Sunday, August 31, 2008
Monday, August 25, 2008
In its 21st year, this event has grown tremendously and is one of Memphis' most highly attended Festivals. This year over 80,000 guests will enjoy an appealing mix of art, music and crafts presented by over 370 artisans from around the country. This Festival is a true celebration of the arts, people, culture and Memphis heritage.
Scheduled Musical Performances for the Cooper Young FestivalMain Stage:
11:30:00 PM Lamplighter Junior Djembe Drum Troupe
12:15:00 PM U of M Jazz band
1:15:00 PM By All Means
2:15:00 PM Mouserocket
3:15:00 PM The Tennessee Tearjerkers
4:15:00 PM Snake Eyes
5:15:00 PM Eric Gales Band
Friday, August 08, 2008
Contact us if you're interested in coming via MySpace - www.myspace.com/mouserocket
What are the Ardent Sessions?
Past videos from Ardent Sessions
It's free and will last from 8 til around 10pm. BYOB. Come on!
Also - check out the review of the review for Mouserocket's new album "Pretty Loud" on Pitchfork.
[Tic Tac Totally; 2008]
In some ways, Memphis has never gotten over garage rock. Largely left to their own devices by an industry that had little use for the city after the 1970s, generations of local musicians have been rethinking, reformulating, and in some cases re-creating that 60s sound and attitude. Following the Grifters, Simple Ones, and Oblivians in the early 1990s, the members of MouseRocket have mined these influences for more than a decade in numerous outfits: Alicja Trout in Lost Sounds (with Jay Reatard), the River City Tan Lines, and Black Sunday; Robby Grant in Big Ass Truck and Vending Machine; and cellist Jonathan Kirkscey in, um, the Memphis Symphony Orchestra. In 2004, with rhythm section Hermant Gupta and Robert Barnett, they released a self-titled debut full of dirty guitars, distorted vocals, raunchy organs, and covers of Love and the Nightcrawlers.
Gloriously dark and weird, MouseRocket sounds like a one-off, but it wasn't. Four years later, the band has launched its follow-up, Pretty Loud, which they recorded locally over two years and are releasing exclusively on vinyl (the LP includes an afterthought CD, but it sounds significantly better on a turntable). It's a swifter- and cleaner-sounding record, less distracted by all the noisy interludes, spoken-word samples, and studio shenanigans that gave the debut its oddball flair. In a word, Pretty Loud sounds professional: a concerted effort by a real live band rather than just a bunch of friends screwing around in the studio. Both approaches have their merits, of course, and opener "All Been Broken" immediately lays out the virtues of this new attack. Beginning with Grant's low vocals over Kirkscey's elegant cello, the song crescendos into a heavy riff that sounds like the fossilized skeleton of a Dinosaur Jr song. MouseRocket have carefully arranged the song for maximum impact, ratcheting up the soft-loud dynamics until everything falls into place on the last chorus, which smacks you squarely in the jaw.
MouseRocket reshuffle the garage rock deck effectively, adding classic-rock guitars, punk vocals, new wave keys, prog drums, and Kirkscey's dexterous cello, which reinforces Grant and Trout's brazen riffs, bolsters Gupta's booming bass, and generally adds a distinctive texture to these songs. A curiously calm, nearly Byrdsian guitar theme opens "Never Stand a Chance", which builds over three minutes to an ear-splitting freak-out finale. Trout and Grant trade off vocals, each proving a commanding frontperson: He gives "All Been Broken" and "44 Times" a world weariness that contrasts nicely with the songs' frantic energy, and she alternates between sing-songy vocals on the country-pop "Set on You" and shouted attacks of the glam-metal "Shadows", whose abrupt, punchy chorus is one of the album's best moments.
The album flags toward the end. Following a buzzy cover of Steven Calhoun's "Fall Down South", "Steal" deconstructs itself aimlessly, barely holding together, and the start-stop momentum of "Aphrodite" is more stop than start. They're followed by an "electro" version of the MouseRocket closer "Missing Teeth", whose paranoid lyrics about fluoridated water are illustrated with muted beeps and clicks that cannot improve on the original. Sequenced together, they close a strong album weakly, which is especially a shame considering that most of Pretty Loud manages to put a distinctive stamp on familiar styles. Most bands never get around to doing that, but MouseRocket have done it twice already.
Link to article
Thursday, August 07, 2008
00:00 Thursdays with Rachelandthecity
01:00 Big Mistake - Tim Fite
04:26 Simple Heart - The Hereafter
09:40 Heart-Shaped Stone - Freddie Stevenson
12:35 The Backseat - Oh No! Oh My! (Live from the Hitone)
17:18 Interview with David Hurwitz of The Boy Bathing
33:24 The Beaches Meet the Sea - The Boy Bathing
36:55 A Fire - the Boy Bathing
42:50 Black Dirt - Sea Wolf
46:29 Better to Be - Liam Finn
50:14 When Will I See You Again - Vending Machine (Live from the Hitone)
54:24 Sing Along - The Silent Parade
Play it here: