Following my own link on my last post about T(I)NC, I found a news update about the documentary Punk’s Not Dead. Apparently the band, among many others, lent some time towards the filming of this movie, and it made me interested to find out more about it. From the IMDB entry:

On the edge of the 30th anniversary of punk rock, Punk’s Not Dead takes you into the sweaty underground clubs, backyard parties, recording studios, and yes, shopping malls and stadium shows where punk rock music and culture continue to thrive. Thirty years after bands like the Ramones and the Sex Pistols infamously shocked the system with their hard, fast, status-quo-killing rock, the longest-running punk band in history is drawing bigger crowds than ever, “pop-punk” bands have found success on MTV, and kids too young to drive are forming bands that carry the torch for punk’s raw, immediate sound. Meanwhile, “punk” has become a marketing concept to sell everything from cars to vodka, and dyed hair and piercings mark a rite of passage for thousands of kids. Can the true, nonconformist punk spirit still exist in today’s corporatized culture? Featuring interviews, performances, and behind-the-scenes journeys with the bands, labels, fans, and press who keep punk alive, Punk’s Not Dead dares to juxtapose pop-punk’s music and lifestyle against the roots in the 70s and 80s, resulting in unexpected revelations. A DIY search for the soul of a subculture and a celebration of all things loud, fast, and spiked, Punk’s Not Dead shows punk is stronger and more relevant today than it’s ever been. [imdb]

Basically, I think this seeks to answer the question as to if punk has sold out. I’ve seen plenty evidence to say yes, but there is a boat load of examples to say the exact opposite. Just depends on your point of view.

Find out more on punksnotdeadthemovie.com, and check out the following preview via YouTube. I know I’d like to check it out.

The Lost Patrol Band is the side project of Dennis Lyxzen[wiki] that has gone from a solo thing to a full fledge band. Name doesn’t sound familiar? Try his previous stint with the band Refused[wiki], and if that doesn’t ring a bell, then The (International) Noise Conspiracy might trip your trigger. Fear not, T(I)NC is still alive and kicking. This is just what Dennis does during the off season.

This is a recent discovery to my musical knowledge. It’s a noticeable departure from what you’ve seen from the previous things that Lyxzen has been apart of. I’ve often read about his guitar playing abilities, so I’m not too surprised to see him with one strapped on. A far cry from his stage dancing, rocking out that I’ve come accustomed to at T(I)NC shows, and the music is a tad more laid back as well. Kinda poppy, a little post-punk, almost power pop. I can dig that.

If you want more, check out the video for “I Don’t Understand” and “Golden Times“. And if those videos aren’t too much for you, gander at “Alright” which features Swedish pop singer Lisa Miskovsky[wiki]. I like it all, and there is some strange flash of Bryan Adams that goes through my head when watching them. Must be that hip, retro thing.

After that, watch the video for “Capitalism Stole My Virginity” and “Reproduction of Death” by T(I)NC. Then for a full circle trip, “New Noise” by Refused. You may want to systematically turn down your speakers as the rock increasingly progresses.

I just wanted to toss this out there for those who might be curious. It wasn’t until a few weeks ago that Rebecca and I were watching The Wedge when this piece of knowledge came to light.

The theme song to the television show House[wiki] is by the group Massive Attack[wiki]. Now I say group because the whole dynamic that makes these guys up is fascinating. They are one of these super groups that seem to do no wrong with everything they release. Can’t say that I’m an overly rabid fan, but what I have always known and heard of them, I’ve liked a lot.

I’ve also seen Tricky[wiki], a side project to Massive Attack, open up for Tool[wiki], if you can believe that. Mind blowing show, even for sitting in the seats on stage right of an arena venue.

Anyway, we just made it through some catching up on some of the TV series that we like to keep track of. WOXY played the track a long time ago, shortly after the series started, but I never scoped out who it was. The track, “Teardrop”[wiki], has actually been used in a variety of shows, but I think you’ll find that common with a lot of stuff from Massive Attack. They’re one of those acts who produce tracks that run perfectly in various scenes for film or television.

Other guilty folks that come to mind like this are Crystal Method, Air, or Coldplay. Who else might I be missing?

This little post from GZExpat about some of the craziness in his life kinda made my day. A bit of back story, he’s our pal in China, living and working there along with his family. He’s a great supporter of our podcasts, big Canucks fan, and a damn cool guy.

