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1. Sittin' At A Bar (Rehab Vocal Cover)

Sittin' At A Bar (Rehab Vocal Cover)

This is a list of Originals, Live Band covers and Vocal covers for digital audition purposes. Please enjoy.

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2. Bartender (Sittin' At a Bar) - Rehab [Cover]

Bartender (Sittin' At a Bar) - Rehab [Cover]

video: http://www.youtube.com/watch?v=g1pff041Yog facebook: http://www.facebook.com/ivaldez21 official page: http://listn.to/isaiahvaldez Manuel and I covering an amazing song. If you like our cover, please watch the video, comment, subscribe, etc., and like our facebook page :)

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3. Rehab's "Sittin' At A Bar" Cover

Rehab's

Sit back and listen to a tale of a rage induced alcoholic who couldn't make it to the bottom of his last bottle after his fight for the last thing he had.

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4. Sittin At A Bar - Rehab Vocal Cover

  • Published: 2012-04-16T19:57:44Z
  • By Rob Utter
Sittin At A Bar - Rehab Vocal Cover

Hope you enjoy please add me on here and give me some comments on all my covers thanks

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6. Bartender (Sittin' at a Bar) (Cover) (feat. Milo Pfeffer & Cory Dunn) (Prod. by Tyler Teagle)

Bartender (Sittin' at a Bar) (Cover) (feat. Milo Pfeffer & Cory Dunn) (Prod. by Tyler Teagle)

Music from the 2014 production of "The Aliens" by Annie Baker at Florida State University. Starring Milo Pfeffer, Michael Hogan & Peter Lynch. Directed by Cory Dunn.

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7. Bartender (sittin' at a bar)cover( test)

Bartender (sittin' at a bar)cover( test)

Decided to try some new tricks on here looking for a good death.

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9. Sittin At A Bar Crew Cover Garage Dayz

Sittin At A Bar Crew Cover Garage Dayz

Good Memories, Good Times, Always. Put this on at your next party. Free Download. Bartender Song - Sittin at a Bar - by Rehab - Cover Party Remix

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11. Fire Fire | Steam Powered Giraffe (Covered by Doodrun)

  • Published: 2016-08-07T01:37:13Z
  • By doodrun
Fire Fire | Steam Powered Giraffe (Covered by Doodrun)

I'm gonna admit, I'm not known for my singing XD My friend recently got me into Steam Powered Giraffe, a robot-themed steampunk-ish band, and I wanted to try my hand at covering one of their songs that was more on my pitch range (I really wanted to cover Honeybee or Brass Goggles >< This one just worked better for me). I cut it shorter than the song's actual length, partly out of respect for the band (go buy their songs or watch them on YT with ads enabled so they get dat cash, breh), and partly because I'd rather not make people go deaf after 4 minutes of my "singing" >.> I'm a much better editor than I am a singer, but I had fun doing this and learned a little bit in the process ^^ I hope somebody enjoys this! LEGAL DISCLAIMER | The song, and its lyrics, are written and (probably) owned by David Michael Bennett of the band Steam Powered Giraffe. I am not affiliated with David or SPG in any way, nor do I know the members personally from drunken nights at a bar somewhere in southern California. Nor am I making money from this cover. I am simply a fan who wanted to do this for fun. Bleh.

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12. Caitlyn Jenner goes nude! Plus elderly STDs, Meghan Trainor, & Kylie Jenner raps – D.A. Episode 151

Caitlyn Jenner goes nude! Plus elderly STDs, Meghan Trainor, & Kylie Jenner raps – D.A. Episode 151

