Monthly Archives: July 2010

Candy Claws – Hidden Lands

Listening to Candy Claws is like swimming in sort of a Dream Pop fantasy pond. Their music has a very cinematic quality to it that kind of calls for an individual listening experience, which is definitely not a bad thing, but just so you can let your mind grapes drift into the hands of Candy Claws. “Hidden Lands” is the second full length from the band who are based out of Fort Collins, Colorado. And it’s a wonderful follow-up their previous album “In the Dream of Sealife” which was another reverberated wish-wash of melodies. This time, the songs sound more constructed and polished, but still have that Candy Claws sound that makes them memorable.


In The Deep Time
Sunbeam Show
Warm Forest Floor
On The Bridge
The Breathing Fire
Silent Time Of Earth
Miracle Spring
Sun Arrow
A Strange Land Discovered

Candy Claws are also on tour right now….West Coast dates below
July 29 at the Crepe Place in Santa Cruz
July 30 at Spaceland in Los Angeles
Sept. 5 at Bottom of the Hill in San Francisco
Sept. 9 at the Vera Project in Seattle
Sept. 10 at Backspace in Portland
For a full list of dates go to their MYSPACE page.

No new videos yet, so here is one for “Catamaran” which is on their 1st album

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Wools – Raining Summer EP

To me, this EP totally reminds me of those snow levels from Donkey Kong Country on SuperNintendo. Sounds that emulate crystals and lightbeams crafted together to form atmospheres similar to those of afternoon drizzles. Music that is being taken far out to similar territories as Tim Hecker, Fennesz, and Oneohtrix Point Never. This tropical ambient outfit Wools is masterminded by Hugo Alfredo Gomes and his BANDCAMP page says he is from the Bahamas…..random. Come have a listen to Wools’ self proclaimed “Unemployed Pop” songs.


1. rungrado may day stadium
2. water, birds and palhete
3. j’s room
4. have it all
5. she’s married now
6. how can you mend a bee gee?

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Lee Hazlewood – Cowboy in Sweden

This is Lee Hazlewood, the man with the mega baritone voice, at his very best. For this album in particular he picked up shop and stumble-bummed it to Sweden and met film director Torbjrn Axelman who he collaborated on this album/film with. The duo created one of the most magical pop records of all time, exposing the world to Cowboy Psychedelia. Nina Lizell and Suzi Jane Hokom help out with harmonious vocals throughout the album giving it the perfect balance. Full of “cowboy rambles, rockabilly rhythms and symphonic pop”, Cowboy in Sweden is loaded with gems. Ramble on…


1. Pray Them Bars Away
2. Leather and Lace (with Nina Lizell)
3. Cold Hard World
4. Forget Marie
5. The Night Before
6. Hey Cowboy (with Nina Lizell)
7. No Train To Stockholm
8. For A Day Like Today (Suzi Jane Hokom)
9. Easy & Me
10. What’s More I Don’t Need Her
11. Vem Kan Segla (with Nina Lizell)

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Welcome Home (Diggin’ the Universe) A Woodsist Compilation

Things have been anything but quiet over at the Woodsist Records. The label blew up last year and has been releasing fantastic records from the likes of Wavves, Real Estate, Ganglians, Woods, the Fresh & Onlys, Blank Dogs, Thee Oh Sees, this list keeps going and going. And now they put together a comp of exclusive tracks from various people from their roster. The mix, like a lot of the Woodsist records, has that compressed tape machine quality to them creating a warm web of melodies. For a comp of rarities, this one is as good as they get. Not a dull song on here. Check it…


A1 Woods: “I’m Not Gone”
A2 Run DMT: “Richard”
A3 White Fence: “The Love Between”
A4 The Fresh & Onlys: “Heel.Toe.”
A5 The Mantles: “Bad Movies”
A6 Skygreen Leopards: “Catch”
A7 Alex Bleeker: “Gettin By”
B1 Moon Duo: “A Little Way Different”
B2 City Center “Box of Rain”
B3 caUSE co-MOTION!: “Over You”
B4 Art Museums: “Darling Are You Out of Your League Again”
B5 Nodzzz: “Old Clothes”
B6 Ducktails: “Sun Out My Window”

You know who else digs the universe…..

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Aias 7″

So the lofi pop craze is everywhere. And indie superlabel Captured Tracks have presented us with a sweet extract all the way from Barcelona, Spain. Aias is Laia Aubia, Gaia Bihr, and Miriam Garcia and they have got the all girl summer fun band sound down. Taking influences from 60’s girl groups and the whole Phil Spector Wall of Sound thing. Not groundbreaking innovative stuff, but it has got a superb lush quality that will please you nonetheless. Yup…..they do sound similar to Vivian Girls, Dum Dum Girls, Best Coast….but those are all cool bands too. Two tracks, very short tracks at that, but we can’t wait to hear more from Aias. If you need more, just head over to there MYSPACE to listen to more tracks.

