Dejan

and now is a new track

listen to the first song here http://spin.com/articles/first-listen-maroon-5-phantom-planet-gomez-members-form-band

http://www.coachella.com/forum/showthread.php?t=26033

Gomez, Phantom Planet, Maroon 5 members form new band Operation Aloha release debut album in May Members of Gomez, Phantom Planet and Maroon 5 have teamed up to form a group entitled Operation Aloha, with plans to release their debut album on May 12. Dajon Everett, Ian Ball and Olly Peacock of Gomez, James Valentine and Jesse Carmichael of Maroon 5, and Sam Farrar of Phantom Planet joined forces with eight other musicians and decamped to the Hawaiian island of Maui to record their self-titled debut which was inspired by the “tranquility, freedom and spirit of Hawaii”. The 14 musicians lived in tree houses during their stay on the island, which lasted 30 days. The full list of musicians is: Dajon Everett (Gomez) Ian Ball (Gomez) James Valentine (Maroon 5) Jesse Carmichael (Maroon 5) Olly Peacock (Gomez) Sam Farrar (Phantom Planet) Christopher Wray-McCann (Photographer) Charles Danek Fil Krohnengold (All Spots To Black) Mathew Chaney Maureen Wray-McCann Nadav Kahn (Kahn Brothers) Saam Gabbay Will Nash

BLOOD BANK,one of the new songs from his new ep is breathtaking....his best song to date! listen here: [ame=http://it.youtube.com/watch?v=774mOmdKtZM]YouTube - Bon Iver - Blood Bank (studio version)[/ame] This four-song collection continues down the path forged by 2008's critically acclaimed "For Emma, Forever Ago". Bon Iver's snow-blanketed harmonies live across the seasons. As much as "Emma" is about the cold, "Blood Bank" is about the warmth that gets you through it. Both expansive and intimate, these songs explore the darker and lighter natures of the seasons and what they signify, and offer a glimpse into the natural energy and refined craftsmanship that characterize Justin Vernon's music

NEW SONG [ame=http://it.youtube.com/watch?v=V6Ni3tOHUb8]YouTube - Arctic Monkeys - Crying Lightning (Live Sydney, January 2009) NEW![/ame]

you will love this band too,no doubt! Listen to this album you will love it to death!!! listen here http://www.myspace.com/lowanthem Imho this band is even more talented than the fleet foxes. http://www.lowanthem.com/

[ame=http://it.youtube.com/watch?v=toEnqcRN800]YouTube - TELEFON TEL AVIV LIVE @ KICK IT! FESTIVAL, ROMA[/ame]

He was only 31 years old. May god bless his soul Hello, Everyone. It breaks my heart to inform you all that Charlie Cooper, my better half in Telefon Tel Aviv, passed away on January 22nd. We have been friends since high school, and began making records together a decade ago. We have been so fortunate to tour the world together, while at the same time having a massive amount of laughs at one another's expense. Aside from Charlie's singular genius and musical gifts, I can tell you that he was a total sweetheart of a guy, and a loving friend and confidant to people everywhere. His musicianship was surpassed only by his greater gift to the world - his warmth, his generosity, his unquenchable humor, and his undying loyalty to those whom he loved. In the spirit of honorable mention, however, I should mention that he had a shoe collection that was marvelous, knowledge of hip-hop that was profound, and knowledge of wine that was subtle. He is survived by a sister, a neice, a nephew, his mother, his stepfather, me, and more adoring friends than the Universe has dark matter. As such, his family and I ask for your discretion and consideration of our privacy during these extremely turbulent waters. Yours in Music, Joshua Eustis http://www.myspace.com/telefontelaviv

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thanks for the reply. i thought was filmed in ny....

