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As the World Cup moves into the second round, it’s going to be interesting to see which of the over-performing minnows will continue to impress. Hosts South Africa have already fluffed their audition, finding themselves on the end of a 3-0 spanking by Uruguay, but it remains to be seen how teams like North Korea will hold up. Greece – champions of Europe as recently as 2004, let’s not forget – will be a special case indeed, because right now, they hold the record as the only team ever to play in the World Cup without scoring a single goal. It’s a deeply unwelome record, of course – it remains to be seen whether they will break that duck against Nigeria today or – welp – Argentina next week.

Don’t worry, it’s not actually Chris de Burgh.

The wunderkind of Greek music is unquestionably Vangelis. For all the movie-score cheese he’s been guilty of (look me in the eye and honestly tell me the theme from “Chariots of Fire” doesn’t make you cringe), he deserves to be regarded alongside Jean Michele-Jarre as one of the lynchpins of a very early form of adult-friendly electronica, and a progenitor of much of the new age and ambient music since. As you probably already know, his crowning achievement is his score for the sci-fi-film-noir epic Blade Runner.

To pick up on Vangelis is a stunning obvious move, though, so let’s look elsewhere….

Like most European countries, Greek has its own


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Ok, so who kidnapped Tera Melos?  Not too long ago, the ever-rambunctious group release their debut album, which was filled with spastic riffs and wavering time signatures.  Since then, their progression had been somewhat obvious, or at least not a complete transformation, like the one that you are about to hear.  Perhaps they were influence by Idioms Vol. I in the sense that they enjoyed playing tracks that have defined structures and hooks.  At any rate, in the coming months (September 7th to be exact), Tera Melos will release Patagonian Rats, and if “Frozen Zoo” is any indication of what is to come, Patagonian Rats will be a sonic-pop experience that will certainly show how far Tera Melos can push their experimental rock boundaries.

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Recently I found myself attending a Defiance, Ohio and Mischief Brew show, whom are two rising underground folk-punk bands.  Their following is small, yet loyal, and shows are intense, intimate, and certainly passionate.  While Defiance, Ohio’s new album Midwestern Minutes does not officially drop until July 6th, they were kind enough to sell copies while touring. Here is the opening track from Midwestern Minutes, “Floodwaters.”


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Well, I’m sure we all expected a few countries to get absolutely pounded this year, but by and large – New Zealand, Korea DPR, South Africa – they’ve stood up very, very well for themselves. Attention turned today to Switzlerand, who are actually pretty good, but they’re playing Spain, and Spain are to the average football team what the atomic bomb is to the average handgun. At least, that was the general idea – but Switzlerand only turned around and bloody won, didn’t they? So thanks to the land of cuckoo clocks, Toblerone, and political neutrality for providing us with the defining moment of the World Cup so far.

And what immaculate hair they have too!

It’s Sputnik and it’s Switzerland, so it’s pointless even pretending like I’m going to start anywhere else but with the metal giants of Celtic Frost, Samael, and Coroner. Surely you don’t need me to tell you why a cold European country has got lots of metal, and surely you don’t need me to introduce Celtic Frost, do you? The country’s reputation for metal lives on through Paysage d’Hiver and Darkspace, but these guys are the daddies. They’re Celtic Fucking Frost, you get me?

Similarly dark-minded Swiss music can be found in their once-revered post-punk scene, most notably in the shape of The Young Gods. Part of a lineage that includes Swans (who they are named after) and branches out toward Nine Inch Nails, Devin Townsend, and Fantamos,…


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As part of our blanket coverage of the FIFA World Cup in South Africa (see Nick Butler’s excellent World Cup Sounds series exploring the native musics of the competing countries), we will be rolling out a new vuvuzela-themed design later this week.

We’re still ironing out the various kinks in the new design, but feel free to browse the Beta version in the meantime and let us know your thoughts.


When New Zealand qualified for the World Cup, I distinctly remember some very proud, vocal gloating from Australians who were looking forward to seeing them getting beaten 4-0 every game. Out of interest, how are the Socceroos getting on with that so far? And how did New Zealand do earlier today? Having said that, there’s no denying that New Zealand are largely attending just to make up the numbers; if they qualify from their group ahead of Italy or Paraguay it will be a shock of the highest order. It’s lucky for me that they’ve qualified, though – partly because they have some pretty great music going on, but mostly because I can now take my one and only opportunity to post a Middlesbrough player.

Look! It’s Chris Killen! And some other guy!

