20061218

Merankorii - Melencolia III on 15th January 2007

Merankorii - Melencolia III
Merankorii was born in the beginning of 2004 as a side project of Mind Booster Noori, a tentative form of cultural art with a melancholic and depressive touch of a reality injection to a body who had no more hope on living.

It soon evolved to what it could be a quite schizophrenic movie, but it, instead, turned into "Doom Poetry from a Melancholic Soul", a Doomish sound that you're able to hear in the first CD, released in April 2005.

Four months later all the CD's were sold out, but the recordings of Merankorii's second one, Crash, were already on the process... At 2005's Winter Solistice, the 21st of December, Crash was released in a 50 copies edition.

In 2006 Merankorii appeared in two compilations: "Armageddon Vol. 1" with the track "Solitude", and "Metal Legions - Vol. II" with the track "Interlude".

Merankorii just signed to Necrogoat Heresy Productions to mark the release of Merankorii's 3rd album "Melencolia III". The album is to be released on the 15th of January 2007.

20061215

Diablo Swing Orchestra

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The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other. With music so seductive and divine that the ensemble overwhelmed audiences all over the country, and people from all social classes took them to their hearts. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd that followed them around.

During the later half of the 16'th century the criticism against the royal crown dictatorial ruling had intensified. Gifts and tenancies had made the chruch extremely wealthy, and since the money merely was used to strengthen their power the discontent among the people was growing. To many people the orchestra presented them to a new view upon things and a way to cope with everyday life.

The church witnessed how their influence over the people decreased and began to depict the orchestra as treacherous, saying their intentions were anything but righteous. The orchestras extensive use of the prohibited tritonus interval in their music as well as their excessive lifestyles was facts that were not looked mildly upon. During church services priests slandered the music saying it was an insult to Christ himself. However, when this attempt to reduce the orchestras popularity failed, the church began to use more desperate measures in order to regain its former power. The Devils orchestra became the slogan they used and the members were accused of being everything from devil worshippers to the spawn of Satan. This catchphrase eventually caught on and became the popular name of the orchestra. When even these efforts shown futile the church ultimately framed the orchestra members for a murder and a ruthless manhunt began. The following two years the orchestra lead the lives of outlaws and were forced to perform in barns and outhouses, where only a strictly limited number of people were allowed to attend. Luckily generous people provided them with food and somewhere to sleep.

In order to capture the orchestra the church issued a reward to the person that could provide such information that lead to the capture of the orchestra. The sum was so large that the orchestra, tired and weary of living as fugitives, realised that it all had come to and end. They knew that sooner or later someone would reveal their whereabouts and the decided to go down in style.
But before doing so they all signed a pact saying that their descendants were given the task of reuniting the orchestra in 500 years and continue their work of spreading thought-provoking music. Six envelopes were therefore sealed and given to trustees of the orchestra to pass on to family members.

They announced their final concert publicly as a grandeur finale. Thousands of people showed up and even though it was almost no one who could actually hear the music, the massive sing-along of the crowd granted the performance to be the most talked about in history. Thanks to the huge amount of people the orchestra was allowed to play until their last song when armed guards finally managed to storm the stage and arrest the musicians. They were sent prison and later sentenced to death by hanging.

Stockholm 2003, by mere accident two of the original orchestra descendants meet in a music shop and began to discuss music. It later shows that they both have received a strange letter from some ancient relative containing instructions on how to reunite The Devils Orchestra. They both become very excited and though some genealogy they managed to find all of the remaining successors in a period of three months.

Unfortunate all of the original scores were confiscated and burned by the church back in 1503. So music-wise the new orchestra were left with no directions on what to play. After some meticulous discussions it was agreed upon that the music should be like a modern version of the old orchestra. Annlouice was chosen to front the band, her angelic yet powerful operatic voice was perfect to bring a bombastic feeling to the music. Pontus dance-influences and programming skills came in handy since the orchestra wanted the arrangements to sound a bit more futuristic. He shares guitar duties with Daniel who also is the main composer in the band. Andy brought some groove to the mix adding powerful slapping and funk-oriented bass licks, while Andreas's energetic drumming made sure the songs are driven and pulsating. Together with Andy, he lays the solid swinging foundation of the band. Johannes's theoretical knowledge and stunning technique combined with an emotive cello-playing style made him essential to the bands sound.

Together they answer to the name of Diablo Swing Orchestra and are determined to honour the legacy of their ancestors.

Listen to their awsome act here.

20061214

Marilyn Manson Spooks Hollywood


Source: Manson USA

20061023

MARILYN MANSON :: This Is Halloween


The release of this CD is already tomorrow, but for you we present the music video today!

20061020

The Nightmare Before Christmas: in 3D



Sometimes I still surprise myself: maybe because while other people tend to get new information from TV and newspapers I don't watch TV and rarely read newspapers (specially on papers), but sometimes I assume that something new is commonly known when in fact it isn't. One of those things, as I found today, is that no one seems to know that a new version of The Nightmare Before Christmas is out there, TODAY.

Tim Burton's The Nightmare Before Christmas is a 1993 stop motion animated musical film about the inhabitants of Halloween Town who take over Christmas one year, directed by stop-motion animator Henry Selick. The film is loosely based on drawings and a poem by Tim Burton, and he served as co-producer. He did not direct the film as is sometimes believed, but he was heavily involved.

The film was released by Touchstone Pictures, a film studio owned by the Walt Disney Company, after the main Walt Disney Pictures division balked at some of the darker content.

The remastered 3-D version of the film was re-released by Walt Disney Pictures on October 20, 2006 (today). Note that it is 3-D via 3-D glasses and not CGI.

This new version also comes with a re-edition of the soundtrack... But with a big bonus! For something like £14,99 you can buy the 2-Discs edition of the OST, the first CD being the usual soundtrack, and the second with the songs covered by several bands:

1. This Is Halloween - Marilyn Manson
2. Sally's Song - Fiona Apple
3. What's This? - Fall Out Boy
4. Kidnap the Sandy Claws - She Wants Revenge
5. This Is Halloween - Panic! At the Disco
6. Making Christmas (Demo) - Danny Elfman
7. Oogie Boogie's Song (Demo) - Danny Elfman
8. This Is Halloween (Demo) - Danny Elfman
9. Kidnap the Sandy Claws (Demo) - Danny Elfman

This edition is going to be available starting at the 24th of October, but you can pre-order it now... What are you waiting for?

20061017

"Armageddon, Vol. 1" is out!

20061002

The dangers of DRM

See that picture there? At a first glance, it just seems that one DVD, like many others, but if you take a carefull look, you'll see there a yellow sticker telling:


WARNING DRM


Product restricts usage
invades privacy


Defective DVDAs a matter of fact, I was the one who sticked it on, 'cause if I didn't the only way you'ld know that the DVD was defective by design would be if you read those tiny letters in it's behind, where they say something like being restricting the use of the disc that you want to own just because they don't know how to stop piracy.

Yes, DRM, something most people never heard about and probably don't want to, but that is invading their privacy and stopping their freedoms, while killing art. Image that you buy a CD but you can only hear it on the computer, and on the first computer you put it in. That's already happening now. So what's this DRM thingie?