THANKS GOD. A band like this one is enough

The role of a music journalist often requires using language to describe the sounds of artists who don't easily lend themselves to description, and few bands embody this challenge like Animal Collective. Oftentimes, they don't even sound like Animal Collective. Their albums can dislodge our sense of time and context, often seeming completely independent of earlier works. And any attempt to categorize them carries with it the understanding that no matter how close you come, you're still off the mark. Their fans' pseudo-religious intensity is unrivaled outside of the jam scene and their status as cult rockers is firmly in place. But it appears that AC's cult status may be on the decline after their new release, Merriweather Post Pavilion (released January 20 on Domino Records, you can read our review here). Although critics called their last album, 2007's Strawberry Jam, their "pop album," it seems as though Merriweather has the fluidity, and more importantly, the accessibility to bring a whole new demographic of mainstream listeners into the Animal Collective universe. While overseas, supporting Merriweather, Geologist, born Brian Weitz, got on the phone with JamBase to talk about their new release, their live show and what's slated for the future. Even though Merriweather was just weeks away from its release at the time of our conversation, the first topic of discussion was the highly anticipated "visual album" that Animal Collective has been working on since before they recorded Strawberry Jam. "We sort of work on it during our breaks on supporting Merriweather," says Weitz. "It's just a really learn-as-you-go process for us. There's no overseeing technical producer doing the technical work for us; we're doing it ourselves. The director doing the visuals knows what he's doing, but we're the ones scoring it. We're trying to work on the music and the visuals as simultaneously as possible. He also does stuff with the band Black Dice, so we try to work on it when we have time." As blown away as Collective fans may eventually be by this project, you can count on some being disappointed by the fact that they probably won't have the opportunity to hear any of the music off the "visual album" in a live setting. "Now, we're in a unique situation where it's the first time we're working on a batch of material that's purely for a studio project and not intended to be performed live," Weitz says. "We don't see the visuals and music as being separate. A live performance of screening the film while we play live also wouldn't work because every scene has different instrumentation." Weitz explained that they usually record an album and then when they perform live they start playing new material they're working on for the next album. It's an unconventional approach to developing material that has the potential to throw off fans expecting to find album tracks on a setlist. This production method underscores the band's emphasis on progression. With Animal Collective, it often seems as though anything in the present might as well be a thing of the past, an attitude that justifies the impression by many diehard fans that if you blink you might miss something. However, at the moment, Animal Collective seems to enjoy living in the present. "Right now we're still playing a similar set, still enjoying playing the Merriweather songs and stuff like that. So, people won't get a taste of the next project until this thing is officially released on DVD, or if we do a screening tour where we just show it at different theatres and places," Weitz says. As for the buzz about Animal Collective breaking into the mainstream, Weitz shrugs these suggestions off. "Since Sung Tongs [2004], people have been saying, 'This is the pop record,' or whatever, and we totally understand why it comes across that way," offers Weitz. "[Merriweather is] definitely easier to swallow. To us, it sort of feels like a natural progression. It's hard for me to say how an outside listener would see them, but [the roots of today's