So while I was under the impression his next album was going to be called something like Good Ass Job or something of those sorts, Kanye flips it and goes the love route. 808’s & Heartbreak will hit stores December 16th! And no, I have no word on the Love Lockdown single being released. I’d imagine today sometime though. But who really knows. Just sit and wait......
THE CHEMICAL BROTHERS
Single: Midnight Madness
Release Date: 17th August 2008
Album: Brotherhood
Release Date: 1st September 2008
http://www.myspace.com/thechemicalbrothers
http://www.thechemicalbrothers.com/home/
http://www.facebook.com/pages/The-Chemical-Brothers/19311247240?ref=ts
“We wanted machines to sound as if they were sweaty, deranged and wild; things people associate with rock music” - Tom Rowlands, The Chemical Brothers
Following last year’s number 1, Grammy award winning album ‘We Are The Night’, The Chemical Brothers return with ‘Brotherhood’ a best of collection with a kick and a twist, set for release on 1st September 2008.
16 years, 10 million record sales and 5 consecutive number 1 albums and 4 Grammy awards would seem the perfect time to take stock of The Chemical Brothers’ heroic career but ‘Brotherhood’, the album that you are holding, makes no claims on being the definitive historical document of Tom and Ed’s career so far. It is not the time capsule version that will be left and dug up in centuries to come. No, ‘Brotherhood’ is defiantly the Friday night collection, 15 stone cold classics from Tom and Ed’s illustrious back catalogue, reinforced and fortified for the floor.
New tracks featured on Brotherhood ‘Midnight Madness’ and ‘Keep My Composure’, (featuring the shimmering flow of Baltimore’s Spank Rock) are classic Chemical Brothers, both sounding wholly timeless, startlingly original and completely different and appealing all at the same time
Alongside the 1st Disc Brotherhood will feature exclusively a second disc of Electronic Battle Weapons 1-10. Since 1996 Electronic Battle Weapons have acted as the laboratories for The Chems devious musical experiments and laid the rhythmic and melodic foundations for numerous tracks as well as providing some of the duos most formidable mixes. Previous EBWs have morphed into It Began in Afrika, Under the Influence and latterly Saturate. Until now Electronic Battle Weapons1-10 have only been available on various limited formats and this is the first time they have been widely released.
So this, then, is Brotherhood, The Chemical Brothers, out on the floor, totally in control. Here’s to sixteen more years. Here’s to the future.
The Chemical Brothers will be playing a sold out show at Olympia in what will be there biggest London show to date. This will be the first time any band has played this historic venue in ten years.
Join the Chemical Brothers in creating a unique global video project for The Chemical Brothers “Brotherhood” with Google Earth
Make your own short clip (from 2 to 20 seconds) or photograph about your favourite Chemical Brothers track. Then upload your work on the band’s website here: http://www.thechemicalbrothers.com/home/
Go to the Google Map (after the jump) and tag it to it’s exact global location.
woww......new album again?? i just say: good job guys!! i'll buy it.....
Label : Ed Banger Records
Released: May 2008
Style : Electro, House
Welcome and bienvenue. This is another noisy slice of Ed Banger-branded electro, as ubiquitous these days as Timberland boots. EB couldn’t be trendier right now, unless it was sponsored by the iPhone and brought to you in HD. In hindsight, the label's world domination always seemed destined to happen – right from the off the artwork, the rock influences, the snug denim et al were all about defining an all encompassing, indie-accessible aesthetic, something which Ed Banger proved very, very astute at.
Unfortunately, maintaining such a conscious “brand” takes a lot of effort. Artists and sounds must fit the mold, otherwise you risk having fans turn on you. For a brand manager, the kiss of death is Dylan-goes-electric artistic waywardness, but clamp down too tightly and you end up with just more of the same, which is the problem with this compilation. Too many tracks here adhere to the generic fuzzy, skuzzy Ed Banger sound.
This is a transient album – one track follows another without any semblance of cohesion. The effect is schizophrenic: one minute you’ve got puerile, attitude-riddled lyrics (Uffie’s ‘Robot Oeuf’), the next unremarkable and gloopy electro (Mr. Oizo’s ‘Minuteman’s Pulse’), the next death-rock curdles that would make a young girl cry (Sebastian’s ‘Dog’). It’s telling that these tracks, which are the worst here, are the most recognizably Ed Banger.
