Name: 49:00 by Paul Westerberg
Duration: 43 min 55 s
Description: I tried to release this in 2008 and had a lot of problems. That being said I hope you enjoy it.

I just need this in Wav to feel the neighborhood tremble

Classic underground DIY, thanks again Paul- your pal Pat (last time I saw you in person was backstage at the ROCK FOR KARL event. Best wishes

Westerberg, a grandmaster of the music hook.  They just pour effortlessly out of him, one after another.  More please!

Listen to Not Like The Other Girls by Luke Hennessy on #SoundCloud https://soundcloud.app.goo.gl/257mc  Sorry to spam, but I really am looking for a miracle 🙏💯

My name is tim mahoney songwriter.  Paul is pure oxygen.  Like buckley.  I have nee single coming out this dummer with dave pirner of soul asylum “we should be shooting stars”.  I know paul a little.   Thats a whole nothercstory;).   Love this forum

One of the best Lps of the 2 millions. Not too many ways to better spend (not quite) 49:00 of your life

Paul, if you by chance read these, wanted to say that 49:00 is a masterpiece that should be required listening for any DIY musician.  It’s the chaos of my mind in audio format.  Hope all is well for you.

Gardy Perez-Ruiz / Guitar, synths, vocals 

Bernice Cruz / Vocals, arrangements, synths 

Hector Caolo-Alvarez / Bass, Bass VI, vocals 

Eden Cruz / Drums, vocals 

With: 
Jorge Martinez Picon (PON): beats : Voltaire 
Nicolas Linares: guitars : Voltaire / Space shore 
Javier J. Rodriguez: saxophone : Space shore 
Marcelo Perez Velazquez: voice : Drones 
Saul Robles: guitars / vocals** 


©®All songs written by un.real: 
Gardy Perez-Ruiz / Hector Caolo 
Bernice Cruz / Eden Cruz. 2014-2020. 
Except: Kids are Astronauts** / SRR 

Recorded and mixed at Little Big Audio, San Juan, Puerto Rico 
by Nicolas Linares 

Mastering: Andrew Rose, Pristine Audio 

Photography: Milton R. Perez : Saul Robles 
Design and digital manipulation: Renshaus 


Thank you, to all the un.reales who have genuinely helped us 
throughout the years. 

Love and distortion.
license
all rights reserved

Blue Garden

I tried to release this in 2008 and had a lot of problems. That being said I hope you enjoy it. 

49:00

5:05

New Age Healers Release Powerful New Shoegaze Single

Seattle’s New Age Healers announce the release of their first new music since 2020’s pandemic inspired collaboration “In Dreams” that featured members of Sacramento’s Soft Science, and Seattle’s Jupe Jupe and Black Nite Crash. “Don’t Let Me Go” leads off a yet unnamed full-length out summer 2022. Recorded by Matt Brown at Avast Studios and Crackle & Pop in Seattle, the song is described by the band as “a bombastic tornado of shoegaze.” Songwriter Owen Murphy jokes “it’s about the disintegration of friendships in a period of great change. Keep your friends close, until they become your enemies. Then keep them closer.” 

’New Age Healers is a Seattle based shoegaze/psych-rock project featuring vocalist, songwriter and multi-instrumentalist Owen Murphy, guitarist Jeramy Koepping (Voyager One, Grand Hallway), drummer Adam LeVasseur (Feed), bassist Allen Murray (Modern Athletics) and keyboardist Farkhad Saidmuratov (Kotlovan). NAH has three full length releases, 2016's Ghosts which NPR's Jim DeRogatis called "wonderfully dark, hypnotic shoegaze," 2017's Where the Tragic Happens which The Strangers' Dave Segal described as having "slyly catchy melodies and occasional anthemic flourishes." In 2019 the band released Debris engineered by Barrett Jones (Foo Fighters, Nirvana, etc.) which garnered airplay around the globe and most significantly here in Seattle on KEXP where they have been played over 170 times and have also been lucky enough to do a live in-studio session on the Midday Show with Cheryl Waters.

