I wasn't into last season as much as this season so I didn't get the emote. holy shit I'm actually playing this schizo ass game

indiependanças 01

All Day and All of the Night - The Kinks

patrolling the Mohave almost makes you wish for a lil bit of rock

a lil bit of rock

The Trashmen - Surfin' Bird ( 1963 )

http://talitres.bigcartel.com/artist/motorama

Words: 
Down from the country road to the water wheel you were standing on a giant stone in your grandpas coat I can't see you in my dreams I don't know why
you know that I will do my best just to see you there in my best suit I will lie in bed just to see you there just to see you there fear is walking by your side so close to thee I can't see you in my dream I don't know why


Empty Bed

Jerk it out

Sample of us :O) Recorded Live at the riverside theater Coleraine, Northern Ireland   

Run Through The Jungle

My guitar cover of Fortunate Son by Creedence Clearwater Revival

Fortunate son

Not content to rest on the laurels of having one of the best and most talked-about albums of 2009, The Pains of Being Pure At Heart are back with four brand-new songs that do what the band does best – breathe fresh life into indie-pop with their exuberance, charm and of course quality tunes.

“Higher Than The Stars” races along on arpeggiated keyboards and quickly strummed guitars, a perfect pop nugget that could be ripped from Robert Smith's songbook. Its unstoppable energy is pure Pains, though, and we expect to see a lot of ear-to-ear grins when the band busts this one out on tour. “103” has quickly become a favorite of the Pains’ live set and it’s easy to hear why. A fizzing slice of summertime noise-pop with all the melody, fuzz and fun you've come to expect from The Pains and a snazzy little stun-guitar solo to boot.

“Falling Over” has also become a staple of the band's live sets and shows a new side of the band. A brooding synth-led tune that recalls New Optimist touchstones like Orange Juice and Aztec Camera, “Falling Over” is as yearning, lovelorn and dreamy as pop gets, and an excellent addition to The Pains' canon. “Twins” turns up the fuzz, a mid-tempo rocker with a sing-along chorus and catchy-as-heck guitar lead as the hook. This is quintessential Pains of Being Pure At Heart -- slot it into a mix tape between Teenage Fanclub and an old Lilys song and you'll be happy as a clam.
Rounding out the EP is an incredible Balearic dub-disco remix from ace UK producers Saint Etienne. Spacey yet totally danceable, the Saint Etienne remix is certain to burn up the dancefloor.

"Higher Than The Stars" is the start of the next chapter for The Pains of Being Pure At Heart and it looks to be just as exciting as the first. Look for the band supporting this EP with a coast-to-coast tour in September.

“What distinguishes POBPAH from the rest of their modern peers is a sense of craft located in the sweet spot between willful amateurism masking incompetence and not gumming things up with bells and whistles.” – Pitchfork (Best New Music)

“...it's much more than the sum of its parts and too effortlessly effervescent to be studied. Pure indie-pop to hold close to your heart.” – NME

“Can we wait for life to save us in the ways that a band like the Pains of Being Pure at Heart are saving indie pop?” – Dusted

The Pains Of Being Pure At Heart - Higher Than The Stars

Taken from the forthcoming album Waiting For Something To Happen

www.bellaunion.com
www.slumberlandrecords.com

Teenage

Creedence Clearwater Revival - Fortunate Son

Belfast-based four-piece Girls Names are a singular proposition, both geographically and psychically removed from their contemporaries at home and abroad. Released in February 2013, their second album 'The New Life' is the sound of a band on the fringes striving to forge their own path, purposefully out of step - and time - with their surroundings. Weighed heavy with the grey landscapes of their hometown, 'The New Life' is isolation laid bare, shot through with an undeterred sense of purpose and individuality.

Having released a series of singles and EPs on various independent labels, Girls Names made their first significant impression on the wider world in 2011 with their debut album, 'Dead To Me,' earning plaudits from the likes of Pitchfork, NME and Loud & Quiet amongst a host of others. And yet, despite all the praise heaped on it, as soon as that record was released Girls Names were already moving into a different headspace. 

The band’s performance at this year Primavera festival provided them with their first real opportunity to showcase the songs that were to comprise 'The New Life.' The sunshine backdrop of the Spanish coastline offered a somewhat incongruous setting to the eerie dissonance of the new material, a kind of trial by fire metamorphosis rapturously received. Following a tour of Europe, the band returned home to record the album over a series of months. Having been produced by singer and songwriter, Cathal Cully, they’ve managed to capture that sense of otherness the performances at Primavera hinted at. The expansion to a four piece means the garage-clatter of the spritely pop songs of their debut have been replaced by a deeper, shadowy exercise in catharsis, driven by repetition, psychedelia and Dionysian crisis. And the record was born of a weighty concept too, as Cully explains: 

“'The New Life' is not an over night change for Girls Names - just over two years in fact. 'Dead to Me' literally was dead to us by the time it was committed to wax. But it's a learning curve. We started moving on as artists the moment we finished that recording session, maybe even before. Not to dwell on the past, 'The New Life' is what happens when you reset everything back to zero and start again, but try to perfect. It starts back at zero the minute the needle hits the groove but we're also starting back from zero once the needle lifts at the end of the record. Ad infinitum. 'The New Life' is what follows now.”

The album’s title track, and the first single to be taken from the album, is an ideal entry point. Just shy of 8 minutes long, it rotates around a hypnotic bass line, and in Cully’s evocation of renaissance, offers a perfect metaphor for the album as a whole. New single ‘Hypnotic Regression’ - available to stream today - reflects another side to the record. The reverb-heavy guitars and compelling melody are immediately memorable, but there are signs of experimentation, too; the white squall of the lead break; the uneasiness in the vocal echoes that furnish the verses. As such, 'The New Life,' stands as a brave statement; the mark of the band untying themselves from the past and easing forth into the unknown.

"The New Life" will be released on February 18th, 2013 on Tough Love (UK) and February 26th, 2013 on Slumberland Records (US).


Girls Names - Hypnotic Regression

A Little Less Conversation

The Trashmen - bird is the word (1963)

Backing Track : Drum, Bass, Voice, Rhythm Guitar 1 = Line6
 Solo & Rhythm Guitar 2 : Gibson LesPaul Robot
Gigs: PodXT, Computer, FBV ShortBoard, Gearbox and Adobe Audition SoftWare

The Trashmen - Surfin' Bird ( 1963 )

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