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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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Just like the Roxy days

October 20th, 2010

In Bryan Ferry`s case, a solo effort means, an album just with Gilmour, Manzanera, Greenwood and Nile Rodgers on guitars, Brian Eno and Colin Good on keys, Andy Newmark plus 2 other drummers, Frank Ricotti on percussion, Marcus Miller on bass, A string quartet, Wind instruments, background vocalists, engineers and the whole nine yards….but you know what?? Shit sounds good, like in the old Roxy days..listen to ‘Song of the siren’ and watch our visuals – don’t know if it`s better than the original cover of Kate Moss , but that`s just our  taste…Thank you AZ for the tip!

Parenthetical Girls launch new five part 12″ and video series, Privilege

January 24th, 2010

“We never meant you any harm.” Ever the pragmatists, Parenthetical Girls are set to release ‘Privilege’–the band’s new full length–as a box set of five extremely limited 12″ EPs on their own ‘Slender Means Society’ label. These EPs will be sold separately in sequence every quarter over the next 15 months, each as they are completed. They will not be distributed to stores. As the cycle concludes in May of 2011, the fifth and final 12″ will come packaged in a beautiful, aesthetically cohesive LP box designed to house all four of the preceding releases, forming the complete Privilege album. Limited to 500 physical copies per EP, the 12″s will each feature original art by renowned Swedish illustrator Jenny Mörtsell, and will be hand-numbered in the blood of their respective band members. The first 12″–subtitled On Death & Endearments–will be released on February 23, 2010.

When last we left Parenthetical Girls, the group had undergone a seismic shift in both scope and purpose, shedding the trappings of their past–and of indie rock altogether–with their critically acclaimed Orchestral Pop opus Entanglements. An experiment in Pop maximalism, Entanglements took perverse pleasure in blending the bloated chamber arrangements of a century’s worth of pop history with the rhythmic dissonance of modern classical composition–and then topping it all off with a dense, Joycean novella narrated in part by a pedophile. Needless to say, it was all a lot to swallow.

Having taken pop extravagance to its logical conclusion, Parenthetical Girls have given the orchestra their leave–and the resulting transformation is no less momentous. Returning to its core membership of vocalist/songwriter Zac Pennington, multi-instrumentalist Rachael Jensen, and producer/arranger Jherek Bischoff, the group set about a path that they have heretofore never really charted: that of sonic restraint. And though the results could scarcely be called subtle, the language of Privilege is direct and unambiguous–a new creative candor that’s felt in both its words and music. It’s Parenthetical Girls in fighting trim, and the difference is both immediate and undeniable.

The group inaugurates this ambitious experiment with Privilege, pt 1: On Death & Endearments–a compelling four-song suite drenched in the long-latent glam-racket so often suggested in Pennington’s androgynous lilt. Nowhere is this more apparent than with lead-off track “Evelyn McHale,” a Bolan-ian homage that–much like Entanglements’ “A Song For Ellie Greenwich”–imagines the infamous title character as a springboard for more allegorical confessions. The cinematic desperation of “Someone Else’s Muse” follows–its pulsing grandeur underscoring a tale of emasculation and resentment in the face of another’s deserved success. The deathbed march of On Death & Endearments–punctuated by gloriously gated snares and a haunting angel chorus–simultaneously recalls the staggering Hounds Of Love heights of Kate Bush, and the calculating, icy croon of early Roxy Music. The EP concludes with “Found Drama I,” a tragic, Eno-indebted lullaby whose atmospheric longing swells with heartbreaking sweetness. Together, they comprise a bold, strikingly cohesive pop clarion call that further solidifies Parenthetical Girls’ place amongst the most surprising and uncompromising pop groups at work today. And there’s more where that came from.


The Silent League gets remixed by Memory Tapes, announces US tour dates

January 18th, 2010

The Silent League is a difficult band to trace. Formed in 2004 in Brooklyn by Justin Russo (at the time, keyboardist for Mercury Rev during the classic Deserter’s Songs / All is Dream era), The Silent League may sometimes appear like an on-again/off-again relationship between a collective of musicians interested only in periodically making records, playing shows, and disappearing again. This may be true. While nobody in New York ever seems quite sure whether or not the band still exists (their second record, ‘Of Stars And Other Somebodies’ was never even released in N. America, and is due for re-release), the name carries weight all over the city. Lay tracks through the past 5-6 years’ worth of new music (take Arcade Fire, Beirut, St. Vincent, Stars Like Fleas, Bishop Allen…) and you’re going to run over more than a handful of people who began with or spent time creating music under the name The Silent League…many of them still do, you just don’t know it. “We don’t really care about maintaining a place in the industry. There is enough noise in the world and everyone has other work to busy themselves with”, says Russo, “we try to keep it new, detached…we make music when we think we have something to say that isn’t already being said”.

The Silent League is releasing a new record, it’s third, in Feb 2010, ..But You’ve Always Been The Caretaker. This time with the idiosyncratic producer, and band-member, Shannon Fields at the helm (founder and producer of the unclassifiable Brooklyn collective Stars Like Fleas, and whose musical credits include Helado Negro, Miho Hatori, Doveman, and many projects that ignore rock and pop altogether), the band spent time at various upstate farmhouse studios with recording and mixing engineer D. James Goodwin (Scary Mansion, The Bravery) crafting a somewhat different record. More explicit is the group’s affection for the soft rock and artrock power ballads of the 70s (the group initially bonded over a common love of ELO, Todd Rundgren, Roxy Music and Bread), but the moodier and more unhinged qualities that have always been subtexts in the band’s music have been pushed forward. It is an evocative, jarring, sometimes disturbing and densely woven record that seems nearly to ignore contemporary indierock but which sounds very little like its antecedents or any obvious contemporary reference points. Rather than chasing the endlessly tiresome “reinvention of rock”, The Silent League, with one foot in sterling songcraft and the other in the Brooklyn diaspora, has sculpted stunningly fresh new music with the decapitated pieces of rock’s MOR family tree.

