Teepee_uk

I dunno. But if anyone has a copy of the Sparkle e.p they want to sell or swap, please send me a note.

Wouldn't mind watching Dog Man Star all the way through. Not so sure about the last two albums though.

Hmmm. Leakage.

I'm starting to think that these leaks are becoming more like an obligatory bit of free promotion.

Get the audience familiar with the title of the album. Stir up a bit of word of mouth. Get feedback on what the best tunes are with the number of downloads and what gets said on the boards.

Bring the release date forward (to where it always should have been, perhaps),

and EVERYONE IS A WINNER.

>as for decent albums. muse top radiohead easily.

Radiohead have The Bends, O.K computer, and Hail to the thief. Muse have Showbiz and Origins of Symmetry, neither of which can match any of the albums above.

Don't get me wrong. Muse are a good band.
But comparing them to Radiohead is like comparing Rolph Harris to Michaelangelo.

If there is anything as good as 'One night is not enough' on there, I'm going to have to buy it.

They will be fucking awesome, orchestra or not!

Their shit may be out of luck in that case, unless they've developed some form of digital watermarking no-one knows about yet.

I'll be interested to see how they monitor the information they receive from those bots. They'll be infringing on civil liberties if they try to sue, and may even be opening themselves up for counter claims. Because as soon as they check for the files which may or may not contain the material they are looking for, they'd be violating personal computing boundaries (and theoretically the full force of anti-hacking legislation could be used against them). They'll have to ask for permission without a court order to inspect
a computer they suspect of harbouring their wares, and no-one in their right mind would be willing to agree.
The bots can only monitor traffic on the internet, not the outcome of that traffic. Whether that information (and a refusal of an informal inspection request) would be enough to grant search and seizure warrants is a little fuzzy, but I think possible.

To be certain that the transfer had taken place, they would have to obtain legal rights to inspect both of the computers involved. Which could prove tricky in another way. If they didn't take both file-sharers to court it would bring into doubt their position. Why sue one and not the other? The exchange of the material is an act with two parties, and I fail to see how one person can be more liable than another in a P2P exchange.
Perhaps a *giant* swoop is in the offing after all ;]

It'll be fascinating to see how well they do in the courts with a multitude of cases to fight, and with the history of copyright law not exactly in their favour (when was the last time you heard of anyone being sued for copyright infringement when they weren't distributing the music for money?).

The RIAA tried to ban the use of P2P systems and failed (and trying to sue the ISP networks should fail too, because they can only be liable up to a point for controlling content before censorhip issues would be raised). They've tried to scare the people they think have downloaded the music (how can they prove who was using the computer to download the material? I can already hear the cries of "Little Timmy did it yer honour! I 'ad no hidea wot e woz doin'!") by sending scary messages.
And now they're getting ready to bite the bullet.

What will the eventual outcome be? I think the best way it could work out for the majors is if they can make sure that companies monitor their own networks for the illicit material so that they don't have to. If they take on companies (and university servers) for being slack on copyright infringement, and set precedents that look scary enough, the groups in question will have to make sure they're covered from all angles.
When it comes down to prosecuting individuals, civil liberty issues could hold the RIAA lawyers up slightly, even if they take the seemingly unwise decision to go ahead with myriad lawsuits. The sheer number of people using networks like Kazaa makes that prospect look unlikely.

Interesting though, innit?

They've got a couple of tunes on the website, but they are a bit crunchy sound wise...
If you ask them nice they'll send you a cd-r, I reckon.

Muuuuuch better =]

If I have a single hippy tell me about karma while I'm there, I'm going to shoot them in the face.
With my water pistol.

This album is as good as the one before it.
Here's my review.

Grandaddy - Sumday

Sumday could be compared to Mercury Rev's last offering, in as much as its virtually indistinguishable from its predecessor. It isn't hard to imagine the band plucking through their facial hair in desperation to choose a title that wasn't 'The Sophtware Slump II'.
Not that anyone could complain with the collection of material that they had to put a title to, as its a sterling piece of work that matches the Sophtware Slump step for step. It opens well, with 'Now it's on' marrying neo-Status Quo chugging to ELO keyboard flourishes in the chapel of radio friendly American indie.

'I'm on standby' is the second punch in the opening one-two combo, bringing back the themes of alienated nature and humanized technology that were so prevalent in Grandaddy's previous work (Here the lyric "You humans require more words" spoken by a machine awaiting redesign is sci-fi familar). On 'Sumday' these themes seem slightly more than a lyrical leit-motif, no longer the subject of the songs, but a means to help deliver the messages behind them. 'The group who couldn't say' is a gentle poke of fun at chart bands (themselves part of the machinery of commerce, 'unit shifters'). They are brought down to Earth by realizing their size in relation to nature (in the form of dragonflies, trees and rivers), and they become human again. Later, in 'Stray dog and the chocolate shake' we're treated to robots who are forced to work in the dark, and a cadillac that never got the chance to carry a star.
In 'Sumday', machines are portrayed in the lyrics instead of being the main source of them, equals to the human subjects, detailed with empathic sublety by Jason Lyttle. Its a lyrical recipe that delivers.

But the real star of 'Sumday' is the sheer musical awareness of the band and the producer (who sounds suspiciously like Dave Fridmann). There are a series of production touches here that leave the listener staring vacantly into space mouthing 'wow' without irony, and a subtle painstaking consideration for the songs that don't need any extra punch.
That said the dawdling 'Lost on your merry way' does seem a little lightweight and pedestrian.

Despite this weaker track, the other eleven tracks show a band gradually moving forward.
It may not be a big step, and there hasn't been a huge progression in the music or how they record it. But on this evidence, a small step for Grandaddy is a giant leap for everyone else.

Now theres a fucking tragedy.

Never mind the review, someone's just re-issued 'Smell the glove' with the original artwork!
Fantastic

cool

Just when I thought this bill couldn't fit any more cock into its gaping maw, somehow it manages to cram one more in.

Maybe I'd appreciate it more if I was sixteen with acne, and had one of those fucking chains hanging from my ultra baggy jeans.

I didn't realise that there was such a thin line between covering a band and ripping them off. How does the ripping off part work again? Because the way I see it, the cover will draw more attention to Sigur Ros, perhaps even encouraging the odd Coldplay fan to buy their album.
Do you not want that, Sean?
Do you not want 'them', the swathes of bourgeois middle England, listening to 'your' music in their predictable mid range Fords?
Would that be so bad?
I bet that'd just cut you up,
now wouldn't it?

Would it alter how the music sounds to you, or to other people?

Because, you never know,
maybe that might happen.

Before you know it, there will be a new pop direction from Sigur Ros. Catchy little dance numbers that come in at about three minutes and just won't get out of your head.

Be sure to tell me when that happens.

Cheers,

Tom

Is this some kind of sick ironic joke?
I was forced to listen to this record when it came out. It was shit then, it's still shit now. And what the fuck is it doing in 'post rock', let alone the 'classics' section?
Jesus wept!