sound] go way back to the early stuff, in the early 2000s that was more chaotic and maybe challenging to the average listener. It still has pop songs and structure within it, it's just buried beneath this production we were feeling at the time that was a lot more harsh and chaotic and maybe disjointed. It was a reflection of our lives and mental states at the time, and we always wanted our music to be really personal to that moment in time." On Merriweather Post Pavilion, songs like "Also Frightened" utilize homemade samples layered over vocals reminiscent of Pet Sounds-era Beach Boys, which build upon swelling rhythms that bring to mind The Beatles' "A Day In The Life" AND tribal exorcism chants. But, for Animal Collective sounding like anything from the past is far from the objective. "Even though we listen to a lot of music from 40 years ago like psychedelic stuff, The Beatles and the Grateful Dead - and we're very inspired by it - we've always been pretty conscious to not try and sound like a band that was looking backwards or being retro in any way," Weitz says. "We've always wanted to sound very much like a moment [in time]." When asked what contributes to the polarized response the band often receives, Weitz says, "I don't know if I could name one thing. I often say something like, 'Well, we're not a rock band,' but I don't think that really explains it. Plus, I like rock music and I like us, so those things aren't mutually exclusive. We even polarize our own fans because we change our styles so much. Some of our fans love some of our records and hate others. I think every record of ours is one Animal Collective fan's favorite and another fan's least favorite or most hated. It doesn't bother me though. I think it's cool to offer different things to different people as opposed to offering one thing to one steady group of people. It also doesn't bother me to be polarizing on a large scale. It's kind of like cilantro or something. That's a really polarizing herb, and the people who love it can't really say why anymore than the people who hate it. It's just something in the taste. Personally, I love it, so I don't mind being musical cilantro." During their performance at last summer's All Points West Festival, Animal Collective fans were overheard saying that the group deserves to be appreciated like Phish, where every performance is bootlegged and listened to like the Zapruder footage. With this kind of fanbase, it could be easy to feel as though you've got a safety net that allows some wiggle room with experimentation. On the other hand, disappointing fans can carry a high price. However, Weitz feels that neither of these scenarios is accurate. "There is definitely no safety net," Weitz says. "If anything, I think our hardcore fans are the most critical of us. But at the same time, we're not concerned with blowing them away each time. We hope we do but we can't anticipate it and would probably fail if we tried. It's like that sports quote about the coach who listens to the fans will wind up sitting next to them. You have to trust your own instincts, and the only pressure we feel in terms of creating something mind-blowing is put on us by us." "Coming out of our early twenties, we were living in New York in dive apartments, not living the healthiest lifestyle [and] that's reflected in that music," recalls Weitz. "Now, we're all hovering around 30, either just below 30, or just over 30. A few of us are married. I'm engaged; now I have a kid. We all have pretty stable, healthy lives that are a lot less cluttered, so it just feels more natural to produce the music in a way that's less cluttered." The fact remains that on a national-scale Animal Collective remains yet-to-be discovered by the mainstream. With that in mind, Weitz offered some advice to anyone who might be thinking of investing energy into exploring the group: "These days, you don't have to pay to listen to music. So why go in with ANY expectations?" As for the live show Weitz cautions, "If you're going to stand near the front bring sunglasses." (jambase)

