• Episode #05 - Canada Noise Podcast

    3. Mai. 2006, 6:25 von youngnaspiring

    Reason Disappears - I Wonder
    Dust Poets - Walk Away
    First Time Fallen - Confinement Insanity
    A Northern Chorus - The Shepherd The Chauffeur
    South Oval - Turn And Look The Other Way
    Superbeing - Bright Idea
    Ten Ways From Sunday - Without
    deshead - High Enough
    Tourist - Everytime We Touch
    Parlour Steps - The Modern Today

    We are continually looking for subscription services to which to add our podcast. If you don't find it on your favourite service, let us know. We're still working on iTunes.
  • Episode #04 - Canada Noise Podcast

    27. Apr. 2006, 21:10 von youngnaspiring

    Here's the 4th tracklisting:

    THESET - 12:34
    Push For Protection - Friends or Enemies
    Wintersleep - Jaws of Life
    Interview with Moneen
    Moneen - This Is All Bigger Than Me
    Machete Avenue - Cut To Pieces
    The Hollywood Ending - To Which We Hold Dear
    Glory Nights - Regrets

    Download Podcast
  • Episode #03 - Canada Noise Podcast

    19. Apr. 2006, 23:29 von youngnaspiring

    Here's the tracklisting:

    Five O'Clock Charlie - Winter Trying
    Kincaide - Something Survived
    Will Kidman - Never Ending Song About Nothing
    Fractal Pattern - Binary Consequence
    Ten Second Epic - Boys Will Be Boys
    The Sadies - A Good Flying Day
    Caragana - Only For You
    Feist - Inside and Out
    The Dudes - Dropkick Queen of the Weekend
    Bedouin Soundclash - When the Night Feels My Song
  • RADIO SHOW ON BASQUE MUSIC - Script and Playlist

    17. Apr. 2006, 22:36 von vitolaterza

    The following is an adapted version of the script for the radio show "Who Do You Think You Are?" dedicated to Basque music. The playlist is also included.

    Click here to listen to this show in mp3 format.

    For more info on the show, check out

    Many thanks to my Basque friends, without whom I could have not produced this show. They know who they are. Translation from the Basque in {}.

    THEME: Basque music, art and politics

    QUESTION OF THE DAY: Can we meaningfully separate our appreciation of art from the socio-political context within which it is created?

    In simpler words, when we consider Basque music, can we really make an artistic judgement that is completely independent from the political values that have stimulated the production of this music? Do we listen to Basque radical rock ‘neutrally’? Are we moved at all by the evocations of struggle, war, violence, oppression? More generally, this question is also about the conditions of artistic production: is an artistic product, once completed, detached from the environs in which it was created?


    The shadow of ETA seems to haunt pretty much any rational discussion about what’s goes on in the Basque countries. The arguments of the so-called Basque radicals get often discarded on the basis of their alleged support to ETA. Once you start delving a bit deeper into Basque reality, walking around the streets, talking to people over there, these black-and-white categories stop making sense. I haven’t met any ‘terrorist’ in the Basque, and yet, many of the people I came across had some family relatives or friends in prison, condemned for crimes related to terrorism. As soon as I started to ask for their stories, for the reasons why they were condemned, I discovered that for an act of vandalism (i.e. putting a few trash bins on fire), if you are Basque you could end up in prison for a few years. More often than not your ‘crime’ will be related to ETA, even though most likely you have no connections to the organisation and you never had thought to make any.

    I do not intend here to make a call for the Basque cause or any other radical statement as such; as a matter of fact, as much as I personally support the wish of Basque people to have their own state, I can’t really do much. Rather, what I would like to point at is that, as a Basque in the Basque countries, it is not so difficult, given the special laws into place and the coercion of the police forces, to finish into the traps the so-called ‘machine of justice’. Simply showing up at demonstrations gives you high chances of passing the night in some police stations, in the hands of people who are not really known for their nice manners. If you do end in prison, the likelihood that you will be exposed to some acts of psychological and/or physical torture from the officers is rather high. Only few weeks ago (March 2006), two political prisoners were reported dead one day after the other; one apparently died of heart attack and the other killed himself. The ‘unfortunate’ coincidence for the Spanish authorities is that only 24 hours passed between the first and the second death.

