Places Tagged Mp3 On Platial.com

"Come Back from San Francisco" by The Magnetic Fields

platialUser:baostar — 2007-03-01 10:39:57.23875+00:00

Come back from San Francisco. It can't be all that pretty, when all of New York City misses you. Should pretty boys in discos distract you from your novel, remember I'm awful in love with you. **You need me like the wind needs the trees to blow in. Like the moon needs poetry, you need me. ** Come back from San Francisco and kiss me; I've quit smoking. I miss doing the wild thing with you. Will you stay? I don't think so, but all I do is worry, pack bags, call cabs, and hurry home to me. ** When you betray me, betray me with a kiss. Damn you. I've never stayed up as late as this.
Tags: indie, song, the magnetic fields, mp3, come back from san francisco

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"Garden State Parkway" by Joy

platialUser:baostar — 2006-07-12 16:40:36.067787+00:00

The storm gurgled and spat Along the Tappan Zee Slowing down the traffic Headed for New England The FM barely squeezed through her Beat up speakers, as it clanged: The Garden State Parkway ate up most their change The cities huffed and buzzed He covered her with smoke He saw himself reflected In the side view mirror And hoped he wouldn't disappear Or hear her turn to him and say: The Garden State Parkway ate up most their change
Tags: garden state parkway, new jersey turnpike, tappan zee, song, mp3, new england

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"Le Casio" by Athlete

platialUser:baostar — 2006-07-28 15:36:47.259921+00:00

Give it up another time never meant to overstep the line skip across to mexico to get away from all you know give it up another time never meant to overstep the line skip across to mexico to get away from all you know give it up another time never meant to overstep the line skip across to mexico to get away from all you know
Tags: le casio, mexico, song, athlete, mp3

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Seeing Daniel Menche swallow a microphone

platialUser:jason — 2006-09-07 00:20:59.852104+00:00

Dan Menche, a rebel skates local who used to drive us up the west hills, got into music. Not really the kind of music you normally listen to. I saw him open for (maybe it was for Motorgoat?) some band at the XRay where he just literally screamed at full volume "GET OUT, LEAVE, GET OUT OF HERE, I'M NOT STOPPING TILL YOU ALL LEAVE THIS PLACE!!!!!!" It worked, he (eventually) cleared the tiny tiny all ages downtown punk venue. I think most of us stuck aorund thinking it'd turn into something more 'engaging'. The next time I saw him perform here, he swallowed a contact mic, you could hear all kinds of gurggles happening, then took another mic and started swinging it around like a lasso, faster and faster, the wind in the screen started hissing, then whistling. Not really the kind of stuff to jam to on yer ipod, this approach to musical performance is very spiritual, and I appreciate Dan's take on things. By this time he drove a nice newish Jetta around town, and was really living by his own rules. I don't think any of the Rebel skates dudes really 'got' his music. Years later, at Amoeba records in Berkeley, I found a cd with his name on it. I had no idea he was still doing it, let alone actually putting out media. That moment sealed in my mind that he was basically a legend.
Tags: music, scary, diy, portland, all ages, experimental music, mp3, dan menche, mic, contact mic, xray cafe, rebel, rskk

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"Chickfactor" by Belle & Sebastian

platialUser:baostar — 2006-09-07 10:42:36.690051+00:00

What was it I saw in New York? I'm not the same anymore How will I hide these feelings inside Call my girl on the phone Neon lights shine bright Taxi cabs glide by Aeroplanes they fly, high up in the sky Pretty girl says Hi... What's the worst job you've had? What do you read? What's driving you mad? Met the cigarette girl- took a note of her charms But no cigar Met the Indie-Cool Queen Took me out of the bar And showed me the scene My little girl I can't find She's five hours behind It's the singer not the song Something's gone wrong Said the spider to the fly Do I like this girl? It's such a big world 1 like the tone of her voice I loved the sound of her voice When I get back to London from outer space Will it fall into place? I'll hold onto my smile Find my girl in a while Look myself in the face Don't know what you see Am I playing in your movie? You're in my magazine Are you talking to me?
Tags: chickfactor, indie, new york, song, belle sebastian, mp3

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"You Can't Always Get What You Want" by The Rolling Stones

platialUser:baostar — 2007-03-06 15:22:53.878486+00:00

The line, "I went down to the Chelsea drugstore", refers the Chelsea Drugstore in Chelsea, London in the 1970s. About the store: The modern glass and aluminium frontage of the Chelsea Drug store shocked Royal Avenue residents when it opened in July 1968. They were even more appalled by the clientele. The residents demanded that access to the King's Road was closed, which was done in 1971. Chelsea Drugstore was modelled on Le Drugstore on Boulevard St Germain in Paris. Arranged over three floors the complex included bars, food outlets, a chemist, newsstand, record store and boutiques. It was open 16 hours a day, seven days a week. A major attraction was the 'flying squad' delivery service. This was made up young ladies in purple catsuits using motorcycles to make home deliveries.
Tags: song, mp3, you cant always get what you want, the rolling stones, chelsea drugstore

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"Greenville" by Lucinda Williams

platialUser:baostar — 2007-04-19 10:44:57.948359+00:00

There's something about the sound of 'Greenville.' I love it. I once knew someone from Greenville, Mississippi. I was thinking about him. And that part of the south. Don't wanna see you again or hold your hand Cause you don't really love me you're not my man You're not my man oh you're not my man Go back to Greenville just go on back to Greenville You scream and shout and you make a scene When you open your mouth you never say what you mean Say what you mean oh say what you mean Go back to Greenville just go on back to Greenville You drink hard liquor you come on strong You lose your temper someone looks at you wrong Looks at you wrong oh looks at you wrong Go back to Greenville just go on back to Greenville Out all night playin in a band Looking for a fight with a guitar in your hand A guitar in your hand oh a guitar in your hand Go back to Greenville just go on back to Greenville Empty bottles and broken glass Busted down doors and borrowed cash Borrowed cash oh the borrowed cash Go back to Greenville just go on back to Greenville Looking for someone to save you Looking for someone to rave about you To rave about you oh to rave about you Go back to Greenville just go on back to Greenville
Tags: song, mp3, greenville, lucinda williams

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Industrial Teepee / Tom Waits 1989

platialUser:tracy_the_astonishing — 2007-01-16 07:23:32.810347+00:00

My friends Corrine and Tague and I made a road trip down to Iowa City to see a band...can't remember which one. Probably the local band from Cedar Falls whose name I can't remember. Anyhow, this band from NY called Industrial Teepee opened. Their songs had a lot of lyrics, which is something that I have always liked in a song. You know, lots and lots of words, hardly any repetition, long storied verses... So, I went up and talked to the guys in the band when they were finished and then we all had a beer with them (We were 17). Then they invited us to go to a house party with them, which we did. It was so exciting being at this house party, which was in a big old house where one of the other bands lived. I'd never been at a party like that before. I think it might have been my first grown-up party where I was playing the role of one of the grown ups. I had a beer and the band's lead singer sat with me in a stairway whispering ee cummings poems he had learned by heart into my ear. I think that's one of the hottest things anyone has ever done to seduce me. It was probably just a regular piece of the young man's repertoire, but...well...good piece. We had been talking about books and poems for a couple hours. He went out to the van and brought back a book of Roethke poems, which he gave to me. Men used to always give me books. It's a good thing to give if you want to be remembered. Every time I see that book, I think of this night, even if it's only in passing. After the party, Corrine and Tague and I went back to the motel with the singer and the bass player. They sang Tom Waits songs for a long time, accompanied by acoustic guitars. This is how I discovered Tom Waits. Then of course came the making out. Poor Tague was left out. He watched an old 30s horror movie on the TV while we smooched. When I told my new friend that I was still a virgin, he said, "That's great," like he was trying to mean it. I don't remember if I also told him I was 17. I think that part of the reason I remained a virgin for so long (I was almost 19 before I got rid of that pesky virginity) was because I kept telling people about it. That and the fact that I have excellent taste in men and am generally attracted to a decent type of fellow. When we got back home, I went to the mall and bought "Frank's Wild Years" on cassette.
Tags: shows, poetry, teens, fun, party, wild, bands, adventure, road trip, making out, teenagers, iowa city, motel, gabes, seduction, gabes oasis, corrine, tague, tom waits, industrial teepee, acting up, smooching, mp3, sad music

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"Losing California" by Sloan

platialUser:baostar — 2007-03-26 13:53:17.955055+00:00

You hit rock bottom and everybody knows it
But does anybody care how you got there?
Admit to yourself that everything's a problem
But when it comes down what do you care

They're losing California
Inch by inch, sit back and watch it go
Coming in clearly
Dance dance dance to the radio

And everybody loves it but
Nobody knows what it stands for
Get into yourself in dark sunglasses
And elevate it all 'til it means more

And move out to California
Inch by inch is all you need to go
Coming in clearly
Dance dance dance to the radio

Sometimes it's too much
You want to get right out of your mind
Sometimes it's too much
You're gonna go right out of your mind

You hit rock bottom and everybody knows it
But does anybody care how you got there?
Admit to yourself that everything's a problem
But when it comes down what do you care?

Sometimes it's too much
You want to get right out of your mind
Sometimes it's too much
You're gonna go right out of your mind

California
Inch by inch, sit back and watch it go
Coming in clearly
Dance dance dance to the radio
California
Inch by inch, sit back and watch it go
Coming in clearly
Dance dance dance to the radio
Tags: indie, song, mp3, sloan, losing california

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Dahlia (Portland, Oregon)

platialUser:baostar — 2006-05-06 02:43:20.074725+00:00

Dahlia - Pedro Before they became the buzz of Portland, OR, as the duo Dahlia, Jennifer Folker and Keith Schreiner were semi-successful artists on their own, the former as a vocalist-for-hire and the latter as an ambient producer. Folker had laid down vocals for Banco de Gaia (the club hit "Obsidian"), Tweaker, and King Black Acid; Schreiner had released an album as Auditory Sculpture. Yet while the success they garnered on their own was modest at best, when the two teamed up for Dahlia -- Folker handling vocals, Schreiner crafting soundscapes -- they suddenly became the trendiest act in Portland. It was the duo's weekly gig at the club Ohm that drew a crowd -- each week more and more people showing up to see what all the fuss was about. Local publications such as the Portland Tribune, the Oregonian, and even the Rocket in Seattle wrote flattering and mystique-building stories on the duo, setting the stage for Emotional Cycles, Dahlia's recording debut. -allmusic.com
Tags: music, oregon, portland, dahlia, jenn folker, keith schreiner, pedro, mp3, rskk

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"Montreal" by Of Montreal

platialUser:baostar — 2007-04-03 14:25:26.176964+00:00

Montreal is Where I began to feel inside the gray sadness of winter. When you told me that this isn't it, And I drove away. Walking to the statue in the park, Through snow drifts up over our knees, And every street sign written in French. We sat by the statue. You looked in my eyes, Then said, "I'm so sorry." Later, laying on your bed, Wondering what's going wrong. Every time I'd ask you'd start crying, And whisper, "I don't know why, I only know what I feel, what a voice says to me" I may be here now but I've never left Montreal
Tags: indie, song, montreal, mp3, of montreal

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"100,000 Fireflies" by The Magnetic Fields

platialUser:baostar — 2006-05-05 17:01:58.226947+00:00

This song is sung by the lovely Susan Anway instead of frontman Stephin Merrit. It is a sweet song but also exudes some cynicism: "You won't be happy with me, but give me one more chance/You won't be happy anyway...Why do we still live here, in this repulsive town/All our friends are in New York." (The "repulsive town" is assumed to be Boston) 100,000 Fireflies I have a mandolin I play it all night long It makes me want to kill myself I also have a dobro Made in some mountain range Sounds like a mountain range in love But when I turn up the tone On my electric guitar I'm afraid of the dark without you close to me I went out to the forest and caught A hundred thousand fireflies As they ricochet round the room They remind me of your starry eyes Someone else's might not have made me so sad But this is the worst night I ever had 'cause I'm afraid of the dark without you close to me You won't be happy with me, But give me one more chance You won't be happy anyway Why do we still live here In this repulsive town? All our friends are in New York Why do we keep shrieking, when we mean soft things? We should be whispering all the time...
Tags: new york, boston, song, the magnetic fields, mp3, 100000 fireflies

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"Queen of Pasadena" by Summer Darling

platialUser:baostar — 2006-06-20 11:53:24.355791+00:00

Tags: indie, song, pasadena, mp3, summer darling, lofi

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"Slip Slidin' Away" by Paul Simon 1979

platialUser:tracy_the_astonishing — 2006-04-21 14:13:46.035599+00:00

I remember loving this song. I know it was 1979 because it was also the year that I discovered that years are numbered. I thought that was so incredibly clever. Now I knew when I was. I was in 1979. Slip, Slide and Away was a big hit that year. I remember singing it in the car while it played on the radio. I think that we were driving a Ford LTD that year, which was also my favorite of my parents' cars. LTD... it sounded so high-class. And it had electric windows! And a two-tone paint job! I pondered the meaning of this song quite a bit. "You know you're nearer your destination the more you slip, slide, and away." I figured it had to have something to do with playground slides and I imagined myself going down an infinitely long slide toward my destination when I sang it.
Tags: early, driving, car, home, parents, memories, singing, good, awareness, fort dodge, radio, 1979, paul simon, the years have names, hit song, infinitely long slide, ltd, electric windows, car radio, happy, awakening, mp3

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"Grease" Soundtrack, 1979

platialUser:tracy_the_astonishing — 2006-04-21 14:28:02.7091+00:00

The oldest son of my mom's best friend used to babysit us sometimes. I think his name was Alan, or maybe Andrew. I had a really big crush on him when I was 6 or 7, so whenever he came over to babysit I forced him to play the "Grease" sountrack on the record player and act it out, with me playing Sandra and him playing whatever John Travolta's character's name was. He was a good sport. I had seen Grease on HBO at my grandparents' house, so I knew the moves. My favorite character had been Roz, though, not Sandra. I couldn't identify with Sandra's wussiness, but I could get into playing out that finale song ("You're the one that I want, You're the one I want, I want, ooh, ooh, ooh, honey..."). My little brother and sister and I used to play at acting out songs on the record player a lot. My mother was a big fan of novelty music, so she had several great compilations which really lent themselves well to this game. Alan eventually joined the army and was stationed in Germany. He met a German woman and they got married and had kids. They used to come back to Fort Dodge every couple years. I remember the woman he married didn't talk very much. She always stocked up on blue jeans because apparently they were much more expensive in Germany.
Tags: costumes, childhood, games, fun, babysitting, acting, grease, first crushes, john travolta, olivia newton john, role playing, playing dress up, little girl, seduction, lolita, mp3

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"The Best of Blondie," 1981

platialUser:tracy_the_astonishing — 2006-04-21 12:42:19.176624+00:00

When I finally got the tape recorder I'd been pining for for months and months, it came with "The Best of Blondie" on tape. Lucky me! I still love this record. Debbie Harry. Now there was someone a girl could look up to. She was especially appealing because my cb handle when I was a little girl was "Blondie," and I never really could identify with anything about Dagwood's wife. Indeed, this was a better Blondie for me.
Tags: lucky, music, funny, fun, wonderful, perfect, good luck, blondie, great music, best of, luck, debbie harry, tape, tapes, cassette, tape recorder, mp3, rapture, terrible rap

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"She's So Unusual" by Cyndi Lauper, 1983

platialUser:tracy_the_astonishing — 2006-04-24 08:00:09.458436+00:00

In the Cyndi Lauper / Madonna scission of the early 1980s I was firmly and unshakeably in the Lauper camp. My favorite song from that album was "She Bop," because it reminded me of Betty Boop. When I later found out that it was a song about masturbation, well, I loved it all the more. Cyndi kind of lost me with "Time After Time." I still hate that song. It's just grating as hell.
Tags: crazy, fun, dancing, wonderful, unusual, the cyndi lauper madonna scission of the early 1980s, girls just want to have fun, outrageous, mp3

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Singing along to Van Halen 1, 1988-89

platialUser:tracy_the_astonishing — 2007-01-16 07:35:59.124363+00:00

Six to eight teenagers, one Dodge Dart (Brown) and one cassette tape of Van Halen 1, driving, driving, driving, up and down Central Ave. "Ice Cream Man" was our favorite. When David Lee Roth left Van Halen, we mourned. I mean....Sammy Hagar? You must be joking. Coolest band logo EVER.
Tags: music, fun, hanging out, midwest, loud, iowa, fort dodge, mp3, dart, van halen, shag the drag, the drag, singing along, crank it up, beeebledy beebledy bop zee bop

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Sia (United Kingdom)

platialUser:baostar — 2006-05-08 13:56:30.23143+00:00

Sia - Breathe Me Sia (full name Sia Furler) hails from the famously laid-back Australian city of Adelaide. Boasting a powerful, soulful voice, she worked the Adelaide jazz circuit during the '90s as a vocalist for the band Crisp. However, the blonde, blue-eyed antipodean's big break came only after she followed in the footsteps of many other Aussie artists and hopped on a plane to the U.K. While in London, Sia landed a gig as a backup singer for the very popular and extremely hip English outfit Jamiroquai. In early 2000, she released her first solo single, the alternative pop tune "Taken for Granted," which debuted at number ten on the busy U.K. singles chart. Soon after, a string of big names in the British music scene were asking for Sia's services; projects with Massive Attack, Zero 7, and William Orbit ensued. In mid-2001, Sia once again made a splash on the U.K. singles chart with the moody offering "Drink to Get Drunk," a track that would appear on her 2002 full-length debut, Healing Is Difficult. Ironically, it was only after her considerable success abroad that she began to make a real impact down under. Colour the Small One appeared a year later. The track "Breathe Me" from the album gained attention when it was used in the elaborate final scene of the Six Feet Under series that aired in 2005. -allmusic.com
Tags: kate, music, mp3, sia, furler, isobelle

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Daughter Darling (Philadelphia, USA)

platialUser:baostar — 2006-05-08 14:11:58.505338+00:00

Daughter Darling - Shatter Videos: Colorblind (Quicktime / stream) If you can imagine Portishead, with more accsessible vocals, rich harmonies, classical style piano playing, gorgeous string sections and the most amazing beats ever programmed, then you have Daughter Darling. This project is the culmination of 6 years of beat production, the most talented piano, guitar and string players, a world class DJ battle champion and a girl who knew she was going to be a singer since 3 years old. Every song has been carefully crafted into a masterpiece. "USA-based Daughter Darling could well be the revelation of 2003" -www.triphop.hu- "Sweet Shadows" may well shape up to be the greatest trip hop releaseever, according to many reviews of diehard trip hop lovers Natalie's unique voice provides a strong basis for music that is dark and moody. The title track "Sweet Shadows" deals with her emotions of moving to a big city, feeling alone with only the shadows to guide her as she walks around seeing many "soul-less" people. Voodoo games, is about an ex-boyfriend who can't let go, and uses a voodoo doll to try and continue to keep his violent hold on her from afar. -auralgasms
Tags: song, trip hop, mp3, daughter darling, natalie walker

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Goldfrapp (Bath, United Kingdom)

platialUser:baostar — 2006-05-09 00:55:39.471628+00:00

Goldfrapp - Let It Take You Bath, England's singer/composer/keyboardist Allison Goldfrapp began exploring music as a part of her studies as a Fine Art Painting major at Middlesex University, mixing sound, visuals, and performances in her installation pieces. While she was still in college, she appeared on her friend Tricky's 1995 debut Maxinquaye, which led to appearances on albums from other cutting-edge electronic artists, including Orbital's Snivilisation and Add N to X's Avant Hard. By the late '90s, Goldfrapp began honing her own compositions; one of her friends passed some of her demos on to composer Will Gregory. Finding much in common in their musical tastes and approaches, the duo took Allison's surname as the name for their collaboration. After signing to Mute in 1999, Goldfrapp delivered their debut album, Felt Mountain, in fall 2000. Felt Mountain went on to nealry universal acclaim and spawned several singles, including the Utopia Genetically Enriched EP, which arrived in early 2001. After spending most of that year touring, Goldfrapp spent most of 2002 recording and returned with Black Cherry in spring 2003. 2005 saw the release of the Ooh La La single and the full-length Supernature, both of which continued the disco and glam-rock influences of the duo's previous album.
Tags: music, trip hop, goldfrapp, allison, mp3