New Zealand’s prime musical export has been indie pop, in various incarnations – Split Enz being the most famous (singer Neil Flynn went on to form Crowded House with some Aussies, the traitor), and The Clean the most influential (as Pavement and Yo La Tengo will only be too happy to tell you). The Chills are probably the pick of the bunch though; certainly, they recorded possibly the greatest single by any NZ indie band in the form of “Pink Frost”, a shoegazey standard with just a hint of peak-era Sonic Youth about it. I’ve never been that keen on the intro, but from the 25 second mark onwards it’s glorious.…


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Hello friends. Today is my birthday so I wanted to share a song that somehow, someway captures where I am right now in my life. Memoryhouse’s “To the Lighthouse” is a song that embraces conflicting musical and emotional traits. The song is undeniably wistful and nostalgic. Its fuzzy and reverby synthesized production (people are going to tell you it’s chillwave but don’t worry about it) has the feel of a laser light show slowed down and invokes Carl Sagan’s The Cosmos. This nostalgia gives way to a melancholy in the form of droning guitar lines and impassive lyrics. Despite these overt fixations on lost time and washed out memories, a sense of hopeful yearning pushes through the haze. It’s in the bubbling synth line that doesn’t stop throughout the entire song. It’s in the somnambulating trip hop beat that never gets old. Mostly it’s in the vocals, which rise in subtle crests above the waves of lo fi instrumentals that saturate the song. “To the Lighthouse” uses its own malaise to create a stunning ode to memories, summertime, youth, and “the scattered sound / of time dispersing.”

Memoryhouse – “To the Lighthouse”

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Thanks to Victor for the recommendation.


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When extrapolated, the idea of the end of music seems extreme, or perhaps even impossible.  But we’re seeing it even now on much smaller scales.

In keeping with geographical metaphors, post-rock was a forest in the late 90s/early 2000s, and it wasn’t just any forest.  It was a rain forest, a pine forest, a rural woodland.  The music encapsulated the feel of all seasons – the beauty of winter, with its snowy treetops; the beauty of autumn, leaves swirling to the ground; the heat and desire of summer.  And beyond that, bands like Godspeed You! Black Emperor were able to capture real emotion as well – desperation and fear, love and hope – within thematic albums that told stories without words.  These bands could seemingly put whatever they wanted into their music and make it work, or maybe it was us listeners that made it work, accentuating the music with our own emotions.  Either way, post-rock became one of the first genres that was brought into the spotlight by the Internet generation, through blogs and indie review sites.  It was the next big thing, the next wellspring of musical creativity… until a few years later when it dried up.

Post-rock is a disconcerting example of how we are bringing about the end of music by our fickleness as an audience in this modern Internet age.  Our attention spans are wide when it comes to the amount of music we listen to, but short when it comes to individual albums.  Instead…


Here’s a list of major new releases for the week of June 15, 2010. Please feel free to request reviews for any of the following albums from staff or contributors.

Cowboy Junkies – Renmin Park (Razor & Tie)
The Cure – Disintegration [Deluxe Edition - 2LP 180 Gram Vinyl] (Rhino Records)
Devo – Something For Everybody (Warner Bros.)
Drake – Thank Me Later (Cash Money)
Equilibrium – Rekreatur (Nuclear Blast)
Foals – Total Life Forever (Sub Pop) – Davey Boy
The Gaslight Anthem – American Slang (Side One Dummy) – Nick Butler
Grave – Burial Ground {EU} (Indie Europe/Zoom)
Heartsounds – Until We Surrender (Epitaph)
In Fear And Faith – Imperial (Rise Records)
Chris Isaak – Live at the Fillmore (Mailboat Records)
The Like – Release Me (Downtown)
Sarah McLachlan – The Laws Of Illusion (Arista) — Trey Spencer
New Noise – Volume 1 [Epitaph Records Sampler] (Epitaph Records)
Ozzy Osbourne – Scream (Epic)
Rasputina – Sister Kinderhook (FILTHY BONNET)
Robyn – Body Talk Pt 1 (Cherry Tree)
Sherie Rene Scott – Everyday Rapture (Ghostlight)
The Steve Miller Band – Bingo! (Roadrunner Records/Loud & Proud Records)
Tom Petty & The Heartbreakers – Mojo (Reprise/Wea)
We Are Scientists – Barbara (RED GENERAL CATALOG)
Lucy Woodward – Hooked (Verve)

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Album Streams (please inform us of any broken links/removed streams):

Devo – Something For Everybody

Equilibrium – Rekreatur

The Gaslight Anthem – American Slang

Robyn –


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Last week when we published our Top 100 Albums of the Decade feature people were most happy to see Gospel’s The Moon Is a Dead World make it into the top 10. The timing of the feature couldn’t be better. Though Gospel have been dormant over the last few years, they are now writing and recording, having released a few demos earlier this year, and just today made their new song “Tango” available for pay-what-you-like download through bandcamp. “Tango” makes good on Gospel’s two sides, featuring heavy chaotic drumming and departures to moody jam passages. The band had some words to say about the song as well:

A few weeks ago we got really fucked up at Colin Marston’s place. This is part of the end result. The song describes a ritual suicide; A summer jam for the indoor kids. We are releasing it as a digital single, pay-what-you-wish.

