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Moneybrother

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Moneybrother walked straight in to peoples hearts with his gold selling, Grammy awarded, striking debut album “Blood Panic”in 2003. Back again to fill us with his smooth soul, rock, punk and pop songs, this time around with even stronger tunes on his conscience: The new album “To Die Alone” is scheduled for release on the 2nd of March (Scandinavia), and on the 7th of March (Gas) and april (France, Spain, Italy, Be-Ne-Lux). The first saplings stretch towards the light, the girls get rosy cheeks and spring gets into the trees, hearts and your pants – the second Moneybrother album “To Die Alone” doesn’t suit this cheesy cliché at all. And yet spring still is an appropriate release date: Everybody’s disposed to something exciting. And now you get some great expectations, great emotions, and great gestures.

Originally of punkrock fame for his vocals in Monster, in 2003 Anders Wendin took a new direction with his solo project Moneybrother: This is where he creates his custom soul orientated blend of all the music styles he likes to listen to, making moods and details from genres like reggae, rock’n’roll or even disco subliminally swing underneath. The debut “Blood Panic“ has yet made success follow him around: From a Swedish Grammy to a sold-out German tour you’ll find enough reasons for great expectations concerning the second record. Meanwhile, the musician aims at his very own goals.

As you can hear, during the time between the two albums Moneybrother has developed an obsession of string arrangements. This has almost led him to overshooting the mark – he decided to rather withhold some of the songs though they had already been recorded. “All these components must be put together in the right way; you need so much for it to sound absolutely right. There are a few moments on this record that sound exactly how I wanted it. More often than on the last record.” The Swede obviously struggles hard to get close to his musical ideal. Thus, “To Die Alone” was meant to be more dramatic than the debut. Moneybrother had the possibility to act out for this demand in the most passionate way: In November 2004, the album was recorded in an old movie theatre that had been converted into a studio. Most of the music was being played live for the record, because in spite of all this string-swollen drama the whole thing was not supposed to end up as a stiff, symphonic piece. Alive, organic and direct, that’s what makes the soul of this album. Its content mainly deals with breaking up, loss and deep regret. It circles around the feeling when you realize that you made the wrong decisions.

In his accurate way the artist afterwards listed a line-up for each single song. He does not only intend to credit his musicians – but also to let you know what kind of instruments were being used. On top of that Wendin presents himself like a religious icon on the album’s cover artwork. That seems pretty bold, but it matches the Moneybrother universe. After all, the musician has invented the Moneybrother in order to use it both as a project’s name and as a fairy tale character: Moneybrother is supposed to be a big rock star, maybe even a sorcerer. “When on stage or recording, I want it to be very big and beautiful, even bigger and more beautiful than I really am.” No matter if the music makes you happy or sad, first of all things Moneybrother wants to move his audience. On their way to the stage, he often reminds the band of his claim that they are not just musicians. He demands them all to be romantics. And he wants them to create something beautiful and moving. Not involving complicated pomp, but real feelings. Moneybrother has a magnifying effect: Music and lyrics reflect ordinary people – but larger than life.

Copyright © 1993-2004 Burning Heart Records. All rights reserved.


New Order

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Until the death of singer Ian Curtis in 1980, Joy Division was one of Britain's most admired and promising post-punk bands. New Order built on that promise, with 1983's "Blue Monday," forging an influential alliance of new-wave and dance music. Joy Division's Velvet Underground -- derived drone and Curtis' matter-of-fact, gloomy lyrics scored significant club hits with "She's Lost Control," "Transmission," and "Love Will Tear Us Apart," a British hit single. Formed by Hook and Sumner after they saw the Sex Pistols play in Manchester on June 4,1976, the group took shape after Curtis responded to a "seeking singer" ad posted by the two at the local Virgin record store. Morris joined on drums the following year. The band, naming itself Joy Division after Nazi military prostitute compounds, released a four-song EP, Ideal for Living by year's end. In April 1978, the band generated a buzz when they performed at a Stiff Records battle of the bands. After turning down deals with Britain's RCA and Radar labels, the group recorded their first album, Unknown Pleasures, with producer Martin Hannent. They chose Manchester independent Factory Records to release the album, which was an immediate success in the U.K.