Major entertainment companies are using "digital rights management," or DRM (aka content or copy protection), to lock up your digital media. These DRM technologies do nothing to stop copyright pirates, but instead end up interfering with fans' lawful use of music, movies, and other copyrighted works. DRM can prevent you from making back ups of your DVDs and music downloaded from online stores, recording your favorite TV programs, using the portable media player of your choice, remixing clips of movies into your own home movies, and much more.

To the extent DRM interferes with perfectly legal uses of digital media, it's plenty bad enough. But thanks to the lobbying of the major media companies, DRM is now backed up by the Digital Millennium Copyright Act (DMCA). If you circumvent DRM locks or create the tools to do so, even to enable noninfringing fair uses, you might be on the receiving end of a lawsuit. The DMCA has been a disaster for innovation, free speech, fair use, and competition.

And Congress is now considering new laws that go beyond the DMCA, mandating DRM in a wide array of digital media devices and personal computers, giving entertainment industry lawyers and federal bureaucrats veto power over new gadgets.

Hollywood and the music industry have always attacked new technologies that help you get more from your media—these industries brought lawsuits against the VCR, DAT recorder, the MP3 player, and the PVR. Today, these media giants want to use DRM to take away your legitimate fair use and home recording rights, hoping to sell those rights back to you later. Worse still, recent DRM has invaded users' privacy and created severe security vulnerabilities in computers.

Fans shouldn’t be treated like criminals, and neither should the innovators who build the gadgets on which they rely. EFF has fought against many DMCA suits, including defending the makers of DVD backup software, and sued Sony-BMG for their "rootkit" CD copy protection scheme. Learn more about our efforts through the links below, and consider donating to support efforts.



I'm trying to do something about it... What about you?

20060927

Marilyn Manson in latest issue of Rolling Stone Magazine

According to The Hierophant:


Page 33 of the latest issue of Rolling Stone magazine (in the smoking section) reads :

The last time the Smoking Section checked in with Marilyn Manson, he let the world in on his movie project, Phantasmagoria the Visions of Lewis Carroll. In just a few weeks, he'll begin filming in Paris. But he has more up his sleeve. On Halloween, he'll celebrate the opening of his new L.A. art gallery, located at the nearly satanic address of 667 Melrose ("I looked at the lease and said, you have got to be kidding me," he says.)

More awesomely, Manson has been making music, including the new tune This is Halloween for the upcoming DVD release of Tim Burton's Nightmare Before Christmas. "It will be the vampire national anthem," says Mason. "Black panties all across the world will moisten at the sound of my voice."

So far, he has half an album's worth of tracks, one of which, "Rebels Without Applause", addresses Manson's notion that young bands suck these days. "I'm not the bitter guy that's jealous of these other bands that are coming up and stealing my thunder," he says. "I invented thunder and rain. I am THE black. And I'm here to vacuum the red carpet."

If that's not enough, Manson is releasing his own line of absinthe. "We hope to have it out in time for parents to give it to their children for Christmas."

20060918

Shut Me Up The Remixes + 3 In Stores Now!

Mindless Self Indulgence's "Shut Me Up The Remixes + 3" single is finaly in stores!

You can see the video-clip of this single here:

If you want to buy it, it is already on sale in lot's of places. Here's the track listing:

Shut Me Up: The Remixes +3 cover

1. "Shut Me Up (Ulrich Wild Groandome Metal Remix)"
2. "Shut Me Up (VNV Nation 1200XL Remix)"
3. "Shut Me Up (Tommie Sunshine TSMV Still Filthy Remix)"
4. "Shut Me Up (Original Crappy Demo)"
5. "Big Poppa" (Notorious B.I.G. cover)
6. "Adios Amigos"
7. "Straight To Video (Suicide City More and Faster Remix)"
8. "Straight To Video (Tommie Sunshine TSMV Extended Electro Remix)"

20060911

Portugal's THANATOSCHIZO In Pre-Production Mode


Portuguese avant-garde maniacs THANATOSCHIZO are scheduled to begin pre-production today (September 10) of five new songs for their as-yet-untitled fourth album, tentatively due next summer. The pre-production recordings will take place at Wagner Studios in Chaves, Portugal (drums) and in the band's own Blind & Lost Studios.

For more information, visit www.thanatoschizo.com.

20060905

ThanatoSchizO - interview

ThanatoSchizO banner



ThanatoSchizO is a Portuguese Metal Band, that appeared in 1997 and are now a cult band, not in Portugal but in other countries also. They're preparing a new album, so I decided to interview Guilhermino Martins, ThanatoSchizO's guitarrist...

Guilhermino Martins


404) It was almost ten years ago that everything started for you, inicially as a covers band, until you started to write some original stuff in 1998 and recorded a demo tape with three songs. Can you please tell our readers a description of ThanatoSchizO's evolution as a band?

TSO) To sum it up quickly, the we banded together in 1997, after two years rehearsing covers, giging, going to modern music contests and doing everything we could to get better musicians and experienced on gig'ing. After that mutation we started doing some originals and three months after we went into studio to record our Demo '98. That demo's sound is completely apoteotic - in the worst way - so we decided not to commercialize it. So, we kept rehearsing and that led us to the recording of the Melégnia EP with the supervision of Luis Barros - our producer as allways. It was 1999 and we started a never-ending tour to promote that EP.
At the end of 2000 Misdeed Records talked us to record our first full-length, and in 2001 "Schizo Level" appears. The intense number of gigs keeps on and the promotion of that album led us to the British independent "Rage of Achilles" that edited our "InsomniousNightLift" in 2002.
After that, in 2004 we released Turbulence and, after two years promoting it with gigs, we slowed down to concentrate on our next full-length album, to be released in mid-2007.

Turbulence


404) Your last work, Turbulence, and as we are already used in your releases, showed us a new face and sound of ThanatoSchizO. How was the general reaction?

TSO) It was undoubtly the TSO's album that had the best reactions and was voted in several places as the best nacional CD of the year.

Melégnia


404) Melégnia's tour got in TSO's fans minds as a really extense tour, and showed us that you were serious about this thing, that you weren't one of those bands that appear to disappear soon. So, it was quite surprising for me to see that you didn't gig'd in 2006... Why was that?

TSO) Easy! After so many years playing live we needed to slow down and totally focus in the next album. Gigging is a strong experience with a great mix of feelings and rituals, and that would distract us from the essencial: our fourth album, So, in that way, we're working in our new album without any kind of pressure.



404) Can you tell us something about the new album? Is it going to be in the heavy path, like in Schizo Level, or in the soft path like in InsomniousNightLift?

TSO) We know us well enough to know that we can't answer to that yet... We never repeat ourselves - it would be easy to record just another "Turbulence 2" but that's something that just won't happen.



404) How are ThanatoSchizO viewed outside of Portugal? Will your next release mark ThanatoSchizO's history as the album that made TSO gig in foreign stages?

TSO) I think we're seen as an exportable band. I don't know if the new album will make us tour outside of Portugal, but if the opportunity arise we'll consider it. We had such opportunities in the past, but the conditions weren't as expected, so we decided not to play.



