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New album due out! HELL YES
Documentary movie...1 Part TV Party, 1 Part Chuck E. Cheese:

From Shalloboi's website: "the 'dandelions' ep came together quickly after shalloboi's 2008 release 'down to sleep.' it was done with an approach similar to 2007's 'learning how to crawl.' musically it takes the thick distorted guitars of 'down to sleep' and pares them down in places to create a more stark sound. the strings are placed more towards the front as well and the vocals are less reliant on the vocal doubling techniques used on 'down to sleep.'

Absolutely amazing mixture of shoegaze, post rock, drone, and minimalist styles. One of my favorite releases of the year. Click the cover to get the whole album for free!
Beautiful bedroom folk-pop done in a lo-fi style; DULHIBCS (wow!) makes music in a similar vein of Elliott Smith- something both beautiful and heartbreaking, all contained under 30 minutes. A perfect little treat to listen to as autumn cracks its last smile. I'm going go to nap now, for real. Thanks "Hi Five For Lo-Fi"! Click the cover for the full album!
Absolutely wonderful folk-esque, psych pop. I'm going to be completely honest when I tell you that I know virtually NOTHING about Kaleidonauts. Songs like "Seed" and "Pepperland" are deliciously lush and dreamy- soaked in reverb, with ebbing instrumentation, covered in gentle vocals. Perfect for a late night listen by yourself or a mid day nap... and I mean that as a high compliment. Click the cover to download the full album for free!
"Monochromatic World" by Secret Owl Society

Not to be be confused with the Postal Servi- er, I mean OWL CITY, the Secret Owl Society is a one man project focusing on some very minimalistic electronics. The chosen mp3, "Monochromatic World", follows that standard (along with some lovely delay). You can find more of SOS on cllct.com. Get the track HERE.


Recorded on May 18th 2009, this was Kevin & the Wasps performance on "Live From The Fallout Shelter"! All cover set performed by (mostly) WUML members!

Jim: Vocals, Guitar
Tyler: Mandolin, Vocals
Ali: Banjo, Vocals
Brian: Aux percussion
Charlie: Melodica
Daniel: Guitar, Vocals
Ben: Bass
Nicholas: Drums

TRACKLIST (for full album, click photo above)
01. King of Carrot Flowers, pt. 1-3
02. Let's Dance To Joy Division
03. Say It Ain't So
04. Paper Planes
05. Neighborhood #1 (Tunnels)
06. Picking Sides
07. At the Bottom of Everything
08. Clint Eastwood
09. Wagon Wheel
10. Hey Jude
11. Where Is My Mind?
12. Sink, Florida, Sink
13. For Reverend Green

Hailing from Brattleboro, Vermont, King Tuff (also known as Kyle Thomas- one half of Feathers, frontman for J. Mascis project Witch) is a one man recording project that specializes in sun-soaked, 70's influenced power pop and 60's garage. Released on vinyl by Colonel Records, "Was Dead" is an absolutely astounding debut album showcasing a spirit not often found of music made today. The message on "Was Dead" is pretty simple, as quoted on Tuff's myspace page: "Dance till' you fuckin' die". Although a simple sentiment, most musicians forget about the innate joy that comes with making music. None of "Was Dead" is hyper technical, lyrically dense, or instrumentally diverse- focusing on your basic, old fashioned rock'n'roll instruments, King Tuff makes a whole fucking lot out of a little. With reverb drenched vocals, and an off-kilter Bolan-inspired vocal style, the album flies by, each song getting catchier (and sunnier) after each listen. One of my favorite albums of 2008, PLEASE check him out! Listen to King Tuff right HERE.

King Tuff- Sun Medallion


Welcome to the first WUML song of the day. Check back every single day for a new mp3 that we suggest you check out!

This week we have Grizzly Bear's wonderful remix of the Notwist's "Boneless". Last year, Panda Bear (arguably) made the song more popular than the original. Although both versions are fantastic- and stand alone as their own songs- this version fits in perfectly.

