Berklee grad musicians Madi Diaz & her musical partner
★"Let's Go" Live
(Ten Out of Tenn Fall Tour @ Berklee Red Room Café 939
in Boston, MA on Sept. 29, 2009.) (http://youtu.be/8nU8v8_Kvo0)
So she's gonna come back to the place in Boston with her new EP. for then, I may be not gonna finish this article although within the the time of the Daytrotter article has been already done translating by Teshi.
Just copied and pasted the detail from the venue page:
Daphne Willis/Madi Diaz
Wednesday, September 28, 2011, 8:00 p.m.
Everything Daphne Willis has done up to now in both her music and her life has led to this moment. Her latest album,Because I Can, marks the 23-year-old writer/singer/guitarist's artistic coming of age in thrilling-and at times heart-wrenching-fashion. This captivating LP represents an exponential leap, as she grows into her enormous talent and puts it to powerful and relatable use via her singular sensibility.Because I Cansounds very much like the defining work of a young artist who matters. Also featuring performances by Madi Diaz, Keegan Dewitt, and Megan McCormick.
ちなみに今回のこのブログ記事冒頭の"Let's Go"は９月２０日にリリースされるupcoming EP "Far From Things That We Know"に収録されつつ、２０１２年にはフルアルバムがリリースされる予定となっているそうです。
Kennyy
as MELTRICK
Edited on [(Sun) Aug/28th/2011] thru []
~~~
【Today's/本日のBGM selection】
its Giver's essay on Daytrotter might be also been taking a shit by Teshi...
is probably here on:
このGIVERのセッション記事の翻訳も
以前Teshi氏によってされていたと思います。
well... that was my mis-guessing sorry.
と思ったらされてませんでした。
(*ので、近々僕が自分でしますね。)
★Giver / "Noche Nada" (Unofficial)
Even GIVERS obviously one of current very taking eyes indie rookies in the US, though,
my interesting is mainly focused on its unofficial video director Meghan Ellie... Brooklyn based real artist, whose you might be able to google her easily.
I found the Cloud Nothings' daytrotter debut session in August 2010 today. Which is making me so high. They make me high, and pop. Right? Suggestion as recommendation from my favorite online record store in Kawasaki Japan THE STONE RECORDS, I could have known Cloud Nothings via..., no! even before then I already knew them though (well, this is not focusing point yet), Bridgetown Records. BTWN LBL is such a great DIY sorted record label i really believe, and I have talked to the owner Kevin a while, especially whenever I ordered items, and he's such nice young guy, and musician. Cloud Nothings have couple of released from BTWN records, and one of them is split cd with Kevin which is my first item of theirs.
Definitely you don't wanna miss the shit of theirs!
My rate of the daytrotter session:
★★★★★★ (5.6 / 6 star)
独自ホニャク／Translation in Jpns:
"Cleveland Still Rocks Despite The Staggering Loss Of King James"
「クリーヴランドはまだ、
キング・ジェームスの 'よろめきの損失' に代わってロックしている。」
released Aug 5, 2010
Words by Sean Moeller
Illustration by Johnnie Cluney
Sound engineering by Mike Gentry
Mastering by Sam Patlove
Japanese Translation by @Kennyy_MELTRICK
＊楽曲のDiscographyはまた後日、お調べできればと。
M-2 from "Hey Cool Kid"(Lmt 2song 7" 2010) & "Turning On"(Debut AL 2009)
M-3from"Turning On"
M-4 from "Turning" & "Leave You Forever" (Lmt 4song 7" 2010)
M-5 from "Leave You Forever" (the 7")
クラウド・ナッシングスの楽曲の一曲に「リーヴ・ユー・フォーエーバー（Leave You Forever）」という曲があって、まあ他の曲にもだけれど、根本的に若い愛やその喪失を歌っていて、でも彼らはそれを何かをなし得る為に深々とでも”ぼんやりと見過ごす空振り三振”みたいに表現しやがり、--- その何かってのはまた、それは強く縛り付けられているものみたいにさ。その曲は”can't let go”ソングで、お互いに別れた方がいいだろうことなんて解っているカップルのそんな気持ちには掘り下げないようにしている、なんて歌で、でもそれでもこのコーラス（オリジナルでは女性のコーラス部）は自然と染み入ってきて、曰く
