Monday, September 29, 2008
Friday, September 26, 2008
Thursday, September 25, 2008
just in case anyone fell behind in their Bjork news, the "all is full of love" video was voted second best EVER on MTV. a bit of an understatement (unless "Pagan Poetry got #1). If you're appallingly behind your Bjork news, here:
By Miles Raymer
April 24, 2008
In 1987 Big Black released a CD compilation called The Rich Man’s Eight Track Tape with the following admonition printed on the face of the disc: “When, in five years, this remarkable achievement in the advancement of fidelity is obsolete and unplayable on any ‘modern’ equipment, remember, in 1971, the 8-track tape was the state of the art.” Though CDs have hardly gone the way of the eight-track, it’s hard to argue that they’ve earned their longevity—whatever advantages they may have offered in 1983, they’re a crap format now.
Given that my speakers and headphones—like most people’s gear, I bet—sound just as good playing 192 kbps MP3s as they do playing CDs, there’s no good reason for me to have heaps of jewel cases and Digipaks on my shelves, in my cabinets, stacked on top of my cabinets, and spilling across my desk. Even at the same bit rate as CDs, sound files are way handier—easier to store, easier to send, easier to copy. They don’t fill up my personal space with disposable plastic crap, and they’re not made from bisphenol-A.
The only defensible reason to buy CDs these days is an attachment to music-as-artifact—every so often you see one with really beautiful packaging. But on that front they lose out big to vinyl, which offers album artists a much bigger canvas and sidesteps the annoying problem of fragile jewel cases and CD spindles. If you’re going to own music you have to lug around, vinyl is the obvious choice—even if you don’t respond to LPs as totemic objects, like so many record fiends do, you have to admit that their creamy analog sound beats the hell out of digital reproductions. (That’s right, I said it.) CDs don’t do nearly as much to justify the physical space they require.
I’m probably more fed up with CDs than the average person because they’re part of my job. In fact the only people I know who are as tired of CDs as I am are running record labels. Though advances in computer and Internet technology rendered the format obsolete almost a decade ago, only now is its passing really starting to look inevitable—the majors have been complaining about sagging CD sales for years, of course, and when I talked to Drag City, Thrill Jockey, and Flameshovel for this story, they confirmed that they’ve experienced similar drops. But all three labels also report steady increases in sales of digital downloads and vinyl. Those trends seem to suggest a pretty clear business plan, at least for the near-term future, and two local imprints are already on board.
This week Flameshovel is putting out Make Believe’s Going to the Bone Church as a vinyl LP and an unlocked MP3 download—it’s the label’s first release that won’t have a CD version at all. This, according to Flameshovel cohead James Kenler, is the way his label might end up releasing everything. One camp of consumers, he says, “doesn’t see any innate value in consumable music at this point. So these people steal music, rip from their friends’ CDs, or don’t really have any strong feelings about the aesthetics of the CDs they do purchase.” He admits that this is a generalization, but it fits more than a few people I know who own huge hard drives full of music and haven’t bought a CD since Napster happened. “The other extreme,” he says, “is that you have someone who cares to the utmost level about the packaging, and they’re the ones who are going to continue to buy music no matter how they do it, and they’re interested in a more tangible connection.” Kenler’s strategy is to cater more to that second set and worry less about people who wouldn’t be giving him money anyway.
Make Believe fans willing to pay for that tangible connection will get a collectible 180-gram LP and a poster in a sleeve of high-quality stock; the album’s being pressed in an edition of 1,000 (450 copies bone colored), and Kenler says any future pressings will be in different packaging so as not to dilute the collectibility of this edition. Plus every record comes with a download code. “People who don’t have record players or are concerned about the portability of LPs,” he says, “can still download it directly from our site and have it for their iPods and their cars.”
“In a lot of ways this is a test,” Kenler explains. “Some of the other people in the industry we’ve talked about it with are interested to see how it pans out for us. . . . I don’t know that it means we’ll be doing more releases just vinyl and digitally, or if it means we’re going to try to play up this sort of polarized market we’re looking at. Even with CDs, do we make them more limited in scope, more aesthetically pleasing, spend a little more money on packaging and charge a little more for it for the people who want to buy it, and spend less and concern ourselves less with hitting the broader market?”