He made a jaunt into Hong Kong the other day and details the events, but it was this snippet that made me a tad happy.

We spent the entire day on the run…taxi’s, walking, subway, more walking. By the time it was finished, we had walked 4 districts of the city and put on countless km’s on the sidewalks and escalators. We finished up shortly after 5:30pm. Just in time to allow me 45 minutes in HMV. Here is what I got:

* Secret Machines: Ten Silver Drops (thanks to John for the introduction!)
* Goo Goo Dolls: Superstar Car Wash (an old one I didn’t have)
* Five For Fighting: Two Lights
* The Shins: Wincing the Night Away
* Bloc Party: A Weekend in the City (new album is WAY better than the first…)

[gzexpat]

Aside from a pretty good taste in music, that Secret Machines that he picked up was a result of RadioZoom having permission to play their music on the podcast. I played it, GZExpat heard it, and has since gone out to buy their latest album.

Proof positive of the effect that podcasting can have? Yes.

I’m not one to really get into movements like this, but this one involves a couple of things that I’m partial to: podcasting and music.

I’ll try to break it down as simple as possible, but you can get the long end of the story here. On March 22nd, the goal is to get an independent music artist to the top of the iTunes music chart. To do this, podcasters and enthusiasts alike have picked out who that would be and their particular song for this event. On that day only, the intent is to get everyone, that possibly can, to buy that song from the iTunes Music Store.

The band: Black Lab

The song: “Mine Again”

The purpose of this is to “prove the power of new media more than showing corporate media that not only can we exceed their reach and match their purchasing power, but that we can also do it AND make a positive difference in the world. If we can succeed with this small example, then there’s no telling what can do next.” (As quoted from the website)

The curious thing about Black Lab is that they were on a major label, only to get dropped. They have since moved into the independent realm of creating and promoting their music, adapting podcasting into their efforts. Therein lies a lot of the inspiration and consideration for choosing them for this effort.

If you’re interested in more of the details, then find more of the Bum Rush The Charts website. If you have US$.99 to spare on March 22nd, 2007, then you might be interested in joining the mob.

I posted this earlier, but it mysteriously vanished. My ISP has been doing some things behind the scenes to help improve things, so I’ll chalk it up to that.

Anyhoo, been listening to the new album from Muse a lot lately, “Black Holes and Revelations”. A lot of the tracks on this one have a political layer to the lyrics. This one, not so much. Still, I dig the video.

The one thing to bring you down on Christmas Day, isn’t it? The godfather of soul passing away was enough to make me gasp and let out an, “Oh no!”

NEW YORK (AP) — James Brown’s music career will come full circle when his body is brought to rest on the stage of the legendary Apollo Theater in Harlem, where he made his explosive debut, and the world changed to his beat.

The public will be permitted on Thursday to visit the Apollo to have one more look at a man who helped steer modern musical tastes toward rhythm-and-blues, funk, hip-hop, disco and rap, the Rev. Al Sharpton said Tuesday. The reverend has been a close friend of Brown for decades. [...]

Brown, known as the Godfather of Soul, died of congestive heart failure on Christmas morning in Atlanta at age 73. He had been scheduled to perform on New Year’s Eve in Manhattan at B.B. King’s blues club. [cnn]

Doing the live, morning shows at The Java House in downtown Iowa City, my favorite CD to throw in as a preshow warm-up was none other than James Brown[wiki] himself. It wouldn’t make the annoyed crowd sing along over their lattes as much as The Beatles would, but I know we, the setup crew, loved it. Makes me sad, but I bet those guys are still using his tunes for pregame.

You have to admire the man. Not only did he make some great music, but he was simply crazy.

I’ve mentioned it before, on the blog and podcast, but there has got to be something done about music at Canucks games. I would give anything to be the guy with the job of running the controls and hitting play on the whistles. I would implement rules that certain songs would get limited play. Certain tracks would have to be retired due to being played everywhere else in the league, and there would be no silly sound effects (not that there is much of that being done at GM place now, but just getting that point out there).

To me, going to a game should be an experience. When you go see a movie, the soundtrack is part of what makes the whole thing worthwhile. When the movie is tense, the music reflects it. When it’s a party scene, then the music takes on the vibe. You don’t get to that pinnacle point in the plot and say, “Ok, bring on the AC/DC and Guns n’ Roses!”

