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The Cuauhtemoc Walk - El Vez - Like A Hole In The Head: Remixes, Rewrites & Extras (Vinyl)

25.12.2019 JoJokora 8 Comments

Splitting their time between recording sessions for their fifth album and playing shows around the world, the Oasis that returned was road-hardened again and itching to crack on.

Replaced by Chris Sharrock, the band. Following a postponed tour the previous year due to injuries sustained in a Munich bar brawl, the band kept their heads down for the majority of the year, fulfilling the postponed dates at the start of the year and writing for their sixth album. I quit Oasis tonight. People will write and say what they like, but I simply could not go on working with Liam a day longer.

However, in Liam announced on Twitter that Beady Eye were no more. It was pompous and ridiculous and brilliant and self-indulgent and quite good fun, all in the same bag. What me and Joe Foster had aimed to do since with Creation was to have a psychedelic pop group be fucking huge and there we were, with , people at Knebworth watching a psychedelic pop band being fucking huge.

They came through and were huge on stage. It was truly fucking ridiculous, a VIP tent with about a thousand people. But every week we were selling 50, CDs and grossing a quarter of a million a week off of Oasis.

I was a big Oasis fan and still am. Liam had been up all night getting caned the night before so it was going to be a wild one. I think sometimes the event becomes bigger than the reality. I met Robert. The nineties were good. They get a lot of flack off of people but they were good fun to be in. You could be on the dole and be in a band and the government would pay your benefits. It was a good time. Whereas now, every time I open a newspaper the government have changed the law again.

I think their idea is to criminalise the entire nation. Pretentious arseholes is what they thought we were. Went down like a fucking knackered lift. We thought they were going to be in raptures And it ended in this bowl of silence. It was now apparently unstoppable.

We wrote half the third album in and it betters the Beatles. The media prepared to hand the keys to the kingdom on. Such changes are an inevitability. They were the unlikely champions who believed in themselves and were ultimately proven absolutely correct. As news reaches us of a potential Knebworth live album, there are also plans underway for an Oasis documentary proper the team are currently looking for footage from Japan, Newcastle's Riverside, LA's Whisky A Go-Go and Manchester's Boardwalk — more details at Facebook.

They probably won't. I do think Oasis will reform eventually and do a tour, I think that's inevitable. You know what's it like. Liam responds to Noel having a go at him. If they've going to keep doing that, who knows?

I don't know about them but I'm bored of that. I don't know what's at the root of it all but I suspect it's more than we know and involves a lot of things, because I know them. That's probably where Noel's at. Liam probably wants to do music and he's one of the best singers there's ever been in rock 'n' roll. He's still young, he's still good looking.

Fucking do it, man. It won't go on forever so they should get on with it. They were debating whether to do the 30th anniversary of the Mary Chain and I had to remind them, 'If we do the 35th anniversary of the Mary Chain, some of the audience will be dead.

Do it now! The year went really, really quickly. It was a good year in a lot of ways. I was just getting over drugs, which was good.

I was starting to enjoy doing music again and getting involved. I was buzzing around. I was loving doing it all. Was that the impetus to get off drugs and throw yourself into the music? I slipped up with booze in about to , but I never went back to drugs and drugs were really my achilles heel. So you were off the drugs and booze in ? Everybody was trying to be more of a lad than each other. Was there a rivalry with the singles Noel was singing and the ones Liam was?

It was a gang at that point. There might have been gentle ribbing. A lot of their singles around that time were straight in at number one, it was crazy. Taking digs at each other all seems to be through the press. Back in the day the whole Oasis vs. Blur thing seemed to have been driven by the press as well.

It was enjoyable to watch. Was it the size of it and the time it takes? Whereas in Britain, Oasis were culturally significant. Up until about five years ago, people were still walking around with Liam Gallagher haircuts. They birthed a lot of bands who wanted to do anything. Because I did a Brian Wilson for sound like and act like them. There was a lot again but said to me that I had to go back of Liam Gallagher impersonators who thought to work and I did.

I did a book that did well they deserved record deals. Then The Mary Chain asked me sign you. It was only a couple of years. No managers and I ended up managing them.

