Posts Tagged ‘Minneapolis’

The “Fresh Evidence” era was the last original album. This is one of the best soundboard album’s, Included in this work is “Minneapolis” Performance on March 20th, 1991”. It is a sound board recording outflow of those concerned. Rory had toured until January 1995, six months before his death, but the world tour lasted in 1991. This tour also included the last performance in Japan,

This is taken from the 1990/1991 tour by  Rory Gallagher. Even after 1992, tours were conducted with different members, but only in Europe. This was the last world tour to go to Japan, Australia and North America. Under such circumstances, the Minneapolis performance of his work was the concert corresponding to the last “North America” ​​leg with 11 performance’s.

While covering 5 songs from his latest release “Fresh Evidence” thickly, it covers a wide range of tracks from his solo career for over 20 years. Speaking of this period, you can listen to precious numbers such as “Fresh Evidence” the other songs “Kid Gloves” “Walkin ‘Wounded” “Heaven’s Gate”, Nighthawk “Goin’ Down to Eli’s”, Stones’ Tumbling Dice ”on the sound board.

ROCKPALAST was a five-person group with a keyboard’s, but here  it is the same four-person line-up as the performance in Japan. At the core is a trio with allied friend Gerry McAvoy and his friend Brendan O’Neill from his school days, with Mark Feltmann’s  participating.
This recorded show is just among the best sound board recordings available. The show has been known for a long time, but this is from a new master leaked from a different party. Although it is clear that it is a new master because it is about 4 minutes longer, The important thing is the quality that goes through the whole set. I’m especially happy that the guitar is pretty intense. The balance that the guitar came out in front of the rhythm team may not be ideal as an ensemble for the whole band, but the main attraction is Rory’s guitar. Both hot and delicious phrases are directly connected. Although not as much as the guitar, the focus is on Rory’s vocals too. Although it is a level that can be called “official” in terms of audio quality, it is a sound board album that is more vivid than that existence of the experienced white bluesman. From the hard British hard rock to the deep blues like Chicago, it is the culmination of Rory. The late Rory was not able to deepen the ensemble with the new band due to the deterioration of the physical condition, but here he listens to a passionate performance that can be said to be the end of 20 years of solo career with McAvoy. A masterpiece of a live album where you can enjoy the full show

Rory Gallagher was one of the greatest rock/blues guitarist who ever graced this earth and the likes we will never see again with a profoundly beautiful heart and soul. Everything about this show was perfection. Rory’s guitar playing and his singing, Gerry’s bass playing, Brendan’s drumming and Mark Feltham’s harp playing. They were really having a good time that night. They were super tight.

Rory Gallagher – guitar / vocals
Gerry McAvoy – bass
Brendan O’Neil – drums
Mark Feltham – harmonica

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       Gary Louris,  

 

    

   

  

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When Poliça’s Channy Leaneagh fell off her roof while clearing ice in early 2018, she smashed her L1 vertebrae and battered her spine, leaving her in a brace with limited mobility for months. Yet Poliça’s fourth album, “When We Stay Alive”, is not about one debilitating accident. It’s about the redemptive power of rewriting your story in order to heal, and reclaiming your identity as a result.

While recovering, Leaneagh’s doctor told her to focus not only on physical healing, but to meditate on the mental act of healing as well – working to erase the anger, regrets, and fear she felt about her fall. To do so, he suggested she rewrite the story she told herself about what happened on February 28th. Left alone with her thoughts and her back fully braced, Leaneagh would visualize herself slipping and falling not onto cement, but instead onto a cloud, landing safely before breaking into a sprint over snow melting to reveal tall blades of green grass. As she felt the positive effects of this mental exercise, she set about doing the same for other injuries and pains that she gripped onto from her past.