Shows:
Seagaze Music Festival, Friday, April 22nd, LoFi Seattle with Blushing, Fotoform, Bloody Knives, Letting Up Despite Great Faults, and Soft Science.
Film School, somesurprises, Karate Church, Bellingham, WA. Friday, April 29th 

Reviews: 
Jim DeRogatis, NPR's Sound Opinions: "Wonderfully Dark, Hypnotic Shoegaze..."
DKFM: “...cascading guitars and confident choruses overlay a propulsive  beat(s)...”
Jersey Beat: "Everything on Where The Tragic Happens is both Irreverent and wholly accessible, accenting their darker moments with fun-loving pop aspects to soften the edge a bit without ever becoming dull."
Dave Segal, The Stranger: "Think Failure divided by the square root of the Jesus and Mary Chain. Leader Owen Murphy has a deft hand and foot for slyly catchy melodies and occasional anthemic flourishes."
KEXP.org: "The album, released earlier this year, is a masterpiece of balance. The instrumentation is loud but clean, the writing is chaotic in its meticulous structure, and most importantly Murphy’s vocals are menacing but restrained. The result is versatile shoegaze that seems to get better with each listen."
Rob Prichard, Radio Free Brooklyn: "...deep, dense fuzzy garage grooves, swirling psychedelic guitars and a relentless rhythm section. Production is crisp and on point. If you like A Place To Bury Strangers you'll love New Age Healers."
Don Yates, KEXP: “This Seattle band’s third album is a strong set of shoegaze with fuzzy effects laden guitars, dark lyrics and dreamy melodies.” 

Links:
Bandcamp: https://newagehealers.bandcamp.com/ 
Facebook: https://www.facebook.com/NewAgeHealers/ 
Twitter: https://twitter.com/NewAgeHealers 
Instagram: @newagehealers https://www.instagram.com/newagehealers

New Age Healers-Don't Let Me Go (Single).wav

Music toys with time. Or, maybe songs reflect back that time is always toying with us. The world of a song takes hold of us like an eternity to be lost in, with its repetitions and variations, but ultimately, as with everything else, it has a start and then ends. And there’s no place to lose time like San Francisco, where there are no seasons and all the seasons occur within one day; where the fog takes the space where your plans might have been; where there’s insane wealth all around and everyone you know and love is hanging on at the periphery and making art on any given Tuesday night. About Glenn Donaldson’s new record, "The Town That Cursed Your Name," he says, "I realized as I was piecing it together that it's a song cycle about trying to live while also feeling called to make music." It’s a double life when it works and a deeper doubleness to mirror the Gemini nature of songs themselves. "The Town That Cursed Your Name" contemplates this problem with wryness, generosity, and the micro- and macroscopic realness Donaldson is known and loved for.

Whereas the 2022 collection "Summer at Land's End" was a softer, gauzier world, "The Town That Cursed Your Name" is heavier, with fuzzed lines running through. "Leave It All Behind" starts out with an amorphous whine but quickly launches into something both supremely melodic and buzzing at the edges. "Here Comes the Lunar Hand" is an impressionist geometry that seems to capture the album’s themes without telling you how. Lyrically, Donaldson embraces the earnestness of his heroes Paul Westerberg and Grant McLennan. Sonically, late '80s college rock is filtered through song-forward lo-fi acts like East River Pipe and House of Tomorrow-era Magnetic Fields. Like the images that accompany his releases – flowers and residential street scenes are pushed to the breaking point with color – Donaldson’s songs are at the same time dazzling and lurid, beautiful and burdened, not unlike life as a musician around here.

In the liner notes, Donaldson dedicates the record "to everyone who ever tried to start a band in the Bay." There will be many knowing smiles at his title "Too Late For An Early Grave." But, this dedication captures something else about the particular strain of sincerity that laces the city water supply – the front man around here is on stage under those lights evincing the fervor not of the pop star but of the biggest fan.

-Karina Gill

The Town That Cursed Your Name

The Reds, Pinks & Purples - The Town That Cursed Your Name

I’ve decided to remaster some albums and tracks that have already been released.  Just felt I could give them a different kinda sound...

I import the audio files into the daw and then usually load one or more processors of some kind (vinyl, compressor, desk emulations etc) on the stereo master buss. This is configured to colour, shape the sound. My versions are sometimes lower in vol level than the originals. Some releases are hot to signal, but I'm looking for an inherent sound.

Sometimes I apply some chamber and or hall reverb. 

Different Class, 1995

1. Mis-Shapes
2. Pencil Skirt
3. Common People
4. i Spy
5. Disco 2000
6. live Bed Show
7. Something Changed
8. Sorted for E's & Wizz
9. F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.
10. Underwear
11. Monday Morning
12. Bar Italia

mystery link:
https://workdrive.zoho.com/folder/4n3oud5780563f3a14055a1b5130aed018efc

49:00

Paul Westerberg

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