The News Review:
- Sing out sign up for goth punk emo music.
- Punk’s political firebrand had a diplomatic side
- Eyes (and ears) abroad
- Critics’ Choice – CDs – Review – New York Times
- Critics’ Choice: New CDs
Sing out sign up for goth punk emo music.
Free with registration – Europe Intelligence Wire – AccessMyLibrary.com – Jan 22, 2007
Sing out sign up for goth punk emo music. (22-JAN-07) Europe Intelligence Wire. The young music fans – known for their long black hair.
Punk’s political firebrand had a diplomatic side
The Australian – Jan 22, 2007
But newly discovered home movies shot in British embassies around the world have revealed that Joe Strummer cast aside a privileged upbringing to become leader of punk band the Clash. The pictures from his childhood as the son of a diplomat portray a culture far removed from the venomous explosion in 1976 of the punk movement with him and the Sex Pistols at the helm. Although Strummer was a complex character who was regarded as punk’s political conscience the images still surprise. The footage used in a new documentary shows young Joe visiting his father Ronald Mellor who was posted in places such as Ankara Mexico City Berlin Cairo and Tehran. Joe and brother David stand on the border of Iran and Iraq in one image… Joe Strummer: The Future Is Unwritten was premiered last night at the Sundance Festival in the US. Strummer explains in the documentary that despite his Establishment upbringing his father was not a conventional diplomat and had "left-wing" views. He also wonders where his interest in music came from. "Neither of my parents was musical" he says. Joe was born John Mellor in 1952 and was a boarder at the City of London Freemen’s school in Ashtead Surrey. In his late teens when his older brother committed suicide he reinvented himself — first at art college where he was known as Woody and then in the west London squat where he became Joe Strummer. The documentary about Strummer who died of an undiagnosed heart condition in 2002 at the age of 50 includes interviews with Bono Martin Scorsese Johnny Depp Matt Dillon and Damien Hirst.
Eyes (and ears) abroad
Jerusalem Post – Jan 22, 2007
Things that are very basic for me are lacking here. According to Hulsh it’s more down to what and who you know than anything else. “I see the music industry as mostly being about knowledge and access. You also have personal connections money and a little bit of luck. Knowledge and access are the two components that are completely lacking in this country and that’s what leh! intends to provide. While there may be an abundance of musical talent here there is still a question mark over the added value that Israeli artists have to offer the world. There are after all enough musicians out there who perform in English in all genres without our input… There are after all enough musicians out there who perform in English in all genres without our input. “What Israelis have to offer that musicians from other country don’t have is their perspective” says Hulsh. “You can listen to a punk song from the States and punk song from here and while the style may be similar the content is completely different because of the personal narrative of the artist. Pure musical endeavor aside it can do Israel’s image no harm to have musicians out there offering the world a glimpse of life here entirely devoid of politics. David Brinn pop music critic for The Jerusalem Post and Editorial Director of the ISRAEL21c website is a member of the leh! advisory committee. His committee colleagues also include Galei Tzahal radio station music editor Dubi Lenz TV music channel 24 director Yoav Kutner and Ayelet Yagil former site editor of Mooma Israel’s leading music website. Brinn is suitably enthused about the impending label launch.
Critics’ Choice – CDs – Review – New York Times
New York Times – Jan 22, 2007
Barnes has revealed himself not as a whimsical hippie but as a character grappling with doubt and despondency. “This time f Montreal’s music revolves around a staple of loners in studios: synthesizers used mostly for synth-pop that looks back to the 1970s and 1980s but is warped with shifty structures and skipped beats that could trip up unwary dancers. The album’s centerpiece is the 12-minute “The Past Is a Grotesque Animal” pulsating steadily in a spiral of self-laceration. Manic pop and depressive revelations have rarely been so closely bonded. JN PARELESERIN MCKEWN”Sing You Sinners”(Nettwerk)Whether or not you warm to “Sing You Sinners” Erin Mckeown’s breezy album of popular standards (several of them obscure) depends on the rigidity of your musical purism… JN PARELESERIN MCKEWN”Sing You Sinners”(Nettwerk)Whether or not you warm to “Sing You Sinners” Erin Mckeown’s breezy album of popular standards (several of them obscure) depends on the rigidity of your musical purism. Mckeown and her folk-punk swing band let nothing stand in their way as they pluck songs out of their museum cases blow off the dust and lightly toss them around. Playing guitar and banjo as well as singing Ms. Mckeown flaunts an off-handed tomboyish exuberance that suits vintage swing numbers like “Thanks for the Boogie Ride” popularized in 1941 by Anita ‘Day a singer she resembles in attitude if not in style. “Rhode Island Is Famous for You” the pun-filled Dietz-Schwartz comic ode to the smallest state in the union “Get Happy” and “Sing You Sinners” also bend to her upbeat jocular approach. But her talky simplified readings of more musically sophisticated fare like “Something’s Gotta Give” “Just ne of the Those Things” and “Don’t Worry ‘Bout Me” are problematic.
Critics’ Choice: New CDs
New York Times – Jan 22, 2007
His voice remains lithe and relaxed and his records have become armored in well-rested civility. Implicitly his music teaches forgiveness… Veloso now 64 takes on the petty end of the emotional spectrum in front of a post-punk electric power-trio produced by his son Moreno. Recently the elder Mr. Veloso has been making more playful records in between his more official-sounding ones and at first ”cê” with its unvarnished sound seems to identify that way. (In the tradition of indie-rock records there’s no studio echo and sometimes you can hear amplifier buzz. ) But he’s still singing with his usual soft focused concentration and in the rough textures and gaping silences of the band are strong melodies that point back to his simpler records from the mid-’70s like ”Qualquer Coisa” and ”Jóia.