The News Review:
- Coachella ’09 Shows ff Its Eclectic Roots With My Bloody …
- Coachella organizers pull plug on the Cure
- Music Review: Silver Ginger 5 – Black Leather Mojo (2000)
- Coachella: A chronological convergence in the desert
- Rip City Uprise! n A Music Blog?
Coachella ’09 Shows ff Its Eclectic Roots With My Bloody …
Rolling Stone
Nick Zinner occasionally worked a small keyboard but otherwise stayed behind his electric guitar putting it down only to pick up another. There’s a strong dance-floor element to much of the new YYY’s album particularly within the bouncy keyboards and disco beat of “Heads Will Roll” but Zinner’s role as master of raw post-punk riffs was largely unchanged live. They did a straight-ahead psychobilly reading of the Cramps’ “Human Fly” either as tribute to that classic punk act’s late frontman the endlessly seething Lux Interior or the fly tattoo on Karen ’s left shoulder. The YYY’s own “Maps” remained a passionate modern torch song with sparks of electric guitar and feedback ending with Karen putting the mike to her heart eyes closed. The Kills delivered a typically explosive rock’n’blues exorcism in the Mojave tent opening with a tough “U. A Fever” Jamie Hince slashing at a beat-up hot-rodded guitar that looked like pieces were missing.
Coachella organizers pull plug on the Cure
Reuters
In contrast bad sound and cliches meant rapper Lupe Fiasco lived up to his last name. Those willing to brave the event’s hottest day with temperatures in the low 100s were rewarded with the Gaslight Anthem on the utdoor Stage. The quartet is not really punk or alternative or whatever but instead is an honest-to-goodness rock ‘n’ roll band with heart-and-life-on-sleeve songs. The same field stage at night hosted Brit music veteran Paul Weller and the return of Public Enemy which wasn’t sure if it was delivering commentary or comedy — a little of both really. X marked the spot for punk and postpunk of various eras in the Mojave Tent anchored by the legendary Los Angeles outfit playing as though it was a club gig for friends. The tent also hosted appearances by the Brian Jonestown Massacre the artsy Kills and another vet from the punk wars London’s reunited Throbbing Gristle.
Music Review: Silver Ginger 5 – Black Leather Mojo (2000)
Blogcritics.org
While his solo project Ginger often sounds Police-influenced Silver Ginger 5 give a majority of their props to the likes of Sweet Gary Glitter and T. The album kicks in with the heroic intro of “Sonic Shake” (the albums single) which brings images of crowds-of-thousands jumping up and down in a sweaty frenzy to the song’s bouncy beat. The album is chock full’o’surprises. From the Alice Cooper-esque horn sections — (“Divine Imperfection” and “(Whatever Happened To) Rock’n’Roll Girls” — to its candy-pop grooves (“Brain Sugar”) this album has a bit of something for everyone.
Coachella: A chronological convergence in the desert
Los Angeles Times
Group founder Camilo Lara snatched bits and pieces from allcorners of the musical world: Mexican polka and norteño punk and evena well-placed sample from Ennio Morricone's "The Good the Bad and theUgly" theme. Gustavo Santoalalla's electrifying ensembleBajofondo had the bad luck of going on opposite McCartney on Fridaybut even a short listen revealed his inspired update of Argentine folktradition. As for other standouts Austin's.
Related from Nukleardawn: Coachella: A chronological convergence in the desert
Rip City Uprise! n A Music Blog?
NPR
My father had graduated from Duke and I knew all about Coach K and the Blue Devils (and how the Tar Heels were the enemy) and we went to Mariners games and followed Husky and Seahawk football. Sports fandom wasn’t divided along gender lines or friend groups; it fit in seamlessly with dolls Cabbage Patch Kids and our love of Duran Duran. Then in high school I quit the tennis team my junior year feeling like I couldn’t combine my newfound love of punk rock and arthouse films with white Izod shirts and Adidas tennis shoes. That makes sense for a 15-year-old: to eschew one identity in lieu of another to immerse oneself in the furthermost most radicalized and strident version of a movement — in my case punk rock — in order to feel like I was a part of something and could be easily identified as such. But eventually we crawl out of those corners because they’re too constricting searching for a more balanced wholeness in the center sometimes even reverting back to our former selves or trying out new spaces and identities altogether. But there’s something about organized and professional sports that seems to irk or feel like a contradiction to certain people. In my own experiences as a writer and musician my appreciation of sports often invokes expressions of surprise or annoyance.