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Röyksopp (Norway)

platialUser:baostar — 2006-05-08 19:51:55.351343+00:00

Röyksopp - What Else Is There? Norwegian duo Röyksopp compensated for the cold climes of their native Tromsø by making some of the warmest, most inviting downbeat electronica of the new millennium, exemplified by early singles like Eple and Poor Leno. The pair, Torbjørn Brundtland and Svein Berge, both grew up in Tromsø and began recording in the early '90s. Local-made-good Geir Jenssen (aka Biosphere) provided tutelage and almost convinced the duo to record for R&S sublabel Apollo. After a few years apart, Brundtland and Berge met up again in Bergen and re-formed Röyksopp in 1998. The group released a few singles on Tellé, then signed up to the big beat label Wall of Sound. The Röyksopp debut was 2001's Eple single; both "Eple" and another track ("Poor Leno") earned slots on over a dozen chillout compilations that year or the next. Their first full-length, Melody A.M., appeared in late 2001. After spending a few years performing live and remixing artists including Beck and Annie, Röyksopp returned with new material in 2005: the single Only This Moment heralded the summer release of the duo's second album, The Understanding, which featured more traditionally structured songs than their earlier work. The live EP Röyksopp's Night Out appeared a year later. -allmusic.com
Tags: electronica, music, royksopp, what else is there, mp3

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"Escort Crash on Marston Street" by Heavenly

platialUser:baostar — 2006-06-21 15:48:40.794422+00:00

The line "Escort crash on Marston Street" refers to a road in Northamptonshire. Oh, hey Robert, you're driving much too fucking fast I think you ought to go a lot slower It's a residential zone. Speed limit's thirty miles an hour Shouldn't be going eighty Watch out for those ladies! Watch out for that dog! Oh no! Hit the brakes! Your driving mistakes are really Gonna kill Heavenly, With terror, Oh-oh, terrifying me Ba ba bada ba ba Escort crash on Marston Street Ba ba bada ba ba Mathew, Amy, Rob and Pete Ba ba bada ba ba In Heaven, they'll be Heavenly tonight Hey now, Robert, you happy wit your smashed up car And your broken neck bone, and your facial wounds? You've murdered Amelia. Pete can no longer play guitar And Mathew's brain is damaged. But that's not so different Could you tell at all? The kids are happy With no more boring Heavenly tunes Rob's killed us With steering error, Terrifying me. Ba ba bada ba ba Escort crash on Marston Street Ba ba bada ba ba Mathew, Amy, Rob and Pete Ba ba bada ba ba In Heaven, they'll be Heavenly tonight
Tags: mp3, escort crash on marston street, heavenly, marston street

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"Rock The Casbah" by The Clash

platialUser:baostar — 2006-06-01 22:10:08.827561+00:00

"The Casbah" is the citadel of Algiers. Now the king told the boogie men You have to let that raga drop The oil down the desert way Has been shakin' to the top They shake it for his Cadillac He went a' cruisin' down the ville The muezzin was a' standing On the radiator grille CHORUS The shareef don't like it Rockin' the Casbah Rock the Casbah The shareef dont like it Rockin' the Casbah Rock the Casbah By order of the prophet We ban that boogie sound Degenerate the faithful With that crazy Casbah sound But the Bedouin they brought out The electric kettle drum The local guitar picker Got his guitar picking thumb As soon as the sherif Had cleared the square They began to wail CHORUS Now over at the temple Oh! They really pack 'em in The in crowd say it's cool To dig this chanting thing But as the wind changed direction The temple band took five The crowd caught a wiff Of that crazy Casbah jive CHORUS The king called up his jet fighters He said you better earn your pay Drop your bombs between the minarets Down the Casbah way As soon as Sharif was Chauffeured outta there The jet pilots tuned to The cockpit radio blare As soon as Shareef was Outta their hair The jet pilots wailed CHORUS He thinks it's not kosher Fundamentally he can't take it. You know he really hates it.
Tags: algeria, mp3, the clash, rock the casbah, casbah

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"Main and Broadway" by Cub

platialUser:baostar — 2006-06-04 23:02:16.009992+00:00

"Main and Broadway" was written by Lisa Marr about an encounter with a former boyfriend and his new girlfriend. The song title refers to the intersection of Main St. and E Broadway in Vancouver. You and her walking by You say "hello" so civilised Does she know you were my boy one time? So what am I supposed to say? "You're looking swell, have a nice day" Good to see she's prettier than me Things go on, I get confused I don't know how it feels to be... Anymore... (Chorus) Didn't know I missed you 'till today 'Cos I thought that love just went away Or at least I had it licked Rpt Chorus Didn't know I missed you 'till today... Love letters, broken lockets Dead flowers, candy boxes That's what you're left with when it's over It's over, it's over, it's over... Now I wonder what went wrong Why we didn't get along Nothing left but distance in your eyes There you go, hand in hand Leaving me alone to stand here, just Another stupid chump Fights of spite, and I could talk In the end that's what you got So what's the point of bothering at all? Rpt Chorus I was wrong... Rpt Chorus Didn't know I missed you 'till today... La la la la....
Tags: vancouver, encounter, mp3, indie pop, cub, twee pop, main and broadway

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"Wyoming" by The Lucksmiths

platialUser:baostar — 2006-06-06 15:29:23.896612+00:00

I like the look of Wyoming Although I wasn’t there for long And I like the sound of Wyoming ‘Cause it sounds like the name of a song The sky was big and the fields were wide And if people lived there, they were all inside In Wyoming I like the light of Wyoming It shone down in a painterly way I met no residents of Wyoming So about them I’ve nothing to say The grass was pale and the sky was grey And time that I spent there was less than a day In Wyoming There are fences of wood in Wyoming That roll across prairies so grand But they hold nothing out and they hold nothing in So their use I do not understand The rain in the distance, the shadow of cloud If the hills made a sound it was not very loud In Wyoming
Tags: wyoming, indie, mp3, the lucksmiths

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"138th Street" by The Walkmen

platialUser:baostar — 2007-01-09 16:08:22.172778+00:00

The Walkmen's Marcata Studios is on 133rd Street. This song is reminiscent of Dylan, and is possibly about an old apartment, or that of a friend. I hear that you got yourself a house and all your friends you finally figured out but you go out in the night til you got no place to go I see you on the corner where you're trying to use the phone and everyone will say you missed your chance and everyone will say you've lost youre edge but it's just something that you've heard about a thousand times before and every time you're falling then you'll see me on the floor and someday when you turn around you'll take a wife, and start a life it won't be long I hear that you got yourself a job and all your friends you finally nailed down but you go out in the night till you got no place to go something you ain't doing right is haunting you at home now we've been hanging round for quite a while so let's get out of here and take a drive on the parkway tonight you can hear the engines roar the flashing lights will nab you when you're driving your way home and someday when you turn around you'll see the door is closing
Tags: indie, song, mp3, the walken, 138th street

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"Holiday in Rhode Island" by The Softies

platialUser:baostar — 2006-06-12 13:36:43.299365+00:00

In your letter you didn't say The weather would be so dreadful But I'm so glad to be here It's just you and me now honey Far from the west coast Where you've never been and You long to see someday Wo'd have thought I'd really visit A holiday in Rhode Island I'm so happy just to see you You're all I dream of honey Now we can be tgether For a few days I am the only one
Tags: song, the softies, mp3, indie pop, holiday in rhode island

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"405" by Death Cab For Cutie

platialUser:baostar — 2006-06-12 13:58:44.266443+00:00

I took the 405 and drove a stake down into your center, and stated that it's never ever been better than this. I hung my favorite shirt on the floorboard, wrinkled up from pulling pushing and tasting, tasting... You keep twisting the truth that keeps me thrown askew. Misguided by the 405 'cause it lead me to an alcoholic summer. I missed the exit to your parents' house hours ago. Red wine and the cigarettes: hide your bad habits underneath the patio. You keep twisting the truth that keeps me thrown askew. You keep twisting the truth that keeps me thrown askew.
Tags: rock, indie, seattle, song, 405, death cab for cutie, mp3

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"Don't Disappear" by Portastatic

platialUser:baostar — 2006-06-21 13:22:55.018732+00:00

Tags: new york, indie rock, song, mp3, portastatic, dont disappear

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"Apology Song" by The Decemberists

platialUser:jes5199 — 2006-06-21 15:07:47.817229+00:00

The Orange Street Food Farm from the Decemberist's "The Apology Song" I meant her no harm When I left her unlocked Outside the Orange Street Food Farm I was just running in Didn't think I'd be that long I came out, she was gone And all that was there was some bored old dog Leashed up to the place where your bicycle had been
Tags: indie rock, mp3, the decemberists, apology song, orange street food farm

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"Massachusetts" by The Ladybug Transistor

platialUser:baostar — 2006-06-22 16:02:54.252693+00:00

Tags: indie, song, massachusetts, mp3, baroque, ladybug transistor

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"Hit the Snow" by The Aislers Set

platialUser:baostar — 2006-06-23 13:26:18.026682+00:00

Tags: new york, song, mp3, indie pop, hit the snow, the aislers set

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playlistism

platialUser:baostar — 2007-01-11 16:35:47.038391+00:00

playlistism: The discrimination of others based on their iTunes playlist.
Tags: stream, music, playlist, mp3, playlistism, server

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"Hackensack" by Fountains Of Wayne

platialUser:baostar — 2006-07-17 14:08:07.123855+00:00

I used to know you when we were young You were in all my dreams We sat together in period one Fridays at 8:15 Now I see face in the strangest places Movies and magazines I saw you talkin' to Christopher Walken On my TV screen BUt I will wait for you As long as I need to And if you ever get back to Hackensack I'll be here for you I used to work in a record store Now I work for my dad Scraping the paint off of hard wood floors The hours are pretty bad Sometimes I wonder where you are Probably in L.A. That seems to be where everbody else ends up these days But I will wait for you As long as I need to And if you ever get back to Hackensack I'll be here for you And I will wait for you As long as I need to And if you ever get back to Hackensack I'll be here for you If you ever get back to Hackensack I'll be here for you
Tags: hackensack, fountains of wayne, song, mp3

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"California" by Low

platialUser:baostar — 2007-04-18 15:11:29.743603+00:00

See your reflection in your mind You keep your revelations wide eyed They knew just where to draw the line You let them get you every time Though it breaks your heart We had to sell the farm Back to California where it's warm It fell around you like the stars You picked up everything they dropped And though it breaks you like a song You had some secrets of your own (repeat chorus) It's warm It's warm Though it breaks your heartv We had to sell the farm Nights were just too long With all your children gone Would it keep you strong If I said it with a song Back to California where it's warm
Tags: low, indie, california, song, mp3

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Kirkcaldy

platialUser:system — 2006-08-25 19:16:44.436822+00:00

Kirkcaldy
Tags: download, rock, music, guitar, mp3, wikipedia, Scotland, Pegasus, Kirckaldy

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"Ohio" by Over The Rhine

platialUser:baostar — 2006-05-25 11:38:16.959692+00:00

Hello Ohio The back roads I know Ohio Like the back of my hand Alone Ohio Where the river bends And it's strange to see your story end In my life I"ve seen a thousand dreams Through the threshers all torn to pieces And the land lay bare Someone turned a profit there And a good son lost his life in a strip pit When the sun went down we would all leave town And light our fires in Egypt Bottom And the reservoir was just as good for Joni 'Cause we knew we would Dream outloud in the night air Holly said, Don't go inside the children's home Mary said, Don't leave your man alone Valerie was singin' to the radio Ohio It was summertime in '83 We were burnin' out at the rubber tree Wonderin' what in the world Would make all this worthwhile And if I knew then I was older then Would I see regret to the last mile Hello Ohio The back roads I know Ohio Like the back of my hand Alone Ohio Where the river bends And it's strange to see your story end How I hate to see your story end It's so sad to see your story end
Tags: music, ohio, mp3, over the rhine

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"New York, New York" by Frank Sinatra

platialUser:tracy_the_astonishing — 2006-04-21 17:55:56.7536+00:00

Start spreading the news I'm leaving today I want to be a part of it, New York, New York These vagabond shoes Are longing to stray And make a brand new start of it New York, New York I want to wake up in the city that never sleeps To find I'm king of the hill, top of the heap These little town blues Are melting away I'll make a brand new start of it In old New York If I can make it there I'll make it anywhere It's up to you, New York, New York. I want to wake up in the city that never sleeps To find I'm king of the hill, top of the heap These little town blues Are melting away I'll make a brand new start of it In old New York If I can make it there I'll make it anywhere It's up to you, New York, New York.
Tags: music, new york, sinatra, song, escape to the big city, vagabond shoes, the city that never sleeps, king of the hill, top of the heap, catchy as hell, crooner, mp3

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Nicola Hitchcock (Westcountry, UK)

platialUser:baostar — 2006-05-06 15:33:52.090746+00:00

Mandalay - This Life Ex-Thieves instrumentalist Saul Freeman aimed for his own dream-pop aesthetic when he placed an ad in the now defunct music weekly, Melody Maker. He had already worked with David McAlmont, but wanted his own creative outlet. Searching for an ethereal voice similar to the likes of the Cocteau Twins' Elizabeth Fraser and Shara Nelson (Massive Attack, Presence), solo artist Nicola Hitchcock ended Freeman's search when answering his request. The two instantly clicked, for Hitchcock also had a debut album under her belt and the two formed Mandalay in the mid-nineties. Incorporating trip-hop loops similar to Portishead and Hitchcock's vocal perfections, the duo earned props throughout the latter part of the decade in their native U.K., specifically with the albums Empathy and Instinct. Madonna even called Mandalay her new favorite band in fall 2000. Mandalay had signed to V2 by mid-2000 and prepped for their stateside major-label release, Solace, in spring 2001.
Tags: music, nicola hitchcock, mandalay, this life, mp3

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Cinnamon (Sweden)

platialUser:baostar — 2006-05-06 02:54:38.896645+00:00

Cinnamon - Helen of Troy The Swedish group Cinnamon -- not to be confused with the Canadian band of the same name -- was formed in 1994 by songwriters Jiri Novak (guitar, keyboards) and Frida Diesen (vocals, synthesizers, guitar). The duo soon added bassist Samuel Laxberg and drummer Christian Ekwall. Their debut EP, Vox, was released in 1995; the full-length Summer Meditation soon followed. The 1997 album The Courier was accompanied by a European and American tour. The EP Many Moods of Cinnamon was released in June 1999; the full-length Vertigo followed in October of that year and was issued in the U.S. early in 2000.
Tags: music, cinnamon, jiri novak, frida diesen, samuel laxberg, christian ekwall, mp3

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Mooi (North East Wales, UK)

platialUser:baostar — 2006-05-06 15:33:31.760148+00:00

Mooi - Sway Mooi are Welsh duo Rachel Lloyd and Laura Dickinson. The pair write heartfelt and intimate songs, with both members playing guitars and singing. The name is pronounced 'moy', and is Dutch slang for pleasant.
Tags: music, mooi, sway, rachel lloyd, laura dickenson, mp3

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Azure Ray (Omaha, Nebraska)

platialUser:baostar — 2006-05-06 02:23:30.926418+00:00

Azure Ray - Nothing Like A Song Maria Taylor and Orenda Fink met at 15 at the Alabama School of Fine Arts, and have been making music together ever since. Before Azure Ray, the two were in a band called Little Red Rocket. After playing an accoustic set in Athens, Orenda and Maria were approached by Brian Causey of Warm Records. Soon after, Little Red Rocket disbanded, and Azure Ray became their main project. Azure Ray has released four albums--two on Warm Records (Azure Ray and Burn and Shiver) and two on Saddle Creek Records (the November EP and Hold on Love). Although they started out in Athens, Georgia, Maria and Orenda are now based out of Omaha, Nebraska, where they moved to take part in the growing music scene. In addition to playing in Azure Ray, Orenda and Maria are involved with side projects such as Now It's Overhead, and Orenda works with Japancakes. They have also collaborated with artists such as Moby (they co-wrote and performed "Great Escape" on 18) and Bright Eyes.
Tags: music, azure ray, maria taylor, orenda fink, mp3

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Naomi (Berlin, Germany)

platialUser:baostar — 2006-05-06 02:19:06.283457+00:00

Naomi - Three Stars No Match Nico Tobias of Berlin based duo Naomi has vivid dreams. When a strange but knowing voice whispers into his sleeping ears: “By the way, King Kong is not dead!“, he feels so happy and relieved that right the next day he writes a song about it. This touching and witty piece of Electropop is typical for the second Naomi album "Pappelallee". Sometimes bizarre but always catchy. Serious but never downcast. Melancholic but comforting. Full of drama but with ease. Everything’s gonna be alright.. While “Pappelallee“is highly accessible and feels familiar at first contact, repetitive listening reveals an amazing abundance of details. The warm and profound songs on the album cross electronic structures with acoustic guitar, vocoder vocals with playful melodeon, beatbox House with Jazz broom ballads and computerised Reggae with singer/songwriter appeal. A whole sound universe. Dinosaurs of the glorious 1970s and 80s Pop/Rock era have left their traces. Obscure voice samples in “Exit Song“ evoke comparisons with British cult bands Lemonjelly and Bent, while the sinister lackadaisical shuffle of "Paravent" bears resemblance with Mogwai. On “Three Stars No Match“, singer Selda Kaya (known from the band’s first album and the much acclaimed Naomi song „Go“ from the Amnesty International movie and TV spot) lends her graceful voice. The song radiates a romantic serenity which so far could only be ascribed to Air’s classic "Moon Safari". But at the end of the day, all comparisons crumble. All songs on "Pappelallee" sound exactly like Naomi. This time even more elaborate and intense than on their smashing debut „Everyone Loves You“. A closer look at the lyrics is rewarding. “Rainfall“ connects seven city names with a single word and still reveals a telling story. "October" leads us through a storm of images into apocalyptic cinema. The philosophical and danceable "Option" while dealing with the spell of indecision delivers the great lines “I can’t say no and I can’t say yes - it's just another way of saying no, I guess.“ It’s worth to listen. Tune in once more to “King Kong Is Not Dead“, smile, and sing along. “Pappelallee“ is pop music how it is supposed to be: heartfelt, witty and consoling. -mole.de
Tags: naomi, music, bernd lechler, nico tobias, mp3