It might just be selective reading, but over the span of the last two or three years, all of the literature that I've read about the city of Cleveland - a place that I've spent relatively no time whatsoever in - harps on the city and its peoples' defeatist or sad attitude. Most of this is focused at their notoriously lousy professional sports teams and many of these pieces of writing came from the pages of Sports Illustrated, but it's one of the only ways that I'm familiar with good old Cleveland. Recently, we all saw the venom fly and the depressed sorts make themselves known to those carrying video cameras looking for soundbites when LeBron James - the home son and some declared holy idol as a basketball player for the Cavaliers - bailed on all those poor people to live in Miami, Florida and play for the city's club, the Heat. Everyone was wrecked by this news, destroyed to think that everything was now even more ruined than it had been before. Suddenly, the Blublockers that everyone had been wearing, turning everything a happy shade of auburn - enhancing the greens in the lawns and trees and bringing smiles all around - weren't working any more. They three all of their mementos of the man-child into the garbage or lit them on fire in the bars and streets and ridded themselves of his memory, the traitor. The city is on crutches and one bet is that the members of the band Cloud Nothings also felt the sting of being left high-and-dry by the multi-millionaire dickhead - if only on principle alone. They might not be NBA fans, but what James did to their city defies interest. It transcends and crosses over into every inch of society, touching everyone who claims the place, even begrudgingly. Cloud Nothings might very well now be the pride and joy of this wobbly city, or they very well could be in due time, helping Clevelanders begin to forget that they no longer have a god. For, within the textures of most of the band's songs, we'll find some of the emotions and a belief system that residents of the town called upon when they were encouraged to justify the rage and betrayal that they felt when James cut town. The team's owner, Dan Gilbert, wrote what's now a famous open letter to James, calling him the ultimate quitter and despite any contrary feelings for where you call home, there's pride there and the Cloud Nothings' fellow people, their neighbors, were hurt considerably. One of the group's songs, "Leave You Forever," and others, are essentially about young love and alienation, but they carry with them the faint whiffs of standing to address something even deeper - something like the ties that bind. This song is a can't let go song, one that delves into the idea of a couple of people who may be better off breaking from each other, but then the chorus kicks in and the thought is, "I could never leave you forever." It's a strong thought and it's what gets most people into the trouble that they get into - sticking around and hanging on. It could be that James was right to get out, but no one can fess to that. Elsewhere in the session, the cool kids are getting our heroes down and elsewhere, on "Weird Sons," there's more instances of going against form and swimming into the current instead of just going along with whatever's easiest. The Cloud Nothings give us these wonderfully energetic and shambling indie rock notions that nothing's that easy to do. It's a pain to be yourself and to be true amongst all of the decay and all of the naysayers.
You can grab your copies of Cloud Nothings at THE STONE RECORDS in Japan or Brigdetown LBL in the US, but before to do that liking on facebook first maybe. I kinda like that they don't even probably have their official web site. You do see that means to.
Tracklist:
01 Honey Bunny
02 Alex
03 Die
04 Saying I Love You
05 My Ma
06 Vomit
07 Just a Song
08 Magic
09 Forgiveness
10 Love Like a River
11 Jamie Marie
Written by @Kenny_MELTRICK/@Kennyy_MELRICK on [(tue) Aug 23 2011]
#NP him, his solo one previous album "Trees Outside The Academy" (2007) and i like the song because its guest vocal Christina Carter's chorus, yes obviously.
