while fullfilling at least some requests - yes, the others will ne fullfilled, too, it is just that as usual i am..eer...meandering through this blog instead of adhering strictly to my, hm, publishing plan - but then this meandering is actually part of the concept.. where was i?

yes, i would like to take this occassion to point you to two interesting places to read something obviously interesting i came across lately.

first a write up by mind the oranges, marlon about the now on dvd available documentary about harvey milk, the times of harvey milk.

second a really good interview with matmos about music,  concept art, and all that. read it. not much more i can say...

Some words were put about in advance of the tour to describe the current phase of Matmos's sound -- "cosmic pop", "the concentration is on psychedelia and zoning out", and so on. So let me mention that, on the contrary, the performance at the Music Gallery was a fine display of common sense. I'll come to that later.

There's a reason why the venue was full up -- Matmos specialise in generosity, providing a bit of something for everyone. Their performance of Supreme Balloon's title-piece ended with a nice schizophonic trick, Drew Daniel walking the little box that played the pattering percussion to the back of the hall, drawing it out of the aural space created by the electronics that played through the PA.

Earlier in the day, Drew had given a reading outside Kensington's This Ain't The Rosedale Library Bookshop. He read from his recently-published book on Throbbing Gristle's 20 Jazz Funk Greats (his contribution to the 33 1/3 series), Genesis P-Orridge impression and all. Incidentally, as well as being half of Matmos and writing music journalism, Drew has his Soft Pink Truth house music project, and the small matter of a teaching position in the English department at Johns Hopkins University... for some people, there seems to be always enough time. Personally I think that some sort of divine balance between the ingestion and the production of art; or between critical deconstruction and artistic creation; or between professorly explication and a cut-up artist's evasion of meaning, has been struck.

Answering questions following the reading, Drew made a point which I'll filter here: rational thought, which artists in his own sampling and chopping-up tradition like William Burroughs so determinedly attempted to subvert, is no longer the oppressive norm. It has been eventually been defeated. We now deviate from rational thought daily, as a matter of routine. Ask yourself seriously: have your dreams ever been as boring as they were in the last year? Clear, rational thought -- newly endangered, a near-impossibility -- for this reason seems sexy again. Supposedly.

Here's how I get an aesthetic thrill these days: of course it's almost impossible not to deviate; what impresses me is how quietly and gently you can do it.

P.d. Esta foto no tiene nada que ver con el post, pero la puse porque quería mostrarles que se me hace buena idea tener un contenedor de ropa de Segunda Mano para la gente en recuperación del mundo de las drogas. En la foto estos niños estaban poniendo una bolsa en el contenedor.

wobbly opened the show, i was pretty excited to see him. his wild why album is a masterpiece of plunderphonics, so i was hoping for some crazy sample manipulations. like most experimental electronic musicians you never get what you expect. wobbly walked out and sat behind his mixing boards, samplers, drum machine and keyboard and produced a glitch filled piece full of broken beats that were constantly teetering on the edge of being danceable. two brave souls did dance in the large open space in front of the stage, i think one of them must have been a dance student becuase he could really move to wobbly's disjointed sounds.

shortly after wobbly left the lights dimmed leaving only a bright flashing blue light. a theremin like sound seemed to be coming from somewhere. i heard some rustling in the crowd and noticed that m.c. schmidt and drew daniel, the adorable couple that make up matmos, were coming down the aisles with flashlights and laser pointers. they were shining the flashlights and pointers all over the crowd and the stage, after some study i realized that the flashing blue light was some kind of sensor and they were manipulated the sounds by hitting the blue light with varying degrees of lights. i knew we were in for something interesting.

when they made it to the stage they were joined by the honorary third matmos member (and a talented electronic manipulator in his own right) j lesser. together they performed matmos's unique brand of electronic noise.  they played for a little over and hour with only two songs coming from their latest album, supreme balloon, including a slightly edited version of the 20+ minute title track. the highlight for me (and jamie) was a song off of the west, for which m.c.  and j lesser donned guitars and did some live sampling. also the version of "semen song for james bidgood", off of the rose has teeth in the mouth of a beast, was amazing, they tweaked it just enough.

