Tuesday, December 24, 2013
Thursday, December 19, 2013
OFF THE RECORDS - Happy Christmas by Kim Wilde and Nik Kershaw! (together)
Kim Wilde interviewed by "The Observer"
You have a new album of Christmas songs, Wilde Winter Songbook. Is the festive theme connected to what happened last December, where a video of you wearing glittery reindeer ears singing on a commuter train went viral?
I never thought I could be as funny drunk as Delia Smith, but
apparently I am. But certainly the train incident helped spur me into
gear. I thought, well, if 2 million people want to see me drunk-singing
at Christmas, maybe they'd be up for a bit of sober action!
Were you really quite drunk then?
Twisted. I was absolutely larruped. I don't drink cocktails any more, so I didn't even think about the trouble I was getting myself into with these vodka and lychee liqueurs, or whatever they were, slipping down my neck. I just don't know how I got away with it. I still can't bring myself to watch it. Because initially it could have gone either way: it was either going to completely bury my career or not. And I seem to have gotten away with it.
On the new album, you have duets with Rick Astley and Nik Kershaw. Did you go out with any of your male contemporaries back in the 80s?
Yeah! Not many of them though. I did have a few delicious dates with Adam Ant once. I say delicious because the thought of it now, me, Kim Wilde at that time, and him, Adam Ant at that time, and both of us sitting in a restaurant eating chocolate mousse is a delicious memory. He looked after me for a little bit, took me out for some lovely meals in very swanky restaurants. I was still living in Hertfordshire at the time with my mum and dad.
Your first song, Kids in America, was a huge hit in 1981, but before that your younger brother, Ricky, was a teen heart-throb. How did you feel when it was him and not you who made the breakthrough?
I was happy for him, but I do remember thinking, not that it should be me, but that one day it will be me. I always had this strong sense of where my destiny lay, that I was going to be a singer. Not because my dad was Marty Wilde, it was just an absolute truth that I lived with from a very young age. Maybe a part of me was quite psychic, because we have strong psychics in my family, especially on my father's side.
Is there anything else you've predicted?
I am tuned into it, a little bit. I don't see ghosts and stuff, but I did see something very unusual in the sky once, which I can only say was a UFO. But there were lots of witnesses, it was in the local paper, it wasn't just me.
Was that at home in Hertfordshire?
If I told you, you'd just laugh at me, because everybody does! It was 26 June, the day after Michael Jackson died, and me and my mate were in the garden and we saw bright lights in the sky. I have to say there's not a day gone by that I don't think about what the hell it was. It was so huge, two of them, going zigzag for 10 minutes and I could feel the momentum and I knew it was really massive. It could be some very clever thing that someone developed somewhere, but I've got a feeling it wasn't.
In 1987, your cover of You Keep Me Hangin' On went to No 1 in America. Is it true that you never went there to follow it up?
We didn't, no. In retrospect, there was a missed opportunity, for sure. I'm not saying it would have happened and I'd have become like Madonna. But you never know... Madonna's career, for instance, you can see how much she wanted it. And I just didn't want it all the way and more, so I'll never know how big my career could have been. But I'm quite happy with the medium-size career I've had. I love the fact I can walk anywhere without bodyguards and jump into Tesco and buy the Christmas turkey.
Later on, Madonna became a near-neighbour of yours in the country. Did you ever discuss this with her?
No, I never met her, but I do remember thinking, this county ain't big enough for the both of us.
You supported Michael Jackson on his Bad tour in 1988. What was he like?
I only met him once to do a publicity photograph. I got taken into the den and there he was with the lights dimmed and then his "uncles" as I called them – these older men who seemed to control a lot of what was going on around him – they positioned me so I was looking in the right direction for the camera. We had our photograph taken and then I was gently persuaded to leave. So nothing very normal about that, but there you go. I really have no more insight into him than any person you'd ask on the street.
In the mid-1990s, you stopped making music. You got married, had two kids and became well known as a gardener. What inspired that?