From the bowels of Mill City comes a group of garbage rock superheroes, the Sinbusters. Already written about in our "Local Spotlight" series, the Sinbusters play an ultra filthy type of lo-fi garage rock guaranteed to bring on sweaty convulsions, or some sort of sublime freak out only documented in books. Combining the perfect amount of filth, aggressiveness, and sheer oddness, the Sinbusters are on the forefront of Lowell's up and coming garbage rock movement. Please do yourself a favor and check them out immediately! Songs such as "Do You Like To Party?" or "Generation Locust" will take you straight into some sort of frightening yet wonderful garage you sat in throughout high school... except this time, you've smoked too much salvia.

Listen to the Sinbusters HERE.
Lowell & Behold's showcase will happen on December 11th and 12th!

Stay tuned to WUML and our blog for upcoming coverage on the event!
As Thanksgiving begins to pull in at roughly 45 minutes, we must ask ourselves: What are we grateful for? I've been thinking about this for a while, and will list my "Top 10" things to be grateful for:

10. Rice pudding with a lil' bit of cinnamon in it.
09. That this is America: I don't HAVE to eat mushrooms with my rice.
08. Bob Dylan's wonderful new Christmas album.
07. Lowellcats.com (even if it's not too funny).
06. Dan Deacon.
05. Pan Flute.
04. Triple-Stack Baconator (wow!).
03. garfieldminusgarfield.com
02. That I know Jerry Garcia is NOT dead; in fact, he merely disappeared during an intense DMT trip.
01. Charles Manson is not my father.


Our next featured artist on the Lowell and Behold Comp, which is being released the weekend of December 11th, is Coalmine Canary. Even though, one year later, they have all moved on from Lowell, they are still very much a part of the music scene here. They will be playing the December 12th date.

Coalmine Canary combines twinkly guitar riffs and layered vocals in a unique mixture that will break your heart, and lift your spirits in one fell swoop.

They recently released "The Company We Keep," an EP of reworked songs, that completely redefines their image from a noisy lo-fi band to a emotionally-driven folk group. My only complaint? It is not long enough to keep you from wanting more.
You can hear the entire thing HERE

Shawn Massak, and Jane Wiseheart are featured on vocals, Justin Demers is the guitarist and plays other assorted instrument, and Nick Stockwell is the bassist.

Make sure to catch them live, they are chock full of suprises.

More info on Lowell and Behold
The scene of Lowell could be described any number of ways. Splintered, fucked, talented, the last bastion of underground. At any rate, it's really hard to define as of yet. Many a different genre is being felt out. This is the first in what I hope to be a long series of small band features taking you through what can be expected on the compilation Lowell and Behold Vol. 2 and at the release show on the weekend of December 11th



Lets begin with post-rock. Oh My, the Moon...oh MY!...THE MOON?!...OH (my the) MOON! However you want to say it, it isn't a Shel Silverstien poem or anything like that so go nuts. And the Stars Scream Loud... (their recent bootlegy-debut) is caked with skyrocketing glam imagery which takes as much a nod from the Explosions/Godspeed/Mogwai camp as it does Phil Manzanera. Drummer Andy Goderre is just as frantic as Guitarist duo Alex Enman and Kenny Sunnerberg. Zach Tretheway's bass creates a sort of silver lining, and perfectly locks in shoegaze style. You can tell these guys write in parts to hash out a song, each one adding exactly enough cents into any given section. Good artists copy, great artists steal, and anytime you hear something you've heard it'll change to a new realization with OMTM. Supplanting pop-punk tom parts over larger-than life sweeps or industrial math over quiet guitar swells. At times, the band will reach a plateau of sound and breach into metal, sludgy dream pop, or headbanging double times and bring it back down into a soft conclusion, leaving you in some stately void which had been created.

Oh My, the Moon

Lowell and Behold


Noah Baumbach may have nailed James Murphy's idea as a movie.



Thank God They've got a New Name..lest it be a POM. Portland's Starfucker, errr, Pyrimiddd is getting some hype:
Sports Documentaries are always good...and Chunky's is a neat place to watch film:



Check it over at the Lowell Film Collaborative camp.