Link: AIAS 7″

1. Aias
2. Canvis

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Lee Dorsey – Ride Your Pony

Classic. Prizefighting boxer turned Soul/R&B superstar Lee Dorsey‘s second album “Ride Your Pony” that surfaced in 1966 captures the the soul of the 60’s New Orleans sound. Sun drenched R&B, with the amazing instrumentation of The Meters backing up Dorsey on this record. It’s fun, funky, and it shakes you up. This combo was a hit-makin machine during their time together creating odes to lovers, break-ups, cars, and strippers. Everything is in its right place….including wobbly piano, fresh vocal harmonies, horn stabs, and chicken scratch guitars. Essential.


Ride Your Pony
The Kitty Cat Song
Shortnin’ Bread
So Long
People, I Wish You Could See
Work, Work, Work
Get Out Of My Life Woman
Here Comes The Hurt Again
Hello Mamma
Can You Hear Me? (Edit)
The Greatest Love
I Can’t Get Away
Go-Go Girl
I Can Hear You Callin’
My Old Car
Love Lots Of Lovin’ (With Betty Harris)
Take Care Of Our Love (With Betty Harris)
Vista, Vista
Wonder Woman
Four Corners (Part 1)
Four Corners (Part 2)

Peep a live version of Ride Your Pony below…

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Diggin For Gold Vol. 2

So we are timewarpin it to the 1960’s and are stopping by the early “demented” garage R&B/Pop/Punk scene. Gold is to be found here on this album (especially “My Life” by Thor’s Hammer and “Moonshine” by The Marksmen). Booze will magically appear if you play this album extremely loud. It also a great introduction to many underrated bands that lived in the shadow of big names like the Stones and the Zombies. Another compilation of golden pleasures from the Diggin for Gold series. So whens the next acid party?


1. The Undertakers – (I Fell In Love) For The Very First Time
2. The Nameless – Life
3. The Moods – Cos Of You
4. Sound LTD Set – Sunside World
5. Group $oall – Will You Teach Me How To Love
6. The Torero’s – Come
7. Thor’s Hammer – My Life
8. Dat En Wat – Dead Man Blues
9. Thursday’s Child – I Want You Back
10. The Marksmen – Moonshine
11. The Beatniks – Can’t Be Sad About It
12. The Inn-Sect – Let Me Tell You About The Things I Need
13. Thor’s Hammer – Better Days
14. Dat En Wat – I Can Live Without You
15. The Rolling Beats – Don’t Ask Me Why
16. The Unforgettable Amnesiacs – Leave Me Alone

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Cults // Cults 7″

A friend recently shared this with me, it was a pleasant surprise. The indie dweebs have been waiting for a new indie pop princess to gobble up, since the majority of the current indie rock babes have been eaten up by corporations and thrown up as consumerist icons, this girl is special. She has such an uplifting voice that most bad days will turned into days of floating in the heavens.

This collection of three songs combines every thing you thought you knew about love, with a dash of summer time, and a small splash of psychedelia that leaves you with a smile on your face because of nostalgic memories of good times from the past. You are really going to like this. A plus.

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Phantom of the Paradise

Just watched this wonderful gem again the other night. It had been too long, and is was nice to revisit Brian De Palma’s comical kaleidoscope vision of the absurdities of Glam Rock. Flashy camerawork (including the great “Split Screen” effect the De Palma is oh so fond of) and wonderful musical montages weaved together with “Pop Sensation” operatic tragedy create wonderful cinema. Plus it’s got Jessica Harper (yeahhhh, before Suspiria) getting down as Phoenix, an aspiring Pop Diva who becomes the object of affection of both hero and villain. Her dance moves in the movie might be just as bad as Elaine’s from Seinfeld dance moves. Some of the most awkward dance bits ever, can’t tell if she is for real and it’s funny as hell. And also the villain, a Satanic record producer named Swan, funniest lookin dude ever.

Here’s some words about the film by Fernando F. Croce
“Where Brian De Palma’s homage to cinema’s past glories in Sisters was neatly sewn into the fabric of its narrative, in Phantom of the Paradise it just about bursts gloriously at the seams. Hitchcock is here, of course, in the funniest Psycho parody ever filmed, but most of the allusions in this baroque fantasy are paraded with an eye for gothic classicism: Faust, The Phantom of the Opera, Frankenstein, and The Picture of Dorian Gray, among others, provide the canvas onto which De Palma splashes his overwhelming filmic mojo. The film has the feeling of having been a liberating experience for the director, in allowing him to not only bring to the fore the referential facet that runs through his oeuvre from day one, but also to sustain for the entire 92 minutes the delirium of Sisters’ transgressive concluding sequences.

