - Without a Net (2012)

Here this album is available on their Bancamp page where it's "pay what you want"



1. another day, another life 03:10
2. small world 04:25
3. things like that 04:22
4. the boulevard of broken dreams 05:19
5. olde lullaby 03:44
6. violet hour 05:58
7. late night creature feature 02:52
8. when all the freaks come out and play 03:20
9. watching the stars go out 05:03
10. without a net 03:56


As always, I don't have much time to write something in here, but I just have to post what I can for now (and likely not much later, even until the end of the year, sadly).

I met Mary and Eric at an Amanda Palmer concert I recall in late 2008. They are fans of course of Amanda and the Dresden Dolls like myself. Their music is influenced, but not entirely like the Dolls/Amanda's.

They do this interesting style of what I'd call Psychedelic acoustic-mostly Cabaret Pop/Rock/Folk. Rather lyrical, ironic, dark, humorous, theatrical, and especially on this album, there's a great dreamy element. Some parts sounding almost middle eastern. I think a lot of that is Mary's use of dulcimer, which for The Bewitched, is a primary instrument. That among other things, does distinguish them.

My favorites from this album, I'll confess, are the 1st 2 tracks "another day, another life" and "small world" which I recall them playing live when I saw them, which was sadly maybe 2 or more years ago last.

I know they spent a great deal of time writing and recording this record, and among other things, the production seems to show that. Am I blown away by it? no, not really. But it has a really nice mood and flow to it. And I'm not just saying that due to the fact I know them and consider them friends, nor that they are from Minnesota. I think the extensive time they spent writing and making this album shows.

Best Minnesota record of 2012? unlikely, but probably will be among my top 5-10 at least, and 1 I will revisit, especially since Mary said the other day on facebook they plan to have hardcopies at a show this coming Summer. Maybe The Bryant Lake Bowl again? or maybe even a place like The Ritz Theater.

And I still think they should try and play a gig with Jenny Dalton or maybe even Cloud Cult at some point. We'll see, but in the mean time, i'm enjoying this album and am very happy for them to finally see it come out. This week though, ironically, among the 8 or so other records just on my radar alone.
The Bewitched on Facebook

Sucré - A Minor Bird (2012)

3/29/12 5:15AM
new song/single "Hiding Out" available

stream, stream/download

or

nice subtle orchestration. It is the opening track on this record, which has a pre-order link now and the track list is now given here.



1. Hiding Out
2. When We Were Young
3. Troubled Waters
4. Light Up
5. Chemical Reaction
6. Say Something
7. Persuasion
8. Stampede
9. No Return
10. Endless Sleep
11. The Cliff Waltz

3/6/12 8:21PM

"Happy to reveal the cover+title of the album "A Minor Bird."



From the forthcoming debut album, A Minor Bird (April 10th, 2012).

Sucré is Stacy King, Darren King, Jeremy Larson.

Kimbra - Live SXSW Video/Samaritan/Settle Down BestFit/Imogen Heap Just For Now

3/28/12 12:11AM

here's couple of other videos

new song "Samaritan" live (whoever was filming certainly may have had extra interest when showing her/the performance, lol)



A layered via technology version of "Settle Down"



which kind of reminds me of this alternate multi-layered live version of "Just For Now" from Imogen Heap, who frankly, is 1 name I hardly see Kimbra get compared to, which is surprising.




3/27/12 1:26AM


This is about a week old (I know), but still well worth checking out.. She doesn't exactly go after all the falsettos live, but some of that is the way some of the songs are arranged. Her band, namely her drummer, are terrific.

A couple of other things about Kimbra.

Her 22nd birthday was yesterday. She mentioned on twitter

"Just bought The Colour Spectrum by The Dear Hunter off iTunes. Pumped to get into this...@CaseyCrescenzo"

"@CaseyCrescenzo Are you guys on tour soon? We're here all month! Hope to cross paths x"

She's also mentioned being a fan of Mew, among others. What if a tour of her with The Dear Hunter, Mew or The Mars Volta ever happened?..or a collaboration for something in the studio?..my oh my. (she also is a fan of The Dillinger Escape Plan as well as a lot of other music, but for my and other tastes, TDH, Mew and the Volta stand out).

Also her headlining set last night in NYC was the following, including 3 new songs (1 being Come Into My Head)

Cameo Lover
Good Intent
Limbo
Two Way Street
Street Marigold (new)
Plain Gold Ring
Call Me
Old Flame
Samaritan (new)
Settle Down

encore
Come Into My Head (new)

Mercies - The Ballet [EP] (2012)

3/27/12 8:45AM

I'm still waiting on my Pre-Order Email download link, but until then, it's available to
stream for free here

edit: holeeeee those 1st 2 instrumental tracks are totally sublime. Maybe better than anything on Three Thousand Days lol.