Bruce Adams, cofounder of Kranky, seems a little more confident about what direction to take. His new label, Flingco Sound System (he sold his share of Kranky in 2005), won’t be selling CDs at all, just album downloads and vinyl. “Rather than invest money in printing CDs,” he says, “I decided to invest in the capacity to sell downloads myself. The onetime investment in software coding will generate returns for a long time. The profit margin on a download album is healthy, too.”
FSS plans to put out four albums its first year, two of them digitally and two as digital-vinyl combos. Like Bone Church, FSS’s vinyl pressings are aimed at connoisseurs—Adams believes the “buying physical artifacts” market is shifting toward that customer base. “Record stores are dwindling in number,” he says. “Those that are left in five years might be more like Aquarius Records or Dusty Groove than Tower Records. They will want unique products to draw customers through the door.”
It helps that the extremely uncommercial artists on FSS’s release schedule appeal pretty much exclusively to an audience that takes its music seriously—not too many trend hoppers will be checking out the gnarly melted-down black metal of Wrnlrd or the eerie electroacoustic experiments of Haptic. Adams hopes to earn the loyalty of that audience with a subscription service that rewards them with goodies like nonalbum music and posters. “The big advantage in the model that I see,” says Adams, “is the opportunity to have a direct relationship with customers. I can send music directly to them digitally; I can offer special bonus items (both physical and digital) that they can’t get anywhere else.”Adams doesn’t see how self-financed start-up labels have any incentive to mass-produce CDs anymore—sinking $5,000 into a run, he says, “seems like a losing bet for anyone putting their own money on the line.” But that’s not the only reason he’s ditching the format. “Cutting out CDs,” he says, “means more room in my basement.”
Wednesday, September 24, 2008
The custom concern for the people
Build up the monuments and steeples
To wear out our eyes
I get up just about noon
My head sends a message for me
to reach for my shoes and then walk
Gotta go to work, gotta go to work, gotta have a job
Goes through the parking lot fields
didnt see no signs that they will yield
And then thought, this'll never end
This'll never end, this'll never stop
Message read on the bathroom wall
Says, "I don't feel at all like I fall."
And we're losing all touch, losing all touch
Building a desert.
Glocal Scene - [scene] 'Make a Record, Put it Up, Get it Out' : Tamur.Records
Glocal is doing great things and have great ideas. it started in Paris via Chestnut Productions and Phil Heron (writer of above) is based in Toronto.
Monday, September 22, 2008
- a feature length tamur records film entitled "Blues Brothers 20-OH!-8" as an apology to everybody in the world for Blues Brothers 2000. starring Virgil Warbug driving around, in normal dress but with blues brothers sun glasses, on a mission from god to play their first show (which will be footage from an actual show on Oct. 22nd at Shambles Haus). they are listening to Lee Moses and stopping by tamur artists and influences working shit jobs on the way.
- when analog television switches to a digital broadcast, steal an analog transmitter (or build one... i have two HAMM radiosn that may be irrelevant but there are enough engineering students in pittsburgh to do this) and have a short-range pirate television transmission in every major city tamur artists reside.
- other secret projects
coming soon to a town near you.
Sunday, September 21, 2008
Saturday, September 20, 2008
an audio interview/spotlight with Ben Schurr from Br'er (also ex-CAW!, ex-A Three Ring Circus for Autistic Children, ex-Captain Werewolf, mastering on Canaries' "Poke the Machine"). Br'er becomes more and more relevant as they keep recording and collaborating with different musicians, most recently Eskimeaux has joined the line-up since moving to Philadelphia from 1331.
here's some press related to "Of She-males and Kissaboos" (released on Beat is Murder) from Gitpress:
One look at their obnoxiously bright MySpace page is all you need to know that Philly’s Br’er are pretty much the weirdest thing you’ll ever hear. The instrumentation goes from eclectic to abrasive at the drop of a hat and the song structures like to seek out their own meandering paths that make a mockery of traditional verse/chorus structures, and sometimes even the most curious listener will be tempted to duck and cover, but there’s something fascinating about it all that definitely warrants repeat listenings.here's a review from Catsynth.com:
For starters, there’s the hauntingly laid back voice of singer Benjamin Schurr that keeps enticing you to listen closer. For a band so peculiar, Schurr has a nice melodic gift.