m.c. schmidt also handled all the video manipulations, i should say that they weren't handled live, he made it no secret that he was popping in a different dvd for each piece. he approaches his videos with the same sampling and collage work that is used in the music. an interest he explores further with his (far noisier and abrasive) phase chancellor side project.

after their set was over they came back on stage for an encore this time accompanied by wobbly. this made me happy because their live album wide open spaces, made with wobbly, is one of my favorites. this improv was far too short though, i feel like they were just getting into it when suddenly it was all over.

i have only seen matmos once before and that was in seattle at the detestable venue the triple door. that was more of a pop structured show. this time it was more out there, seemingly trying to eschew traditional song structure. this was an amazingly satisfying show, reminding me why i like electronic music.

]]> http://5fingers.wordpress.com/?p=320 Sun, 29 Jun 2008 19:29:42 +0000 E. Cohen http://5fingers.es.wordpress.com/2008/06/29/pierre-henri-marie-schaeffer/ Voltando a escutar os cds do Matmos, resolvi fazer uma procura sobre a banda e suas estranhas técnicas para fazer música (que envolvem desde orgãos de animais até sintetizadores e softwares de última geração), dei de cara com o termo musique concrète. E como a curiosidade mata, resolvi arriscar a perder a vida e descobri esse nome: Pierre Schaeffer.

Schaeffer foi um compositor francês da década de 1940, pai do termo musique concrète. Ok. Mas o que é musique concréte? Simples! É fazer música de sons do "mundo real" ou sons que não são criados por instrumentos musicais. Ainda está difícil? Então, imagine a cacofonia do trânsito das cidades. Imagine você gravando esses sons e depois manipulando-os de uma maneira que formem uma música. Pronto! Você fez uma musique concréte. Mas hoje com computadores e softwares de última geração, você nem precisa gravar sons, eles já vêem prontos para uso. Na época de Pierre era diferente, os sons eram gravados em fitas eletromagnéticas (os famosos K7s) para depois serem manipulados para criar uma música, era trabalho braçal. E alguns dizem que ele foi o percursor do uso de samples em músicas. Não sabe o que é sample? Sample é um pedaço de uma música ou som que você utiliza para criar outra música. Os rappers sempre utilizam sample de algum outro sucesso musical para fazer outras músicas.

E se você acha essa tal de musique concréte estranha demais. Ela não é. Você já ouviu músicas utilizando as técnicas de musique concréte, mas não sabia. Frank Zappa, Beatles e Pink Floyd já utilizaram em suas músicas essas técnicas. E atualmente, muitos artistas de música eletrônica utilizam essas técnicas como o Matmos e Aphex Twin. Tudo bem que na era do computador, todas essas manipulações parecem ser fáceis de fazer, mas é bom lembrar que na época de Pierre os K7s eram a mais nova tecnologia disponível. E se você acha fácil gravar tudo e manipular, então veja alguma apresentação ao vivo. Não são somente computadores e fios espalhados pelo palco. Os objetos estão lá. O "mundo real" está lá. E talvez você perceba a musicalidade do som das cartas de baralho sendo embaralhadas dá próxima vez que você jogar truco com seus amigos.

Aquí vengo a hablarles del de Roskilde, cerca del pueblo de Roskilde en Dinamarca, siendo este el más importante de Escandinavia. Porque este en especifico, porqué hace justamente un año asistí a ék y justo esta semana arranca el warm up para el de este año, además nunca lo había reseñado.

La verdad no quiero ponerme a escribir algo muy largo, pero el año pasado este fue todo el cartel