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Air (France)

platialUser:baostar — 2006-05-06 02:12:26.076111+00:00

Air - Playground Love More apt to cite stately rock paragons Burt Bacharach and Brian Wilson as their inspirations than Derrick May or Aphex Twin, the French duo Air gained inclusion into the late-'90s electronica surge due chiefly to the labels their recordings appeared on, not the actual music they produced. Their sound, a variant of the classic disco sound coaxed into a relaxing Prozac vision of the late '70s, looked back to a variety of phenomena from the period -- synthesizer maestros Tomita, Jean-Michel Jarre, and Vangelis, new wave music of the nonspiky variety, and obscure Italian film soundtracks. Despite gaining quick entrance into the dance community (through releases for Source and Mo' Wax), Air's 1998 debut album, Moon Safari, charted a light -- well, airy -- course along soundscapes composed with melody lines by Moog and Rhodes, not Roland and Yamaha. The presence of several female vocalists, an equipment list whose number of pieces stretched into the dozens, and a baroque tuba solo on one track -- all of this conspired to make Air more of a happening in the living room than the dancefloor. Though Nicolas Godin and Jean-Benoît Dunckel both grew up in Versailles, the two didn't meet until they began studying at the same college. Dunckel, who had studied at the Conservatoire in Paris, played in an alternative band named Orange. One of Dunckel's bandmates, Alex Gopher, introduced Godin into the lineup. While Gopher himself departed (later to record for the Solid label), Dunckel and Godin continued on, becoming Air by 1995. During 1996-1997, the duo released singles on Britain's Mo' Wax ("Modular") and the domestic Source label ("Casanova 70," "Le Soleil Est Prés de Moi"). Though Air often evinced the same '60s Continental charm as Dimitri From Paris -- due no doubt to the influence of Serge Gainsbourg -- the duo had little in common musically with other acts (Daft Punk) in the wave of French electronica lapping at the shores of Britain and America during 1997. That same year, Air remixed Depeche Mode and Neneh Cherry and joined French musique concrète popster Jean-Jacques Perrey for a track on the Source compilation Sourcelab, Vol. 3. Signed to Virgin, Air released their debut album, Moon Safari, in early 1998. The singles "Sexy Boy" and "Kelly Watch the Stars" became moderate hits in Britain and earned airplay on MTV. Later that year, Godin and Dunckel mounted an ambitious tour throughout Europe and America, though they had originally decided to forego live appearances. Their early singles were collected in 1999 under the title Premiers Symptomes; the duo's soundtrack to the Sofia Coppola film The Virgin Suicides followed in early 2000. Air's second studio effort, 10,000 Hz Legend, appeared in spring 2001 with a subsequent tour of the U.S., but critics and fans alike didn't appreciate the darker, more experimental direction. They bridged the gap between the pop of Moon Safari and the experimentalism of 10,000 Hz Legend with their 2004 release Talkie Walkie. -allmusic.com
Tags: air, music, nicolas godin, jean benoit dunckel, mp3

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Ivy (New York, United States)

platialUser:baostar — 2006-05-06 02:07:57.830532+00:00

Ivy - Ocean City Girl Thinking About You (Quicktime / stream) The New York-based pop group Ivy came together in 1994 when multi-instrumentalist Andy Chase placed an ad in the Village Voice in an attempt to start a band. Musician/songwriter Adam Schlesinger answered Chase, for the two had mutual musical tastes -- both liked Prefab Sprout and the Go-Betweens. Within months, the two met Parisian-born Dominique Durand. Durand had come to New York in 1989 to learn English, not join a band. Ironically enough, Durand was a massive music fan and adored the sounds of the Smiths, the Pastels, and House of Love. This allowed her to click with Chase and Schlesinger. She'd never sung before, but Chase and Schlesinger encouraged her to sing on the demo for "Can't Even Fake It." It was a pleasant surprise -- Durand had found her voice -- one that would become one of indie rock's finest and most artistically well-regarded voices of the decade -- and Ivy was born. Ivy inked a deal with local label Seed Records in 1994 and issued the "Get Enough/Drag You Down" single. Melody Maker in the U.K. jumped on it immediately and Ivy's debut earned props as the Single of the Week. Several months later, the trio released the Lately EP. Their rendition of Orange Juice's "I Guess I'm Just a Little Too Sensitive" was a moderate hit among the indie rock circuit. Ex-Orange Juice frontman Edwyn Collins also enjoyed the track and asked Ivy to be the opening act on his North American tour in 1995. Ivy's first studio full-length, Realistic, appeared that same year. Tours with fellow indie darlings -- Saint Etienne, Lloyd Cole, and Madder Rose -- allowed Ivy's name began to soar. By the time the band readied for a sophomore effort, they'd signed to a major label. In 1997, Ivy issued Apartment Life on Atlantic. This particular album highlighted Chase and Schlesinger's impressive studio skills. Ivy was winning critics over with their sugary, sweet sound and Apartment Life was regarded as one of the year's standout albums. Their star power was unstoppable, but gracefully so. "I Get the Message" and "This Is the Day" were featured on the soundtrack to the Farrelly Brothers' comedy There's Something About Mary. Their cover of Steely Dan's "Only a Fool Would Say That" was also included in the Farrelly Brothers' soundtrack for Me, Myself and Irene. Fashionistas got a taste of Ivy, too. A worldwide Volkswagen campaign catapulted the band's name into stardom. Ivy never lost face, though. What made them so impressive was how they kept things simple and followed their own formula. It would work against them in the majors, but it wouldn't break up the band. Ivy founded Stratosphere Sound, their studio with Smashing Pumpkins guitarist James Iha, before the '90s came to a close. Chase and Durand had also married; Ivy was focused on the band's musical atmosphere and the texture of their sound, and this space allowed them to focus. Sony let them go, so they had complete creative control. Unfortunately, things didn't go so smoothly. Stratosphere Sound was subject to arson while the band was recording a third album in 2000. Countless dollars and valuable recording equipment were lost in the fire, but this didn't delay the completion of the record. Long Distance arrived in fall 2001, four years after Apartment Life. This marked Ivy's first release with Nettwerk and the trio's classic pop sensibility was at its finest. Durand and Chase became parents of daughter, Justine, while also finding a new home with the Nettwerk label. That same year, the band composed the film score for the Farrelly Brothers' Jack Black comedy Shallow Hal. In fall 2002, Ivy returned with an all-cover album, Guestroom. On December 17, Chase and Durand welcomed their second child, Julien. Over the next few years, Schlesinger released another album with Fountains of Wayne, 2003's Welcome Interstate Managers. Durand and Chase collaborated on a trip-hop album in 2004 under the Paco moniker. A year later, Ivy issued In the Clear. - allmusic.com
Tags: ivy, adam schlesinger, dominique durand, andy chase, mp3, music videos

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Polly Paulusma (Nottingham, UK)

