The Gaslight Anthem in Barcelona

A Thursday night is not, on principle, the best day of the week for a concert, but it appears that, in the end, The Gaslight Anthem can succeed and fill any room in which touch, regardless of any other circumstances or event with which they must deal.
And so, as we said, a room full Apolo are chock was again small (remember his concert in July 2011) for the presentation of their fourth album, Handwritten (2012). Punctual as clockwork, Brian Fallon and company jumped into the ring without making much noise with "Mae" as hinting that not merely a classic rock band and they do not like being enclosed, but their live is plural, nuanced . So the next topic, to return to the source, was the celebrated "The '59 Sound", with more than one other that did not take something warm to jump properly. Then one of the key pieces of the new album, the eponymous "Handwritten", in which Fallon makes clear who wears the gallon in the band and who should take the leading role in his shows.
More talkative and fun than in the past, the New Jersey occasionally joked with the audience, explaining war stories about the new songs and how, because of selling bands like Muse, among others, have not been able to touch so many rooms and countries as they would have liked in this European tour. From there, cool efficiency and seniority shook hands in a certain year and scrupulous review of the main themes of the new album (with the exception resounding "National Anthem") and common in all the concerts of the band, as "Film Noir", "Miles Davis & the Cool", "Here's Looking at You, Kid", "The Backseat" or "American Slang"
In exchange for not enjoying "Bring it On", one of our favorite topics of Americans, we enjoy a cover of a Dylan classic, "Changing of the Guards" and himself as a small classic "Blue Jeans & White T -Shirts "instant before close down, as expected, with the energetic" Great Expectations "from his fantastic The '59 Sound (2008).

Will The Civil Wars on the verge of separation?

They became the star folklore duo last year. They opted to several Grammys, taking a couple (including "Best folk album") and the album achieved a remarkable position - number 12 - in the Billboard ranking. Success seemed to be present in every pore that make The Civil Wars, and everything presaged something even bigger in 2013 and facing a possible second studio album. Unfortunately sometimes the pressure, or more personal reasons, are those just ruining a winning formula like yours. That is exactly what happened in the last days: Joy Williams and John Paul White confirmed via Facebook that canceled the rest of the concerts were scheduled in New Zealand and the United States due to "internal disagreements and irreconcilable differences of ambition ".

He chews the tragedy at home from the creators of "Poison & Wine" or "To Whom It May Concern '. Neither the (supposedly) hopeful comment "hope to release new music for fans in 2013" leaves us feeling good. If you have come this far is because there are many internal problems, and that of "irreconcilable differences" critical condition smells everywhere.

Will have to see how things develop. Nevertheless the thing is located in a really negative point. And we input that we took for granted and end up coming out in 2013 that the successor of "Barton Hollow". There is still a gap (very little) of hope, but worth going ...

Fito Paez began his tour of the 20 years of "Love After Love"

Argentine singer Fito Paez celebrated the twentieth anniversary of his album "Love after Love", one of the largest national rock albums sold in Argentina's history, in a massive free show in the parks of Buenos Aires.

Thousands chanted with musician originally from the city of Rosario classics like "Tombs of Glory", "Traffic Kathmandu", "Brilliant on the mic" and "Love After Love", and become a local anthem that opened the concert.

In a nod to the past, the 14 Páez sang songs while respecting the original order.

The Planetarium Buenos Aires hosted the show Páez, who performed as part of his tour "XX years of love" that reviews the greatest hits of his career.

The theme "Petal salt" was the most emotional moment of the night. Originally recorded with Luis Alberto Spinetta, who died last February, the voice of "Flaco" rang in the forests of Palermo with Paez, local agency reports today Telam.

"It's exciting to announce that, for the first time, Skinny and I will sing" Salt Petal "together in Buenos Aires," said the musician, who sang on the track on the disc to sing a duet with Spinetta.

Charly García was the guest star of the night to sing along with Paez "City of poor hearts."

Fito Páez The tour will continue in various cities in Argentina and ending in Peru, where they will be in Lima on November 29 and December 1 in Arequipa.

Jotdog Latin Grammy Nominee 2012

Twice nominated alGrammy Latino, Jotdog is the Mexican pop duo formed by songwriters Jorge "La Chiquis" Amaro and Maria Barracuda once again been nominated in the category of Best Pop Rock Album for "Love Coach" next to them are nominated : Vega, The Horns, The Bear Quartet, and Leiva.
Maria Barracuda, Jotdog vocalist along with other stars of Latin music was part of the official announcement this morning at the Belasco Theater, the city of Los Angeles, CA.
His musical style is defined as melodic pop surrealist mail messages left with a festive atmosphere, with intelligent lyrics, and urban whites. Her music videos are visual image pop sound sinister and endless creativity, they have.
His most recent release: Jotdog 2: Economy of Love has earned the 5 simple at No. 1 radio in Mexico and is among the bands with the greatest moment in development.
The thirteenth edition of the Latin Grammy Awards will take place at the Mandalay Bay Hotel in the city of Las Vegas on November 15 and will be broadcast on the Univision Network.