404) We had lot's of argues here in Portugal lately about the Portuguese Record Industry and the issues of digital music. On the other hand, we see lot's of bands, like yourse, using the Internet to get known, giving free mp3's in their websites or in services like MySpace. What's ThanatoSchizO's oppinion about mp3's?

TSO) I still have a romantic vision about art, and, in this case, about music, and I beliece that people buy the records they like, whether they have it's songs in mp3 or not.


404) I know that ThanatoSchizO has it's own style and sound, so we can't say that they sound like some band. But what are you listening to lately?

TSO) Lately I've been earing the new records from Strapping Young Lad, Rain Paint, Peeping Tom and Ihsahn. Besides the news, this month I've been listening a lot of Secret Chiefs 3, Kip Winger, Fadomorse and Miasma and the Carousel of Headless Horses.



404) What do you think about the Portuguese Metal health?

TSO) We're having more public to quality projects. After some time of mediocricy, we have healthy times of criativity and lately we're having new bands getting the scene healthier. The Internet was a catalyst, and nowadays noone can say he has no way to know this or that band. On the other hand, the public is getting more interested in knowing different stuff, which pleases me.



404) Do you want to leave a final message to this interview readers?

TSO) Before everything, I thank your for this interview, the support and interest on ThanatoSchizO. To the readers, I recommend a visit to www.thanatoschizo.com, were you can follow the news about the upcoming album.

404) Thanks for the chance of interviewing you! Good luck... Here, we'll wait for the upcoming album!

ThanatoSchizO members

20060827

Scarling. - City Noise

Room 404's staff is on vacations right now (which might justify the lack of updates lately), but we couldn't let you without knowing about Scarling.'s first music clip, City Noise. So I've just uploaded it and you can see it here:

Free Hosting at FLURL.com


If you like it, and want to find more about Scarling., you might want to read our previous article that covers it.

Enjoy!

20060810

BRUMA OBSCURA / GORGONIAN - Inner Hell / 2006 - split demo

Inner Hell coverThe sixth release of the Portuguese black/death metal label "Hell Unleashed Records", that is already making some fuss in the Portuguese underground scene, is a split-demo tape limited to 100 copies that presents us the last work of the Portugese bands Bruma Obscura and Gorgonian. Gorgonian had already a release with this label in the compilation "Colheita 2005", with bands like Amphion, Deep Odium, Infernal Kingdom and Tenebrarvm. Bruma Obscura have a tape released by "Mistress Dance Records" title "Murmúrios da Serra".

Bruma Obscura is a project leaded by Hell M., declared as misantrophic, and yet inspired in the Mother Natured, specially in the mists of Serra da Estrela. After their Murmúrios da Serra demo there were some line-up changes, and in this split we have two cold, cutting, and obscurely and atmosphericly intense tracks, now growled by Varg's voice, in Portuguese.

But the great revelation here is gorgonian: a "One Man Band" executed by Lord Quetzalcoatl (in the press-release that came with the demo he is presented this way, and not like he was used to be called - Lord Quental) that shows us a strong yet melancholic and depressive feeling in a distinct and original sonority - leading us to thing that Gorgonian has finaly it's sonority defined. With a track being an Ode to Death, after one other - a dialogue between L.Q. and Lucifer, this split lets us waiting for a Gorgonian release where we can finaly appreciate what this band promises us and yet didn't deliver yet.

All in all, this is a cool demo to have, but we wouldn't loose our sleep if we didn't.

20060809

Jessicka Fodera


After so many posts about Marilyn Manson, I couldn't but introduce you to another conceptual music act - Scarling. - by telling you about its singer, Jessicka Fodera.
Jessicka

If you notice in the inners of "Portrait of an American Family", the first album from Marilyn Manson (released in 1994), you'll see that he thanks to a band named "Jack off Jill". Later an album was released, called "Humid Teenage Mediocrity", an album with the demos of "Jack off Jill" from 1992 to 1995. Why am I talking about this? Well...

Before the world was introduced to Marilyn Manson, before the world even knew what sweet dreams were made of, there was Ft. Lauderhell, The Spooky Kids, Jack Off Jill and a club called Squeeze, which would later become a headquarters and home away from home for both bands. There, Manson became the great Oz to Jessicka's Dorothy. And Ft. Lauderdale their yellow brick road of sorts. A golden trail leading them out of humid hell and onto bigger and better things. Humid Teenage Mediocrity is a collection of recordings produced during that Golden Age. The now defunct Jack Off Jill hit the South Florida scene in 1992 and was hailed by critics as a "childrens puppet show meets the Exorcist." The band lasted eight years, with only Moulder and Fodera remaining through all its lineups. The Original (all-girl) line-up consisted of Jessicka: vocals/lyrics, Agent (Robin) Moulder: bass, Michelle In-Hell: guitar, and Tenni Ah-Cha-Cha: drums. Jack Off Jill played with a relentless fuck-all attitude and sound that could rarely be duplicated by its predecessors. Releasing Children 5 And Up, Cannibal Songbook and Cockroach Waltz and touring with riot girl legends L7, Babes In Toyland , 7 Year Bitch as well as Goth icons Switchblade Symphony and fellow Floridian shock rockers Marilyn Manson, Jack Off Jill's live show was one to be seen. They commanded the stage ruling it as their own private playpen complete with dolls-candy-blood and a plethora of toys for singer Jessicka to fashion into weapons in order to injure herself or her unsuspecting band mates. Jack Off Jill took the stage taunting you to play their game and play it on their turf.
Humid Teenage Mediocrity

Humid Teenage Mediocrity is a 25-track collection of songs from the Florida-based punk goth legends, and was produced by Marilyn Manson. The album includes 13 previously unreleased tracks and nine songs that went on to be re-recorded for the classic debut Sexless Demons And Scars. Manson also supplies liner notes with a Jack Off Jill history and guitar parts to "Swollen". Essential for all JOJ and Marilyn Manson fans.
Jack off Jill

Jack Off Jill released several independent records: "Children 5 and Up", "The Boygrinder Sessions", "Cannibal Song Book", (produced by JOJ and Manson) "Cockroach Waltz", and several 7" singles. It was not until they played a benefit show with legendary Minneapolis based grrl band Babes in Toyland and 7 Year Bitch from Seattle, that Jack Off Jill caught the eye of record labels. Drummer Lori Barbero from Babes wanted to sign them to her now defunct Minneapolis label Spanish Fly, but it was not to be. Jack Off Jill then caught the eyes and ears of Risk Records, who signed them in January 1997. They replaced both Ah Cha Cha and Inhell with new members because the two were not ready to leave Florida. The band released their first national 7" "Girl Scout"/"American Made" in March of 1997. On September 9, their full-length Sexless Demons and Scars (produced by Don Fleming who produced early Hole) was released to the public.
Sexless Deamons and Scars

After moderate underground success, touring with Lords of Acid, and playing to sold-out crowds in 1997, Jack Off Jill headed to Los Angeles in order to complete 1998's Covetous Creature, a remix EP of songs from Sexless Demons and Scars with the help of SMP (Scott Putesky), a founding member of Marilyn Manson, and new drummer Claudia Rossi. The new manifestation of Jack Off Jill hit the road on a national tour with Psychotica, joined along the way by Switchblade Symphony.
Covetous Creature

