Rock 'n' Roll Times
martes, septiembre 29, 2026
New Music: Wings Of Love
lunes, septiembre 28, 2026
In Memoriam: The Beloved Actor "Dennis Haskins" Best Known For His Role As "Mr. Belding" Has Died Aged 75
New Music: Helen Keller
New Music: Stone Fruit
Sabrina Teitelbaum aka Blondshell shares a new single "Stone Fruit" the fourth single taken from her latest 3rd., studio album "Violins" released last 25 September via Partisan Records. The track was written by Sabrina Teitelbaum and Sam Stewart and produced by Yves Rothman. The accompanying music video was directed by Sabra Binder. The artist commented about the song: This song is supposed to rip. So the one thing is just I hope you like the main guitar riff. That's kind of it, and the groove. That's one of those songs that I didn't set out to write. I just was kind of like I need to say all of this. I wrote it when I was on tour last summer. We were in Slovakia when I wrote it. And I think I just felt like, I don't know. I bring a small 'baby tailor' (small acoustic guitar) with me everywhere I go, and I don't usually use it, but I have it in case I feel the need to write. I brought that with me, and I felt like, 'Okay, I have something to say,.' And I didn't expect the song. And I think that's why it feels lived in because it was just unintentional.”
Rocktrospectiva: The Weirdo And Darker Lyrical "Ta-Dah" Turns 20
At the beginning, Scissor Sisters were nothing more than a dependable floor-filler at common activities suchas weddings. But the shuffling piano bop of "Take Your Mama" hid subversive lyrics about getting your mother tanked and coming out, which went completely over everyone's heads. Walmart, however, sensed something was up: they banned the group's self-titled debut album because it included the song "Tits On The Radio." Often lumped together with other earnest dance-pop like Electric Six and Chromeo, Scissor Sisters not only managed to pull off wild commercial success. but did more to bring gay culture into the mainstream than they're given credit for.
Scissor Sisters were a New York band, but only in name. They were the opposite of the cool, detached garage-rock revival that would come to define the post-millennium. Just across the bridge, Jake Shears, Babydaddy, Ana Matronic, Del Marquis, and Paddy Boom arrived in Williamsburg, Brooklyn, during the first wave of gentrification, and embodied the gay, drag, and performance-art parties that populated the borough and lower Manhattan.
Scissor Sisters started out as just another electroclash outfit, with Shears – a former go-go dancer – gyrating on stage in lavish costumes. But then they gained attention for their disco-pop cover of Pink Floyd's "Comfortably Numb." Their aesthetic might have screamed 80s Danceteria, but musically the group was more kindred spirits to 70s disco, glam, and pop-rock.
After US labels failed to bite, the band signed with Polydor in the UK and released their debut album in 2004. Soon they were playing Glastonbury and touring with heavyweights like Duran Duran, Morrissey, and Pet Shop Boys, bringing the spirit of NYC’s gay underground to their live shows. In just a few short years, the band had found their spiritual home, and their self-titled debut topped the UK charts.
The album's release was preceded by the release of the single, "I Don't Feel Like Dancin'". The song reached number one on the UK Singles charts in late September and early October 2006.
"Land of a Thousand Words" was released as the second single from the album, peaking at number 19 in the UK in December 2006. "She's My Man" was the third single released in early March 2007 and managed to chart at number 29. The next single that was released was "Kiss You Off" on May 28. This was the poorest charting of the singles of Ta-Dah, though "I Can't Decide" charted at number 64 on downloads alone, garnering attention through its use in the Doctor Who episode "Last of the Time Lords A product of New York City’s vibrant queer nightlife scene, in the early 00s Scissor Sisters led their own glam-disco revival with outrageous stage shows and hedonistic hooks just as the city was experiencing a Strokes-led rock resurgence. Despite their adjacent scenes, Scissor Sisters wouldn’t experience the same kind of breakout success as their peers until they crossed the pond to the UK, where camp is second-nature and their brand of eccentric pop was welcomed by a population raised on George Michael, 10cc, and Elton John.
