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Nu utökas öppettiderna i butiken på Förrådsgatan 4 i Solna.
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Delicious Goldfish har även riktig skivbutik! Here´s the real shop:
Förrådsgatan 4, Solna.
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Nu är nya numret av ettnollett ute!
Förra numret blev en succé och den nya designen togs emot över förväntan.
Vi hade stora förhoppningar och de införlivades.
Nu kan du räkna med ett ännu häftigare nummer!
Den snart 25-åriga alternativa tidningen lever vidare!
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Nya ettnollett
Nästa nummer som släpps i slutet av 2007 kommer att se annorlunda ut - delvis till utseende och delvis till sitt innehåll.
Vi jobbar just nu på en "Re-design" av tidningen!
ettnollett nummer 50 blir också ett specialnummer.
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Nu rear vi ut en mängd vinylsinglar/ep. Alla kostar mellan 20:- till 25:-/st.
This is the vinyl sale list (7"/ep's)
All prices are from €2 to €2,50 each.
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CD 69:- - 129:-
CD'S FROM €7,50 TO €14
CD'S FROM $10 TO $18
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This is a limited offer from labels like Active Suspension, Acuarela, Annika, Astrodiscos, Bus Stop, Earworm, Elefant, Foehn, Matinee, Polyvinyl, Popkonst, Shelflife among others.
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Missa inte alla godbitar från skivbolaget LTM som till stora delar har plockat fram Factory-katalogen och en hel del annat med hög kvalité av brittiskt snitt från 80-talet.
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Gillar du pop? Då gillar du artisterna hos Elefant och Matinée.
VI har nu även jättesnygga T-shirts med CAMERA OBSCURA!!!
Fråga om storlekar + priser!
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Direkt från Quince Records m fl i Japan.
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Vi har snygga presentkort som du kan ge bort till en vän eller kanske önska till dej själv.
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Öppettider i butiken på Förrådsgatan 4 i Solna där du kan hämta dina beställda skivor och fynda bland allt begagnat.
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Senaste uppträdandena var med Heaviness och The Search.
Under 2007 kommer vi att satsa mer på live-lördagar och ha band flera gånger i månaden. Håll koll via mejl och hör av dig till oss om du är intresserad.
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ettnollett var som vanligt med på Emmabodafestivalen.
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ettnollett’s frukostpop - opretentiös succé i Emmaboda!
Celebert besök av Erlend Öye från Kings Of Convenience.
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Titel
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BRAKES
Touchdown
2009
For over 5 years Brakes have had to live with the tag of ‘indie supergroup’ given the backgrounds of their 4 members (Electric Soft Parade, British Sea Power, The Tenderfoot, The Pipettes to name but a few of an ever growing list), now it seems that they are ready to shake of this tag, and somewhat like the football team that represents their home town of Brighton, they are ready to stop being everyone’s 2nd favourite band. Their third album, and first on Brighton based Fat Cat records sees them leave behind the fiery country punk of debut release Give Blood and develop the craft of follow up The Beatific Visions. In fact this new batch of songs brings Brakes into the 80’s as they signal their intention to follow former Rough Trade label mates Arcade Fire and British Sea Power with a fuller, more epic sound. Hopefully the venues they are performed in will match the bands increased ambition.
Proceedings kick off with a reprieve from the previous album with Two Shocks. ‘It’s time to take stock what you’ve reaped my son’ gestures singer and lyricist Eamon Hamilton, partly self deprecating, but also maybe as a parting shot to George Bush, who has been the butt of some previous acidity from Hamilton’s razor sharp tongue. Marc Beattie’s metronomic bassline provides a stable back drop to an impressive start.
Don’t Take Me to Space (Man) has plenty to say for itself with all 4 members going for it alongside another tight Beattie bassline. This is also Hamilton’s first hint that the album is built on love rather than angst and dry wit.
The brothers White engage in some good old thrash on Red Rag before it settles down to something very similar to The Stranglers Curfew from the darker side of their 1979 album Black and White.
Brakes’ love of country puts in its first appearance on Worry About it Later, maybe with a sprinkling of Decemberists for good measure before we reach one of stand out tracks in Crush on You, which drives into town like an unstoppable steam locomotive gathering pace as it arrives, reminding us of the respect the band have for 80’s indie gods The Jesus and Mary Chain.
Eternal Return has us donning dungarees once again for another hoe down before the Boo Radleyesque Do You Feel the Same? as Hamilton checks his new found love isn’t unrequited.
Legend has it that Pavement and Pixies influenced American Charles Douglas (alter ego of novelist Alex McAulay) contacted the band during recording and asked them to cover one his songs. They agreed and chose Ancient Mysteries, which brings deeper vocals from Hamilton. Douglas will be pleased with the outcome, which respects his own influences perfectly. The intro to Oh! Forever could lead us directly into Roxy’s Only You before it gives way to another Reid brothers tribute, and another highlight of an increasingly enjoyable compendium.
First single release Hey Hey gives us a chance to the mercurial Tom White’s trademark buzz saw guitar, on a track that would have sat comfortably on the previous album, in the vein of Hold Me in the River.
The lyrically bruising Why Tell the Truth (When it’s Easier to Lie), which cleverly fuses bluegrass and alt-rock in a way that Hamilton faves Camper Van Beethoven have made their own on and off for over 20 years. Look out for this as a future single release.
The final listed track is a near 7 minute (yes, I did say minutes) epic in Leaving England, somewhat ironic in that Hamilton is originally from Canada, reminding us he found his true love across the pond. Stay listening for a bonus afterwards in First Dance, a song that our now incurable romantic wrote for his new wife as a wedding gift…Awwww!
So where does this leave Brakes in the grand scheme of things? To a wider, more sophisticated audience perhaps? This album brings the combined talents of the quartet together as more of a wall of sound. We still find enough Johnny Cash and Camper Van Beethoven, but the remainder has a more timeless feeling of warmth and romance, one based on the whole package rather than Hamilton’s wit and Tom White’s individual brilliance. Where Give Blood and The Beatific Visions slapped you around the face, Touchdown massages your inner sole and relaxes you into the cut and thrust of the modern age.
Make room at the top table, Brakes are ready to tuck into their just desserts.
Brakes - Touchdown For over 5 years Brakes have had to live with the tag of ‘indie supergroup’ given the backgrounds of their 4 members (Electric Soft Parade, British Sea Power, The Tenderfoot, The Pipettes to name but a few of an ever growing list), now it seems that they are ready to shake of this tag, and somewhat like the football team that represents their home town of Brighton, they are ready to stop being everyone’s 2nd favourite band. Their third album, and first on Brighton based Fat Cat records sees them leave behind the fiery country punk of debut release Give Blood and develop the craft of follow up The Beatific Visions. In fact this new batch of songs brings Brakes into the 80’s as they signal their intention to follow former Rough Trade label mates Arcade Fire and British Sea Power with a fuller, more epic sound. Hopefully the venues they are performed in will match the bands increased ambition.
Proceedings kick off with a reprieve from the previous album with Two Shocks. ‘It’s time to take stock what you’ve reaped my son’ gestures singer and lyricist Eamon Hamilton, partly self deprecating, but also maybe as a parting shot to George Bush, who has been the butt of some previous acidity from Hamilton’s razor sharp tongue. Marc Beattie’s metronomic bassline provides a stable back drop to an impressive start.
Don’t Take Me to Space (Man) has plenty to say for itself with all 4 members going for it alongside another tight Beattie bassline. This is also Hamilton’s first hint that the album is built on love rather than angst and dry wit.
The brothers White engage in some good old thrash on Red Rag before it settles down to something very similar to The Stranglers Curfew from the darker side of their 1979 album Black and White.
Brakes’ love of country puts in its first appearance on Worry About it Later, maybe with a sprinkling of Decemberists for good measure before we reach one of stand out tracks in Crush on You, which drives into town like an unstoppable steam locomotive gathering pace as it arrives, reminding us of the respect the band have for 80’s indie gods The Jesus and Mary Chain.
Eternal Return has us donning dungarees once again for another hoe down before the Boo Radleyesque Do You Feel the Same? as Hamilton checks his new found love isn’t unrequited.
Legend has it that Pavement and Pixies influenced American Charles Douglas (alter ego of novelist Alex McAulay) contacted the band during recording and asked them to cover one his songs. They agreed and chose Ancient Mysteries, which brings deeper vocals from Hamilton. Douglas will be pleased with the outcome, which respects his own influences perfectly. The intro to Oh! Forever could lead us directly into Roxy’s Only You before it gives way to another Reid brothers tribute, and another highlight of an increasingly enjoyable compendium.
First single release Hey Hey gives us a chance to the mercurial Tom White’s trademark buzz saw guitar, on a track that would have sat comfortably on the previous album, in the vein of Hold Me in the River.
The lyrically bruising Why Tell the Truth (When it’s Easier to Lie), which cleverly fuses bluegrass and alt-rock in a way that Hamilton faves Camper Van Beethoven have made their own on and off for over 20 years. Look out for this as a future single release.
The final listed track is a near 7 minute (yes, I did say minutes) epic in Leaving England, somewhat ironic in that Hamilton is originally from Canada, reminding us he found his true love across the pond. Stay listening for a bonus afterwards in First Dance, a song that our now incurable romantic wrote for his new wife as a wedding gift…Awwww!
So where does this leave Brakes in the grand scheme of things? To a wider, more sophisticated audience perhaps? This album brings the combined talents of the quartet together as more of a wall of sound. We still find enough Johnny Cash and Camper Van Beethoven, but the remainder has a more timeless feeling of warmth and romance, one based on the whole package rather than Hamilton’s wit and Tom White’s individual brilliance. Where Give Blood and The Beatific Visions slapped you around the face, Touchdown massages your inner sole and relaxes you into the cut and thrust of the modern age.
Make room at the top table, Brakes are ready to tuck into their just desserts.
(B/BE)
Pris: 169:-
Format: CD
Genre: Rock
Leveranstid: 1-2 veckor
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