Luckily that worked out. It went when I did get paparazzi following me and from there. No doubt we will pick up a lot taking my picture at the weirdest times. It was more bands this year. Last year we could have horrible. It was weird. I still go and manage the right and the thing with Cast.

I said I was leaving in and Noel, to this day, has never had a bad word to say about me. The last time I spoke to him was when Bowie died and we were texting each other. ROWTH is an area untouched by most generic metal; you start your career representing a certain crowd and those who come to love you take offence when you step out of it.

This would frighten a lot of artists, but fear is a mechanism Kristoffer Rygg uses to encourage his evolution as a musician. We brought it home, collected it, treated it, edited it, and put it together as neatly as we could in the studio. We used the best tools available to aid the production without having any desire for it to sound live. We wanted it to sound as good as possible, considering how it was made, whilst also being conscious of its origin and energy.

We wanted to keep that. But why was the choice so obvious for Kristoffer? Should we believe what we. We knew the sort of thing we wanted to do before we played those shows; everything over the top of the riffs we just let grow out of our experimentation. I think we were facing a rigorous task if we recorded another typical studio album. We wanted to make some new music, but it had to have some meaning for us as well.

We just pieced together some ideas, went out to play them and recorded them. It was lucky for us that those. This album is obviously not black metal. Metal and punk have become mythological. But yeah, I still love metal. I just love other kinds of music as well.

At least the title makes sense when you get it straight from the source. I did it to be a bit punk. People have come and go from the band for this reason. I have always wanted to do different things. I think we are more of a rock band on the whole. But one that is sometimes ambient, sometimes electronic, sometimes even neo-classical.

That tends to translate into a musical melancholy. We do make dark music, for the most part. A smart move when you consider the fact they would be faced with recreating an improvised set.

What we are quite eager to do is write another album from scratch, something that is more song-based. You might see a new album within the year. Someone reported it. But when we heard it had been twenty years since our first record, everybody got off their chairs and thought it was a good reason to make an album.

There was always something strange and otherworldly about Kula Shaker; they were an anomaly of the Brit-Pop movement.

Every album means a lot to us, and they have all been made for the right reasons. As soon we found ourselves on the career treadmill, we got depressed and packed it in. The last ten years have. It can be said that Kula Shaker are taking back the power, and doing things on their terms these days.

We sounded alive. The only person I ever used to think had that control and was very grounded was Beck. But then he went off and became a scientologist, so you never know what happens behind closed doors. We needed to be relaxed to make this album, because we had a definite deadline for it and we needed to be disciplined. We were ruthless about what songs made it onto the album.

But this is the age of updates and reboots; everything has a built in obsolescence. When musicians work on films, they are usually unsuccessful. What makes Crispian the exception? The one I wrote and directed took five years to make. It was a quirky, eccentric little comedy about growing up and hedgehogs and serial killers. Simon Pegg really liked the script and wanted to play the lead part. It was perceived as a bigger movie than it was because Universal distributed it.

It was actually an indie movie, made by the filmmakers. There was no consideration given to marketing whatsoever, which is quite rare these days. It took me a long time to realize that. Nobody is just one thing; you have to reconcile with different sides of your personality. This was something he picked up on his travels through India, an experience that changed him irrevocably.

India is one of the Mother Cultures of the world; you can trace all of our roots back there in one way or another. Once you make that connection, you will never be the same again. I like the way that their ancient traditions look at the world.

It is not a machine; we are not machines. When you get into that headspace, the world is a beautiful place. It puts the spirit before matter. It defines us. A lot of the music on this album was specifically written with the road in mind. We know we have to rock, and we have to rock hard. Ahead of their time, they reformed in insistent.

We did it in January and February last year, completely cut off. We hired Ron so we could do more editing and be more efficient. We would produce three weeks of material, hours and hours of jams and plough through them for months, but this time we came out of there with tonnes of edits of short-listed songs which was unusual for us. We were working on everything whilst we were up there. I was pretty conscious about setting beats fast and danceable. Tim however has no concerns that the songs will stand up in their live set.

