It is the emcees like Del who separate voice from style. In the mainstream, he should be recognized in the 2001 hit Gorillaz, “Clint Eastwood”, which still sounds fresh every time I hear it and should get air play. Or, if you’ve played the PS2 classic game Tony Hawk’s Pro Skater 3, Del’s Funky song, “If you have” stood out for the killer compilation.

I first heard the Del is a rap-opera concept album “Deltron 3030″, which got me to listen to someone when the disappointing (and short) Ludacris concert (yeah … we all started somewhere). This was the first time, when I heard hip-hop album of constructive lyrics. Her solo album did not disappoint, Lyrics (often playful), and the spaces that were really weird, and different than anything else I had heard. Ironically, as much as his music is set separately from other rap scene, I finally found out that her first album (1991), was helped along by his cousin and a pioneer of the scene, Ice Cube (that still intrigue me).

Del founded the Oakland collective, Hieroglyphics, whose range of talent is still a dynamic ago Jurassic 5 (LA’s indie-like collective). Featuring a unique and distinctive emcees, audio, lyrics, and the funkier win, I highly recommend all of these no CD collection of underground rap.

He is below the mainstream charts, he deserves (probably a good thing), missing the gold “does not require the Alarm” (before I knew hip-hop there), and complement the indie charts time and time again. But if you’ve seen all this, so now’s the time to pick up the pieces after 8 years the solo break, Del has produced 3 albums with 2 years. Win yet strange, maybe even more sophisticated and complex, and a similar tone in his stable and the expected sharp lyrics. Hopefully, hip-hop audience has finally caught enough to thoroughly indie hip-hop pioneer.

I think the title track will be the central point for most audiences love-and for good reason, it’s amazing, and some peach!-But the whole record is fantastic. Meanwhile, I also really Diggin ‘on “Sun Is King”, “Summer Is The Champion” and “Wide-eyed, legless. Veirs heading a European tour for most of January and February, but will follow that up with a U.S. tour. You can catch her and her backing band-Hall Of Flames-on March 13 with a tractor on Old Believers and Cataldo. July Flame is due on January 12 from his own label Veirs’ Raven Marching Band Records. Click on the link.

The Cave Singers opened for Calexico at the beginning of this year was the best show I saw in a long time. Even from the start of the opening act, the crowd had full and alive. Now talking about SEATTLE energized the crowd seated in the auditorium so that danced in the streets with total abandon … and all the folk music. My god, man!

A funny thing I learned about the Cave Singers is that they never intended to be folk group. They are heavily influenced by the fact that – in fact they are much more inclined to listen to the Pixies – did not grow up with him, although I decided to hit up to do. And do it well. Standing in the growing layer reflector shared likes more local “folk band”, such as foxes fleet, Dutchess and the Duke, Band of Horses (ex-locals), and the builders and the butchers (PDX). (You must be hearing much more about them soon)

I look forward to meeting with the Cave Singers headline their own show and really came into its own vibration. Their first album, Invitation Songs (Matador) easily in my top 10 in 2007, and rumor is that the issue of the album sometime in the near future, so this could be the degree of bunch of new songs.

We in Seattle Cacophony also heard a copy of this limited edition lithograph (pictured right), signed by both rivers and the artist who created the lithograph. Also win a copy of this artwork, please send an email here (info at seattlesubsonic dot com) with the Weezer LITHO topic. The winner is selected at random from Monday, December 1st.

Good luck Ryan and thanks for picking lithography over again Brendan & DGC Interscope Records

But how are the music lyrics, you ask? Well, I would be blathering on, it was not all good? Not likely. Shoots from this relentless sister city to the south, Portland, band is a trio of ladies dead, conjuring the spirit of your Awful subversive galloping grooves, neo-primitive drum roundhouses, banshee and friendly, trance-like vocal gymnastics. Throw in the always popular Melodica ( “body-blow”, if necessary), some well-placed cowbell, DIY aesthetic and all too familiar with PDX groundswell and got a spine tingling musical séance. It is as if the future ancestral ghosts, dub, he returned to try their hands on Afro-punk feminist.

Claudia Meza, who is terrible, horrible bass lines could easily score all the underground arthouse films themselves, spirals her macabre yelps in scintillating heights. Thus, the release of their final syllables in the ether is pure hypnosis. Lisa Schonberg, sit-down and percussionist Heather Treadway, stand-up percussionist, participation in and beat noise, which are ancient foundations, which sounds as much forward thinking as they do not know. They are inventive and thoughtful and exciting. This is music we raised from the underworld.

It’s hard not to feel for Alice in Chains — all the guys in the band were lifers, all except lead singer Layne Staley, who never managed to exorcise his demons, succumbing to drug addiction in 2002. Alice in Chains stopped being a going concern long before that, all due to Staley’s addictions, and it took guitarist Jerry Cantrell, bassist Mike Inez, and drummer Sean Kinney a long time to decide to regroup, finally hiring William DuVall as Staley’s replacement and delivering Black Gives Way to Blue a full 14 years after the band’s last album. To everybody’s credit, Black Gives Way to Blue sounds like it could have been delivered a year after Alice in Chains: it’s unconcerned with fashion; it’s true to their dark, churning gloom rock; and if you’re not paying attention too closely, it’s easy to mistake DuVall for his predecessor

This was the heaviest album to me again, because I just did not know where to start, it is one of many reasons that it is number one on the list. Now keep in mind that Dan Whitford is a master DJ has a tendency to aesthetics bands like Fleetwood Mac and ABBA, but also the New Order and Roxy Music, Pop, these emotions shine through Cut Copy’s sophomore album. Saved by Tim Goldsworthy (DFA, loving hand), and the implementation of the wonderful mix of vintage and modern synthesizers, real and sampled drums, and samples flourish, Cut Copy has shined light blue print of all the complex elements of pop music management. Taking their cues from a wide range of dance, disco, pop and punk, and synthesizing it all together so potent concoction to create a dance / pop sound of 1974, 1982, 1987, and especially 2008. And all the crap that went along with all of these years must be scraped off, and immediately thrown away, allowing for diamonds hidden beneath it all shine brightly. Now, I believe that there is a lot of talented bands out there who could commit to tape one who is doing all of this, but it’s not what Cut Copy does, they made the whole freakin album. With all of the songs in relation to one another, a detailed life of the party in doubt, and the Night of Triumph, all in one, short-teasing songs tie the album together, and bleed together beautifully to hit the ground to manipulate sound waves Bouncing Off thems

Now I have to say I can not be complacent, I still have some pent up aggression, I would like to listen to garage rock wear, the idea of using the noise of visceral reaction is pretty interesting, and in 2009, no one is better than No Age. Enough said, perhaps, but the start was buried under all the distortion, and bombast is a clear feeling of melodic sensitivity. All the noise, and that this duo does not have sufficient access to, this album is very acute sensitivity to the feelings, this band does not make you infallible forwards at a steady speed, but convey very different messages in the song the song. Until this album I was pretty sure that was just so many kinds of distorted noise that the guitar could attack me, because this disc, I have decided that a lease has been made twice as much as I knew before, and I estimate that, unfortunately, not yet.

You can witness all this Thursday night December 11, Showbox at the builders and the butchers play with Amanda Palmer and the Danger Ensemble. Which is the same, though different, interesting form of folk pop recalls that burned down version of the former pop hit rattling around the old radio, they’re all songs I’ve heard, but you never know their name, and you could never remember how they went, but man, you were stuck in head for days. This is the best way to describe music, but it does not address the videos or books that go together so nicely with the music. And it did not affect her work with the Dresden Dolls