Red Hot Chili Peppers, The Killers, Muse, Arctic Monkeys, Björk, My Chemical Romance, Queens of the Stone Age, The Who, The Arcade Fire, The Flaming Lips, Beastie Boys, Wilco, Mika, LCD Soundsystem, Basement Jaxx, In Flames, Klaxons, Justice, DJ Tiësto, Camera Obscura, John Legend, Mando Diao, Beirut, Peter Bjorn and John, The National, Cold War Kids, The Sounds, Machine Head, Jens Lekman, Talib Kweli, Against Me!, Tiësto, Mastodon, Cansei de Ser Sexy, New Young Pony Club, Eagles of Death Metal, Katatonia, Grizzly Bear, Dizzee Rascal, Spiritualized, Booka Shade, Datarock, Clipse, The Whitest Boy Alive, Strung Out, The Ark, The Thermals, Pelican, Diplo, Strike Anywhere, Laurent Garnier, Electrelane, The Brian Jonestown Massacre, Tunng, Boris, Akron/Family, Goose, Bonde do Role, Anthony B, Matmos, Cult of Luna, Alpha Blondy, Annuals, Fanfare Ciocărlia, Luomo, Loney, Dear, Gojira, The Twilight Sad, Camille Jones, Holly Golightly, Julee Cruise, Thomas Dybdahl, Jeans Team, The Congos, Zyklon, BigBang, Hatesphere, A Hawk and a Hacksaw, Buffalo Tom, Hayseed Dixie, Mikkel Metal, Volbeat, 120 Days, Djuma Soundsystem, Digital Mystikz, Nortec Collective, Mahmoud Ahmed, Loefah, Detektivbyrån, Slaraffenland, Roky Erickson, Nephew, K'naan, Dúné, People Press Play, Moi Caprice, Oh No Ono, The Kissaway Trail, Asle, AGF, Quit Your Dayjob, Buraka Som Sistema, Maher Shalal Hash Baz, Tenniscoats, Dusty, Kal, Pixel, The Lionheart Brothers, Kenneth Bager, Konono N°1, Lazee, Suspekt, The Floor Is Made Of Lava, Taxi taxi!, Kama Aina, Trost, Death by Kite, Turboweekend, Bjørn Svin, Ungdomskulen, Band Ane, Speaker Bite Me, Badun, The Psyke Project, The Broken Beats, Nostalgia 77 Octet, Mapei, Timbuktu & Damn!, Analogik, Gorilla Angreb, As in Rebekkamaria, Murder, Choir of Young Believers, atoi, Mani Spinx, Junkyard Productions, Rhonda Harris, Kasai Allstars, Jøden, Marybell Katastrophy, Alice Rose, Sort Stue, TRENTEMØLLER, Aronas, Kasper Spez, 1234, Forest & Crispian, Decorate. Decorate., DJ Click, Sonic Junior, Boys in a Band, Mike Sheridan, Kloak, The Downward Candidate, Highway Child, Soulsavers feat. Mark Lanegan, City-X, Nikaido Kazumi, Transmission Low, Poeten & Lillebror, DJ Diplo, Dream of an Opium Eater, Ben Nott, Mit Nye Band, Nils m/skils, K´naan, Decorate, mikael palner, The Musicians of the Nile

160 bandas, con 4 días de warm up donde se presentaban bandas pequeñas y para luego 4 días de festival con 7 tarimas. Pude ver un total de 21 bandas de las que puedo resaltar las actuaciones de Jens Lekman con un concierto muy intimo entre el y su banda de mujeres. Anika Trost donde arranco que la entre a ver ya sus últimas 3 canciones y la primera que vi, ella montada en el borde de un amplificador colgando del cable del micrófono, presentación un tanto demente, pero una excelente sorpresa. Björk quien era la que mas me interesaba ver en el festival. Muse que a la postre fue para mi la mejor presentación. Queens Of Stone Age quienes descargaron con todo. Flamings y Beastie Boys con shows muy divertidos. Ademas de Detektivbyrân como una de las mas gratas sorpresas. La decepcionante presentación de Red Hot Chilli Peppers, incluso mucho mas que la de Caracas. Lastima que no pude ver Peter Björn and John y Klaxons por culpa de que se presentaban a la misma hora de Queens Of Stone Age y Beastie Boys respectivamente y The Killers que no los vi porque ya estaba hasta el guevo de la lluvia.

En contra tuvo la lluvia que no paró en 4 días, casi literalmente se puede decir que los dioses decidieron mear en Dinamarca mientras estabamos allí, gracias a ello perdimos 2 carpas y se nos mojó toda la ropa, mas toda la roncha que eso nos hizo pasar y además acalanbró mis pies y los lleno de marcas y heridas que todavía luego de un año tengo marcadas. Sin embargo la excelente vibra que se vivía en el sitio, la cantidad de gente desconocida con la que uno compartía, el alcohol y la música, hacía que todo se olvidara y lo convertian en una expericia increible e irrepetible, inclusive por las bandas que uno no conoce y descubre.