It was a combination of things. I really wanted to have the chance to be something else that wasn't all about being Kim Wilde and running off pursuing success. I really wanted to have a family, I wanted to wake up with my old man and pick up his underpants and take the kids on the school run. That's basically what I wanted: to pick up my husband's underpants.
Was the gardening career as much of a surprise to you as it was to the rest of us?
No, it wasn't a huge surprise to me. I remember growing up watching The Good Life thinking, that's how you live life! As close to the earth as possible and away from all the bullshit.
So I tried to recreate The Good Life, I guess, with me as Barbara. It all turned out great and now I'm back in music and I'm happier than I've ever been.
You continue to have a lot of success abroad, but this is your first UK album for more than a decade. Should we expect more?
Well, I'll certainly be releasing more albums next year, whether in the UK or not. I hope people want to hear them here, but I won't force anything on them, I promise.
You have a new album of Christmas songs, Wilde Winter Songbook. Is the festive theme connected to what happened last December, where a video of you wearing glittery reindeer ears singing on a commuter train went viral?
Were you really quite drunk then?
Twisted. I was absolutely larruped. I don't drink cocktails any more, so I didn't even think about the trouble I was getting myself into with these vodka and lychee liqueurs, or whatever they were, slipping down my neck. I just don't know how I got away with it. I still can't bring myself to watch it. Because initially it could have gone either way: it was either going to completely bury my career or not. And I seem to have gotten away with it.
On the new album, you have duets with Rick Astley and Nik Kershaw. Did you go out with any of your male contemporaries back in the 80s?
Yeah! Not many of them though. I did have a few delicious dates with Adam Ant once. I say delicious because the thought of it now, me, Kim Wilde at that time, and him, Adam Ant at that time, and both of us sitting in a restaurant eating chocolate mousse is a delicious memory. He looked after me for a little bit, took me out for some lovely meals in very swanky restaurants. I was still living in Hertfordshire at the time with my mum and dad.
Your first song, Kids in America, was a huge hit in 1981, but before that your younger brother, Ricky, was a teen heart-throb. How did you feel when it was him and not you who made the breakthrough?
I was happy for him, but I do remember thinking, not that it should be me, but that one day it will be me. I always had this strong sense of where my destiny lay, that I was going to be a singer. Not because my dad was Marty Wilde, it was just an absolute truth that I lived with from a very young age. Maybe a part of me was quite psychic, because we have strong psychics in my family, especially on my father's side.
Is there anything else you've predicted?
I am tuned into it, a little bit. I don't see ghosts and stuff, but I did see something very unusual in the sky once, which I can only say was a UFO. But there were lots of witnesses, it was in the local paper, it wasn't just me.
Was that at home in Hertfordshire?
If I told you, you'd just laugh at me, because everybody does! It was 26 June, the day after Michael Jackson died, and me and my mate were in the garden and we saw bright lights in the sky. I have to say there's not a day gone by that I don't think about what the hell it was. It was so huge, two of them, going zigzag for 10 minutes and I could feel the momentum and I knew it was really massive. It could be some very clever thing that someone developed somewhere, but I've got a feeling it wasn't.
In 1987, your cover of You Keep Me Hangin' On went to No 1 in America. Is it true that you never went there to follow it up?
We didn't, no. In retrospect, there was a missed opportunity, for sure. I'm not saying it would have happened and I'd have become like Madonna. But you never know... Madonna's career, for instance, you can see how much she wanted it. And I just didn't want it all the way and more, so I'll never know how big my career could have been. But I'm quite happy with the medium-size career I've had. I love the fact I can walk anywhere without bodyguards and jump into Tesco and buy the Christmas turkey.
Later on, Madonna became a near-neighbour of yours in the country. Did you ever discuss this with her?
No, I never met her, but I do remember thinking, this county ain't big enough for the both of us.
You supported Michael Jackson on his Bad tour in 1988. What was he like?