The band road-tested new songs in March of 1999 when JOJ were asked to take the opening slot on the Marilyn Manson / Monster Magnet / Hole tour after Hole departed. With Putesky no longer in the guitar position, JOJ enlisted the help of Jessicka's then-boyfriend gutarist Clint Walsh, original JOJ guitarist Michelle Inhell (Oliver), and drummer Norm Block and for the tour. In 2000, JOJ released their second full-length CD, Clear Hearts Grey Flowers on Risk Records, that featured a cover by arist Mark Ryden and was produced by Chris Vrenna of Tweaker and Nine Inch Nails, right as the label was preparing to close its doors. Due to pressure, poor publicity for C.H.G.F, several line up changes, tension between founding members Jessicka and Robin, and management problems, Jack Off Jill played its last show at The Troubadour in Los Angeles in April of 2000. They were joined onstage by guitarist Helen Storer of the UK all-girl band Fluffy and producer Chris Vrenna on drums. JOJ officially called it quits in late 2000, and Jessicka told that she was never going to do a band again.
Clear Hearts, Grey Flowers

After taking a break and making Los Angeles her permanent residence, Jessicka was invited in 2001 by guitarist Christian Hejnal to perform guest vocals on his solo album. The pair had only met a few months earlier through their mutual friend Lisa Leveridge at a Los Angeles night club. They began recording and rehearsing together and eventually recruited the musicians who would form Scarling. in 2002. After the new duo had written a number of songs together, they began a search for additional band members and eventually cemented the first and very short-lived lineup of Scarling.
Scarling.

In early 2002 Jessicka was introduced to Long Gone John, owner of Sympathy for the Record Industry, by mutual friend Mark Ryden. On March 19, 2003 Scarling.'s debut single, "Band Aid Covers the Bullet Hole", (produced by Chris Vrenna) was released on John's label. Its cover featured an illustration entitled "Wound 39" by artist Mark Ryden. In April of 2004, Scarling. released their debut album, Sweet Heart Dealer, a seven-song, thirty-three-minute amalgamation of sound and texture which again utilized the team of Ryden and Vrenna.
Sweet Heart Dealer

In the autumn of 2004, Scarling. was invited to join the lineup of the Robert Smith-curated Curiosa Festival, performing on select West Coast dates alongside Interpol, The Rapture, Mogwai, and Jessicka's long-time favorite, The Cure. Smith described the band's music as "dark, desperate, chaotic, gorgeous pop music, the sound of the end of the world" and nominated "Sweet Heart Dealer" for the 2004 Shortlist Music Prize.
So Long, Scarecrow

After a series of 7" singles on Sympathy, Scarling. announced in early 2005 that their second album, So Long, Scarecrow, would appear later that year; it was preceded by the single "We Are The Music Makers" and was released on August 23, 2005. Scarecrow was produced by Rob Campanella, formerly of The Brian Jonestown Massacre, at his studio, Committee to Keep Music Evil Headquarters. The album features the band's new bass player, Derik Snell. In December of 2005, Scarling. embarked on its first UK tour, creating a buzz for themselves and selling out most venues. While in Europe, Jessicka attended long-time friend Manson's wedding to burlesque performer Dita Von Teese on December 3, 2005, in a secular ceremony in County Tipperary, Ireland. In 2006 Jessicka continues to tour in the US and Europe with Scarling. Along the way, touring with such bands as UK shoegaze outfit Amusement Parks on Fire and opening for The Wedding Present and Depeche Mode. Scarling. are expected to begin working on their third full length album in early 2007.
Scarling. gig setlist

In the meantime, and introduced as a CD single that conceptually connects "So Long, Scarecrow" and the upcoming album, "Staring to the Sun" was released. It was presented to the fans like this:

SCARLING.’s latest attack to redefine noise and chaos within the context of their beautifully painful melodies is the first single from their latest full length release So Long, Scarecrow. “City Noise”, showcases the SCARLING. desperate, powerful and melancholy sound perfectly and is quickly becoming a trademark to throngs of the lost and lonely. Singer Jessicka’s perfected juxtaposition of sugar vocals and abrasive, yet welcomed outbursts have never collided better with the roaring guitars and pure wall-of-sound, creating a force to be reckoned with on this new release. This CD single also features a 2 brand new unreleased, non-album tracks entitled "Staring To The Sun" and a rather exciting cover of The Pixies "Wave Of Mutilation" making this a must have CD single for all scarred and non-scarred alike that is sure to leave you with a soundtrack to your next nervous breakdown. Original cover and back photos by Piper Ferguson.

As a matter of fact, "Staring to the Sun" is being called by Scarling. members as "SLS2" (So long, Scarecrow 2) as we can see in the picture above. That has an obvious reason: when you get to listen this single you'll notice that this "new track" is something like a "joyfull version" of the "So Long, Scarecrow" song, preparing us to another Scarling. era.

Here's a video (listen to it rather than just watching) with a snippet of an intervew made to Jessicka.


20060808

Marilyn Manson News


First of all, let me transcribe to you to and enterview that Mr. Manson gave to i-D Magazine:

[iDM]How did you discover Lewis Carroll in the first place?

[MM]As far as I know, it’s the second most read book after the bible. Everybody’s been forced to read Alice in Wonderland, or they’ve chosen to read it as a kid. The interesting thing is Disney has imprinted us with the idea of a blonde girl with a blue dress but the truth is when you read it there’s no real description of the characters. So it gives you the opportunity as a director, without having to change an artist’s work, to interpret it in different ways. I wanted to stay as close as possible to his work, with the idea of trying to find out who he was through his work, because I think that’s where the story really laid.

[iDM]You could apply that to yourself maybe?

[MM]I think it does go for me as well. People want to ask me questions about my life, but if you simply look at the things I’ve written, that’s where you find the story.

[iDM]Didn’t you initially plan the film as an interpretation of Alice in Wonderland?

[MM]The whole premise changed from my digging deeper and finding that the creation of Lewis Carroll is a more interesting story than the creation of Alice in Wonderland. Charles Dodgson and Lewis Carroll were two very different people, much like Robert Louis’ initial description of Doctor Jekyll and Mr Hyde.

[iDM]What was your starting point?

[MM]A lot of the film is inspired by his diaries. It’s not widely known but the family tore out a lot of passages from his diary, so that gives you a bit of leverage to use your imagination.

[iDM]So, what’s your take on him?

[MM]I think the mythology of Lewis Carroll has completely changed over the years, some people think of him as a paedophile or someone who was obsessed with young girls, but he was someone who was very much tied to his childhood. I think when he eventually found that he had nothing left to hold onto from his childhood he just gave up on life. The only thing he felt very prolific and accomplished with was his photography, and when photography became easier to do, he gave it up and that was shortly before his death. I think he felt he had nothing else to add to the world, I don’t think he realised at the time that his creativity was the one thing you can’t reproduce. Anyone can buy themselves a program me to write a song or book, but you can’t create the human soul and that’s what the movie is about. It’s the darkest story I could ever tell.

[iDM]Why did you decide to cast yourself in the lead role?

[MM]It wasn’t a vanity project. If anything, it was out of humility, because the character is very vulnerable. I think it just came out of me finding myself relating to a lot of the sorrow that he was living in him. It made me see a lot about myself just reading the work and looking at in a different way – and he had two names, which was something I could really relate to.

[iDM]There was a rumour Angelina Jolie was considered for a role in the film…

[MM]I have met and spoken to Angelina Jolie, but it’s something the journalists have turned into something else. But I do know she was quite taken by the teaser trailer and liked the idea.

[iDMHow extreme will be the sex, violence and dismembering?

[MM]I don’t think there will be any dismembering, there was already a lot of “Off with their heads” in Alice in Wonderland. It’s strange, there’s probably more violent references in the writings than what I plan to actually do. There is sex and there’s obsession, because here is a person who is believed to have lived and died, without ever having a woman or having a family, and I think that consumed him and it was definitely part of his insomnia and his depression. So there’s a lot of fantasy, it’s seen in his writings and I wanted to interpret it in a way that pushes people to see something they haven’t seen in the cinema before. I’m not trying to set out for anything, other than to redefine the horror genre and put it back where it once began with great directors like Polanski.

[iDM]Wasn’t one of your intentions for the film to scare people shitless?

[MM]Well I don’t want to be merely shocking – that’s elementary. I think that as a challenge wouldn’t be a big ask to be more frightening than the current horror movies. While they’re very successful, I don’t see myself alongside the horror films of today. Of course, people are assuming I will make a music video for one-and-a-half hours bit that’s not the case.

[iDM]You mentioned Polanski, are you looking to do psychological horror like Rosemary’s Baby and Repulsion?

[MM]That’s my favourite type of horror films, but it’s hard to compare. As far as making you walk away and feel something different, then yes. They’ll be moments of sadness and characters you can relate to. I aspire to make something that is very original most of all.

[iDM]There has always been a macabre sensibility to all your work. Do you feel it’s given less value artistically, because of the knee-jerk reactions it often provokes?

[MM]I’m so sick of people who think that art has to be beautiful and pleasing to the eye. Art can be beautiful but at the same time it can be scary, grotesque and frightening. It doesn’t make it less valuable. If people are scared or shocked, they should question why, rather than seek reactionary censorship.

[iDM]You paint as well, so I take it you consider yourself an artist as well as an entertainer?

[MM]Yes. The difference between the two is an entertainer will stop when they finish performing but artists live for art.

[iDM]You’ve changed the people you’ve worked with over the years, including your band members, has this been due to your evolvement as an artist?

[MM]There was a real conflict with the people that were working with me, so I’ve changed the people who I surrounded myself with in my life. I wanted to find a group of artists and friends who would be able to approach life the way I see it: that art isn’t art unless the artist is living it. I wanted to find other people like that, and I did and it became this window that opened and the window this window led to the film.

[iDM]You’re one of the pioneers of horror in terms of music, with the nightmare visions of your videos and art shows. How do you see the film adding to your palette?

[MM]I’ve always felt I’m more a student of film rather than a student of music. Every time I’ve made a record, in my head, I’ve tried to see it was a movie, and film is a place I see as home, a haunted home maybe. With film you get performance, music, cinematography and all these things I love and when I put them all together I think I’d be able to convey a much more important message than I’ve ever been able to in any other art form.

Now, let me quote Perous Secret Diary:

Perous drawings
after dinner, drove a bit further into london town to catch up with m.manson.

ms cole was there when i arrived.
she is incredible.
an alien for sure.
much more stunning in 3d than 2d.
could easily get lost to the point of no return, looking in her eyes.

spent a while working on the children's story me and manson are doing.
his words, my photos.

and left for the eastside some time later once again.
nights out in london will be more difficult to arrange soon.
i was glad to only be driving back to hackney and not 66 miles further east into kent.

So, it seems that our Mr. Manson is writting his own version of a young children illustrated primer, heh?

To end, here are some scanned pages you might want to read, titled "Marilyn Manson and Lily Cole: Beyond the Pale":
scanned page 1
scanned page 2
scanned page 3
scanned page 4

20060801

Tenebrarvm - Invoke Wrathful Lore

Tenebrarvm - Invoke Wrathful LoreTenebrarvm, from Beja, Portugal, was crafted as an old-school black metal project in the Summer of 2001 by Mordred under the name of Full Moon. In 2002 Seth (guitar) and Ragnarok (drums) joined. In the beginning of 2003, they were followed by Abnos (vocals) and Venom (keyboards), completing the first line-up, along bringing a definitive change of name to Tenebrarvm. Although without the participation of Venom and Seth due to a growing lack of time from their part that eventually led them to quit, the first recording came out one year later, in the Fall of 2003, a 3-track promo demo called ...For Doom And Decay.

By the end of 2003 a new guitar player, Anubis, joined, and about one year later, a 6-track EP, Under The Shade Of The Moon, was finally released, by Hell Unleashed Records. Right after this, Anubis quit and Ragnarok and Abnos left Beja, so the band was considered over.

However, some months later, Abnos and Mordred were invited to do some tracks for an Hell Unleashed Records' compilation, called Colheita 2005, and thus the band was back on the active, this time with a symphonic black metal sound. After the decision to continue was taken, a new EP started to take shape, and by the end of 2005, bearing the title Invoke Wrathful Lore and a brutal black metal sound, this same EP was finally finished. Following its release on the beginning of 2006, Tenebrarvm regrouped with Ragnarok and Venom.

Here I'm going to review this second EP from Tenebrarvm: "Invoke Wrathful Lore". This EP was released in February 2006, in a K7 100 hand-numbered edition from Hell Unleashed Records, which is composed of 4 tracks plus 2 interludes and a Dead Can Dance cover. Featured is a more brutal approach though with an ethereal edge.

The first thing you'll notice, above all, in the EP is that Tenebrarvm deserve to get a better studio and prodution: they don't practice a raw black metal as their production seems to lead, but a complex scheme of brutal strings that would be way more appreciated with a clearer distinction between instruments and sounds. The drums should have way more complexity added, because despite having some powerful and well-done breaks, as we can hear, for instance, on "Tears for Eternal Monuments", the base rhimes are from monotunous to tireant... Something that is easable forgotten if you take in consideration the powerfull guitar riffs that, unfortunately, aren't as shown as they should be.

But don't let fool yourselves by the harsh criticism I'm making on this guys: I'm doing it because Invoke Wrathful Lore lets them show some of the true potencial they have to do something really better, and this EP shows us a really good piece of black metal, brutal yet melodic, sometimes almost symphonic. That vein from them starts to show at the end of the third track, "The Shade of Ancient Towers", and the forth and last track from side A, "Aurora's Lunar Rise", shows us a completely new face of Tenebrarvm, probably with Burzum influmences, and that lets us thing how would it be to have a black ambient record from Tenebrarvm - something I would certainly like to hear.

Against the odds, this black metal band is one of those who make real sense from their lyrics, while avoiding the easy, one more point that makes me believe that they'll have a rising future. Scars Over the Firmament, a brutal statement that opens us to the side B of this EP, shows us their potential also in that vein.

All in all, this is an record you should have if you like to keep track of bands while they grow as artists. I won't say it is an excelent record, but I'll say that these guys have the potencial to do something great - and I'll be here to hear them grow. Although, if you intend to buy this EP, probably if should be better for you to wait for the upcoming re-release of the EP in CD - with a preferable format that edition will bring us some bonus tracks.

