Dejan

i've just ordered the dvd,the videos are AWESOME. i'm new to this band but i'm already in love with their sound,i've ordered their last two records even if i think the live shows are their "best dimension". i'm very impressed by the drummer,he's a MACHINE

there's nothing strange,and what you laughin at ?

I FUCKIN LOVE THIS BAND,NO HOMO,BUT THEIR MUSIC IS AAAAAAAMAZING! [ame=http://www.youtube.com/watch?v=INaN3HWIAj8]YouTube - Mew- Special/ The Zookeeper's Boy, live at the Holllywood Palladium[/ame]

its worth buying ? from what i've seen looks like a fantastic dvd...

Bon Iver @ Hollywood Forever Cemetery, Hollywood 9/27/09 Fresh off of making waves by performing for the filmic undead, Justin Vernon continued his recent fascination with thespian mortality by holding his previously reported show at the Hollywood Cemetery, where all the actors are buried. Cemetery gates opened at the stroke of midnight (obviously). Coffee and donuts were served. Photographer Andrew Youssef arrived shortly after 2AM, joining roughly 2,000 people for the event which kicked off with a screening of Wes Anderson's Bottle Rocket before Buddhist monks performed a ritual blessing to cleanse the air for Bon Iver's 6AM set. [ame=http://www.youtube.com/watch?v=ipGgJVPlKq4]YouTube - Bon Iver "Babys" at Hollywood Forever Cemetery[/ame] [ame=http://www.youtube.com/watch?v=oJlCtWB8g8U]YouTube - Bon Iver - Blood Bank (Hollywood Forever Cememtery)[/ame] [ame=http://www.youtube.com/watch?v=eyKUmtc1IaU]YouTube - Bon Iver + Friends[/ame]

i hope they will release a live dvd one day.....they are fuckin amazing

FOR THE UK RESIDENTS THERE'S A FULL STREAMING HERE,FOR ALL THE OTHERS JUST SNIPPETS http://www.we7.com/#/album/In-This-Light-And-On-This-Evening!albumId=394900&m=0

[ame=http://www.youtube.com/watch?v=G38MzhgiOxw]YouTube - Editors - Eat Raw Meat = Blood Drool [Later... with Jools Holland][/ame]

[ame=http://www.youtube.com/watch?v=aj0Srf5K9fM]YouTube - Kasabian - Where Did All The Love Go (live at Le Live De La Sema)[/ame]

.

[ame=http://www.youtube.com/watch?v=yfP0zNr6xkw]YouTube - Mew - Comforting Sounds - Düsseldorf - 29 June 2009[/ame]

this is amazing ^

http://www.babelgum.com/4002579/rockfeedback-presents-mew.html

LOL [ame=http://www.youtube.com/watch?v=qaJsTActQ94]YouTube - Kaiser Karaoke (xmas special)[/ame]

[ame=http://www.youtube.com/watch?v=6kfPmInRLts]YouTube - Sufjan Stevens- There's Too Much Love from Castaways in Ithaca 9/23/09[/ame]