I only met him once to do a publicity photograph. I got taken into the den and there he was with the lights dimmed and then his "uncles" as I called them – these older men who seemed to control a lot of what was going on around him – they positioned me so I was looking in the right direction for the camera. We had our photograph taken and then I was gently persuaded to leave. So nothing very normal about that, but there you go. I really have no more insight into him than any person you'd ask on the street.
In the mid-1990s, you stopped making music. You got married, had two kids and became well known as a gardener. What inspired that?
It was a combination of things. I really wanted to have the chance to be something else that wasn't all about being Kim Wilde and running off pursuing success. I really wanted to have a family, I wanted to wake up with my old man and pick up his underpants and take the kids on the school run. That's basically what I wanted: to pick up my husband's underpants.
Was the gardening career as much of a surprise to you as it was to the rest of us?
No, it wasn't a huge surprise to me. I remember growing up watching The Good Life thinking, that's how you live life! As close to the earth as possible and away from all the bullshit.
So I tried to recreate The Good Life, I guess, with me as Barbara. It all turned out great and now I'm back in music and I'm happier than I've ever been.
You continue to have a lot of success abroad, but this is your first UK album for more than a decade. Should we expect more?
Well, I'll certainly be releasing more albums next year, whether in the UK or not. I hope people want to hear them here, but I won't force anything on them, I promise.
Monday, December 16, 2013
NEWS WAVE - Tutti a Roma, alla mostra sugli anni '80 "Dark Portrait"
Articolo di Ernesto Assante (dal suo blog)
C'è una bella mostra a Roma, alla s.t fotolibrearia di via degli
Ombrellari 25, si intitola Dark Portrait, con delle belle fotografie di
Dino Ignani. In quegli anni c'ero anche io, non ero dark ma
frequentavo i club della Capitale dove si muoveva la scena della new
wave romana, dal Uonna al Murales, dal Black Out all'Olimpo, dalle
serate Danceteria all'Executive a quelle dei Piper, dal videobar di
Corso Vittorio del quale ora mi sfugge il nome all'Hemingway di piazza
delle Coppelle, all'X e Metal X di via Rasella e molti altri posti
ancora. Era una scena vivacissima, con tante nuove band, molti artisti di
ogni genere, tantissimi "pretenders", ragazzi ognuno con il suo stile,
la sua personalità, la sua storia. E' stata una stagione fantastica che
Dino Ignani, all'epoca, fotografò con costanza. Molte facce le ricordo
perfettamente, alcuni sono ancora miei amici, molti altri li avevo
dimenticati e li rivedo con affetto. Sono centinaia di ritratti,
raccolti anche in un bel catalogo. E il tutto fa parte di un festival
interessante, Fotoleggendo.
Nei video-bar e nelle discoteche dell'epoca, specialmente di Roma
(dal Black Out all'UonnaClub all'intramontabile Piper), ma anche in
feste private, Ignani predisponeva un set preferibilmente neutro e
invitava i presenti a farsi ritrarre. Il risultato del progetto
-iniziato nel 1982 e terminato tre anni dopo- è una galleria di
quattrocento immagini in bianco e nero, selezionate e riproposte per la
prima volta in una mostra che intende valorizzare l'originaria vocazione
seriale del progetto e rintracciarne le più ampie implicazioni
descrittive.Dietro una rappresentazione standardizzata e apparentemente distaccata di quel mondo, si nasconde infatti l'esigenza del fotografo di cogliere le specificità individuali e la trama creativa dei nuovi stili di vita. Ignani si dedica a registrare e a valorizzare i minimi dettagli e i segni distintivi del popolo dark: il trucco, gli accessori e le acconciature sono i grandi protagonisti delle immagini, e sono gli stessi elementi che successivamente, come spesso accade, saranno riassorbiti dal mondo della moda.
