Nate Fitzbutler did a remix to Kanye West’s and Kendrick Lamar’s “No More Parties in LA” called “No More Parties in SD”. He said, "we made this track to try to bring some national buzz to our city that’s always been in the shadow of the LA music scene."

Niko Sitaras from the San Diego based dream rock band Paper Days says, "We just released our new EP 'Fun For Family & Friends'. Our release party is on Feb 19th being hosted at the Irenic (with The Bash Dogs & Splavender). 

Panic Is Perfect is an indie-pop group from San Fran and they are touring in support of their new album, Cellspace, which drops tomorrow on Strange Loop Records. They'll be playing at The Loft @ UCSD on Feb. 12!





 

 

 

 

 

JUSTIN TIMBERLAKE: Learning to Expect the Expected
2007 FutureSex/Love Sound World Tour @ the Ipayone/San Diego Sports Arena
review and photos by Cat Dirt

Method of assembly of set list: I'm pretty well unfamiliar with all of Timberlake's oeuvre save the singles, so what I did was write down his entire catalog in album order and then I numbered each song in the order it appeared on the theory that he really doesn't have that many songs. Happy to report the method was sound.

Set List for San Diego Justin Timberlake Concert (1st show on the FutureSex/LoveSound World Tour so expect this set for the next six months and maybe longer!)

•  Futuresex/lovesound
•  Like I love you
•  My love(*)
•  Heartbreak Hotel(*) MP3 ALERT!!!
•  Senorita(*)
•  Sexy ladies
•  Until the end of time
•  What goes around
•  Chop Me Up
•  TIMBALAND MASH UP INTERLUDE
(interlude)
•  Rock Your Body(*)
•  Gone(*)(Nsync) MP3 ALERT!!!
•  Take it from here
•  Last night
•  Damn girl
•  Summer love
•  Losing my way
•  Cry me a river(*)
•  Love stoned
•  Sexy back(*)

Phew! Did I discharge my duty? I think so. The asterix's denote songs that I actually recognize. He played every song from Futuresex/lovesounds except track 12- all alone again. He skipped basically the whole "b-side" of justified- nothing from tracks 9-13. Two non-solo joints: elvis's heartbreak hotel and nsync's "gone".

Having satisfied the foremost critical requirement of indie blogger nation (the set list), I will now offer my pithy critical observations in the style of the conventional daily/weekly concert review - I am accepting assignments!

Justin Timberlake is very popular with people of all ages. His fan base is not limited to screaming teenage girls. There are plenty of 20 and 30 something screaming women. Judging from the reaction to the inclusion of his N'sync hit "Gone" - he has managed to maintain his fan base over time. The energy of the show was highest prior to the cumbersome, awkward and unfulfilling Timbaland mash-up/dj session - which I suspect was actually a Timbaland stand in monitoring a cd player. If you had told me that my primary criticism of a Justin Timberlake concert would be the inclusion of Timbaland, I would have told you were nuts - but here I am. Also, the video images that played during interludes and the mash up set were "underdetermined" and boring - a mélange of horror clips and kung fu clips. "1996 called, they want their cultural influences back!" Justin Timberlake should fire his video imagery co-coordinator. The energy level never quite recovered from the mash up/interlude.

The merchandise at a Justin Timberlake concert is expensive- but people buy it anyways. Shirts are $65. Booty Shorts- $35. Programs- $25(that one tempted me- anyone pick up a spare copy they can send me). Buttons- $3. Ok the buttons were pretty reasonable. CDW may have picked one up.

Justin Timberlake's fans are adorable. I was taken by all the home made t-shirts and matching outfits. It was cool to see DIY creativity in such an unusual venue. There is something simple and honest about the love of a Justin Timberlake fan for her Justin Timberlake; it's hard to really denigrate such efforts- I wish Fifty on Their Heels had fans that were so passionate. How that passion is created is really the million dollar question, but that will hold for another day.

Ok that's all for the pithy observations- that kind of journalism really bores me to tears, but what are you going to do? Finally, I bow to convention by placing some open ended questions and musings at the end of the piece- most people won't read this far, and even fewer will think about any of it- but I wanted to put it in the review, and if I was braver I would lead with this stuff:

Does the amount of video footage a Justin Timberlake fan sees of her idol influence the experience of seeing Justin Timberlak live? Does it intensify or diminish the emotional reaction? Does it heighten or lessen the subjective pleasure experienced by the patron?

Isn't the "Situationist" critique of capitalist "spectacle" rooted more in a failure of imagination on their part then any failing of the cultural product itself? "(this particular 60s French theory, authored by Debord, was fundamental in the thought of the punk and post-punk movement in England in the 70's, so you have some understanding of what I'm talking about if you think of the "philosophy" of the sex pistols, factory records and read Lipstick Traces by Greil Marcus)

The clumsy 60's style consumer capitalism that Debord was critiquing in 1968 bears little resemblance to the cultural free for all that Google and Fox(via myspace) have unleashed on the world.