Prior to Leaneagh’s accident, she had been setting music aside as she raised her children and worked to make ends meet as a nursing assistant. Now in the still silence of healing, she found that a multitude of feelings were becoming very loud. Leaneagh realized her self-identity had become attached to her experiences of physical and mental trauma, and she began to consider what it would be like to live without the past as a burden. “I felt there were many things I could look at and say, ‘This happened to me but I’m okay now. It’s not happening anymore and I got the care I needed for it. Now it’s time to rewrite the story I tell about myself and to myself,’”

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Released January 31st, 2020

The trio hails from Minneapolis, a city already well known for its connection to noise rock. They stand alongside other Gilead Media bands Couch Slut and Kowloon Walled City as a select group of artists masterfully harnessing overdriven, rhythmic, and noisy riffs.

Threading the needle between the Euro-freakouts of Girl Band and the bleak fatalism of Daughters, Buildings is notably a very not-black-metal band signed to a very black-metal label. On their second release for Gilead Media, the trio builds upon the Jesus Lizard aggression of 2017’s You Are Not One of Us while also venturing into a handful of other heavy-rock influences—including metal on the headbangable second track, “Sit With It.” Comprised of nearly doom-paced guitar and heavy-hitting percussion, “Sit” is…well, pretty bleakly fatalist (“What does this world have left for me?”) and pretty freaked out the sense of doom, like any track on Negative Sound, is fully their own.

Buildings is:
Brian Lake: Guitar and Vocals
Mike Baillie: Bass Guitar
Travis Kuhlman: Drums and percussion

Official music video for “Sit With It” from the Buildings album “Negative Sound”. Out November 22nd, 2019 on Gilead Media (US) and Antena Krzyku (EU).

Sass live up to their name, but they use sarcasm and cheekiness as a deflection tactic against a looming darkness. The songs on their debut album, “Chew Toy”, are about heavy shit, and Stephanie Murck never undersells the very serious topics she’s singing about. But the gnarled and fuzzy towers of attitude that Sass build up around that are stunning — frustrated bursts of pure release.

released May 31st, 2019

Kid Dakota is the musical moniker of Darren Jackson. Formed in 1999, Darren is a multi-instrumentalist, composer, engineer, teacher, and producer. He owns and operates Shortman Studio in Northeast Minneapolis. In addition to creating and recording music, he is currently a Ph.D. student in ASPECT (Alliance for Social, Political, Ethical, and Cultural Thought) at Virginia Polytechnic Institute and State University. His areas of research are early twentieth-century avant-garde film, film theory, and philosophy.

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Darren Jackson – vocals, guitars, keyboards
Ian Prince – drums

released April 1, 2019
Music and lyrics by Darren Jackson.

An indie rock band from the land of lakes , led by Kerry Alexander who when she wants to write a song, turns on the radio. That’s because Alexander, the lead singer and songwriter of the Minneapolis band Bad Bad Hats, is interested in pop tropes – how to play around with them, why they work the way they do.

After alternating between acoustic offerings and revved-up, garage-leaning rock on their debut, the band settles into a comfortable mid-tempo groove on the new LP, with richly-produced synth-pop sound.

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Band Members
Kerry Alexander,
Connor Davison,
Chris Hoge,

The Minneapolis Uranium Club have been steadily cranking out nervous, wiry, weirdly hooky punk rock for the past few years. And next month, they’ll follow up their 2017 album All Of Them Naturals with a new one called The Cosmo Cleaners. The band actually sold test pressings of the album on their European tour last year, but now the rest of us will get to hear it. And they’ve now shared “Man Is The Loneliest Animal,” a five-minute sprawl of a song, epic for DIY punk, that starts out as a languidly jittery Unwound-esque meditation and then turns into a freaked-out sprint. It sounds a bit like what might’ve happened if the Modern Lovers had come up in the Bandcamp-hardcore era.
Smile cautiously as the Uranium Club welcomes you into their stinky apartment. You’ve been here before, right? Oh, that must have been some one else. Do you have a brother or sister? One of the members mumbles some deceptively eloquent bullshit as he hands you a drink. His lips are dark red and chapped; he looks really bad. But the drink is wet, and those stairs had been tall. Sit down, lean back, sip it. It rolls around your tongue, hides between your teeth, a perfectly TV-worthy combination of pleasure and mischief.  It’s supposed to go into your ears! How crazy is that? Such a sensation of taste, transmogrified for the realm of sound? Is it Sprite, or is it… music? Careful, engaging, and dare-I-say theatrical vocals over hyper bass-and-drums while other boingy-boingy instruments puke all over it, all over the whole show. That’s called synesthesia. Gentle lectures, dangerous storytime, eerie fast-and-slow nightmare riffs, and a taut, bound-and-gagged rhythm section. Boingily-boingily, that’s phantasmagoria. That’s the Uranium Club’s latest album, “The Cosmo Cleaners.” So swish around some mouthwash and plug in your AirPods, kid, it’s time to drop that needle!
Releases March 15th, 2019

