listening

iClips and GenAudio Team Up For Enhanced Widespread Panic Webstream This Weekend

iClips, the leading provider of live concert event broadcasting, and GenAudio Inc., developer of AstoundSound 3D spatial audio software, announce their relationship to enhance iClips webcast audio content. The Widespread Panic live concert event webcast, June 24 – 26 at Red Rocks Amphitheatre, will be presented in AstoundSound.

The AstoundSound special software implementation for live events, called AstoundLive®, enables processing and mixing of any audio output that is split-off from the front of house and fed as multiple mono and stereo inputs. The final “astounded” audio is then synchronized with the video recording in real-time. This enables music lovers to enjoy a 3D audio listening experience during the webcast. No special hardware is required to enjoy this unique 3D spatial audio experience. Any two speakers or headphones will enable webcast viewers to enjoy the “Astounded” stereo mix in real-time as the live event is being broadcast.

Although not necessary, GenAudio recommends for optimal 3D audio listening pleasure of the astounded Widespread Panic webcast, using a good set of headphones or external computer speakers. You can access the webcast at www.iclips.net. “We are excited to be utilizing this audio technology," said Nate Parienti, Founder and CEO, iClips. “After a successful test drive of the AstoundSound technology during our stream of the New Orleans Jazz and Heritage Festival in conjunction with AEG Network Live, we realized that we wanted to utilize AstoundSound in our other webcasts as well; it’s a real game changer in audio for live event broadcasting.”

AstoundSound processing enables fans to listen more critically to the music with unsurpassable intelligibility. It significantly enhances the artist-fan connection by elevating the auditory senses to a new level of listening pleasure. The AstoundLive® software uses unique digital audio filters based on actual human brain response measurements. The processed 3D audio remains in-phase, center channel imaging is not affected, and the resulting processed audio has no tone colorization. These characteristics are unique to the AstoundSound technology.

“We see our new relationship with iClips as the key for bringing AstoundSound into the live event space thanks to the introduction from John Rubey, President of AEG Network Live,” said Jerry Mahabub, Founder, Chairman and CEO, GenAudio. “Widespread Panic fans viewing the webcast will be able to hear the event as if they are at the concert venue, thanks to our ‘Astounding’ 3D audio processing.”

For additional information about the Widespread Panic webcast please visit www.iclips.net.

Cat’s Eyes Announce US Tour Dates

As the frontman for British psychedelic-rockers the Horrors, Faris Badwan and his bandmates took a major stylistic leap between the band’s first and second albums, essentially reinventing themselves in the process.  In the same spirit, Badwan has transformed himself creatively once again with his new duo, Cat’s Eyes.  The project is a partnership between him and Rachel Zeffira, a Canadian opera soprano and classical multi-instrumentalist based in London.

The group’s first ever live appearance took place in December, amid some secrecy, at St Peter’s in the Vatican, where they performed a reworked version of their song “I Knew It Was Over” during an afternoon mass attended by several high-ranking cardinals. Footage from this can be viewed at www.catseyesmusic.com. Continuing to make each of their live shows a truly special experience, Cat’s Eyes have decided to do only three US dates – so don’t miss them if you’re in the area!

In the collision of the two very separate worlds of Badwan and Zeffira, something magical has come into being. Cat’s Eyes eponymous debut album (May 3rd; Cooperative Music USA/Downtown Records) is a romantic pop masterpiece fit to dine at the same table as mid-’60s productions by Phil Spector, Joe Meek or Shadow Morton, but with a fiercely modern, experimental premise, which constantly leaves you wondering just what you’re listening to, and how on earth it was created.

The duo’s album was recorded at RealWorld studios near Bath with producer Steve Osborne. All Cat’s Eyes artwork is designed and photographed by Chris Cunningham, director of iconic videos for Aphex Twin (“Windowlicker”; “Come to Daddy”) and Bjork (“All is Full of Love.”)

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Cat’s Eyes Tour Dates:

05/03:  New York, NY @ Bowery Ballroom
05/06:  Los Angeles, CA @ Natural History Museum
05/07:  San Francisco, CA @ The Independent

The Terror Pigeon Dance Revolt! Announce East Coast Shows!

Founded in late 2007 as means for front man Neil Fridd to yell about his romantic mishaps, The Terror Pigeon Dance Revolt! has blossomed into a real juggernaut of epic dance floor revelation.

What do they sound like? It’s sorta dance-soul music, like synthed out Otis Redding covers on fast forward. Dance music with too many cooks in the kitchen, but in a good way, so not too many cooks, maybe just an above average amount of cooks. That is to say, there are sweet beats: your ass wants to shake, but there’s also like four vocals and two horn lines happening too, making for a unique, dense, dance floor throw down that’s suitable for both club rock outs and secluded headphone listening. But perhaps more than both of these, you’ll find yourself wanting to be listening to this music at a Halloween party with all your friends, because before TPDR were trying to make your head bob or your ass shake they were trying to make your heart feel something. Whether they’re singing about a new romance, old friends, or a magical thing that happens when the roads are too icy for professors to get to school, TPDR are singing about something that you’ve felt, and doing so with a humor and sincerity so often lacking in indie music. Scenes and events are set up so perfectly that on a late night, driving in your car in the middle of nowhere you feel every emotion they’re singing about deep down in your gut: you’ll be getting chills on the  subway during your morning commute. These songs will make you long for every boy or girl you almost kissed in high school, chuckle to yourself about how stupid and great your friends are and make you want to go camping, stay up late, dance on your fire escape, have a potluck dinner, jump in piles of leaves, French kiss in the back of a movie theater and finally go out and cut down a real Christmas tree this year.