Rocktrospectiva: The Hip Hop Masterpiece "Endtroducing..." Turns 30
In the United Kingdom, where DJ Shadow had already established himself as a rising act, Endtroducing received praise from music journalists at the time of its release, and reached the top 20 of the UK Albums Chart. It took considerably longer for Endtroducing to find success in the United States. After promoting the album and returning to his hometown of Davis, California, DJ Shadow devoted his time to creating new music. During this period, interest in Endtroducing began to build among the American music press, and it peaked at number 37 on the US Billboard Heatseekers Albums chart.
As a high school student, DJ Shadow experimented with creating music from samples using a four-track recorder, inspired by sample-based music such as It Takes a Nation of Millions to Hold Us Back (1988) by the hip hop group Public Enemy. He began his music career in 1989 as a disc jockey for the University of California, Davis campus radio station KDVS. His KDVS work impressed A&R representative Dave "Funken" Klein, who signed him to the Hollywood Basic label to produce music and remixes. DJ Shadow's output for Hollywood Basic, including the 1993 single "Entropy" and his work with the SoleSides crew, brought him to the attention of English musician James Lavelle, who signed DJ Shadow to his Mo' Wax label.
DJ Shadow began production on Endtroducing in 1994 in his California apartment, before moving to the Glue Factory, the San Francisco home studio of his colleague Dan the Automator. Shadow strove to create an entirely sample-based album. His setup was minimal, with only three main pieces of equipment: an Akai MPC60 MKII sampler, a Technics SL-1200 turntable and an Alesis ADAT tape recorder. He used the MPC60 MKII for almost all composition. DJ Shadow bought it in 1992 at the suggestion of DJ Stretch Armstrong, who recommended it as a more advanced alternative to the "industry standard" sampler at the time, the E-mu SP-1200; according to DJ Shadow, the SP-1200 "had been around for like four years, the sound was well established, and it had some real audio limitations in terms of the bit rate and stuff".
DJ Shadow sampled vinyl albums and singles accumulated from his trips to Rare Records, a record shop in his native Sacramento, where he spent several hours each day searching for music. His routine is depicted in the 2001 documentary film Scratch. The Endtroducing album cover is a photograph taken at Rare Records by B Plus, showing producer Chief Xcel and rapper Lyrics Born (the latter wearing a wig), who like DJ Shadow were members of the SoleSides collective. ABB Records founder Beni B (wearing a baseball cap) is also seen in the full version of the photograph, which appears in the album's liner notes.
Endtroducing samples music of various genres, including jazz, funk, and psychedelia, as well as films and interviews. DJ Shadow programmed, chopped, and layered samples to create tracks. He opted to sample more obscure selections, making it a rule to avoid sampling popular material. Though he also used samples of prominent artists such as Björk and Metallica, DJ Shadow said that "if I use something obvious, it's usually only to break my own rules." Minor vocal contributions were provided by Lyrics Born and another SoleSides member, rapper Gift of Gab, as well as DJ Shadow's then-girlfriend Lisa Haugen. He finished recording Endtroducing in early 1996
DJ Shadow described his albums as "really varied", and said of Endtroducing: "I feel like 'Organ Donor' sounds nothing like 'The Number Song' which sounds nothing like 'Midnight' and on and on." He said he was often depressed during the production of the album and that his "feelings of self-doubt and self-esteem come through in the music."
Endtroducing opened by "Best Foot Forward", a sound collage of record scratches and hip hop vocal samples. "Building Steam with a Grain of Salt" was built around a looped piano line sampled from Jeremy Storch's "I Feel a New Shadow", with various other musical elements entering throughout the track, including samples of an interview with drummer George Marsh, a women's choir, bass fills, electronically altered drum kicks, and funk guitar. "The Number Song" used multiple drum breaks and vocal samples of count-offs."Changeling" deviated from the previous uptempo tracks, incorporating new-age sounds and gradually building toward a "sublimely spacey" coda. It segues into the first of three "transmission" interludes placed throughout the album, each featuring a sample from the 1987 John Carpenter film Prince of Darkness. "What Does Your Soul Look Like (Part 4)" layered wordless chants over a looped bass groove, creating what Paste's Mark Richardson described it as an "uneasy" techno soundscape. Track six ws an untitled interlude featuring a man reciting a monologue about a woman and her sisters over a funk backing.