There in lies my major problem of many “sports soundtracks”. The one year that I went out for football in high school, I fought the front. Bones Thugs & Harmony in the weight room and AC/DC for pre-game in the locker room did nothing for me. My own mix tape, with stuff like Nine Inch Nails (lesser known tracks, no less) and Helmet, was met with quick dissatisfaction when I found the room empty upon getting my reps in on the bench press. After a while, I was well known for popping on my headphones and zoning out into my own world.

So what would John do? Good question, but you know that I have some ideas floating around in my head. I mean, this is the new NHL, right? Let’s apply that “new” idea to more than just the rules on the ice.

For starters, I would have less of the staples. That means all of those “classic rock” artists in rotation would get a time restriction until the next time that it could be played again. That sounds draconian, but that would ensure some new blood to flow into the library of possible selections. Then you could also do some slight editing to some tracks to add a little spice to some of the music you have. People have certain parts of a song that they want to hear, and getting cut off at the point where the song is just getting good and the puck drops is such a downer.

Going back to new vs. old blood, there is the issue of the music at the beginning and end of a game. The U2, “Where the Streets Have No Name”, is something I like and have no problem of sticking with for when the teams steps on the ice. The music played at the end of a game, in which we win, has been a conflict for a while. Did anyone else notice that someone made a change recently? Instead of “Olé, Olé”, the Star Wars theme has been played a few times.

I like Star Wars. I don’t like hearing the main theme at the end of Canucks games, especially since there are other teams in the leagues already doing that. If you are going to change it, then go with something that is more unique. In fact, I’d say that the “Rebel Fanfare” would be a much better choice if Star Wars is a must, but it still lacks in a good choice for a closer. At least with “Olé, Olé”, people with a good, over-priced beer buzz will be inclined to sing along.

As for the rest of the tunes, I think I could come with a hell of a selection. You can’t forget to ask the players about stuff they’d like to see in there. I mean, with guys from Europe on the team, there is a lot of stuff that you would never hear on this continent to choose from. Sure, this would give me an excuse to play my favorite band from Sweden, The (International) Noise Conspiracy, but they do have tracks that could offer some nice atmosphere in times of need for firing up. At the same time, beats and rhythms can happen, all the while being able to maintain a family atmosphere. Combine that with the local Vancouver music scene, you can make this a truly unique, ass kicking experience.

And at this point, our guys need all the help they can get in the inspiration department. Salo, Pyatt, and Rypien all out with injuries from the last game? Aw geez…

It’s a bit of a trippy video, but I love this track.  The Black Keys have quickly become a beloved favorite of mine.  I really dig the stripped down rock and roll, and it doesn’t get much better than two guys, drums, and a guitar.  Sure, there’s some layering that goes into the studio albums, but I hear they are amazing on the stage.  (By the way, Muffin, they’re coming to Lawrence, KS very soon.  Go see them.)

“So how do you feel about being dead?”
“I don’t know, my neck hurts.”

Taking Back Control has had heavy rotation for me lately. Hot on the heels of the RadioZoom interview we did with lead singer Jim[rz118], here is Sparta’s video for the song.

If you’d like more, here’s the video for Breaking the Broken, Air, Cut Your Ribbon, and a post of an acoustic version of Collapse.  I got kinda YouTube happy on this one.

I’m super excited to announce that RadioZoom will be having the opportunity to interview Sparta when they are in town for their show at Richards on Richards this weekend. I have officially made Rebecca my go to public relations person for the podcast, and she has delivered big time, no doubt about it.

Like many fans of the band, I’ve been a fan of Sparta since the day they formed. No, I wasn’t one of those cool kids with my ear to the underground and knowledge of all things good. Well, maybe just a little bit, but when the forever memorable At the Drive-In[wiki] split up, Sparta was formed by three guys from the band. If you’ve ever heard the name The Mars Volta, that is what the other two members went on to. However, Paul Hinojos left Sparta nearly a year ago to join The Mars Volta.

In 1999, I went to my first CMJ Music Marathon in New York. The Foo Fighters were slated to play at the Bowery Ballroom in a somewhat early show, so a bunch of us stood in line for a few hours to check them out. More impressive than seeing them on stage was the opening band which none of us knew a lot about, and they were seemingly insane. Amazingly good, but insane.