20060728

The Legendary Pink Dots

the Legendary Pink DotsFormed in London in 1980, Legendary Pink Dots moved to Amsterdam in the middle of the decade. Members throughout the band's career have been Edward Ka-Spel (vocals, keyboards) and Phil Knight (keyboards), also known as the Silver Man, with a shifting supporting cast over the years. The Dots' music is by turns melodic pop and exotic psychedelia, with classical influences, sampling, and relentlessly dark, violent, apocalyptic lyrics. After several releases for Mirrodot and Inphaze during the early '80s, the group signed to Play It Again Sam distribution for 1985's The Lovers, and released much of their best material (1990's Crushed Velvet Apocalypse, 1991's The Maria Dimension) on the label. Even as Legendary Pink Dots neared their two-decade anniversary, the group continued to tour Europe and America quite consistently, appreciated by several generations of dark industrial/goth audiences (and documented by the 2000 live album Farewell, Milky Way).

If you want to listen some samples of their songs, here's a good place to do it.

Until then, here's a teaser:


Thanks to Carlos Canau for introducing me to the band :-)

20060724

Marilyn Manson - The Covers Man

Marilyn Manson and the Spooky KidsAs many as you know, Marilyn Manson is an artist with a really big number of covers made and well known. As a matter of fact, there are lot's of songs that are now known because they were covered by them. But while everyone knows "Sweet Dreams", "Tainted Love" or "Personal Jesus", there are other covers the band did and are less known. Trying to fix that, I, in colaboration with Undercover songs, decided to do a podcast showing covers made by Marilyn Manson.

Undercover Songs #11, AKA Marado's Marilyn - Episode 1 - The early years is out, and shows some covers made by Marilyn Manson in the early years of the band (as a matter of fact until 1995). The songs presented are:

  • 03:26 - Love & Rockets - Mirror People
  • 10:07 - Gary Numan - Down In The Park
  • 16:13 - Patti Smith - Rock'n'Roll Nigger
  • 21:29 - Screamin' Jay Hawkins - I Put A Spell On You


  • Soon enough Episode 2 will come...

    20060719

    Podcasts


    podcastsToday I'm going to talk to you about podcasts. If you're a regular room 404 reader, you know that this blog is about art in general, but from the seven forms of art the one we talk more about is music. So, for those time where there's nothing new to read on room 404 and you still want to know more art, what do you do? I bet each of you have their way of fulfilling their art needs, but here is the room 404 recommendation: listen to podcasts.

    According to wikipedia,

    Podcasting is the method of distributing multimedia files, such as audio programs or music videos, over the Internet using either the RSS or Atom syndication formats, for playback on mobile devices and personal computers. The term podcast, like 'radio', can mean both the content and the method of delivery. The host or author of a podcast is often called a podcaster. Podcasters' web sites may also offer direct download or streaming of their files; a podcast however is distinguished by its ability to be downloaded automatically using software capable of reading RSS or Atom feeds.

    Usually a podcast features one type of 'show', with new episodes released either sporadically or at planned intervals such as daily or weekly. In addition, there are podcast networks that feature multiple shows on the same feed.

    So, now that you know what a podcast is, here are the recommendations we do of some awsome podcasts to know more music:

    • Contrast Podcast is a podcast made by Tim Young, and the idea behind the contrast podcast is that various MP3 bloggers and podcasters each suggest a track based on the week's theme. Every tuesday a new contrast podcast, and the theme for the next number is said. Everybody is invited to participate, and I did it in serveral numbers, from "When I was 16 I liked..." to "Local".

    • Undercover Songs is a podcast made by Nuno and Fred, and their show is only on covers. Each number has covers with something in common, like "disruptive covers" or "Lounge" covers. I also contributed with this podcast in the past with a Marilyn Manson cover, and I'll do it again. A new podcast is out every thursday.


    And you, Room 404 readers, which podcast files do you listen to?

    20060705

    Artists and Technologists together for one common goal: art freedom


    John Perry Barlow, Cory Doctorow, Avril Lavigne, Lawrence Lessig, Richard Stallman, Steven Page (BNL), David Berlind, Sarah McLachlan

    Being both an artist and a technologist, I'm quite surprised but happy to see so many well-known faces being together fighting to reach a common goal - end with freedom-destroying technologies like DRM, that are turning music from art into products, destroying in it's way the freedom in art. John Perry Barlow, Cory Doctorow, Avril Lavigne, Lawrence Lessig, Richard Stallman, Steven Page (BNL), David Berlind and Sarah McLachlan are some of the names you can see in this fight. If you want to know why, what's the threat and what can you do to help, consider reading this.

    20060628

    Neofolk

    Neofolk is a form of folk music that emerged from European ideals and post-industrial music circles. Neofolk can either be solely acoustic folk music or a blend of acoustic folk instrumentation aided by varieties of accompanying sounds such as pianos, strings and elements of industrial music and experimental music. The genre encompasses a wide assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other post-industrial genres such as neoclassical and martial music, or have links with Heathen circles and various other societies.

    Kim Larsen of :Of The Wand & The Moon:, a rune stone and an effigy of the algiz rune.


    The term "neofolk" originates from esoteric music circles who started using the term in the late 20th Century to describe music influenced by musicians such as Douglas Pearce (Death In June), Tony Wakeford (Sol Invictus) and David Tibet (Current 93) who collaborated heavily for a period of time. These musicians were part of a post-industrial music circle who later on incorporated folk music based upon traditional and European elements into their sound. Folk musicians as far back as the 1960s were creating music similar to neofolk in terms of sounds and themes. These musicians could be considered harbingers of the sound that later influenced the neofolk artists. However, the distinction must be made that it was the aforementioned artists who were involved in the dark music scene throughout the 1980s and 1990s that contributed specifically to the emergence of neofolk. Neofolk is seen by many as an extension of post-industrial music into the folk music genre which did not occur until the late 20th Century.

    The spirit of neofolk contains parallels to the ideals of American and British folk movements of the 1960s. The basis of this music is built upon principles against commercialization and popular culture. However the themes of neofolk and folk music are drastically different. A majority of artists within the neofolk genre focus on archaic symbols of culture, myths and beliefs. Local traditions and indigenous beliefs tend to be portrayed heavily as well as esoteric and historical topics. Homages and tributes to figures some may consider controversial such as Friedrich Nietzsche, Julius Evola, and Leni Riefenstl as well as the usage of war themes, imagery and historical imagery by some musicians have drawn misguided criticisms and links between neofolk and right wing establishments from various sources.


    Of particular mention is Heathenry or Germanic Neopaganism. This subject plays a large part in the thematic elements touched upon by many modern and original neofolk artists. Runes, pagan European sites and other means of expressing an interest in the ancient and ancestral occurs often in neofolk music. Aesthetically, references to this subject occur within band names, album artwork, clothing and various other means of artistic expression. This has lead to some forefathers of the genre and current artists within the genre attributing it to being part of a broader Heathen revival.

    Sol Invictus live-performance

    "Room 404" recommends you some neofolk acts, like Current 93, Empyrium, Tenhi, Neun Welten or Halgalaz' Runedance.