なんだか、今、このサムストーンのソロアルバム聞いてますですです。
はい。コーラスがたまらんです。
★Thurston Moore / "Honest James" (Live in NY 2007)
I met a punk band consists a guy bass guitar player, a lady drummer and a female guitar vocalist in early this month in Cambridge. They are the Ettes who just released their new record couple days before the 3rd city Cambridge for their new record celebrating tour. Well, I'm kinda still suspecting what I had touched then, that night with the band and their friends to have sharing each stories for each others. Keep tuning for that, I will let announce when I'm done it on my English blog.
At this time, my twitter friend has translated the Ettes' daytrotter session article to Japanese, which is probably the Ettes' debut session at Daytrotter I think. We were sharing people. So to do that.
The Ettes / debut Daytrotter session"The Boot's Got The Upper Hand"
タイトルの意味/解釈は、いうなれば、
「そのブーツはこき下ろす武器にもなるだろう。」
みたいな感じでしょうか（笑）
Click the above draw going to Japanese Translation↑
"The Boot's Got The Upper Hand"
Session released on Jul 29, 2011
Words by Sean Moeller
Illustration by Johnnie Cluney
Recording engineered by Mike Gentry
Japanese Translated by Teshi (@Teshi1988) on Saturday July 30th 2011
On/According to the last article post that I wrote yesterday, Dan Mangan's "Journal of A Narcoleptic" was my encounter song with him and I translated it in Japanese lately. Then found my old worked the other song of his called "Road Regrets" off the record called "Nice, Nice, Very Nice!" in 2009. I'm just reattaching that translation that I have done so far.
I have switched to roll the host of Wye Oak's fan community page on Japanese SNS mixi couple months ago. But I have been missed their coming Boston show couple times so far since I become into their music. And for the fan page, Japanese fans or new fans, this might be a first touch with WO for them. This is sort of their old school though, I still like this session. Therefore no worries to have assessed by this session.
If you've been missed this session, this is the time. It's released in fall 2008 and they released too awesome new full length album last year some of you might know. I hope they will have new daytrotter session released soon.
*Well, I have a friend mr. @Teshi1988 who follows constantly newer sessions on Daytrotter so I have no worry and no hurry to translate anything from the daytrotter on my own pace.
1). そのとき、我々は天気のせいにするだろう。もしくは乾杯、もしくはあぶり出すであろうその天候は、ワイ・オーク（Wye Oak）の音楽の低調さを響き渡らせる為のチルさや畏怖さを施すためである。このデュオは、ダン・ディーコン（Dan Deacon）、ヴィデオヒッポス（Videohippos）やデス・セット（Death Set）がする必要もなかったようでいて、ビーチ・ハウス（Beach House）が表現したようなバルティモア（ボルティモア/Baltimore）の街の触感をまさに表現している。これは家々の裏にある林の中から死体を見つけるような街のはじっこのことであり、それは、凍りつくような芸術表現、多過ぎるホーリーシットの数々、ショックであっけにとられる程のそのアティチュードと、後々に"メアリー・イズ・メアリー（Mary Is Mary）"などの楽曲に黙々と音に昇華され反映される、レッスンのような時間へと転換されていた。
1). The weather. We're blaming it. Or toasting or roasting it for the chilling and formidable pallor that it places upon the undertones of the music of Wye Oak. The duo represents the side of Baltimore that Beach House represents, not necessarily the one that Dan Deacon, Videohippos and Death Set do. This is the side of the city that finds dead bodies in the woods behind their homes, but turns that experience into a lesson in time - some frozen expressions, a lot of holy shits, shockingly aghast attitudes and then reticent digestion that could later evolve into what "Mary Is Mary" turned out to be.
