A playlist converted by Soundiiz from another music platform ! http://soundiiz.com

******Starred (Filled to Max)_Part2_part2

STARRED_part7

WireGit+

Wire

Not Quite Strictly 1979...

Lousy

<b>TOY - Join The Dots</b>

'Join The Dots' is the title track taken from TOY's forthcoming second album. 

The single edit - backed with an instrumental of the track - will be released as a limited edition 7" (300 copies) on 21st October 2013. Each copy will feature a screen-printed sleeve by artist David Chatton Barker (www.davidchattonbarker.com).

'Join The Dots', the album, will be released through Heavenly Recordings on Monday 9th December 2013.

It follows TOY's self-titled debut album which was released in September 2012, also recorded with Dan Carey in his South London studio.

PRE-ORDER THE ALBUM:
http://heavenlyemporium.greedbag.com/buy/join-the-dots-7/

<b>Album tracklisting</b>

1.   Conductor
2.   You Won’t Be The Same
3.   As We Turn
4.   Join The Dots
5.   To A Death Unknown
6.   Endlessly
7.   It’s Been So Long
8.   Left To Wander
9.   Too Far Gone To Know
10. Frozen Atmosphere
11. Fall Out Of Love

http://toy-band.com
https://www.facebook.com/toy.band
https://twitter.com/thebandtoy

Join The Dots

TOY - Join The Dots

Gang of Four - To Hell with Poverty(Wanz Dover Ready for the Floor Remix)

For Your Pleasure

The Fragile

We're In This Together

Biophilia

Mutual Core

RMX: Remixes by Man Without Country

Midnight City (Man Without Country Remix)

Flaws

Rinse Me Down

Concert - The Cure Live

Charlotte Sometimes (Live Version (1984))

Fool's Gold

Surprise Hotel

Zoo Weather

Melt Bamanarnana (Melt Banana Remix)

Mind Bokeh

More Excuses

Red Barked Tree

Adapt

Read & Burn 01

Comet

Red Barked Trees

our remix of Ringo Deathstarr's single "Shadow"

RINGO DEATHSTARR - Shadow (Deep Cut Remix)

Track One from the forthcoming Wire album "Change Becomes Us"

Change Becomes Us

Doubles & Trebles

Pre Order Ltd Edition

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Keep Exhaling

Adore Your island

Re-Invent Your Second Wheel

Stealth of a Stork

Time Lock Fog

Subway Sect - Derail your senses

Gang of Four - Damanged Goods

From the upcoming album, Wait To Pleasure, available on April 23, 2013.

"Hare Tarot Lies" is digitally available now from Mexican Summer.
www.mexicansummer.com/shop/no-joy-hare-tarot-lies/


No Joy - "Hare Tarot Lies"

Red Barked Tree is the new album by Wire
It is released in the UK on January 10th

Please Take

Jinx is the new album from Weekend.
Mirror is the first single from Jinx.

Jinx is out now on Slumberland Records.

iTunes: http://smarturl.it/weekend-jinx-itunes
LP/CD order (color vinyl, poster, etc): http://www.slumberlandrecords.com/weekend/jinx
More info + tour dates: http://weekendtheband.us/


“The trio have burned a lot of the haze off their sound (and some of the
ear-bleeding volume), in favor of more melody and danceability, albeit in a
gothy '80s kind of way.” - Brooklyn Vegan

“Weekend kiss the curb with their new single, “Mirror”. It’s a promising
jig for Jinx.” - Consequence of Sound

“Note those bells and whistles, folks...not to say the deeper into Jinx we
travel the noise won't greet us with a screeching wail we've come to
expect, keeping those plugs at arm's length, but Weekend is not hiding in
the feedback.” - Impose Magazine

"All the subtlety of a high-pressure firehose...a dour, post-punk
atmosphere that goes for immersion rather than force." - Pitchfork

“Ominous razor-sharp textures enrapture, "Mirror" foretells the future of
Weekend, where gloom and pandemonium is a joyous return.” - Prefix

“It's steamy post-punk with a circular bass attack leading the way over
galloping drums...[Weekend’s] trademark guitar-pile assault.” - Rcrd Lbl

“Craftsmanlike post-punk” - Stereogum

Weekend - Mirror

Since their formation in London in 1976, the members of Wire have maintained and advanced a musical project which treats the creative potential of a rock band as a fluid, amorphous medium. As removed from self-conscious intellectualism as they are from the inherent conservatism of much rock music, Wire employ their unique, endlessly restless and risk-taking creativity to question every aspect of songwriting, recording and performance. They delight and disturb in equal measure, troubleshooting the circuitry of perfect pop, or patrolling the limits of focused experimentalism. In terms of working together as Wire, the group's members disbanded in 1980, reformed in 1985, disbanded in 1992 and reformed for the second time in 2000. Such sabbaticals from their career as Wire have served to sharpen the group's edge and focus, updating the tactics with which they pursue this shared project.

see more - www.pinkflag.com

Red Barked Trees

WireHQ