I can see us doing nearly all of them live. The other is about child abuse in the Catholic Church. We were all split. I knew what that was about pretty quickly. And, just as we mixed it, Jimmy was coming round a corner and a guy was speeding straight for him and four cars made space for him at the last moment, seconds before they collided.

I improvise, I jam along to their backing track and go looking for extra lyrics. I still wake up at four in the morning with lyrics in my head. The last one I got a lyric in one session, a really punky song that I really like.

They have completely different lyrics to what we ended up with, they can really shift. A lot of that song is his arrangement of an hour-long jam where it goes from part to part to part. Once you get a song you know is going to be a single, a big song, it can make you a bit safer with it. This came from the rather disjointed and accidental way it came together. It was originally a lot slower and Larry accidentally speeded it up when we were playing it back and. Those kids will be profoundly changed by that experience.

It says so much about the world, the more frightening side of the world. They worked their arses off on it once we were on the same page, they were working through the night, they kept adding detail, although I changed the happy ending. HOW your chest Noah! I did that, me. Rock star. Since dropping a mixtape in , a gonna tidy up my bedroom and finish it off. When by different things, like I catch up with the Rat Boy, um, Beck and the Beastie Boys boys completed by bassist Liam at the moment.

It took like, a day. Death via immolation on the road Selling out in less than a day, a second show was added with news of forthcoming American dates and hints at new music to boot. The band, who played their last gig in , were back and the reaction was unmistakably positive. Plagued by mis-management and exhausted from the unexpected, and unwanted, glare of the spotlight — particularly on Miki and Emma — Lush played their last show in Japan and a month later drummer Chris ended his own life.

It was a tragic end to a much-loved band, who would go on to win fans long after their official break-up in The idea of Justin doing it, things came very easily and actually make it seem very appealing, like doing this EP with Danny from Ladytron, and [Mercury Award winning producer] Jim Abbiss, actually it seems a bit crazy not to do it. Like being a superhero, I go home and change costume and become Miki from Lush. Lush fans seem to be split into two camps.

In fact, we felt quite rejected by it. We were accused of coat-tailing on it and some of that is because Jarvis sang on a song, but we were friends with a lot of these people. We certainly never set out to write a Britpop album and even if we did then it was shockingly bad timing because by.

I thought that shoegaze, for all the sneering jibes, was much more about the music and it was also a fuck of a lot less sexist. It was not an easy transition. I actually thought Elastica were great and really they escaped that whole miniskirt thing, they were very tomboyish, but there seemed to be more of a polarisation of the girls and the boys and it was mainly because the boys started to act like football hooligans. When shoegaze was around, that was actually more androgynous.

Miki, unsurprisingly struggles with finding the right words. It is difficult at times in that it does stir up a lot of sadness. For me Britpop started with Chris as its brightest ornament and ended when he committed suicide.

It should be a great atmosphere and it should be really energising. Get excited…. While the song structures are far more traditional than that of Explosions in the Sky, Conor Murphy is blessed with a vocal that will haunt your dreams. I was expecting ninety-plus minutes of postrock bliss. But then the run time of each song is relatively brief. Was it a case that you wanted to challenge yourself in this way in the studio? Mark T. By the time the album comes out in April, we will have been a band for seventeen years.

But as we wrote these songs, we could find them reaching the points where we got fulfilled and satisfied by them, and in some cases those points turned out to be much shorter than songs on past albums I understand the concept of space was a big consideration for this record. The first time I listened to it, there was news breaking that they think there might be a supermassive planet in our solar system which is why Uranus and Neptune have elliptical orbits.

Our last couple albums have been somewhat personal and inward-looking, and we wanted to do something grander. So we looked up and out. Does this also tie into the title, with space arguably being the last great unexplored wilderness? Deciding to go down the instrumental route, the Sydney-based outfit delivered a brave and bold take on post-rock that absolutely deserves your time.

Who knows what is going on out there? And we linked it with the same infinite unknowable that takes place inside the wilderness of our brains. I still feel those feelings. I still see people getting really excited when we start to play them.

Also, I guess people can react in wildly different ways. With no lyrics, people put whatever emotion or story they want to a song. But have you ever encountered wildly different interpretations and reactions to the same song? The music can be quite different but for the most part we share lots of similarities and tastes and interests and the sounds that we gravitate towards. There is so much mystery wrapped around what she does.