Christine Claffey - Nashville - ASCAP, Music City New Media and Marketing
Andrew Farwell - Nashville - International Entertainment Buyers Association
Logan Durant - Boston - Sonicbids
Caitlin Millerd - Seattle - The Levee Breaking/ Lawrence - Bread and Roses Heritage Festival
Kate Watt - Boston - Cakewalk


Topics:
  • internships
  • job hunting
  • choosing a location
  • specific roles in the industry

RIP Wesley
Documentary of Wesley Willis Scheduled DVD Release: December 8th
by Paste Magazine: READ IT HERE



December 4th is gonna be fucking awesome.

Janelle Monae and Tom Waits helped round out the list.
WUML's annual charity event, Rock-For-Tots, is coming up soon! Here is everything you need to know about it:

1. The Acts:

  • Ted Leo and the Pharmacists: An upbeat, alt-punk band hailing from Washington D.C. Their last full length release was in 2007 and was called "Living with the Living." They have been making music and touring since 1999. Click HERE to hear them!

  • Titus Andronicus: an indie rock/shoegaze band from New Jersey. They have been around since 2005, and already have quite the following after a great response to their debut album "The Airing of Grievances." They will be on tour with TL/RX when they play here at UMASS Lowell. Don't forget your dancing shoes. Click HERE to hear them!

  • Polar Bear Club: a post-hardcore group from upstate New York, bringing something different to the table. Their sophomore album, "Chasing Hamburg," was just released on Bridge 9 Records in September. They are both emotional and brutal, and we are excited to have them here! Click HERE to hear them!

  • Oh, Pioneers!!! a folk/punk group from Houston Texas. They released their 3rd LP this year, "Neon Creeps." Expect emotional riffs, politically-charged lyrics, and gruff vocals. They are currently on a HUGE United States tour and will be joining us on the 4th. Click HERE to hear them!

2. The Charity: OneLowell is a non-profit dedicated to improving the quality of living in Lowell MA. They outreach to the citizens of Lowell by providing them with information that makes everyone an integral part of the decision making process in Lowell. The money we raise specifically goes to buy Christmas presents for children in low income families.

3. The Logistics: This concert will be happening on December 4th at 6:00 PM in Cumnock Hall on UMASS Lowell's North Campus. Tickets can be purchased HERE . It is 10$ for students, and 15$ for everyone else. Remember, it is for a great cause!

For more updates, follow us on twitter!!!
in 1742, the masterpiece oratorio, Messiah, written by George Frederic Handel and Charles Jennens, was debuted in Dublin, Ireland. It is comprised of three lengthy parts: the birth, the passion, and the aftermath. Messiah is time honored, performed around the world at all times of the year. In fact it is considered to be the worlds most famous oratorio!

For this reason alone, it is no surprise that Dani Davis, and Jason Howland collaborated to create Handel's Messiah Rocks, a 90 minute contemporary interpretation of the original oratorio.
Messiah Rocks hits home for us in Lowell! 23 students from the UML University choir were recorded/filmed for its release at the Cutler Majestic Theater in Boston.
Featured soloists were the beautiful Lachenze (soprano), MiG Ayesa (tenor), and J. Robert Spencer (baritone). It was conducted
by Keith Lockhart of the Boston Pops Orchestra.

It gives audiences who are both new and familiar with Messiah a whole new perspective on the music, combining the traditional orchestration of Handel's era with our modern rock traditions, and spitting out choruses that are charged with emotion. Davis and Howland have certainly breathed new life into this piece. Looking beyond the connotations of religion, and classical music, it is an oratorio that makes us question our love for each other and the world around us.

Click Here for more information about the cd/dvd release.

John Zorn's 50th Birthday, a few of my favorites



When downtown avant-music legend John Zorn turned 50 in 2004, he put out 18 albums. 12 of them fell under a banner of multicolored, Venetian-blind style covering. Each album has the number 50, raised to a power. It seems that with Zorn, now 50 years old, age is a just a number.

In talking about the 12 volumes, which are all live recordings from Tonic in New York that September, one needs to slim down the scope. I picked my 3 favorites. 50th Birthday Celebration includes selections from the Masada (in its many forms), Bar Kokhba Sextet, Hemophiliac, Locus Solus, and many inspired trios and duos. It ranges from the psychotic, to the collected, back into rage and fucked animosity of function and form.