Br’er got its start as a way for Schurr to perform some of the material his previous outfit, CAW!, had refused to play. Oh well, their loss. Now, five years later, Br’er is exploring all the uncharted territories it wants with reckless abandon
The band is rounded out by Christian Mirande (Paia Modular Synth, Guitar, Harmonium, Toy Piano), Darian Scatton (Harp), Luis Angel Cancel (Drumz, Vocals), Roger Martinez (guitar, Vocals) and Ross Lipton (Rhodes/Organ).
Of Shemales and Kissaboos is available on Beat is Murder Records.
Readers might remember the band br'er and lead Benjamin Schurr from the infamous CatSynth Tattoo. Well, br'er is out with their first album, Of Shemales and Kissaboos.check out the Br'er myspace
br'er not surprisingly includes a lot of synthesizer work, combined with songwriting, "art rock", and an interesting collection of instruments. Schurr and Christian Mirande together provide an assortment of synthesizers, noise sources, toy instruments, and such on top of a more traditional "band" of voice, guitar, keyboard, bass and drums.
The music ranges from very soft ballads to something akin to techno-industrial. Perhaps most iconic for me is the track "I'm sorry mom", which I believe used to be featured on br'er's myspace. It opens with simple 3/4 strumming and voice, and quickly grows to include dissonant piano strings and more. A lot of pieces follow a similar idea, moving between art-rock song and experimental electronic work. The next track "Rory snake handler" also features a lot of splicing between disparate elements (e.g., song and dissonant piano), I'm guessing it is not indended to be played live. Most of the tracks, however, do sound quite doable live, which should make for some interesting shows as they tour.
The tracks following "I'm sorry mom", continue to build up more and more electronic and noise elements, while returning for stretches to the "song" format. Ultimately, it is a collection of real songs, as sung by Schurr. But I find myself focusing on the piano and the electronics most. There is a lot of what I would consider "traditional avant-guard piano", as well as sound-synthesis exploration, of the sorts I might use in my own performances or recordings. This is especially true in the later tracks from "Lapin" onward. It almost feels like they arranged in increasing order of electronic noise and beat/pattern content, which is as good an organizing principle as any. But to their credit, they provide a more chaotic or absurdist, and somewhat quiet, turn at the end.
Of Shemales And Kissaboos is available now from Beat is Murder Records. You can hear audio samples from from the album at Beat Is Murder's myspace as well as br'er.
and the official site of the Full Grown Man
and their tamur.records releases:
#23 - Br'er + Charles Cohen, Live at Inciting HQ, 4/9/2007
#21 - Br'er, "Kabuki Atrocity" EP
I used to have a section of video on here, before it was a blog and before i ran out of space for them. given the advent of the vimeo video hosting site (how easy things have become,) i decided to resurrect some old footage from the archive of videos we've created over the past few years and i'll try to improve upon the collection, filling in gaps and histories and dates and things like that. new stuff too! unseen stuff! stuff and stuff!
on the blog now is some old films i've made, some from Mike Shay (a.k.a. bear, the ancestor/nosferatu's lost dog) as well as some live Pidgeons clips, but in about a week i'll be receiving video of whole Pidgeons shows that i'll put up in their entire unedited glory... y'know... just in case you missed it. (you can always fastforward through the songs we forgot to practice.) enjoy the site, let me know if there's anything you'd like to submit (firstname.lastname@example.org) or if you experience any difficulty with the setup.
anyhow, the link to the video blog is on the right over there or you can click here. check it out, enjoy, stay healthy, stay young, peace.
Friday, September 19, 2008
- The mainstream music industry is biased towards geographical position; cities become 'hot pockets' of new music, irrelevant of talent.
- The mainstream music press concentrates on similar-genre artists, whilst the link between tunes and fashion grows more and more.
- The new bands you will get to hear about in widespread magazines will be those who pay publicists to get them press."
What's this all about now? well, it's quite simply actually. intuitive. let's divulge! here's more from their "about" page ::
Music is everywhere and can take any form. The idea behind [glocalscene.com] is to get away from conventional techniques of distributing and broadcasting music. We physically travel to local music scenes around the world meeting those in the communities themselves. The music we find is down to chance and the people we meet.Le Rug and our friends Ollie Byrd & the Trees are both a part of this global community with the Rug's "C.R.E.E.P.," "Bleenex" and "Sex Reduction Flower" all available for download from their store (if you want to pay for a physical copy you've still got to get to a show but hey, this is 2008! the age of itunes! what the hell's a jewel-case anyhow?) GLOCAL will help you set up tour dates, host your music, let you see an Atlas of the World Music and they're even coming out with a film where you can learn more about at the movie's homepage or check out this trailer (there are a ton of glocal vids on youtube judging by a quick search.) And all this can be traced back further to a Paris, France based team called Chestnut Productions, who, "having travelled to the places the music industry never goes, are the Bible for anyone interested in the current state of world music. Also, Chestnut Productions is a web and graphic design company taking work from around the globe." live, learn, celebrate, enjoy.