Kid Dakota is the musical moniker of Darren Jackson. He started performing as “Kid Dakota and the Tumbleweeds” in 1998 while living in Providence, Rhode Island. The name was chosen in homage to his home state of South Dakota and also as a parody of Kid Rock. In the summer of 1999, Darren recorded the five songs that would appear on the So Pretty ep with long-time friend and producer, Alex Oana at City Cabin (formerly Blackberry Way). Darren moved to Minneapolis, Minnesota that winter and self-released the “So Pretty” (Kid Dakota album)” An ep in the spring of 2000. The ep caught the attention of Alan Sparhawk, singer and guitarist for the seminal slow-core band, Low (band)and he offered to release the ep on his label,

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Darren Jackson – vocals, guitar, keyboards
Mathew Kazama – drums
Brent Paschke – guitar
Adam Levy – guitar

The latest album from this Minneapolis trio adds pop polish to its folk-tinged sound. “[Lead singer] Kerry [Alexander] and I were kind of thinking, ‘Yeah, we’ll pretty much just do the same thing again,” multi-instrumentalist Chris Hoge said. “But [producer] Brett Bullion really pushed us to make something different.”

Pop sensibilities mingle with garage rock on Lightning Round, the newest release from the Minnesota-based band Bad Bad Hats. Listen to “Nothing Gets Me High,” where front-woman Kerry Alexander somehow turns empty love into something you want to dance and thrash to. Or listen to “Girl,” where Alexander tells an all-too-familiar story. “You smell like smoke and look like satin,” she sings. In fact, a theme of doubt permeates the collection as much as catchy hooks do, as the group smartly melds lost emotion into upbeat tracks.

Lightning Round is the second studio album by Bad Bad Hats. It will be released August 3rd, 2018 on Afternoon Records.

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When Kerry Alexander wants to write a song, she turns on the radio. That’s because Alexander, the lead singer and songwriter of the Minneapolis band Bad Bad Hats, is interested in pop tropes – how to play around with them, why they work the way they do.

Take “Nothing Gets Me High,” the power-pop centerpiece of her band’s new album, Lightning Round. Alexander wrote it after listening to Tove Lo’s 2014 hit “Habits (Stay High)” and figuring how to invert the song’s premise. “I was thinking about how there are so many songs about love and drugs as a metaphor,” she says, before spelling out her uniquely personal premise for the song: “And I was like, ‘I want to write a song like that, but I have never actually been high. I have never done drugs.”

Another new song, “1-800,” came from listening to Drake’s “Hotline Bling” and wondering why more songs didn’t play around with toll-free numbers. “I like that phrase, using 1-800 as a metaphor for how you get nothing but junk in your life,” she says, “Or that you feel like people look at you like a 1-800 call, like, ‘No one picks me up. They all let me go.’”

On Lightning Round, the Minnesota quartet refine and polish the blend of indie-pop, folk, and rock that they introduced on their 2015 debut, Psychic Reader, an album that won positive reviews and high-profile opening gigs for Third Eye Blind and Margaret Glaspy.

Bad Bad Hats is:
Kerry Alexander,
Connor Davison,
Chris Hoge