The retro, lazy-ass swagger of Busy P, however, requires a little more attention – ‘To Protect And Entertain’ is analogue-laced hip-hop, not just a straight up Banger, and all the more interesting for it. The same goes for Justice’s ‘Stress’: More delicate than anything else here, it has a cartoon tension which swells until airy riffs surf high on a proggy wave of electro, gushing uncontrollably forth to become, no doubt, a big summer hit.
The urgency of Mr Flash’s ‘Over the Top,’ with its undulating bassy stomps and lofty synth lines is decent, too, proving that there is still quality within Ed Banger’s ranks. ‘No Cow, No Pow’ is a glimpse at the label’s enduring potential - an inquisitive window of glitchy frequencies and vocoders which lure you in and really hit the spot.
There’s a pattern emerging, isn’t there? The more intricate tracks, the ones that stray from the typical Ed Banger blueprint, are the standouts. It seems the less Ed Banger pursue their particular indie/dance brand, the more creativity they allow the artists.
In place of originality, of course, is loudness: your overall impression is of an instantly gratifiying, in-your-face wall of noise. Lack of subtlety never stopped a pop song from reaching the top of the charts, however, and no doubt the relentless of Ed Rec Vol. III will strike a chord with many.
Tracklist: Various Artists - Ed Rec Vol. III
01 Mr. Oizo - Yves02 Busy P - To Protect And Entertain (feat. Murs)
03 Mr Flash - Over The Top
04 SebastiAn - Dog
05 Uffie - Robot Oeuf
06 Justice - Stress (Auto Remix)
07 Mr. Oizo - Minuteman’s Pulse
08 DJ Mehdi - Pocket Piano
09 Krazy Baldhead - No Cow, No Pow
10 DSL - Find Me In The World
11 Feadz - Back It Up (feat. Spank Rock)
12 So Me - Decalcomania
Metallica became the world's biggest metal band by doing everything right. Then they went and did everything wrong. Their first four records were classic permutations of 1980s thrash: The ferociously raw Kill 'Em All, the increasingly epic Ride the Lightning and Master of Puppets, and the toweringly technical ...And Justice for All. Until the latter, Metallica refused to make an MTV video. Self-dubbed "Alcoholica", the band cultivated a blue-collar image. However, on 1991's eponymous album (aka "The Black Album"), they went mainstream with radio-friendly ballads, losing old fans but gaining millions of new ones.
Since then, Metallica have been a comedy of errors. Load and ReLoad wallowed in hard rock dreck. The front of Garage Inc., a covers collection, found Metallica awkwardly costumed as auto mechanics to appear as the everymen they once were. S&M was an overwrought collaboration with a symphony. The band sued Napster, earning the scorn of fans. 2003's St. Anger was laughably bad. The documentary film Some Kind of Monster luridly aired the band's dirty laundry. Singer/guitarist James Hetfield and bassist Robert Trujillo were recently photographed shopping at Armani. Such antics have kept Metallica in the headlines, and not necessarily to their benefit. The anticipation for Death Magnetic has split along two lines: hope for a return to form, and schadenfreude.
The album fulfills neither expectation. It tries mightily to recapture Metallica's former glory, but only does so partially. Producer Rick Rubin told the band to write the unwritten half of Master of Puppets, a ludicrous proposition. But his intent was well-meaning: get rich, fortysomething rockers to recall themselves as hungry, twentysomething metallers. In the real world, this is called a midlife crisis. One can emulate one's younger self, but one can't unlearn one's years.
So it is with Death Magnetic. Self-plagiarization abounds. "That Was Just Your Life" and "Cyanide" harken back to "Blackened" from ...And Justice for All. "The Day That Never Comes" has the clean tones of "Fade to Black" and the machine gun riff from "One". In the 1980s, Metallica wrote hundreds of riffs without repeating themselves. To hear them so bereft of new ideas is disheartening. So is the fact that Load, ReLoad, and St. Anger are indelibly part of their bloodstream. "The End of the Line" and "The Judas Kiss" have bland hard rock riffs à la Load and ReLoad. Like most sequels, the turgid "The Unforgiven III" need not have been made. "Cyanide" tapes a Stone Temple Pilots riff to a disastrous stop-start section straight out of St. Anger. Metallica aren't good at being bluesy or unpredictable. They're best at heavy metal thunder, and they've forgotten that.