    Anyway, I did promise to myself not to end up in political denunciations, but I really struggle to understand how I could ever detour my personal commentary on Basque music from facts which are so compelling. Just another example of how, once political persecution and social injustice becomes part of the everyday reality of a people, it is pointless to try to separate the artistic from the political. These harsh facts impact on the subjectivities of many Basque people. They are part of their everyday life. The artists in this music selection live in this context. For them, politics is personal. In such a situation, their desire for expression cannot transcend this political dimension. What bands like Hertzainak or Negu Gorriak represent is much more than simply a musical movement: their songs sing the disappointments, the anger, the political aspirations and the wish for emancipation of entire generations of Basque youth, starting from the 1980s up to the present.


    From the bits and pieces I have put together for this show, how would I answer the initial question? When I listen to this music, I can’t really isolate a purely aesthetic appreciation for the music from my own emotions, from my personal experiences in the Basque and my connection to the place. I listen to this music and I remember my two trips there. I remember the tanks on the streets of Bilbao, when Batasuna was banned. I remember the magic atmosphere of the Fiestas, so many young people in the streets, the music, the stalls. I recall my admiration for the people I have met there, for their incredible taste in matters of arts, architecture, food, pastimes.

    One step further, the emotions of this music awake my social consciousness, some kind of romanticism about the suffering of people in many other parts of the world; I remember Swaziland somehow; I think of Southern Italy and the social problems there. The politics I am talking about here, however, is not an academic subject; it’s not an abstract discourse about power and political structures. It is something embedded in my personal experience of reality. It has to do with the fundamental human capacity for empathy.

    As much as I tend to put on the mask of the skeptic when in the company of the so-called ‘radicals’, I believe, like many of my Basque friends, that the personal is political. I believe that one can’t find happiness when one is surrounded by other people’s sufferings. This is what this music reminds me of. It reminds of the existence of other people outside the four walls of my small room; it reminds me of reality.

    MUSIC: music – Hertzainak, Kortatu / Negu Gorriak, The Dirties, Oreka Tx

    Other tags: , , , , , , , , , , , , , , , , ,


    While Hertzainak were extremely popular in the Basque, some say that their choice of singing in Basque has in fact limited the possibilities of reaching to a wider audience. Nevertheless, they did have a following in other countries, like Cuba and Germany. Hertzainak, which means ‘policemen’ in Basque, formed in the early eighties and were strongly inspired by The Police, the pop-rock band led by Sting. As time passed, they developed their own unique style, fusing pop-rock with soft touched sonorities borrowed from a number of different traditions. When the band dissolved in the mid-nineties, Gari, the lead singer, started a solo career.


    Guantanamera – 4’44” (from the album ‘Mundu Berria Daramagu Bihotzean’ {We Have a New World in Our Hearts}, 1991)

    The song is a re-elaboration of the original Cuban song “Guantanamera”. The lyrics contain references to the abuses carried out by the U.S. government in the naval base of Guantanamo Bay. As a matter of fact, the Basque political aspirations for self-determination are not put forward in a vacuum; rather, the Basque have established strong ties with Latin America (which is still the preferred destination for ETA exiles) and insert their own claims within the wider discourse of international solidarity and of global struggle against imperialism. It is this wider breadth of Basque political claims that made it possible for the Basque to have a huge number of sympathisers in many parts of the world.

    Aitormena {Confession} – 4’42” (from the album ‘Aitormena’, 1989)

    This is the song that best represents the band’s musical evolution towards a brand of pop rock which is never superficial or forged as a shortcut for commercial success.

    Larru Beltzak {Black Skin} – 4’44”

    Kortatu / Negu Gorriak

    Kortatu was formed in the summer 1984. It was strongly inspired by the Clash and the spread of the punk wave throughout Europe. Just like their cousins Clash, Kortatu mixed ska, punk, classic rock, reggae and dub influences rather successfully.

    What also reminds me of The Clash is the militant content of the lyrics. Fermin Muguruza, the lead singer and founder of Kortatu (later renamed Negu Gorriak), now pursuing a solo career, has often been criticised for being an apologist of ETA. The lyrics he wrote and sang for Kortatu and Negu Gorriak are often pointed at as proof of this. He denies that and has often called for a peaceful resolution of the never-declared war of the Spanish state against the Basque radicals.

    Kortatu was renamed Negu Gorriak in 1989. With the same line-up, the band steadily moved towards hip-hop, hardcore and crossover. If Kortatu were close to the Clash, Negu Gorriak music reminisces Public Enemy. This is obviously an oversimplification, as Negu Gorriak production moves easily from rock to hip-hop and reggae, back to ska. Rather than a break with the past, Negu Gorriak is simply one of the possible evolutions of the Kortatu experimentations. Negu Gorriak dissolved in 1996. After this, the leader of the band Fermin Muguruza started a solo career; his works include a collaboration with Manu Chao.