Electric Masada was formed in 2004 and they were my first glimpse into the celebration set. Drummer duo Joey Baron and Kenny Wollesen are the first ones you hear, erupting a 3 minute drum solo inviting laptop electronics and guitar wizardry from Marc Ribot and Ikue Mori. Zorn reached into the Tzadik bullpen big time for this performance. As he, Jamie Saft, and Trevor Dunn begin to attack the Klezmer-scaled Masada songbook selection Tekufah. As the layering of the group begins to become apparent, Zorn, in his usual fashion, duck calls his way into starts and dime-stops letting aspects of the group shine in and out of the picture, and in and out of functionality. With each following piece, the group gains capability. Perhaps incited by a 'Holy shit!' from an unknown crowd member at the 14:11 mark after Tekufah's conclusion. From there, the Electric Masada enters a cross section of Prog Rock/Jazz/Metal unbeknownst before. Idalah-Abal has Zorn freaking like a noise rock guitarist on speed, and Hasasha brings them back into a Jewish garage-rock mambo spectacle. Each different track utilizes a certain piece of the Electic Masada puzzle, before allowing the rest of the group enters. The dark Yatzar features Ribot's desolate plucking complementing Jamie Saft's eerie keys, whereas Lilin, a songbook mainstay, is the longest, most epic cut on the album clocking in as a 15+ minute crescendo which seems to rattle all of the Lower East Side. However, my personal favorite, tied with the opening salvo of Tekufah, is Hath-Arob. Although Lilin carries some weight for percussionist Cyro Baptista, Hath-Arob does he and Ikue Mori justice. It starts with pulsating electronics and skittish free-auxiliaries from Mori and Baptista, with Dunn providing a structure less bass feel. Then Zorn begins to call in snippets of spastic freak outs from Ribot, Saft, and the drummers.

For something drastically different we find volume 11 is Zorn's other large-group masterpiece Bar Kokhba. This sextet, consisting centrally of Marc Ribot (again), bassist Greg Cohen, violinist Mark Feldman, and cellist Erik Friedlander provides one of the most tasteful percussion sections ever with Cyro Baptista and Joey Baron . Over the course of three discs we have Zorn third-streaming and perhaps at his most masterful. Bar Kokhba is his composer child, taking a seat not with his group, but in front as conductor. By using the group as a duality, Zorn can perfectly complement his incredible drummers with violin and cello. Ribot's contribution is electric, but surprisingly fitting, at the beginning of Lilin he is a forefront of the melody, inducting the strings and so on and on Kisofim the featured player. He is also utilized to accent the bass line on Ner Tamid. Such beautiful, atmospheric group can come out blazing. Karet is a 3 minute blitzkrieg of concentrated madness, with Baron buzzing and Friedlander and Feldman nearly setting fire to their instruments. No one member of the group ever over powers the other, playing as if they are perhaps the most polite group of musicians ever. (See the 2:11 drop out on Karet). Other highlights include the timid Kochot, deliberate, spastic Teli, and an epic version of Yatzar.

Milford Graves is one of the greatest living drummers. Apart from being a modern day shaman, his drumming is all his own and he combines Asian and African hand styles into his traditional set playing. For all his speed and ability, Graves is also spiritual a la Coltrane. Since 98 he releases two albums on Tzadik, but the 2004 performance with Zorn is perhaps the most memorable. The duo performs 7 tracks, more of spellbinding ritual than music. On Inserted Space Zorn, in usual fashion, comes out swinging with duck calls and Graves creates a wall of delicate ride rhythm, unending splashy high hat, and unsnared rolls. Two tracks later, Graves introduces the track by singing a hymn. 'Calling in Proceed' is more tame. Zorn keeps the horn on the low end, moaning long calls over Graves' hymn which ducks in and out around his drumming. The track builds and overflows again and again. 'Talk' is a conversation between the two wher Graves discusses the spiritual gathering of the audience, but as it's recording extends it to us the listener: "We are in a very creative part of the planet right now." From there, he hymns once again into the staggering staccato of 'Synchronicity'. Which blisters in and around some of Zorn's most impressive playing throughout the entire series. The last 1:30 of the song includes the crowd going nuts over Graves' chanting and drumming and Zorn reaching for the limits of what he can do with his sax.

