Cornershop and the Double 'O' Groove Of. Is a 2011 studio album by the British band Cornershop. It follows their 2009 album Judy Sucks a Lemon for Breakfast. The album had been six years in the making 1 and is a collaboration album with Bubbley Kaur, a previously unrecorded Punjabi singer.

1. Cornershop Cornershop And The Double-o Groove Of Rare
2. Cornershop Cornershop And The Double-o Groove Of Rarity

I've only heard one Yuck song on a mix last year, but like it well enough. Will check out the full length soon. Re: the Pauses - the sound is more like the 'feel' of those bands i mentioned. I guess it sounds more like Mary Timony with some light backing from the Haden sisters, and then there's a nice Casio instead of a violin. Maybe that's all wrong too. Everyone's Invited: Sunday evenings, 7-9pm ET at www.westcottradio.org New and old mixes: Reviews of new electronic music: My Scooby Doo/Henry Rollins mash up: http://retintheran.blogspot.com.

I actually kinda like the new Strokes. But, that may be due at least in part to my having very low expectations for it and also never really seeing them as some king hell rock god kinda group anyway. So, I don't feel betrayed that they're all synthy and shit now. Yeah, they're all over the place here, but I think I will come to like this. I haven't turned it off.

There's a part in the middle album where it sounds like they're trying to re-soundtrack The Breakfast Club. I think it's kind of obvious when you read that Julian wasn't in the room for most of the sessions, and mailed in his vocals (pretty much literally). Contrast that with the first album where to catch their overall live sound, they recorded it all in one room.

The album cover pretty much looks like a still from The Poochie Video game, which makes me think this might have been put out to fulfill a contract. Throughout his life, from childhood until death, he was beset by severe swings of mood. His depressions frequently encouraged, and were exacerbated by, his various vices.

His character mixed a superficial Enlightenment sensibility for reason and taste with a genuine and somewhat Romantic love of the sublime and a propensity for occasionally puerile whimsy. I actually kinda like the new Strokes. But, that may be due at least in part to my having very low expectations for it and also never really seeing them as some king hell rock god kinda group anyway. So, I don't feel betrayed that they're all synthy and shit now. Yeah, they're all over the place here, but I think I will come to like this.

I haven't turned it off. There's a part in the middle album where it sounds like they're trying to re-soundtrack The Breakfast Club. I think it's kind of obvious when you read that Julian wasn't in the room for most of the sessions, and mailed in his vocals (pretty much literally).

Contrast that with the first album where to catch their overall live sound, they recorded it all in one room. The album cover pretty much looks like a still from The Poochie Video game, which makes me think this might have been put out to fulfill a contract. A lot of it didn't really grab me on first listen but I want to listen to it more. Under Cover of Darkness, Taken for a Fool, and Gratisfication are all worthy of the Strokes canon though.

I tried to find somebody of that sort that I could like that nobody else did - because everybody would adopt his group, and his group would be it; someone weird like Captain Beefheart. It's no different now - people trying to outdo! Each other in extremes. There are people who like X, and there are people who say X are wimps; they like Black Flag. Incredibly dope 2nd album from Faltydl.

When Falty DL released ‘Love Is A Liability’, his 2009 debut LP on Planet Mu, it was notionally tied to dubstep, despite not having that obvious a connection to the sound at the time. A combination of irregular but still funky drums, deep bass, and light musical surfaces, it stood out and was recognised for it’s distinctiveness - this was a native New Yorker interpreting his love of British dance music from a unique angle. After spending 2010 honing his craft, working on singles for several labels, and remixes for the likes of The XX, Mount Kimbie and Anthony Shakir, Falty DL, born Drew Lustman, pulls his skills and experience together for this stunning new LP. Falty DL’s soundworld has evolved in giant steps on ‘You Stand Uncertain’; from the very beginning the listener is plunged into his new focus on layered dusty atmospheres. Opener ‘Gospel Of Opal’ is also his first work with a vocalist, in this case Anneka. Although at times it’s anchored in the familiar basslines and rhythm science of UK dance, as heard in his previous material, on this album it’s clear that Drew has also been soaking up some of his native city’s musical past such as disco, house and hip hop. With this in mind the album moves at different tempos - the ghosts of dance music past are evoked but never allowed to take over, giving the whole album a decayed, dreamy abstraction that allows for comparisons with the current crop of ‘chillwave’ producers, were it not for the tight drums and basslines.