Sad to say, I never knew who they were for months afterward. When we got At the Drive-In’s new album at KRUI a little while later, I started to piece it all together. That band I saw, with the afros and craziness on stage, was At the Drive-In.

I’ve been keeping tabs on Sparta since their first album, “Wiretap Scars“, and their two follow up albums have yet to disappoint me. Their most recent release, “Threes“, is available in stores now. I’ve had a listen through just a few times, so it is hard for me to really convey a decent review of the album. However, I assure you, it’s way, way good.

The most interesting part of doing this interview is the way Sparta has embraced new media. Their involvement with their website is very noticeable, connecting to fans in this highly digital age with podcasts and embedded videos to send out information to fans. My hope is to explore their reasons behind it and geek out with rock stars a little bit.

It is because of this that we think they have given the green light to meeting Rebecca and I for a brief conversation before their show on Saturday night. The scope of RadioZoom is always exploring new avenues, and the recent interview with Aberdeen City is a prime example of that. It feels good to be getting back into the realm of interacting with musicians, like I did during my time in radio, but we can try so many different things through podcasting that you simply can’t on the airwaves.

I had my first experience with checking out a show at Richards on Richards last night. I’ve been told for a long time that it’s one of the best venues in the city, and there is a lot of truth to that. Not too big and not too small. It’s just right.

The main reason we showed up there last night was because Rebecca arranged an interview with Aberdeen City, who was opening up for Electric Six. We recorded a bunch of audio for a podcast, but her interview post is up. She also gets photo credit here.

The craziest thing about this experience was not only was I getting to see a show there, but we got to go backstage to talk with Aberdeen City. In fact, it was in the green room, but it was more like a storage closet that was turned into a place for performers to hang out. Not a lot of room, nor was it exactly “green”. It still made for a cozy setting to hang out for the two of us plus the four guys from the band. Members of Electric Six wondered in and out, but my ignorance couldn’t tell you who was who.

So here it was, my first time walking through the doors of a rock and roll mecca of sorts, and before seeing the stage, we’re wisked behind the door where most rabid fans would kill to step through. There really wasn’t that tight of security to stop us, and the size of the place kind of forces the band to come out into the bar area and socialize with the crowd. It’s one of those small, intimate club types of places. For me, that’s the real way to experience a good performance.

The sound in the place is really impressive. The bass from just the kick drum is enough to make your pant legs flutter from soundwaves hitting it. The PA is bright and makes it very easy to hear the vocals. You won’t see a big and fancy light show in the place, but what they do have is really effective.

Sadly, this could be thefirst and last show I ever see there. I was told by front man Brad Parker from Aberdeen City that he heard about plans to tear the place down in about a year. In true Yaletown fashion, the mecca will be replaced by a high rise building. Expect over priced condos as well.

We have yet to figure out where, but Richards is relocating. Once again, this is some thing Parker told us, but I haven’t been able to locate any information about those details. Naturally, it will never been the same as it was. Charm is something that only comes with history, no matter how dirty or dank a place might be considered. Rock and roll is never clean and pure. It’s an experience.

It’s been off and on for a while now, but it is official. CBGB[wiki] is closed and gone for good.

NEW YORK (AP) – CBGB hosted its final concert Sunday night after a 33-year residence in downtown New York as the iconic, grungy bastion of punk.

The concert, headlined by rock poet Patti Smith, was to be the final note sounded in a drawn-out battle to preserve the legendary club. A homeless advocacy group that owns the property, the Bowery Residents Committee, is not renewing CBGB’s lease, which expired in August 2005. The club will close Oct. 31. [myway]

It’s a mecca for rock and roll. There’s not much more to say about it than that. I consider myself thankful for taking in at least one night there. I missed a solo performance by Britt Daniel[wiki] by a few minutes, but I did catch Dressy Bessy[wiki] and I Am The World Trade Center[wiki] in a back to back perfmance. Absolutely amazing and totally my type of venue.

On a bit of a side note, it was completely stupid that I Am The World Trade Center was performing under the name “I Am The World…” when I saw then. The 9/11 paranoia was in full force at that time, claiming that they were trying to capitalize on the tragedy. Truth was that I was spinning them at KRUI long before anything happened. Thankfully, they went back to their roots shortly after I saw them.

