By Eric Mahollitz

Last night, Madison and the High Noon Saloon were fortunate enough to host Vancouver’s Ladyhawk and New Jersey buzz band The Gaslight Anthem. A slightly subdued but good-sized crowd welcomed Ladyhawk to the stage. Duffy Driediger (guitar/vocals), the band’s unofficial spokesman, looked right at home on the microphone, his flannel shirt and signature beard exuding the warmth that comes through so well in his songwriting. His habit of being self-critical came out between songs in the form of playful banter, but upon hearing the songs themselves such doubtful statements, however playful, become moot. Through the course of a dozen songs that spanned the old and the new, Ladyhawk seemed keen on indulging in their favorite tool – the guitar. Solos were infused and interludes were extended, often peppered with southern rock riffs and accentuated by the swaying long locks of bassist Sean Hawryluk. Highlights of the show included the dynamic duo of I’ll Be Your Ashtray and S.T.H.D. from their latest record, Shots, as well My Old Jackknife from their first album. Then, as an odd choice for a closer, Driediger announced a new track, entitled Hellfire, which appears on a new 7” shared with two other Canadian bands. Hellfire proved to be the most explosive track the group has ever recorded. Guitarist Darcy Hancock and drummer Ryan Peters switched places for the song and Driediger laid down his guitar before the quartet cannonballed into a Black Sabbath-tinged concoction of epic proportions.

Ladyhawk Setlist: You Ran/ Dugout/ War/ Fear/ Different/ I’ll Be Your Ashtray/ S.T.H.D./ Crows/ Peen/ New Joker/ My Old Jackknife/ Hellfire

After a brief changeover, headliner The Gaslight Anthem took the stage, and the crowd immediately herded towards the stage, packing themselves in much tighter than before. In the midst of a massive tour with Rise Against, Alkaline Trio and Thrice, The Gaslight Anthem was pleased to touch down in Madison for the first time and play a longer set. Following the immediately energizing performance of The ’59 Sound opener Great Expectations, it became clear the band is ready for larger arena shows. It wasn’t long before beer bottles were raised and fists were pumping as the band shuffled through their brief but quickly expanding catalog. Whereas Ladyhawk applies a slight disheveledness to their sound, TGA hammered away as though the model of precision and did so with big smiles and lots of open camaraderie. Brian Fallon’s vocals overflowed the space with the band’s characteristic workingman’s songs. Equally apparent in the group’s sound is the influence of two other New Jersey artists, The Bouncing Souls and Bruce Springsteen. On The ’59 Sound and during their live performance, they’re able to mix that punk influence with sentimental bar rock and instill a similarly raw sentimentality in their audience. Following the main set which included heavyweights The ’59 Sound, Miles Davis and The Cool and the rare, mellower number, The Navesink Banks, Fallon and company took the stage once more to play two cuts from February’s Señor & The Queen EP. Hand clapping abounded and the band left the stage to raucous applause, adding another notch to their belts.

The Gaslight Anthem Setlist: Great Expectations/ The Patient Ferris Wheel/ Old White Lincoln/ Wherefore Art Thou, Elvis?/ We Came to Dance/ Drive/ Miles Davis and The Cool/ 1930/ I’da Called You Woody, Joe/ Angry Johnny and the Radio/ The ’59 Sound/ Sender/ The Navesink Banks/ Film Noir/ I Coulda Been a Contender/ The Backseat

Encore: Blue Jeans & White T-Shirts/ Say I Won’t (Recognize)

Photo: Rise Of Beachmont
++
Myspace: The Gaslight Anthem
Myspace: Ladyhawk

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TITLE: One Divided Soul / ARTIST: Broadway Project / LABEL: ODS / RELEASE DATE: 12th January 2009 / CAT NO: ODSD003

Following on from the critically acclaimed In Finite comes the luscious musical tapestry of One Divided Soul, Dan Berridge’s latest release under his Broadway Project moniker. His first album in 3 years – while typically cinematic in scope – represents a new direction for Berridge: here, he uses his background in writing film and television scores to conjure up a sonic vista that is eccentric and diverse, yet also possessed of a fragile overarching, cerebral beauty.

Inspired by Dan’s love for obscure library music and twisted hip-hop, ODS was loosely envisioned as “baroque-beats with a classical twist”. However, it soon became a joyful noise where anything quirky and off-the-wall goes: big cello riffs do battle with r’n’b beats and Harpsichord riffs are matched with off kilter rhythms. The mood moves from light-hearted stompers, to big cinematic string laden epics. The very title alludes to the schizophrenic nature of Dan’s output: “I’ve got two musical brains, one is dead-set-serious on creating what is needed for the image I’m working with and the other one is strictly me. That’s what this album is; me having fun and making music that moves me and my friends”

Music for the marketing men as well, it would seem, as Broadway Project tracks have recently featured on ads for Orange, Guinness, Sky, Max Factor and Seat. Orange use “The Wobble” as part of their RockCorp campaign, and “Bar-Room Brawl” was used by Guinness for their recent Taste campaign.