Is Animal Collective the New Moby? SPIN's Charles Aaron on music's latest originals whose transcendent album runs the risk of cultural oversaturation. Since back in October when I first heard the new Animal Collective album, Merriweather Post Pavillion, and later enthusiastically trekked through a windswept rainstorm to a listening party at Manhattan's River Room -- an oddly swelegant bar/restaurant ("Harlem's Tavern on the Green") perched hard on the Hudson River at the end of an endless concrete walkway off Riverside Drive -- I've been babbling about how wonderful and original and transcendent it is, how it single-handedly reinvents indie rock and electronic dance music, and how it makes me wish I still took E (or 2CB) or whatever designer party pill is making the clubscum rounds. After several free whiskeys at the River Room, a co-worker and I were concocting plans to throw a way outer-borough warehouse party where we'd get some cool-ass young DJ (like James Murphy's current weed carrier) to spin and rewind and cut/mash up Merriweather Post Pavillion for, like, 10 hours straight (some insane Danny Tenaglia, where-we-gettin'-brunch? marathon) backed by, say, the best visual extravaganza you could finagle from a Pratt Institute Digital Arts major. Yep. Three months of universal gushing later -- after even Entertainment Weekly weighed in with an "A-" review (what's next, Vanity Fair pumpin' "My Girls" and "Brother Sport" at their Oscars Party while Brangelina space dances?) -- the hype-o-meter has hit Orange Alert. Last time I remember hearing an album this far in advance and unexpectedly, perhaps irrationally, thinking that it was a semi-historic reinvention, was Moby's Play in 1999. I wrote Spin's rave lead review of that album without having talked to anybody else who'd heard the record and legitimately believed that, if not artistically momentous, it was an ingenious and accomplished, even moving, achievement. It nodded to so-called electronica's often-overlooked African-American roots in a clever, evocative way, hack hack cough. It seemed to capture some sort of musical/cultural zeitgeist, for lack of a better word (though the opaque harmlessness of the term actually fits perfectly). But after all 18 songs were flogged on countless soap operas, sitcoms, DiCaprio vehicles, and commercials for Microsoft, Maxwell House, et al., I prayed I'd never have to hear the godforsaken thing again (every time I blearily pulled into a Starbucks on the New Jersey Turnpike, I trembled in fear of Bessie Jones' poor decontextualized voice floating up from some asswipe's grande Peppermint White Chocolate Mocha). And now, an oversaturation similar to what Moby willfully engendered via multi-platform licensing over more than a year could be happening, somewhat organically, to Animal Collective -- even before their album's official release and without the attendant financial windfall -- via blogs, websites, YouTube, and assorted online jabberwocky. But eventual overhyping aside, with both Play and Merriweather Post Pavillion, I realized from the very beginning that a decent amount of my exhilaration had nothing to do with the quality of the music -- it stemmed partly from a feeling that this artist I'd liked/ respected/ rooted for, but who had remained pop-culturally marginal, had finally made a record so immediately pleasurable and accessible that it might appeal to people who generally hate this kind of shit. But why does that remotely matter? Why care that people who are predisposed to hate Moby or Animal Collective might grudgingly admit that they don't really suck? Is it simply because of an altruistic urge to share great music with the world, and as a result, make the world a better, more enriched, place? Well, if I were a DJ at an NPR-affiliated station, that line might work, but otherwise, nah. Is it because Spin has thrived on documenting that moment when underground bands emerge onto a larger, more mainstream stage and belaboring/ speculating upon the issues related to said evolution makes for reliable copy? Possibly. More honestly, it's likely just due to some low-self-esteem personal validation (see, my taste isn't that arbitrarily bad) or because I don't wanna think of myself as a dickwad elitist, or because it's a hoot to have something you genuinely enjoy be popular for a change, rather than convince yourself to appreciate something after the fact (Radiohead), because it's vastly better than all the other garbaggio out there that lots of people like. Of course, by acknowledging this nagging desire, I'm also acknowledging that my critical judgment is pathetically flawed. In other words, will I be sick of hearing/hearing about Merriweather Post Pavillion six months from now (though it's hard to imagine them licensing "Lion in a Coma" to Nokia)? Probably. Unless there's a backlash, and then I can get in on the cutting edge of defending it. How hopelessly lame is that? Frankly, though, the only reason I'm worrying about any of this (instead of listening to the record), is because of an obsessively ingenious deconstruction of the entire phenomenon titled "Animal Collective Is a Band Created By/ For/ On the Internet" by Hipster Runoff's enigmatically brilliant impresario Carles. If Merriweather Post Pavillion is the year's No. 1 Album so far, then this is the year's No. 1 Blog Post (and to call it a "post" feels insulting and ridiculous, since it's among the most imaginative creative writing/performance pieces about pop culture ever). Like the best of Carles' spew, the "AnCo" project is so specifically and exhaustively (and viciously) satirical, while at the same so dizzying self-aware, that it literally can be terrifying to read if you're invested at all in what's being discussed. In this case, he may leave the most devoted, aesthetically risk-taking Animal Collective boffin bereft on a Brooklyn streetcorner, moaning wanly: "Does this mean I have to give up and listen to Justice remixes and shop at American Apparel for the rest of my natural life (or until daddy shuts off the spigot)"? Carles simultaneously makes you feel like a delusional douchebag for caring about anything vaguely "alternative" (a.k.a., an "alt-bag") while also inspiring you to enthusiastically question everything you believe (which is what "alternative" culture should be doing, if it's got any meaning or value whatsoever). Like so many of my favorite songs, it makes me wanna embrace the wonders of existence one day, and fucking off myself the next. It's a public service, it's a public menace, it invalidates the very essence of Spin, and it's what you should be reading right now.