Obviously, three of the albums can't speak for all 12, but they can sing praises of Zorn himself. Obviously the selections I chose are roped within a realm of Zorn, which is seemingly devoid of boundaries. I feel he excels best as the Ornette Coleman-inspired saxophonist, and here, already leaving fruition, is somewhat self-actualized. Having ascended, he can dabble in any musical form with relative ease and comfort. In the four years since this series was released, Zorn has returned to his filmworks, solo stuff (most notably Moonchild from '06), and an incredible Bar Kokhba album and String Trio album.
Remember that post about a rumored EP that Animal Collective would drop on us this late fall? Well, it's right around the corner. Fall Be Kind, clocking in at 27 minutes, finds our brothers AnCo extending their newfound sound from Merriweather and expanding on it in some bizarre ways.

Opening track "Graze" starts the hyped EP off with a bizarre tone: I kid you not, the first 2/3 of this song sounds as if it were straight out of some sort of musical. With a lush and heavily orchestrated backing, the track morphs towards the end into a "Brothersport"-esque African synth jam, with dueling vocals. I should also mention that the ending third of this song heavily relies on my favorite underdog instrument, the flute.

Fall Be Kind's next track, "What Would I Want? Sky", is a 7 minute piece that shares a similar quality with "Graze": it can essentially be broken down into two different songs, or movements. The first 3.5 minutes are all about the build-up, with heavy breakbeats over swirling synthesizers, brought together by Panda Bear's chanting. After the build up comes the sweetest moment on the entire EP. Being the first-ever song to LEGALLY sample the Grateful Dead, the chopped lines "What Would I Want, Sky" come in for the whole song. With Avey Tare and Panda Bear trading vocals over the otherworldly music, the song borders on corny: however, I think it's absolutely beautiful. With such a joyous feeling, "What Would I Want? Sky" could be one of my favorite tracks of the year.

Taking things down a level from the happy hand claps of "What Would I Want? Sky" is AnCo's latest live favorite, "Bleeding". Also included on the Brothersport 10", this track is a 3.5 murky trip, with droning backing, smashed glass sample(s), and traded vocals. I'm not sure whether or not this song makes me want to cry, stare at the ceiling for an hour, and fall asleep: these are all (arguably) good things, however.

"On A Highway" is a track that's been played live for years now, so most fans who have seen AnCo live will be familiar. Similar to "Bleeding", "On A Highway" is a very seasonal track, evoking winter's harsh months with deep, throbbing pass sludging over echoing chamber synths. Almost a confessional for singer Avey Tare, the lyrics are the most interesting element in this song: "Tired of Noah [Panda Bear]'s dreaming"... a sad ode to the wearing force of touring, or maybe even the year's early season(s).

Finally, we have the 7 minute plus closer, "I Think I Can". With a dark, unsettling introduction (that sounds as if I was walking through a dark cave) of eerie, bubbling synth- the song explodes at the :48 second mark, with hand claps, building up with tribal drums and chanted vocals. The song continues getting odder and odder sounding, but in a bizarre hypnotic manner that only Animal Collective could pull off.

A lot of people won't be pleased with this EP. After Merriweather- and, subsequently, the fame that came with it- people will say how Animal Collective have 'lost it' (in fact, one person asked: "Do any of these songs NOT have hand claps?"). However, "Fall Be Kind" finds AnCo moving in a natural direction: pop sensibilities mixed with the bizarre, reliance on dueling vocals, and wild song structure(s). In a way, this EP is an extension of Merriweather- it is very electronic sounding. However, rather than being 95% samples, this finds the group taking a step back, and becoming a little bit more organic.

Animal Collective may not be "YOUR BAND" anymore, but fuck- I think this EP is absolutely amazing.
91.5
7AM-9AM
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News News News:Local/Campus News:
  • FREE FOX COMMON SHOW TODAY, 8:00 - Caspian, Oh my the Moon, more
  • Fall Seminar: "Global Economy - Local Woes" 11/30 ICC
  • Common Test Film Series till 12/14 - CADDY SHACK
  • Fall Finals Stuff Posted
  • 12/4 Rock for Tots - SIC Student Tickets TICKETS HERE for non-students
New Music: Found Sound:
Scott Walker - Scott 4 - Scott Walker's 4th album was his second after calming famously ""Now the nonsense must stop, and the serious business must begin." What Scott 4 lacked commercially it made up for critically. It is an excellent example of Scott's songwriting prowess, and his flowering from a pop genius to a master songsmith of dark, nightmarish beauty. Sadly, songs like "Seventh Seal", "Boy Child", and "Hero of the War" will be his last gasp before Columbia's bastardization of his work, which he will not let go reissued. Walker's triumphant return in the mid-90s with Tilt reaches backward in time over his 70s and 80s work to pulse Scott 4.

but I am going through my vinyl collection, one day at a time.