Este año el cartel es un poco más flojo, aunque hay varias cosas interesantes de ver

Radiohead, The Chemical Brothers, Goldfrapp, Cat Power, Gnarls Barkley, Neil Young, Jay-Z, Kings of Leon, Mogwai, The Streets, Slayer, José González, Hot Chip, Bullet for My Valentine, M.I.A., Judas Priest, My Bloody Valentine, CocoRosie, Band of Horses, Kate Nash, Anti-Flag, The Gossip, Lupe Fiasco, The Notwist, Bonnie 'Prince' Billy, Digitalism, MGMT, Robyn, Battles, The Dillinger Escape Plan, Duffy, Tokyo Police Club, The Raveonettes, Liars, Fedde le Grand, The Ting Tings, Enter Shikari, At the Gates, Orishas, The Hellacopters, Girl Talk, Efterklang, Solomon Burke, Shantel, Black Mountain, Clutch, Job for a Cowboy, Santogold, Alphabeat, Grinderman, Culcha Candela, Teitur, Yeasayer, Slagsmålsklubben, The Duke Spirit, Swollen Members, Lykke Li, Holy Fuck, Sharon Jones and the Dap-Kings, Joan as Police Woman, bob hund, Skream, Dan Deacon, No Age, Motorpsycho, Familjen, AaRON, Fuck Buttons, Mugison, Dengue Fever, Lady Saw, Rotten Sound, Raunchy, Cadence Weapon, Von Hertzen Brothers, Supersilent, The Dø, VETO, La Kinky Beat, Seasick Steve, Shackleton, Polarkreis 18, The Fashion, Static, Jay Reatard, Spleen United, Tina Dickow, The Black Seeds, Various Production, Sunburned Hand of the Man, Säkert!, Tone, DJ Disse, DJ Scotch Egg, Orquestra Imperial, L.O.C., Press Play on Tape, Frisco, Miss Platnum, Queen Ifrica, Canon Blue, August, Burhan G, Jomi Massage, Vieux Farka Touré, Rumskib, Extra Golden, Juan Formell y los Van Van, Wildbirds & Peacedrums, OVe-NaXx, The Count & Sinden, Vira, L.O.C, Wagner Pá, 18th Dye, Choir of Young Believers, when saints go machine, The Shape Of Broad Minds, Lulu Rouge, Bloodgroup, Tumi and the Volume, Babylove & The Van Dangos, Rumble in Rhodos, dunkelbunt, Krusseldorf, Various productions, Maruosa, Nicole Atkins & The Sea, beta satan, Erik Levander, Noize, A Kid Hereafter, Boy Better Know, Pilgrimz, August Engkilde, Sleep with all your friends, The Campbell Brothers, La Shica, Ian Ion, isam b, Majors, Boom Clap Bachelors, albertslund terror korps, Jong Pang, The Grand, Kiss Kiss Kiss, Frédéric Galliano, Valravn, BadboE, Henrik Hall, loungeclash, Awadi, kirsten ketsjer, [dunkelbunt], Maria Timm, Casiokids, Spokfrevo Orquestra, FredNukes, Bogulta, Mamar Kassey, Fanfara Tirana, Klaus Lynggaard, Troels Boberg, Kenge Kenge, The Asteroids Galaxy Tour, BeardyMan, Anthony Joseph & The Spasm Band, The Late Parade, Lucy Love, The Good the Bad, ricoloop, A Kid Hereafter In The Grinding Light, Riffelsyndikatet, The River Phoenix, yoke & yohs, Le Fiasko, The Brazierlights In The Window, Dj Banel, Sidi Goma, Dee Pee, MARIA & METAMMIT, Dub Tractor & Opiate, T.S. Høeg, Tivolis Symfoniorkester, The Freudian Slip, Peter Laugesen, Lars Frost, Job For A Cowboy , Shantel & Bucovina Club Orkester, MC Jabber, Thomas Boberg, Osaka Invasion

Aquí les pongo algunos video de año pasado

Björk - Army Of Me

Muse - Stockholm Syndrome

Queens Of Stone Age - Sick Sick Sick

Flaming Lips - Intro con Wayne Coyne haciendo crowd surfing dentro de una bola.