4-stars. Wow, this year has not only been the year of the Bandcamp album, it's also become the biggest year for EPs, maybe ever. It's only March 27th, but I cound already 7 EPs in my top 25 releases, lol. I may have no choice but to make a 2nd EP Index with 50 or more at this rate, lol.

2/19/12 3:55PM


Interesting how Luke Dent, Erick Serna nor Nate Patterson are involved with this collection of songs. I suppose the music will speak for itself.
Mercies - The Ballet bandcamp link



1. Music for a Ballet: Light
2. Music for a Ballet: Dark
3. Clouds
4. In Your Mind
5. Take You Away

Tucked in the woods of northern Connecticut is the barn/recording studio/rehearsal space that Mercies calls home. Singer, songwriter, and guitarist Josh Rheault, with the help of his family and friends, restored the barn in the Fall and Winter of 2010/2011. Not only were 2×4′s cut, concrete poured, and electricity run, but Mercies found its humble beginnings through this restoration process.


While living in Los Angeles for several years and extensively touring/recording with his previous band, Josh’s desire to pursue his own avenue of expression as a songwriter began to come to life. When he returned home to Connecticut after going through these seminal experiences in L.A., the restoration of the old tobacco barn ensued, as early demos were recorded and plans for a full length emerged. Joined by friend, collaborator, and drummer Sammy Dent, the duo spent the Fall and Winter of 2010/2011 recording the album Three Thousand Days in the space now simply and affectionately referred to as “The Barn.”


The foundation of Three Thousand Days is deeply personal, yet presents easily relatable lyrics sung with powerful and memorable melodies. The album is colored with a homemade quality, an attention to detail, and a sonic exploration that was directly inspired by the place it was recorded. Quite simply, Three Thousand Days is “one of those releases that engages [you] within a few bars; immediately feeling like something special. Something important. Something to keep around, something to tell your best friends about.” (My Old Kentucky Blog)


Not wasting any time, Josh and Sammy, now joined by bassist Jordan Flower, have already begun to write material for their next full-length album. In addition, they will be releasing an EP titled The Ballet in March 2012 containing some new material, some reworked material, and their music for a ballet commissioned by The Charlottesville Ballet in Charlottesville, Virginia.


With their sights set on more collaboration with dance companies, other multimedia projects, scoring films, and touring to support Three Thousand Days, the future is looking bright for the ambitious trio.
credits
releases 27 March 2012

2/13/12 11:16PM




I'll add the details of course soon-ish, but the title and release date, which I'm guessing will be initially just as a digital download on Amazon, iTunes and hopefully their Bandcamp page . I'm pretty curious about this since their debut album from 2011, Three Thousand Days, was terrific.

Announcement post on Facebook

Early Pink Floyd TV Appearance (French, post-Syd)

love me some early Floyd. I ADORE that organ sound. The new Pepe Deluxé record uses that at times. Such a warm, soothing tone to it. Damn was Rick Wright just using a product of his time, or was he just plain brilliant? maybe a little of both.

Ours/Jimmy Gnecco - Black Card

Ours.net link

Ultimate Ours/JG Pass

larger image

Ours Black Card

Starting at: $100.00

Your Ultimate Access Pass to Ours PLUS Jimmy Gnecco Solo Events

AVAILABLE NOW-March 31st, 2012

*Due to the nature of this offer, the Ours Black Card will NEVER be available again*

---

OURS Black Card: 5 year all access pass

Price: $100.00

Term: 5 years. All cards will expire on March 31st, 2017

Deliverables: Ours Black Card will provide access/invites to the following at Ours shows plus Jimmy Gnecco Solo shows:

• Meet & Greets
• Select Soundchecks and after show events
• Invites to free private live shows and parties (for card holders only)
• Invites to visits to recording studio & video shoots
• Plus 15% discount on all cloth merchandise sold by Ours/Jimmy Gnecco at OURS/JIMMY GNECCO shows
• And many other special card holder giveaways

*You can add as many additional people (+1, +2, etc.) to your card for an additional fee per person so you can bring your friends and family to all Ours Black Card events with you. Price breaks offered after +4.

