on the go - part 2

Party: Indie, Alt

Tocotronic

ALTERNATIVE ROCK

Tracklist:
Ben Frost - You Me And The End Of Everything 
Dead Ca Dance - The Writing On My Father's Hand 
Have A Nice Life - Telefony 
Death In June - Last Farewell 
Gérard Manset - Ou? l'horizon prend fin 
Neil Young - Rumblin' 
Mika Vainio - Mining 
Emptyset - Function 
Sol Invictus - The Devil's Steed

Radio Nova Mondkopf Mixtape


5/20/14
Haley Bonar
Last War

Haley Bonar is set to release her 5th full length record, Last War, on May 20th via Graveface Records. Bonar takes a darker sonic direction on the forthcoming album which envelopes her omnipotent songwriting in lush, brooding soundscapes that feature hard driving rhythm sections, soaring synths and snarling guitars. The record was recorded at Devils Workshop, April Base and 606 (Dave Grohl's personal studio in LA) The cherry on top: special guest Justin Vernon (Bon Iver, Volcano Choir) appears on two tracks adding his ethereal vocal harmonies to "From A Cage" and "Eat for Free".

Haley Bonar was discovered during an open mic event by one of her musical heroes, Alan Sparhawk of Low. The next day she quit school, crammed her Honda Civic full of gear with her drummer, and was opening for Low across the country she had barely seen. Haley was twenty years old. Since then, she has released four full length albums, several EPs, started a punk/new-wave side project (Gramma’s Boyfriend), had songs tapped for major motion pictures and has had the pleasure to tour from coast-to-coast playing some of the most amazing venues with some of the most talented artists in the world.


Haley Bonar - No Sensitive Man

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

Bitter Sweet Symphony

The Great Escape

Country House (2012 Remaster)

Blur

Song 2 (2012 Remaster)

Live in Berlin Soundtrack

But Not Tonight (Live)

I'm up with a new edit! <3

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Barfuss Am Klavier - AnnenMayKantereit (Berger Edit)// FREE DOWNLOAD

Rebel Boy

Prolog

Die Erwachsenen

(What's The Story) Morning Glory?

Wonderwall (Remastered)

Where's the Revolution

Halo

Cálculos y oráculos

Where's the Revolution (Remixes)

Where's the Revolution (Ewan Pearson Remix)

The Verve - The Drugs Don't Work (Cover)

Hey Du / 1993

1993

Die Unendlichkeit

Ich lebe in einem wilden Wirbel

Ausgerechnet du hast mich gerettet

Unwiederbringlich

Bis uns das Licht vertreibt

Telekinesis is both a band and a person. It’s taken Michael Benjamin Lerner, now a wizened, grizzled 26-year-old, four years to come to terms with this and understand what responsibilities it does and does not entail, although one would not, from listening to its/his previous two albums, 2009’s self-titled debut and 2011’s 12 Desperate Straight Lines, detect any hint of confusion or self-doubt, aside from the songs that were directly about confusion or self-doubt. His third album, Dormarion, is, then, in ways both practical and profound, the sound of a man figuring out exactly who he is. Also, it’s a total fucking hoot.
Lerner wrote the 12 songs that comprise Dormarion in early 2012—half at his home in West Seattle and half at his family’s house in the San Juan Islands—with the original intention of recording the album completely on his own. Instead, he road-tripped over the summer and made the record in two weeks with Spoon drummer Jim Eno in his Austin, TX studio, Public Hi-Fi. On Dormarion Lane, to be specific. “It’s a beautiful-sounding word, and if you Google it, nothing but this one tiny street comes up,” says Lerner, although this is obviously about to change. “No origin, no description. I can’t tell you what the word means. It’s like something from Lost.”
So there’s two drummers, and no one else, collaborating shoulder-to-shoulder on a musically adventurous album containing two centerpiece songs on which there are no drums whatsoever. The breakthrough, musically and otherwise, came with the eighth song written for the record, “Ghosts and Creatures,” a keyboard-driven, spacey, and darn near Goth turn that marks a conscious departure from his guitar-bass-drums power-pop racket. “That was the most unlike-me song I’d ever written.”
When you see Telekinesis perform this year, Lerner will be backed by Erik Walters of The Globes on guitar, Say Hi’s Eric Elbogen on bass, and Rebecca Cole of Wild Flag and The Minders on keyboards.

Telekinesis: Ghosts And Creatures

Prolog

rockotronic