    Jaungoikoa Eta Lege Zarra {God and the Old Testament} – 3’32” (Kortatu, ‘The Frontline Compilation’, 1988)

    Bertso-Hop – 3’38” (Negu Gorriak, ‘Negu Gorriak’, 1990)

    That sort of recited chanting you hear in the song is taken from the tradition of Bertsolaritza. Originally, this was a kind of verbal fight between two contestants that took place in the streets; the contestants had to speak following complex poetical meters. Today, these contests happen in the form of a public performance, often comprising more than two people; the contestants are given a theme upon which they have to improvise a rhymed speech. It reminds me a bit of the MC battles and the whole phenomenon of freestyle. Just like in the MC battles, it is rather self-evident who wins the contest and the winner is usually almost anonymously acknowledged by the public and by the contestants themselves. In Francoist times, bertsolaritza became charged with strong political overtones, even though the references to current affairs was always in the form of allusions, to avoid censorship. Since then, politics has become a rather recurrent element of bertsolaritza contests. However, these duels are never really meant to be explicitly political; rather, the content of the lyrics is directed towards everyday life. Politics features in it only insofar as it is part of the everyday experiences of the Basque people.

    Sarri, Sarri – 4’07” (Kortatu, ‘The Frontline Compilation’, 1988)

    This song is dedicated to the mythical (and successful) escape from prison of Joseba Sarrionandia, Basque poet and writer involved with ETA, on 7th July 1985. 7th July is a national holiday, San Fermin, when the famous bull race in Pamplona takes place. Since then, for many Basque people the holiday has been connected to the escape of the famous writer Sarrionandia.

    Denok Gara Malcolm X {We Are All Malcolm X} - 1’40” (Negu Gorriak, ‘Borreroak Baditu Milaka Aurpegi’ {Politicians Have Multiple Faces}, 1993)

    Hipokrisiari Stop! {Stop to Hypocrisy} – 2’17” (Negu Gorriak, ‘Borreroak Baditu Milaka Aurpegi’ {Politicians Have Multiple Faces}, 1993)

    A good example of the evolution of the early Kortatu ska/punk into the later Negu Gorriak hardcore/crossover.

    Desmond Tutu - 2’46” (Kortatu, ‘The Frontline Compilation’, 1988)

    The Dirties

    Album: ‘Borroka ‘n Rolla’ {Fight ‘n Roll} (2002)

    They make an excellent blend of classic rock and soft metal; the electric guitars solos and the screamed vocals remind of the golden 70s, names like Jimi Hendrix and Led Zeppelin come to my mind. “The Dirties” are the new frontier of Basque revolution rock; they are from Durango, a small pretty Basque town near Bilbo.

    They sing both in Basque and English; some say they will fill the vacuum left by Negu Gorriak and Hertzainak. In the wake of globalisation, mass cultures, and political scepticism, there are still lots of Basque youth who are as radical as the generations from the 70s and the 80s; they must be craving for new music too.


    Rock N Roll (You Know I Need This Sound) – 3’11”

    Ez Zara Ezer {You Are Nothing} – 2’42”

    Oreka Tx

    Album: ‘Quercus Endorphina’ (2001)

    The misty sound of the txalaparta is the most distinctive feature of this Basque ensemble, Oreka Txalaparta (Oreka means balance). The txalaparta has been used as a communication device in Basque villages for millennia. During the Roman invasion, it was used to make rallying defensive calls. In the 1950s, it was almost extinct. It is in this period that it was revived by folklorists, who transformed it into a musical instrument. It consists of several thick planks of different woods, which are struck gently with two pairs of sticks by two performers who play in synchronicity.

    Fusing traditional Basque sounds with world music and new age tunes, Oreka Txalaparta’s music is incredibly catchy and relaxing; Oreka’s compositions do not have a direction, a finite musical structure, with a beginning and end; they are rather focused on the experience of listening itself. Like in much traditional music across the world, Oreka’s tunes have a tendency towards transcendence and altered states of consciousness.