Caitlyn Jenner just can’t seem to stop making headlines. I thank her for this, because it allows me to use her as an SEO search term so I can capitalize on organic search traffic. However, the reasons she is always in the news are getting ever more troubling. First she was becoming a woman, which was fine. A very manly looking woman, but hey we’ve all made a mistake after the bar in the dark, right? Then she got her own TV show, further growing the Kardashian Empire of banality and narcissism. This was a bit troubling, but not unexpected. Now she’s going nude for Sports Illustrated. Seeing an elderly woman with man hands and legs looking like a non-magical Melisandre on the cover of Sports Illustrated is going to cause a measurable revenue increase for therapists. It was probably therapists that convinced Caitlyn Jenner to transition to a woman in the first place. They knew what they were doing. Things don’t stop getting weird there when it comes to the elderly. New research shows that STDs are skyrocketing in the geriatric community, likely in part because of Viagra, Cialis and poor eyesight. Glaucoma perhaps. Granny porn has always had a healthy representation on major porn sites, but a less than healthy representation in their doctor’s offices. Apparently with a pill and a little lubrication, STDs don’t have to be exclusive to the young white trash community anymore. Newly infamous Devil’s Advocates character Sugar Granny has some thoughts on the matter. They say youth is wasted on the young. Here in America we don’t rest on our laurels; we push boundaries. Old age can now be wasted on the old. Meghan Trainor achieved massive fame with a catchy little ditty called All About That Bass. It was about fat girls still being lovable, as if we didn’t understand what alcohol and closing time desperation can do to us. We’ve all loved fat girls, whether we remember it or not. Anyway, Meghan went on to have many more hit songs, all of them toe-tappers. One theme does run through them that is concerning, however, and that is her appropriation of black dialect and rampant narcissism. Suggesting that boys should never argue with her, or even approach her, seems like a poor message to send out, but I guess I can’t get too upset when the alternative is Kylie Jenner debuting her rap skills to a beat that sounds like the pre-programmed songs that come on Casio keyboards. When it comes to female singers, we just can’t win. Seriously, Meghan Trainor literally says so. Don’t worry Meghan, you’re actually quite talented, but men will walk past you every time for a chance with Kylie Jenner. You don’t want us to approach you at a bar? You got it.

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13. Mindful Cyborgs - Episode 3 - The noisiest of our preoccupations

