New BRMC (?)
Friday, November 7th, 2008This is time for WTF reactions. BRMC came out with an album full of instrumental, ambient works. Ok, ok, this happened as a ’statement’ or something: this is their first
independent release and is only available only. This can be seen as a reaction, same as Radiohead’s or NIN’s but it’s BRMC. They don’t have 10 albums behind their backs and they are not legends…yet. I know that this kind of move has two typical effects on those who listened to the album: 1. they like how the rock band has a ‘deep’ ‘vision’ about ‘art’ and ‘the human soul’ not only a rock band with guitars and drums, 2. they hate it because it seems a forced attempt at making something irrelevant and unnecessary. I think I belong in the second group. I mean I really adore BRMC and all of the albums but this one is just a collection of annoying sounds ‘from the road’. And oh wow it came out on 27th of October and exactly at 3:33am! WOW! Ok, sorry, I don’t wanna be categorical…listen to the opening one down here and buy the album here. I’m just disappointed because, you know, you don’t need to make symbolic statements about the music industry and prove that you are ‘more’ than a rock band if you’re a rock band…why is this frustration there? Is it just me or anyone else sees this symptom with more bands who try to be artists instead of making ‘only’ rock or pop music?
BRMC - The Effects of 333 [zshare] // [ysi]
instant buzz as soon as their first tracks came out. Although, if you’re not familiar with the latter let me bring you up to speed. Fan Death is two girls from the US who make music like 
except for this song. There are a couple of embarassing similarities: Coldplay, The Killers, Death Cab for Cutie… This shows that band have changed a lot since Youth and Young Manhood. Actually, in spite of all the bad stuff, Only by the Night is better than their previous two records. They’ve never been my favourite band and I think they’ll never be. Couple cool songs, allright. I just don’t get it: how did they become this huge indie band from the southern rock thing? Nevermind, this record is like a decent 6/10 with Closer as an outstanding highlight. (Btw I realized how much I’m into cool opening songs.) You know, if you don’t worship them then you don’t get all angry and stuff and compare them furiously to cocksucking U2. Just skip a few songs. Like 17 or Notion. (They should make a successor to Red Morning Light instead.)
Better pay attention now, folks. Thanks to him for finding us! This early in the career one important factor for the shit/good distinction is the songs one chooses to remix. At least for me. You’ll find two tracks below: first is Kanye West, the other is Cut Copy. Both have been blogged a couple of times and the latter one is super-remixed by giants like Midnight Juggernauts. With the Kanye song, the question is if the remix can present a unique sound while the original is destined to be a widely popular thing. With the Cut Copy song, the issue seems to be that whether there’s a point for this millionth remix in the ocean of remixes or not. Clockwork jumps both obstacles. Love Lockdown is not gonna be my favourite but the remix with the freaky synth and rhythm definetly makes it hotter. Hearts on Fire is hard stuff but there’s subtle originality in the work Clockwork did and I really love how the tension rises from the beginning and it keeps up for 3 minutes.
Cathedral. The music is folk in its essence but it has a few twists and turns. Like some added psychedelia that goes towards the direction of early Pink Floyd (Syd Barrett, right) and electronica. Experimental, we could say. Like add some drugs to No Country for Old Men and that’s the feel. Dust everywhere, dead towns in the wild west with electric stroms howling over them…and a man in an old, rusty car with the devil on the backseat. The driver is him, the songwriter. A haunting voice and melodies that earn the label ‘freak folk’ or ‘gothic country’. The new album City of Refuge has a great title, it describes the concept perfectly. Coming out on the 7th of October, it’s a product of weeks alone in a desert motel, somewhere in Nevada. Refuge and peace, still life and still death characterize this new piece. The last song After the Fall might be the most traditionally folk-singer/songwriter thing but it’s beautiful (is that Sufjan on the backing vocals?) and sums it up: “and if I’d known were we were goin I would not have gone at all there was no way of knowing that much after the fall”
gonna move on. This time 
from the soul to the soul. This is fucking important. I mean, this is where originality and uniqueness comes from. You know, you can keep doing cool stuff which is nothing but a copy of other stuff you think is cool. Everyone does it. The problem is that with most people/djs/bands they have exactly nothing behind it. Not an original thought, not a good concept, not giving credit where it’s due, nothing to keep the whole together and it becomes just an embarassing collection of i-want-to-be-cool-moments.
to roots like The Velvet Underground. There are a couple of bands like this, starting with the Kings of Leon debut but to get more close, like tourmates 
Johs and Kylie from 