Check the way ‘The Pacifist’ passes between passages of melody and waves of synth over distorted breaks, or ‘Open Space’s use of slowed down rave euphoria and double speed 808 drums. The crisp 2-step of ‘Brazil’, the first of two songs featuring UK-based singer Lily MacKenzie, sweetens the atmosphere, followed by ‘Eight Eighteen Ten’, which builds watery melodies over chopped up breaks.

Cornershop Cornershop And The Double-o Groove Of Rare

Incredibly dope 2nd album from Faltydl. When Falty DL released ‘Love Is A Liability’, his 2009 debut LP on Planet Mu, it was notionally tied to dubstep, despite not having that obvious a connection to the sound at the time. A combination of irregular but still funky drums, deep bass, and light musical surfaces, it stood out and was recognised for it’s distinctiveness - this was a native New Yorker interpreting his love of British dance music from a unique angle. After spending 2010 honing his craft, working on singles for several labels, and remixes for the likes of The XX, Mount Kimbie and Anthony Shakir, Falty DL, born Drew Lustman, pulls his skills and experience together for this stunning new LP.

Falty DL’s soundworld has evolved in giant steps on ‘You Stand Uncertain’; from the very beginning the listener is plunged into his new focus on layered dusty atmospheres. Opener ‘Gospel Of Opal’ is also his first work with a vocalist, in this case Anneka. Although at times it’s anchored in the familiar basslines and rhythm science of UK dance, as heard in his previous material, on this album it’s clear that Drew has also been soaking up some of his native city’s musical past such as disco, house and hip hop. With this in mind the album moves at different tempos - the ghosts of dance music past are evoked but never allowed to take over, giving the whole album a decayed, dreamy abstraction that allows for comparisons with the current crop of ‘chillwave’ producers, were it not for the tight drums and basslines.

Check the way ‘The Pacifist’ passes between passages of melody and waves of synth over distorted breaks, or ‘Open Space’s use of slowed down rave euphoria and double speed 808 drums. The crisp 2-step of ‘Brazil’, the first of two songs featuring UK-based singer Lily MacKenzie, sweetens the atmosphere, followed by ‘Eight Eighteen Ten’, which builds watery melodies over chopped up breaks. On March 15, Yep Roc will reissue Nick Lowe’s landmark second solo album ‘Labour of Lust’ on CD, LP, and for the first time, digitally. Originally released in 1979, and out of print for nearly two decades, the album has been remastered to its original glory and now includes both the UK-only track “Endless Grey Ribbon” and the US-only track “American Squirm,” along with the bonus B-Side “Basing Street.” The reissue also comes with a 12-page booklet complete with artwork by revolutionary graphic artist Barney Bubbles, and essays by noted music journalist Will Birch and reissue producer (and former Lowe A&R man) Greg Geller. Hailed by Trouser Press as “a brilliant piss-taker that pairs sprightly pop and savage lyrical wit,” ‘Labour of Lust’ also contains Nick Lowe’s biggest hit to date, the album opener “Cruel To Be Kind.” The song climbed the charts on both sides of the Atlantic, reaching #12 in the US.

Cornershop Cornershop And The Double-o Groove Of Rarity

The Yep Roc reissue also upgrades the album’s original sleeve notes, properly crediting the special guests–Elvis Costello (vocals on “American Squirm”), Huey Lewis (harmonica on “Born Fighter”), Pete Thomas of The Attractions (drums on “American Squirm”), and Bob Andrews of The Rumour/Brinsley Schwarz (Oberheim synthesizer on “Endless Grey Ribbon”)–who performed alongside the other members of Lowe’s band Rockpile (guitarist/vocalist Dave Edmunds, guitarist Billy Bremner, and drummer Terry Williams). The ‘Labour of Lust’ release follows Yep Roc’s 2008 reissue of Nick Lowe’s first solo album ‘Jesus of Cool,’ which Pitchfork called “a timeless and bulls.t-free masterpiece” in a 9.3-rated review.