Upon purchase, you will receive a confirmation email and your personalized Ours Black card in the mail by April 30th, 2012. Cards will be distributed ONE TIME ONLY. Management/Artist reserves the right to cancel any Black Card event due to unforeseen or reasonable circumstance. Management/Artist reserves the right to deny access to any Black Card event. Entry to shows, including Festival performances, is NOT included as part of the Black Card offering. Card is not valid for support performances, unless otherwise communicated. Card is non-refundable. If card is lost or misplaced, please contact Ourscontrolroom@aol.com. A replacement card may be purchased for an additional fee for the same card holder name as originally purchased. Cloth merchandise discount is only available at Ours/Jimmy Gnecco Solo shows. All festivals excluded from merchandise discount. Card holder must have valid email address to receive all news and updates regarding the OURS Black Card.

I feel a little bad/guilty to have not shared this many weeks or even months ago, as I recall 1st learning about it back in late December. My initial reaction was $100? why that much? and in comparing it to The Dear Hunter's Lifetime Membership, which was only $25, but FOR LIFE, it didn't seem like quite as good a deal. 5 Years is awhile, but it also has to be asked, to get USE out of it, Ours or Jimmy Gnecco HAVE TO ACTUALLY COME TO MINNESOTA. Which for the 1st 2 or more years I recall, when I was a fan (2005-2007) they/he did not. But then within a 2-year period, they came 4 times, only once not headlining. And then Jimmy was last in Minnesota in 2010 opening for Greg Laswell.

So, I suppose odds are they'll/Jimmy will end up back in town at least a few times in the next 5 years.

Plus, maybe using it in other towns isn't as far fetched as it may sound for me. Even just Chicago.

And the fact they haven't even determined everything it'll give access to, besides the perks listed there. Especially if anything ever comes about with Jimmy and Velvet Revolver/Slash. Namely, if some kind of collaboration happens, and suddenly a large demographic of people start to check out Ours/Jimmy's music as a result, having this CARD will allow me to still get to chat with Jimmy and the band, before or after shows without considering the venue or crowd.

Although like The Dear Hunter's Lifetime Membership I suspect, it will only happen at HEADLINE gigs at this point.

I would say for even the casual Ours or Jimmy fan at this point, it's a bit to spend, but anyone whose pretty into them, it very well may be more than worth getting.

Unfortunately, the deadline to purchase one ends on Saturday March 31st according to that link above. And as it says, this very likely will be a 1-time only offer. Now in 5 years, renewing it might be a possibility, but no guarantee about that. I suppose it depends on how successful this project is.

As far as Ours/Jimmy they are supposedly working on a new record right now, and Jimmy also has plans for Weathervane. But both of those camps have been relatively quiet from the stuff I've seen. I'm hoping some news will come in the next few months. I know there's a show coming up in April I think, so they are still playing live. But I recall not that long ago (within the last 2 months), Static posted on twitter, writing music for the next Ours record.

Sound & Shape - Hourglass (2012)

This is somewhat unexpected at this time, they just announced last evening this is their new record and it's available now on iTunes exclusively. As they posted with this announcement on Facebook, it should be available on compact disc at shows among places eventually.



1 No Time to Explain 2:33
2 Everybody Leaves 2:42
3 Wolves in the Forest 3:45
4 Able Archer 3:06
5 The Whispering Boy 3:07
6 Signals 2:21
7 Hourglass 2:36
8 Wheels to Babylon 3:15

given who knows when I'll get to see them, and when this record will be available in other places and I want to support them I bit the bullet and downloaded this on iTunes. As much as it pains me to have to pay Apple for music, and have to convert the files. But so be it, $7.32 isn't a fortune.

Although in streaming the converted tracks on Windows Media Player just now, I'm hearing some clipping, and not of the cymbal-compression variety. I worry it's from converting the bitrate. I suppose once I burn this and listen via headphones, I'll know.

As far as impressions on this just off the bat, the style isn't incredibly different from their other music, namely 2011's Now Comes the Mystery EP. Shorter songs, and in this case, a shorter album being about 24 minutes. It's more of the length of an EP. Maybe The Love Electric will be their only work in epic length songwriting?

I was thinking earlier, I hope these guys don't go the way of a band like The Apex Theory, who made a fantastic 15 minute song/EP with Lightpost, and then the follow-up record Faces (under new name Mt. Helium) was spotty at best, and thus disappointing. The Love Electric is terrific, their debut record Where Machines End Their Lives isn't as good, but still okay.

I guess I'm hearing some moments on many of these songs, including a few with strings and horns; but I'm hoping headphones will lend to more of the *wow* factor I got from when I 1st discovered them with The Love Electric.

dredg - Catch Without Arms (live) 3/22/12 Santa Clara, CA

3/26/12 8:20PM

The whole show is there on Youtube. It includes Uplifting News!