Alla mostra si accompagna la pubblicazione di un libro curato dalla
galleria s.t.. Non un semplice catalogo, ma un progetto editoriale che
punta ad abbinare le immagini a testi di matrice diversa. Oltre
all'articolo di D'Agostino, scritto nel 1985 per la rivista "Rockstar",
viene riproposto un racconto dello scrittore Emanuele Trevi, apparso
sulle pagine romane de "La Repubblica", che vede come protagonista un
adolescente romano di ritorno dal suo viaggio iniziatico a Londra: Un
punk sulla spiaggia di Ostia.Concepiti per l'occasione sono invece il testo della giornalista de "L'Unità" Daniela Amenta -un commosso ma anche spiritoso amarcord sull' "avere vent'anni trent'anni fa", e quello di Paola Paleari -curatrice con Matteo Di Castro del progetto- la quale riconduce la lettura delle immagini e dell'immaginario di quell'epoca al contesto attuale.
Friday, December 6, 2013
Thursday, November 7, 2013
NEWS WAVE - John Foxx remix Simple Minds' "Blood Diamonds"
Today, Simple Minds release the John Foxx & The Maths remix of
their new single 'Blood Diamonds', out via Virgin Records, and we've got
an exclusive stream of the track - have a listen above.
Foxx and Benge give the track an almost wholesale analogue synth re-envisioning, as well as adding in a track of his own backing vocals, with Foxx saying of the remix: "I loved Simple Minds from the first moment I heard them because they were a slightly younger generation who had taken up drum machines and synthesisers. And they were unique. The way Jim Kerr plays with words and titles makes him the best internal movie director I've ever come across. With the remix, Benge and I went for deep beep, bleep creep and stun drum with me on backing vox. It was gleeful and glittering and glamorous. Transgression never sounded sweeter!”
Head over to Beatport to get hold of the remix here.
The original track comes from Simple Minds' recent greatest hits album Celebrate, with the band touring extensively over the last year. Tonight, they'll be playing London's KOKO as part of the Virgin Records' 40th anniversary celebrations; head to the band's website for tickets.
Foxx, meanwhile, has also had a busy year, releasing Evidence, again, with Benge as John Foxx & The Maths, in February, which featured guest appearances from The Soft Moon and Gazelle Twin among others and is one of our favourite albums of the year so far, as well as putting out EPs with Jori Hulkkonen (including a remix from David Lynch) and the Belbury Circle. Read his Baker's Dozen that we posted recently and watch the video for 'Strictly' from the European Splendour EP below:
Foxx and Benge give the track an almost wholesale analogue synth re-envisioning, as well as adding in a track of his own backing vocals, with Foxx saying of the remix: "I loved Simple Minds from the first moment I heard them because they were a slightly younger generation who had taken up drum machines and synthesisers. And they were unique. The way Jim Kerr plays with words and titles makes him the best internal movie director I've ever come across. With the remix, Benge and I went for deep beep, bleep creep and stun drum with me on backing vox. It was gleeful and glittering and glamorous. Transgression never sounded sweeter!”
Head over to Beatport to get hold of the remix here.
The original track comes from Simple Minds' recent greatest hits album Celebrate, with the band touring extensively over the last year. Tonight, they'll be playing London's KOKO as part of the Virgin Records' 40th anniversary celebrations; head to the band's website for tickets.
Foxx, meanwhile, has also had a busy year, releasing Evidence, again, with Benge as John Foxx & The Maths, in February, which featured guest appearances from The Soft Moon and Gazelle Twin among others and is one of our favourite albums of the year so far, as well as putting out EPs with Jori Hulkkonen (including a remix from David Lynch) and the Belbury Circle. Read his Baker's Dozen that we posted recently and watch the video for 'Strictly' from the European Splendour EP below:
Tuesday, October 29, 2013
NEWS WAVE/LET'S TOUR - I Diaframma tornano in scena!
I Diaframma tornano in scena l'1 febbraio al Black Out di Roma!
I Diaframma nascono nella Firenze “new wave” dei primi anni 80,
sull’onda inglese del dark-rock decadente e da allora hanno fatta
parecchia strada. "Niente di serio" (2012) contiene i nuovi grandi classici
del repertorio dei Diaframma, zampate vincenti quali “Entropia” e “Madre
superiora” vanno a posizionarsi con merito accanto ai grandi titoli della band.