Our world community know no genres or geographical boundaries. The music within these pages can be described as world music in its most general sense (music from across the world, whether it be popular music, Chinese music or sounds from a man eating a shoe in Greenland).
We have all met artists from our local scene with incredible talent, [glocalscene.com] wants to try and bring them together and find out about the surroundings of where such music orginates.
There will be a film documenting the local music scenes visited so far, set for release in September 2008 [glocalmovie.com].
Our label sells music of some of the artists in our community. All proceeds go straight to the owner. We didn't make the music, so we won't take any of ze money.
Our gig booking uses the vast community that we have at our fingertips (bands, venues, bookers...) to make it easier for artists in need of advice and support for touring.
None of us have any money. We do art as an extension of who we are. That extension does not need to be manipulated or streamlined in anyway. Those we have met project a side of them that we would love to share with the anyone who cares to listen. If you would like to share any music/art/writings from your local scene then please do. By reading this page you are as much a part of the community as anyone. We want to grow. We want to encompass all areas of art. We want information, stories and music from far and wide.
We want a community.
(C) Chestnut Productions 2007"
Wednesday, September 17, 2008
So I'm putting together a proposal for a bi-weekly show on the New School's internet radio station where a band comes in to the production studio, we record a live set and an interview, and then we put it up on the internet for free. So, I am inviting all Tamur Records artists in the New York area to contact me about this ASAP. Because of Time restrictions, I will probably only get a chance to do 6 shows (at most!) this semester, so let me know if your interested.
the Canaries - Coming Around (Unreleased "Poke" Sessions)
There is no air - in the train or in the stationI just sent out a bunch of invites to people to write for this blog so we'll see who responds. hopefully we'll get some lovely words out of it.
i am slowly falling faster - like a dead bird, shot my patience
care to stick your thumb in this refrigerator?
i know it's not cold we're not saving for later.
eat a lot of protein but i don't get stronger -
do a lot of falling but i don't get flatter.
she says she needs an umbrella but the plan was never in a carnival ride
take turns learning a capella, selling mellow cotton pride
I think it's coming around
up and down
what's that sound?
There's a fire in the basement where the homeless are living
and the homeless are laughing at my reasons for living
i like to fake orgasm and then tell them it's working
use a different method than sleeping, ignoring,
no use ignoring.
is anyone employing? John Cusack's alluring
in the rain, so much pain,
put that sports drink in my brain,
buy that shovel, say my name.
I think it's coming around.
There is no air.
there is no air.
there is no air.
there - is - no - air.
The sun was in her eyes and there was no one home to greet her
she's a birthday card, a garden grower and a sleeper.
walk through lakes of lava to an island where you won't care
have yourself a dream i'm not the people i just live here.
- e. bunny (the Canaries)
- conor meara (the Canaries) <- HAPPY BIRFDAY, SARAH. (lil late on the blogside.)
We recorded a ton of songs for the past year or more mostly in this past winter culminating in "Bullet to the Head, Knife to the Heart," "No Guns at My Party" and more. for some reason i think we were the only people in north New Jersey recording reggae in the winter in jackets due to a broken furnace. and if that's not true, we were most likely the only white kids doing it. the sessions are all on Joe P's computer in north jersey so while i work on getting the records up here, check out THE MYSPACE.
the entire experience was incredible and i (and the rest of the 1331 crew) learned a lot about playing and recording reggae, pop, and polishing up records. on the other side, Pat had the opportunity to use the Canaries' recording equipment, influence, amps, guitars, organs, and other random noise-makers. check it out, enjoy it, shout at Pat on the space.
Just a note: the tune "Intensified 68" is the only tune on there that i didn't engineer or contribute to in any way. the songs on the space are unmastered mixes that need mastering before they get up here. look out for 3-4 EPs worth of material just as soon as i can manage. LOOK OUT and Enjoy!