You can track it here: Luke Had Too Much Time on His Hands.




91.5
7AM-9AM
Friday Morning




News News News:Local/Campus News:
New Music:
  • Bear in Heaven - Good thing they put out another album because you can't just start sounding like Eno, you have to earn it. Beast Rest Fourth Mouth is a spastic, layered, entrancing quagmire.
  • Mary Onettes - Someone's always sounding like Joydivisionneworderfactoryect...but who knew it would come from the Swedes. Droney and driving, the Mary Onettes invoke the shimmery 80s rock ballad and update synth-soaked dance-pop for us all.
  • Nirvana - Even though the Bleach reissue is fucking insane, Live at Reading may be insaner. If we have to write something more about this...I'm sorry.
Found Sound:
The dBs - Stands for Decibels - Power pop jangle. I guess that about sums it up. Until the mid 1990s, when it became clear this commercially unsuccessful band was highly influential on the likes of REM, Yo la Tengo, and probably a little bit Pavement and Nirvana. Stands for Decibels was their debut, and the opening track Black and White was a perfect rock song. Really fast, with the drummer utilizing rims and clicks over straight rock beats, each song seems to build. Headed by not one, but two singer-songwriters in Peter Hopsdale and Chris Stanley who play guitar/synth/vocals across the whole album. Each is a perfect 'alt-rocker' and each brings an idea to the early 80s pop table. Listen as they interpolate the Kinks!

with subverso's newest ep, "within the hour", the band solidifies a change that has been itching to emerge from their latest series of ep's. this ep opens with an electric based instrumental "towers". the ambience that it creates is something different than previous efforts, but also starkly different from the rest of the ep. with that being said, it transitions really well into the next track. "giving it all" is a very catchy song. intricate guitar lines weave a web of twelve-string beauty over the now signature driving drums and appropriate, yet challenging bass lines. the song breaks down into a complex and funk sounding interlude around the 2 minute mark, breaking up the easier to grasp beginning and ending sections. "counting electric storms" is a slower to build, but very well crafted, intense song. the dynamic and tempo contrasts between the beginning of the song, and the middle sections are brought back together with an ending much like the intro. the song really conveys a very desolate, yet profound feeling. the last track on the ep, the title track "within the hour" really ties together all of the solid characteristics of the ep. a more up tempo song, it drives along with a force unlike the other songs, but still evokes similar emotional reactions from the listener. as an ep, "within the hour" showcases a newer writing style for the band, and new elements being brought to the forefront. the vocals are usually very airy and reverb heavy, or spoken in an almost muttered tone. this really adds to the emotions that the songs are trying to portray. in all, the ep is a little short, with what i would consider an intro and three songs. though brief (about 15 minutes), it is definitely a solid album with a lot to offer.
rating: 7/10
standout track: giving it all
BIG NUG
(myspace.com/bignugforyou)


Wild improvisational electronic music that's going to cleanse your soul... or make you want to roll face, freak out, and murder your parents. The solo project of WUML's own, beautiful savant, Harrison Cubberly: armed with an electribe, Korg, and big nugs- Big Nug thrives in a live setting. Words to describe the live performances? Says Nug himself, "WILD, LIFE CHANGING, UNCOMFORTABLE, FREAK OUT/FREAK ON A LEASH, and DEPRESSIVE SEX".

There you have it, folks. Big Nug has a show at Fox Common this coming Thursday night, so come down and check him out!
With the release of the new Boston Spaceships album and Guided By Voices Suitcase 3, one can't help but wonder what Pollard is doing. The answer is sort of the same stuff... Pollard has been writing and recording since the demise of the DIY deities Guided By Voices. GBV formed in 1983 and beginning with 1992's Propeller, began a recording a slew of incredible albums on 4-track. Alien Lanes, Bee Thousand, Vampire on Titus, and Mag Earwhig were the perfect Indie albums to couple with the 1990s. Pollard, who wrote most of the songs, infused GBV the aurora of a silent majority of regulars.