Rubin's bone-dry production negates this thunder, but it evokes Metallica's garage band days. These are their most energetic performances in ages. Guitarist Kirk Hammett hasn't ever sounded this vital. While he languished solo-less in St. Anger, he's all over Death Magnetic with fiery leads. They often reprise his old ones, but their wah-fueled intensity is a welcome antidote to their underlying riffs. Hetfield has mostly dropped his bluesy yowl in favor of singing in tune. Trujillo adds solid, supportive low end. Drummer Lars Ulrich is the one weak link. He often resorts to simple oompah beats when complementary or counter-rhythms are necessary. But despite his lack of creativity, he plays the hell out of his drums, aided by a harsh, crunchy sound that renders his cymbals incredibly sibilant.
All the energy in the world can't save these songs, however. They're each about two minutes too long. Most top seven minutes in length; the instrumental "Suicide & Redemption" lasts 10 minutes but feels interminable. Prime Metallica had long songs, but they ebbed and flowed, skillfully playing with layers. These songs, in contrast, merely string together riffs. Clean tones invade "The End of the Line" without warning; many songs have intros that are apropos of nothing. Death Magnetic is essentially St. Anger with better riffs.
The band may be more mentally stable now, but it's irreparably damaged. Years of simplistic hard rock have destroyed its sense of speed. Even the thrashy "My Apocalypse" feels clunky. Hetfield's lyrics are toilet-grade; his younger self, while brash, would never have written tripe like "Mangled flesh, snapping spines/ Dripping bloody valentine/ Shattered face, spitting glass." Ever since The Black Album, his lyrics have been embarrassingly personal. Once Metallica became vulnerable, they never recovered. Death Magnetic is a meditation on death-- but so is every other Metallica record. The best ones spit in the face of death; this album instead finds aging men trying to reclaim their youth.
My Ratings: i'll give 4,9 of 5 stars
An electronic-based rock four-piece from Reading and London, Does It Offend You, Yeah? made a mark with their raucous live shows and high-energy music that drew comparisons to !!!, LCD Soundsystem, and Digitalism. The band signed to Virgin and released its first album, You Have No Idea What You're Getting Yourself Into, in 2008. (The album included a free digital download for the Live at the Fez EP.) Members Rob Bloomfield (drums), Dan Coop (synth), Morgan Quaintance (vocals, synth, guitar), and James Rushent (bass) took their show on the road in early 2008, supporting the Cribs on the NME Awards Tour. ~ Chris True, All Music Guide
Does It Offend You, Yeah? have been compared to dance-oriented acts like Daft Punk, Justice and Digitalism.[who?] However, NME has also compared them to bands like Muse, and !!! due to their heavier, more 'live' sound.[1] The group is known for their raucous live shows, which often end in stage diving and broken instruments.[2][citation needed]
They have remixed songs for major acts such as Muse and Bloc Party. They supported The Cribs on the NME Awards Tour, which took place at venues across the UK and Ireland at the start of 2008.
The band revealed the origins of their name as being from British sitcom The Office. In an interview with NME.com, synth player Dan Coop explained: "Everybody thinks the name is some kind of statement but it's a quote from David Brent in an episode of 'The Office'. "When me and James Rushent first started writing music together we decided to put it up on MySpace. We needed a name to put as our profile name so just put what was the first thing that was said on TV, we switched it on and Ricky Gervais said 'Does it offend you, yeah? My drinking?' so we just went with that. No thought went into it whatsoever."[1]
Does It Offend You, Yeah? will be opening for Nine Inch Nails for part of the 2008 North American Tour. [3]
Singles:
It's no electric pyramid, but Justice's gigantic, groove-powered, cross-shaped (imaginary) spaceship will soon descend upon cities across the globe as the breakout French duo shakes hips from Fuji to Philly in the coming months. Get ready to D.A.N.C.E. to the B.E.A.T., peoples.