platialUser:baostar — 2006-05-06 15:32:47.768171+00:00

Polly Paulusma - Mea Culpa I Was Made To Love You (Quicktime / stream) Over The Hill (Quicktime / stream) Live Review: Slaughtered Lamb 26th January 2006 17 February 2006 reviewed by Rich Barnard on the VAC website www.thevac.co.uk The last time I saw Polly Paulusma, she was playing a packed out Lock 17, sporting full band and string quartet. Riding high on good reviews for her debut album 'Scissors In My Pocket' and after a summer of festivals, she was about to embark on her first tour of America, and would land support slots with Jamie Cullum, Divine Comedy and Joseph Arthur. Eighteen months on, it's an unbelievable treat to see her back, playing solo in the kind of small, cold, candle-lit acoustic club that she started out in. It's a conspicuously low-profile gig, showcasing all new material, but there is standing room only at the back and you get the sense that quite a few people have been turned away. The basement of the Slaughtered Lamb has an understated cool, far removed from the clatter of the city clientele rattling their jewellery upstairs. Down below it's a black brick-walled affair with an eclectic assortment of bohemian seating (when was the last time you saw a chaise longue at a gig?) It reminds me of the River Bar on Tower Bridge before they tarted it up and took its soul. The setting suits the sophisticated and intimate nature of Paulusma's poetic and often dark songs. Weaving smart rhymes like 'bathroom / half-gloom' and 'extinguish / unencumbered English' against complex-but-not-in-the-least-bit-jazzy chord progressions is evidently (still) what Polly does well. Her secret weapon though has to be her exquisitely English singing voice, which when pushed is on the verge of '60s singer Melanie; and when soft, is as sultry as Suzanne Vega. But back to basements and gloom... This is Paulusma's first gig in six months and she has pre-warned us that her second album - which has already been some time in the making - will have a darker, louder edge. Although there is (deep breath) an electric guitar on stage, I'm glad to discover that the new material does not reveal any Cradle of Filth or similar influences. And aside from the gloriously discordant moments in a song about killing babies, which features the aforementioned electric axe, there is seemingly little change in her style. That is not to say that there is no evidence of evolution, because Paulusma is the kind of songwriter that will challenge herself as a matter of course. Anyone who brings out three guitars and a piano to play a solo half-hour set is someone who has constant development on their mind. Likewise the subject matter veers far and wide from identity, love and quarter-life crises; to being invisible, hide-and-seek and yes, you did read it right the first time, killing babies. It's nice to see the rawness of an artist grappling with new, freshly arranged songs, especially as none of these are basic three-chord wonders. One of the songs has been in Polly's live set for a while, but in the others you can just catch the concentration of a performer whose music so often seems effortless. These have a vitality to them that will inevitably be diminished after another two years of hard touring gets its hands on them. You can tell that this crowd, myself included, feel lucky to be here at their inception. UNCUT Magazine Dec 2004 01 November 2004 Never mind all the fuss about Joss Stone and Amy Winehouse. As far as Uncut is concerned, the finest young British female singer-songwriter to emerge over the last 12 months is the brainy Cambridge graduate Polly Paulusma, with a debut album of mature and literate songs brimful of emotional resonance, potent melodies and meltingly heartfelt vocals. ROLLING STONE Magazine (USA) 10 October 2004 Polly Paulusma Scissors in My Pocket (One Little Indian) by Leslie Hermelin From the charming opener Dark Side, Polly Paulusma declares herself in league with articulate folk-pop contemporaries such as Paula Cole and Shawn Colvin. And while these comparisons, as well as those to Joni Mitchell and Carole King, are well deserved, Paulusma's talent is strong enough to stand on its own. Scissors in My Pocket is an enchanting debut of understated, intelligent folk pop from a promising newcomer. Holding true to the singer-songwriter ethos, Paulusma opts for authenticity over production wizardry. Many of the album cuts were recorded in only one take, and some, including Dark Side and the stunning One Day, are the original demo recordings. She Moves in Secret Ways is an intimate, softly spun bit of folk poetry as is the bittersweet Anywhere From Here. This Cambridge educated songstress proves once again that a well-penned ballad trumps an over-produced pop song any day. PHILADELPHIA INQUIRER Online (USA) 26 September 2004 * * * * Polly Paulusma Scissors in My Pocket (One Little Indian) by A D Amorosi Given her arcane sound, you could easily assume that Polly Paulusma is part of the dark British folk revival. But she is lighter. She's also sexy and spare. The quiet psychedelia and queer optimism of her gauziest vocal melodies are touched by faint curlicues of jazzy interplay. She weathers the impending storm of Dark Side with a whispery voice, promising "golden lips" for her lover's final approach. Through rushes of acoustic guitar, bubbling double bass, or cosmopolitan chamber-jazz arrangements (I Was Made to Love You), Paulusma's smoky yet vivid voice is so alive that the sadness of Perfect 4/4 resounds through your head. She cries on your shoulder without playing to your sympathies. PHILADELPHIA INQUIRER 26 September 2004 Polly Paulusma fits the bill as ideal singer-songwriter by Jonathan Takiff I'll gladly admit it. I'm a sucker for a smart, poetic, darkly melancholic and slightly unhinged female singer-songwriter. For an artist with a smokey, soulful sadness in her voice and a rejuvenating melody in her heart, with a vibrant vision for how she wants her life to soar and the will to make it so - at least within the context of a four-minute song. Joni Mitchell set the mold for me with her classic album "Blue." Young disciples like Dar Williams, Beth Orton and the late Kirsty MacColl have kept the fires burning. Now I bow in supplication to another English export by the name of Polly Paulusma (pronounced pallsma) who'll be popping up Sunday at the Point to showcase material from her altogether compelling album "Scissors in My Pocket." One of my favorite debuts of the year, the disc is chock full of feather-light, but delicately filigreed songs that are at once literate and emotional, tender and tough-minded, like "She Moves in Secret Ways," a song about not giving up her willful nature, personifying herself as a hoof-stomping horse. At other extremes are spritely entreaties for gentlemen friends to explore her "Dark Side" and take her "Over the Hill," blessed with super catchy choruses you can't get out of your head. And the set caps with haunting, bittersweet ruminations about life's brief passages (this from a 28-year-old!) like the riveting hospital bedside refrain in "Perfect 4/4." Daughter of a noted portrait artist (who did all the highly evocative pen sketch illustrations for the album package) and a Cambridge University professor dad who specializes in crusading (ecclesiastical) history, Polly Paulusma has gleaned from both sides, she allowed in a recent chat. She's been making music since she was 10 - first "improving" on a classic Paul McCartney song with new lyrics, later singing in college in a soul cover band that was "a bit like the Commitments," before discovering her own, more pensive voice while singing backing vocals for an album by her friends Ben & Jason. And yet, Polly was also being her father's daughter by majoring in English lit at Cambridge, pursuing a career in journalism with the BBC, writing a novel and then returning briefly to university for a Ph.D program, before giving it all up to pursue music full time. "I spent a lot of time denying I should do this, but it wouldn't let me run away. It kept coming back and biting me in the ass, so I eventually gave in," she shared with a laugh. When Paulusma started the writing and recordings that would turn into her album, "trashy pop" was still all the rage in Britain, while like-minded singer-songwriters such as the long-suffering David Gray were just starting to make a belated breakthrough. "Now there's a whole scene going, with lots of clubs to play and buzz artists like Tom Baxter and Adem. But four years ago, no one would fund my project, so (as Gray did)] I set up a recording studio in the shed at the end of my garden and started doing it all myself. I wasn't trying to make it sound low-fi, just the music I could hear in my head with the equipment I had available - basically one good microphone feeding into a computer hard drive. I played almost all the the guitars, did all the vocals and also added funny litle things like shakers and tambourine, mandolin and the sound of tinkling wine glasses." Friends came in to dress up the works with brush-tapped drumming, jazzy acoustic double bass, a hammered dulcimer flourish, and chamber music styled strings and brass evoking the likes of Damien Rice (a major Polly fave) and vintage Beatles recordings. The origin of the album's title "Scissors in My Pocket" relates to an incident that happened when Polly was just 8, and "obsessed with sailing," (a theme that's still showing up in her lyrics). "I wanted a boat, so I decided to build a raft in our back garden on a piece of old, flat fencing. My parents could see it wouldn't float, but I didn't believe them. After decorating it with a cabin and putting on lights, I somehow persuaded my mom to take me to the river to launch it. She was great, I was adamant. I tied a piece of rope to the raft and gave her the other end to hold, ostensibly so she could pull me back when I got to the middle of the river, to calm her nerves. But I didn't tell her I'd put scissors in my pocket. I was going to cut the rope and run away to London. But of course, the boat sank instantly as soon as I pushed it into the water. "When I started making this record, I felt a similar kind of condescension," Polly added. "A lot of people saying 'That's very nice dear, but you can't really make your own record.' You have to stick fingers up to people like that. 'I know this will float, so up yours.' And luckily, this time it worked." LA DAILY NEWS 21 September 2004 by Rob Lowman, Entertainment Editor Polly Paulusma took a novel approach to becoming a heralded up-and-coming singer-songwriter. OK, maybe that's a bad joke. After graduating from Cambridge University, the 28-year-old British singer-songwriter began a Ph.D program and turned her attention to writing fiction. But that novel was packed up and put in the attic about a month ago. "I hadn't touched it in four years, and I was quite curious to see what it was like ... so I peeked at it. It was really bad,' says Paulusma, being her own worse critic. Luckily, music critics are raving about "Scissors in My Pocket,' Paulusma's self-produced album that was released early in the year in the U.K. and last week in the U.S. When talking about the album, with its winning acoustic sound and clever lyrics, heavy hitters like Joni Mitchell and Nick Drake are often evoked -- and with good reason. There are many colors on Paulusma's palette as she moves from the intensity of "One Day,' with her voice nearly cracking with emotion, to the dreamy "She Moves in Secret Ways." Nic Harcourt of KCRW-FM (89.9) has been featuring songs from "Scissors' on his show, "Morning Becomes Eclectic,' for a while now, calling it "the best thing I've heard from a songwriter out of the U.K.' A Brit himself, Harcourt says, "I hear a lot of music from everywhere, and most of it I don't like, but once in a while a record like this comes along that grabs you. ... (Paulusma's) songs have depth to them, and she has a singing style that's very engaging.' (Paulusma will be at the Troubadour on Monday night as well as on Harcourt's show that day during the 11 o'clock hour.) Since "Scissors' had "such humble beginnings,' Paulusma, who has been into music since the age of 10, says she is amazed at its reception. "I have this little shed at the end of my garden, and that's where I made most of the record. So it seems incredible, thinking there I was last summer, without a record deal, just really making it for myself. I knew I could sell it at shows. I was doing a lot of gigs and selling a lot of records to people who came around the stage. I could see I could make a little living out of it. That's all I ever thought it would be.' Now "Scissors,' which is on Bjork's record label, One Little Indian, is the hottest acoustic album in Britain since Damien Rice's "O.' "I think what happened was the music industry became so closed that there was a backlog,' says Paulusma about why she and artists like Rice are gaining popularity. "It's like there was a dam put up, and it's suddenly bursting now. But in fact, that sound never went away -- it was always there. It's just because it was ignored for so long and unnurtured.' That sound is the sound of people like music legends Mitchell and Drake. "There was a real purity to what they were doing then. And you can see almost a family tree down to various people now like Wilco that I find inspiring. ... I've always really loved recordings where the instruments are all acoustic. ... I think there is something that doesn't date about music like that.' But it isn't easy to pigeonhole Paulusma, and it's clear she wants to keep it that way. She says she was looking forward to visiting the U.S., because a woman with a guitar in England is "often typecast as a folk artist, which is rubbish. They don't do that to men like Van Morrison. It's acoustic music; it's pop music on the guitar. I get the feeling there is a deeper understanding over here.' So here she is, guitar in hand, touring America, which she doesn't mind at all. ("It helps your understanding of your own material.') It's also something she's used to. The daughter of a college professor, Paulusma moved around a lot as a kid before going off to a boarding school at a convent. "My closest friends are the ones from that school still. It's amazing when you live with 500 people. It was all-girls school, so you have a lot of sisters.' But she's not writing more songs here (and certainly not a novel), saying she finds it hard to write when she's away from her friends, who she calls her "motivation.' In the meantime, "I know when I'm traveling I pick up lots of bits that end up coloring things in my songs. I'll just let things sink in for now." BOSTON GLOBE 09 September 2004 Polly Paulusma's acoustic appeal by Christopher Muther You can't blame Polly Paulusma for holing up in the garden shed. After all, she performs in a style of acoustic pop that can't be easily contained in a single category. It's not exactly folk, and it's not at all rock. As a result, record labels weren't exactly queuing up to offer the 28-year-old fame and fortune after she dropped a journalism career in favor of music. So she did what any reasonable musician would do: set up a make-shift studio in the shed at the back of her garden and started recording an album herself. Just as she finished the disc, "Scissors in My Pocket," she landed a deal with Bjork's record label, One Little Indian. Now, the album recorded in the garden shed is becoming one of the most buzzed-about acoustic discs in Britain since Damien Rice's "O." On Saturday, Paulusma brings her hard-to-categorize sound to T.T. the Bear's in Cambridge, opening for the Divine Comedy. Sound Bites: Because your music doesn't fit neatly into a single category, has it been difficult for you to find an audience? Paulusma: Not exactly. I'm very lucky that I can dip my toe in all these musical swimming pools. I can kind of jump around between them. In some ways it has been an advantage. People still put labels on my music, which I actually think can be useful. It can be useful for people to have comparisons, but some of the comparisons have been quite wide of the mark. I hear endless Norah Jones comparisons, which I find very odd. I think she's got a beautiful voice. But as far as I can make out she's doing jazz, which is something completely different from me. As long as people are saying something, even if the comparison is a bit weird, I'm happy. Sound Bites: Does your audience tend to be a younger, Damien Rice-type of crowd, or more hippie holdouts trying to catch the next Joni Mitchell? Paulusma: It's a real cross section. I just did this gig in London on Wednesday, it was for about 200 people. Over the summer I had been gathering more and more people who are loyal and want to come along to hear my music. There are people in the front row who know all the words to my songs, which is quite terrifying. They almost know them better than I do. I was looking at the front row at this gig, and I was just really gobsmacked at the range. There were two young girls, one with dreadlocks and one with dyed bright red hair, very punk. There was an older guy, and there were some younger guys in their 20s. Sound Bites: Careerwise, you did many things before you settled on music. Were you hesitant to make singing a full-time job? Paulusma: Music has been not easy. Well, making [music] has been easy, but making it a full-time job was a really big hurdle for me to overcome. I think I was led to believe that acoustic-y pop music was not really a worthwhile calling. It just took me a bit of time to work out that it was really important to me. Because I had no formal training in it, I felt that I just wouldn't be good enough. Now I feel like I have plenty of support. Email Christopher Muther at muther@globe.com. © Copyright 2004 Globe Newspaper Company NOW (Toronto) 09 September 2004 Gloss-free Polly - Cambridge grad Polly Paulusma takes a stand against superficial pop by Sarah Liss There's a sudden renaissance in the softer end of the pop spectrum happening across the pond of late. From the tinkly piano stylings of Jamie Cullum to the soulful crooning of Katie Melua to the baroque acoustic ballads of Damien Rice, the UK's cultivating a slew of singer-songwriters who, while not slick enough to give Sir Elton a run for his money, appeal to more, er, 'mature' crowds than to those with art-school haircuts and ironic t-shirts. The interesting thing about this current crop of soft-rockers is that they're barely into their 20s. Like me, they're the kids of the 80s who spent their formative years listening to their parents' Judy Collins, Joni Mitchell and Joan Baez LPs. The latest edition to the new acoustic generation is Polly Paulusma, a wickedly wordy guitar-toting belter whose debut disc, Scissors In My Pocket, recently dropped on One Little Indian (home to Bjork and Greg Dulli) and who's already opened for Dylan (!). Similarly raised on passionate, intelligent strummers (Nick Drake is her hero), Paulusma claims she and her peers are reacting to Britain's lamentable tradition of pre-fab pop. "When I was making my record, the music industry, especially in the UK, was all about Pop Idol," she says ruefully over her mobile, en route to check out the Edward Hopper exhibition at London's Tate Modern. "It was so depressing - they just wanted glorified karaoke and had no interest in anyone who played their own music and wrote their own songs. All these talented people washing about in London, and nobody was signing them. "What came out of it were loads of self-sufficient people. Katie Melua went through the same thing. Necessity has forced us back to basics, because the industry let us down. It gave us a chance to explore things by ourselves and find a whole different voice that we wouldn't necessarily have found if we'd been scooped up by a label after the second gig." The result is a record that, like Paulusma herself, doesn't pander to trends. Scissors In My Pocket is charmingly quaint, with none of the saccharine overproduction that makes folks like Jamie Cullum hard to stomach. Recorded in a shed in Paulusma's backyard, the album homes in on gently strummed acoustic guitar and quiet piano, with periodic flourishes of Hammond and dulcimer alongside the singer's terribly sweet girlish coo. Several tracks are fleshed out by string and horn sections, but unlike the high-drama orchestration on, say, Damien Rice's O, Paulusma ... keeps them low-key, which works well with the disc's intimate folkiness. It may not be the most efficient way to work, but Paulusma insists on keeping a 'wobbly' homespun aesthetic. "All of the songs are done in one take," she crows proudly. "I worked with a producer recently and watched him clumping a track together - he'd do five takes and then take the best bits of each one and hack it all together like a patchwork quilt. I'd rather have a full performance, cuz even if there's a little blemish in it, it's real." Paulusma's also mastered a subtly spiky wordplay - lead track Dark Side nods to Pink Floyd with a chorus about "the dark side of my moon" - which is no surprise, considering she graduated from Cambridge with a degree in English lit. With the horror stories I've heard about the icily snotty profs peppering UK academia, I figure the experience must've been good preparation for dealing with cranky critics. "Um, no," she states matter-of-factly. "I think a lot of gigging in London did, actually. London crowds are so standoffish - they just fold their arms and stare at you with these blank looks on their faces. "But you know, out of all my friends, I'm the only one who uses my degree every day," she continues. "Alll these people studied these obscurely wonderful things, like medieval history, or some proper academic subject, and then they end up becoming accountants." AllMusic.com 11 August 2004 * * * * Nearly 35 years on, and the folk and twining soft rock of the early '70s is being birthed again in a stylized new version. Suddenly young women with unruly mops of dark hair and a flair for dusky vocal phrasing are handily making their way in pop music. They're clad in comfy boat-neck sweaters, dainty scarves, and those boots Emmylou Harris wore on the cover of Elite Hotel; their antidote to plastic club/dance divadom is a holistic amalgam of Joni Mitchell, Carole King, James Taylor, and Tim Buckley. Englishwoman Polly Paulusma joins their ranks with Scissors in My Pocket, her charming debut for One Little Indian. It always starts with the voice, and Paulusma's never disappoints. Mitchell is a significant influence in both vocal style and phrasing, but there's a bit of Edie Brickell's reedy grace in there, too. Accompanied principally by subtle acoustic guitars or piano, she doesn't need to prove how strong her voice is, and doesn't skip through styles on the whim of a marketing director. This means Scissors lacks the pretentiousness that tinges some of its contemporaries' work. "Perfect 4/4" is a gorgeous piece that had to be recorded live -- you can hear Paulusma's voice echoing off the walls, almost see her hand resting on the piano's lacquered finish. Opener "Dark Side" unfolds one of the album's prettiest melodies, its bed of robust acoustic instruments supported with slight vocal overdubs and clever Pink Floyd lyrical references. Conversely, the powerful, string-tinged "One Day" moves toward some smoky cabaret. Rich acoustic bass and softly brushed percussion appear for "She Moves in Secret Ways," and stick around for the quietly confessional "Carry Me Home." Though it's nearly flawless, that very trait can also make Scissors in My Pocket lack sharpness and threaten to become one long nap in the sunlight. Luckily, Paulusma inserts a track like the rousing "Give It Back" just in time, getting carried away in its horns and the keening organ of its overture; she sounds like Phoebe Snow covering the Stones' "You Can't Always Get What You Want." All in all, Scissors in My Pocket is a spectacular debut. It's a child of past masters, no question. But Polly Paulusma knows what's what, and how to make the sky come tumbling down again. RIP IT UP (Australia) 04 July 2004 From the first moment I placed this debut release called Scissors In My Pocket from London-based singer-songwriter into my CD player, I was captivated. A sweet love song, Dark Side, boasting a moving Celtic feel, is the opening gambit and the album continued to impress me. Recorded independently before joining the ranks of Indian Records in the UK, 28-year-old Polly has created an impressive collection of hook-laden melodies wrapped around insightful lyrics and her own distinctive vocals. From Celtic to jazz through to pop and folk. Scissors In My Pocket highlights Polly's talent for blending word and music to create some very sweet listening. Polly plays most of the instruments on the album, which include acoustic guitars, piano, mandolin and wine glasses, while Oli Hayhurst plays double bass with Rastko Rasic on drums. Mea Culpa is delightful and you could almost hear Norah Jones singing her own rendition of it one day. Anywhere frmo Here is thought-provoking while Dark Side is my favourite. Polly possesses great imagination that has allowed her to create some enchanting songs. Musically she can be compared to Joni Mitchell, The Corrs and The Waifs and vocally she's a blend of Ani Di Franco, Macy Gray, Norah Jones and even Bjork. The pencilled artwork on the album booklet was drawn by Polly's mother, an artist by trade, and has really helped to capture the naturalness and simplicity with which Scissors In My Pocket was recorded. Lovers of the female voice are really going to enjoy this quirky, self-produced album. Birmingham 101.com review 21 June 2004 The latest slightly skewed girl singer-songwriter to challenge for a place on the scene, Cambridge grad Paulusma's made a strong start with her debut album, Scissors In My Pocket (One Little Indian). Confessional stuff built around strong melodies, literate wordplay and breathy vocals, she draws on such influences as Carole King, Joni Mitchell, Sheryl Crow, Victoria Williams, and even Stephen Duffy while injecting the occasional jazz inflections into the arrangements. There's brass and strings too, giving extra rich textures and emotional resonance to such breezy, sometimes dark tinted English pastoral songs as I Was Made To Love You, Over The Hill, She Moves In Secret Ways and Something To Remember Me By. Poignant shivers can be felt on Perfect 4/4 as she details someone hooked up to drips and monitors in a hospital bed while fragile insecurity ripples through the bluesy Anywhere From Here but it's the way she captures the giddy whirl of being caught up in love and life on the acoustic strummed Carry Me Home and gloriously folk pop waltzing debut single Dark Side (shades of Fairground Attraction here) that really shows you just how brightly her star is beginning to glow. Amazon.co.uk review 25 May 2004 by Kevin Maidmen Recorded in the floricultural intimacy of a Clapham garden shed and warmly etched with breezy acoustic guitar, fathomless double-bass, light string arrangements, recorders, brass ensembles and even wine glasses, Scissors In My Pocket is the lovely debut album from Cambridge University English literature graduate Nick Drake-afficionado and former Ben & Jason backing singer Polly Paulusma. Scholarly rock analysts, much taken with Paulusma's vocal style and folk-jazz idiom, are already drawing flattering parallels with deities such as Joni Mitchell, while also suggesting that Alanis Morrisette and Norah Jones ought to be glancing over their chick-pop shoulders. While none of these comparisons are discreditable, Polly Paulusma is patently not hanging onto anyone else's petticoat tails. Yes, there's something about her kittenish voice, which recalls Rickie Lee Jones or a more effervescent Beth Orton, and at times her technique suggests that the world may have found Damien Rice's lost spiritual sister. However, the songs - bustling pictorial narratives which unpeel with every listen to reveal an intuitive personal core - are fragrantly fresh pleasures. One Day finds our heroine jettisoning a bottle of negative thought processes from a hot air balloon in an act of pyschotherapeutic detoxification while Something to Remember Me By nods at Percy Bysshe Shelley and ponders the viability of artistic expression as a means of immortality. BlueYonder.co.uk review 13 May 2004 They say that the UK's music scene is currently in retrograde. That the new zeitgeist is in an easy listening mood, demurely reclining in a comfy armchair, quietly dozing off into middle of the road territory. Thankfully, it seems we're slowly edging away from cheap, manufactured 'music' for the lowest common denominator - you've only to look at the album charts as it's a veritable hotbed of precocious, seminal twenty somethings setting a different spin on the way records are made. Enter Polly Paulusma, who looks set to follow Katie Melua and Norah Jones into modern easy listening legend when the world gets to hear 'Scissors In My Pocket'. Like Melua and Jones, Paulusma's music is delicately interwoven with warm, sensual vocals that suggest a talent that has been around for decades. Her first single 'Dark Side' opened proceedings with a rich melody that nags relentlessly at your pleasure zones and is joined by another ten tracks of equally affecting beauty. 'I Was Made To Love You', 'She Moves In Secret Ways' and 'Give It Back' also standout, but this isn't an album about individual tunes, rather it is a fully complete work of true genius that will mark Paulusma out as one of the finest singer-songwriters of her generation. Polly recently showcased her album at a packed out Bush Hall, London. With only a smattering of songs to perform, you'd be inclined to think she couldn't carry the gig alone, but this lyrical impresario had other ideas. Characterised by hook-laden melodies, insightful lyrics and distinctive vocals, Polly ploughed her way through her repertoire with consummate ease and style - leading many to draw comparison with Joni Mitchell or Norah Jones. Anybody would be flattered by the comparison. Yet Polly is also an unique voice. Whilst belting out her new single, Give It Back, Paulusma grabbed hold of her acoustic guitar, tossed back her curly mane and threw herself into the music. Witnessed by a crowd of enthusiastic listeners, she seemed to be having the time of her life; giggling and chatting to the audience between songs. As with any great artist, Polly is very much about the lyrics. A Cambridge graduate who got a first in English, it's easy to understand her ability to craft sophisticated lyrics where every word has resonance. Combine this with hook-laden melodies and lush vocals, and you have the makings of a great singer who is already winning over music taste-lovers. DAILY TELEGRAPH 12 May 2004 No clone of voice by Nick Cowen A little more than half way through her performance at Bush Hall, Polly Paulusma tells her rapt audience a white lie. As the lights dim on her backing band, the young London-based folk singer says, "this is the part where they abandon me," and begins picking out the opening chords to the sombre Mea Culpa. As anyone with a set of ears in the venue knows by now, Paulusma's band isn't so much abandoning her, as much as getting out of the way. This is to take nothing away from the talent of her ensemble of musicians, but the fact is that the finest instrument up on that stage is Paulusma's voice. Over the last year or so, thanks largely to Norah Jones's sweep at the Grammies, any folk album released by a new female artist seems to creak under the weight of comparisons to the North American chanteuse. In the case of Polly Paulusma, this comparison is less deserved than most. Unlike a great deal of what's on offer from most folk-jazz crossover divas currently being shovelled onto mainstream radio, Paulusma has two outstanding qualities that set her apart. The first is that her music contains enough varying moods and catchy hooks to keep you interested. The second is her aforementioned voice, which in a live setting stamps authority on every song far more thoroughly than was managed her debut album, Scissors In My Pocket. The music in some numbers - most notably the haunting, jazzy She Moves In Secret Ways, and the breathy single Dark Side - seems to act like an anchor for Paulusma's vocal acrobatics, turning her voice into an extra instrument. Other songs, including the searing One Day and the mournful Anywhere From Here, derive their power from her passionate delivery. Whether Paulusma's vocals on her debut album have been deliberately pressed into the mix to stop them overriding the musicianship on display, or whether they turned out that way because the album was recorded in the shed at the bottom of her garden is hard to say. What is clear is that her talents would probably have been enough to gain her a sizable following even without the likes of Norah Jones hitting the jackpot. THE TIMES 07 May 2004 A couple of years ago, Polly Paulusma might have been stuck to playing folk clubs and festivals. With female singer songwriters back in fashion, however, the 28-year-old South Londoner has a pretty good chance at the pop charts. Her debut single, Dark Side, was a near miss recently, while her album Scissors In My Pocket, released a fortnight ago, has been picked up by Radio 2, received rave reviews and won the singer a prestigious slot supporting Bob Dylan in Belfast next month. There have been other tour supports already – notably with Jamie Cullum and Gary Jules – and it’s live that Paulusma’s songs really come to life. Rather than appealing to the cosy, middle-aged masses like Katie Melua’s, her songs, at a well-attended Bush Hall, were raw, sparsely accompanied and surprisingly sassy. During the show’s opener and forthcoming single, Give it Back, Paulusma attacked her acoustic guitar, shook her dark curly hair and jumped about on the spot. Wearing an odd combo of trousers and shiny, knee-length dress, she was certainly no wallflower, chatting to the audience between songs, giggling at what a good time she was having, constantly switching guitars and taking a turn on the electric piano and introducing a band who, to be honest, didn’t get much of a look-in otherwise. Part of Paulusma’s strength is her lyrics. Admittedly it was hard to know what the Cambridge graduate and one-time novelist was on about a lot of the time, but there was clearly some clever thinking behind what were never traditionally love songs, On the sweet, slightly jazzy She Moves in Secret Ways Paulusma sang of girls who move with grace and guys in choirboys’ attire: on the striking, stripped down, country-tinged One Day she crammed on lines about sailing boats and whiskey bottles: and on the stand out song Mea Culpa, skirted around a friend’s suicide. Although she has been compared to Norah Jones, Paulusma’s poetic lyrics – and, at times, her vocals – had mush more in common with Joni Mitchell. Then again, a couple of her numbers recalled Aimee Mann, you could hear Sophie B Hawkins in her ballads and you wouldn’t go far wrong calling her a female David Gray. Presumably, she just wants to be Polly, and it’s fair to say that she could certainly have carried the gig alone. As it was, she had a bass and double-bass player and a drummer crammed in a corner, and a trio of songs brought out a string quartet. She should have used the strings players more, but no doubt there will be other opportunities. Paulusma has the potential to be a huge word-of-mouth success. Rockfeedback.com 06 May 2004 Bush Hall, 5th May 2004 The ground beneath your feet is shaking, your pint visibly disturbed on the table. And you’re a little confused, given that your line of sight encompasses only audience members sat, similarly, at their tables, and a rather pretty girl on the stage with an acoustic guitar. For a moment you wonder if, as Carole King so famously sang, you’re feeling the earth move under your feet… but in fact this curly-haired songstress is merely stamping with such forceful enjoyment in her simple chords, you can feel it three rows back. The smile on her face, the rhythmic strumming and her exemplary stomping already have most tapping their feet, but it’s now that it kicks in: her voice has been slowly turning attention from the bar with its palpable honesty and melody, but it suddenly breaks into full flight, along with the drums and double-bass you hadn’t noticed before… and it’s indefinably breathtaking. What it might be is the contrast. Polly Paulusma’s been blessed with many talents… superb songsmithery and lyrics, the looks and locks of a Greek goddess, and angelic tone. But she also laughs as abrasively as a cockney cab-driver, screws her face up like a leprechaun when she’s enjoying herself, and describes having her own guitar technician as ‘like wiping your ass with silk’. Her outfit is a shimmering display of flawless wardrobe, until rockfeedback catch a glimpse of her trainers as she walks to the piano. These attractive contradictions are not in such evidence in her songs, however. Every number Polly sings is simultaneously heart-rendingly and heart-warmingly sincere. In ‘Mea Culpa’, a song of rail-track suicide, she’s practically in tears, emotion welling in her voice. It’s a mood she revisits later, but elsewhere she’s vibrant and grinning, singing of love for old loves with infectious happiness. It is, in fact, a string-quartet, hired in for the night’s performance, which provides the most captivating moment. Abandoning both guitar and piano for the encore, we’re left with an exquisite rendering of ‘Perfect 4/4’, with but the quartet and Polly’s tortured vocals echoing the agonies of the song’s hospitalised subject. But, best of all, even with such an unfathomable well of empathy and a beneficent muse, she still can’t help but introduce the song by exclaiming, ‘Ah bollocks, it’s the last one’. The gig ends as it should: Polly’s debut album, Scissors In My Pocket sells out, and those who already own it are left with the pang of desire for more material, despite it only having been released last month. The girl is certainly on the train to acclaim. But there’s that feeling in your stomach, as if something internally has been challenged and changed during the course of the night, that leaves you confident that Polly Paulusma could soon move on to become groundbreaking, not long to be content with merely moving the earth beneath our feet. UNCUT Magazine (UK) 01 May 2004 Astonishingly mature debut from Britain's brainiest new singer-songwriter * * * * by Nigel Williamson Frighteningly clever with her first in English from Cambridge, Polly Paulusma might have become and academic or a novelist. Fortunately, she turned instead to music. Scissors In My Pocket is an album for connoisseurs of grown-up songwriting, littered with arresting references, both literary and musical. Something To Remember Me By is inspired by Shelley's Ozymandias. The lovely string arrangement on One Day subtly acknowledges Eleanor Rigby. Yet Paulusma's songs are also strikingly original, and full to the brim with potent melodies, unusual chords, meltingly heartfelt vocals and sharp emotional resonance. Joni Mitchell gave up songwriting after 1994's Turbulent Indigo. A decade on, we may finally have found a worthy successor. MOJO Magazine (UK) 01 May 2004 Ben & Jason/Beth Orton associate steps out alone * * * * by Martin Aston With chart-topping Katie Melua reaping all that Radio 2 support, by rights, Polly Paulusma should join her. Parkie's a fan, and you'd imagine R2's DJs should concur, given that she belongs more to the John Martyn-Nick Drake school of folk-jazz intimacy than Melua's Mike Batt-created MOR. Polly's extra arranging, producing and engineering skills explain why this debut feels complete, pure and personal. Give It Back swings while Over The Hill is as carefree as larks, but the girl's a born troubadour. Buoyed by elastic bass and the lightest of strings, the album's four key ballads One Day, Mea Culpa, Perfect 4/4 and Anywhere From Here are irresistible. Lyrically an unashamed romantic but rarely too florid ("wires fan before you, they draw you/In deep troughs and sharp peaks of green" is a gorgeous image) and vocally a smokier, breathier Melanie, she's got the tools for scaling giddy chart heights. INDEPENDENT ON SUNDAY 30 April 2004 She’s just finished touring with Jamie Cullum (“He’s so brilliant at what he does – a real fire cracker!”) and Michael Parkinson loves her (these days, a sure sign of success), but it was a while before singer songwriter Polly Paulusma realised her future lay in music. “For ages I was convinced I’d be a journalist,” she admits. “Then I started an MPhil, hated it and started writing a novel in between playing gigs at a pub, I got an agent and was on draft seven when I realised that I hated that too and had to do music.” So the 28-year-old Cambridge graduate swapped dusty libraries for her garden shed, where she wrote and recorded the folk-pop album Scissors In My Pocket. Paulusma (pronounced “Pole-sma”) is hoping it will be well received: “My parents have always been a bit funny about me doing music,” she says. “I had to upset a lot of people to do it.” Still, at least if it goes horribly wrong, at least she has a career plan C to fall back on. “Although,” she whispers, “I had a look at the novel the other day and it was awful.” The same, luckily, cannot be said for her debut album, out this month. Logo-magazine.com 26 April 2004 There’s something disconcertingly familiar about Polly Paulusma, and it’s immediately obvious. Though her voice is unique, it bears the hallmarks of every female singer-songwriter of note to have emerged in the last thirty years: Joni Mitchell, Carole King, Suzanne Vega, even Alanis Morissette. It’s disconcerting because she’s adept at summoning the spirits of all of them, yet never quite descends into homage, pastiche or parody. Far from it, her poetic lyrics are the result of a good education (a first in English at Cambridge), her presence the result of an apprenticeship served as backing singer for Ben & Jason, and her impact the result of that charismatic, chameleonic voice. Jason and The Argonauts were warned about the Sirens whose irresistible songs would lure them onto the rocks; it seems one of them has been reborn. MSN.co.uk 26 April 2004 The singer-songwriter is something of a resurrected breed for the 21st Century. Particularly the laid-back female variety. Polly Paulusma is the UK's latest and fits firmly into the old school bracket with cryptically poetic lyrics (she has a first in English from Cambridge and knows how to use it!) and gently lilting melodies. Her voice is decidedly distinctive. Inevitable Norah Jones comparisons aside, this is a girl with a south London accent, giving her songs such as Dark Side and One Day an endearing naivety with an underlying sense of experience and passion. Musically she's closer to many a female vocalists icon, the young Joni Mitchell rather than the jazz and country greats often referenced by other singers. She's adventurous enough to incorporate elements of Latin (Mea Culpa) and rock (Perfect 4/4). An enchanting debut from a very bright British talent. UNCUT Magazine (UK) 01 February 2004 Also, listen out for the forthcoming debut album on One Little Indian from an extraordinary new British singer-songwriter called Polly Paulusma. And remember you read the name here first. Polly Paulusma: The Making of Scissors In My Pocket 01 January 2004 Polly's first album, released on One Little Indian in April 2004, was recorded largely in Polly's garden shed during the glorious summer of 2003. Polly had sung backing vocals on Ben & Jason’s 2001 album ‘Ten Songs About You’. “It was meant to be one last hurrah in my musical career before I got a proper job,” she recalls. “Instead, after singing with them it became blindingly obvious to me that I had to do music. Everything else felt wrong. I realised I wasn’t facing up to the truth.” It wasn't long before she was making her first album by herself. As chance would have it, while she was making the record, One Little Indian heard an earlier demo and approached her. “It was ironic, really,” she says. “It was only once I’d decided to make the album on my own that a record label came along.” By the time the deal was done, the recording had already been finished, entirely on Polly’s own terms. Oli Hayhurst on double bass and Rastko Rasic on drums came in “to colour in all the black and white parts”. And thanks to some tolerant neighbours, organ, dulcimer, trumpet and a variety of other textures were added in the garden shed during the summer of 2003. There are 11 songs on the album, and all are characterised by hook-laden melodies, insightful lyrics and Polly’s distinctive vocals. Scissors In My Pocket is a record that has led many to describe her as a modern-day Joni Mitchell. On some of the tracks Polly, who produced most of the album herself, went back to her original demos. Dark Side, the album’s captivating opener, is the original recording from her first demo three years ago, produced by Ben Parker (Ben & Jason). One Day and Over The Hill are also the original demos. “There was such a vibe to them that it seemed ridiculous to try and redo them,” she explains. Together with newer songs such as the lyrical She Moves In Secret Ways, Mea Culpa and the intoxicating Anywhere From Here, the result is a debut album of extraordinary craft and imagination from a naturally gifted storyteller. Where do these enchanting, insightful, beautiful songs come from? She really isn’t sure. “I’m mystified by it. I’ve no idea how it works. You have to make a window of time every day and hope something comes in. And you can't allow life to get in the way.” But mystery or not, you surely won’t hear a better new singer-songwriter in the whole of 2004. Polly Paulusma: Biography 01 January 2004 “When I was eight, I built a raft at the bottom of the garden from a bit of old fence,” Polly recalls. “I nagged my mum to take it down to the river. She eventually gave in but she insisted it had to be attached to a rope and she would hold on to it. So I hid a pair of scissors in my pocket. I was planning to cut the rope and sail off to London. I didn’t get very far. But I had the same feeling towards making this record. It was about defiance and taking your life in your own hands. I was a real handful, I can tell you.” Which perhaps explains why soon after the raft incident, Polly was packed off to an all-girl's convent school. But if the sisters entertained hopes of taming her maverick spirit, their ministrations had a different effect. "They taught me how to be self-contained, how to stand on my own two feet. I also had a pretty wild time," she recalls. She also began to find her musical voice. Polly rebelled against formal piano lessons at an early age and wrote her first song at ten (actually a re-write of a Paul McCartney track - “I liked the tune but I decided he’d written the wrong words, so I wrote my own. Something about swans. Much better than his”). The onset of her teens coincided with the rise of 'baggy' – the musical scene that grew out of the clubs in Manchester, England. She loved everything about it, learned guitar and was soon "entertaining everyone at school and showing off," as she puts it. Baggy didn't last long. But it was the starting point of a musical journey. "I began to work my way back through the annals and I came upon people like Joni Mitchell and Nick Drake. That moment of discovery is amazing. It's something you can never recapture," she recalls. It inspired her own songwriting, although when she left school and went up to Cambridge she joined a ten-piece soul-funk covers band, “a bit like the Commitments,” and suffered regular bouts of laryngitis shouting herself hoarse doing Janis Joplin impressions. After graduating, she moved to London and formed a new band doing original material. But music was still only a hobby. “I convinced myself I had to have a proper grown-up respectable career,” she remembers. She considered becoming an academic and began a PhD, only to abandon it after a term. She could have been a journalist, and briefly took a job at the BBC World Service as a researcher. She also considered a career as a novelist, and even got as far as placing her manuscript with a literary agent. By the time she was asked to sing backing vocals on Ben & Jason’s 2001 album ‘Ten Songs About You’, she had quit the band. “It was meant to be one last hurrah in my musical career before I got a proper job,” she recalls. “Instead singing with them it became blindingly obvious I had to do music,” she recalls. “Everything else felt wrong. I realized I wasn’t facing up to the truth. I was like a moth going round a flame and I had to plunge in.” The novel was cast aside and she began playing solo gigs at acoustic venues such as the late-lamented Kashmir Klub. Two years of gigging and selling hand-made recordings from the stage meant that when she came to record her first album, she had 40 songs to draw upon. Oli Hayhurst on double bass and Rastko Rasic on drums came in “to color in all the black and white parts”. And thanks to some tolerant neighbours, organ, dulcimer, trumpet and a variety of other textures were added in the garden shed during the summer of 2003. The basic philosophy was no click tracks, as few edits as possible and as much playing live as was feasible. On several tracks, Polly, who produced the album herself, went back to her original demos. Dark Side, the album’s captivating opener, is the original recording of the song from her first demo three years ago, produced by Ben Parker (Ben & Jason). One Day and Over The Hill are also the original demos. “There was such a vibe to them that it seemed ridiculous to try and redo them,” she explains. Where do these enchanting, insightful, beautiful songs come from? She really isn’t sure. “I’m mystified by it. I’ve no idea how it works. You have to make a window of time every day and hope something comes and not allow life to get in the way.”
Tags: music, polly paulusma, mea culpa, mp3, music videos