Dal punto di vista musicale l’album è ineccepibile, frutto del lavoro
compositivo di un gruppo oramai rodato e compatto: Federico Fiumani canta e suona la
chitarra con ritrovata grinta, accanto a lui si muove un’eccellente sezione
ritmica formata da Luca Cantasano al basso e Lorenzo Moretto alla batteria, ai
quali si aggiunge la partecipazione straordinaria di Gianluca De Rubertis de Il
Genio alle tastiere.
Molte soluzioni ricercano il pathos in un disco che sorprende per aggressività ed energia (“La botta di energia del rock”, la title track), ovunque emerge la grande attenzione riservata ai particolari ed i continui spunti appassionati, come il solo di Giulio Cercato che caratterizza la chiusura di “Nilsson”.
Sempre in bilico fra new wave e modernità, Federico Fiumani si conferma autore fuori dal tempo, fuori dalle mode, uno dei compositori più originali e sinceri di casa nostra, un personaggio che pur conservando un seguito ultra fedele avrebbe meritato (e meriterebbe) platee ben più numerose.
Chissà che proprio "Niente di serio" possa affermarsi come il disco giusto per scardinare tante porte e tanti cuori. Gli ingredienti ci sono tutti, dagli episodi più rotondi e canticchiabili (“Vivo così”, “Carta carbone”, “Un orologio rotto”) a quelli più strutturati (gli oltre sei minuti di “Grande come l’oceano”, con la lunga coda strumentale), fino a quelli più intimistici (“Absurdo Metalvox”, “Tempesta nel mio cuore”, “Anime morte”).
I Diaframma, in ogni caso, sono un patrimonio nazionale di inestimabile valore, sia per il fondamentale contributo passato, sia per l’attuale (per molti imprevista) vivacità.
Molte soluzioni ricercano il pathos in un disco che sorprende per aggressività ed energia (“La botta di energia del rock”, la title track), ovunque emerge la grande attenzione riservata ai particolari ed i continui spunti appassionati, come il solo di Giulio Cercato che caratterizza la chiusura di “Nilsson”.
Sempre in bilico fra new wave e modernità, Federico Fiumani si conferma autore fuori dal tempo, fuori dalle mode, uno dei compositori più originali e sinceri di casa nostra, un personaggio che pur conservando un seguito ultra fedele avrebbe meritato (e meriterebbe) platee ben più numerose.
Chissà che proprio "Niente di serio" possa affermarsi come il disco giusto per scardinare tante porte e tanti cuori. Gli ingredienti ci sono tutti, dagli episodi più rotondi e canticchiabili (“Vivo così”, “Carta carbone”, “Un orologio rotto”) a quelli più strutturati (gli oltre sei minuti di “Grande come l’oceano”, con la lunga coda strumentale), fino a quelli più intimistici (“Absurdo Metalvox”, “Tempesta nel mio cuore”, “Anime morte”).
I Diaframma, in ogni caso, sono un patrimonio nazionale di inestimabile valore, sia per il fondamentale contributo passato, sia per l’attuale (per molti imprevista) vivacità.
DIAFRAMMA (ITA)
SEGUILI SU
sabato 1 Febbraio 2014
al BLACKOUT di ROMA
www.blackoutrockclub.com
Monday, October 14, 2013
NEWS WAVE - "Relax" and Frankie goes...(after 30 years)!
30 Years since the first RELAX 12" vinyl ejaculated into the world http://t.co/0HDm9docVz
— Holly Johnson (@TheHollyJohnson) October 13, 2013
Tuesday, October 8, 2013
NEWS WAVE - Annie Lennox contro le popstar di oggi: "sono porno"!