William Finley, the previous film’s chauvinistic villain, gets the role of his career as Winslow Leach, the songwriter whose masterwork, a “rock cantata” retelling of the Faust legend, is stolen by Swan (Paul Williams), the unscrupulous owner of Death Records; framed and ruined, Winslow gets his face sizzled off in a smoldering record press, then dons leather suit, cape, and metallic mask to haunt the Paradise, Swan’s elaborate rock venue, as the Phantom. De Palma understands the intensity of ’70s rock as the successor to opera’s shuddering arias, and the fervent charge of music electrifies the visuals without succumbing to the meth-oppressiveness of Tommy. From start to finish, no scene feels “dead”: Whether it’s the hero’s first encounter with fickle muse Phoenix (Jessica Harper, soft and corruptible), a stint at Sing-Sing, or an audition for various musical styles, no occasion is too insignificant for a prowling POV, a handheld tilt of the camera, or any other form of wanton restlessness that De Palma’s blessedly adolescent impatience utilizes.

As in that other great musical spoof, The Girl Can’t Help It, however, Phantom of the Paradise draws withering links between product and consumer. A hipster-Mabuse figure, Swan materializes in tinted shades and golden locks to a gust of organ music and, like De Palma’s malevolent overlords, proceeds to manipulate images and sounds from inside his booth, fine-tuning the Phantom’s mangled vocal chords until his warbling is ready to be packaged and sold to audiences with bigger and more morbid appetites. In a touch worthy of Tashlin, Death Records’s main group, the Juicy Fruits, go from greasy-haired doo-wop to ’60s beach inanity to Kiss-styled pyrotechnics in the course of the film, with concertgoers literally contributing to the on-stage assembly of “ambiguous” superstar Beef (the inimitable Gerit Graham). That the loudest applause is reserved for Beef’s electrocution bears out De Palma’s awareness of how easily radicalism can be morphed into spectacle for the bloodthirsty public, the feeling that Swan’s “That’s entertainment” declaration is lined with his talent-scout’s blunter summarization (“Nobody cares about what anything’s about”).

“Dream it never ends,” Winslow sings at the piano as the camera swirls lyrically around him. De Palma’s cinema frequently draws on the medium’s oneiric affinities, and Phantom of the Paradise progresses as a darkening reverie from which escape is revealed as unattainable; the hero’s blood-sealed contract with Swan locks their souls together, and only the rebellion of protégé against master (to be later followed and enriched in Obsession, The Fury, Raising Cain) can lead to liberation, even if that means death. Earlier in the picture, De Palma stages the characters’ interlocked destinies (as well as a sly shout-out to the Welles of Touch of Evil) with parallel tracking shotsthat finally merge into a single image as the explosion of a time-bomb dismantles the split-screen’s barrier. Another blast is needed to rupture the Faustian bond connecting the Phantom and Swan, provided at the film’s splendidly tumultuous climax, a jolting extravaganza where the death of a character is scheduled to be telecast and the bacchanalian bloodletting that ensues points to the stupefying catharsis of Carrie while revisiting the turbulence—and the implicating roles of the audience—of Dionysius. De Palma’s volcanic comedy concludes with the macabre yet liberating orgiastic jousting between creation and creator, not just between the Phantom and Swan, but also between spectacle and viewer. Only the film’s audience, too caught up in the euphoria of the show, remain oblivious to the real horrors on display.”

And for your pleasure, the soundtrack…


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Brenmar // 24k mix

So dance party wonder child Brenmar put out a fresh mix of greatness; Pop, hip hop, and R&B tracks meshed together for an all out good time. Lets not forget to mention the exclusive tracks from Brenmar himself included in the mix. Nothing but gold. Perfect for summer days and long nights. Party on Friends.

– Brenmar – 24K Intro
– Kelis meets Dubble Dutch (Brenmar edit)
– Jamtech Foundation – Unleash It (ft Joey Fever)
– The Phantom – Night Game
– Cassie – Me & U (Brenmar remix)
– Jeremih – I Like (Brenmar edit)
– Mele – Mugged
– Samo Sound Boy – Five
– Starfoxxx – La Contradansa
– Gremino – Shining (Jam City remix)
– Brenmar & Nguzunguzu – Knee Deep
– Munchi – Murda Sound VIP
– Bok Bok – Dance Report
– Ixxel – Drop That Beat
– Optimum – Crash Riddim
– LOL Boys – w8ing2xhale
– Young Prince – Koolaid
– J. Holiday – Go Home With You
– Dj Jonty – Grinding (Falsetto)
– Brenmar – Crime Mob Cover

Link: 24k mix

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