Mindful Cyborgs - Episode 3 - The noisiest of our preoccupations

Show Notes: http://www.servicesphere.com/mindful-cyborgs-podcast/2013/5/26/mindful-cyborgs-episode-3-the-noisiest-of-our-preoccupations.html GUEST: Nathan Jurgenson -Nathan Jurgenson (@nathanjurgenson https://twitter.com/nathanjurgenson ) is a social media theorist, Contributing Editor of The New Inquiry, and a sociology graduate student at the University of Maryland. SHOW NOTES: INTERVIEW: Theorizing the Web Conference Cyborgology "Time away from your machine is offline?" "Do we put people down for beinging connected with technology" "Do you have documentatry vision?" "you see the present as always this potential future past" "Don't congratulate yourself not taking your phone out of your pocket" "Creating a medical condition out of medical condition?" "We create the addiction to create "Normal...social ranking via digital useage" TOP STORIES: Quantified Self Conference Amsterdam Wrap Up http://quantifiedself.com/2013/05/the-2013-quantified-self-europe-conference-roundup/ WORD OF THE WEEK: Pathologizing -Regard or treat (someone or something) as psychologically abnormal or unhealthy. EVENTS: BDigital Global Congress, June 12-14, 2013 Barcelona http://www.bdigitalglobalcongress.com/ (Big Data) Cyborg Camp May 11, 2013 Vancouver - http://bc.cyborgcamp.com/ (Cyborg) Gf2045 June 15-16 NYC http://gf2045.com/about/ (Futurism) Buddhist geeks August 16-19 Boulderhttp://www.buddhistgeeks.com/conference/ (Mindfulness) HOW TRANSCRIPTION: Mindful Cyborgs - Contemplative living in the age of quantification, augmentation and acceleration, with your hosts Chris Dancy and Klint Finley. CD: Welcome to Mindful Cyborgs. Hey, it’s Chris Dancy and we're back with Episode 3 - I can’t believe it’s 3 already. How are you doing, Klint? KF: I’m doing well. CD: Klint, as I’ve shared with you last year – or actually it was this year, time moves really weird for me -- I went to this conference in New York City called Theorizing the Web. It was like one of the most amazing things I’ve ever experienced. Overwhelming, emotional, weirdly connected. Made me think way too much and messed with me for months afterwards. I stood up and recovered. At that conference I met Nathan Jurgenson who is a social media theorist as well as being an editor over at the New Inquiry, which I proudly pay for every month, and a sociology graduate student from University of Maryland. And we are lucky enough to be joined with Nathan today. Hello, Nathan. NJ: How’s it going? CD: We are so excited to have you on. I think we’re both big fans. NJ: Oh cool, cool. Happy to be chatting with you. CD: So, Klint, you’ve read some of Nathan’s work. I have read some of Nathan’s work. Nathan, could you just kind of give us a real quick overview of who you are, what you’re writing about and what types of things you find interesting? NJ: Sure. Like you said, I’m a graduate student in sociology at the University of Maryland and a contributing editor to the New Inquiry which is one of my favorite things. I’m really proud to be a part of that. And together with P J Ray who’s another graduate student in sociology we founded the Theorizing The Web Conference – which is a lot of fun, really cool to meet you there – as well as the Cyborgology blog. And the blog’s name I think says a little bit about the work that I do, Cyborgology. The cyborg reference there is Donna Haraway’s conception of the cyborg which is really beginning thinking about humanity as always enmeshed with technology, and that’s not just since computers but since always. And that’s really where all my work comes from: at this intersection of technology and society. I think for a long time we’ve conceptualized technology and society and “the online” and “the offline” as largely separate. And I’ve always begun all my work from the perspective that they are enmeshed and trying to maybe blur some of these lines that we’ve typically drawn. CD: You talk about this “IRL Fetish” or “in real life fetish.” Can you explain that to me and to the listeners a little bit? NJ: Yeah, so, I was sort of noticing how people describe disconnection and logging off in this way that I thought wasn’t just appreciating being away from your computer. And I appreciate being away from my computer, I wrote the essay largely outdoors. I like that. But people are more than appreciating being disconnected and offline, but rather fetishizing it. What I mean by fetishizing it is making two mistakes. First, thinking about the time that we spent away from our screens is really offline. And second, using this appreciation for being disconnected as a way of putting other people down. And so that’s what I really described in the essay is that this time that we spent offline - and I reference Sherry Turkle who wrote in New York Times of that talking about how we should take walks on Cape Cod like her and appreciate being offline – how those experiences offline are still very much influenced by the internet. For instance the walk on Cape Cod was experienced as “not Facebook,” and that became fodder for her op ed. For us maybe it would be fodder for our social media profiles. And then the second part of that mistake is putting people down for being connected with technology. Often times we talk about the digital as virtual or less than real and I think when we say IRL to mean “not Facebook” or “not the internet” and I think that’s fundamentally wrong. If we say that, then IRL stands for In Real Life. Well, Facebook is real life. The internet is real. Digital connection is real. So, we’re making two mistakes. One, thinking that the virtual, the internet isn’t real, and second thinking that our offline experiences are totally real and not virtual at all. And they are virtual, they are influenced by the internet. So again it’s beginning from this idea of the enmeshment of the online and offline rather than the separation. KF: I find that really interesting because I’ve been really guilty of being and IRL Fetishist over the past few years. It’s forced me to reconsider what I’m actually trying to get out of a disconnected state. I’m curious when you started to formulate this idea and how did you arrive at this? NJ: I was reading Michel Foucault’s History of Sexuality Volume 1 and he described how sexuality, the story that we typically tell about sexuality is that it used