It is hard to ignore the irony in the fact that fox and google have done more to liberate cultural expression from the vice grip of the established "culture industry" then a thousand French Marxist could achieve with a million pages of critique, and maybe the lesson we need to draw from this specific development is that capitalism is not inherently evil, and neither is the cultural industry and it's products. Maybe we all just need to chill the fuck out and enjoy a Justin Timberlake concert, and buy the shirt for $65. Maybe Fox Corporation and Google Corporation are all right, and maybe Justin Timberlake is all right too.



Enter to win tix to an upcoming show and private soundcheck as well as check out JT's tourdates, ringtones and exclusive V CAST tour coverage.


    Lotushouse MP3 Sampler
    Maquiladora - The Revenge of Becky Royal (New Piano)
    Tenniscoats + Maquiladora - Hours
    High Mountain Tempel - Processional (An Invocation to Thee Angelic Sister)
    Raagnagrok - HJD
    Beggars - Will We Call It Love
    Maquiladora - Termez 1936
    Maquiladora - Song 26
    Buzz or Howl - Sendhe Mortu Chin Rigore
    Earthling Tempel - Celestial Inhabitants of the Sun
    Buzz or Howl - The Sins Of The Flower Are Visited On The Shunned
    Maquiladora - Light of the Rain
    High Mountain Tempel - The Ascended Master (Hang Gliding in Heaven)
    High Mountain Tempel - Fluctuat Nec Mergitur
    High Mountain Tempel - Tempel Walk
    Buzz or Howl - 05 Oct 05
    Buzz or Howl - Sun as the Destroyer of Dreams
    Live version at the Make Room SF 2005
    Maquiladora - In This Life
    Maquiladora - Simply to See You
    Maquiladora with Kawabata Makoto - Nampasen
    Maquiladora Maquiladora - Drunk and Lighting Fires (A Waltz)
    Maquiladora Maquiladora - Ritual of Hearts
    Maquiladora Maquiladora - Ankle
    Maquiladora - Mayday
    Loraine Loraine - Pasqually Old Pasqually

    Beggars - S/T
    by Pierro Scaruffi

    Maquiladora's Eric Nielsen and Bruce McKenzie joined forces with Skygreen Leopards' Glenn Donaldson to form Beggars, whose double-disc Beggars (Lotushouse, 2013) is a tour de force of ecstatic Eastern-influenced freak-folk. Mostly these pieces lean towards the traditional song format, although inevitably deformed by the musicians' pedigrees.

    The ghostly hyper-dilated drones of Ghost Coyote are imbued with quasi-Morricone western-movie guitar twang and even harmonica. The sweet lullaby and the trotting pace of Eureka My Love as well as the romantic honky-tonking Justine (with a refrain a bit reminiscent of Dylan's Blowing in the Wind) hark back to the heydays of country-rock. 2-3-74 Floating evokes the martial laments of the young Neil Young although diluted amid discordant guitar jamming and lulled by waves of funereal vocal harmonies. Berserker's Boogie is a lively and poppy almost-bluegrass tune. They even intone the singalong Queen Anne's Lace with drums, banjo and all.

    Thankfully, the spaced-out yodeling of Lullaby de Bourbon (memories of Aoxomoxoa-era Grateful Dead), the free-form quasi-jazz guitar and vocal interplay of Will We Call It Love, the seven-minute dreaming psalm Big Pink Sun and its sublimely disintegrating coda, remind us of what Maquiladora are best at. The 23-minute Midget Decapitates Clownis an ambitious concerto for suspense and agony. Far from being just a droning piece, it piles up sonic event after sonic event, producing the trancey effect out of a multitude of traumatic sounds. The chirping and tweeting that accumulates half-way into the piece decays into a nervous organic filigree and dies away in the most cryptic manner; one of the high points of Maquiladora's career.


    Earthling Tempel - Pilgrimage To Thunderbolt Pagoda
    by Aquarius Records

    Not sure if this is part 4, or just the first in a new multi part epic, hardly matters, what does matter is, this is another glorious expansive collection of meditative psychedelic abstract dronefolk ambience. Every High Mountain Tempel disc we're reviewed thus far has gotten played to death here, and this one doesn't appear to be any different. Well, at least in that respect. In one distinct way it is very different, HMT are not going it alone this time. They've assembled a pretty impressive collection of sonic alchemists and musical conjurers to help with this ritual, Isis Aquarian from the Source Family, Charles Curtis from La Monte Young's Just Alap Raga Ensemble, and two crews from the UK we've never heard of, Earthling Society and Astarism, but even with all those cooks in the kitchen, HMT and friends have managed to weave another dark minimal masterpiece, all hushed barely there guitar shimmer, drifting whispered vocals, delicate crystalline melodies, dense swirls of piano, warm swells of tape hiss, mysterious voices and field recordings, whirring organ, bowed steel strings... so lovely.