Other projects Dan has worked on recently include “Better Things” the Cannes nominated feature film by Duane Hopkins; and “Identity of the Soul”, a feature film starring Vanessa Redgrave and directed by Thomas Hoegh. Then there’s the ODS Remixed album on the horizon, with contributions from friends and comrade’s including Mint Royale, Shawn Lee, Michael Fakesch, Bonobo, Jon Kennedy, Plaid and many more to come.

Broadway Project live take the form of a stripped back unit, aimed at the dancefloor, with Matt Bourne on Cello and synths, Sir Beans OBE on decks, and Dan on his laptop crunching out beats and effects. The ODS Soundsystem (live DJ set) is also ready to set sail, with the release of the album being accompanied by several exclusive mixes, taking in some rare-as-hen’s-bollocks library music alongside mucho twisted hip-hop beats and exclusive new remixes and tracks.

One Divided Soul resembles something of a musical library, where distinctively modern booty-beats and classical instrumentation are carefully catalogued and arranged, only for Dan Berridge to enter and artfully re-arrange the whole set-up into a bizarre, chaotic, teetering, and yet intrinsically stable sculpture of sound. Being in two minds has never made so much sense.

—

If you would like some more information or you want to preview or review this release and would like to receive a promo copy, please contact tom@rocketsciencemedia.com or simon@rocketsciencemedia.com

Sure it might be old shoe, but I can’t stop watching My Morning Jacket perform “Touch Me I’m Going To Scream Pt.2″ in the back of a Black Cab. I know it takes a long time to load, but let it ride and trust that it be worth it. Definitely looking forward to their two night stint in Chicago at the end of next month. Evil Urges will be making our year end list. Will it make yours?

Myspace: My Morning Jacket
MP3: My Morning Jacket - “Evil Urges”

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Just a guy who discovered doing music is the perfect excuse for partying every weekend and not having a real job.

Luckily some nice people seem to like the results of my lazy- and wastedness. They invite me to their places, pay me billions of dollars, private jets and 7*hotels only to make me scare their guests with some weird music. Das ist toll.

Hope this will last at least until i win in the lottery.

Tracklist

1.Round Four - Find A Way - Main Street Records 0.00
2.Brother’s Vibe - Feelin’ House - Mixx Records 5.20
3.Fabio Giannelli - Hundred Years Later - OFF Recordings 9.00
4.Rhauder - Getting A Glimpse (Luna City Express RMX) - Perplex 14.00
5.2000 And One Bang Bang - Bang Bang 17.20
6.Patrik Di Stefano & Luca Doobie - Mr. T - Heimatmelodie 22.00
7.Mirco Violi & Fabio Giannelli - Japan Woman - OFF Recordings 25.30
8.Guillaume… - I Was On My Way To Hell - Circus Company 29.30
9.Andre Crom & Luca Doobie - Park Life - OFF Recordings 33.30
10.Simon Baker, Jamie Jones - Kaskazi - Get Physical 39.00
11.Monobrain - Flying Idiot - QMR 45.00
12.Nikola Gala - Puta - Escada Music 48.30
13.Mirco Violi - Shakeresque (Crom & Widmore RMX) - OFF Recordings 52.30
14.Andre Crom - Warp - Safari 57.30
15.Julien Jabre - Talking Walls - Defected 1.03.00
16.Monobrain - Indian House People - QMR 1.08.00
17.Tomoki Tamura - Voices - Four:Twenty 1.13.00
18.George Morel - Let’s Groove - Strictly Rhythm 1.18.00
19.Lex Loofah - Freaky Deaky - Warp 1.22.00
20.DJ Assassin - A Face Amongst The Crowd - Cross Section Records 1.28.00
21.DJ Spookie - Unreleased - Gem 3 1.33.00
22.Todd Terry - I Thought Your Love (In House RMX) - Henry Street 1.36.00
23.Chez Damier - Can U Feel It – MK Dub KMS Records 1.40.00
24.Jay Haze, Yann Tiersen - Comptine… - Tuning Spork 1.44.00

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The Gaslight Anthem - “The ‘59 Sound”

Most of all, it sounds like a band worthy to drop $10 on the chance that they might just end up being a new favorite, and a chance to hear something we’re currently pretty high on. Ok, enough hyperbole. Has anyone been digging this record or seen this band live yet? If so, drop us a comment.

