News from the Music Industry

Devo Presents Adventures of the Smart Patrol - Pc
s noisome new CD-ROM release, Devo Presents Adventures of the Smart Patrol.
The game is hardly

Fri, 18 Jan 2008 03:52:37 GMT

Go Jimmy Go - Holiday Hell Yeah! CD Release Poster
This poster was done for Go Jimmy Go out of Hawaii for their CD release show promoting their, Holiday Hell Yeah! CD. The CD is pretty funny with remakes of some of your holiday classics. 18×24, 2-color screenprint on 140lb white index …

CD reviews
DOMINO, 11.99 OF ALL the possible changes of musical direction, Dev Hynes’s transformation from teen noise terrorist in cult industrial punk trio Test Icicles into indie folk/country troubadour Lightspeed …

Fri, 18 Jan 2008 00:00:00 GMT

A collector as well as player of musical instruments, Nemoyten owns a Tibetan “ran-dung,” the deep-throated, mysterious-sounding horn used by priests, or lamas, in religious rituals; a horn made from a huge, tropical conch shell; a “didgeridoo” from Australia; and other instruments usually seen or heard in movies or recordings but rarely encountered in daily life. He’ll also play standard orchestra horns, such as the trumpet and the trombone. And there’ll be a “surprise instrument” as well.

The day promises to be a hoot, in more ways than one.

“This is not a recital, it’s an entertainment,” said Nemoyten, 78, in a telephone interview. He’ll demonstrate his own “hose-a- phone,” which incorporates a garden hose, a funnel and a French horn.

32 Bleu, 8 p.m. Sunday, $15, 955-5664

A keyboard master with a smooth voice, Howard Jones burst onto the music scene in the mid-1980s.

His catchy, radio-friendly pop jumped to the top of the charts — la Phil Collins and Sting, fellow Brit soloists who broke big in America around that time.

“No One is to Blame,” which was on his second album, “Dream Into Action,” reached No. 1 on the U.S. singles charts. Rolling Stone magazine named him Keyboard Player of the Year in 1986.

Synth playing is Jones’ signature, but in the mid-’90s he relinquished the electronics for “The Acoustic Tour,” which featured Jones on the grand piano accompanied by Carol Steele on percussion.

He gigged with a 72-piece orchestra in 2000, then joined the Ringo Starr tour of the United States and Canada. Jones has continued to record and perform, and Warner Music has released “The Very Best of Howard Jones” in commemoration of his 20 years as a recording artist.

Fans of his melodic pop tunes should expect to hear “What Is Love,” “Like to Get to Know You Well,” “Things Can Only Get Better,” “Blame” and others at the Bleu.

THE ROCKET SUMMER

32 Bleu, 9 p.m. Monday, $8 advance, $10 day of show, 955-5664

Pianist Marian McPartland, 90, to Release New CD (JazzTimes Magazine)
Jazz pianist Marian McPartland will mark her 90th birthday on March 20th with the release of her first new studio CD in nine years, Twilight World , on Concord Records. The release date of the album is March 11th.

Wed, 16 Jan 2008 13:16:18 GMT

Cyanotic - visual/aural 2k7 year in review
Rewind to May and the release of our “Transhuman 2. 0″ (or “T2″ as its always been known by us) … double CD with the help of Bit Riot Records and WTII….We’ve been able to share the stage with our biggest influences and release an album thats being enjoyed by a lot of people around the world. … The “T2″ double CD reissue continues to sell strong, almost sold out of its initial pressing last we heard from the Bit Riot Records crew….

Thu, 17 Jan 2008 15:00:00 EDT
PERFORMANCE/TOUR: Hendrik Meurkens CD Release “Sambatropolis” Wed …
HENDRIK MEURKENS CELEBRATES THE RELEASE OF HIS NEW ZOHO CD SAMBATROPOLIS WED, JAN. 30TH At Kitano 66 Park Avenue (at 38th St.) New York City 212-885-7119 NO COVER $$15 MIN./SET 2 SETS - 8:00PM and 10:00PM…

He was strong, too, in “Der sturmische Morgen” (Stormy Morning), and sustained “Die Nebensonnen” (Phantom Suns) without the slightest strain, even though the tempo seemed excessively slow. In “Einsamkeit” (Loneliness) he whittled his tone away to a shadow of itself, conveying the stillness of the song, if not quite its sense of exhaustion. Perhaps the pianist Irwin Gage could have helped a bit there. He wasn’t always as firm as he might have been, though it was good to see the piano-lid fully open - no problem for Gorne, after all.