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Jem (London, UK)

platialUser:baostar — 2006-05-06 15:32:24.202701+00:00

Jem - Flying High (acoustic) Videos: They (Quicktime / stream) Jem was born in Wales, a Celtic haven bordering England known as 'the land of song'. Wales is renowned for its magnificent coastline, for its patriotic rugby, and for bringing the world such talented performers as Anthony Hopkins, Richard Burton, Catherine Zeta-Jones, Tom Jones, Shirley Bassey, and Jem, of course! From the age of thirteen she was singing and writing songs, basic recording equipment was ever-present and she decided that one day she would be a singer. Keeping her dreams of this future career mostly to herself however, after finishing school she headed to Sussex University. Whilst in Brighton, Jem's great passion for music drew her into the music industry, but at this point it was the behind-the-scenes side that attracted her. She hurled her energies into club and festival promotion, became a DJ agent and finally helped set-up and run the specialist breaks label 'Marine Parade'. After a time however, it became clear something was missing. She realized that she'd been circling her own artistic instincts and it was time to take a leap of faith. But that great leap forward first required a small step back. In November of 1999 Jem surprised her colleagues by leaving everything behind and retreating to the creatively inspired air of Wales and a lifestyle of sofa surfing. Moving from the limits of her dictaphone, she assembled a mobile studio and got cracking on her songwriting and music production craft. This turned out to be a fruitful time. She completed a strong collection of 4 demos and things began to move quickly from there. Jem moved to London where she continued her nomadic existence and started collaborating with other writers/producers. Two days into her first writing session with acclaimed electronic producer Guy Sigsworth (Bjork, Frou Frou), the song 'Nothing Fails' was born. This collaboration between Guy, Jem and subsequently Madonna, appears as track 6 on Madonna's 'American Life' album. Her love of beats and bass also lead her to Brooklyn where she teamed up with NY hip-hop producer Ge-ology (Mos Def, Talib Kweli) and in autumn 2002 she met her now co-producer Yoad Nevo. Together they have succeeded in fusing her many musical influences to create a fresh and distinctive new sound. Jem's music is a combination of bright melodies, soul searching lyrics and diverse rhythms that grab you from the first listen. Her seemingly innocent lyrics contain those closely observed details that are as much about optimism as they are about discovery. The aptly titled song 'Finally Woken' found its way to influential Los Angeles radio station KCRW 89.9 FM. Music Director Nic Harcourt began spinning Jem's demo on the nationally acclaimed program "Morning Becomes Eclectic" and it created a proper stir. "As soon as I heard the demo from this Welsh songstress I had no choice but to put her on our playlist," said Nic Harcourt, and the beautiful 'Finally Woken' first made its way across our airwaves in March 2002 and 'Flying High' has become one of my favorites." With each play causing an assault on the station's telephones, her demo tracks quickly made her one of the most listener-requested artists at the station and landed her in their coveted top 5 played artists, and all prior to any record label being attached. As fate would have it, A&R Bruce Flohr was one of those listeners and he wooed her to sign onto Dave Matthews' ATO record label, which has enjoyed successes with David Gray, My Morning Jacket and Ben Kweller. Jem's EP 'It All Starts Here...' was released by ATO Records in Autumn 2003 and her full-length debut CD 'Finally Woken' followed in March 2004. After a long and winding road to becoming a full-fledged and working artist, Jem has finally woken, indeed.
Tags: jem, jemma griffiths, flying high, mp3, music video

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Camera Obscura (Glasgow, Scotland)

platialUser:baostar — 2006-05-05 14:33:24.739442+00:00

Camera Obscura - Keep It Clean Videos: Eighties Fan (Real / 7.63Mb) Keep It Clean (Real / 2.47Mb) Teenager (Real / 6.41Mb) I Love My Jean (Real / 12.1Mb) Hailing from sunny Scotland, Camera Obscura have ploughed their furrow writing slightly offensive pop melancholy. Perhaps the best example of this on their debut release, Biggest Bluest Hi-Fi, is Eighties Fan. If you haven't heard it (and you undoubtedly have), it is probably the best pop song ever. The aforementioned melancholy runs through its string veins with the lightest of bobbing flows. An impossibly pretty and well-recorded string section (arranged by Stuart Murdoch of Belle and Sebastian) provides the soul here, in a way that Tompaulin have surely learnt from and replicated. This song could mean something to everyone, such is its grace and deftness of craft. You too will think that 'life will be the death of you'. Unfortunately, having Eighties Fan as the second track on the album means that the listener is consistently under-whelmed by everything that follows it. This isn't to say that any of the material is spectacularly bad, but it inevitably fails in comparison to the glory of that one song. The album does enough to suggest that Eighties Fan wasn't a fluke (the terribly sad tale of a Smiths-obsessed boyfriend in Pen and Notebook probably comes closest), but there is a definite lack of the extreme coherence that would catapult them into the indie-pop superleagues. There are flashes of arch-knowing that take them steps closer to that special kind of personal relationship between band and listener, but there is also the feeling that they are capable of so much more. The sullen beauty of Tracy-Ann Campbell's voice could be the charm that wins the day with the casual listener, but the longevity really needs to come from the songs. A fine testament to the influence of Belle and Sebastian, Camera Obscura could be something pretty special if they get out of first gear. -TweeNet
Tags: camera obscura, tracyanne campbell, john henderson, gavin dunbar, mp3, music videos, indie pop

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Acid House Kings (Sweden)

platialUser:baostar — 2006-05-06 01:46:38.541724+00:00

Acid House Kings - Almost Videos: Do What You Want To Do (Quicktime / stream) Sweden’s no 1 guitar pop band. Acid House Kings was started by the teenagers Joakim Ödlund {also in Poprace, Starlet and Doubledan}, brothers Niklas {also in Red Sleeping Beauty} and Johan Angergård {also in Club 8, Poprace and The Legends} back in 1991 inspired by the English anorak scene {most bands on labels like Sarah, Subway and Heaven would be considered as favorites at this time}. The band recorded their first songs and sent them only to one label, the German pop label Marsh-Marigold. A few months later their debut single »Play pop! EP« was released. In 1992, Acid House Kings set up a 10 year plan: a trilogy of albums with one album released exactly every 5th year. Each album was to be filled with catchy guitar pop songs but with new themes and a growing maturity from album to album. The first album in trilogy was the twee »Pop, look & listen« released on Marsh-Marigold in 1992. The album was followed by the 6-track ep »Monaco G.P.« and a European tour in 1994. With the 2nd part of Acid House Kings album trilogy the band wanted to create catchy quality pop {a bit like The Smiths for summer days instead of lonely autumn nights looked up in your room}. That album was »Advantage Acid House Kings«. The band changed labels for this album to Shelflife in the US and Harmony in Japan. On this album the singer Julia Lannerheim was introduced in the band as a guest singer on a couple of songs. The album was released in rather small quantities and sold out quickly. It's now been re-released by Labrador Records. In 2001 Acid House Kings built a studio of their own, Summersound Studios, in order to make a perfectly sophisticated pop production for the 3rd installment in the trilogy. Joakim was unable to make it to the recording studio because of the fact that he was living too far from it. But on the other hand Julia became a full-time member of the band. The year was a creative burst for the Kings. The result was »Mondays are like Tuesdays and Tuesdays are like Wednesdays«. It's an easy, breezy, beautiful album with more lasting qualities than any of the other albums in the trilogy. It was released in 2002 on Parasol (US), Quince (Japan), Magnum (South East Asia) and Labrador (Europe). ALL MUSIC described ‘Mondays...« as “…yet more proof of the emerging, Swedish indie pop scene. “ and gave it Rolling Stone praised it as regal and “full of sugary, yet bittersweet hooks”. Spurred by the wide acclaim for »Mondays... « Acid House Kings immediately begun working on the plan for the second 10 year period and on what was to become »Sing along with Acid House Kings”. The new album also saw the return of founding member Joakim Ödlund on guitar. Combining the aesthetics of Kraftwerk with Motown girl groups from the 60’s and musical influences from Burt Bucharach to The Smiths, Acid House Kings have created a classic album of timeless pop perfection. True to their Swedish origin, the Kings cannot hide a certain debt to the stylish arrangements and crystal clear melodies of ABBA. Though the »Mondays...« album sounds just as great today as when it was first heard, there’s no doubt the new album is a big step forward. The vocal duties are charmingly shared between the two singers, Niklas and Julia, the melodies direct and timeless and the arrangements multifaceted and rich in detail. »Sing along with Acid House Kings« is not only a proof of the emerging Swedish pop scene, it’s the cream of the lot. And yes, you can sing along. They’ll even include a free karaoke DVD with the album {the very first in musical history} to help you do so.
Tags: acid house kings, mp3, music videos

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Beth Orton (London, United Kingdom)

platialUser:baostar — 2006-05-06 01:34:32.456216+00:00

Beth Orton - I Love How You Love Me She's been variously described as "a bummed out angel in the badlands of love" (Details), "the clear eyed oracle of London's breakbeat scene" (Spin) and "Queen of the heartbreak vocal" (Mercury Music Prize judges). There must be something special about Beth Orton that makes people attempt poetry. Ever since her debut solo album Trailer Park was released to critical acclaim in October '96, people have been enchanted by the tall Norfolk broad with the acoustic guitar. 1997 was good to Beth. From working with her all time hero, folk-jazz legend Terry Callier, to singing on the Chemical Brother's number one album Dig Your Own Hole, to touring America with Sheryl Crow and Emmy Lou Harris as part of the Lilith Fair, to performing to a packed-out tent of 10,000 muddy Glastonbury-goers. Not to mention scoring her first Top 40 single with "She Cries Your Name," selling-out her UK tour, and experiencing the perfect movie moment of driving down a sun-soaked Hollywood Boulevard in an open-top convertible and hearing her cover version of The Ronette's "I Wish I Never Saw The Sunshine" played on KROQ - then heading home to celebrate a Mercury Music Prize nomination for Album Of The Year! At six foot tall and disarmingly sharp, Beth Orton is not exactly what you'd expect. With an ability to reduce grown men (and women) to tears with her songs, Beth is more likely to steal your last cigarette than cry on your shoulder. As she says, "I don't think my songs are as miserable as people make out. There's a lot of hope in there as well. It depends if you're a half-empty or half-full person." Born in Norfolk, England in 1970, Beth moved to London with her mother at the age of 14 where they settled in Dalston. Her older brothers being punk rockers, the most rebellious thing the teenage Beth could do was "get into folk." She spent her late teen years immersed in everything from Nick Drake to Dexy's, The Stone Roses to Rickie Lee Jones, before toying with the idea of acting and a drama course at the LSU. After a couple of years in fringe theater she hooked up with dance producer William Orbit for her first musical project, a cover of John Martyn's "Don't Wanna Know About Evil." Having worked with Mr. Orbit for two years she co-wrote the first two Red Snapper singles and teamed up with the (little known at the time) Chemical Brothers on "Alive: Alone," the haunting final track from the Brothers' ace debut album. Signed to Heavenly Recordings, Beth blended her guitars with samples and beats on an album of starkly personal songs of breathtaking beauty. Working with producers Victor Van Vught (Tindersticks, Nick Cave) and Andrew Weatherall (producer of the classic Screamadelica) she created her own brand of rhythm-infused folk. Trailer Park struck a chord with everyone from seasoned folkies, country aficionados, teenage clubbers and the brokenhearted, earning her the title (her favorite yet) of "The Comedown Queen." Happiest in charge, she led her new band on a year-long road trek supporting The Beautiful South, John Martyn, John Cale, Mark Eitzel and Everything But The Girl before selling out her own headline tours. The Best Bit EP - released in December 1997 - was Beth's biggest chart success yet and saw her hooking up with her musical hero Terry Callier. It's success won Beth two Brit Award nominations ("Best British Female Artist" and "Best British Newcomer") and the e.p. went on to sell over 40,000 copies. Trailer Park soon went gold and it seemed that suddenly the whole world was talking about the intriguing English girl with the spine-tingling voice and pocketful of heartache. From virtual unknown to magazine front cover star by whispered word of mouth in under two years seems an unprecedented feat, and Beth's latest album Central Reservation will only help cement her growing reputation. She has recorded her second album with producers Victor Van Vught (producer of Trailer Park) and David Roback (from eerie US duo Mazzy Star). Central Reservation features guest appearances from jazz hero Terry Callier, Ben Watt (of Everything But The Girl), Ben Harper and Dr. John. An album of starkly beautiful songs, including the Modern Rock radio hits "Central Reservation" and "Stolen Car," Entertainment Weekly perhaps summed the collection up best by simply calling it "stunning." -artista.com
Tags: music, beth orton, elizabeth caroline orton, mp3, music videos