Artic Monkeys - Mardy Bum

The Who - Pinball Wizard

Y para que vean la cantidad de agua que se acumulo en el sitio

Lastima que no tenía la camara en mano cuando vi el tractor medio hundido en el barro.

Drew Daniel: My favourite space is somewhere in the future, with no phone, and a calendar with nothing written on it.

M.C. Schmidt: I am a practicalist, so I would have to speak about several places I have been. The production of our music is burdened with stuff: computers, microphones, mixing boards, synthesizers. I love this stuff, I don't long for minimizing it, but it does limit the kind of place we can "create music" in. I loved our recent residency in the GRM Studios in Paris. It's an amazing technical facility, total silence (if desired), weird stimulating architecture/space/community (the entirely round building that contains Radio France, the French National Orchestra, the French National Choir, etc) a charming, super-knowledgeable assistant,
an unparallelled history (it is the creation of the creator of our medium, Pierre Schaeffer) and delicious food served at regular hours and COFFEE COFFEE COFFEE!

M.C. Schmidt: We also go to a place in Whitefish, Montana called Snowghost that is a very different kind of paradise. It is in the mountains of Montana and is the project of young genius Brett Allen, whose obsession is making high quality recordings of all kinds, and he certainly has the gear to fulfill that obsession. It's in his house, so one can work 24 hours a day, and when you go outside you are in the same kind of landscape as in, say, Brokeback Mountain... but without the sexual angst. If only I could talk him into actually cranking up that espresso machine that glitters at me, seductively, but is never used. There are pictures of Snowghost on the web, and some of the music we have made there, too. We've been working there (for years, now) on a collaborative album with the So Percussion Quartet and with Zeena Parkins and Mark Lightcap. so we may finish it this summer!

M.C. Schmidt: Our house in Baltimore is also good. The studio is in a new place for me - a basement. We don't really have them in California, so it's new to me: spacious but subterranean, though it has a door that opens to the outside. It has thick, bumpy, clay walls and a serrated wooden ceiling that baffles sound nicely and a shiny old concrete floor. It's the first studio we've had in the house where Drew and I can sit side by side, which is something I've always longed for. We have all our keyboards out and immediately useable for the first time, which is probably what made Supreme Balloon what it was, to some extent.

M.C. Schmidt: Another favorite place is my best friend Steve Goodfriend's home. The studio is in an old shed, a very simple wooden thing with folding tables and old rugs on the floor. What makes it so great is the talent on tap around there. Our friends are great musicians and always seem to have time to do whatever stupid musical experiments we want them to participate in! There is a very judgmental dog there, called Lucy. She knows when what you're doing is bullshit or not and leaves when she doesn't approve. I am more frightened of her than of any critic... and she never reads a press release! This place is where we made a lot of The West and the feeling comes somewhat from that place, too. It's in a distant, sort of rural corner of Los Angeles, a neighborhood called Mount Washington.

Drew: For work, I need Digital Performer on a kick ass computer with lots of hard drive space, and my EMU E6400 sampler, my laptops with Max/MSP and Ableton, and some controllers. I also like to have plenty of outboard pedals and processors that I can play with all ten fingers; curating a signal chain is just as important to me as working onscreen. I think that you need different things at different points in the process. At the beginning of pieces, you need lots of free hard drive space and relative quiet outside. This is so that you can record indoors without sub-bass from passing delivery trucks ruining your recording of contact mic-ed fingernails scraping across a matchbox (a problem we have had). You also an environment that lets you make the most of what you have. Clutter can be inspiring at the beginning of a piece (lots of stuff, lots of options, lots of potential elements) but becomes a problem when you are doing detail-oriented sequencing and editing work - that's when I crave the kind of hyper-clean minimalist studio that other people have. We are such pack rats that we will never have a studio like that, but that's okay with me.