Back to CBGB, it’s small, dark, and kinda dirty. At least it was. The layout, as I try to recall, wasn’t at all what I expected. The stage was more accessible to the audience than I thought it would have been. The sound was really good, and the atmosphere was something I just wanted to drink in, figuratively and literally. The group of people I was with didn’t quite grasp the awesomeness of this place, but I didn’t want to leave when they did. Maybe they’ll get it now

The spirit will go on, but it’ll never be the same as it once was. Incredible venues like this seem to be a dying breed in this wham-bam-make-a-superstar-today-gone-tomorrow formula of the music business. The big boys of the industry are constantly trying to harvest the indie scene, where the art is truly free to mold itself into something unique, and scoop it up so they can lay claim to the next, big thing.

If it weren’t for CBGB, a lot of the rock and roll I have come to love would never had the chance to become what it is today. For that, I thank them, and so does The Reverend.

People have requested it, and she stepped up to the plate. Rebecca takes over RadioZoom for episode #115 and the October edition of the six song.

I am no longer a podcast virgin. I took over all aspects of RadioZoom for Episode #115 as John sat in the wings, being a very gracious co-host, podcast mentor and trainer.

The focus was on the Boston-based band Aberdeen City since I’ve been invited to interview them [miss604] before their show here in Vancouver on Tuesday October 17th. I then selected pod safe artists (from music.podshow.com) who all hail from Boston, MA to keep with a bit of a theme and tribute to my old stomping grounds.

I hope you enjoy and PLEASE leave us some feedback; comments, concerns, rants, raves.

35:16 minutes
radiozoom.net

Rebecca already blogged about this show on Metroblogging Vancouver[post], so I’m late to the party on this one. She’s also the one getting the photo credit on this post. And actually, I never made my post about seeing Snow Patrol not too long ago. Maybe I’ll get to that, but I’ve been a little busy lately. I’ll add that to the list.

Anyway, about this show. Both acts were really good. Griffin House was a great opening act and was far more stripped down in terms of their sound. The lyrics were often political and witty. Mat Kearney, on the other hand, seems to be a master of bringing the quality of a CD recording on stage. He’s got a great voice and song writing ability, but I often felt like I was listening to an American version of Coldplay. Keep in mind, I had not heard of this guy before stepping foot into the Media Club.

We ended up at the show when one of Rebecca’s co-workers, who is a music nut like myself, wanted to see the show but couldn’t track anyone down to tag along. I’m always up for some live music, so we were happy to go.

The thing about this show was that it was an “industry event”. In fact, the name “Sony BMG” was mentioned numerous times, outside and inside the place. I’m not one to ditch a show or an artist for the only reason being that they are on a major label, but you better believe that there are people out there who do shun such folks. So for me, it wasn’t the fact that Kearney is one of these artists as much as it was those folks who were a part of this “industry”… “thing”.

The whole night, in this tiny club, there was constant talking. Not just chattering or murmurs. Full out conversations, ignoring the fact that there was anything happening on stage. That might be a bit of an exageration, but for anyone there who was there for the love of Kearney’s music, which there were more than just a few, this was less than perfect for them.

For the people in the back, who were most likely on guest list at the door, this is just another thing they do with their day job. Music is a business, not an art. The love they brought into that place was for money, rubbing elbows, making connections, and keeping your face in the industry that makes up Vancouver. It hurt to see this become a reality opposed to a thought that has been in the back of my head.

All the pointless, over played “hits” that populates radio and TV made sense in that moment. Mat Kearney is a victim of these people who profit from his artistic abilities, all the while they pay little attention as to what he is doing on stage. This is not saying anything about him as an artist.

I just feel bad for him. He’s a great singer, has an incredible talent at freestyling, and seems like a nice guy. I guess his stuff was featured in some TV show recently, and that’s outstanding. Good for him. I’m betting that the folks in back(and what was with the guy who introduced him at the beginning?) were more focused on working on the the next guy, gal, or group that they can get onto the next The O.C., Grey’s Anatomy, or whatever series soundtrack that’s “hot” out there.

I know this isn’t complete doom and gloom. This isn’t the truth for the whole industry, but among the big labels out there, this is heartbreaking to experience first hand. You have a picture in your head that this might be what it’s like, but the reality is something that ends up completely surprising you. There would be some happiness in knowing that you’re making this up, but I’m not.