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Imogen Heap (London, United Kingdom)

platialUser:baostar — 2006-05-06 01:30:13.846732+00:00

Frou Frou - The Dumbing Down of Love Videos: Breath In (WMV / stream) Must Be Dreaming (WMV / stream) It's Good To Be In Love (WMV / stream) Part cool 'n' collected statuesque beauty, part thrilled eight year old, Imogen Heap is struggling to contain her excitement. "For the last year, I've had a mission to accomplish," says the former Frou Frou lass, kicking her pink stiletto-ed heels with joy. From the pride glowing from the songwriter's grin, it's clear "Operation Imogen" has been a resounding success. After twelve months of graft in her studio, the bubbly twenty-seven year-old is finally poised to release the glorious 'Speak For Yourself''. Filled with grace and passion, and loaded with hooks, it's a captivating Bjork meets pop-Squarepusher gem of a record and the thoroughly deserving source of her exhilaration. Following on from her 1998 debut 'I Megaphone' and her 2002 Frou Frou collaboration with Guy Sigsworth, 'Details', this is Heap's second release in her own name. But it is her first truly solo album. Out on Heap's own label, Megaphonic, 'Speak For Yourself' has an almighty cast of just one, but it is a triumph of Oscar-winning proportions. Startling lead single "Hide And Seek" is already taking the States by storm. One week after it was played-out in the closing sequence to the season (2) finale of cult drama series 'The O.C.', in a prize slot which last season used Jeff Buckley's heart-rending version of the Leonard Cohen-penned 'Hallelujah', 'Hide And Seek' leapt from No. 98 to No.32 in the Official Billboard Hot 100 Download Chart, making Imogen the No.1 Electronic Act on the chart. Impressively, the track â which was only available on iTunes as oppose to the many music sites which make up the Download Chart â sold 9,700 copies as a download in one week alone, and more impressively, gave Megaphonic the only independently-released track in the entire Hot 100 chart that week. Sitting among the chiffon curtains and butterfly fairy lights of her Bermondsey studio â the very same one in which Dizzee Rascal recorded 'Showtime', though now significantly girlied-up â Heap is the picture of satisfaction. Armed with Pro-Tools, some geeky toys and a room full of instruments ranging from a cello to carpet tubes, she wrote, recorded and produced every glistening note of her remarkable electro-poprecord herself, fulfilling a life-long dream. "I always wanted to find out what I was capable of," she says smiling broadly. In 2003 Heap parted ways with Island records, who released Frou Frou's "Details", though they were keen to put out the next solo album she felt it was "time for a change of scenery". Imogen recalls "I signed my first deal when I was just 17 and I've been on one label or another since then. I didn't think I'd end up releasing it on a label of my very own but once I'd finished I didn't want to give it all away again, specially as I'd put everything I had into it". Working with Frou Frou partner, Madonna and Britney producer Guy Sigsworth had been "an apprenticeship in making amazing records," says Heap. But Heap was adamant that with her next project, she should get the recognition she deserved. "It's not Guy's fault, but with Frou Frou, everyone assumed the man did all the production and engineering, mixing and programming and that the girl â me â just sang," explains Heap. "And I have to say that really irritated me. We did everything together. I'd been programming on Macs since I was twelve and that was more of a love to me than singing ever was." After her break-up with Universal/Island, Heap felt the time had come for change. "I loved working with Guy," she says. "I'd learnt so much from him and all the other various collaborations I'd done over the years. Now I was bursting with ideas and just wanted to get my hands really dirty!" Writing, recording and owning your own music is a noble aspiration. But as Heap discovered, record labels do have their uses and summoning together vital funds was proving a tad problematic. "I traipsed my way round every bank but I couldn't get a loan," she says. "I had Â£10,000 on my credit card and I couldn't pay my bills" but just before despair could stick in its claws, Heap's luck changed. Clocking a "For Sale" sign outside her block of flats was, she says, like a little light bulb going on: "I couldn't help wondering just how much I could sell my flat to myself for." From that moment on, it seemed as though Fate was smiling on Heap. The artist set about re-mortgaging her flat and thanks to a sympathetic surveyor ("I couldn't believe it," says Heap, "but he turned out to be a Frou Frou fan!") she got exactly the valuation she needed. The value of her humble flat had grown by a hundred grand, and with money to burn, Heap kick-started her year-long mission on her 26 th birthday, December 9, 2003 . "I had all my new gear delivered as a birthday present to myself," remembers Heap, "then I booked my mastering for December 7 a year later. That was my deadline â I was going to make sure I had my new album done in time to celebrate on my next birthday!" The songwriter set about experimenting. "I just wanted to see what kinds of sounds were coming out of me," she says reliving her excitement. Alone with her new toys, the singer found a voice she didn't know she had. And it was a discovery that was to unexpectedly shape the new album. Halfway through the album she set up an online blog www.imogenheap.com to help keep herself in check. "Somedays I wouldn't get much done as I didn't have anyone to answer to," says Heap, "so I thought if I wrote a diary on-line people could see if I'd been crap in the studio and it would keep me from slacking. If I got really stuck on something, just seeing the problem up there would help me tackle it better and one time I even asked those reading the blog to choose a lyrical direction from a poll I set up on my website!" The soundtrack to Heap's cycle rides between her Waterloo home and her studio may partly explain the cross-pollination of genres that is 'Speak For Yourself'. Pedaling to the glitchy electro-sparks of Avril, Squarepusher and Cursor Minor, to contemporary classical composers Arvo Part and Ryuichi Sakamoto to the pop/punk/rock of Cornelius and the Foo Fighters. And though the album's dominant personality is electronic, Heap says, it's also intrinsically vocally-lead. The lyric-based songs are accompanied by vocal segments, layered over each other and treated just like the pianos, strings, guitars, and harps are. And like all the other live instruments, her voice is tweaked, compressed or put through harmonisers to achieve the perfect sound. "I write in terms of the voice being a part of the score more than one vocal line hovering over a backing track," she explains. "I'm so lucky I've ended up with such a bizarre voice. It's distinctive enough to hold itself in whatever music I throw at it." However the real emphasis here is on the minutiae; the fluctuating dynamics beneath the soaring sounds. Aside from textured incidental noises, like trains rumbling past the tracks outside Heap's studio, breaths, sighs, whispers and intimate vocal quirks make this electronic wonder sound human again. And this warmth compliments the intensely personal nature of Heap's songs. 'Speak For Yourself' is vulnerable, exposed and flooded with emotion. So what's it all about? Heap pauses for thoughtâ¦"It's quite tricky writing lyrics for "love" songs when you are happy and content with your man," she laughs. "The subject matter can get pretty repetitive, so sometimes I found myself running away with a naughty thought or stealing a friend's situation and eventually the song would turn itself into something all by itself". And yet Heap's cinematic vignettes are remarkably vivid. Elusive little fantasies or based on real life? For example, epic closer, "The Moment I Said It" is a tumultuous scene of badly-broken news; stark electro-a cappella "Hide And Seek' a hymn to disbelief, betrayal and grief awhile "Goodnight And Go", which features Heap fan, Jeff Beck on guitars, is a wistful ode to forbidden love. With the album done and dusted, Heap can't help but revel in her serendipity. "Ever since I decided to do this on my own, great things have come my way," she says sitting back in her fluffy studio chair. Not withstanding her star-struck surveyor, other factors have also seemingly conspired in her favour. Last year, Scrubs-star Zach Braff personally selected the Frou Frou track 'Let Go' for the soundtrack to his critically acclaimed indie-hit and directorial debut, 'Garden State', helping fuel the Imogen Heap fire. Musical directors across a variety of television outlets have clamoured for her tracks; in addition to 'The OC', 'CSI' and 'Six Feet Under' have also featured her music and LA's influential KCRW station is already spot-playing album tracks. For a couple of months before release "Speak For Yourself" has been floating in and around the music business and a few household names have been in touch with Heap since hearing 'Speak For Yourself", hoping to book her for knob-twiddling duties. "I thought I might like to get into producing other artists records one day but it seems one day is already here and I'm really enjoying it". It's no surprise Heap emanates a burning self-belief. 'Speak For Yourself' has been a test of her abilities; a test she's passed with glowing colours: "In the past there were times when I wished I had been listened to," she says, "but I've never really known if I was right. This time, from the start I've done things my way." Part cool 'n' collected statuesque beauty, part thrilled eight year old, Imogen Heap is struggling to contain her excitement. "I feel nothing can stop me," she says through a huge grin. "This is just the beginning and I can't sit still with excitement to see how things are going to pan out."
Tags: music, frou frou, imogen heap, mp3, music videos

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Nouvelle Vague (France)

platialUser:baostar — 2006-05-06 01:15:21.722408+00:00

Nouvelle Vague - Making Plans For Nigel "Nouvelle Vague" is a french project initialized by Marc Collin and Olivier Libaux. Marc Collin was a genuine "french touch" figure (with his band Ollano).he moved from movie soundtrack ("the kidnapper's theme") to club music (he recorded for Paper recordings) until becoming a creative and eclectic producer (Avril on Fcom ,Volga select on Output records) Olivier Libaux was involved in many french pop acts all along the nineties and started working with Marc in 1998. He recently released his first solo album "L'hÃÂÃÂ©roÃÂÃÂ¯ne au bain" on french label naÃÂÃÂ¯ve. "Nouvelle Vague" ( means ÃÂ« New Wave ÃÂ« in french, ÃÂ« Bossa Nova ÃÂ» in portuguese) revisits number of both Marc and Olivier's favourite tracks of the early eighties, from Joy Division to XTC. Their idea was to forget the initial punk or new wave background of each song,keep simple fundamental chords,work with young singers who never heard the orginal versions,and make the quality of original songwriting happen in a completely different way.(bossa nova,jazz style and sixties pop) For their debut on this compilation, here is their version of "Guns of Brixton" performed by Camille, one of the most talented french vocalist at this time.
Tags: music, marc collin, olivier libaux, camille, sir alice, alex, melanie pain, silja, eloisia, daniela dambrosio, marina celeste, mp3

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Keren Ann (Paris, France)

platialUser:baostar — 2006-05-06 01:10:15.29754+00:00

Keren Ann - Not Going Anywhere On the heels of critical success for her sublime debut U.S. album, Not Going Anywhere, released on Metro Blue Records, an imprint of Blue Note Records, Paris and New York-based singer-songwriter Keren Ann follows with Nolita, another intimate collection of quietly sung lyrical gems this time with more diverse, multi-textured soundscapes. Six of the 11 songs are sung in English; the rest, including the graceful yet urgent album opener "Que n'ai-je?" ("What Don't I Have?"), in French. Recorded in Paris and New York, the CD, both beautiful and mysterious, pays homage to New York, her adopted home where she spent much of last year. 2004 was a pivotal year for Keren Ann, whose full name is Keren Ann Zeidel and is the daughter of a Javanese-Dutch mother and a Russian-Israeli father. In the late summer, she made her U.S. debut with the release of Not Going Anywhere (the English-language CD was her first album to be released overseas, the first two comprising originals sung in French). Self-described as her "very soft folk record," it made an immediate impact with critics and fans. The New Yorker noted: "Not Going Anywhere is well and truly written-a generosity at a time when technology makes it easy to release an album that is more wish than actâ¦Like a series of epigrams, the music has a masterly brevityâ¦The singing is quiet but drives the arrangements. It's the work of someone who has learned what she's good at." Prior to its release, Keren Ann created a buzz in New York with an extended residency, beginning in May, at the Lower East Side boutique club The Living Room and showcases at Joe's Pub, where she unveiled her songs described by scribes as "luminous," "precise, not wispy" and "captivating." Her whisper-like voice was characterized as "refreshingly unadorned, lacking any studied vibrato or artsy phrasing" and full of "serene mystery and subtle melancholy: cool but never detached." Concurrently Keren Ann was already working on Nolita. Earlier in the year, she spent February and March in the city. She returned to Paris and in her studio recorded pre-productions for each tune-guitar, drums, bass and some vocals. "But I had to get back to New York to fully record the songs," she says. "I had to get back to that atmosphere." So, with her residency on the horizon, Keren Ann set up shop in the lower Manhattan neighborhood of Nolita (North of Little Italy), renting a studio and loft. "When I record, I need to feel a familiarity with the space," she says. "So I hung some of my things on the wall and recreated a home space for myself. I like the idea of having a calm, quiet room to work on my music while knowing that outside there's noise and a lot happening. It's reassuring to know the "everyday" continues even though inside the studio you feel so disconnected from it." A few weeks into her residency, Keren Ann injured her hand, tearing ligaments in her thumb that required her to wear a cast. Initially she felt dismayed by the prospect of delaying the recording. "But a friend told me, 'It's not a big deal; it's just a change of plans,'" she says. "So I went out and bought keyboards and programming equipment that I probably wouldn't have used if I hadn't injured my hand. Naturally, I'd just play my guitars." While the original guitar parts remain, they are embellished with layers of colors and textures as well as cello, violin, guitar and trumpet parts contributed by new acquaintances on the New York scene. Keren Ann cites two examples: electric guitarist Jack Pettruzzelli on the longing "One Day Without" and jazz trumpeter Avishai Cohen on the quietly fingerpicked beauty "L'onde amÃ¨re" ("Bitter Wave"). When asked about the melancholic vein in her music, Keren Ann hastens to note that it's not necessarily sadness. "I don't think the two have a direct relationship," she says, emphasizing instead a reflective sensibility. "When I think of melancholy, I'm thinking of vocalists like Caetano Veloso, Chet Baker, Billie Holiday. It's there with rock artists too, like Tom Waits, Blur, Velvet Underground. It's true, I'm doing melancholic music, but it's not down." Keren Ann says that Nolita thematically returns to the feel of one of her earlier albums, 2002's La Disparition (The Disappearance): "The themes come back," she says. "I guess I get obsessed with certain things like absence, lust, longing. They come back through different stories and different characters. But I also like how it stays mysterious." Nolita opens with "Que n'ai-je," a tune about a woman who is being stalked, according to Keren Ann, "either by someone she loved in the past or by who she herself was 20 years ago. The song is about that fantasy where people want to erase all the evidence of their existence." The English-language numbers include the slow-smoldering "Chelsea Burns" with a country tinge (violin, mandolin and harmonica); the haunting title track about suffocation and burial; the optimistic pop melody "Roses & Hips," with its sweet sense of longing; the dreamy and indelible "For You and I," a collaboration with longtime writing partner Bardi Johansson (of Icelandic pop band Bang Gang, and Keren Ann's side project band "Lady & Bird"); and the fascinating end piece, "Song Of Alice," where actor/film director Sean Gullette gives a dramatic narration of a Keren Ann story about a disturbed resident of 23rd Street in Chelsea. The tunes on Nolita add up to another remarkable outing for Keren Ann, still a Parisian and now also a New Yorker. "I like to capture moments," she says. "It's like a photograph. Ten years from now you look at the photograph and you don't remember it but rather the whole week or month around the photo. That's what this record is like. Thirty years from now, I'll look back at Nolita and remember that it came from the atmosphere I was longing for in New York." -EMI Music
Tags: music, keren ann, keren ann zeidel, not going anywhere, mp3, music videos

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The Gentle Waves (Glasgow, Scotland)

platialUser:baostar — 2006-05-06 01:01:12.043191+00:00

The Gentle Waves - Dirty Snow For The Broken Ground The orchestral folk-pop of the Gentle Waves was primarily the brainchild of singer/songwriter Isobel Campbell, best known as the cellist and occasional vocalist for Scottish twee phenoms Belle and Sebastian. Recorded with the aid of fellow B&S members Stuart Murdoch, Richard Colburn, Chris Geddes, Mick Cooke, and Stevie Jackson following the group's 1998 U.S. tour, the Gentle Waves' debut LP Green Fields of Foreverland was released on Jeepster Records the following spring. Swansong for You was issued in fall 2000. - Jason Ankeny, All Music Guide
Tags: music, isobel campbell, the gentle waves, mp3, indie pop