<a href="http://gospel.bandcamp.com/track/tango">Tango by gospel</a>


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So, that Germany lot. Pretty terrifying, eh? After their 4-0 mauling of Davey’sBoys, it feels like the big names of the World Cup have finally arrived (not like these English and American numpties). Attention thus turns to Italy tonight, and their opening game against South American dark horses Paraguay – and one suspects that Italy may have an axe to grind in this one. After all, we know the Italians love to be stylish and love to be good-looking, so how will they react when they realize that Paraguay’s star centre-forward is not just more dashingly handsome than their entire squad, but probably the whole rest of the World Cup combined?

Admit it – you want his babies.

Admittedly, pug-faced thug Gennaro Gattuso does bring the batting average down considerably for the Italians.

Paraguay’s musical scene, like that of several of the other countries this blog will cover, is shaped by the political upheaval in the country’s recent history. Here, that means flirtations with communism, dictatorship, and most damningly, the artistic oppression the country suffered under Alfredo Stroessner’s reign as President. It was only in 1989 that most popular forms of music were allowed to fully blossom in the nation, having been largely shunned (although not banned) since the start of his reign in 1954. Perhaps that history explains why, despite its sunny climate, metal has thrived in the country over the past two decades. Acts like black metallers Sabaoth, thrashers Raw Hide and Corrosion, and the more traditional…


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If you’ve got a bit of a fetish for goalkeepers, and were hoping to see some quality displays between the sticks, I would like to take this opportunity to apologize to you sincerely, on the behalf of the entire combined populations of England and Algeria. Seriously. Might I suggest you become a Nigeria supporter?

I guess with Slovenia currently sitting pretty ahead of both England and USA after Robert Koren’s tame, gentle pass somehow got shovelled into the goal by Farouzi ‘Robert Green in disguise’ Chaouchi, now’s the time to celebrate them.

There’s simply nowhere to start talking about Slovenian music other than Laibach – Slovenia’s most admired musical export by light years, and probably the only musical act from the country that most of the readers will have heard of. Named for the name the Nazis used for their hometown, the Slovenian capital Ljubljana, the band have toyed with Nazi imagery for their entire careers, both adapting the insignia into their own imagery and working extensively with anti-defamation artists and charities. Their most notorious musical moments in English speaking territories are covers – most notably Queen’s “One Vision”, which is sung in German and re-named “Geburt Einer Nation” (The Birth of a Nation, nodding to the famously controversial pro-KKK silent movie by D.W. Griffiths). They’ve been a consistently controversial group themselves, although it hasn’t stopped them from becoming a strong influence on much of the industrial and martial industrial music made since (Rammstein and Rome particularly), and in…


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Music used to be something transcendent for me, something that could carry me away to different worlds.  Every album was an adventure with something exciting and stimulating just around the corner, like walking through an expansive forest to find streetlights hanging from the trees or entering my bathroom to see the mirror made of reflective puzzle pieces.  Wondrous and new, music was a planet unto itself that consisted of objects stitched together through the creativity of a collective, notes and melodies becoming the nails and planks while the input of each individual band member was the hammer that connected everything.  For hours I could wander the streets of this new place, listening to different albums without any agenda other than the sheer joy of continual discovery.

Eventually, everything had to be supplemented with music.  Was it storming outside?  I had to listen to an album that complemented the weather.  Was I sad?  I had to listen to sad music.  I feel now that it was a lazy response, one that cheapened the experiences at hand.  Music as a form of escape isn’t inherently purer than doing anything else to avoid problems just because it’s music.  It is counterproductive.  Listening to sad music because I was sad set me up for more sadness, but listening to happy music made me feel like a clown, an idiot, trying to jump-start a good mood based on the sounds hitting my ears, like some slobbering Pavlovian dog.  Music failed me at those times and…


Sputnikmusic LogoHi Sputnik Regulars and Internet Dwellers,

Congratulations to Greg Rybak (aka greg84 who successfully guessed all 10 albums in the top 10 and had the most accurate ordering of those 10 albums. He wins a special edition copy of Converge’s Jane Doe. Thank you for playing.

-Management


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Yes, attempting to blog about the music of the USA on a site like Sputnik is patently ridiculous. I know. That’s one of the reasons I’m getting it out of the way early; the other is to say YOU’RE GOING DOWN AMERICA

Be honest – who’s side do YOU want to be on?

Ahem. So anyway, I suppose the best way to approach this to go back to a time when American music was exactly that – American music, and not some globally-dominant behemoth that just happens to revolve around California for some reason. And to kick that off, I’m resorting to playing personal favourites with comedian, country pioneer, and all-around vaudeville nutcase Uncle Dave Macon. This is the sound of America in its youth, still in thrall to the Appalachian folk music developed by Americans working in tandom with the Irish and Scottish diaspora, yet to discover and assimilate the blues music of the slaves that would lead them to musical world domination. Macon’s vocal delivery was radical for his time, particularly in terms of the music being recorded at the time, and his performing style was no different – more aggressive and raucous than country or folk has been since. And that’s before we consider the knee-slapping sexual innuendos that abound in so many of his songs, puns so well-concealed that half the time it’s not even clear whether or not it’s accidental.

There were many things – World War II,…


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