Hello and welcome to TheNoseTooth. My name is Peter, and this is James and Rowland. We'll be taking care of you this evening. The house special tonight is fresh local cheese curds and pommes frites with veloute.
May 15, 2013
Via @skreamizm: “Here’s a new disco mix I did before I left for Asia….It’s a WeTransfer link because I havent had time to upload…Share,Upload do what ya want with it..”
So… this is a disco mix by Skream. Wait, what? And it’s actually amazing. Like really, really good. Nothing like Midnight Request Line, this mix is beautifully produced with some classic samples and a great flow. Just in time for summer bangers and drivin up to Vermont.
Cloud, a member of Adam & Naive, is a solo artist and blogs quite a bit (here at http://formyfriendss.blogspot.com/). He’s released one album and is working on another out in LA. This is a sneak peak / remix of the upcoming work. He’s got great taste, great talent, and an open mind. Follow him!
Jimbles and his brother got me on this Minders tear a few weeks ago. Their album “Cul-De-Sacs and Dead Ends” is what the Beatles would sound like if they were listening to “Doolittle” during their “Help!” era. It doesn’t matter if you feel their music doesn’t discover any new sonic territory; their consistency in producing wholesome songs speak for itself.
It’s hard to say when the last time I watched an entire movie was. Call it genetic predisposition but if there is one thing that I know, it’s that I am one of the many members of my family who simply cannot watch a film without falling asleep in it. I know, I know, blasphemy. I know Rowland hates me and I know I am a disgrace to the film lovers everywhere. Regardless, I figured if I can’t finish a movie, I can at least write a review about the things I DID see. So hear it is, the first of “Jimbles’ Incomplete Sleepy-Time Reviews.” This week, we review Marvel’s “Thor”…
Rowland and I have been lucky enough to be blessed with an academic break prior to Thanksgiving; a break that has been welcomed with open arms of indulgence and lethargy. Tonight, following a long, two-and-a-half-hour-family-dinner, Rowland and I took our rightful places in the downstairs’ grotto viewing cinematic masterpieces.
Rowland normally hates watching movies with me. He resents the fact that I incorporate the inevitable nap-time into my viewing experience and finds little sympathy in my continual narrative confusion. Alas, I found myself sitting next to Rowland at 9:30 on a Wednesday night, listening to why we should watch the new “Thor” movie. After hearing a slew of bullshit from Rowland about the “importance of superhero movies in the past several years,” I decided to watch “Thor”, openly stating that the movie would be “too entertaining to fall asleep to.” Rowland was skeptical and showed little faith in my abilities. “Thor” began…
I would be lying if I said “Thor” wasn’t entertaining. I mean, seriously, a handsome, blonde, muscle-bound demigod swinging around a hammer forged in a dying star; how could I not spring some sort of fanboy-bonner for that? Well, this bonner was short lived…
Like my viewing of “The Thing” the previous night, it was the last 15/20 minutes that really put me into slumberland. It’s not that either of these are bad movies. Both of them were acutlally freakin’ awesome…for what I saw. I cant tell you how Thor beats Loki in the end. I also cant tell you if Kurt Russell ever destroys the thing after his hour-long freak out. What I can tell you is that, from what I saw, “Thor” was a kick-ass superhero movie. I give it a 7.5 out of 10 for what I did see and a 3 out of 10 for when I was asleep. Although Rowland still hates me, the “Thor” screening proved a fruitful endevour.
Enjoy “Thor” and, if you see it, keep the ending to yourself.
This album was recommended to me by one of my professors at Purchase so I could check out the pianist, Al Haig. This is a great example of why I love real live albums. The band swings and sounds great but mistakes are definitely made. The audience is very audible and there is even a very loud shout from a fan Tiny Kahn’s drum solo somewhere around 5:28 on Move. It’s great to hear a legit live album instead of just some clapping in between tracks.
Getz and Raney are undoubtedly the two leaders of the session. They take full advantage of their two voices, with Raney weaving intricate lines around Getz’s melodies. The two have amazing intonation and their sound is very warm.
Al Haig was known for playing with Charlie Parker. Although his solos are short on this album and he has a bit of trouble hanging on Parker 51 (a Jimmy Raney tune written over the changes of Cherokee) his comping throughout the album is extremely tasteful. Also, his intro on Everything Happens to Me is surprisingly dissonant but still pleasing. There are a few notes in his voicings that really rub.
I had never heard of Tiny Kahn before l listened to this album. He was not tiny, he was actually pretty fat.
Kahn has a lot of energy when the music needs it and knows how to lay back and swing with an open feel. His solo chops are pretty nuts. I especially like his trading on the tune “Mosquito Knees” (a Gigi Gryce tune written on the changes of Honeysuckle Rose). Getz has a line he moves up a half step that sticks out quite a bit at 1:31, sounds great. Another notable moment on this tune is when Al Haig plays the same melody that Jimmy Raney ends his solo on.
I’ve recently found myself listening to classical piano compositions. Started with Erik Satie on “Satie for Relaxation” (highly recommended), but thanks to a special friend of mine, I was followed up by Claude Debussy. Another French composer of Satie’s time, as well as a fellow struggling artist and friend of his. Look into these guys. Listen when either you’re alone or drinking wine with a close friend.
Again, the sounds of the 80’s rise from the dead. The arrangement of the song is well thought out, with plenty of drum cuts and silence adding to the smart sounding minimalism. The main synth theme is sung with a wavering but confident tone, drunk off the contour of its own line. It is easy to hear the glitch-like aspects to this tune; every half cycle (marked by the drum cuts) seems to be divided into: 3 beats, 4 beats, 4 beats, then 5. The rhythm of the tune never completely satisfies the listener with the feeling of symmetry, adding tention. The harmony is opposite, with every full cycle returning to the tonic (or home pitch) in the bass and the lead synth.
Ninja Tune is a label I will soon be checking out, and not just because of Mr. Scruff.