We really do love her music and what she represents. We recently became friends with them and we did a collaboration that will be put out in time for ATP. We recorded one of their songs with them and they recorded one of mine. I really see them as being a band of the moment, they channel the same influences as Drive Like Jehu — They have a powerful and dense sound. They work so well in front of a large audience.

Both Rick and me were very influenced by that record, I remember buying it the day it came out. We were on the way to Los Angeles to record our previous band Pitchfork, and we put the album on and listened to it all the way to LA, over and over again. It immediately changed the trajectory of the way we went into recording. They still are, they seem to be even better now. The last time I saw them was a couple of years ago, and they were great. They still put out new records and at this point into their reformation have probably lasted longer than the first time around.

As a guitar player, I really identify with that monolithic dirge sound that they have in some of their songs. I know enough to not expect them to play any of that stuff, but it would be amazing.

That is definitely part of it, as well as the presentation of the music and the way that he has the poet that travels with him reading the verse he comes out to. He is such a showman — He always puts on such a great show. They really know how to back her up so well. We wanted them there at the festival. The music of Suicide is very inspiring to me.

At the tail end of , the Coral — for the first time in over a decade — had nothing pencilled in the diary for the year ahead. It was to stay that way for another few years. A prolific ten years of incessant recording and touring would give way to a five year hiatus. It very nearly never happened.

Did he ever worry that it would be the end of the band? Skelly knew that any future Coral album would have to sound different — darker, heavier and with much more space.

I sort of learned how to play riffs more, read guitar a bit. I just wrote loads of blues songs, listening to like John Lee Hooker to learn how to do it, then wrote more original things over it. By the time the Coral began to reconvene in , Lee Southall too had gone. So it was quite natural, he just started playing all this heavy drone, psych stuff and it was like — yeah!

He gets what this is! For a band that have often seemed cheerfully out of step. This was just like three takes, pick the best one, usually the first one. No, not at all. So we set a balance between the two and here we are. What brought you and Domino together? A lot of our contemporaries are also associated with Domino you might say,.

They have found a home at Domino and they were all very enthusiastic about the idea when we talked to them. How does it feel, to acknowledge thirty years of creativity? You never really stopped, have you? Dub Narcotic Sound System at about the same time, we put four albums out under that name, there are three Halo Bender albums and I have numerous solo albums. Then my band the Hive Dwellers , we put out an album last year, so yeah, I have various things with different names.

How do you balance K and your music? How does it feel to be considered an icon? Have you played with any K bands? He has a band called Invisible Foxx, so he played those two shows. So is part of the fun of touring connecting with other musicians as well? The Beat Happening recording process was considered rudimental, if we look at the production qualities today So if there was any lack of quality it was merely musical not technical.

It was us not the technical or the production or the equipment. We were using professional recording equipment just like everybody else in a studio just like everybody else, using a professional engineer just like everybody else. Okay, so I need to rephrase that Your music did not have the decorations of excessive multi-tracking Hearts, flowers and lashings of sloppy sentimentality? Or something else altogether? Yet, surprisingly, the overall message is joyous, an affirmation of the pure vitality of having feelings that are exceptionally visceral and very human.

The lyrics are sometimes cloaked in fine, brutal post-punk that excites the blood and quickens the intellect. At other. The effect is directly immersive, and the music at times seems to be felt as much as heard. The album is a masterpiece of confrontation. The more you listen the more evident the intricacies and small nuances in each track become.

Once again Animal Collective produce an album that will turn heads. Lee Hammond. A slight evolution from its predecessor in terms of sound, this new album features finally crafted songs with an organic instrumentation that gives it a certain timelessness in an age where everything dates quickly.

Craig Chaligne. Joe Whyte. Paul Hagen. Ariel Wimfrey. The lyrics are sung instead of shouted, the track is closer to classic rock than raucous garage rock. What comes across strongly is that Taylor struggles to write decent songs anymore. One weak, forgettable song after another trundles by, leaving little impression. Complacent and rather dispiriting. Gus Ironside. And whilst jazz has long been one of his formative influences and enduring passions, never until now has he made a record so fully immersed on it.