And if listening to this band on CD makes you feel alive, seeing them live will set you on fire. Terror Pigeon live is sometimes four people and sometimes forty, but it doesn’t matter, cause you won’t know who’s in the band anyways. Everyone dances, everyone gets a costume, everyone sings. And don’t worry, only half the people know any of the lyrics so you won’t feel left out: the sing alongs are easy and they’ll teach them to you. The show is happening on the stage and in the audience. There are people running around with big light up robots on their backs, others wearing disco ball hats, a hairy man dressed as a giant pumpkin, streamers, aliens, football players from the movie Mac n’ Me on a TV dancing to the beat, a dude butoh dancing, it’s like Halloween and junior prom and new years and Christmas at once. There’s a lot of glitter and strobe lights and it’s entirely probable that at some point you’ll be handed a mic and told to go for it. And that’s the idea: that you go for it. Cool has been abolished: for 25 minutes you can’t fuck up. You can scream and sing and roll around on the floor and it’s okay. To quote them “No one here looks more stupid then we do so don’t worry about it!” And you can totally just stand up against a wall and watch too if you want: there aren’t rules. It’s not, “you have to go crazy,” it’s “you can.” And that freedom leads to a real liberation, an all encompassing fuck everything dance party hailed as everything from kid playtime gone wrong to the least self conscious act at CMJ to a religious awakening.

And all this razzmatazz hasn’t gone unnoticed. In addition to getting a plaque once they’ve also been written about by a bunch of important magazines and newspapers, including the New York Times, New York magazine, NME, Nylon and more. Perhaps most impressive, besides the plaque, was their winning the Diesel:U:Music World Tour competition last year. Selected from amongst thousands, Diesel flew them around the world to play in big stadiums in Japan and historic nightclubs in France. This rather surprising move, (wait, good, deserving bands can actually get giant handouts from monster corporations?!) catapulted them into the spotlight, giving them a much-deserved amount of exposure, a buzz that will that may very well explode as they release their debut album and continue to tour nonstop.

The Terror Pigeon Dance Revolt! have an album coming out on Luaka Bop this spring. It’s great. It’s ten tracks of absolute power. They’re touring the US nonstop starting in February with a new backing band called The Shakes. They’re now accepting summer barbeque invitations and really want to play someone’s senior prom like how the Spice Girls used to have competitions like that.

Upcoming Shows

06/05/10 - The Ox (with Harry and the Potters (7pm early show)) - Philadelphia, PA
06/06/10 - The Knitting Factory (with Harry and the Potters (3pm early show)) - Brooklyn, NY
06/11/10 - Hillstock (with the Eskalators, Ava Luna, The Shakes, Ghost Mall and many others) - Brooklyn, NY

07/18/10 - Velocity - Watertown, NY

08/06/10 - Brooklyn Yard (with for Mucca Pazza) - Brooklyn, NY

Psychedelphia: "Your listening pleasure is our pleasure"

aldenPeople who are familiar with Psychedelphia know to not have any preconceived notions about a show. Anything and everything can happen on any given night. From the moment the Philly based quintet takes the stage, they entrance the crowd with funky, melodic grooves that hit new heights once everyone's improvisational skills are unleashed. Kenn Mogel's guitar acrobatics provide tasty leads over the diverse array of grooves held down by Alden Parker's funky Southern Fried rhythm guitar, John Olsen's innovative bass lines, and Adam Pasqueal's masterful beats. The finished product is a combination of tight grooves spliced with free flowing interplay that is always dancer-friendly.

While on stage, Psychedelphia exercises each song to its fullest potential, stretching some to twenty minutes or more, and often ending up in a place completely unforeseen. While many bands find it difficult to accurately capture their jamcentric tendencies in the Studio, Psychedelphia, in recording their In with the New EP, has effectively reigned in the length of solo sections to create highly-arranged and tightly-crafted versions of their live staples that retain every bit of the fun and danceability of their live counterparts. The final product is nothing less than a complete group effort, with each member bringing forth equal contribution to each composition. All of the writing is done with the full 4 members in mind, which allows for each member to draw from their diverse musical backgrounds to create a synthetic amalgamation of sounds. Each song is a veritable myriad of musical genres with seamless transitions into and out of each one.

Although many people would describe Psychedelphia as a jam band, it doesn't do the complexity of the music full justice to sum them up so concisely. The music of the jam band is centered around one aspect---improvisation. Psychedelphia certainly employs improvisation into their compositions, but they effectively transcend the jam band label while adhering to the philosophy of it. By incorporating elements of funk, fusion, electronica, dance, reggae, Latin, rock, and others, Psychedelphia can, at times, be labeled as any or all of those.

While they have only been together for about 6 months, Psychedelphia has wasted no time in making a name for themselves in the Philly area. Having played late night sets at many area parties and festivals, Psychedelphia always gets the crowd onto their feet and out on the dance floor. They are currently building a catalog of original material in anticipation of a nation-wide tour in the summer and fall of 2009.