The Ed Bangers behind the album known to Mac users as "Option T" do festival duty all summer long before hitting the Land Down Under in late September. They'll then invade the land of liberty and something-or-other for all in October
The Postal Service, aka Ben Gibbard and Jimmy Tamborello, are working on a follow-up to their 2003 album "Give Up" on Sub-Pop records. So far, they're got two songs recorded, but will be working on more after Death Cab for Cutie's summer tour winds down. Get excited!
Maknyuss bgt lagu2 ny....enak buat nyantai. Good job guys!!
More Info: http://www.myspace.com/thepostalservice
For better or worse, Cut Copy swim in the same pool as those electro, French touch, and new wave revivalists for whom fashion, irony, and self-consciousness represent swords to live and die by. In a scene as self-reflexive as this, backlashes are the order of the day, but even still, there are signs-- such as the increasing use of "blog house" as an eye-rolling pejorative, recent records by Calvin Harris, Does It Offend You Yeah?, and Ghostland Observatory, and the parallel rise of Balearic-feeling dance as a worthy substitute-- that this world might be slipping under the weight of its own ubiquity. Based on their patchy and rainbow-chasing 2004 debut, Bright Like Neon Love there was every reason to believe that a new Cut Copy record this late in the cycle would only accelerate the meltdown; after all, there are only so many ways to arrange and re-arrange vibrant art direction, moneyed aloofness, and the right kinds of sounds before the party heads to a new venue altogether.
As it turns out, we needn't have been so cynical-- not when Cut Copy aren't. If the pastichey Bright Like Neon Love felt more like an opportunistic patchwork quilt of other people's sounds and ideas, the hugely enjoyable In Ghost Colours feels light, confident, and unencumbered by the dictates of fashion. More than anything, though, it's a gloriously positive record, one whose cheerily strummed acoustic guitars, shimmering synths, sweeping choruses, and playful sonics maintain a delicate balance; where a lot of summer pop records like this often scream fun to the point of being oppressive (or at least annoyingly instructive), there's nothing remotely show-offy about In Ghost Colours. In fact, it's closer in spirit to the Avalanches' Since I Left You than it is to anything from the past few years. It's a hard record not to love.
In Ghost Colours was co-produced by DFA's Tim Goldsworthy, who deserves credit for simultaneously opening up the band's palette while relaxing their delivery. Sure, as you might expect, there are still blushes of French house and electro scattered liberally all over the show, but they're always deployed in ways that serve-- rather than overshadow-- the song. And while Cut Copy's principle and founding member Dan Whitford may come from a DJ background, the band-led songs come across every bit as muscular and as noteworthy as the dancefloor crossovers. To that end, this is one of the best bridges between electro and rock in a long time; the joins are so seamless that you don't even think of the songs on those terms.
From the first swirling synths and gleaming melodies of curtain raiser "Feel the Love", In Ghost Colours asserts itself as a hugely magnanimous record. Everything here sounds stadium-sized, loved-up, and breezily inclusive. There's the lead single "Lights & Music", an arena rock slow burner with a disco chorus; or the superb, helicoptering house of 2007 single "Hearts on Fire", which gets a welcome reprise; or the sunburst rock of "Unforgettable Season", which recalls Broken Social Scene in its ability to sound in full swoon from chord one; or the carefree "Strangers in the Wind", whose lazy verse and torpid guitar peels owe a little bit to Fleetwood Mac. Elsewhere, "So Haunted" and "Far Away" compete for standout track status, the former sandwiching verses of fuzzy guitar squall around one of the most gorgeous-sounding choruses of the year, the latter an effervescent bit of 80s synth fluff that holds up against the best of Human League and Erasure.
So yeah, you get the point: Pop lovers will find lots to love here, and if there's any justice, this record will keep them swooning through the summer. Regardless of what kind of audience it ultimately finds, though, In Ghost Colours earns its smiles with a combination of ingenuity and easiness that you don't often come by, and for that, even in April, it already feels like a triumph.