POPMATTERS REVIEW The term “folk” has become such an anomaly in today’s underground music scene—a label applied with so much gusto and baggage in the latter half of our decade and having lost so much of its original definition—that these days it’s implied more as an aesthetic than in relation to any particular instrumental approach. What exactly makes you “folk”? Does playing with a palette of primarily acoustics earn you the “folk” tag? How about spirited, communal harmonies about societal hardships and social unrest? Maybe somber, introspective singer-songwriterisms delivered with a few simple chords and a tender heart does the trick? Whatever it may be, the man who has come to embody that stamp for so many indie aficionados over the past few years has hardly let it dictate or weigh down his creative resolve. After winning the hearts of flanneled boys and girls across the globe with his astounding debut album, For Emma, Forever Ago, Bon Iver’s Justin Vernon explodes the boundaries of folk with this left-field release, awaited on with as much curiosity as hot-mouthed anticipation. Written and recorded with his friends in Collections of Colonies of Bees years before the release of Vernon’s aforementioned critical darling, and before even the break-up of his previous band (which in part provided a catalyst for his heartbroken opus), unleashing this rough gem of an album on the heels of such a warmly received, emotionally affecting indie hit was a risky decision. In letting its meeting of chilly-and-toasty atmospherics sink in, it proves to also be the smart move, and one that pays dividends, at that. It may not be a direct follow-up for Justin Vernon, but it’s a brave, bold move among a crowd so eager to spit you out en route to finding The Next Big Thing. Listeners seeking a more group-oriented Emma will only be partially satisfied, as Unmap reveals itself as not so much a complete and total departure from Vernon’s previous work, but a slightly weirder, marginally artier, more adventurous side road strolling briskly in the same general direction. Wounded falsetto vocals still stir over a pot of creaky, croaky aural stew, but the structures here are subverted with an ear for the experimental. This is Tom Waits and Brian Eno feverishly concocting a dense and spacey mélange by an icy campfire in the dead of winter. There is a compelling meeting between the junkie and the ambient here, bouncing off of each other and creating something otherworldly while still retaining an earthy quality. Layered with ghoulish, ghostly overdubbed harmonies and supported with scratchy, muted and slippery tones on both organic and electronic equipment, the details in the music slide in and out of earshot while creating a contained environment reminiscent of cold, natural imagery as viewed from the inside out. There is a hushed, uneasy beauty here, characterized by off-kilter arrangements taking curved paths toward exits newly unearthed by sonic experimentation. At one moment soothing, each turn eventually finds its way back home through hazardous detours that never fail to illuminate new facets of a sound that has become comforting to so many. That dichotomy of comfort and eeriness—striving to co-exist yet fighting rhythmically for the same breath—is what makes this such a refreshing, revitalizing experience, even as it’s difficult to catch on first, second, or even third listen. The best music slowly and gradually exposes its multiple dimensions as it unravels over repeated spins, and Unmap is no different. It’s clear there’s a palpable camaraderie spurning the creative process here, at times indulgent but never so much as to alienate the audience. There may be an arcane message of self-pleasing amidst Vernon and the boys, but it’s as fascinating as it can be frustrating. We, as the listener, feel like we’re being let in on a beautiful secret as we observe a band of brothers evolving and satisfying their whims and desires. No, there is nothing here as instantly gripping or emotionally charged as “Skinny Love”, but what this album lacks in immediacy it more than makes up for in its willful playfulness. Due to its somber tones, it may be easy to miss that sense of woolly, wily buoyancy, but the highlights here serve to illustrate that ease in gravitas. The aptly-titled, finger-plucked “Husks and Shells” sounds as if it’s being carried afloat on a calming sea of almost wordless harmonies and bleeping blips, opening the album in a disquieting fashion that emboldens the underlying element of celestial unease. The most pop-oriented moment here, “Island, IS”, rolls by on a loping hook of unintelligible yet controlled vocal lines amidst its cascading, shuffling backing track. “Still” recasts “Woods”, the most experimental track on Bon Iver’s Blood Bank EP from earlier this year, in a more collective, slathered effort, reverberating with life and building on the original’s half-baked trial run. Album closer “Youlogy”—sounding almost like a long-lost traditional folk anthem (think “Amazing Grace” covered in fog and ice and buried in a dusty tomb for a century)—dissolves into an effective swan song, its dissonant, mournful innocence struggling to synchronize itself with the sputtering, hopeful strength flowing beneath the surface. Even the slighter songs stumbling between the stand-outs, filled with rousing hand-claps and stomping, mumbling backwoods chants, hardly idle as mindless filler, instead acting as the glue that binds these disparate tunes together, enhancing the tangible unity among the band members. Maybe this isn’t the soft-spoken, lovely-as-moonlight follow-up Bon Iver’s ardent fans were waiting on, but it would be a shame to dismiss this record as a vanity project. In fact, for those who give Unmap the time and patience it requires to flourish and sink its claws in, they’ll find that it makes a fitting complement to its predecessor’s wintry, snowy glow. Mood music that doesn’t fade into the ether shapelessly, and as inviting and sublimely-crafted as this, is a rarity in today’s hyper-active, MP3-oriented music scene. Perhaps it’ll never earn For Emma‘s unrivaled reputation as being music to hang your hearts and dreams upon, but it’s a dynamic batch of aural wilderness to get lost in. So wander on.

^^ agree with you!