    If the liner notes are to be believed, two of the tracks feature Earthling Society on their own, and those tracks do sound different, much less free and sprawling, a bit more structured, like seventies UK acid folk, swirling and melodic and quite lovely. The final two tracks find the two groups in full on collaborative mode, and the gears shift to something much more space rocky and Hawkwindy, all blissed out and heart-of-the-sun, until the final track which is a strummy, delicate, moody chill out closer, a sort of dour doom folk drift, that makes a perfect ending.

    Super nice packaging, silkscreened oversized 4 panel sleeve, white on black, with the cd-r affixed to the inside. And of course, SUPER LIMITED!

    High Mountain Tempel - The Glass Bead Game by Aquarius Records

    Part three in the ongoing series of limited cd-r explorations from mysterious drone combo High Mountain Tempel, and like the two before it, the band continue to delve into some murky sonic underworld, again presenting loooong songs, each separated by brief sonic interludes, this disc seems feature more actual vocals, the opening track features a processed voice, that sounds a bit like throat singing, or a Speak And Spell, intoning some arcane message, interwoven with long drawn out tones, and a thick ropy buzz, super dark and intense and atmospheric. Elsewhere sampled voices surface, there are bits of chanting here and there, all peppered throughout the disc. But even with the extra voices, the focus here is still on dark, lugubrious, extended dronescapes.

    The sound of High Mountain Tempel is probably closest to Expo '70, as their various permutations of dronemusic seem to have a definite krautrock vibe, that gives the sound a sort of spaced out quality, and a subtle propulsion, but unlike Expo '70, HMT seem to have a distinct Eastern influence, much of the music is meditative and subtly dramatic, a bit soundtracky, and some of it sounds like it could be Japanese. Especially the way field recordings are incorporated into the sounds. Giving everything a definite texture, some of it sounding like it was perhaps recorded live in some hilltop temple. Which we would imagine is the idea.

    Not sure what else to say actually. This is indeed fantastic, brooding and malefic, but also shimmery and dreamy, sonically it has much in common with the first two installments, so definitely check out those reviews to read more about their 'sound'.

    Needless to say, fans of the drone and folks into the current crop of cd-r soundscapers will for sure dig this, but like the other HMT discs, this is more than simple drone music, this is ritualistic alchemical soundwork, one can almost imagine stumbling across a group of cloaked figures huddled around a fire in a forest clearing, tossing various powders into the flames, causing the fire to change color and cast beastlike shadows on the branches above, and this is the sound filtering through the forest like a black moonlit fog...
    SUPER LIMITED of course, packaged beautifully in a foldover silkscreened sleeve, gold metallic on red on the outside, black on red on the inside.

    High Mountain Tempel - A Screaming Comes Across The Sky - The Faultline Scriptures
    by Aquarius Records

    Record number two from this mysterious drone-kraut styled duo. Their last disc was a huge hit around here, so we were pretty thrilled to get our hands on this one, a logical sonic extension of the first, delving deeper into some murky tripped out twilit soundworld.
    The disc opens with shimmering clouds of gongs and cymbals, whirring and sizzling, suspended over a deep distant rumble, a delicate intro to a record at once hypnotic and lovely, dark and dense.

    The record is arranged into three epic tracks, interspersed with short sonic interludes, ranging from field recordings of crickets, looped chants (Elizabeth Clare Prophet if we're not mistaken), spirituals and mysterious liturgical songs, whirring drones, and backwards percussion, but it's the long tracks where the duo get to spread out, let their dense soundscapes sprawl.

    The three long tracks sounds like movements of a greater whole, clocking in at 15 minutes, 11 minutes and nearly 17 minutes respectively, each rife with creepy delayed vocals, churning guitars and smeared chords, roiling muddy whirls, which often dissipate leaving streaks of fragmented melody and haunting slowed down voices. Buried amidst the drones and whirs, are lullaby-like melodies, skittery percussion, streaks of grinding distortion, hidden voices, more field recordings, thick swaths of cavernous rumbles, little bits of electronic glitch and lots and lots of low end buzz.

    Packaged in a fancy navy blue fold over sleeve, screenprinted in white ink, with a photocopied insert with liner notes and song credits.

    LIMITED TO 150 COPIES! Each one hand numbered.

 

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