Tuesday, September 16, 2008
the market has achieved a dream that i've held since highschool and i'm glad for them. people are watching and not only is the market speaking about my frustrations in NYC as an artist but they're providing an alternative. there's a write-up on selfportrait.net's AntARTica blog (which Ray writes for) where i copped the following video. enjoy::
Pitt Study Reveals It’s All About Sex
PITTSBURGH, Sept. 11 – More than one-third of popular music contains sexual references, with most of those representing degrading sexual portrayals, according to a University of Pittsburgh School of Medicine study in the September/October issue of Public Health Reports.
The study analyzed 279 of the most popular songs of 2005, according to the Billboard charts rating system. Of those, 103 contained references to sexual activity, and 67 of those references were classified as degrading. Furthermore, songs with degrading sexual portrayals were more likely to reference substance use, violence and weapons.
“Studies have suggested that exposure to degrading sexual references in music is linked to risky sexual behaviors among young people,” said Brian Primack, M.D., Ed.M., assistant professor of medicine and pediatrics at Pitt’s School of Medicine and lead author of the study. “Knowing this, we thought it especially important to ascertain how many of these references are contained in today’s popular music.”
For this study, degrading sexual lyrics were defined as those where sexual value was placed solely on physical characteristics and where one person (usually male) was portrayed as having an insatiable sexual appetite while the partner was objectified.
Sexual references differed significantly by musical genre. Researchers noted that songs with degrading sexual references were most commonly found in the rap genre, representing 64 percent of all noted degrading references, and R&B/hip-hop was second-highest with 22 percent. Alternatively, songs with non-degrading sexual lyrics were most often found in the country genre, with 45 percent of all such references.
“Adolescents listen to an average of two to four hours of music each day,” said Dr. Primack. “While we can’t expect to change the music industry, understanding what young people are exposed to can help parents know what’s out there. It also can assist educators in developing media literacy programs to teach kids how to interpret the messages they hear in popular music.”
i love lil wayne.
Auntie. "No, my dear. Didn't you hear the Vicar say at the Children's Service that animals hadn't souls and therefore could not go to heaven?"
Mollie. "Where do they get the strings for the harps, then?"
Monday, September 15, 2008
so im doin da tussin bare with me
i thought id give bunny in canada update
tamur is looking rad, good work conan
smokestacks soundin rad
hearing john sing while smoking is also excellent
i moved into a new apartment with lots of room
and found an awesome violinst my second day in my new residence. all we are looking for is a drummer. we already have a song down, and a few more we are working on. its called 'killing bugs'
if anyone by some chance in hell knows a drummer in montreal, please let me know somehow. even if you just know someone who knows someone who lives near montreal, ask them if they know any drummers or know anyone who knows any drummers who would be good to play my kind of thing.
temporarily we are called 'wall with a laser"
but we might be called walrus laser
or wall and laser
hopefully lo-fi recordings coming soon, either with my sad attempt at drums (with no drum set) or no drums at all.
smeone tell taylor to play come here and learn drums
wock and woll
wheels and wabbits
Tuesday, September 9, 2008
anyway, we played. this is video of that. it was a very confusing night. i thought we played decently considering everybody was wasted and interrupting and it was mixed and edited like shit. oh well. both bands are dead so this is nothing more than a footnote in a footnote of history. enjoy!
Monday, September 8, 2008
Saturday, September 6, 2008
TB&tSS are: Joe P (guitar, vox, ex-Canaries R guitar), Rob Lundberg (bass, ex-Canaries drums), Josh Rosenberg (drums). this is a record they recorded over at 1331, mastered by myself. the track-listing is as follows:
1) Crap in the Wind
2) In to Enter
3) Break 1
4) Independence Day
6) Picking Flowers
7) Shake it up, Baby.
download this album
go to TB&tSS myspace
a Three Ring Circus (was): "Will Spritzler - Vocals, Whimsy :: Ross Lipton - Piano, Decadance :: Helen Buyniski - violin, carburator, mayonaise :: Sean Ali- UpRight Bass, Matches, Radios, Records :: James Corrigan- Drums, Percussion, Rotary Telephone, Elephant, Accordion, Trumpet, Toy Saxaphone."