to be very repressed and now we talk about it and we’re breaking taboos and being subversive and uncovering the mystery of sexuality. And Foucault thought that was very silly, that in the age of restriction and taboos of sexuality we’re oppressed with it. We talked about it all the time. Foucault thought it was very interesting that we were pretending like there was the silence around what he called the noisiest of our preoccupations. And I felt that there was a parallel there between that and how we talk about reality and disconnection. We talk about it as if it’s going away, that people aren’t talking face to face anymore, that people don’t appreciate the tactile and the tangible and the material in this age of digital connection. That’s the story that we’re telling and I think it’s fundamentally false. We’re actually meeting face to face even more. There’s plenty of research out here that’s showing that people who use social media more, spend more time offline meeting face to face. They spend more time in political protest. They go out and vote more. They join clubs more and, in fact, not only are we not losing face to face conversation and doing things offline, not only are we doing that more than ever before or at least in recent history, we’re also obsessed with it. People just go on and on. Every week there’s a new op ed about somebody congratulating themselves for spending a day without their phone and it’s getting really, really ridiculous and people are really patting themselves on the back for doing what people are already doing all the time. And so I really thought this whole disconnection, digital Sabbath, all this offline stuff, all these debates were sort of disingenuous. They were sort of starting from the wrong position that didn’t match up with what we know from research. So that’s IRL Fetish. That essay was a way of for me, I think, just sort of resetting the entire debate. That’s what I hoped it would do and I’m kind of excited by how well that essay did. CD: It was amazing because I had so many people that I shared with who just totally wanted to crucify you, I mean they were just like, “Who is this digital antichrist that’s writing this?” and I’m like “For God’s sake calm down. He’s just a writer. It’s his opinion.” But it reminds me a lot of the 90s when I was, y'know, I’d meet people who would brag to me about how they don’t have television, they don’t watch television and these are people my age who even though they grew up in an age of television they’d evolved out of it and it wasn’t really important to them. Or my grandfather who in the 70s would say to me as a child, “You’re watching the boob tube.” It’s almost like a digital classism that I see. But I loved it. I want to thank you for writing it. Klint? KF: I was actually going to bring up TV. I think we forget how much time people used to spend watching it. Or often still do, but they’re watching TV and they’re on social media at the same time, so there’s more of a social connection happening rather than just sitting at home watching television alone. NJ: I think The Atlantic they have that cover story “Is Facebook Making Us Lonely?” Which I hate to say was a very, very poorly done article that sort of cherry picked research. Some of this is an empirical question. You can look at social media users and look at what they are doing, who they meet, how big their social circles are, how typically involved they are and the research is really pointing in the one direction that social media isn’t displacing what we do offline. That whole displacement, that whole zero sum idea of the online and offline – more online means less offline and vice versa -- that’s what I call digital dualism. That zero sum displacement idea. And that’s really not what’s going on. The online and offline are sitting right on top of each other. They’re enmeshed and it makes complete sense that it’s a more and more situation. People who are spending more time online are also spending more time offline because they are two separate worlds. That’s entirely possible. So I think it’s really important to ask that question about social isolation and loneliness in our modern society, and certainly the suburbs and car culture and television led to that. And suddenly we have this new blip, very recently people are a little bit less isolated, especially young people. And it was really a shame to see Facebook or social media being singled out as a part of this modern loneliness when really it’s one of the few things that we have that’s going in the other direction away from social isolation. KF: What about blended states? When you are in a group of people and everyone has out their phone texting or adding things to Facebook, communicating with people who are somewhere else rather than with each other? CD: Klint that was exactly... You and I need to get out of each other’s heads. So at Nathan’s conference someone said, and I’m going to paraphrase it very poorly, and if it was Nathan who said it Nathan’s going to come after to me with a crowbar... But someone said we spend a majority of our time reconstructing the present within the digital space. So just like you’re saying people together taking photos and saying what they’re doing, why they’re standing in front of each other. So, Nathan, do you know what I’m talking about? NJ: Yes, this is one of the things I’ve written quite a bit about. What I call “documentary vision” or “the Facebook eye,” which I’m making reference to the camera eye. If you’ve ever taken a lot of photos . . . are either of you photographers by chance? CD: Just an iPhone photographer. KF: I actually really try not to ever take photos. NJ: Oh okay, so this might even be more relevant for you. So, if you’ve taken a lot of photos, if you’re a photographer and you spend a lot of time with the camera in your hand or up your eye. You develop the thing that is called the “camera eye,” that is even when the camera is not at your eye you start to see the world through the logic of the camera mechanism. You see the world as a potential photo with a framing, lighting, the depth of field and so forth. And that’s called the camera eye and I think social media, especially Facebook, has given us the sort of documentary vision or the Facebook eye where you see the world as a potential Facebook post or tweet or Instagram photo. That is you