The Gaslight Anthem - Handwritten (2012)

The U.S. state of New Jersey has given birth to some of the most important icons of a variety of musical styles. From Patti Smith to Bruce Springsteen, to most of the members of Bon Jovi, The Fugees or Skid Row, and it seems that a new band is sitting in limbo in NJ musicians (and American).
The Gaslight Anthem, the band led by the considered "successor" of fellow Bruce Springsteen, Brian Fallon, presents his first album released by a "major"-and fourth-band, Handwritten, an album that has not left indifferent anyone.
And its mix of punk, indie folk with touches of rock that hit and strong especially after his second feature, The '59 Sound, has generated an avalanche of critical acclaim that led to share stage-and Collaborate Live - with the aforementioned Bruce Springsteen American Idol or walk through the stages of the world's most important festivals, such as Reading Festival Rock Am Ring or German.
Just bring the needle to vinyl or hit play in our player, you realize that is before the consolidation of a new star.
The roar of the first issue of "Handwritten" the single '45 ', sounds powerful, with an introduction and a cry that inject pace into the veins of the listener as if the most deadly poison. Some choruses to be chanted, catchy ... simple but effective. '45 'Is basically and in each of its letters, commonly define as "great song."
In the second song jump, others chanted cries give way to the song that is named after the album: 'Handwritten'. A guitar riff but does not exhaust resulting form, with a broken voice and rough Fallon (who comes to remind the Boss), a cocktail that inevitably leads us to listen to the next track. And that's 'Here Comes My Man', with a basic rhythm battery of Benny Horowitz, without any complications, and a catchy "oh sha la la"-resource differently but always used correctly is present in almost all the tracks on the album, 'fully met.
The next turn is for 'Mulholland Drive', which begins with another guitar intro of Alex Rosamilia, which functions as a second voice, performing a single accompanying Fallon along almost the entire song. Solvent and Alex Levine's bass playing tellingly, 'Mulholland Drive' has a good combination between voice and melodic six string that is soft but intense.
Then the disc seems out some U.S. bases to punk, to the sound of a harmonica and a touch of gospel in the voice of Brian Fallon, not take away one iota of strength to all that we heard from the principle, introduce the subjects 'Keepsake', 'Too Much Blood' and 'Biloxi Parish'. In all, the "second voice" of the band, the six strings of Rosamilia, giving authoritarian shown incredible strength to the sum total of the group. Half the record is consumed and each song is like a brick in the wall, one by one are combined to provide an overall sense of the album, none seem disparate to the other. The next topic, 'Howl' is a ray of just two minutes, starting with the "hook" which has been mentioned as one of the key pieces of the voices of The Gaslight Anthem, a "Hey, Hey, Heeeey!" That , with a chorus following the game, downloading a force that counteracts the point of tranquility of the three previous issues.
In the final stretch of "Handwritten" find 'Desire', which continues the line of force of 'Howl' for, with a quick introduction, develop a theme which will lead rapidly to the two final issues, slow but impressive: 'Mae 'and' National Anthem '. The latter is a ballad that ends the album talking about love, life and God with a very soft string section supporting the arpeggios leaving Fallon's guitar.
In short, "Handwritten" is a high quality along with logic, that knows how to combine different types of smooth intensity ... an album that gives a glimmer of hope, the rock is not dead, rock can still hit hard and Gaslight Anthem is the example.

Norah Jones - She's 22

It is little to Norah Jones concert at the Auditori of Barcelona, and we can not avoid hearing every day a "Little Broken Hearts" that has completely conquered. Let's face it: the dark is really fascinating way in which the creator of "Come Away With Me" and "Feels Like Home" has deconstructed some of the passages Tenebres occurred both in his personal history as it occurred in the life their closest people.

The heartbreak is the main theme of "Little Broken Hearts", so shine with their own light topics like grim 'Miriam' (which we analyze in depth two weeks ago) or 'She's 22', a court in which Jones is explanation of finding love your ex boyfriend professed by a young man who, incidentally, has ten years younger than the actress and singer.

Sensuality and harshness are holding hands on a piece of 3 minutes in length showing more fragile face of one of the few singers who, with his sensitivity, still remain erect a musical career that has prevailed since 2000.

Retrieving chapter of "Iconoclasts" with Fiona Apple and Quentin Tarantino

There is nothing I like better than those reports in which the show's producers fucks two artists from different disciplines and unite them for a certain period of time. Tracking conversations in such meetings are often the most interesting, getting different views range from the art world to analyze their role in the media circus (and public). I still remember the love he professed for "Iconoclasts," a Sundance Channel show that aired for five long years (2005 - 2010) and was attended meetings of artists including Ron Howard and Steve Nash, Venus Williams and Wyclef Jean or Today our protagonists: Fiona Apple and Quentin Tarantino.
I'm a big fan of chapter starring the creator of "The Idler Wheel ..." and director of "Pulp Fiction". Both were known for some time (in fact girlfriend Fiona was Paul Thomas Anderson, one of the best friends of Quentin) and that led them to maintain a very good friendship over a period of their lives. After several years without seeing, Tarantino and Fiona return to match the occasion of the program, causing all sorts of getting the most endearing moments.
More than anecdotes, or mere nonsense, as discussed in the video, I'm definitely with deep converse between them on the status of artists, the reason for the alleged consequences (second albums, second movies ) and contamination in the music and film industry. It is with stories so one discovers true fanaticism that the director of "Reservoir Dogs" feels for his films (at least for the first), and the emotional impulse that led always to Fiona Apple to show their feelings in front of a piano .
I may not like the singing style of Fiona Apple, or the frantic way of directing by Quentin Tarantino. Even so I highly recommend you to try to see the report, and if you are interested in the art world. Because more than the work of sound XX or YY, "Iconoclasts" is about how to generate works, and how to understand them from the point of view of who produced them.