A bona-fide belter 45 years after his first genuine classic - we will never see his like again. Fergal Kinney. Accelerated onward by rhythmic sub-drives, it sets the tone for epic, reverb-laden excursions into widescreen psych.

Best experienced naked at dawn, broadcast through the biggest speakers, it also features a pair of unlisted tracks that extend the journey beyond our small planetary system. Dick Porter. Rob Mair. This is an album that explores love, not in that heady rush and exhilaration of flirtation and lust, but the caution and hope that comes later.

There is a cool detachment running through each track but also a longing for connection; the breathlessness of a vast distance made nothing. It uses technology to filter the view of love, but in its sound reflects the barrier and the connection that devices put between us all. Sarah Lay. But, thankfully, there is more to this band than that. This is an album of lo-fi, dark disco and krautrock that sends messages from the seedier side of life. It invokes dark boozers, life on welfare, casual encounters and mornings of empty wallets and throbbing heads.

Fat White Family may not be the saviours of rock many proclaim them to be, but they are one of the few bands documenting the horror of modern Britain. They should be applauded for treading their own off the beaten path. Mark Ray. And yet this is still unmistakably British… unmistakably the Brewis brothers. Jon Falcone. Similar symptoms are likely to be induced in anyone who tries to listen to this whole glorious mess in one go. Kathleen Hanna looms large but that is simply the icing on the bonkers cake really.

James Batty. Paul Scott-Bates. In the same way as bands like Editors find fans amongst a wide spectrum of people, the post-punky atmospheric stylings of these guys should see them have a similar appeal.

Over It. Much water has passed under the bridge since then, but leader Crispin Mills can still write some fine and complex tunes. Sam Cunningham. It seems much more refined than the extras, which appear rawer by comparison.

A must for anyone who likes their music with a high voltage. Roxy Gillespie. A mix of music with space and punchy pop, this is the sound of an artist on top form. He really does deserve to go interstellar. The London band seem to have transcended their roots and have Americanised themselves to produce something that is very with the time. The other tracks have fallen into the trap of generating the same guitar sound found sprouting from bands such as Catfish and the Bottlemen.

Abigail Gillibrand. Their latest their seventh studio album of original material is another excellent album full to the brim with their thoughtful pop rock. But lets lay the cards down even if it means this reviewer can never walk the streets of Bow again ; the vocals are predominantly spoken rhymes, and they tire. Admittedly, this successfully evokes a time and place.

But it needs better melodies and a way to better accommodate a heavily stylised vocalist. The songs are multi-layered, building up to a resolution of either horror or triumph — depending on how the miracle of the atomic world is used: to devastate or to create. It starts with single piano notes, like drops in the ocean, and builds to a mournful cry of despair and horror, before ending with that single note echoing down the years.

At 6 minutes long, it is 5 minutes 59 seconds longer than it took approximately 40, people to be killed by Fat Man. Haunting, thoughtful, moving and beautiful. The album has already garnered enthusiastic plaudits from music critics, and is likely to feature highly in end-of-year lists. Suede are clearly no shrinking violets, artistically speaking, choosing to enter the ring once more with the swagger and authority of a returning heavyweight champ.

They are right to be confident. At 48, Brett Anderson is only too aware that the cigarette has burned past its mid-point and life is more precarious, fraught and perplexing than ever before. The songs are segued into a seamless whole, a series of peaks that roll and crash against each other, creating rips and undercurrents that threaten to take your feet from beneath you.

The group can now look back on an impressive body of work which continues to earn respect and admiration. This expression has such ancestors as "As much need of it as he has of the pip or of a cough," from John Ray's English Proverbs , and "As much need of it as a toad of a side pocket," from Francis Grose's Dictionary of the Vulgar Tongue I need a hole in head?

Apparently Kober liked that passage. In fact, Kober uses the expression like I need a hole in head at least twice in this book. Those three writers-Shore, Odets, and Kober-were Jewish. Shore supposedly descended from the first Kosher butcher in New York. It seems likely that these authors were adapting a familiar Yiddish usage, and that the hole in the head expression came to America with Yiddish-speaking Jewish immigrants. Kennedy during the presidential election the following year. God money I'll do anything for you God money just tell me what you want me to God money nail me up against the wall God money don't want everything he wants it all.