Gage had good moments, though, like his artful return to the lilting first tempo in “Fruhlingstraum” (Dream of Spring), which he rounded off with a deliciously chilling arpeggiated chord. Then in the final song, “Der Leiermann” (The Hurdy-gurdy Man), he relished the crunch of the drone’s dissonant lurches with striking boldness. The song is like a postlude in which you could perhaps imagine Schubert identifying his doppelganger. Gorne’s delivery here was a sort of stage whisper, or the hushed tone you might use to tell a bed-time story - nothing to make us feel uncomfortable. More’s the pity, for Winterreise shouldn’t be “lovely”, or send us home feeling a warm glow inside. If the name Schubert conjures up to many people the image of a jolly fellow who poured forth beautiful tunes like a carefree lark, much of his music tells a different story. The subject of Winterreise is the outcast, and it should unsettle us.

Stainless Steel Quick Release Pin 1/4\ 2/Cd By Taco Metals”
Stainless Steel Quick Release Pin 1/4\ 2/Cd Item Number: TAC F1301051 Item Number(s): TAC F1301051 TAC-F1301051 TAC_F1301051 TACF1301051 ”
Misc.: 

Company: Taco Metals 

List Price: 
Amazon Price: $19.22

Oakland Tribune - Danville church releases new CD
May 11, 2007 — DANVILLE — Jodi and Chuck Aldredge’s inspirational message is one you can hear in a church or take with you to hear in your home, at work or even in…

Fri, 11 May 2007 07:00:00 GMT

Actors auditioning for the play said yesterday the musical was being postponed because a war in Iraq could keep tourists away from London.

WHEN you try to describe Brian Eno’s career you find yourself faced with a job description that would suit a present-day Leonardo da Vinci. In the true spirit of Renaissance thinking, Eno is an inventor, conceptualist, musician, artist, diarist, ideologue and philosopher for whom the social application of his ideas - how art integrates with the way we live - is the basis of his creativity.

A founder member of Roxy Music in the early 1970s, Eno is also regarded as the popular embodiment of the avant-garde. Now in his early 50s, he has worked as a collaborator and producer on landmark LPs by David Bowie, Devo, Talking Heads and U2. But, more importantly, as regards the development of his own career as an artist, Eno has invented new ways in which recorded music is both made and heard.

We meet in Eno’s London studio, a light, airy suite of rooms tucked away down a quiet mews and the place where his most recent exploration into sound adventures took place - the creation of an audio-visual installation for Sonic Boom: The Art Of Sound, currently on show at the city’s Hayward Gallery.

Dressed in a simple grey suit rather than the pale blue eyeshadow and peacock feather collar of the Roxy years, he radiates youthful energy and generous good humour. He also has the ability to speak in what seem to be perfectly formed paragraphs, articulating complex ideas almost as though he was reading from a script.

“I can have a very authoritative voice,” he remarks at one point, laughing. “It sounds awful, but I can convince people to believe in almost anything. Such as persuading them that the Belgians invented water, as I did last night at dinner.”

Back in 1975, Eno released an album called Discreet Music on his own Obscure label. This was a 30-minute piece of instantly mesmeric, but seemingly simple tones, and it demonstrated how a recording system could be made which would literally create its own music.

Described by Eno as “ambient” music, the ramifications of this process were rather like the invention of oil painting or Cubism. They opened up new areas of cultural practice, rooted in a dialogue with scientific thinking. In fact, it was Eno’s firmly held belief that the arts should make themselves as answerable to public debate as the sciences which formed the basis of his controversial speech at the Turner Prize dinner in 1995, prior to Damien Hirst being announced as that year’s winner.

“I don’t see why it should be considered incompatible with being a good artist that you might be articulate as well. I take that as a part of the job. If you ask me a question about what I’m doing, I want to be able to tell you, at least, this is what I think I’m doing, this is how I’m doing it, and this is why I’m excited about it.”