The next year saw the band's acclaim grow as they toured England and Europe. In March they returned to the studio to record their second album, Closer. Curtis, who was responsible for much of the group's dark vision, suffered from epileptic grand mal seizures -- occasionally while performing onstage. Having attempted suicide in the past, Curtis hanged himself on May 18, 1980, just before the release of Closer (Joy Division's most commercially successful album) and the group's first U.S. tour. A collection of demos, outtakes, and live performances, Still, was released in 1981. The remaining members regrouped as New Order and added Morris' girlfriend Gillian Gilbert on key-boards. Like Joy Division, New Order has eschewed publicity, with no band photos on album covers, and played low-key, unemotional concerts. The group's sound -- a brighter but still moody version of Joy Division, with Sumner's monotone yet plaintive vocals at the center -- gained it club hits with "Everything's Gone Green" (1981) and "Temptation" (1982).

"Blue Monday" (1983) was New Order's breakthrough. Released only as a 12-inch single, it matched the band's usual emotional chill to a propulsive dance track and reached #5 on the Billboard dance chart, selling over three million copies worldwide. Sessions with dance producer Arthur Baker followed, producing "Confusion" (1983), another dance-floor favourite, which hit #71. The band left Factory Records in 1985, signing with Quincy Jones' new Qwest label. Although Lowlife (1985) and Brotherhood (1986) were their first American chart albums, sales were disappointing. Substance (1987), Technique (1989), and the hit single "True Faith" (1987) turned things around, but the band members turned their backs on stardom, releasing only the British World Cup Soccer theme "World in Motion..." (1990) before unofficially parting ways to pursue solo projects.

Sumner had the greatest success, teaming with ex-Smiths guitarist Johnny Marr and Pet Shop Boy Neil Tennant on "Getting Away with It" (1990), featured on Electronic (1991). Bassist Peter Hook's solo project, Revenge, released One True Passion (#190, 1990), while Morris and Gilbert wrote British TV themes, eventually releasing an album as the Other Two. New Order re-formed in 1993, releasing Republic, followed by a successful tour of the U.S. The band members were rumored to be at odds with each other, however, by the release of a 1995 anthology. In 2000, New Order contributed the song "Brutal" to the soundtrack of the Danny Boyle film The Beach. The following year, they appeared at several west coast dates of Moby's Area: One Festival, and were set to release their first album of new material in eight years, Get Ready - Rolling Stones Magazine


Nine Inch Nails

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Nine Inch Nails was the most popular industrial group ever and was largely responsible for bringing the music to a mass audience. It isn't really accurate to call NIN a group; the only official member is singer/producer/multi-instrumentalist Trent Reznor, who always remained solely responsible for NIN's musical direction (he was, however, supported in concert by a regular backing band). Unlike the vast majority of industrial artists, Reznor wrote melodic, traditionally structured songs where lyrics were a focal point. His pop instincts not only made the harsh electronic beats of industrial music easier to digest, but also put a human face on a style that usually tried to sound as mechanical as possible. While Ministry crossed over to heavy metal audiences, NIN built up a large alternative rock fan base right around the time of Nirvana's mainstream breakthrough. As a result, Reznor became a genuine star and his notoriously dark, brooding persona and provocateur instincts made him a Jim Morrison-esque sex symbol for the '90s. The new album WITH TEETH will be released on the 2nd of May 
 

Oasis

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www.sadsong.net


Eleven years after their first gig in their native Manchester, eight years after Definitely Maybe, their first album, got a generation who had all but given up on rock and roll buying music again, five years after the media madness of the mid-nineties started to subside, there is no mystery why millions still love Oasis: honesty. The men are honest, the music is honest. We trust Oasis - always have done. We've known the Gallagher brothers were for real, ever since we heard that first album. That is why, one Saturday morning this winter, when 120,000 tickets went on sale for the bands two summer shows at Finsbury Park, London, Noel Gallagher was able to take a call from his manager by lunchtime to say that nothing had changed, that all the tickets had sold, that his band were still the biggest thing in British rock. "That´s without them hearing any of the new stuff," says Noel, shaking his head in admiration. "For all the fans knew, we could have made a reggae album."