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Emiliana Torrini (Iceland)

platialUser:baostar — 2006-05-05 23:50:17.583393+00:00

Emiliana Torrini - Today Has Been OK Videos: Heartstopper (WMV / 8.4Mb) Session KCRW 2005 (Real / 60Mb) "Home alone and happy / Nothing brings me down" So opens Emiliana Torriniâs second album, a soft-yet-searing collection of twelve intimate and atmospheric songs that will whisper their way into your bloodstream. Back in 1999, when the singer released the critically acclaimed Love In The Time Of Science, Emiliana came out with a gorgeous, electronic trippoppinâ vision of endless summer and moonlit nights out. Following her departure from One Little Indian, thereâs a new introspection, closer to Nick Drake or Jolie Holland than Portishead or Goldfrapp. "This whole record is about these four years I was away," explains Emiliana " Very life-changing times. A lot of things happened. I just couldn"t at this stage go back to writing a record like I did before." Indie HQ Rough Trade clearly approved of her new direction: they signed Emiliana immediately after hearing the first demos from Fisherman's Woman. The 27-year-old singer and writer has nonetheless been busy since Love In The Time Of Science. She moved to Brighton, joined the cast of Lord Of The Rings: The Two Towers to perform the enchanting âGollum Songâ wrote and toured with Thievery Corporation, and wrote a Number One Hit for Kylie Minogue in the shape of huge-selling pop smash 'slow". "It was a very fun thing to do," she says. "It was an opportunity to dust off my dancing shoes and write music that I don"t normally write but love, and then keep the smokey-little-bar-music to my self." 'slow" was written and produced with Brixton-based producer Mr Dan, midway through the sessions that became Fisherman's Woman. After writing with a number of different artists, Emiliana was introduced to Mr Dan â and they clicked immediately. "it had been so long since the last album, and I was in two minds of doing it again," she says. "I was very nervous about going back, but we had so much fun doing it. It is just one of those collaborations I have been waiting for all my life." Emiliana decided to go back to basics and write with just a guitar and no electronics or programming. The pair jammed out the songs in Dan's dark Brixton basement with Dan on guitar and Emiliana conjuring up the lyrics and melodies. After that they recorded the record in The Exchange in Camden, " well one thing I knew very well is that I wanted a very intimate vocal sound," she says. "This album was recorded with candles, laughing fits and my duvet. We were sad leaving Brixton. I love it there," she says. "It can suck the life out of you and then blow you full again. Depends what mood it's in. Brixton is like a huge "me me me show"." Intimate. It sounds like it: opening gambit "Nothing Brings Me Down" gradually builds from sparse beginnings; Dan's acoustic guitar, light touches of piano - to a textured, gentle circle. Album highlight 'sunny Road" sounds as if it could have leaped out of a dusty, lost Leonard Cohen session, while "Lifesaver" floats along a mysterious, fairy-tale accordion melody, accompanied by the ambient creak of boats on water. "Thinking Out Loud" whispers of Eastern Europe and the Appalachians before album closer, 'serenade" multi-tracks the listener into a moonlit dream which references clouds, dark vines, temptations and new tomorrows. It's evocative and heart-felt â a handcrafted jewel of a record. Fisherman's Woman also includes a song, "Honeymoon Child" written by smog's Bill Callahan, who Emiliana spent some time writing with in America. Emiliana Torrini is half Icelandic, half Italian. She grew up in Iceland in a town outside Reykjavik and spent her childhood summers with her grandmother in the far east of Iceland out in the wild, spacious countryside. Her teen summers were spent in Germany with her Italian uncle. She joined a choir aged seven and sang soprano till she was 15, when she went to opera school. "I got into other music rather late because we didn"t have any records, well except lots of classical, my mum's Greatest Love Songs compilation from the TV and Leonard Cohen whom I love. Then we got MTV. We were the first people in our town to have it and I would stay up all night to record from the late night alternative shows, making tapes to take to school to brag about my musical findings." She recorded a few jazz and blues songs for her father's 50tth birthday which then became an album that sold 15,000 copies in Iceland and remained at number one for many months. She followed this with an equally successful album of which 50% was co-written by her and hence the beginnings of her writing career. "I spent this period singing in restaurants, bars and hotels all over Iceland," and that is how she was discovered by One Little Indian where their MD happened to be eating. Emiliana consequently moved to England where Roland Orzabal from Tears For Fears co-produced her worldwide debut. " I wanted to move to India, learn the classical techniques there, then move to Bulgaria, be a gypsy, and learn the techniques, and keep moving and learning new ways of singing - but instead I came to England and made a pop record." Fisherman's Woman is a very different beast. It is themed around loss, and how it feels to lose people; sometimes it's dripping with sadness but more frequently imbued with almost magical optimism. "Fisherman's Woman is a letter I wrote to a person that I lost at that time. I coped by thinking I was with a fisherman. They can go on sea for months like my friend's dad. Her mum saw him twice a year maybe for a fortnight at a time," she says. "It was a little bit like Alice in Wonderland. The falling into a hole, the madness of it all." Despite the sadness, Emiliana remains positive. "I could never write a wholly sad album," she says laughing. "There are too many moon rivers to see and life to live. Fisherman's woman has been a way of making things whole again." This album is sincerely honest and as endearing as they come. And it's lovely, too. -emilianatorrini.com
Tags: music, emiliana torrini, today has been ok, mp3, music videos

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Isobel Campbell (Glasgow, Scotland)

platialUser:baostar — 2006-05-05 22:31:18.764871+00:00

Isobel Campbell - Love For Tomorrow Videos: Isobel Campbell & Mark Lanegan: Ramblin' Man Isobel's wistful manner and sensational talent and taste makes her an absolute Indie Pop icon.
Tags: music, singer, belle sebastian, isobel campbell, cellist extraordinaire, mp3, music videos

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songtest - ok, you can now add audio to Places

platialUser:hive — 2006-04-21 14:38:57.872816+00:00

ok this is terrible, but could be cool to embed multiple things in a place before? Just use the "embed" tag with the mp3 file source link. guess there should be an FAQ about this huh?
Tags: noisy, music, mp3

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Web Visions 2006 Conference

platialUser:jason — 2006-04-21 13:19:47.864059+00:00

Join the giants of design, user experience and business strategy at the Oregon Convention Center from July 20 to 21, 2006 to uncover the trends and agents of change that will shatter your assumptions about the Web.
Tags: web, podcast, conf, july, mp3, stewart butterfield, why we still love the web

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Jane's Addiction, "Jane Says," 1988

platialUser:tracy_the_astonishing — 2007-01-16 07:41:37.726015+00:00

"Nothing's Shocking" was an important record for my generation. I still love this record. It was played so much over about two years that it is almost unfair to try to pin it to one Place and time. But I do have one specific memory more tied to this record than any others. I don't even know why I remember it. Tague and Corrine and I are hanging out on the Iowa State University campus at night. We've been exploring, wandering... talking, dreaming of leaving Iowa... We have a boom box and we're playing "Nothing's Shocking." We're sitting on some kind of structure outside. We're not even really talking to each other. We're just 17 and waiting for our real lives to begin, and angry as hell that we have to wait, while we listen to Jane's Addiction.
Tags: driving, campus, music, hanging out, ames, anger, adolescence, corrine, tague, mp3, angst, janes addiction, angry, isu, college campus, sitting around, emotions, desires

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Bob Dylan, starting some time in 1988

platialUser:tracy_the_astonishing — 2007-01-16 07:49:31.199298+00:00

I discovered Bob Dylan at about the same time as I discovered the Columbia Record and Tape Club. The two went so well together. Those old albums were cheap to get, from the back of the catalogue. I listened to only Bob Dylan during several different phases of my life. My passion for Bob only waned some time in my 20s. I'm not sure I can even say for sure why this music meant so much to me. I was unhappy a lot during those high school years, and this music helped. When you're 16, you spend a lot of time thinking about the meaning of things. The opacity of some of Dylan's lyrics was an ideal ground for that yearning to dig for meaning.
Tags: beauty, comfort, misery, wonderful, important, teenager, sadness, adolescence, mp3, angst, solace, words, lyrics, crutch, life preserver, meaning

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"Old Kent Road" by Pipas

platialUser:baostar — 2006-04-26 15:54:44.297185+00:00

Old Kent Road is a road in south London. The Old Kent Road runs from the Bricklayer's Arms Roundabout, where it meets the New Kent Road, Tower Bridge Road, and Great Dover Street, to New Cross. It forms the boundary between Walworth and Peckham to the south and Bermondsey to the north.
Tags: music, song, mp3, old kent road, the pipas, indie pop, south london

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Esthero (Toronto, Canada)

platialUser:baostar — 2006-05-08 19:08:54.167934+00:00

Esthero - I Drive Alone Vocalist Esthero was born Jen-Bea Englishman on December 23, 1978, in Ontario, Canada. She moved to Toronto in 1996, and quickly became a fixture at the city's open mikes. There she met Doc (real name: Martin McKinney), an engineer and producer, and the two began working on a demo featuring his programming and her vocals. Sony eventually took interest, and suddenly Esthero went from a fledgling idea to a duo with Esthero's name as their own and a record, Breath from Another, issued in spring 1998 on the label's Work imprint. Breath's mix of beats, lush vocals, and fractured bits of programmed samples caught on perfectly with the trip-hop trend of the time, and Esthero had success with singles like Heaven Sent and the hip-hop-flavored title track. However, it would take nearly seven years for a follow-up to appear. In the interim Esthero parted ways with Doc and struck out on her own, contributing vocals to projects like Black Eyed Peas' "Weekends" (2000). Signing with Reprise, she began work on new material, and returned officially in summer 2004 with the club single O.G. Bitch. Esthero followed the single in November of that year with We R in Need of a Musical Revolution, an EP that found her collaborating with Sean Lennon, Cee-Lo, and producer James Robertson (Skye Sweetnam) on a 21st century version of Breath's assemblage sound. The EP set up a full-length entitled Wikked Lil' Girls, which was slated for release in early 2005. -allmusic.com
Tags: music, esthero, jenbea englishman, wikked lil girls, mp3

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Bows (London, United Kingdom)

platialUser:baostar — 2006-05-08 21:49:43.90449+00:00

Bows - Cuban Welterweight Rumbles Hidden Hitman Singer/songwriter/multi-instrumentalist Luke Sutherland formed Bows after the breakup of his first group, the critically-acclaimed Long Fin Killie. Danish singer Signe Høirup Wille-Jørgensen completed the core of Bows' lineup, and the duo made their debut early in 1999 with the trip-hop inspired single "Big Wings." The jazzy single "Blush" and the album of the same name appeared later that year. Sutherland is also a critically-acclaimed novelist; his semi-autobiographical first book Jelly Roll, which follows the journey of a Scottish jazz band touring the highlands, was nominated for a Whitbread Prize in the First Novel category. -allmusic.com
Tags: electronica, music, bows, luke sutherland, mp3

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"New York City" by Lisa Marr

platialUser:baostar — 2006-05-25 16:45:09.570209+00:00

You called me last night on the telephone And I was glad to hear from you 'cause I was all alone You said, "It's snowing, it's snowing! God, I hate this weather." Now I walk through blizzards just to get us back together We met in the springtime at a rock-and-roll show It was on the Bowery when it was time to go We kissed on the subway in the middle of the night I held your hand, you held mine, it was the best night of my life. 'Cause everyone's your friend in New York City And everything looks beautiful when you're young and pretty The streets are paved with diamonds and there's just so much to see But the best thing about New York City is you and me Statue of Liberty, Staten Island Ferry, Co-op City, Katz's and Tiffany's* Central Park, Brooklyn Bridge, The Empire State where Dylan lived** Coney Island and Times Square, Rockefeller Center Wish I was there You wrote me a letter just the other day Said, "Springtime is coming soon so why don't you come to stay." I packed my stuff, got on the bus, I can't believe it's true I'm three days from New York City and I'm three days from you 'Cause everyone's my friend in New York City And everything looks beautiful when you're young and pretty The streets are paved with diamonds and there's just so much to see But the best thing about New York City is you and me 'Cause everyone's my friend in New York City And everything looks beautiful when you're young and pretty The streets are paved with diamonds and there's just so much to see But the best thing about New York City is you and me.
Tags: indie, new york city, mp3, lisa marr, cub

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The Dears (Montreal, Quebec)

platialUser:baostar — 2006-05-25 17:03:35.335343+00:00

The Dears - Lost In The Plot The Dears, a loose collective of Montreal-area musicians formed in 1995, are led by the charismatic Murray Lightburn. Citing Serge Gainsbourg as a major influence, the band combines cabaret-style vocals with a moody, intense brand of orchestral pop/rock. Lightburn's vision for the band is to create music out of real emotions, often giving his performances the feel of a musical therapy session. Given the level of intensity that this vision can require, it's not surprising that the Dears have endured numerous member defections, including a guitarist, drummer, and two bass players. The Dears released their debut CD, End of a Hollywood Bedtime Story, on Grenadine Records in 2000. In early 2001, the band entered the studio to record the follow-up, tentatively titled Deuxième Partie. In 2004, the full-length No Cities Left was released. -allmusic.com
Tags: rock, indie, mp3, the dears, no cities left, moody, orchestral pop, post new wave

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Kids turn "teen repellent" sound into teacher-proof ringtone

platialUser:jason — 2006-05-29 10:39:27.058984+00:00

The sound that repels troublemakers A device emitting a soundwave which is designed to drives young troublemakers away from a problem area of Swindon has been hailed as a success. Listen to the sound online. The 'Mosquito' sonic deterrent device was installed by the Wyvern Theatre in an attempt to stop groups of up to 100 youngsters from gathering around Theatre Square. The Wyvern Theatre The Wyvern Theatre It was named the 'Mosquito' because the sound resembles that of a buzzing insect. And it works by emitting a harmless ultra sonic tone that generally can only be heard by people aged 25 and under. In trials, it has proven that the longer someone is exposed to the sound, the more annoying it becomes.
Tags: khz, youth, public space, kids, audio, rights, ring tones, teen, manipulation, mp3, repellent, hacking, high pitch, bbc, undesired, ism

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"San Francisco Song" by Camera Obscura

platialUser:baostar — 2006-05-30 16:40:40.29549+00:00

You know I cannot stand your love for alcohol You’re such a tall man but you’re looking kind of small I’ll send you movie stills to rid you of your ills Because you’re ill Now you’re finding out I’m hard to please You’d better watch your mouth you’ll bring a girl close to tears I ripped up my lyric book, gave myself the blackest look Black looks You would think by now I wouldn’t miss this place It makes my poor legs weak and my sweet heart start to race To race, yeah to race
Tags: song, san francisco, camera obscura, mp3

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"Gin & Juice" by Sissy Bar

platialUser:baostar — 2006-06-01 22:13:55.967613+00:00

This is a cover of Snoop Dogg's Gin & Juice that Sissy Bar turned into a catchy, indie pop song. The first verse, "With so much drama in the L-B-C" refers to Long Beach City, in California.
Tags: song, mp3, cover, indie pop, gin juice, sissy bar, snoop dogg, twee pop

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"Montana" by Venus Hum

platialUser:baostar — 2006-06-12 19:13:24.06155+00:00

The line "Throw a bright pink dress over my red head / Go to Saint Mary's Lake" refers to a lake located in Montana. Panic start- It's 8 o'clock Mach 10 to get to the school on time Throw a dress on over my head Jump in my freedom ride Fill me up with sound The world sings with me a million smiles an hour I can see me dancing on my radio I can hear you singing in the blades of grass Yellow dandelions on my way to school Big beautiful sky! Panic start- It's just enough, a little, too late Park calls! I'll not go to school today Throw a bright pink dress over my red head Go to Saint Mary's Lake Fill me up with sound The world sings with me a million smiles an hour I can see me dancing on my radio I can hear you singing in the blades of grass Yellow dandelions on my way to school Big beautiful sky! I can see me dancing on my radio I can hear you singing in the blades of grass Yellow dandelions on my way to school Big beautiful sky! Fill me up with sound The world sings with me a million smiles an hour I can see me dancing on my radio I can hear you singing in the blades of grass Yellow dandelions on my way to school Big beautiful sky! I can see me dancing on my radio I can hear you singing in the blades of grass Yellow dandelions on my way to school Big beautiful sky! Big beautiful sky! Big beautiful sky!
Tags: song, montana, mp3, big beautiful sky, venus hum, st. mary lake

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"Judy Is A Punk" by The Ramones

platialUser:baostar — 2006-06-16 15:00:58.645366+00:00

The line "They both went down to frisco, joined the sla" refers to San Francisco. Jackie is a punk judy is a runt They both went down to berlin, joined the ice capades And oh, I dont know why oh, I dont know why Perhaps theyll die, oh yeah perhaps theyll die, oh yeah Perhaps theyll die, oh yeah perhaps theyll die, oh yeah Second verse, same as the first jackie is a punk judy is a runt They both went down to berlin, joined the ice capades And oh, I dont know why oh, I dont know why Perhaps theyll die, oh yeah perhaps theyll die, oh yeah Perhaps theyll die, oh yeah perhaps theyll die, oh yeah Third verse, different from the first jackie is a punk judy is a runt They both went down to frisco, joined the sla And oh, I dont know why oh, I dont know why Perhaps theyll die, oh yeah perhaps theyll die, oh yeah Perhaps theyll die, oh yeah perhaps theyll die, oh yeah
Tags: 80s, mp3, the ramones, judy is a punk, frisco, jakie is a runt, prepunk

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"Tom's Diner" by Suzanne Vega

platialUser:baostar — 2006-06-16 17:09:35.279463+00:00

I am sitting In the morning At the diner On the corner I am waiting At the counter For the man To pour the coffee And he fills it Only halfway And before I even argue He is looking Out the window At somebody Coming in " It is always Nice to see you" Says the man Behind the counter To the woman Who has come in She is shaking Her umbrella And I look The other way As they are kissing Their hellos I'm pretending Not to see them Instead I pour the milk I open Up the paper There's a story Of an actor Who had died While he was drinking It was no one I had heard of And I'm turning To the horoscope And looking For the funnies When I'm feeling Someone watching me And so I raise my head There's a woman On the outside Looking inside Does she see me? No she does not Really see me Cause she sees Her own reflection And I'm trying Not to notice That she's hitching Up her skirt And while she's Straightening her stockings Her hair Is getting wet Oh, this rain It will continue Through the morning As I'm listening To the bells Of the cathedral I am thinking Of your voice... And of the midnight picnic Once upon a time Before the rain began... I finish up my coffee It's time to catch the train
Tags: alternative, mp3, suzanne vega, toms dinner, toms restaurant

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Daniel Steinberg Interviews Platial Team @ Where2.0

platialUser:jason — 2006-06-19 21:43:52.520713+00:00

In a Distributing the Future piece called Playing with Location, Daniel Steinberg took a lot of time with us in a back room, away from the hustle of this amazingly inspirational conference. He left in a few rambling bits, but overall we seem to sound fairly competent. :) Listen in :
Tags: fairmont, where2.0, oreilly, platial, audio, podcast, san jose, mp3, daniel steinberg, interview

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"Golden Gate Bridge" by Rose Melberg

platialUser:baostar — 2006-06-28 12:58:48.366727+00:00

If you leave me now I don't know what I'll do without you I've heard one too many times You don't have time to argue Too bad I have all these memories Of you and me I'll throw them off the golden gate bridge And set you free I'm sorry that you didn't love me Cross out that first time we kissed I'm sure at one time you felt something One fleeting moment I missed Suddenly this hope there Makes much more sense For you my name, my number And my heart are all past tense I'm sorry that you didn't love me Cross out that first time we kissed I'm sure at one time you felt something One fleeting moment I missed
Tags: golden gate bridge, song, the softies, rose melberg, mp3, indie pop

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"New Orleans" by The Essex Green

platialUser:baostar — 2006-09-20 17:11:23.332074+00:00

Baby pack your things in a pickup truck We're getting out of this town There's too many people saying too many things Too many things to get around I met a young man down in New Orleans Where the sky is blue and the trees are green He told me bout a shack by the riverside With a welcome mat outside Where the whiskey flows and moonlight glows Breezes blow through the cotton groves And the sand squishes out from between your toes Think that's where I want to go And the millions call to me And the millions call to me Don't sell your house down in New Orleans There's a fortune in gold down there Spend a little time in the winter sun We have but a second to spare You say you've had enough of the life you know Take you to a place where the time moves slow Where the sand squishes out from between your toes Think that's where I want to go And the millions call to me And the millions call to me
Tags: music, song, new orleans, mp3, indie pop, the essex green

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Happy Birthday Tracy

platialUser:jason — 2008-01-25 09:07:57.13612+00:00

Tags: tracy rolling, audio, mp3, happy birthday

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"Mushaboom" by Feist

platialUser:baostar — 2006-11-02 14:07:30.545418+00:00

Mushaboom is a village on the southeast coast of Nova Scotia, about 75 miles east of Halifax. Presumably an idyllic location to settle down and live a quiet life. Helping the kids out of their coats But wait the babies haven't been born Unpacking the bags and setting up And planting lilacs and buttercups But in the meantime I've got it hard Second floor living without a yard It may be years until the day My dreams will match up with my pay Old dirt road (Mushaboom mushaboom) Knee deep snow (Mushaboom mushaboom) Watching the fire as we grow old (Mushaboom mushaboom) I got a man to stick it out And make a home from a rented house And we'll collect the moments one by one I guess that's how the future's done How many acres how much light Tucked in the woods and out of sight Talk to the neighbors and tip my cap On a little road barely on the map Old dirt road (Mushaboom mushaboom) Knee deep snow (Mushaboom mushaboom) Watching the fire as we grow old (Mushaboom mushaboom) (Mushaboom mushaboom) Old dirt road rambling rose (Mushaboom mushaboom) Watching the fire as we grow old (Mushaboom mushaboom) Well I'm sold
Tags: indie, song, pop, mp3, mushaboom, feist

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IODA

platialUser:teafordinner — 2006-12-11 14:21:03.314432+00:00

Run by an experienced team of digital music experts with a passion for independent music, IODA distributes thousands of releases from independent labels to digital music and video outlets around the world.