2). You (if you were there as Jenn Wasner and Andy Stack of Wye Oak were) find yourself glad to have not been the one found dead in the woods, swirling with all of the questions of a neighborhood, a coroner, the sheriff and the birds. The way that the majority of the Baltimore "orioles" would have treated the scene would have been to convert it into a raging rage in the hip terms of partying and maybe causing some lighthearted havoc, just feeding off of the absurdity and the lucky strike that the material could be turned into thrashing, trashing dance music to get sweaty on.
3). Wye Oak would prefer to dissect the situation and ask the questions of the dead body, lodging the mind into the curious circumstances that led to its end - the thought that there lies a piece of person that used to be someone's little girl or little boy. We're assuming that the body was discovered with the help of some search hounds and a party of concerned citizens and law enforcement members under a cold and dreary sky, or so we'd be led to believe from the song that Wasner sings. A thick gray sky is like a fine coat and when a day acts like a leaky faucet, dribbling a constant rain all over a place, it's best to have some music that will lace the scene with some justice, with a pull in the direction of haunted dynamics.
4). When Wasner - and even Stack in a different, but similar touch - sings her pained songs, they fall off of her lips like warm drops of summer water, slipping down a crooked tree branch that's no more than a poor man's stick, inching to the cliff of the softened wood and then falling fatally onto the concrete below. While the water is in the air and loneliest, is where we find our heroes, the stars of these plays. Wasner and Stack embrace the tattered and fragmented slices of what trips us up all too often and they frame it into a lovely stretch that seems like a cracked ceiling that we might look up at during the night and curse.
5). （自主盤としては２００７年にリリースされていた２００８年のデビューアルバム）「If Children」収録の曲達は彼らがいかなるスタンピード（「パニック状態、驚いてどっと逃げ出すこと」）な状況からははずれていて、そんな脈打つ経路や自分自身を全ての中で上手く行かせるために受け流す方向へ持って行っているのだと、気がつかせている。その暗がりやそれら湿った（もしくは「感覚を鈍らせてくるような」）楽曲のスピリッツには能弁さがあり、でも慎重さをも奪われてしまうほど、すり切れてはくじいてしまったの混乱の中であるのもまた事実である。これはそんな物事をとにかく露にしてその不毛さに十二分に近づけるように聞きいるための、ある種のトリート（施し）であり、いかにクリティカル（危機的）な状況になっていたか、または未だなっているかを感じさせるものでもある。ワスナーは「あなたは貴方の中で時を過ごすのだわ。（"You've got years in you,"）」なんて歌い、そしてもしそれは何がこれまでの暮らしで伴っていたかを知らしめるように鳴っていて、その肌以上に時間が重ねられ、それはまた、完全には、最も荒い要素からはかけ離れている。ん、待てよ、そうでもない？これはある意味、そんな古い魂が蘇ってきてその感覚は何人もの人々にとってのインテリア・スケルトンという参照で、そしてそれはそんな目で狂っていることによってその心と内向的な精神が何度もの繰り返し自問自答されているようであるということでもある。そんな空模様にはアドヴァンテージ（利点）があって、それはワスナーとスタックによって証拠付けられているのである。それは一つの内側での偉業であり出口へと効果される。そしてそれはいつまでも使われる一つの古い方法論でもある。
5). The songs on If Children find themselves there where they're out of the way of any stampede, off the beaten path and fending for themselves as everything gets worked out. There's eloquence in the darkened corners and these dampened spirits, in the frayed and foiled masses, where the concern isn't grave, but it is important. It's a treat to hear such things sound so bare and to get close enough to touch the barrenness and feel how critical it all could have been or still could be. Wasner sings, "You've got years in you," and it sounds as if it's a remark on what dwells within, how it's aged more than the skin, and it's completely out of the reach of the harshest elements. Or is it? It's a reference to that old soul foundation that some feel is the interior skeleton of some people, when the eyes and the plumbing suggest that heart and the inner springs have been used for an amount of time that can't be answered for. The weather has an advantage when it gets inside, as evidenced by Wasner and Stack. It's an inside job that works its way out. It's an old method that always works.