Even as late of 2001, the release of Isolation Drills could be considered one of their best. Bob's 1:30 - 2:15 minute gems usually found their place on an album of 15-25 tracks. Between '83 and today, he has released 16 with GBV, 13 solo projects, and 26 under other banners. This massive mesh of interlocking projects featured some of GBV, the man in particular was Tobin Sprout with whom he released two Airport 5 albums. Bob can write songs. The 1998 documentary Watch Me Jumpstart features a interview with Bob and his brother explaining how he used to come up with songs when he was younger, and they're in the burger joint (probably in Dayton, as Pollard is a notorious home-body) where Bob can recall it word for word. Boston Spaceships is just the latest of this phenomenon. Already on their 4th release, entitled Zero to 99, it seems each new project is just a way of writing Bob's legacy.



Zero to 99 discusses some facet of an older man reminiscing on beautiful 90s slacking...or perhaps looking ahead to a cloudy future. The beauty isn't in the meaning which you get instantly, its usually veiled in a strange character (Pluto the Skate) or some extended awkward metaphor (Godless). Zero flows in and out of strange pops, Let it Rest For a While has chunky, reverbed guitar and floating vocals where as Trahsed Aircraft Baby begins with a cheesey sample which seems just sewn on the front end, ready to fall off. Godless is a solitary, clean bard's tale. Track after track, you can see the seams in the album. Did he write this group on a rainy day? Had he just got done listening to the Cars for a day? Or perhaps he just got over a recording session running late into the night and had to go out for beer. Regardless, it is still chock full of lo-fi sounds, ranging from trumpet to loosed-cord...or (chord) guitars and tin-foil headed snare drums.

One could never fathom how many songs he's actually thought up because we only get to experience those he's recorded.
Even Dylan needed a backing band eventually. Randy Newman wrote about the good old days in Ohio. Leonard Cohen's returned, far from his golden years. And you can pretty much always find Bowie. Bob Pollard has certainly joined the ranks.

I'm going to put this out there immediately for all you who can't read through the whole article: This show was absolutely fucking mindblowing.

BIG DIGITS
Boston natives Big Digits are one of the funnest live groups to catch in the area. Part Girl Talk mash up/sampling, part over the top Spank Rock rap, every song is like your favorite party on fire. With two DJ's rocking their Macbook Pro's and two MCs, the quartet claimed this would be their last show in a long while to take time off to "regroup". And, well, if this said statement was true, then it was a great way to go out. With balloons being tossed everywhere over the mass of sweaty art students, Big Digits were a glorious site to behold. Let's hope they come back as soon as possible.

NUCLEAR POWER PANTSNPP have been on tour with Dan Deacon for a little over a month now; coming into this show, I had no idea what to expect what-so-ever, so this was a pleasant surprise. Mixing heavy sci-fi concepts with synth-y music, costumes, 2 lead singers, and 3 back-up school girl singers, Power Pants were here to rock. The Baltimore band admitted they usually weren't too fond of making the trip down to Boston, but were pleased to be playing, and asked the crowd to make them famous. Although the band was fun, I thought it might have been a little to gimmick-y. Be the judge on this one!

(on a super special note, there was a couple feeling each other- under the shirt- throughout their whole peformance)

DAN DEACON

It was the moment we were all waiting for. Prepped with multiple strobe lights, masks, and his Trippy Green Skull, Dan Deacon was ready to get everyone psyched. The show began with him counting down his favorite Aerosmith cars, followed by banter about a car with dogs for wheels... This amazing form of absurd escapism continued all night, while Deacon tore through "Woof Woof", "Snookered", "Trippy Green Skull", "Wham City", and even a new piece of music- one that was both pummeling, sprawling, jumbling, and absolutely batshit crazy. Chipmunk vocals intact, Deacon led us through a dance competition, high fave track run, and interpretive dance version of "Of the Mountains". The crowd was going wild, throwing each other towards Deacon any chance there was room to breathe. Rather than dance to the electronic spasms of pure joy Deacon shot out, people seemed to convulse, scream, and freak out entirely. Frightening, but fun, and maybe even a little bit beautiful.