They have not made a reggae album. What they have made is Heathen Chemistry: explosive, yes; experimental, no. It' i another, great, Oasis album; the fifth they have done in the studio and the best, says Gallagher, since their second, What is the Story Morning Glory, became the best-selling British album ever. (In 1996, Oasis sold 18 million albums.) "We have moved on a wee bit," says Noel. "But to re-invent ourselves completely we wouldd have to be contrived and we are not capable of that. I could not take on an alter ego and I know Liam could not because I would be stood behind him going “you look like a twat”. I do not think I would look good in leather trousers anyway. Our favourite bands are still The Beatles and the Sex Pistols. We do Oasis music and that is it." Honesty again. Similarly, there is nothing too deep and meaningful about the album' title. It came from a t-shirt Noel bought in Ibiza.

"I love this record," says Noel. "But I would say that wouldnt I?" With any other pop idol, of course youd share his cynicism. Coming from a man so ruthlessly self-critical as to virtually disown the band´s third album, a man who says that even their excellent last album Standing on the Shoulder of Giants, contained only three or four great songs, a man who is scathingly dismissive of the marketing hype that threatens to engulf his industry, you pay attention when he says: "Its a better collection of songs than the last two or three. It boils down to that: the songs are better. It does get more difficult. I throw more stuff away now. You can´t just write Raspberry Fields Forever."  "I dont know if Im a better songwriter," he says. "But there is something in the air around the band that breeds better songs." He is reluctant to analyse it further, but admits that Liam contributing three songs and new members Gem Archer and Andy Bell one each might well have forced him to raise his game. "Maybe it´s a competitive thing, I dont know. Keith Richards said “you dont go after the songs, the songs find you."

"The best songs," he says, "pour out of you. You sit there with a guitar and a piece of paper and a pen, get the first line right, the rest of it comes immediately." That happened to him several times last summer. "I was living in a hotel near Buckingham Palace. Warm day, fuck all on the telly, in love with my girlfriend. I wrote She is Love in ten minutes. Live Forever was like that. They´re the songs that mean something to other people. You write it, put the kettle on, come back, sing it into a tape recorder, play it back and go: `thats finished.´ Fast forward six months and theres 60,000 people in a field singing it to you. What the fucks that about?" Noel conjured up Stop Crying Your Heart Out in similar fashion. "That song found me," he says. "Its about getting up and getting on with your own life, making a better life for yourself, not trying to change destiny." Buskers be advised to learn it quickly: this track will be the Wonderwall of its time. "It has the potential to be a massive worldwide hit," says Noel matter-of-factly.

If She is Love is about Noels new girlfriend, many will assume that Force of Nature is about his ex-wife. But theyd be wrong. "Ill have to answer this a million times," he says wearily. "I wrote it for a film with Jude Law and Jonny Lee Miller a year before I got divorced and I've got the video to prove it. There you go. I´m going to bring the video to all my interviews for this album." It´s no surprise that Noel still has what it takes - but now it turns out that his brother has too. "When I heard Born on a Different Cloud," says Noel, "I didn´t think Liam had written it. I thought he was lying. But he always said, with everything has been through, if he hasn´t got it in him to write songs like that he'd be a waste of space. It was gonna come out one day." Now it has. Liam' big brother glowed with "massive relief and pride".