01/16 – New York, NY Blender Theater at Gramercy &

01/28 – Brooklyn, NY Bruar Falls

01/30 – Syracuse, NY Westcott Theatre

02/01 – Washington, DC DC9

02/03 – Nashville, TN The Basement

02/05 – Gainsville, FL The Atlantic

02/06 – Jacksonville, FL The Sinclair

03/17-03/20 – Austin, TX SXSW

Not necessarily the news….

December 31st, 2008



I try to post some great music here and as far as I am concerned great music is timeless. So I`m less interested in music as fashion, nor as a gimmick, and decided I`ll take my year end summary on a different route. I have recently came across Pitchfork`s 70`s & 80`s top 100 lists, which reminded me of  great music, but the choices made me wonder. Since that`s where I`m coming from -those ancient years and music, I`ll use Pitchfork and it`s young writers as a reference.

First of all Respect, respect, respect… Anyone that loves music as I do would understand that placing David Bowie`s heavy Heroin oriented Berlin period Eno Frippish album “Low” at # 1 knows something about music.
70`s: ( Pitchfork 100 )

# 5 :Bob Dylan “Blood on the tracks

# 4 :Sly & the family stone ” There`s a riot`s going on

# 3 :Television “Marquee moon

# 2 :The Clash “London`s calling

# 1 :David Bowie “Low

All 100

Kinda strange choices considering some great albums are missing from the top 10. Where are Frank Zappa, Yes, Gong, Emerson Lake & Palmer, Go, Gentle giant, Robert Fripp, Winwood with all his projects, Elton`s Goodbye yellow brick road and many great others you should place before you think about Colin Newman. Seems to me like an odd choice: Pink Floyd at 32 with “The Wall” and “Dark side of the moon” at f….# 70, King Crimson at 72 with “Red”, Genesis`s “Lamb lied down“is completely missing andPeter Gabriel is not even mentioned… Eno`s “Before and after science at 100, Beatles at 28, Talking heads at 45, Sex pistols at 51, the choices seem to be coming from a young writer. With all the respect and love I got for Gang of four and Dave Allen and his Pampelmoose,how could you put Gang of four at the top 10 and Sex Pistols, an album that is a f…. milestone and have changed history of music at #51? ..and then to include every f… Wire album that was released? Not that I have something against Wire & Colin Newman ….
On the other hand there are some great albums you could find there and are truly recommended:
Before and after science” –Brian Eno
Rock bottom” – Robert Wyatt
“The Idiot” –Iggy Pop
Starless and bible black” – King Crimson
“The man -machine” –Kraftwerk
Q:Are we men A: We are Devo –Devo
For Your pleasure –Roxy Music
All –Joni Mitchell
All – David Bowie
Songs of love and hate – Leonard Cohen
All – King Crimson
The Payback –James Brown
All –Pink Floyd
Future days –Can
Bryter Layter –Nick Drake
“Music for 18 musicians” –Steve Reich
“Starsailor” –Tim Buckley
“Live-Evil” –Miles Davis
“More songs about buildings and food” –Talking Heads
“Rumors” –Fleetwood Mac
Saturday Night fever” -Various
“Fear of music” -Talking heads
All – The Beatles
All – Led Zeppelin
“Here come the warm jets” -Brian Eno
Electric warior” –T rex
“Bitches brew” -Miles Davis
“Maggot Brain” –Funkadelic
“Who`s next” – The who
“Loaded” –Velvet Underground
“Funhouse” -The Stooges
“Exile on main street” -The Stones
“Another green world” – Brian Eno
“Unknown pleasures” – Joy Division
……& thousands more

On the other hand the 80`s was a different animal altogether mainly cause the music world had witnessed two main changes: The first major change was the appearance of MTV and music videos and bands started paying more attention to image and looks and clips and singles rather than to the music and to concept behind albums. The other was the fact that Sony had bought CBS cause they were the # 1 CD player manufacturer and wanted to force CD`s as main format on the record industry. The fact that CBS was the largest company around and had the biggest shelf space in record stores and Sony succeeded and forced a different consumer platform altogether. It was New wave and haircut heaven time now. Not to say we didn’t have some great music around . Another major musical change was the introduction of midi and sequencers and samplers and techniques that had creatednew abilities and new sound for a new generation.
The 80`s choices are excellent and every album of the top 10 is a treat.


# 5 :Rem “Murmur”

# 4 :Pixies ” Doolittle”

# 3 :Beastie Boys ” Paul`s Boutique

# 2 :Talking Heads ” Remain in light”

# 1 :Sonic Youth “Day dream nation”
And many great great others: The Smiths, The Cure, Tom Waits, Joy Division, Public Enemy, Prince, XTC, Public Image, David Byrne and Brian Eno`s “My life in the bush of ghosts“, The Jesus and Mary chain, Black flag, New order, U2, Husker du, Talk talk, N.W.A, The replacements, The stone roses, Kraftwerk, The Police, Big black, Guns and roses, The pogues, Boogie down productions, The smiths, Cocteau twins, Jane`s addiction and lots more….