IODA provides any or all of these services to music labels and distributors, video distributors, and artists including:

service, metadata and sales administration in our Rightsholder Dashboard
digital marketing and promotion through tools like Promonet
in-house technology including reporting tools and media delivery systems
collective licensing negotiation with digital content retailers
aggregated royalty collection and payment administration

Tags: mp3, digital music, distribution, itunes, transcoding, promonet

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"Girl From The North Country" by Eels

platialUser:baostar — 2007-01-02 14:08:39.666827+00:00

The original song is by Bob Dylan. It's about an old girlfriend Echo Helstrom in Hibbing, Minnesota. Well, if you're travelin' in the north country fair, Where the winds hit heavy on the borderline, Remember me to one who lives there. She once was a true love of mine. Well, if you go when the snowflakes storm, When the rivers freeze and summer ends, Please see if she's wearing a coat so warm, To keep her from the howlin' winds. Please see for me if her hair hangs long, If it rolls and flows all down her breast. Please see for me if her hair hangs long, That's the way I remember her best. I'm a-wonderin' if she remembers me at all. Many times I've often prayed In the darkness of my night, In the brightness of my day. So if you're travelin' in the north country fair, Where the winds hit heavy on the borderline, Remember me to one who lives there. She once was a true love of mine.
Tags: indie, song, minnesota, folk, acoustic, mp3, eels, girl from the north country

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"Somerville" by Pernice Brothers

platialUser:baostar — 2007-01-03 11:39:48.426612+00:00

"Somerville" is a song about homesickness for a working-class Boston suburb with stomping melody to carefully chosen words. I left there with bitter words. I'll go back with cap in hand, And launder the bed I made, hurtful things said, And pick up where I began. The penny lost its shine. Dirty ankles on the promenade in rubber flip-flop sandals. Give me back the neurotic and the sweet lament. 'Cause I can't handle it.
Tags: somerville, indie, song, mp3, pernice brothers

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"Hannibal, MO" by Dolorean

platialUser:baostar — 2007-01-12 13:44:18.744907+00:00

I had a true love from Hannibal Where the Mississippi turns flat and wide We'd lay out on the sandbars And fall asleep to the barges and the fireflies And I killed my true love from Hannibal She was nineteen and I was twenty-two Summer was ending and she was leaving soon To study writing on the east coast And I worked in my father's shop Fixing air conditioners and heating pumps Going to college never made much sense to me I wanted to keep my true love close to me The summers are hot in Hannibal The summers there are unbearable So we'd steal down to the water's edge And cool off in the river's ebb One night we decided what we would do Swim to the middle 'til our strength gave out Where the current was strong and deep Together we'd be pulled down to sleep So we swam 'til our bodies were weak I watched my true love get washed out to sea I felt a terrible grip from beneath The river took her but it didn't take me In St. Louis there's a prison cell It'll be twelve more years 'til I get out When I do her father says he'll shoot me down If I don't do it myself Most days I just try and sleep I dream of Hannibal when it was in between It's not quite day and it's not yet night We fall asleep to the barges and the fireflies
Tags: music, indie, song, mp3, hannibal, dolorean

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"Smoke On The Water" by Deep Purple

platialUser:baostar — 2007-01-25 17:09:43.44699+00:00

"We all came out to Montreux on the Lake Geneva shoreline To make records with a mobile - We didn't have much time", coos the band.
Tags: song, mp3, smoke on the water, deep purple

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"Carolina" by M. Ward

platialUser:baostar — 2007-02-02 11:31:42.130069+00:00

I'm plotting this one in the middle of North Carolina and South Carolina. Oh, where' you goin' for the two hundred and fiftieth time (Well I'm waiting for a sign) Well, it looks just like another line And I'm walking backwards to the place where I come from Oh but that ain't enough, no you want me to run Used to feel like California, with baby eyes so blue Now I feel like Carolina, I split myself in two Now I'm walking backwards from Chicago through Washington Oh but that ain't enough no, you want me to run Oh that ain't enough no you want me to run Better watch your soul it'll leave you like a hundred bucks My friend said, "stick to your guns" But instead I just got stuck And I'm walking backwards lookin' forward to getting done Oh but that ain't enough, no you want me to run Oh that ain't enough no, you want me to run Used to feel like California, with baby eyes so blue Now I feel like Carolina, I split myself in two Used to feel like California, with baby eyes so blue Now I feel like Carolina, I split myself in two
Tags: indie, song, folk, mp3, carolina, m. ward

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"Mendocino" by The Essex Green

platialUser:baostar — 2007-02-23 13:35:41.408667+00:00

A cover of Doug Sahm's "Mendocino". Teeny bopper my teenage love I caught your waves last night It sent my mind to wonderin You're such a grove Please don't move Please stay in my lovehouse by the river Fast talking guys with strange red eyes Have put things in your head And started your mind to wondering I love you so please don't go Please stay here with me in Mendocino Mendocino Mendocino Where life's such a groove You blow your mind in the morning We use to walk thru the park Make love along the way in Mendocino SOLO Like I told you can you dig it If you wnnna groove I'll be glad to have you I love you so please don't go Please stay here with me in Mendocino Mendocino Mendocino Where life's such a groove You blow your mind in the morning We use to walk thru the park Make love along the way in Mendocino Mendocino Mendocino Mendocino Mendocino
Tags: mendocino, indie, song, mp3, the essex green

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"California (All The Way)" by Luna

platialUser:baostar — 2007-03-02 15:50:26.714179+00:00

well, she followed him from phoenix out to california and then she passed out on the bed and all the little things he never even asked her for she simply smiled and shook her head why can't we smile just like we used to why don't you figure anymore why has my sympathy now turned to malice it doesn't matter any more and now i realize i'm livin' like a trucker does although i haven't got the belly and though she followed me to california all the way i only wanna watch the telly why can't we smile just like we used to why don't you figure anymore why has my sympathy now turned to malice it doesn't matter any more he asked her please stop quotin' rod mc kuen in your post cards can't understand it anymore and if your gonna read your poetry aloud to me i'll have to show you to the door why can't we smile just like we used to why don't you figure anymore why has my sympathy now turned to malice it doesn't matter any more
Tags: indie, california, song, luna, mp3

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"Maybe We Should Move To Canada" by Sprites

platialUser:baostar — 2007-03-05 12:49:11.31255+00:00

Tags: indie, song, mp3, maybe we should move to canada, sprites

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"Louisiana" by The Walkmen

platialUser:baostar — 2007-03-07 14:02:19.611314+00:00

Louisiana Come go away with me We'll take the highway I'll see you in between I listen to my head And every word have come It's been two days without it The sleeping in the sun Hey Crossing through Tennessee watching the sunrise Thinking about a dream Well we'll listen all night To the footsteps in the hall There's thunder and there's lightening A hundred miles off I got my hands full all summer long I got my hands full I got my hands full Louisiana Come go away with me Drinking our coffee Under the canopy Never saw a morning I slept through half a day There's thunder and there's lightening A hundred miles away Oh I got my hands full oh summertime I got my hands full I got my hands Da da da da da Da da da da da
Tags: louisiana, indie, song, mp3, the walkmen

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Slovo (United Kingdom)

platialUser:baostar — 2006-05-06 02:48:30.589308+00:00

Slovo - Killing Me 'The artist should reflect the tempo of their time and should also endeavour to bring about changes where possible.' Max Roach Slovo began in the mind and then the South London studio of Faithless guitarist Dave Randall (to view Dave's discography click here). In 2002 he brought together Iceland's Emiliana Torrini, West Africa's Maezah, England's Kirsty Hawkshaw, the urban poems of AD, the drums of Max Roach, the voice of Charlie Chaplin and the words of Woody Guthrie. Entitled 'nommo', Slovo's debut album raised questions about the world and was in the words of The Sunday Times, 'a wonderful album that is both stridently polemical and determinedly celebratory.' Dave Randall then put together the Slovo live band with singer Andrea Britton, bass player Lucy Shaw, percussionist Sudha Kheterpal, guitarist and keyboard player Andrew Phillips, dancer Adura Onashile and drummer Ami Rothenberg. Slovo toured extensively in Europe in 2003 and 2004 playing at all the major European festivals and supporting Lamb and Damien Rice in the UK. In 2005 Dave Randall returned to guitar playing duties with his friends Faithless, but also began work on Slovo's second album 'Todo Cambia'. The new album features the vocal talents of Andrea Britton and UK hip-hop MC Bobby Whiskers among others. It will be released later this year. Visit the music page to hear exclusive preview tracks…
Tags: music, slovo, dave randall, kirsty hawkshaw, mp3

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Hope Sandoval (Los Angeles, California)

platialUser:baostar — 2006-05-06 02:30:58.941389+00:00

Mazzy Star - Halah Videos: Suzanne (MPEG / 36Mb) After the breakup of Mazzy Star, vocalist Hope Sandoval joined with Colm O'Ciosoig (formerly of My Bloody Valentine) to form Hope Sandoval & the Warm Inventions. The project retained the laid-back, slowcore sound of Mazzy Star, and much like Mazzy Star, featured Sandoval's sensuous, hypnotic voice. However, it replaced the psychedelic leanings that Mazzy Star was known for with spare, subtle arrangements that reinforced Sandoval's gentle vocal style. In 2000, Sandoval issued her first EP with the Warm Inventions, At the Doorway Again, and followed it up with her debut full-length, Bavarian Fruit Bread, a year later.
Tags: music, mazzy star, halah, hope sandoval, david roback, mp3

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"Bobcaygeon" by The Tragically Hip

platialUser:baostar — 2007-03-30 13:46:45.535532+00:00

I left your house this morning about a quarter after nine
Coulda been the Willie Nelson coulda been the wine
When I left your house this morning
It was a little after nine
It was in Bobcaygeon I saw the constellations
Reveal themselves one star at a time

Drove back to town this morning
With working on my mind
I thought of maybe quitting
Thought of leaving it behind
Went back to bed this morning
And as I'm pulling down the blind
The sky was dull and hypothetical
And falling one cloud at a time

That night in Toronto with its checkerboard floors
Riding on horseback and keeping order restored
Til the men they couldn't hang
Stepped to the mic and sang
And their voices rang with that Aryan twang

I got to your house this morning just a little after nine
In the middle of that riot
Couldn't get you off my mind
So I'm at your house this morning
Just a little after nine
Cause it was in Bobcaygeon where I saw the constellations
Reveal themselves one star at a time

Tags: song, mp3, bobcaygeon, the tragically hip

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"Lebanon, Tennessee" by Ron Sexsmith

platialUser:baostar — 2007-04-02 21:04:56.830279+00:00

I'm going down to Lebanon, Tennessee From where I stand It's as good a place as any I don't know anybody there and Nobody knows me There'll be a job in Lebanon, Tennessee I'll work on a farm I'll work in some factory And I'll buy myself a home down there You can get one pretty cheap Get off the bus on the border of town Head in from the East Walk into a bar, take a seat in the corner Be a man of mystery Folks don't treat you mean in Lebanon, Tennessee But like a human being They'll take you in off the street They'll bring you in their home down there And give you something to eat I'm going down to Lebanon, Tennessee
Tags: lebanon, tennessee, indie, mp3, ron sexsmith

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"I-95" by Fountains of Wayne

platialUser:baostar — 2007-04-06 13:58:56.391752+00:00

They sell posters of girls washing cars And unicorns and stars And Guns N' Roses album covers They've got most of the Barney DVDs Coffee mugs and tees That say Virginia Is For Lovers But it's not Round here it's just for truckers who forgot To fill up on gasoline Back up near Aberdeen It's a nine hour drive From me to you South on 1-95 And I'll do it ‘til the day that I die If I need to Just to see you Just to see you Hip-hop stations are fading in and out All I'm receiving now Is a kick drum mixed with static Constellations are blinking in the sky The road is open' wide And it feels so cinematic 'Til a van Driven by an elder gentleman Cuts right in front of me From then on that's all I see It's a nine hour drive From me to you South on 1-95 And I'll do it til the day that I die If I need to Just to see you Just to see you
Tags: fountains of wayne, indie, song, i95, mp3

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"Santa Cruz (You're Not That Far)" by The Thrills

platialUser:baostar — 2006-06-16 13:00:31.919773+00:00

Well tell me where it all went wrong And tell me where you lost those damn songs I can't say I was surprised I heard a drink was involved Oh you gotta be, oh you gotta be Still living by the sea Oh you gotta be, oh you gotta be Cos santa cruz you're not that far Oh santa cruz, no, you're not that far But now and then here once in a while Those August cowboys stole your style Dont you know he feels blind Well your train's just rolled in on time Oh you gotta be, oh you gotta be Still living by the sea Oh you gotta be, oh you gotta be Cos santa cruz, you're not that far Oh santa cruz, no, you're not that far (END IT!)
Tags: indie rock, santa cruz, the thrills, mp3, indie pop, songs about california

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Mediaworld

platialUser:jadeide — 2006-11-29 03:33:55.97116+00:00

Mediaworld
Tags: hp, compaq, fax, ecommerce, candid, cd, imaging, stream, tv, games, software, mouse, dvd, network, wind, web cam, panasonic, hoover, calendar, trust, sony, apple, canon, nikon, olympus, telecom, rex, pioneer, desktop, blu, mp3, splendid, tim, siemens, samsung, remington, whirlpool, lavoro, sharp, thomson, epson, palm, roper, monitor, forni, argo, braun, carrier, prints pc, periferiche, accessori pc, portatili notebook, stampanti, scanner, masterizzatori, modem, lettori, tastiere, foto, joystick, cellulari, telefoni, telefonia fissa, televisori, televisore, retroproiettori, videoproiettori, video al plasma, lcd, tv 169, videocamere, fotocamere, digitale, digitali, videoregistratori, vhs, lettori mp3, lavatrici, lavastoviglie, congelatori, frigoriferi, ferri da stiro, console, gioco, giochi, videogioco, videogiochi, climatizzatori, vetilatori, deumidificatori, car hifi, hifi, omnitel, tele, acer, mark up, packard bell, microstar, gericom, toshiba, casio, lexmark, daewoo, lg, nec, traxdata, hewlett packard, phlips, lacie, stomp, logitech, neteasy, magnex, archos, nokia, ericsson, motorola, brondi, jvc, pentax, minolta, yashica, sviluppo foto digitali, stampa foto digitali, photo development, photo print, photo book, verbatim, mivark, grundig, irradio, hitachi, white westinghouse, aiwa, yamaha, techincs, oregon scientific, indesit, ariston, bosch, zerowatt, zoppas, de longhi, moulinex, tefal, ariete, krups, blackampdecker, saeco, gaggia, rowenta, aeg, polti, simac, imetec, bjm, mariani, commercio elettronico, ecomm, multicard

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"Clover Valley Road" by Holiday Flyer

platialUser:baostar — 2007-01-05 15:00:46.118577+00:00

John Conley writes pretty, infectious pop songs full of vocal harmonies and bright, catchy guitar. His sister, Katie Conley, sings them and frequently collaborates on the lyrics. The Conley siblings, along with Verna Brock, Michael Yoas and Jim Rivas, make up Holiday Flyer. Clover Valley Road is melodic, melancholy song about their childhood home near Roseville, California.
Tags: indie, california, song, roseville, mp3, clover valley road, holiday flyer

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"St. Paul's Cathedral At Night" by Trembling Blue Stars

platialUser:baostar — 2007-01-11 13:55:57.435136+00:00

Got a postcard from her: St. paul's cathedral at night Spent a couple of days Trying to read between the lines: Now I don't have to read between the lines Talking in an empty cinema Walking back through parliament square St.james's park at christmas-time: Glimpsing the lake through the evening lights I didn't want want there to come an end to our time I know I'm in no position to miss her Shouldn't hold her so close when she goes; Still I wonder what she was thinking As she travelled home
Tags: indie, song, mp3, st. pauls cathedral at night, trembling blue stars

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"Michigan" by Ambulance LTD

platialUser:baostar — 2007-01-17 10:59:04.914903+00:00

Travel the seaside Michigan Walk on the water with a friend On the pretty waves I've been a real bad family man Sucking the white light Indians On the mountain But I'm gonna try I'm gonna pave the way at night Singing the gospel in my mind Walking on blue waves, blue waves Radiate and drive...all my life Make me real life hurricane Follow a straight line to the brink On the good days You've been a teenage runaway Carry the people that you hate In a suitcase Well I'm gonna try I'm gonna pave the way at night Nothing but gospel in my mind Walking on blue waves, blue waves Radiate and drive...all my life
Tags: indie, song, mp3, ambulance ltd

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"Grace Cathedral Park" by Red House Painters

platialUser:baostar — 2007-02-16 15:25:52.434015+00:00

Grace Cathedral is located on Nob Hill in San Francisco, California. It is the cathedral church of the Episcopal Diocese of California, once state-wide in area, now comprising parts of the San Francisco Bay Area. a rare and blistering sun shines down on grace cathedral park there with you i fear the time when air gets dark you know i don't spend days like this caught up in lost times of youth that i miss can almost hear rollercoasters see sailboats in the sea hear noise and screaming weaving in and out of happy music box sounds but here on the ground we're so far away from that time turned older now we walked down the hill i feel the coming on of the fading sun and i know for sure that you'll never be the one it's the forbidden moment that we live that fires our sad escape and holds passion more that words can say tell me why are you like this are you the same with anyone? save me from my sickness and tell me why do you treat me like? tell me why are you like this are you the same with anyone? save me from my sickness and tell me why are you like this
Tags: red house painters, indie, song, mp3, slowcore

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Tribute Radio

platialUser:tributeradio — 2009-08-11 02:31:08.690772+00:00

Tribute Radio Bands who COVER other Bands! The Internets Rock Alternative. www.tributeradio.net
Tags: rock, music, alternative, mp3, tributes, tribute radio, covers, shoutcast, djteazer, TZER

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"Chicago" by Sufjan Stevens

platialUser:baostar — 2007-03-30 14:52:11.407165+00:00

I fell in love again all things go, all things go drove to Chicago all things know, all things know we sold our clothes to the state I don't mind, I don't mind I made a lot of mistakes in my mind, in my mind you came to take us all things go, all things go to recreate us all things grow, all things grow we had our mindset all things know, all things know you had to find it all things go, all things go I drove to New York in the van, with my friend we slept in parking lots I don't mind, I don't mind I was in love with the place in my mind, in my mind I made a lot of mistakes in my mind, in my mind you came to take us all things go, all things go to recreate us all things grow, all things grow we had our mindset all things know, all things know you had to find it all things go, all things go if I was crying in the van, with my friend it was for freedom from myself and from the land I made a lot of mistakes I made a lot of mistakes I made a lot of mistakes I made a lot of mistakes you came to take us all things go, all things go to recreate us all things grow, all things grow we had our mindset all things know, all things know you had to find it all things go, all things go you came to take us all things go, all things go to recreate us all things grow, all things grow we had our mindset (I made a lot of mistakes) all things know, all things know (I made a lot of mistakes) you had to find it (I made a lot of mistakes) all things go, all things go (I made a lot of mistakes)
Tags: indie, chicago, song, mp3, sufjan stevens

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