once i moved to the nyc/north jersey area after high-school, three ring had evolved into a five-piece including upright bass, violin and drums. they played and recorded old songs revamped into a new dimension as well as writing some of their best as this arrangement.
this is an album they recorded with and mastered by Ben Schurr (b'rer). it's rad as fuck.
both of these albums have been put up with the consent of Sean and i don't believe he was able to get in touch with every band-mate for their approval. hope you enjoy it and if anyone has a complaint, let me know at email@example.com. long live three ring circus, rest in decadence.
all those awesome photos by Rich Herrera
this record is just Ross and Will (vocals). Originally released on Faux Fetus, this album (full title "Montery Jack Me Off in the Closet After You Kiss Me, Mother...") features Will's absurdist, desperate, but always forcefully believable lyrics on top of Ross' beautifully written and fantastically executed piano ballads.
hundred dollar elephant myspace
le rug myspace
Friday, September 5, 2008
#27 Canaries, "Poke the Machine," 2007/8
and the (featured!) review of course:
"The Canaries have made a heck of a debut with Poke the Machine. Every song flows together seamlessly, yet every song has a different style. Sometimes the songs lean more on math rock instrumentals, while other times fast punk chords are necessary. They even pull from the noise-dance genre a little bit. Interestingly enough, these changes are so subtle that one will know they are still listening to the same band. It was very relieving that The Canaries have a lo-fi sound that is both grungy and polished.
All of the tracks offer something different and there are none to complain about. Most feel non-serious except for the 52-second “Poke,” in which Alec Gabin sings “She blew her brains out on a workday/she got no presents for her birthday.” The song is a bit of a downer, but it is not long enough to completely offset the mood of the album.
Probably the strongest track on the album is “F*ck like a winner.” Despite its lack of lyrical content, the song’s heavy bass lines and complex guitar instrumentals with excellent singing makes the song a winner. The song begins very similarly to an Erase Errata song, but takes a much different path. At one point in the song, the bandmates break into a very well-sung part that comes as an unexpected high point. Throughout the album, the transitions from song to song are so flawless that they are very similar to a gapless dance mix.
There are only two complaints to be made about this album, if one enjoys the elements that make up this album: the last track has a huge gap in it and the album is only about thirty minutes long. The last track “lunch lady” is seven minutes long, and not because of the length of the actual song. The song is about 2 minutes with a four minute gap that leads to some random chorus singing and talking. While random talking can be expected to be on intros, interludes, and outros, the 4 minute gap leading to this is frustrating. The length of the gap only adds to the second problem, the brevity of the album. Yet, these are minor critiques.
The Canaries have successfully produced a firecracker of an album that explodes and leaves you wanting more. Thankfully, all of Poke the Machine’s complexities make it an album to be played over and over again…in one sitting."
-Tim Wallen for Independent Clauses
rock 'n' roll north jersey. (you best fuckin' rep it, jerzkids.)
Thursday, September 4, 2008
(#40, below) or CLICK THIS (for a more direct route)
if you still want a hard copy to support Ray's eating habits, i suggest getting to a gig and picking one up. that is, if you think it's worth some money. He's hungry, he's thin, he's wasting away. do it to it.
go to the RUGspace
ALSO: CHECK OUT THIS FEATURETTE!!! filmed by Kurt Bailey, an interview with Ray and a live shot of Kirby from my last show with em in Brooklyn (a Sophia Warren joint at the garage in brooklyn... 741 myrtle):
there are more photos from this on Richard Gin's flickr photostream, more specifically here. no photos of the Rug but a bunch of good ones of Lydia Stone and Michael Jordan.
Conor (c/o tamur.records)
Wednesday, September 3, 2008
"So the official notice needs to go out once again... Le Rug retains the title (dubious or otherwise) of being the most frequently featured music project on MML...
...the off-kilter vocals of front-man and founder Ray Weiss might bring to mind an unsettling, yet suprisingly addictive tone that falls somewhere between Mac McCaughan and John Lydon."
check that shit out. SRF will be available on here until the 4th (see above and below this post)
Tuesday, September 2, 2008
rock'n'motherfuckin'roll. until then check the myspace, they got the songs streaming over there so see if yer interested. GO TO MYSPACE! WE LOVE MYSPACE!
1. disc jockeys
3. crooked bangs
4. sleep deep ft. e. bunny
(up as soon as i get the artwork)