3/2/12 3:30PM

Thursday, March 22nd 2012.
LIVE 105.3- The Avalon &; Man Down Productions

DREDG
10:00 PM

BETA STATE
8:45 to 9:30

Band
8:00 to 8:30 pm

Tickets:
http://nightclubavalon.inticketing.com/events/195673/DREDG
Doors 7:00 pm
Show 8:00 pm
$20 pre-sale $25 day of show

Avalon-Santa Clara
777 Lawrence Expressway
Santa Clara, CA 95051
Tel: 408.241.0777
---
STATEMENT FROM DREDG ABOUT MARCH 22nd - AVALON SANTA CLARA SHOW

Also, we're going to playing all of our album Catch Without Arms, from front to back, we well as some other songs. But we've never done that and we thought it'd be a good selling point. If you want to promote the show that way as well go for it. I would suggest then using any songs from the Catch album for the radio spot. Looking forward to it!

I wish I could go, but I can't see it. But witnessing songs like "Hungover on a Tuesday" and "Matroshka" live, are a couple I've never seen but wanted to.

Sigur Rós - Valtari (2012)

Ég Anda (“I Breathe”)
Ekki Múkk (“Not a Peep”)
Varúð (“Caution”)
Rembihnútur (“Double Knot”)
Dauðalogn (“Dead Calm”)
Varðeldur (“Campfire”)
Valtari (“Roller”)

their homepage here has "Ekki Múkk (Not a Peep)" streamable


Sigur Rós - Ekki múkk from Sigur Rós on Vimeo.

Release date is May 28th.

Jonsi has been rather prolific in recent years, along with the band. I recall posting before how I've always liked them, but at the same time, never found them addictive. Although I think the Hipsters have overrated them a bit in recent years. Their last record was okay at best. Takk was a little better. And those last two definitely aren't at the same level as () and Ágætis byrjun.

Plus the soundtrack Inni last year which I honestly never got around to hearing, nor seeing sadly. It was at St. Anthony Main for only 1 week and I wanted to go, but the timing didn't allow me to.

I expect the Hipsters to claim this better than anything in 2012, at least for awhile, which sadly, may end up detracting from my interest. But maybe this one will be an exception.

link

Sigur Ros have announced full details of their new studio album 'Valtari', which will be released in May.

The Icelandic band, who have now returned from an ''indefinite hiatus'', will release the follow-up to 2008's 'Með suð í eyrum við spilum endalaust' on May 28.

The record contains a total of seven tracks, with the band yet to state whether they will be releasing any songs ahead of the album's full release.

Sigur Ros will play their first UK show for four years at this summer's Bestival in September. They are also booked for festivals in Canada, France, Japan and Ireland.

Bestival will take place from September 6–9 at Robin Hill Park on the Isle Of Wight. For more information about the event, see Bestival.net. New Order and Stevie Wonder will headline the festival.

Sigur Ros' last release was 'Inni', a concert film and live album, which came out in November. It documented the group's final two shows of their last world at London's Alexandra Palace.

Ian Anderson - Thick as a Brick 2 (TAAB2): Whatever Happened To Gerald Bostock?

3/26/12 8:44AM

"Tomorrow’s Facebook stream of Ian Anderson’s ‘Thick of a Brick 2’ commences at 3pm (GMT) and will be available for 24 hours."

3PM GMT TODAY MARCH 26TH (England time, which would be 10AM Central, 11AM Eastern) the whole thing is going up to stream for 24 hours.

2/17/12 1:55PM

It's not under the Tull name, but Ian's I guess. Track list, pre-order info. Comes with a DVD, etc.

Ian Anderson's ambitious follow-up to his seminal 1972 opus, Thick As A Brick.



Special edition with CD, audio-visual DVD and 16-page booklet.


The DVD contains 5.1 surround mixes, 24-bit stereo mix, videos covering the making of the album, interviews with the musicians and a lyric reading where Ian Anderson reads the lyrics in various settings.


5.1 and stereo mixing by Steven Wilson.
Preorder now for 2nd of April 2012 release date




http://www.burningshed.com/store/jethrotull/product/444/3608/



1 From A Pebble Thrown

2 Pebbles Instrumental
3 Might-have-beens
4 Upper Sixth Loan Shark
5 Banker Bets, Banker Wins
6 Swing It Far
7 Adrift and Dumfounded
8 Old School Song
9 Wootton Bassett Town
10 Power and Spirit
11 Give Till It Hurts
12 Cosy Corner
13 Shunt and Shuffle
14 A Change of Horses
15 Confessional
16 Kismet in Suburbia
17 What-ifs, Maybes and Might-have-beens



2/1/12 9:13AM


2 Press releases of sorts on this
j-tull.com Ian Commentary

TAAB2
Whatever Happened To Gerald Bostock?