DROWNED IN SOUND REVIEW 8/10 Back in the summer of 2003, The Boxer Rebellion seemingly had the world at their feet. As the hotly-tipped inaugural signings to Alan McGee's newly launched Poptones imprint, their stadium anthems in waiting should have propelled them to the status kindred spirits in bombast Coldplay were beginning to revel in and continue to thrive on ever since. Instead, the old adage 'everything happens in threes' became a reality for The Boxer Rebellion. First of all, no one bought their debut album Exits, then their label went the same way, cast aside by the burgeoning download boom. Thirdly, to add injury to an already catastrophic list, frontman Nathan Nicholson endured a life-threatening rupture to his appendix that put the future of the band in jeopardy altogether. Lesser artists would have taken the hint and returned to the less fraught realms of nine-to-five normality; not The Boxer Rebellion. Four years on from Exits, which many thought would be an apt epitaph for the disaster stricken four-piece, they're back with a new record, and despite having no label to carry out the promotional hard sell on their behalf, sound twice the band they did back then. Almost from the word go, Union delivers a statement of intent, kicking and screaming its way out of a subdued coma. Whereas before they maybe Edged a little too closely to their influences, this is a record brimming with a new found confidence, a re-birth from a band that cynics hoped had been dead and buried long ago. Maybe the traumatic nature of their singer's ailing health and subsequent return to full fitness revitalised the whole unit, hence the record's title, but here there's an undoubted self-belief shining through that nothing less than perfection will suffice, and while Union falls just short of those hefty heights in the wider scheme of things, there's no denying The Boxer Rebellion have given it their best shot. Despite having been recorded nearly a year ago, even the band themselves couldn't have expected such an enthusiastic response as the one they got when Union became the first digital only release by an unsigned band to crack the Billboard top 100 in January. Although even that groundbreaking feat still couldn't attract a major backer to subsidise and release the whole album, its success and gave The Boxer Rebellion the impetus to finance Union's physical release themselves, and here in its full glory, their long-awaited follow-up to Exits finally sees the light of day. What's quite apparent is the way the band have used the years spent in their own studio honing and enhancing their sound, the opening 'Flashing Red Light Means Go' and aforementioned 'Evacuate' hinting at a more expansive, widescreen view than on any of their previous recordings. The guitar duels of Nicholson and Todd Howe ring clearer than ever before, particularly on the epic finale of 'Silent Movie', which cascades Union to a brooding, emotive climax. At times, there's a claustrophobic tightness that turns melancholic asides like 'Soviets' into billowing wombs of sonic bliss, while 'The Gospel Of Goro Adachi', with its semi-introspective lyrical assertions ("What's done is done to me...") coupled with a lilting waltz-like accompaniment is simply stunning in its execution. Likewise the poignantly rabid 'Forces', where Nicholson pleads "Don't save yourself for someone else" takes the mantle Tom Smith and his Editors borrowed back home to roost, possibly for good this time. Ultimately, Union not only rekindles the burning sense of desire that encapsulated The Boxer Rebellion's early singles and live shows over half a decade ago, and if there's any sense of justice, surely re-ignites a floundering industry's interest in a genuinely progressive and forward-thinking group of musicians. We can only live in hope.

mediocre my ass!

the new album has been leaked or not ?

[ame=http://www.youtube.com/watch?v=xjo6M88cqcM]YouTube - Grizzly Bears - Two Weeks - Lowlands 2009[/ame] [ame=http://www.youtube.com/watch?v=-hhhSlJq7PU]YouTube - Grizzly Bear - Southern Point[/ame] [ame=http://www.youtube.com/watch?v=XcQAOfa__ro]YouTube - Grizzly Bear - "Ready, Able" on Letterman 7/16 (TheAudioPerv.com)[/ame] [ame=http://www.youtube.com/watch?v=gQ98FN09-K8]YouTube - Grizzly Bear Live - Cheerleader, Southern Point - Sasquatch Music Festival WA, May 25, 2009[/ame] [ame=http://www.youtube.com/watch?v=gExiPo3lLaY]YouTube - Grizzly Bear - I live with you - Live at the Commodore, Vancouver May 2009[/ame] [ame=http://www.youtube.com/watch?v=9lCSHNVe1oY]YouTube - Grizzly Bear - Two Weeks - Live at the Commodore, Vancouver May 2009[/ame]