On a similar note, WUML has an interview lined up with Dr. Dan Deacon on Saturday, and shall be aired the following Tuesday (the Beautiful Savant) and Wednesday (Bedlam: The American Dream)... It will also be posted, in it's entirety on this blog! So stay tuned, folks.

www.myspace.com/dandeacon
www.myspace.com/bigdigit
www.myspace.com/nuclearpowerpants

As the 20th anniversary of the falling of the wall is celebrated today, one can't help but wonder the massive influx of art which would've of occurred during November of 1989. "Nazi Germany was the only genocidal regime that made aesthetics and art an important component of regime ideology," according to Johnathan Petropoulous in his book Art as Politics in the Third Reich. So what do you get in Berlin at the end of the '80s? Massively suppressed music behind the curtain and people who are now able to shop for music which is in good supply.


Finally, Kraftwerk, Alphaville, and Einst├╝rzende Neubauten, who were popular German bands all at the time, could be bought by people as they were most likely on sale in the west. The Sex Pistols is another example, in examining the underground Punk scene there. Even the Scorpions, who formed in Hanover, were not behind the curtain. For some, it may have even meant getting their hands on legitimate copies of U2, Queen, Hall and Oates, or Michael Jackson and ect. They also banned 1984, so I wonder if they got the hint about Pink Floyd.

For the most part, the Beatles and the rolling Stones had made it into the Red half of the world and were giving a hazy view of rock and roll. Local scenes sprang up in large numbers due to government oppression of radio and other important media, there was also a lack of record labels. Bard music, or songwriters making music against the grain of Soviet establishment, was popular in the 60s and began merging with rock and roll over the next two decades. Soon enough, folky renditions of the Gulags, fascist governments, city living, crime, and the Great Patriotic War (WWII) would be merged with full 5 piece bands with amps.



The gasp of hope for these bands might be the above LP from a 1980 rock festival was held in Tbilisi Georgia. Officials there awarded prizes to bands Mashina Vremeni and the Magnetic Band, a Credence Clearwater Revival sound alike and a metal band, respectively. 9 Years later, several bands from the festival would hit the world. Awards also went to Autograph, Labyrinth, Integral, VIA-75, and Gunresh, all of whom were featured on the LP. It should be noted, the two first place bands had the same front man in Gunnar Grap, who had been touring at the time.

Of course now we have the complete westernized bastardization of the whole event.
THE SINBUSTERS



Based around our wonderful city of Lowell, the Sinbusters take classic, loveable rock 'n' roll and rape the tears out of it. I'd like to call it "garbage rock": regardless of how you want to label them, the Sinbusters are big up-and-comers in Lowell's scene, and are- by far- my favorite local band.

Rather than sit around and describe their sound(s) to everyone out there- I'll leave it with a simple garbage rock/garage/psych/absolute insanity tag- I'll tell you who they are, and send you over to them.

THE SINBUSTERS ARE (from their myspace):
Nick - vox, guitar, sonic youth t-shirt, turning guitar up way too loud.
Pat - keys, vox, costumes, pigtails, sequins and flounce.
Jen - tambo, vox, shaker, "feminine mystique", drunk.
Seth - Drums, hair flips, jazzy beats, nutless treats.

You can check them out at, http://www.myspace.com/thesinbusters



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News:New Music:Found Sound:
:15

Been defogging your windshield often? Do your eyes itch, nose get stuffy, hands feel dry? Flying Elves are back! November and December are perfect elven weather, don't be caught off guard. For more information on Flying Elves call 1-800-348-2299. This message has been brought to you by WUML Lowell.

:30

You can see them, you can't hear them, but you must be aware of them. Flying Elves are back! November and December are perfect elven weather, don't be caught off guard. Remember to carry a de-icer in your car, wash your hands...especially when using public restrooms on second floors, and only wear socks twice at most. Don't let yourself get elffed! For more information on Flying Elves call 1-800-348-2299. This message has been brought to you by WUML Lowell.
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