Lennox ha chiesto anche che i video musicali vengano
classificati come i film qualora ci siano scene di sesso
esplicito. A scatenare la polemica era stata Cyrus, che nel
corso dei recenti Mtv Awards aveva danzato in modo molto provocante e allusivo col cantante Robin Thicke. Nella diatriba era intervenuta anche Sinead O'Connor che aveva consigliato alla Cyrus di non farsi sfruttare dall'industria discografica. (ANSA).
Wednesday, September 25, 2013
LET'S TOUR - Simple Minds+Ultravox, it's the New Gold Dream
Simple Minds will be joined by very special guests Ultravox
Tickets will be posted out during October 2013; these cannot be reissued so will be sent by recorded mail
Venue plan is available below in detailed images, with the floor level the standing area
Doors open 6.30pm
No under 14's please
Maximum of 6 tickets can be purchased per household for each venue
Price includes £4.50 booking and admin fee
All tickets are for personal use only and cannot be resold under any circumstances. Resale or attempted resale is grounds for seizure or cancellation without refund or other compensation. The Event Partner and its affiliates, successors, or assigns may enforce these terms in accordance with the provisions of the Contracts (Rights of Third Parties) Act 1999 (the Act)
Once purchased, tickets cannot be transferred, exchanged, refunded or returned unless the event is cancelled or moved to another date
Friday, September 13, 2013
VIDEOKILLER/OFF THE RECORDS - New Little Boots' "Satellite" video!
From Little Boots' new album "Nocturnes"
Get it now: http://bzz.is/8o0
Co-directed by: Victoria Hesketh & Sam Brown
Producer: Annie Sheppard
Editor: Georgia Hudson
Dancer: Annalise Gray, 11
Get it now: http://bzz.is/8o0
Co-directed by: Victoria Hesketh & Sam Brown
Producer: Annie Sheppard
Editor: Georgia Hudson
Dancer: Annalise Gray, 11
Thursday, September 12, 2013
Wednesday, June 26, 2013
NEWS WAVE - RIP Alan Myers of DEVO
Former Devo drummer Alan Myers has died following a long bout with cancer, as Slicing Up Eyeballs points out.Myers drummed for Devo between 1976 and 1986, during a time in which the band saw commercial success with the hit single “Whip It” and critically-acclaimed albums Q: Are We Not Men? A: We Are Devo!, Duty Now for the Future, Freedom of Choice, among others. News of Myers’ death was revealed by jazz musician Ralph Carney, a one-time bandmate of Myers and the uncle of Black Keys drummer Patrick Carney. Ralph Carney wrote on Facebook: “I just got some bad news. Alan Myers passed yesterday from cancer. He was Devo’s best drummer and one of the first people to teach me about jazz. I cry……….” Devo’s Gerald Casale remembered Myers on Twitter, writing, “In praise of Alan Myers, the most incredible drummer I had the privilege to play with for 10 years. Losing him was like losing an arm. RIP!! I begged him not to quit Devo. He could not tolerate being replaced by the Fairlight and autocratic machine music. I agreed. Alan, you were the best – a human metronome and then some. A once in a lifetime find thanks to Bob Mothersbaugh. U were born to drum Devo!” Acclaimed session drummer Josh Freese told SPIN in 2010 that Myers inspired him to become a drummer. He tweeted tonight: “RIP Alan Myers. 1 of my all time favs. An underrated/brilliant drummer. Such an honor playing his parts w/Devo. Godspeed Human Metronome.” Watch Myers behind the kit with Devo:
Thursday, June 13, 2013
Thursday, May 16, 2013
VIDEOKILLER - It's a..."Miracle"! Brand new Hurts video nominated!
Brand new Hurts video, "Miracle", nominated for Best International Video at the MVPA Awards in The US of A.
Tuesday, April 23, 2013
NEWS WAVE - Welcome to the...Monarchy!
In February, 2013, they release their new single featuring burlesque star Dita Von Teese, who tracked them down via twitter, and invited them to spend Christmas in Paris with her. The video is shot by Roy Raz. Album number two is close behind.