In 1972, I wrote and recorded the Jethro Tull Progressive Rock classic album Thick As A Brick. The lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. The record instantly became a number one Billboard Chart album and enjoyed considerable success in many countries of the world.


We then, somewhat dutifully, took the quaintly theatrical show on the road in the UK, USA and a few other countries. Since 1972, the album has never been performed in its entirety although a few minutes of the material have been a regular repertoire staple in both Tull and Ian Anderson solo shows over the years.


Now, scheduled for performance again in 2012, I will take the original album and this follow-up recording, TAAB2, to a theatre near you.


So, forty years on, what would Gerald Bostock – aged fifty in 2012 – be doing today? What might have befallen him?


The theme of this anniversary “part two” album is to examine the possible different paths that the precocious young schoolboy, Gerald Bostock, might have taken later in life and to create alter-ego characters whose song-section identities illustrate the hugely varied potential twists and turns of fate and opportunity. Not just for Gerald but to echo how our own lives develop, change direction and ultimately conclude through chance encounters and interventions, however tiny and insignificant they might seem at the time.


In the development of the piece, the divergences of life’s infinitely forked roads finally give way to an almost gravitational pull which results in convergence to, perhaps, a pre-ordained, karma-like conclusion.


As we baby-boomers look back on our own lives, we must often feel an occasional “what-if” moment. Might we, like Gerald, have become instead preacher, soldier, down-and-out, shopkeeper or finance tycoon?


And those of more tender years - the social media and internet generation - may choose to ponder well the myriad of chance possibilities ahead of them at every turn.....


Odd chap, life.....


If someone had suggested that I might release a Prog concept album in the year 2012, I would have thought him seriously, dangerously even, off his trolley. But that is precisely what happened. A few years ago, Mike Andrews and Royston Eldridge, two ex-Chrysalis Records gents pressed me to consider a follow-up to Thick As A Brick. I gave it some dutiful deliberation - for a couple of minutes - and politely declined. Nice idea, nice chaps but, after reflection, no-oooooo.


Then, in 2010, a re-aquaintance with seventies Prog Rock vocalist-turned-record exec Derek Shulman - yes, he of Gentle Giant fame - restarted the old refrain. Yes, but.... no, but, and finally - OK, I'll give it some more dutiful deliberation (four and a half minutes, this time) eventually produced, in February of 2011, the synopsis of the idea. Derek's enthusiasm and gauntlet-challenge plus two weeks of dedicated, fast and furious music and lyric writing combined to produce a flurry of material. And - blow me down with a Dodo's tail-feather - the whole thing was completed ready for scoring and arranging by the beginning of March. There were a couple of pieces prepared earlier which were bent into new shape and fitted into the scheme of things, so they too were popped into the bubbling saucepan.


It was a little daunting to consider the impact – or perhaps lack of – which this release might have on old and new fans alike but I eventually decided that I would embark on this for my own benefit and enjoyment rather than trying to please anyone else at all. To find the balance of interesting musicality and more accessible content too was not the main issue. The conceptual and heavily lyrical nature of the beast, however, might be out of place in the attention span-deficit world which we seem to occupy these days. But, having toured in 2010 and 2011 in Italy, Latin America, Australia and other countries where passions run high, I decided that maybe the world – or our little corners of it – was, in fact, ready for a bit of more substantial and weightier fare.


The era of professional media Prog-bashing seems to have given way to a more appreciative appraisal of the genre and newer bands such as Dream Theater, Porcupine Tree and Spock's Beard have possibly prompted a new and younger audience to re-examine the seventies originators' seminal albums too.


So, it's not such a cold and lonely place after all. The elements of Folk, Classical and Jazz Music are still to be found in today's more Rock-oriented Progressive Rock. You will certainly find them subtly present in TAAB2 but along with a rather more acoustic feel than many of our peers, past and present. Not the only flute in town but......


Actually, I played much more acoustic guitar than usual on this record having written most of the music on that instrument. But there are still sections conceived on the flute and sometimes – quite often, in fact – the lyric writing preceded all the melodies and harmonic structures. Starting with lyrics and then thinking of the music is not normally the way I work but it was here. A title, a few words or a verse or two and then the acoustic guitar was immediately to hand to conjure up a full song section out of the growing lyrics. Having a plan was important. Stories to tell made it all easier. The imagination-filled process of thinking how things might have turned out for the young and older Gerald kept me fascinated. Maybe you will be too. And maybe not.


Ah, well – you can always go and watch The X Factor and the Eurovision Song Contest.