Myspace: The Gaslight Anthem
Myspace: Ladyhawk
MP3: The Gaslight Anthem - “I’m On Fire” (Bruce Springsteen Cover)
MP3: Ladyhawk - “I Don’t Always Know What You’re Saying”

Find more MP3’s at The Hype Machine or buy stuff from Strictly Discs | eMusic

First of all if you are expecting semi-clad dancing girls and fire eaters – look elsewhere as Hawkwind go for the standard psychedelic lighting and effects on this concert. Where are those girls? In the Hall of the Mountain Grill? Ironically there is no fire and yet the ‘God of hellfire’ appears – The Crazy Arthur Brown. Maybe he left his blowtorch at home. Unfortunately the concert could use a bit of spark and ignition but sadly it is a very sub standard affair.

We start with the ‘Aero Space Age Inferno’ which kicks things off with a bang and sounds great. The next track is ‘Angels of Death’, one of my favourites and works very well as a live track. The band really grab hold of this and blast it out at full volume. ‘Out of the Shadows’ from the album ‘Space Bandits’ is next and one of the highlights with some innovative lighting and very heavy bass and that chug-a-chug trademark rhythm that is essential Hawkwind.

After this - enter the man of the moment, Arthur Brown who belts out his own song ‘Time Bandits’. It is OK but I never really like Brown’s crazy style and it is not welcome here in this concert. I mean why bother having the man at a Hawkwind concert. Sure he features on some HW albums but he wrecks this concert with his idiosyncratic vocal style and lunatic dancing – it just doesn’t work at all and it is annoying more than an augmentation to the live experience of Hawkwind. At one point the man comes out holding an upside down anchor (yes, anchor! looking like the Egyptian anx in its own way) and he is peeping through the hole and sings almost a whole song holding this ridiculous thing up – who is going for this? It is stupidity personified.

We have to put up with 2 more of his own boring compositions but thankfully Hawkwind blitz with ‘Masters of the Universe’ and ‘Assassins of Allah’ (a track that is basically ‘Hassan…’ and comes from the album ‘Out and Intake’. Other tracks of note are ‘Earth Calling’ from ‘Space Brock’ and ‘Sonic Space Attack’ which features a good vocal from Brown. Blake’s keyboards are terrific throughout and the spacey effects as usual are incredible.

Awesome music and overall wonderful performance. The bassist, Davey, is terrific and he relentlessly gives it everything as does the drummer, Chadwick. Brock is as excellent as usual but not enough singing unfortunately and Lemmys vocals are sorely missing on ‘Silver Machine’ – a bad effort by Brown on this one. The guitarist is frustrating and just plays over everything and is not even a shadow of original HW guitarists. Welcome additions are ‘The Watcher’ from ‘Doremi…’ and ‘Hurry on Sundown’ from ‘Hawkwind’ so there is something to cheer about.

And another thing was there a crowd? I mean, you can't hardly hear them and you never see them - where are they? Its appalling that you do not even see one crowd member and for all you know the concert may have been played to an empty stadium. Contrast that with 'Rush Live in Rio' or 'Genesis When in Rome' where the crowd are part of the experience. You enjoy the concert more when you see others gettin into it. There's no comparison.

Overall, not a bad effort, but it could have been so much better without the annoying sections and non- Hawkwind material. The interview with Brock is OK but more features would have helped. More effort on the next Hawkwind DVD please. See if you can pick this one up cheap.

3 stars for the good songs and cos its Hawkwind, so strictly for the fans or you might find this one as an expensive coffee coaster.

by AtomicCrimsonRush


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Posted In: deep house , house , tech-house . By Doddi

Herb LF - Down To The Sound (Farside)
Mason - The Ridge - Oliver Klein & Peter Juergens Mix (Great Stuff)
Brett Johnson - Cuckoo - Motorcitysoul Mix (Freerange)
Jacksonville - Super 8 Motel - Original Mix (Galvanic)
Moodymanc - Preacher(2020 Vision)
Motorcitysoul - Hatoay(Simple)
Matt Flores - Now Is The Time - DSOH006
Matthias Tanzmann - Keep On - Boris Werner Keeps On Truckin Mix (Crazy Circus)
Gruber & Nuernberg - Laugh Lines (8Bit)
Matthew Dear - Free to Ask - D’Julz Remix (Get Physical)
Nils Nurnberg - Caught In A Glimpse - Original (Bearweasel)
Soundexile - Child Of Revolution - Dousk Remix (Sprout Music)
Ben Watt - Guinea Pig Instrumental (Buzzin Fly)
Brothers Vibe - Slave To The Rhythm(Mixx)
Itamar Sagi - Black Gold - Original Mix (Be As One Imprint)
Sebo K - Diva (Mobilee)
Sebo K - Far Out - Joris Voorn Mix (Mobilee)
Lovebirds - The Rat (Freerange)
Osunlade - Mommas Groove - Jimpsters Hip Replacement Mix (Strictly Rhythm)

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This weekend the Chicago Bluegrass and Blues Festival goes down at Chicago’s Congress Theater on Saturday, November 22nd. We’re thrilled to be one of the sponsors of what should be a great day of live music. The line up is anchored with performances by The Avett Brothers, The David Grisman Quintet, Ha Ha Tonka, and more.