    Phantasmagoria

    The Reverend Charles Lutwidge Dodgson (January 27, 1832January 14, 1898), better known by the pen name Lewis Carroll, was an English author, mathematician, logician, Anglican clergyman, and photographer, and, as a writer, he wrote the well-known "Alice in Wonderland", and the not-so-known but quite inspiring poem Phantasmagoria. Years later, Marilyn Manson decided to tribute Lewis Carrol by making an horror film called "PHANTASMAGORIA: The Visions Of Lewis Carroll".

    PHANTASMAGORIA is a series of four short films currently being created by Marilyn Manson that will appeared on his website. It will also be viewed on Phantasmagoriamovie.com. It is planned that a feature length film will follow. The films are said to be part of Manson's Celebritarian Corporation movement.
    Manson has begun shooting the films in January primarily in Ireland, with some parts already shooted in Sintra - Portugal (as we previously announced) and the first film will be online in the Winter (USA) 2006. The films have been described by Manson as "the visions of Lewis Caroll". In the first installment Manson will be exploring the origin of Tweedledum and Tweedledee from Through the Looking-Glass who are played by twin girls who "get to have real, genuine sex with each other." The movie will also contain blood, horror violence and explicit sex.

    Manson will be playing Lewis Carroll as well as directing with the assistance of Anthony Silva, who is also the co-writer and editor of the film. Alice will be played by model Lily Cole, Manson explains: "The idea I had of Alice in my head was very attached to someone with red hair and meeting her and finding her, she’s very much the personality of this character." Manson has also said that he is talking to Angelina Jolie about being in one of his films, most likely playing the Red Queen.

    Unfortunately, in interviews, Manson doesn't always say which series of films he is talking about, so whether he is talking about the short films or the feature length film is open to interpretation. Manson has stated that Phantasmagoria will be filmed in a way no one has done yet. "I have a camera that I'll be the first person to use in cinema, and I'm very excited about it. It's very unique" He has suggested the use of subliminal elements to enhance feeling, but also says he may go further. "I'm going to do a lot of things that may end up being illegal. Until they are, I will do them. I think it will change people's opinion about horror films and they will realize they're not all about slasher. It's kind of a return to Hitchcock-style psychological horror about letting your mind do the damage and sometimes what you don't see is scarier."

    The short films, and possibly the feature film, will be made available through Manson's Official Website though Manson has also stated that the first film's release will be "very unconventional" though he did not say how.

    Manson has also made many references to how his website will change in the future stating that the website is very video-extensive and "has been created to be a place where you can see even more than what is in the film, whether it will be viewed as trailers or teasers, or further elements that aren’t necessary to support the film. If you enjoy the film, there’s a wealth of knowledge there to dig deeper". It has been revealed by the producer, Alain de la Mata, that the film is hoped to be completed in autumn 2006.

    http://phantasmagoriamovie.com/ http://www.marilynmanson.com/


    phan - tas -·ma -·go -·ri -·a

    1)A fantastic sequence of haphazardly associative imagery, as seen in dreams or fever.

    2)A constantly changing scene composed of numerous elements.

    3)Fantastic imagery as represented in art

    20060623

    Mindless Self Indulgence

    I've talked about Mindless Self Indulgence previously, but now they have a re-vamp of their video "Shut Me Up", this time directed by Jhonen Vasquez. See it here:


    20060608

    Ursula Rucker

    1 Million Ways To Burn



    I look upon you
    with eyes burnt from tears
    sear the meat of my heart with
    memories

    of your hot/cold words
    your dry ice words

    sticking
    stinging
    singing

    with vision blurred
    I watch
    our love go up in a frigid smoke
    guess I got to close
    I inhaled
    I choked

    slow burn, slow burn
    slow burn, slow burn

    slow burn, slow burn
    slow burn, slow burn

    Etched you name on my walls
    with the fire in your touch
    Our ardor once warmed like summer
    soldered bodies
    we swam
    in simmering sweat

    I
    melting metal
    softening
    glowing fiery orange like the sun
    bending

    You
    blacksmith
    branding

    At strangest times
    I feel the heat of the iron
    still

    slow burn, slow burn
    slow burn, slow burn

    slow burn, slow burn
    slow burn, slow burn

    Like smoldering coals now
    weaker
    but able to burn
    still

    3rd degree
    1st degree

    This hurt turns angry
    scalds
    like freshly boiled tea water
    spilled upon flesh
    making skin bubble
    then blister
    later to heal
    scarring
    still

    Etch my name on your wall with a caustic tongue
    hope at strangest times you feel the heat
    still

    slow burn, slow burn
    slow burn, slow burn

    slow burn, slow burn
    slow burn, slow burn

    Shall we leave our love at the stake
    within a fence of flames

    sacrificed on an altar of discontent
    sacrificed for no greater purpose
    on an altar of self
    for the purpose of self

    Will the rains come
    to douse or drown
    Will we rebuild from the ember and ash

    Or will nothing ever grow here
    on this burnt earth
    that was
    us

    slow burn, slow burn
    slow burn, slow burn

    slow burn, slow burn
    slow burn, slow burn

    Burn
    from passion
    or displeasure
    Burn

    slow burn

    One million ways to burn
    choose one
    One million ways to burn
    choose one

    choose one
    choose one
    choose one
    choose one

    20060607

    Is DRM Just a Consumer Rights Issue?

    Is DRM just a consumer rights issue effecting your record collection? A UK board is treating it as such. But it's much more important than that.

    Before Gutenberg, copyists, using pen and ink, duplicated written political dialogue laboriously. Only the wealthy and the church could afford to employ copyists, and during this period the paucity of communications limited the exercise of democracy to small groups. The advent of Gutenberg's press made the mass distribution of written political dialogue possible. People vote based on what they hear and read, and the improvement in communications brought by the press made egalitarian mass democracy possible. It is thus no surprise that the first amendment to the U.S. Constitution protects the freedom of the press.

    Within the last century, electronic communications have increasingly become the vehicle of democratic discourse. Because radio and television broadcasting are expensive with limited frequencies available, the wealthy have dominated broadcasting. The Internet and World Wide Web place into the common man's hands the capability of global electronic broadcasting. Clearly, the Internet is the most important tool of democracy since Gutenberg developed movable type.

    In order to protect democratic discourse in the future, the Internet must remain a fair and level playing field for the distribution of political speech. The full capability of the Internet must remain available to all, without restriction by religious, business, or political interests.

    A number of "Internet radio" and "streaming TV" devices and programs have become available today. Most of the products sold for this purpose only receive stations that have been enabled through the gateway site of product's manufacturer. The devices are sold below their real cost, because the manufacturers of these products get a royalty from all of the stations that the product is allowed to carry. Thus, the manufacturer of an Internet radio or TV will control what stations their product provides access to, and what political viewpoints are available via the product. Most of these products use proprietary file formats to lock out anything the manufacturer doesn't control.

    One day in the future, most of us will receive text, audio, and video programming via the Internet, either wired or wireless. Imagine the problem for democracy if, when that day dawns, the manufacturers of our access devices are a few companies that have attained a market lock on Internet broadcasting, thus determining what political viewpoints the electorate can receive.

