“Looks like we will be heading to Manila in April,” a tweet on Taking Back Sunday’s account that added more cacophony to the already pending clamor for the band. Before the unofficial announcement via Twitter, numerous petition and groups were created by fans to make an online rally for the band to consider touring the Southeast particularly the Philippines. Not long after that the band posted in their website an entry confirming the show.
More details about the event resurfaced as of late via the band’s site. Taking Back Sunday is set to perform in Manila on April 13, 2012 in SM North EDSA Skydome in Quezon City. For now, you can clickHEREfor reservations. Prices are at Gold (Reserved Seating) PhP3,180 (75 USD)and Silver PhP2,650 (62 USD). Tickets are available beginning February 29 over at http://ticketnet.com.ph or try contacting +63.922.8241538 and firstname.lastname@example.org.
The Manila gig comes right after a show in Adelaide and reportedly is their only Asian stop for their tour. Let us hope they will carry New Found Glory, The Maine and This Time Next Year to Philippine shore as well. Expect Asian neighbors flocking in for this event as the band is also big in Indonesia and Malaysia.
Taking Back Sunday is a rock band from Amityville, New York made up of Adam Lazzara, John Nolan, Eddie Reyes, Shaun Cooper and Mark O’Connell . The band is founded by rhythm guitarist Reyes and has gone through line-up changes before the reformation of the original for their latest and fifth eponymous record. TBS, fondly called by fans, gained decent success through their independent label Victory Record’s release Tell All Your Friends in 2002. Tell All Your Friends spurned the now considered anthemic songs like “Great Romances of the 20th Century,” “You’re So Last Summer” and “Cute Without The E (Cut From The Team).”
One of the surprises at the last Oscars ceremony was the triumph of William Joyce and Brandon Oldenburg in Best Animated Short over Pixar’s La Luna by Enrico Casarosa. I have not seen the latter but after watching The Fantastic Flying Books of Mr. Morris Lessmore I somehow had an inkling why the Academy chose the Moonbot Studios’ effort.
The Fantastic Flying Books celebrates the power of storytelling and the people who dedicatedly lend themselves to the immortality of stories in books, returning both the favor for each in unexpected forms. Dystopic and humorous, The Fantastic Flying Books begins after a horrible hurricane destroyed a town which whirled its citizens to a new reality including Mr. Lessmore. Bewildered by the event. he walked over the barren to find flying books and an empty library for which he chose to maintain until he ages.
Narrated with no dialogue and done in various forms of animation (computer graphics, stop-motion, small caricatures and 2D), the lives of Mr. Lessmore is told in 15 minutes by Joyce and Oldenburg in a fashion that reminiscent of earlier stories told by our grandparents completely dashed with life by William Joyce’s colorful and at times moving musical score.
The Fantastic Flying Books of Mr. Morris Lessmore is said to be inspired by The Wizard of Oz, Hurricane Katrina, Buster Keaton and the directors love of literature. Joyce and Oldenburg are both from Louisiana where the short film was entirely shot.
Putting on a different shoe from his other band Monzano, Lyseid dons a singer-songwriter persona that rings of Conor Oberst (See “Love Song for Young Novelists“) and Elliot Smith’s wordy, highly-personal narratives. It turns out that picking up the guitar for some acoustic, feathery pop gems turned out right for Lyseid who sees the follow-up Floors to a wider audience outside of the Scandinavian music capital.
According to Lyseid, the title is from 1982 Werner Herzog film about an opera-loving rubber business heir.
“Fitzcaraldo” in its jaunty hooks of piano, drums and strings celebrates the very nature of touring; the sense of exciting abandonment accessed, probably by his own experience, only by the uncertainties of playing city after city as they “pack our guitars, plunge into the night with our knitwear and hungry hearts.” More literal hints are thrown throughout the song but the music video is a party on its own.
Framed by Synne Øverland Knutsen, one half of the team Apparatet, she called forth the power of memory and music for the video by assembling three musicians on the project of proving that the body gets old but the mind ceases to age. Images of childhood and loss are juxtaposed to resurgences of the spirit— picking up a learned instrument, dressing up for characters, dancing, and yes, rocking it out with the band! Worthy of pressing play more than once.
It is hard writing an introduction for this post for I know it is long overdue. It should be easy considering the number of times I have listened to Hectic Zeniths‘ eponymous debut since January, but still I find it challenging cracking an introduction to an album as impressive yet so bleak.
Even though bedroom music has gotten its below par rep due to how easily anyone with a laptop and a spare time can, so they say, release an album; Hectic Zeniths‘ Adam Morgan Prince beg to take a higher place. He, probably the coolest high school Math teacher of the decade, has spent three years striking the perfect balance of instrumental and electronic music, just clocking in at the scale of Tori Amos’ temperament (“Know My List” and “Zeitschtichen”) to the subtle drama of DJ Shadow (“One That Got Away”). The hybrid of these influences is his eponymous debut, a batch of eleven songs that serves its listeners a soundtrack to a modern life, the kind of life spent using the subway on Mondays to and from work while staring at the metal floors counting the days before the weekend. Layers and layers of stories hidden in Prince and Co. muted allusion to our very own lives , working like industrial soundscapes by using the frame of our sensibilities to explore their subtle implication.
If you were an animal what kind of animal would you be?
The question and other pass-the-time meanderings are not needed to kill the time (surely one would not think of a sparrow though) while listening to these two tracks of the new band I Used To Be A Sparrow made up of not-so-new-in-music members. The name made an impression first before I even got to hear the music itself. And why they both look sad in the picture? That’s another one. Kidding aside, it is always a welcome to have new music come this way.
With that poetic shot at their name, Swedish songwriter Dick Pettersson and Italian wanderlust Andrea Caccese (Songs for the Sleepwalkers) tested the waters by throwing some ideas for a collaboration, teasing the possibility of recording few songs yet the duo found themselves committing to a full-length right after few sessions.
Due in March, the single “Life is Good” and its B-Side “Mikkael” preview what Luke will be like come its release next month on the 14th.
An expansive and youthful anthem, “Life is Good” shines in its catchy chorus as Pettersson and Caccese sound intoxicated with nostalgia. With every instrument credited to the team, layers of vocals swim onward with the outstretching guitars filling up the empty space in its four minutes dream. The B-Side “Mikkael” builds on drums, down tempoed and moodier than the carrier single before messing it in the middle of haste and reverb. The tracks are available at the band’s Bandcamp for free and the music video for “Life is Good” has just been released and is directed by fellow Swedish Johan Haglund (ProLounge).