Friday, April 19, 2013
NEW GOLD DREAMS - I 1975, rabbia giovane post-punk senza saperlo
L'11 E 12 MAGGIO UN DOPPIO BILL PER DUE DELLE BAND PIU' INTERESSANTI DELLA NUOVA SCENA INDIPENDENTE INGLESE. GLI SWIM DEEP SARANNO ACCOMPAGNATI DAI THE 1975. DESTINATI AD UN GLORIOSO FUTURO SECONDO TUTTA LA STAMPA SPECIALIZZATA ANGLOSASSONE.
Formatisi giovanissimi nel 2002, la
band assunse il suo nome solo molto più tardi, quando Matthew Healy, cantante e
chitarrista della band, entrò in possesso di un libro di Poesie Beat,
appartenuto ad un artista di Ibiza che si stava liberando delle sue vecchie
proprietà: sul retro del libro, era riportata una data, "1 June. The
1975". Era una nota di addio, un avviso di suicidio, appartenuta ad un
precedente proprietario del libro. La cosa lasciò un segno profondo nell'animo
del giovane cantante, che battezzò la neonata band in questo modo.
Il nome The 1975 fece la sua prima
comparsa per il pubblico all'inizio del 2012, quando la Dirty Hit, pubblicò il
primo EP, "Facedown". "The City", prima traccia di questo
EP raggiunse rapidamente Radio BBC1 e la band divenne in breve la più brillante
nuova promessa dell'indie rock inglese, con il battesimo finale ad opera di
Zane Lowe che lancia il loro nuovo singolo "Sex".
La band a questo punto firma per
Universal in Europa e Vagrant Records negli Stati Uniti, e si mette a lavorare
col produttore di Arctic Monkeys e Foals, Mike Crossey.
Il 2013 si appresta ad essere
decisamente il loro anno, con un album che arriverà a Settembre 2013!
THE 1975 (UK)
SEGUILI SU
SEGUILI SU
a supporto di SWIM DEEP
sabato 11 Maggio 2013
all'ASTORIA di TORINO
domenica 12 Maggio 2013
al BLACKOUT di ROMA
www.blackoutrockclub.com
Wednesday, April 17, 2013
NEW GOLD DREAMS - The debut of [debut], directed by Chris Corner (IAMX)
Official music video for "Starting to Love it" by [debut] featuring Cyd St Claire.
Get the EP now at https://itunes.apple.com/us/album/sta... Get the limited edition CD with 2 bonus tracks from www.debutsounds.com. Written by Gareth Thomas & Siobhan Lynch. Produced by Gareth Thomas & Adam Schiff. Drums by Christian Eigner. Single mix vocals by Siobhan Lynch.
Video directed by Chris Corner. http://www.iamx.eu . Camera & edit by Chris Corner. Produced by Gareth Thomas in association with Orphic. Story based on a concept by Gareth Thomas. Camera assistance and lighting by Janine Gezang. Assisted by James Cook and Danny Drysdale. Make-up & Hair by Kelly Shew. Angel played by Natasha Hall.
Get the EP now at https://itunes.apple.com/us/album/sta... Get the limited edition CD with 2 bonus tracks from www.debutsounds.com. Written by Gareth Thomas & Siobhan Lynch. Produced by Gareth Thomas & Adam Schiff. Drums by Christian Eigner. Single mix vocals by Siobhan Lynch.
Video directed by Chris Corner. http://www.iamx.eu . Camera & edit by Chris Corner. Produced by Gareth Thomas in association with Orphic. Story based on a concept by Gareth Thomas. Camera assistance and lighting by Janine Gezang. Assisted by James Cook and Danny Drysdale. Make-up & Hair by Kelly Shew. Angel played by Natasha Hall.
Monday, April 15, 2013
NEWS WAVE - Echo about Ian McCulloch: he wrote Tribute Song over David Bowie Death Rumour
He says, "I came up with that song around a year and a half ago when there were all these rumours flying around that he was on his last legs... We don't hear anything from Bowie for years, then I write that song and all of a sudden there's a new album and an exhibition at the V&A (London's Victoria & Albert museum). F**king skinny b**tard!".