    Unfortunately, the trend is for law to further restrict any attempt to circumvent a manufacturer's choice of what programs you will be able to receive, through protection of their proprietary formats in the name of "eliminating piracy". DMCA does it today, Barbara Boxer's PERFORM act, and the WIPO broadcasting treaty will soon add to the burden. The $250,000 fine attached to DMCA and the associated legal defense costs would be enough to bankrupt most people, and there's jail time too. A tiered Internet would further limit your choices.

    So, if you think DRM only effects your music collection, think again. It effects the very core of democracy.




    This text was written by Bruce Perens, but we at 404 totally aggree with it.

    20060530

    Ashram return with a new album and new live shows in Portugal


    Ashram return with a new album and new live shows in Portugal



    After a long break, Ashram are back.

    Four years after their homonymous debut, the Italian ensemble finally completes their second album, “Shining Silver Skies”, a work which unfolds itself as an exercise in musical bliss and purity, drenched in sweet nostalgia that flickers through memories of aching loss or rapturous passion. The trio is also assisted by guest cellist Leonardo Massa on these recordings, whose contribution brings a discreet additional depth to “Shining Silver Skies”, an album which not only embodies the romantic backdrop of early 1900’s glamour but that also flirts with a slightly naïve Folk spirit occasionally.

    The album will be released on Digipak CD with booklet via the Portuguese label Equilibrium Music on the 22nd of May 2006. You may pre-order now at Equilibrium Music's site or directly on this site with PayPal on the Discography section.

    Ashram will be returning to Portugal for the third time to perform live in Lisboa (at Santiago Alquimista) on the 2nd of June 2006 and Famalicão (at Casa das Artes) on the 3rd of June 2006.

    Cranes


    After being at home coding until late, I was trying to decide if I should or not get out and catch some fresh air (as a matter of fact some 'less hot air', since it's as hot as hell here in Portugal) and get some dinner, or just code until I was tired enough to sleep. I decided the healthy one - eat. I really should stop doing that, or at least stop having dinner near a FNAC. The conclusion is that I came back home with less 100 €, with a 10 € meal being digested, a pack of cigarretes, and two plastic bags full of art.

    One of the things I couldn't resist buying was a Cranes CD - a quite rare one. As a matter of fact I only bought it because I wouldn't probably never find it again, since nobody can convince me that this isn't a 2nd-hand CD. Violeta already told me she was having some bad experiences with Oporto's (Sta. Catarina's) FNAC as a matter of quality of preservation of CD's. Well, this was not only exteriorly bad preservated (which I noted as soon as I picked it up from the shelves), but it has been already used - guaranteed. I don't know what new deals/suppliers are they dealing with now, but I'm not liking FNAC's services lately... Oh well.

    But, back to the matter, I got home and started to hear the CD. This is an AAD CD, from 1997, still from "dedicated records", and it is called "EP collection volumes 1 & 2". Not that they were ever sold separatedly, but it's a double CD. Since that finding their old material (even in mp3!) is quite difficult, this is a collector's must have, infortunately also not-so-easy findable. It covers Cranes since 1989's "Self Non Self" until 1997's "Population four", covering 12 of their releases in an almost chronologic order.

    But Cranes' discography doesn't start there: "Fuse" was Cranes first demo-tape, released in August 1986, but these tapes are considered "lost" even by the members of the band, that say that a re-release of it will never see the light of day. Probably like Mordor's discography until now... After that, a Pre "Self-Non-Self" demo tape was recorded, the usual deal of a band of nothing-yet released that need something to show in order to get some gigs made. This was - so - a 15 copies "or so" release, so forget on having one in your hands... And then, in 1989, Cranes finaly got the way to release "Self Non Self", their first LP, under "Bite Back!"'s lable. In 1992 this LP was re-issued by "Dedicated", with the add of two more songs than the original version. I allways thought that the most in-your-face song of the album was "Fuse", so I was quite surprised to see that the songs chosen to this compilation were "beach mover" and "heaven or bliss". In 1990 they released two more EP's: "Inescapable" and "Espero" already under "Dedicated" lable, in August and November. In 1991 came "Adoration" EP, followed by "Tomorrows Tears" and then "Wings of Joy", this last one re-released in USA in 1997. This was, undoubtly, the most acessible sound they had made so far. The year ended with Alison Shaw (Cranes' vocalist) having a paralel project called "Inrain" with Rudy Tamaba (of A. R. Kane) that released one 7'' single in December. After one year gig'ing this full set of quick released, in 1993 the Cranes are back, releasing "Adrift", an EP, followed by "Clear", a promotional EP with three remixes of the music that can be found in the LP "Forever" that they released at the time, quickly followed by "Jewel" EP. Another release "Forever Remixes" was made, with one mix of "Jewel", four of "Clear" and the well-known Cloudless Thai's Mix. Then, "Everywhere Promo", a single CD, and "A taste of Forever", a rare promo cassete. "Shining Road" made Cranes' entry into 1994, being the EP that, with "Loved Sampler", made "Loved" probably the most successfull Cranes' release. Following the tradition, new singles and EP's followed, with "Lilies Promo", "Beautiful Friend Promo" and a surprising "La Trag�ie d'Oreste et Electre" an LP released in 1996 that is quite different to all that Cranes' did and where, and still felt so right. It is probably my favourite Cranes' CD, and was promoted with the "Ancienne Belgique Promo". "Population Four" and "Can't Get Free" were the two releases left before this compilation "EP Collection - Volumes 1 & 2" was made, "Population Four" being an LP and "Can't Get Free" a single having "Pier Scene", one song composed specially to the soundtrack to the film "Scarborough Ahoy!". Then, they released "'Til the Stars Shine", a lyrics book with all their lyrics, and that is as matter of fact being re-selled at the moment - if you want to catch one copy it's now or never, made in 1998. This book includes lyrics from what is to be 1999's "It's a Beautiful World", but get's then renamed to "Future Songs" - the first CD I ever heard from Cranes, and the first CD they did for Dadaphonic - their own record label they made for Cranes. This Dadaphonic releases must be fairily easy to find, since, even without having a great deal of distributors, they are themselves, and they care to bring to their fans their art. The CD was released in May 2001, and in January 2002 a "Future Songs Sampler" CD was made to try to boost their sells. After that, in April, they did "Submarine", a remixes CD, and "Cranes: Live in Italy" was released in May 2003 showing what can Cranes live be. In 2004 they released a new album "Particles ans Waves", that is now, since 2005, available in a CD+DVD release. On this 2006 they're still touring, but will Cranes reserve to us in the future?

    EP Collection, Vols 1 & 2

    Disc 1
    Beach Mover
    Heaven or Bliss
    Inescapable
    Give
    Dada 331
    I Hope
    E.G. Shining
    Cha Cha Escueta
    Brighter
    Tomorrow's Tears
    Casa Blanca
    Dreamless
    Underwater

    Disc 2
    Shining Road
    September
    Jewel
    Adoration
    Beautiful Friend
    Paris and Rome
    Lilies
    Angel Bell
    Adrift
    Tangled Up
    Breeze
    Au Temple
    Danse Des Érinnyes

    Hidden Tracks
    Slide
    Starblood - Remix