The schedule for the day was released late yesterday, here’s a look at what the day holds:

MAIN STAGE
12:30-1:15pm - Donnie Biggins
1:15-1:30 - Tangleweed
1:30-2:15 - Dollar Store
2:15-2:45 - Tangleweed/Second City’s “Cell Camp”(sketch comedy)
2:45-3:30 - Billy Childers
3:30-4:00 - Tangleweed/Second City’s “Cell Camp”
4:00-4:45 - Lil’ Ed & the Blues Imperials
4:45-5:15 - Tangleweed/Second City’s “Cell Camp”
5:15-6:15 - Majors Junction
6:15-6:45 - Tangleweed/Second City’s “Cell Camp”
6:45-7:45 - Ha Ha Tonka
7:45-8:15 - The Giving Tree Band
8:15-9:45 - David Grisman Quintet
9:45-10:15 - The Giving Tree Band
10:15-The End - The Avett Brothers

Jambase.com’s 312 PAVILION STAGE
Noon-12:45 - Blue Room Hero
1:00-1:45 - Cobalt & the Hired Guns
2:00-2:45 - Lindsey O’Brien Band & Friends
3:00-3:45 - Mike Mangione
4:00-4:45 - Jessica Lee
5:00-5:45 - How Far to Austin
6:00-6:45 - Blue Mother Tupelo
7:00-7:45 - Blackdog

Today is the last day you can enter our contest to win a pair of tickets to the festival on us. We’ll be notifying our winner on Wednesday by e-mail. Until then, dig on some free tracks from The Avett Brothers.

Help: Anyone out there a photographer willing to attend and photo the festival for us? If so, get in touch via e-mail with a few sample shots and we’ll hook you up.

MP3: The Avett Brothers - “Will You Return?”
MP3: The Avett Brothers - “If It’s The Beaches”
MP3: The Avett Brothers - “Matrimony”
MP3: The Avett Brothers - “Swept Away”

Find more MP3’s at The Hype Machine or buy stuff from Strictly Discs | eMusic

(best if read while listening to “the dimension toll booth,” one post down)

Contemporary composers…..  What can I say, I’ve met quite a few.  I’ve been getting this nagging sensation lately whenever I hear what some contemporaries of mine are saying regarding what I consider to be important aspects of music.  That nagging sensation, its the cross between a pencil up my nose, fingernails on a chalkboard and dishwasher detergent on my tongue.  Yes, the three sensations.  What’s important to me is inspiration, creativity and freedom.

So when I hear you (if you’re reading this) claim that to compose properly is to be academic, I would have to say I disagree.

If you say a composer creates better music if the composer performs as well, I would say that’s a ridiculously asinine statement.  Don’t conflate the two, please.  Lets move on.

If you were to say that the act of composing itself is restricted purely to the academic world, I would casually reply “fuck off.” The dream of the snotty academic.

My advice to you for this lecture is to get your hands dirty.  Let me explain:

When I hear you talk about music, I get the sense that you think about your composition similar to how you think about yourself.  You wake up in the morning, take a shower, brush your teeth, shave, put on your suit and tie (lets use a man for this example shall we), eat breakfast, kiss your wife goodbye and stroll out the door.  When you compose, you are dressed well in a figurative sense.  Your composition requires thought, effort, integrity, and principles.

I say to you, 21st century composer, are lazy.  You are unwilling to get your hands dirty.  Get in the mud and roll around.  Free yourself of whatever restrictions you feel you have, and from what I’ve heard you say, there are plenty of them.

First, I want you to pound on the piano.  Why?  Because you pounding the piano in whatever shape or form is creating something more original than you’ve ever accomplished.  I know you aren’t the only one pounding the keys in the classical world, but its a start.

Secondly, I want you to compose strictly by improvisation.  Yeah, that!  The jack off, anyone-can-do-it thing.  So lets hear it.  Can you retrieve your primal instinct or do you want to stay safe within the confines of a library?

Lastly.  I want you to learn, but not just about history.  I want you to learn about your contemporaries who are getting their hands dirty.

Portland’s Horse Feathers continue to impress. While processing the massive amounts of records we’ve spent time with in 2008, House With No Home continues to solidify itself as one of our favorites just as its predecessor did.

Previously: Review: Horse Feathers/Jentri Colello - The Frequency
Previously: 5 Questions with Horse Feathers

Myspace: Horse Feathers
MP3: Horse Feathers - “Curs In The Weeds”

Find more MP3’s at The Hype Machine or buy stuff from Strictly Discs | eMusic