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Lofiles is a music and mp3 blog contains a collection of songs I love. MP3s are for sampling purposes only. If you like the music as much as I do, please go out and buy the records! .If you have a complaint about the ownership of a track, please contact me directly and I will be happy to take it down ASAP.
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Massachusetts 2010/2011

September 21st, 2011

First of all, my apologies for the shortage in outcome lately, but I have been dealing with prolapsed disc issues and severe pain and limitations, butI assure you I`ll be back to my usual pace soon and start supply you with some more goodies on a regular basis.

I have been listening to Mathieu Santos lately, (the founding member and bass player extraordinaire of Ra Ra Riot), listening to his solo stuff though, his album tiltled ‘Massachusetts 2010′, a collection of some real sparse, original & well crafted songs, which as I understood, he had completed in 2010, but came back and put on some finishing touches on this lovely record few months later, and that`s it really. Just go ahead and listen, enjoy and buy the mother.. oh, by the way, released last month on Barsuk records, home of Ra Ra, Death Cab, Cymbals eat guitars, Menomena and so many more.. oh, another thing, you got to listen to some sick sick a la Robert Fripp, Adrian Belew, Berlin era Bowie type guitar solos. You`ll dig those, I promise.


Allister Izenberg

October 22nd, 2010

This dude looks like he has fallen from Mars, like Bowie in the Hunky dory days or like Karl Wallinger of the World party fame. But his music is so imaginative, such a great songwriter and the psychedelic packaging, imagine delicious cupcakes filled with magic mushrooms, our artist of the week right here, Allister Izenberg.


The Marquee years

February 7th, 2010

We went drinking the other night and my friend was mentioning a gig that we saw in the Marquee club in 1978. I think it was Steve Hillage that we saw there, and after few days we went and saw Ultravox with John Fox. For those of you who are either two young or never heard the name, this is one of the most important venues in Europe, and I believe the Marquee is a mirror of British rock and pop music development of over 4 decades. Since its first days in 165 Oxford street during the late 50`s when it started as a jazz and Rhythm & Blues venu, where legends like Sonny boy Williamson, Alexis Corner and Cyril Davies played there regularly, and during the 60`s when it hosted the new generation of British Rhythm & Blues bands such as The Stones, The Bluesbreakers, The Yardbirds, and The Animals. In 1964 it had moved to it`s most famous location in Soho`s 90 Wardour street and witnessed the birth and rise of most important artists such as Hendrix, Bowie, Pink Floyd, Cream, Manfred Mann, The Who,. The Nice, Genesis, Yes, Led Zeppelin, King Crimson, just to name a few, till it became the leading club of the punk movement that had turned to new wave hosting bands from The Sex Pistols, to The Stranglers, The Police, U2, The Pretenders, The Cure and many more. Here is a list of about 200 great bands that performed in the club in the 20 years span from the 60`s through the 80`s.

Twin Shadow Premieres “Castles In The Snow” & “Yellow Baloon” On RCRD LBL

January 24th, 2010

New York Dates:

2/6 – Glasslands W/ Class Actress – Brooklyn

3/13 – Cameo Gallery – Brooklyn

Twin Shadow makes the sort of music that one imagines would perfectly soundtrack the premature but poetic end to an affair. Shimmering, synth-heavy arrangements underpin bittersweet modern soul songs, all of which seem to document some sort of recent or imminent loss. FRACTIONSOFONE.COM 

After a stint living in Berlin, Bowie and Kraftwerk obsessive and former band-hopper George Lewis Jr. moved back to his home base of Brooklyn and started writing affected electronic pop under the name Twin Shadow. This backstory is maybe not that unique, but Lewis’ elicitation of songs as enigmatic as “Castles In The Snow” and “Yellow Balloon”–both co-produced by Ed Banger affiliate Mickey Moonlight–certainly is. They’re like a wiser, well-adjusted alternative to glo-fi, due on a forthcoming 7-inch in March with another set to follow for Chris Taylor (of Grizzly Bear)’s Terrible Records. Yes, this dude will probably have a really good year. RCRD LBL 

This is like the soundtrack to those moments when the drugs still haven’t quite worn off; you’re still smiling broadly and glowing, but firmly rooted to the sofa. He has a single due out in March, so look out for that. It seems Brooklyn never runs out of energy, so we are looking forward to what else appears throughout 2010. THERECOMMENDER.NET

So the story sounds a little familiar. At least at first, as George Lewis Jr. recalls his 10-round bout with writer’s block, a struggle that was broken by searching the streets of Berlin for the ghosts of Bowie, Reed and Pop. Because that’s what artists do when they get tired of playing rock ’n’ roll, right? They revisit the point where the gods of glam and four-alarm guitars discovered such groove-riding Germans as Cluster, Kraftwerk and Can

“The whole experience of living in Berlin was very cinematic,” explains Lewis Jr., “reinforcing the idea of being in a place where you can indulge just about any fantasy, creatively and personally. What I wanted to do came out with such clarity once I got back to Brooklyn—I spit a bunch of songs out right away.” 

A couple standout recordings from those early bedroom sessions are “Yellow Balloon” and “Castles In the Snow,” which will be released as a limited 7” in March. These songs also serve as the phantasmagoric foundation for a forthcoming LP of new songs that’ll be released through Chris Taylor’s (Grizzly Bear) Terrible Records later this year. Driven by brittle drum breaks, crystallized keys, rubber-soled bass lines and galloping guitar chords, the double A-side single is a poppy but peculiar introduction to Twin Shadow. The solo project took on a life of its own last year, as Lewis Jr. found his calling amid a steady diet of laser-guided synth lines and layered loops. 

“I remember the first time someone sat me down and made me listen to an entire Kraftwerk record,” says Lewis Jr. “I think it was The Man Machine. Anyway, I freaked out over it, because it made me realize why I loved David Bowie’s Low for so many years. I mean, I still listen to Led Zeppelin at least twice a week, but I don’t want to hear someone trying to do that anymore.” 

He also doesn’t want to hold anything back after many years of bouncing between bands and exploring the tone poem side of songwriting with the Bill T Jones Dance Company and Lewis Forever, an ongoing performance art project with his three sisters. One of which is his twin, although that doesn’t quite explain the Twin Shadow name. Think of it as a movie title instead—a film adaptation of Bowie’s Berlin years, as filtered through the waking dream lens of David Lynch

“It’s kinda crazy how new all of this is to me,” he says. “Everything is very spontaneous. That’s the other thing I learned in Berlin—that it’s okay to change, because it’s all connected in some way. Whatever I learn today is something I’m going to apply tomorrow. The tough thing is finding some cohesion. But that’s okay. Musicians who don’t evolve can only be a part of our cultural existence for so long, you know?”