Between “Hey You” (Pink Floyd) and “Irresistible Force” (Jane’s Addiction), between digital contortions and analog warmness, keeping original moments and building new monsters, but focusing on the message, this is one of the best mixes I did. This is an uncommon way of saying “Hey, you..!” A warning or a wake-up call. Technology seems to taking over while the man lost his soul. But when the power is out you will have to face yourself and your emptiness…
Featuring Rich and Soundy Audio – special thanks for editing, engineering, mixing and mastering this!

 

Reznor came back haunting. Honestly, it was just a matter of time to see Reznor resurrecting the good old Nine Inch Nails trademark and starting all over. Although I was cool with How to Destroy Angels, it was predictable that his fresh start had not the same impact and resonance as the Nine Inch Nails name had, have and will have. Although, “Welcome Oblivion” was a fair, exciting, mature Reznor album and “Hesitation Marks” are picking up from where both Nine Inch Nails with “The Slip” (2008) and How to Destroy Angels left off. Some people need to hang on to labels, to stick to established trademarks, so be it! Nine Inch Nails are back, long live How to Destroy Angels! Or any other way around! 😆
Anyway, if Reznor switched back to NIN only because this trademark assure a bigger commercial success then the use of the less known How to Destroy Angels, that says a lot about us, the audience, consumers, whatever, and not at least the media and the industry, rather then anything about Reznor and the music itself.
Still, there are lot of arguing and debating about Reznor’s contribution, his legacy and how relevant it is what he’s doing lately. Well, no offense, but Skrillex and all the alikes will parish in a few months/years (fortunately, some already did!), while Reznor definitively have something to leave behind, at least a couple of fabulous albums and several unforgettable songs. Industrial or not, it’s another issue, I think it’s totally pointless. This is simply contemporary music. Period. And there was always a sensitive difference between the Nine Inch Nails studio albums and the Nine Inch Nails live performances, I always loved both, but the live performances always were murderous. And it’s not different this time around, check out 2013-07-26 Niigata, Japan, Fuji Rocks Festival performance and you will be nailed. Literally. Read more Nine Inch Nails – Hesitation Marks (2013) ›

If you know this band, you’re a bloody son of a bitch, if you don’t, well, you’re consuming the oxygen in vein! 😆 Kidding and not quit. This is really good. Juicy, vivid, fresh fusion music with roots back to Frank Zappa and reaching out to Mr. Bungle and Cardiacs. Bold, true blood avant-garde.
Ladies and gentlemen, David Minnick strikes again!

Watch live video from PJsLagerhouse on Justin.tv

The Sursiks
David Minnick @ Soundcloud

 

This is a true rock’n’roll story from the dawn of the 70s spiced with street gangs, territory fights, illegal trades, drugs and prostitution, rivalry, murders and the fresh spirit of The Beatles.
Three brothers, Benjy, Victor and Robert Melendez were among the founding members of the Ghetto Brothers. While the 1960s was giving way to the rise of gang culture in the Bronx, the Melendez brothers were playing Beatles pop songs on street corners in a tribute band they called “Los Junior Beatles”. Later, they began paying attention to rising urban activist groups such as the Black Panthers and Puerto Rican nationalist group, the Young Lords. “Los Junior Beatles” officially took the name “Ghetto Brothers” and played frequently at community events. The songs they wrote became more socially conscious, as did their gang. Empowered by the revolutionary spirit, the Ghetto Brothers became a positive organization that cleaned up their streets, pushed out the drugs and prostitution, boosted morale and kept the community safe. The Melendez brothers were also Sephardic Jews that practiced their religion in secret while being part of a Hispanic community.
The “Power-Fuerza” album was informally released in Read more Ghetto Brothers – Power-Fuerza (1972) ›

First of all, there are several enthusiast and eulogistic reviews, which is pretty cool considering that we’re talking about an experimental jazz trio. Pitchfork call it “something totally unprecedented”; NPR considered that it’s “sounds like something completely different”; The New Yorker felt like “an hour flew by in what seemed like minutes”; The Guardian stated that “it sounds like nothing else right now”; The Los Angeles Times heard “a mysterious, vital sound with a pull all its own” while The Wall Street Journal describe it as “deep, entrancing soundscapes”. It’s all cool and honoring, but in my humble opinion Dawn Of Midi simply picking on the nowadays fancy, pattern based, some say soulless, computer based and programmed music, making (bitter) fun of it in a subtle, sober way. So, this is a jazz trio playing live a music which is basically – and murderously – minimal, monotonous and repetitive just like 99.9% of the contemporary and computer based “music”. They actually repeat the same note/chord till the very limit of supportability and just when you consider that you had enough, and only then, they change a note, introduce something wickedly cool. Pretty clever. It’s definitively a (modern) form of art, I actually pretty much enjoyed this album, consider it relaxing by it’s monotony and lack of interruptions and disturbances, but then again, this is much more a statement then revolutionary, unheard, strikingly bold and unthinkable new way of express yourself, express feelings or build-up music. Might be surprising for those who are actually believe that Michal Jackson was some musical genius, but never heard of Liszt… Read more Dawn Of Midi – Dysnomia (2013) ›