"One of the most beautiful and moving works I've heard in a long, long time. Just astonishing." -NPR's All Songs Considered "Hospice is a skyscraping blend of the ambient and the anthemic, a record that swings for the bleachers at a time when it's fashionable to bunt." -Pitchfork "A concept piece populated with slow-motion feedback cyclones, melodies lifted from nursery rhymes, cavernous loud/soft shifts, and lyrics fixated on life’s little themes: love, death, and guilt." -The Onion's A.V. Club "Hospice is a work of rare beauty and a watershed moment in The Antlers’ career." -Tiny Mix Tapes "Hospice is at once the simplest and most immense album of the year." -My Old Kentucky Blog "An album of constant depth" -NY Press "A profound meditation on love and loss." -Flavorpill "truly heart-wrenching" -Time Out New York [ame=http://www.youtube.com/watch?v=R4v2AyU4HAo]YouTube - The Antlers In Concert for NPR Music[/ame] [ame=http://www.youtube.com/watch?v=IkJhH_2343o]YouTube - The Antlers - the Live from Toronto series[/ame] There are few albums that give me shivers. Few albums that really get me at my core – real albums, honest albums, painfully personal albums. Even rarer are those records that continue to do so on subsequent listens, hitting me hard each time I hear its story unfold. The Antlers’ Hospice does it like few I can remember. The album is the product of Peter Silberman’s two year isolation in New York City, a seemingly foreign concept that is much closer to reality than many of the New York City myths you hear on records. Emerging from his self imposed exile, he joined with Michael Lerner and Darby Cicci to form the current incarnation of The Antlers, recording two EPs that would eventually merge to become Hospice. The album tells the story of a man forced to watch his loved one struggle with – and eventually succumb to – bone cancer, and it tells it eloquently, brutally, breath-takingly. If, as Ben Gibbard proclaims, “Love is watching someone die,” then Hospice is a love album. And, unconventionally, it is. The album is remarkably multi-dimensional, delving into the perspectives and moods of both lovers involved – the love, the hate, the fear, the denial, the dependence. It is the sinking stomach of a desperate hope fading. It is the pain of being a helpless bystander as invisible Death works his slow knife. It is the phantom limb left by a loved one. The album begins with an instrumental track, entitled “Prologue,” that evokes William Basinski’s Disintegration Loops, an experimental series that chronicles the gradual demise of old magnetic tapes. It is no coincidence that much of Hospice evokes that same sonic experiment – the record is a study in degradation over time. But although the album is sonically fascinating, it is the storyline that carries the record. Reading the album’s liner notes – arranged as if a series of short stories – opens the door to a depressive fog. I won’t even bother trying to do it justice here. The story is beautifully written and perfectly framed. And stretched over the canvas of haunting and stark music, the somber lyrics of Hospice somehow manage to be beautiful. The more I listen to Hospice, the more impressed I become. Its swells and silence combine to form a completely devastating piece of art. This is not a happy album. This is not something you want to listen to at a party, or on the radio. But it is an album that begs to be understood, excruciating though that understanding may be. Amazingly enough, Silberman’s exile, isolation, and loneliness have given birth to a testament to human connection. I will be visiting this album for years to come. 90-94 — Near Perfection. One of the bodies of best work in recent memory. Required listening for anyone who loves music in its purest form. http://www.myspace.com/theantlers

In which city has been filmed the video ?