Drew: Some parts of sample construction and editing are best done alone; once it is time to try out different patterns and rhythms I think it's better if Martin and I take turns so that things don't stall. Sometimes we go into "volley" mode in which I make one sequenced loop, and then he does, then I do and so we can have a conversation going in the way that the form emerges. We use Microphones, mixing boards, samplers, synthesizers, computers, VHS players, portable recording machines and objects and phenomena in the world. I guess that makes us sound simpler AND more pretentious than we are!

Drew: What I love most is how easy it is to reconfigure our set-up. In the new studio we have lots of wide open table space to just re-order things and play with new signal chains and MIDI set-ups, and the luxury of space is something that we never had in our San Francisco studio, which was like one of those hoarder apartments that crazy senior citizens who collect mountains of garbage live in."

****************************************************************
Signed to Matador Records, Californian duo Matmos make music out of the sounds of objects, animals, people and actions. They have collaborated with Rachel's, Kronos Quartet and Bjork (with whom they have toured extensively), taught seminars on sound art at Harvard University and the San Francisco Art Institute, and DJ’d at proms for homeless teenagers. They have had pieces in the Whitney Museum of American Art and The Natural History Museum of Los Angeles and have scored the soundtracks for five gay porn films, one pinball machine, and one NASCAR television commercial. They recently released their sixth album, Supreme Balloon, made entirely using synthesizers. They make their Irish debut at the Future Days festival in Dublin this Thursday, June 12th at Andrew's Lane Theatre. For more information, visit www.myspace.com/matmos1 or Matmos.

About Musical Rooms
Musical Rooms Full Index

Matmos seem to have more or less ditched the concept of having a concept with Supreme Balloon. Where previous outings by electro-collage boffins Drew Daniel and MC Schmidt had themes ranging from plastic surgery and rodent behaviour to the American Civil War, the latest album is a simple collection of retro-futurist electro-pop redolent of 1970s television science shows.

“Polychords”, for example, bounces along amiably like Boards of Canada on a spacehopper, whilst “Mister Mouth” comes across as a Pacman sing song – all squelchy beats and robotic squeaks. “Les Folies Francaises” is a cartoon Casiotone harpsichord melody from the court of the Sun King. It's all upbeat and fun, without crossing the line over to self-conscious wackiness.

With the other six tunes all clocking in at under four minutes, the 24 minute title track can't help but dominate the album. With its lilting pace, and variety of analogue synth parts, it sounds like something from Autobahn-era Kraftwerk before everything got digital and clinical. It's more than just a loving pastiche, though. There is an organic warmth to it, and with little melodies weaving in and out, it easily sustains the attention. It does tend to dominate the album in a way that overshadows the other tunes, making them appear a little slight in comparison.

Supreme Balloon evokes a world of computers the size of small buildings, synthesisers the size of family cars surrounded by miles of wire, and speccy scientists in brown corduroy with gigantic sideburns. It may not be cutting edge, but it's a fun place to visit for 45 minutes.

Tracks
1 Rainbow Flag 3:50
2 Polychords 3:31
3 Mister Mouth 3:47
4 Exciter Lamp 3:21
5 Les Folies Francaises 2:24
6 Supreme Balloon 24:08
7 Cloudhopper 2:58

Website
http://www.brainwashed.com/matmos/

SYE 01 : Class of 69

SYE 02 : New Old

SYE 03 : Matmos (à venir)

SYE 04 : Discipline (à venir)

www.myspace.com/scumyrearth

matmos are probably the most famous spokesband for musique concrete, albeit a more poppy version. they tend to remove a lot of the seriousness involved with musique concrete while matiaining the intellectualism. their albums are alway's recorded using a set concept or guidelines. in the past they have constructed an album using only plastic surgery sound samples, and made an album that was full of tributes to well known gays and lesbians. for supreme balloons they composed it entirely on vintage synths and organs, and features some collaborations with j lesser, hrvatski, terry riley, and marshall allen.

the vintage instruments used on this album give it a sound that fits right in with the classic albums of raymond scott, jean jacques perrey, gershon kingsley, hans elder and erkki kurenniemi. while the sound might be rooted in the past the production and composition of the tracks are all matmos. they have a fondness for chunky beats that, i hate to say it, can sometimes be a bit funky. normally that would be at turn off for me, but matmos can do no wrong. only some of their songs would even come close to being dancey, for the beats for the most part broken and more than a bit disjointed. also they tend to have that ability to make you a bit tense, which is something i seem to look for in music. on supreme balloons they seem to embracing some prog-rock influences. most notably in the twenty six minute title track, a sprawling organ filled epic that yes and early genesis fans would be proud of.

this is another great album for matmos. they are easily one of the most interesting and suprising groups around today. i can't wait for the show in july. last time i saw them they sampled live spankings and did some amazing things with sound of pounding roses.

plus mc schmidt and drew daniel make a hot couple.