Ian Anderson January 2012



IAN ANDERSON's
'Thick As A Brick 2'

Ian Anderson announces 40th anniversary sequel to the hugely successful, groundbreaking 1972 album
Following the recent announcement of a 19-date tour to commemorate the 40th anniversary of 'Thick As A Brick', on April 2nd Ian Anderson will release a sequel to the original album.

In 1972, Ian Anderson wrote and recorded the Jethro Tull Progressive Rock classic album 'Thick As A Brick'. The lyrics were credited at the time to the fictitious child character, Gerald Bostock, whose parents supposedly lied about his age. The record instantly became a number one Billboard Chart album and enjoyed considerable success in many countries of the world.

So, forty years on, what would Gerald Bostock - aged fifty in 2012 - be doing today? What might have befallen him? The anniversary "part two" album will examine the possible different paths that the precocious young schoolboy, Gerald Bostock, might have taken later in life through alter-ego characters with song-section identities illustrating the hugely varied potential twists and turns of fate and opportunity. Not just for Gerald but to echo how our own lives develop, change direction and ultimately conclude through chance encounters and interventions, however tiny and insignificant they might seem at the time.

Ian Anderson says of the album, "As we baby-boomers look back on our own lives, we must often feel an occasional 'what-if' moment. Might we, like Gerald, have become instead preacher, soldier, down-and-out, shopkeeper or finance tycoon?," Adding, "and those of more tender years - the social media and internet generation - may choose to ponder well the myriad of chance possibilities ahead of them at every turn....."

To coincide with this groundbreaking release, for the first time since 1972, Anderson and fellow musicians John O'Hara (keyboards), David Goodier (bass), Florian Opahle (guitar) and Scott Hammond (drums) - as well as some guest performers - will take to the road to perform the album in its entirety and, it can now exclusively be revealed that, in addition there will be a second part to the show where Anderson and the band will also perform the sequel.

'TAAB2' tracklist:
1 From A Pebble Thrown
2 Pebbles Instrumental
3 Might-have-beens
4 Upper Sixth Loan Shark
5 Banker Bets, Banker Wins
6 Swing It Far
7 Adrift And Dumfounded
8 Old School Song
9 Wootton Bassett Town
10 Power And Spirit
11 Give Till It Hurts
12 Cosy Corner
13 Shunt And Shuffle
14 A Change Of Horses
15 Confessional
16 Kismet In Suburbia
17 What-ifs, Maybes And Might-have-beens

'Thick As A Brick 2' will be released on the 2nd of April 2012 in three formats: a standard jewel case CD and digital download, and a Special Edition 2-disc format featuring the album plus a DVD containing a 5.1 surround mix, a making of the album film, interviews with the band video and engineers and lyric reading video.



no Martin Barre? I guess I am at a wait-and-see. I love TAAB immensely, but like the Yes album without Jon Anderson, I can't really expect nearly what they made with TAAB. Nostalgia at this point. But I'd rather them do this, than nothing, even sans Martin Barre.

Well, I pretty much can retire this blog now

After seeing this video



and this video of course



I'm not quite sure if there is much reason to add more to this blog. These 2 videos more or less sum up me and everything I do here (well, not everything, but I'm sure anyone who sees this knows what I mean ;))

I Mother Earth - We Got Love (new song)

I've been a fan of these guys for over a decade, although more so, around 10 years ago. And it is not to be ignored the fact original singer Edwin is not with them in this reunion of sorts. What I'm unclear is, is this something for a new record coming soon? I'm guessing yes.

There's also a new Big Wreck album that just came out, which is surprisingly pretty good. And some of the members of IME and The Tea Party, among others, did that project Crash Karma back in 2010. Maybe there's a revivial of the mid-to-late 1990's Canadian grungey-prog stuff now?

No idea. But perhaps The Tea Party will return as well.

Kimbra on Carson Daly 3/20/12 (3/21/12 in the AM)

1st US TV Appearance (on her own)?

Another new interview with Casey Cresenzo

another new interview with Casey, talking about TCS and more about his plans for 2012 and the next TDH record. He just briefly mentions The River Empires. Also this band K Sera who I sampled yesterday after seeing them included in the Alternative Press "100 Bands You Need to Know" issue. Although honestly, they may be a bit too emo-sounding for me. But with Casey producing, I'm still curious.



link

How has the fan response to The Color Spectrum been?
I think that the response has been, for the most part, really positive. I think it was really surprising. I don’t know if I really had expectations of exactly what was going to happen or how people were going to react to it, but I can say that it’s been definitely a good surprise that people were as open to the different styles and the different vibes that weren’t necessarily native to the band in the past. On tour, some people come up and said that was the first thing they had heard of the band and that they got hooked on that. I think it was really refreshing because in the past, for the most part, or at least the vocal majority of the fans of the band, have been really into the story of the records that I was doing before this. So it’s all been really amazing. The last year of touring and promotion for the record has been just really surprisingly positive.


The album took a long time to make, which forced you to be away for over a year from touring. Sometimes after a long process like that is over and you look at in hindsight it might not have seemed worth it, depending on the reception a band or artist can get. Are you still happy with your choice to switch it up and break away from the acts for at least one release?
Oh, yeah absolutely, I think as far as doing act records, it’s something that when I am doing it, it feels real and natural. And if it’s not going to feel organic, then I really don’t want to force it. That was the point I felt like I was at, like if I went and tried to continue that at the moment, it would just be forcing it. I’ve done my best to be as honest and natural musically as I can, so this popped up as something I could do. It just seemed like such a perfect thing to do and once I started getting into it and immersing myself in it. I definitely felt really good, you know? That’s why I said I really didn’t have any idea or expectation for the reaction. It was because I really just tried to do right by myself first and be honest and genuine musically and then the reception is going to be the reception, whether it’s good or bad. So, it was a huge breath of fresh air to step away from doing those records.

A lot went into the record to make it as whole as possible right down to the packaging. Was it nice to make it such an artistic experience?
I think in the past it is something that I have really strived to do as well, making something that’s actually worthwhile. Once the music is mastered, it has to be looked at from a certain perspective as being a product because you are selling something. So at the point that the creativity of the music is done, because I don’t look at that part as product, but at the point when you are looking at selling something to someone and expecting them to pay money for it, I think that if you’re not giving people something exciting or at least giving them their money’s worth, then it’s really just taking advantage of people. It’s funny for somebody who just puts out a jewel case or a gift pack or something without a lot of effort to be upset when somebody downloads their music. But when you give them something that has heart and soul put into it, people are going to buy it. That was something I strived for in the past, but I think my ambitions with the project, with all the act records went out of the abilities of the band, being the size that we were. Things like the packaging that would fit the grandiose nature of that kind of music wasn’t really possible. But for this, I think the vision from the beginning was so clear and clean and once I brought in Cameron Thorne to do all of the artwork, it was all so perfect and simple and when Triple Crown came in they were 100% on the same page. I think this time more than any other release, it was really easy to get everybody aligned with the same ideas and the same goals for the packaging and for really everything. So it was really nice to see something that exceeded my imagination as far as what other people were involved in it.


What was it like playing material for the first time that was outside of the act concept for these three or four tours in a row?
I think that it goes both ways on any given night. It’s really hard to pick a set list that is going to be the average Dear Hunter fan’s positive, enjoyable set list. What The Color Spectrum did was it kind of spread out the fan base a little bit more and in the past, people who might have liked certain albums of the band, they got a couple EP’s that made them more into that element, but at the same time, the reverse was happening on different sides of the band’s audience. So it’s really tough, but I think it’s been really fun to learn what does work and what doesn’t work. It’s refreshing, always, to play music from the most recent release, even though that’s not always the most exciting thing for the audience, I know that’s one of the ways a band or audience gets to keep on feeling that excitement is to keep things new and fresh. So that obvious side of it is heavily enjoyable for me to be playing newer music. And it also makes playing the older music more fun, because it takes on a new nostalgia. I’m not promoting Act III or Act II or Act I, I just play the songs that I really want to and it’s not a concern, necessarily, to try to win people over for this new release by playing songs from those records.


You did do three major tours this past year with your headliner, the Manchester tour, and the Anthony Green tour. Did they all go pretty well?
Yeah, I think so. I think that in the moment, they all feel really great and each one feels a little better. Doing our first national headliner was really rewarding and exciting. We’ve been on tours with other bands where there’s thousands of people a night, but when you have 150 or 200 or 100 or 50 kids that are all excited and there for you and the night you are putting together, it’s way more powerful than playing in front of two thousand people who are waiting through you. The headliner was really a highlight of my life so far and the other tours that we did also with the first tour we did back at the beginning, almost a year ago now, they’ve all been really great. The reception has been good. People who have never heard of the band are liking the band when they hear us live and people who love the band are still enjoying it I think. I don’t think we’ve lost too many fans. Yeah, everything seems to be going really well.


Will you be announcing any more tours any time soon?
As far as touring, I don’t think there is going to be any touring after this or at least after…there is like a week of shows, kind of a weird second leg of the Anthony Green Tour that’s in June. Other than that, I’m just going to be going back in July to start doing a new record, probably. That’s kind of tentative in my head. I’d like to get back in the studio in July and do a new album.


In March, I believe you are producing K Sera new album, are you excited to change things up and produce?
Yeah, absolutely, I have a studio at my house that I love and it’s really…It allows me to get really creative and be really comfortable. So when I can invite someone else into that setting where I feel very comfortable and it’s not just flying somewhere and doing something for two weeks and going away, I feel very creatively safe in the studio. Having someone else come in and especially being like that, I feel is very talented with good musical ambition behind them, I’m really excited with all of the downloads. We’ve been going back and forth with pre-pro. It’s going to be awesome, I’m really excited for that. They’re coming in just a couple of days and I actually just bought an acoustic piano for my live room because they do a lot of piano and I know in the past we’ve been stuck, so I wanted to make sure that we could make the record as organic as possible.


Are you looking to do more producing in the future?
Yeah, I mean I’ve done it for a while now. Some of my favorite stuff that I’ve worked on is this band River Empires. This man, Jessy Ribordy, is kind of the mastermind of it, and also he was in the band, I guess it’s still going on, it’s more like a studio thing now, but this band Falling Up. Oh and there’s a band from right around where I live called Naïve Thieves and we brought them out with us and they actually also perform in The Color Spectrum. So I’ve been working with them. I love producing and I love engineering and I just love being in the studio and creating. I could definitely see myself doing a lot more in the future, but at the same time, I’m so excited to be making a new Dear Hunter record as soon as I can that I think after this session, I’m probably going to just concentrate on the shows I’m playing and then get right to making the record.


Will this new record be a new act or something different again?
I don’t really know. I think that as soon as I sit down at a piano, and I’m in the mindset of writing, I’ll be able to tell where my heart’s at. Right now, it tells me that I want to just be making a record: a non-act,non-plot-driven record, just songs. And, I’ve never really done that. Even though The Color Spectrum is kind of like that, it’s so expansive. I would just like to make a record, you know? Without any preconceived plot or concept. So that’s what my heart tells me to do, but I really don’t know for sure.


You’ve had albums before The Dear Hunter, but is it going to be weird if you do end up going that route? Do you think it will be interesting to do a side of The Dear Hunter that fans have yet to see?
Yeah, and I think that one of the reasons I want to do it. It would be really “safe” for me to go and do another act record because I think that some people are waiting for it, and that kind of music I already understand what I want to do for an Act IV or an Act V. I know where I want to go with it and I think that safety of it in my head makes me want to do something different. It’s still a project that I want to finish and am very passionate about, but I think I would just like to see what that is because I also think it’s a side of me that I am not really in touch with. Because I have been doing primarily conceptual work for a while. I think it would be another breath of fresh air for myself to take a little bit more of a personal approach directly to making another album and kind of put some of the conceptual work on hold.


That’s great for a breath of fresh air and your artistic freedom, but does it concern you at all in terms of your fan base?
No, I don’t think so. I think it would be giving them not enough credit to think that they couldn’t handle a record because it wasn’t conceptual. I think that they like the music first and the concepts second. Even of the concepts, there’s still writing from the heart and even though it might be dressed up in a plot and might be dressed up in a more grand idea of what a project is, it’s still just music and there are still people who are just fans of music. So as long as the music is good, genuine and from the heart, I think that the fan base wouldn’t have any issue with it. I think it would only be at point where it was noticeable that I sold out or that I had made a record simply for the sake of making money that anybody in their right mind would stop listening to it. As long as I continue doing what I’ve been doing, which is writing from the heart, I think they’ll enjoy it. It just happens to be that right now, writing from the heart is not writing a story-based record.


So the loose plan is to record this album with K Sera, do those shows, and then start writing the next record?
Yeah, a little while ago I kind of took a stab at it and then I got a little bit sidetracked. So, I’m hoping to, in the next couple weeks at night, when we’re done in the studio, to get reacquainted with writing and give it a little bit of a go.


Are you working on any other projects of any sort?
I’m definitely trying to get a couple other things going. One of which is that band Naïve Thieves. Working on their full length record. And then there’s my cousin who lives in the area, and his band is working on and hopefully getting a full length together and I really want to help them with that because I think they are a super talented band. But as far as my own projects, there’s a couple of people that I really love to work with and that we’ve had plans to work with for a while. It’s just really hard to find time. That is something that I always keep myself open to but as far as any solid plans, I don’t think I have any.

Kimbra - Come Into My Head (new song live SXSW)

I haven't watched/heard it yet (as I'm at work right now), but there's already been a lot of raving comments about it.