The two-part "Stem/Long Stem" began the second half of Endtroducing. a "suite of often melancholy music, a piece that consistently refuses to be pigeonholed into any musical style." The first half, "Stem", placed strings against a recurring sequence of erratic drum beats, before giving way to the more ethereal "Long Stem", followed by "Transmission 2". "Mutual Slump" featured "dreamy" female spoken vocals and prominent samples of Björk's "Possibly Maybe". The sparse "Organ Donor" juxtaposed an organ solo and a drum break. "Why Hip Hop Sucks in '96" was a brief interlude featuring a repeating G-funk-esque beat, over which a voice shouts "It's the money". DJ Shadow composed the track to express his dissatisfaction with the state of commercial hip hop music in the mid-1990s.
"Midnight in a Perfect World" mixed a soulful vocal line with a slow drum beat. It sampled the bassline from Pekka Pohjola's "The Madness Subsides", as well as elements of David Axelrod's piano composition "The Human Abstract". "Napalm Brain/Scatter Brain" progressed slowly, starting with a bassline and a drum loop, then gradually increasing in tempo as additional instrumentation enters the mix. The track eventually reached its climax and deconstructs itself, leaving a single string sample playing by its conclusion. Endtroducing ended "on an up note" with "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)", which was anchored by warm saxophone and keyboard hooks. A third and final "transmission" closes the album with the spoken words "It is happening again", sampled from the David Lynch television series Twin Peaks.
Songs like "Midnight In A Perfect World", & "Napalm Brain/Scatter Brain" would later appear on DJ Shadow's other release Camel Bobsled Race. While "The Number Song" & "Organ Donor" would also later appear again in DJ Shadow's other release Brainfreeze.
domingo, septiembre 27, 2026
Rocktrospectiva: The Odd "Music That You Can Dance To" Turns 40
Music That You Can Dance To was the band's most dance music inspired album since their eighth studio album Nº 1 in Heaven (1979). The overall sound of the album was dominated by synthesizers and sequencers like Nº 1 in Heaven but it differed from that release by the inclusion of the heavily distorted bass guitar of Leslie Bohem, and the emphasis on discordant sound effects. Certain track s such as "Music That You Can Dance To", "Fingertips" and "The Scene" represented some of Sparks' most hi-NRG dance music leanings.
While "Shopping Mall of Love", "Let's Get Funky", and (on the original U.S. edition) "Change" presented a side of the band's sound that is discordant and experimental, whereas "Rosebud" and the rerecording of their 1982 single "Modesty Plays" are not dissimilar from the synth-pop sound that the band had pursued on their previous two studio albums. "Armies of the Night" had been recorded for the supernatural horror film Fright Night (1985); the version that appeared on the European editions of Music That You Can Dance To was a re-recording. The song appeared in the movie RAD during the dance sequence.
The recording of the album was the last time that the Mael brothers worked with the backing band line-up of guitarist Bob Haag, bassist Leslie Bohem, and drummer David Kendrick. This line-up had been in place since Sparks' tenth studio album Whomp That Sucker (1981). Sparks' next studio album, Interior Design (1988), was recorded as more of a duo with some guest musicians.
The reviews of the album were mixed and dismissive at the time, some critics considered that the band rather to be avant-garde but now they seem stuck in the techno pop of years past, unfortunately the album was even less succesful on the album charts than their previous studio album- For the MCA releases, the album substituted "Armies of the Night" with the 1985 single "Change".
sábado, septiembre 26, 2026
New Music: Waiting For Fisher
New Music: Broken Heart
viernes, septiembre 25, 2026
New Music: The Centre Of My Everything