]]> http://thinkpinkradio.wordpress.com/?p=272 Sat, 17 May 2008 17:44:54 +0000 thinkpinkradio http://thinkpinkradio.com/2008/05/17/cute-matmos-video-about-their-move-to-baltimore/

01-rainbow-flag

02-polychords

03-mister-mouth

04-exciter-lamp

05-les-folies-francaises

06-supreme-balloon

07-cloudhopper

Mindi Abair - Stars
Clay Aiken - On My Way Here
Barenaked Ladies - Snack Time
Cheap Time - Cheap Time
Elvis Costello and the Imposters - Momofuku
Craig David - Trust Me
Gavin DeGraw - Gavin DeGraw
Firewater - The Golden Hour
Tim Fite - Fair Ain't Fair
Four Tet - Ringer
Nik Freitas - Sun Down
From First to Last - From First to Last
Rob Gee - Says
Greeley Estates - Go West Young Man, Let the Evil Go East
The Long Blondes - Couples
Johnny Mathis - A Night to Remember
Matmos - Supreme Balloon
Millencolin - Machine 15
The Morning Benders - Talking Through Tin Cans
Kenny Neal - Let Life Flow
No Age - Nouns
Kelli O'Hara - Wonder in the World
Russian Circles - Station
Chris Sligh - Running Back to You
Socratic - Spread the Rumors

Matmos

Vía: Matador

Longtime listeners/short term readers how freaky Think Pink Radio is about Matmos. With May 6th, the release date for their new record fast approaching, little trickles of mp3's have been digitally making way for excitement and pants peeing. Supreme Balloon being an entire album made from synthesizers, it's bound to be great headphones music, carnivals, psychedelic BBQ's, and traveling. Thankfully, Drew Daniel and MC Schmidt are web savvy enough to be ok with people already having some of the songs. Stereogum has "Unbeliever," a track that will be a B-side or on an import version or something (you can get it if you subscribe to their newsletter), meanwhile "Rainbow Flag" is available on Matador's Matmos page, and "Polychords" is one of the tracks on the new Matador MP3 sampler "Intended Play: Spring 2008". You can get "Polychords" below and "Supreme Balloon" at the previous post but as a courtesy, head over to Stereogum for that B-side, buy Supreme Balloon from Matador, and support their upcoming tour. Dates after the jump.

Matmos--Polychords

--Stinky Pinky

UPDATE: Here is the video for another new song from Supreme Balloon, "Exciter Lamp:"

July 7-Seattle, WA @ Triple Door *
10-Portland, OR @ Aladdin Theater *
12-San Francisco, CA @ Great American Music Hall *
15-Boulder, CO @ Boulder Theatre *
18-New York, NY @ (le) poisson rouge **
19-New York, NY @ (le) poisson rouge **
21-Toronto, ONT @ The Music Gallery **
23-Columbus, OH @ Wexner Center **
24-Detroit, MI @ Detroit Institute of Arts **
25-Pittsburgh, PA @ Andy Warhol Museum **
27-Chicago, IL @ Lakeshore Theater **

* - support from Wobbly

**- support from Snacks

Some afternoons I just sit in my room and callous my fingers with a guitar in ways I haven't done in at least three years.  When I ever have some money again I also want to get a copy of MAX MSP and make blip blop noises.  I'd also like to acquire a simple MINI MIDI controller to keep in my room.

Other than that, the new Matmos album is the Bear's Ass.  MKEEGAN and I will see them in July in NYC.  I will also see X on May 24th with Jen C. and maybe see Mission of Burma also in June.

Here's a picture of Deerhoof from their first-ever Albany performance: