Hey y’alls! Just like Britney’s sister, I’m pregnant - but by pregnant I mean filled with love and happiness, not a baby. Merry Holidays to everyone out there. 2007 was a great year and 2008 is gon’ be betterer.

Obey my dog!

Rob Schrab’s “Twigger’s Holiday” review just ran in Harp magazine (along with a Shalini review) and I wanted to post it. The DVD came out in August, but it’s a great holiday gift for fans of Rob Schrab. Think “Sarah Silverman Program,” “Monster House,” “Heat Vision and Jack.”

Click the pic for a full size version.

You may have noticed that the old “pixel guy in a chair” logo has been replaced with Muigi and the Ghost. It’s modeled after the outfits I used to wear during my white wrapper (with a mustache) career in the ’80s while doing ’shrooms and convinced I was being chased by ghosts, so if you think it looks like anyone else then you’re mistaken.

Special thanks to the lead game designer Shark Guts for re-imagining my graphic/branding intentions with these lovely, quirky designs.

Here’s one Feisty video from Mr. Bob Wiseman, Canada’s own troubadour exemplar. CMJ took a peek at Bob Wiseman’s new video for “Who Am I” which stars the lovely, Leslie Feist and decided that they wanted first dibs on it, so it’s premiering at CMJ all this week before being publicly distributed. So, head on over to CMJ and see what all the fuss is about. The song is from Bob’s Theme And Variations album on Blocks Recording Club. Click here or on the picture to see the whole video!

Motion Turns It On is this week’s Amplifier Magazine “Amplified” band! Which means that they’re being highlighted over at AmplifierMagazine.com with a feature article and a stream of MTIO’s debut EP, Rima. Former “Amplified” artists include: The National, The Kooks, Maritime and more!

Bob Wiseman recently completed a European tour with (fellow Canadian) Feist and during their down time, Bob was working on a music video for his song, “Who Am I” which stars the lovely and talented Leslie Feist. The video is going to premier exclusively through CMJ very soon and will be available worldwide shortly after the premier. I’ll send out an announcement when the official debut date is um… official. Hopefully by next week.

These are exciting times and Bob is an exciting bard of a man.

Here is a trailer to the documentary that I’m producing entitled, The Secret Altar. It’s about the Milestone Club in Charlotte, NC, a dive bar/venue first opened in 1969. It’s been through various states of ownership and now is run by Neal M.F. Harper.

Since the White Stripes are talking some well deserved time off (but, not from releasing merchandise), it’s our pleasure to announce The Feist Stripes. OK - it’s just Bouncing Bobby Wiseman with new (guest) drummer, Feist. Check out this video from Bob Wiseman’s last European show opening for Feist. He’ll be in the Europe for a little while longer.

www.myspace.com/bobwiseman

On November 6th, Shalini’s 3rd album, The Surface And The Shine officially hits the street and Greensboro’s alt-weekly, Go Triad is featuring Shalini on the front cover.

Be sure to check www.gotriad.com on November 9th and pick up a copy if you live nearby.

SOUND AS LANGUAGE
www.soundaslanguage.com

Clock Hands Strangle are an impressive indie rock band from Melbourne, Florida. Redshift/Blueshift is the band’s debut full-length. Right from the beginning, I am reminded of another eclectic Florida band that I recently reviewed, Band Marino. Both bands have an incredible talent considering their youth. However, where Band Marino’s music runs a wide spectrum, Clock Hands Strangle have a more focused and uniform approach.

Clock Hands Strangle has an endearing wayward spirit that reveals itself slowly with each listen. The band’s influences sit rather firmly out in front. Modest Mouse, Built To Spill, Death Cab For Cutie and Iron & Wine are all touchstones that come to mind when listening to Redshift/Blueshift. The album is an interesting tale of two sides. The first (and stronger) half begins with opening track, “Redshift.” This half is more acoustically-based and lyrically tells tales of loss. The second half which ends with the closing track, “Blueshift,” consists of Clock Hands Strangle’s more rock-driven material and lyrically turns towards acceptance.

The vocal and lyrical style of vocalist/guitarist Todd Portnowitz bare a striking resemblance to Isaac Brock of Modest Mouse. Instrumentally speaking, Redshift/Blueshift is rich and abundant. Horns, violin, piano, and glockenspiel all make appearances here and add a dynamic quality to the band’s warm songwriting. The music creates a solid backdrop for the band’s poetic lyrical imagery. Once again, the influence of Isaac Brock and Modest Mouse is hard to ignore. Clock Hands Strangle’s lyrics seem to have that same morbid, but beautifully descriptive nature of Brock’s best material. Elements of birth, life and death litter the lyrical highway that Clock Hands Strangle travel. The album comes to end with “Blueshift,” an eight minute foot-stomper that encompasses all of Clock Hands Strangle’s many strengths. The songs between “Redshift” and “Blueshift” show a band with an incredible vision and the ability to transport the listener. Redshift/Blueshift is an album in the truest sense.

Clock Hands Strangle have scored quite a triumph here. While Redshift/Blueshift may not be for those seeking instant gratification, it is for those who appreciate albums that will stand the test of time. The album gives you something more with each subsequent listen. Clock Hands Strangle have quietly delivered a stunner of a debut with Redshift/Blueshift.

RIYL: Death Cab For Cutie, Modest Mouse, Built To Spill

….more reviews after the jump!

Read the rest of this entry »