if you have the dvd,why you care so much about some shitty videos from phones or amatuer cameras ?

somebody can tell me which "monument" is the one @ the beginning of the 'you find me' video ?

[ame=http://it.youtube.com/watch?v=CC9knDTlc-Y]YouTube - Foo Fighters - The Best Of You (Live @ Wembley Stadium 2008)[/ame] [ame=http://it.youtube.com/watch?v=mZZljh746Dw]YouTube - Foo Fighters - Everlong (Live @ Wembley Stadium 2008)[/ame] [ame=http://it.youtube.com/watch?v=9qyKFV3qWJ4]YouTube - Foo Fighters - My Hero (Live @ Wembley Stadium 2008)[/ame]

Somebody can tell me which "monument" is the one @ the beginning of the 'you find me' video ?

barely the europe...

OUT MARCH 31ST, 2009 FULL NORTH AMERICAN TOUR SET FOR MARCH/APRIL “A wonderful atmosphere - minimalist well done” - New York Times GREAT LAKE SWIMMERS haven’t wasted much time since the release of their critically acclaimed third album ONGIARA in the spring of 2007. After TONY DEKKER and company finished playing across North America and Europe to great review, it wasn’t long before they found a new location to write and record their follow up album LOST CHANNELS, set for release March 31 on Nettwerk. When photographer and regional historian Ian Coristine heard the broadcast of the GREAT LAKE SWIMMERS’ performance on CBC’s Vinyl Cafe, he sent the band an invitation to explore and be inspired by the gorgeous Thousand Islands region of Ontario. The setting on the St. Lawrence River was chosen for the recording project, and with the guidance of Coristine, the band was able to record in a number of acoustically unique spaces within the region, including Singer Castle on Dark Island, near Hammond, NY (http://www.singercastle.com); the historical Brockville Arts Centre in Brockville, ON (http://www.brockvilleartscentre.com); and at St. Brendan’s Church in Rockport, ON. The “Lost Channel” is a passage of water in the Thousand Islands where mysterious disappearances occurred during a battle in 1760. Musically, the new GREAT LAKE SWIMMERS songs see influences ranging from early REM, Gram-Parsons-era Byrds, and the Faces, to the acoustic side of Neil Young. It has elements of deceptively simple roots-rock, while still maintaining the haunting indie-folk and spatial qualities that GLS has become known for. 12-string Rickenbacher guitars, banjo, pedal steel, tight harmonies, and stripped down arrangements are all in the mix on LOST CHANNELS. The band lineup on LOST CHANNELS consists of songwriter Tony Dekker on vocals, acoustic and electric guitar, and piano; Erik Arnesen on banjo and electric guitar; Greg Millson on drums; Darcy Yates on upright and electric bass; and Julie Fader on flute and backing vocals; with help from Bob Egan on pedal steel guitar and mandolin; Serena Ryder with vocals on “Everything Is Moving So Fast”; and appearances by Erin Aurich on violin; Mike Olsen on cello; and Paul Aucoin on vibraphone. Great Lake Swimmers are set to tour North American this March and April. Starting with a string of eastern Canadian dates in early March, followed by Western Canadian dates in late March and then touring through America in April. To kick off the release the Swimmers will be playing a few early shows in Brooklyn and Manhattan. Showcase dates are as follows. FRIDAY JANUARY 9 - THE BELL HOUSE - BROOKLYN SATURDAY JANUARY 10 - MERCURY LOUNGE - NYC LOST CHANNELS TRACKLISTING 1. PALMISTRY 2:32 2. EVERYTHING IS MOVING SO FAST 4:19 3. PULLING ON A LINE 3:18 4. CONCRETE HEART 3:31 5. SHE COMES TO ME IN DREAMS 4:02 6. THE CHORUS IN THE UNDERGROUND 3:20 7. SINGER CASTLE BELLS 0:48 8. STEALING TOMORROW 2:50 9. STILL 2:50 10. NEW LIGHT 3:18 11. RIVERÂ’S EDGE 4:17 12. UNISON FALLING INTO HARMONY 3:25

rubbish

your reply was UNCALLED and RUDE. testa di minchia

take a look @ the new "film" on http://www.myspace.com/whitelies or http://www.whitelies.com/ it's kinda cool

are you kidding me ? first round OF WHAT ? The new u2 single is crap,but almost 30 years in 'the game' for the u2.....you can't compare NOTHING