If it sounds like they´re getting on well, that´s because they are. The brothers have put early flights home from tours and threatening splits behind them. Oasis are settling in for the long-haul. "I've grown to love that boy so much," says Noel. "He is real. People say he plays up to his image but has always been like that: lippy, loudmouthed, funny. Now he understands that when you're working you can´t go on acting like youre sixteen when youre thirty. As soon as he started writing songs, he stopped being a pisshead." Thanks to that change, and - Noel is keen to stress - the calming influence and expert musicianship of Gem and Andy, the recording of Heathen Chemistry was sober and relaxed, unmarked by tantrums or walk-outs. The energy and attitude that have always been the bands strengths went into the music, not the myth-making, and it shows. "Were not a flash in the pan any more," says Noel, his familiar attitude showing through.

"Weve been doing this over ten years. Weve been to the top of the mountain, had a look at the view and it was beautiful. Weve been the lowest - band members leaving, drugs, drink, writs. Dont tell us what to do any more, we know what were doing. Weve been doing it. Weve been the smallest, weve been the biggest, weve been the best." And, once the world has heard Heathen Chemistry, the world will say that Oasis are the best once again.


Phoenix

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http://www.laut.de/wortlaut/artists/p/phoenix/index.htm


In 2000, Phoenix’s first album release, UNITED, blazed across the musical skies like a newly discovered comet. Paris, London, Dublin, New York and Detroit were all captivated, with everyone heaping praise on them, name-checking them as influences. And with good cause: great composition, great performances, great production and attention to detail, combined with the unanswerable success of the album’s singles, Too Young, Funky Squaredance and If I Ever Feel Better. Buyers and critics were unanimous in hailing a brilliant début.

For ALPHABETICAL, Phoenix’s four members – Thomas Mars, Christian Mazzalai, Laurent Brancowitz and Deck d’Arcy – closeted themselves away in their studio, determined to create a recording at once more complete and more personal than UNITED. They operated as a true collective, a symbiosis in which each member was equally responsible for the lyrics, music, performance, arrangements and production. They were adamant that, at every stage of the album’s production, they do their utmost to retain their artistic signature, even if it meant allowing certain imperfections and accidents to make it into the final mix. Speaking of which, American Tony Hoffer was brought on board to add his technical prowess to the final mixing – he was able to add a new dimension to the group’s already highly polished production.

The album opens with a bang: Everything Is Everything is the happy lovechild of a radical beat and brilliant songwriting. Phoenix have once again given birth to a mutant, drawing on a range of disparate influences to create an idiom that is both coherent and profoundly original. What can you say about a track like Run, Run, Run, a highly improbable collision between folk guitar and a pounding hip hop beat? Phoenix have the knack of flawlessly unifying the seemingly incompatible – it’s never artificial, never labored. I’m An Actor ushers in a radical change of tone: a monologue from the mouth of an actor drunk on power that progressively becomes a furious, megalomaniacal rant. Jagged guitars, off-beat rhythms, all conjure up a sense of imbalance. The atmosphere is heavy, the sense of uneasiness immediately palpable. Every break, every silence, each new element turns up the intensity of the dramatic pressure until, right at the end, the apotheosis comes in the from of a deluge of powerful chorals – a form not previously used by Phoenix – that lends the track an undeniably epic, even heroic, dimension.

ALPHABETICAL is a very complete, uncompromising work. It’s modern yet timeless, pluralist yet singular, elaborate but never labored. It is a work of nuance and subtlety that never crosses the line into affectation and superficiality; a work of remarkable diversity and coherence. Phoenix have a rare mastery of the lyric, words entwining themselves around and within, yet always at the service of the song. “We took a lot of trouble to make sure that the lyrics were honest and the emotions true, even at the risk of sometimes painful introspection. We wanted to avoid losing focus, the sort of ‘catalogue of styles’ thing. So we ended up being very selective both in choosing and arranging the tracks. We tried to free ourselves of everything artificial, preferring unmediated energy and total honesty in performance. But by the same token we wanted the work to remain supple, sophisticated and above all really unique and celebratory; when it comes down to it, the only thing that you want to happen once people have listened all the way through is for them to listen to the whole thing again!”

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