http://vimeo.com/6258184

FIRST LISTEN: Editors ‘In This Light And On This Evening’ (Kitchenware/Columbia) Tom Smith: “In my opinion the great bands evolve over the course of their careers and take risks…this album will alienate some Editors fans, it will split opinion…good." Editors release new album ‘In This Light And On This Evening’ next month. Following on from the guitar-y epics of ‘The Back Room’ and ‘An End Has A Start’, ‘In This Light…’ is a radical departure for the Birmingham quartet, featuring minimal guitar in favour of synth soundscapes. Over the course of the last few months, frontman Tom Smith has been shedding out some fairly precocious inspirations for the new material, one of them being the soundtrack to the Terminator films. As far-fetched as that might sound, our First Listen on ‘In This Light…’ reveals a brave band looking to the future and unafraid of change, even if, like Tom says, it might mean they lose a few fans along the way… ‘In This Light And On This Evening’ From the very first note of the opening song, it’s clear Editors have broken away from their previous sound, with the title track setting the scene for something more electro-epic. The pumping note that drives this track is an unrecognisable trait, and even when Tom first croaks “I swear to God…”, his vocals sound haunted and uncomforting, but it all gels well. After a tense three minutes of synths and piano, a climactic ending of distorted bass and drums unfolds. A bold introduction, for sure. ‘Bricks And Mortar’ The Terminator influence doesn’t seem so mind-boggling now - like New Order’s ‘Power, Corruption…’ being rewired by Kraftwerk, ‘Bricks And Mortar’ revolves around a relentless, menacing krautrock groove. The chorus resembles more classic-sounding Editors, yet before you had a chance to reminisce, a flood of noise and a series of bleeps and crashes catch you off guard. For a song that’s over six minutes long, ‘Bricks And Mortar’ doesn’t drag – it’s almost the palette cleanser before you get your teeth stuck into the rest of the album. ‘Papillon’ Already a big song in their live set, ‘Papillon’ is a storming, pop magnificence. Like a distant, ADD relative of Depeche Mode’s ‘Enjoy The Silence’, it’s based around a repetitive addictive synth riff driving the verses, and after only a short listen you’ll be singing along with Tom as he hollers “It kicks like a sleep twitch!” New Order is the reference point again on this one – 50 seconds in we’re sure there’s a definite nod to ‘Blue Monday’. ‘You Don’t Know Love’ “You don’t know love like you used to; you don’t feel love like you did before” goes Tom’s heartfelt, barren vocals on ‘You Don’t Know Love’. A steady-paced suspense guides you through the track until, at last, old-Editors-style guitars unveil themselves halfway through. Guitarist Chris interweaves his style all over the ending as Tom repeats the title, a clash between the old and the new, but it’s not much of a battle. Out with the old and in with the new. ‘The Big Exit’ Just when you think you’re beginning to understand Editors’ new direction, ‘The Big Exit’ arrives and you realise you don’t have the foggiest. 'The Big Exit''s background palette is very mechanical and unnerving, a sharp surge of what can only be described as a more threatening take of those shaving noises present in The Smith’s ‘Meat Is Murder’ squeal and splice into your ears on various occasions throughout. Exciting and worrying both at the same time. ‘The Boxer’ The main riff of ‘The Boxer’ marvels around electro eastern-tinged strings being plucked, with subtle and almost hypnotic guitar work, it’s a dark chilling song that wouldn’t be too out of place if sat next to ‘Distance’ from their debut and ‘The Weight Of The World’ from the last studio effort. ‘Like Treasure’ When describing ‘Like Treasure’, Tom Smith paints it as “A mouthful of chocolate followed by a mouthful of flies”. Definitely an album track in that it might take a few more listens than the likes of ‘Papillion’ to sink in, it cements the path that ‘In This Light…’ takes. A whirlwind of feel-good instrumental sections must be the ‘chocolate’ part of that bewildering description. ‘Eat Raw Meat = Blood Drool’ The goth titled ‘Eat Raw Meat = Blood Drool’ encapsulates the dystopian, Blade Runner-esque atmosphere that hangs over ‘In This Light…’. Its incessant, robotic sci-fi groove sounds like nothing they’ve done before, with Tom’s dark drawl spouting lyrics like ‘if you’re chewing with an open mouth, raw meat, your blood drool attracts the flies’ over the top. ‘Walk The Fleet Road’ And after all the dystopia, a ray of light. Of sorts, anyway – ‘Walk The Fleet Road’ is the much needed utopian ending to an album that swoops between the light and the dark. It’s a euphoric, slow-building song that resembles Joy Division’s ‘Atmosphere’ and a calming, soporific conclusion after the industrial clammer of ‘Eat Raw Meat = Blood Drool’. On first listen, ‘In This Light…’ is staggering and bewilderingly brilliant – even despite their declarations that it’s a change in direction, nothing prepares you for just how much of a direction swerve it takes. And as for Tom Smith’s Terminator analogy, well, if their previous albums are James Cameron’s apocalypse-hinting Terminator flicks, then this one is a bleak, break from the mould that plants itself right in the middle of the carnage. Terminator Salvation perhaps? Nah, this is much better. http://www.the-fly.co.uk/words/features/5853/editors-in-this-light-and-on-this-evening-//-first-listen