Bowie made a surprise comeback in January (13) when he released his first new music in a decade, a single called Where Are We Now, which was followed by an album, A New Day, in March (13).
Friday, April 5, 2013
Tuesday, March 26, 2013
LIVE AND KICKING - Hurts più concreti ma meno espressionisti
SET LIST
EXILE
MIRACLE
WONDERFUL
LIFE
SILVER
LINING
BLIND
EVELYN
SUNDAY
SANDMAN
BLOOD
TEARS & GOLD
UNSPOKEN
ILLUMINATED
THE
ROAD
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SOMEBODY
TO DIE FOR
BETTER
THAN LOVE
STAY
OFF THE RECORDS - It's "Delta Machine" time!
Sunday, March 17, 2013
TALK TALK - Gli Hurts: "C'ispiriamo a Roby Baggio...!"
FELLINI - Allora, modelli o attori? «Preferirei che qualcuno pensasse che sembriamo usciti da un film di Fellini: anche se lui era molto colorato, 8½ è in bianco e nero», spiega Hutchcraft. I due hanno pubblicato questa settimana il loro secondo album, «Exile», che porteranno in concerto il 25 marzo a Milano. «Essere sempre in giro ti fa sentire in esilio e poi noi ci sentiamo di vivere in un mondo che non è reale - sottolinea il cantante -. E la cosa bella di questo titolo è anche che la parola esilio racchiude in sé molte sentimenti come libertà, paura, isolamento... sensazioni molto vivide, sulle quali vale la pena scrivere delle canzoni. Siamo stati in giro molto e ci siamo lasciati la nostra vita alle spalle». La vita di prima, prima ancora del disco di debutto «Happiness» che ha venduto due milioni di copie, era quella di due ragazzi di Manchester che le provano tutte pur di sfondare con la musica. Sussidio di disoccupazione e vestiti ricercati per non sentirsi tagliati fuori. All'ennesimo progetto fallito, Theo e Adam si guardano in faccia, prendono un volo per Verona, si fermano per qualche giorno in Italia e al ritorno decidono di provarci in due. «Quella è stata un'esperienza catalizzatrice, è stato l'inizio degli Hurts come li conosciamo oggi», ricorda Hutchcraft.
BAGGIO - L'Italia non è stata solo quella vacanza. «Da voi c'è un vastissimo panoram di musica elettronica. A metà anni 90 i produttori e i musicisti italiani di musica elettronica dominavano le classifiche in Inghilterra. Mi ricordo i Savage, i Livin' Joy, Corona... ho una lista lunghissima». E se, prendendo spunto dal titolo di una delle nove canzoni («Somebody to Die For»), chiedi a loro per chi sarebbero disposti a dare la vita, divertiti rispondono: «Roberto Baggio - scherza Adam -. Era il mio eroe quand'ero piccolo. Soprattutto per la pettinatura. E poi perché ha sbagliato il rigore per la nazionale italiana ai Mondiali del '94». A proposito di capelli, il loro taglio è uno degli argomenti più discussi quando si parla degli Hurts. Il riferimento è agli anni 80, anzi alle citazioni degli anni 40 che si facevano allora. «A me sembra di avere la pettinatura più normale della storia, molto semplice, si mette e si toglie, tipo casco», scherza Theo. Fra i dischi della loro vita citano Sinead O' Connor e Nine Inch Nails, ma i sintetizzatori e l'elettronica degli Eighties tornano prepotentemente nella loro musica. «Amiamo molto band come Tears for Fears, Depeche Mode e Japan, ma la loro influenza si sente soprattutto nel primo disco. Quella è stata un'epoca di grande integrità e originalità nel mondo della musica, perché ci sono stati enormi sviluppi tecnologici. Si sente che c'era il desiderio di fare musica pop, purché fosse musica pop unica».
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