No you can't take it No you can't take it No you can't take that away from me No you can't take it No you can't take it No you can't take that away from me.

When he announced that he was touring some more and coming to Bethlehem, I grabbed tickets for me and S. We were so close, we were literally right next to the stage. But in hindsight, sitting a few seats back would have been far preferable. I love being up close, the angles were just all wrong.

Fortunately, the vocals sounded fine. I have learned from past experiences that seeing an artist a few months apart often means the same or a similar setlist. Although when I look at other recent shows I see that he seems to have a kind of rotating setlist of some of the songs.

Incidentally Odds opened for Steven Page in Canada. Once again I wish I was above thee border not for political reasons. It made me laugh about what people consider a Halloween song and I know I need to let up on this. Indeed, this song is about as far from a Halloween song as you can get. The song itself is catchy as anything. A great guitar riff and some tension-building synths support these rather dramatic lyrics:.

The Hooters guys say there was no explicit message to the song. We were working on something else, and, true to the spirit of the song, it just came to us, like a vision. We just chased it down. We stopped what we were doing to go after this thing, and an hour later, the song was written, start to finish. Who knows? Maybe in some bizarre way it came from somewhere else through us.

Interestingly, it got banned on several stations and there were some Christian stations that refused to play it. So, not Halloween-related at all, but super catchy and lyrically unexpected. They were once my go-to comic book publisher. Then they stopped doing single issues and started publishing only graphic novels. Nothing wrong with that but I had been collecting single issues back then, not books, so they fell off my radar. I have to get them back on my radar because I really do enjoy their books.

This story is set at a fat camp—Camp Bloom. We meet many of the kids who are there for the summer as well as the counselors who are there to help them get through the summer. I saw Man Man open for Gogol Bordello back in I really enjoyed them and at that time I wrote:.

It was an insane and wild show from start to finish from crowd to band and I would absolutely see them again. It took five years for Man Man to play anywhere near where I was again and there was no way I was missing this show—seeing them headline in their home town was the icing on the cake. I had assumed that Man Man would be the wildest act on the bill.

So it was amusing that they followed Sun Ra Arkestra—who has been doing wild for over fifty years. Like Sun Ra, the guys in Man Man were all wearing decorative ponchos. But unlike the Arkestra, all of their ponchos matched—indeed, so did all of the clothes under the ponchos, down to the fact that they were all wearing the same shoes. I enjoyed listening to the sets from NonCOMM back in May, so I dug into the archives and found out that a lot of sets are still available.

I was especially happy to see this one from Laura Marling. The end of the blurb says:. This song has a bunch of curses in it, but she kept it clean for this performance. The guitar melody is delightful and, of course, her voice is outstanding. It ends Semper Femina and is my favoirte song on the record. From the main melody to her wonderfully high notes this song is amazing. This song is very different from the others, but it still sounded great.

She was wandering in the brush one day when she felt sure someone was looking at her. There was no one there, but then she saw the stone. It was smooth and black, half the size of a human skull and rain had carved what looked like two eye holes in it. She was spooked at first but then was drawn to it. She brought it back to the vacation home and put it where she slept. But then she was sure one of her siblings would try to take it, so she hid it in her sleeping bag. She brought home after the summer and put it in her room.

Her mother saw it as she was getting them ready for school in September. She nodded and, after dinner, hid it in her room. Enter your email address to subscribe to this blog and receive notifications of new posts by email. Sign me up! Feeds: Posts Comments. I love the introduction of the stepmother. She made Cinderella do all the work because even though there was plenty for everyone, and plentty of people to do the work, her stepmother believed there was not enough for everyone.

Like this: Like Loading Although I feel like their music is pretty recognizable, the blurb says that their new album Invisible People is a major shift in their group sound.

El Vez('s) Album Like A Hole In The Head: Remixes, Rewrites & Extras. Listen to all tracks of Like A Hole In The Head: Remixes, Rewrites & Extras for free.

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