    Keinuka Ilargiari {Praising the Moon} – 3’25”

    Txalaparta Dantza {Txalaparta Dance} – 2’03”

    16. Apr. 2006, 19:29 von DennisTheCasey

    Last night I saw Alkaline Trio and Against Me! togethor, and as you can see, they're by far my two favorite bands ever! And unsprisingly, it was the greatest show I've ever been too. They both were the best they've ever been last night, and I've seen Against Me! once before and Alkaline Trio 4 times earlier. Here are their set list's

    Against Me! 8:30-9:15

    Pints of Guinness Make You Strong
    From Her Lips To Gods Ears
    Rice and Bread
    Reinventing Axl Rose
    New Song?
    Don't Lose Touch
    Unprotected Sex With Multiple Partners
    You Look Like I Need A Drink
    T.S.R. (This Shit Rules)
    Sink. Florida. Sink.

    ALKALINE TRIO 9:40-11:15

    San Francisco
    Nose Over Tail
    As You Were
    Enjoy Your Day (Electric)
    My Little Needle
    Southern Rock
    Message From Kathleen
    Trouble Breathing
    Sorry About That (Matt solo/acoustic)
    Blue In The Face(Matt solo/acoustic)
    Every Thug Needs A Lady (Dan solo/acoustic)
    My Standard Break From Life (Dan solo/acoustic)
    Emma (Dan solo/acoustic)
    Good Fucking Bye (Full Band Acoustic)
    Mercy Me
    Old School Reasons
    Take Lots With Alcohol
    The Poison
    Fuck you Aurora
    You’ve Got So Far To Go
    Private Eye
    This Could Be Love
    Some Kinda Hate (Misfits Cover) / Radio
  • Episode #02 - Canada Noise Podcast

    13. Apr. 2006, 18:45 von youngnaspiring
    Subscribe via iTunes


    Our Mercury - Shawna Don’t Wanna
    The Acorn - Plates & Saucers
    The Black Maria - The Memento
    the februarys - All The Time In The World
    Open, Parachute! - Art + Credit Cards
    The Meligrove Band - Everyone’s A Winner
    Storyboard - I Was
    Sylvie - Hit & Run
    Moneen - If Tragedy’s Appealing, Then Disaster’s An Addiction
  • Episode #01 - Canada Noise Podcast

    11. Apr. 2006, 23:11 von youngnaspiring
    Subscribe via iTunes


    Protest the Hero - Blindfolds Aside
    Broken Social Scene - 7/4 Shoreline
    Choke - Breathing Won’t Come Easy
    The New Pornographers - The Bleeding Heart Show
    Bend Sinister - Hell or Shelter
    Comeback Kid - Wake The Dead
    The Most Serene Republic - Content Was Always My Favourite Colour
    Sleeper Set Sail - Lifejacket
    City and Colour - Save Your Scissors
    Boys Night Out - Medicating

    This is a little late being posted, so there will be a new update with Episode #02 tomorrow.
  • It's 4:42 AM and I can't sleep

    9. Apr. 2006, 9:51 von BlitzzkriegBill

    1. Ramones
    First song heard: I don't even know, most likely a badly cut up version of Blitzkrieg Bop
    Song that got me into them: I'm not even sure
    Favorite song: three way tie between Judy is a Punk, Sheena is a Punk Rocker and Howling at the Moon

    2. Screeching Weasel
    First song heard: Dummy Up
    Song that got me into them: Hey Suburbia
    Favorite song: Slogans

    3. F-Minus
    First song heard: Lose Yourself
    Song that got me into them: the The Mind (Epitaph had an MP3 posted and it was spectacular)
    Favorite song: Wake Up Screaming

    4. 7 Seconds
    First song heard: Not Just Boys Fun (via H2O's cover)
    Song that got me into them: Here's Your Warning
    Favorite song: Young 'Til I Die

    5. Teenage Bottlerocket
    First song heard: Bloodbath at Burger King
    Song that got me into them: Bloodbath at Burger King
    Favorite song: Bloodbath at Burger King

    6. The Replacements
    First song heard: Fuck School
    Song that got me into them: Kids Don't Follow
    Favorite song: Favorite Thing

    7. The Lillingtons
    First song heard: I Some Brain Damage
    Song that got me into them: Wait it Out
    Favorite song: Kevin is a Lunatic

    8. The Suicide Machines
    First song heard: S.O.S.
    Song that got me into them: No Face
    Favorite song: DDT or Someone

    9. The Queers
    First song heard: I Hate Your Fucking Guts
    Song that got me into them: Ursula Finally Has Tits
    Favorite Song: Fuck the World

    10. Negative Approach
    First song heard: Negative Approach
    Song that got me into them: Can't Tell No One
    Favorite song: Can't Tell No One

    24. Mär. 2006, 10:12 von coolguyaaron

    match the lyrics to the corresponding bands or else you die. seriously.

    1. "I just wanna have some kicks, I just wanna get some chicks"
    2. "you build that wall up around you And now you can't see out And now you can't hear my words"
    3. "where is the rain? rain, send barrels of rain to coincide with the pain"
    4. "well i'm not supposed to kiss your lips but you smile so sweet i can't resist those eyes"
    5. "life's an illusion love is a dream, but i don't know what it is"
    6. "let's go to the hong kong, breaking glass at madame wong's."
    7. "silent sneers and crocodile tears, rolling down the drain"
    8. "same hair, revolution, same build, evolution, tomorrow who's gonna fuss"
    9. "at the age of 17 he was forced to choose at the age of 21 he's in catch 22"
    10. "I've been living this walter mitty life for too long"

    Circle Jerks
    Mighty Mighty Bosstones
    The Planet Smashers
    The Replacements
    Minor Threat
    Stiff Little Fingers
  • fall out boy: not just a clever name (EMO DRAMA ALERT)

    15. Mär. 2006, 0:22 von kingoftheposers

    so after following a link to see some purportedly stolen pictures of pete wentz's (of Fall Out Boy fame) genitalia (i only wanted to see if it had a sad face on it), i happened upon a mr. chris guitterez's livejournal, where i read this post.

    an open letter to pete wentz.

    it takes a lot to make me mad.
    it takes even more to infuriate me.

    so, after all this time i finally learned the truth. that it was you telling my ex girlfriend lies and secrets. despite even giving you the pass card after i caught you trying to talk dirty to her online, this is how you repay me? no wonder why you couldnt look me in the eye on the bus last summer and no wonder why you avoided me every chance you got.
    you hug me and tell me you love me then you tell lies to my girlfriend behind my back to lure her away from me? you tell her i cheat on her and then you tell me to come stay on the bus?
    you are a spineless fucking sham.

    i regret every second i spent defending you and your selfish ways.
    dont forget, i know you. not that shitty glammed up poser image you present to the masses to consume. the dude i knew never would have worn a fucking dinosaur shirt or sold out one of his friends. the dude i knew had heart and fucking loyalty. well lil buddy, you are fucking done.

    you want to sell me out to the most important person in my life and then have the audacity to make ME think I did something wrong to not deserve your friendship? you fucking arrogant bastard.
    since we're discussing sellouts lets discuss how when kids give you presents you laugh at them and throw it straight in the trash. oh yeah, ive seen it many times. lets talk about how you talk shit about the fat girls that are your fans and mock their letters. you are fucking undeserving of every ounce of attention you've ever gotten. from every one of your calculated business moves to your "spontaneous" jumps in the crowd parts to your well rehearsed cliche lines you've been spouting for 400 shows in a row. you're boring, contrived and old. "oooh, no one loves me, its sooo hard being on magazine covers and tv shows. someone save me from me." what are you, fucking 12? go light your little candles ask yourself why no one will ever truly love you. its amazing no one has caught on to your little fucking show. you're nothing more than a shitty opportunist business man with even shittier fashion sense.

    so pack up and move to whatever million dollar house you've picked out in california paid for by your lies and hypocrisy and deceit and selfishness and over medicate yourself like youve been doing for years...because guess what? no one wants you here anymore. you are not welcome.

    oh yeah, hows that straight edge tattoo doing? as well as the tattoo for your "crew" who now refer to you as a fraud and a con? stay gold dude, stay gold.

    remember this each night of the tour when you play the lie, "hey chris, you were our only friend."
    downplay it all you want by saying the song is about "friends", but guess whos fucking name you're saying each and every night? mine. thats right. what a bunch of fucking phonies. sing the songs you dont even believe in anymore. fucking liar.

    you know the friends i have and you know how we feel about loyalty.
    you know who im talking about and you know they're not happy either.
    so dont get caught slipping and you better make damn sure you watch whos on your guest list because a plus one might come backstage to punch your fucking teeth out and tear the windpipe from your throat.

    you fucking sell out.

    oh, and next time you decide to write another song about me, do it right you fucking coward.

    it seems chris (the 'hey chris' referenced in Grenade Jumper) and mr. wentz are currently embroiled in some feud over pete trying to steal his longtime friend's girlfriend. or something like that. fuck, i don't know. it's an awful lot of reading just to get to the core of some widely publicized interfighting. i figured i'd just give you the links and figure the rest out on your own.

    chris' livejournal
    chris' myspace
    kate's (the aforementioned girlfriend that 'skeezy pete' tried stealing) livejournal
    kate's myspace

    holy shit, do i ever love interdrama.