see the present as always this potential future past, this sort of nostalgic view of the present. I don’t think it takes us out of the moment. Some people say that, that you’re not experiencing life in the moment because you’re worried about posting it on Facebook. I think that’s just a different experience of the moment. But it’s worth debating whether that’s a better experience or worse experience. And to the first question that was asked, it’s also very much worth debating what is the good manners for having your phone on public. If you’re sitting at a bar with three other people around the table and all three of them are looking at their phones, I don’t blame technology in that situation. I would say that you need to find some new friends. Those people are being assholes with their phones and we should work and not do that. But at the same time let’s not congratulate ourselves for never taking out our phone even once. If you need to send a text every once in a while, send your text every once in a while. If you’re not paying attention to the people you’re with then you probably don’t like them very much or they don’t like you very much for doing that. And I think we can do this, work through these manners without patting ourselves on the back for keeping our phones in our pockets, but also not keeping your phone out and ignoring other people. That’s just acting like a jerk. I hope we need to theorize that much more deeply than that. That’s just being a jerk. Stop doing it. CD: I love that. It’s funny because I was on Bloomberg Television about a month ago and the producer’s name’s Cory. He’s at Cory TV Online. I never met someone who was a television person. And literally he walked around during our interview, he’d interview, interview, interview and then stop and he’d like come back to “real life.” Sorry, I don’t want to get crazy. And then he’d start literally talking to me and the producers and the camera people as if he was in that third eye you’re talking about except he lived in that third eye. He lived as if he was always setting up scenes even when he wasn’t. It blew my mind. NJ: Well, I sort of think we are all always doing that. It’s just more explicit. What social media is really doing is performing and documenting. And all these things that we do in social media is really making explicit what we’ve already done. We are always performing with a costume we call our clothes and with a script of the sort of things that we all learn to say and do. And so it’s just a little bit maybe more obvious in that situation, but to me it’s a great metaphor for what we always do all the time. CD: Klint, I don’t know about you but I literally want to just rent an apartment next to Nathan and listen and eavesdropping and talking all day long. NJ: Probably not. You probably don’t want to do that. laughs KF: Going back to the etiquette of using a phone I think in a lot of cases we know it’s rude but we feel compelled, possibly out of doing an obligation to be connected to things that are online – at least those of us who have time sensitive work to be concerned that something important is coming in on the phone – or just a broader addiction to getting this information off the phone. Or at least it feels like addiction. And that’s what I was wondering about is do you think that there’s anything to this notion of addiction to information, or addiction to this sort of digital connection? NJ: Yes, I’m very, very against the addiction, sort of pathologizing framework of talking about this for few different reasons. The first thing that pops into my head is some people really are tethered to their phones because of work obligation, and then what we do is we put down the person, the individual, for what is really a social and structural problem that is that workers are increasingly being asked to be on the clock or near their phone 24 hours a day. That people are being on call or working longer and longer hours for less and less pay and it’s causing people to be at their Blackberry, or whatever, their phone all the time. And then that stinks and I think that’s something that we need to work through, if that’s even legal, what are the workers’ rights in the situation. It’s a social problem and I really don’t like the rhetoric of them blaming the individual and talking about that as a kind of an addiction. And the other reason why I don’t like addiction is precisely that kind of pathologizing, creating almost a medical condition out of digital connection. And what I typically think when we create these new pathologies, these new problems or illnesses that people have is we often create that illness to simultaneously create what is normal. We talk about addiction to then be able to frame our own non-use as healthy and normal and they create this divide between healthy and non-healthy, which is really a way of doing some sort of social ranking, being able to put myself above the other person because I’m a healthy normal person. They’re abnormal or unhealthy in some way and probably need to seek some kind of a treatment or something like that. So the addiction framework or almost the medical kind of framework for this I think glosses over the social problems and the social injustices of workers being asked to get out their phones and be connected all the time. CD: That’s what I took out in real life piece. The one thing I took when people asked me was once I read it I realized that I knew people who literally justified or made . . . they found validity in the relationships they were running from by creating an alternate universe that they called online. And it reminded me of when I started my first corporate job in the early 90s and they were pushing down my throat that I need a work/life balance. And there is no work/life balance. There’s life. And I didn’t need justification of having a job to prove that I had a family. I loved it, loved it, loved it, loved it. We’re going to jump into some real quick news. I’ve only got two tweets and two headlines, or two news items. Nathan, do you want to stick around for another 5 minutes? NJ: Sure. CD: So, Klint, as you know the Quantified Self European Conference happened. Two really interesting things I read and I’ll put a link and in the shownotes out to a bunch of wrap up blogs. One, massive health home implications. But one was At Home Rapid Strap, At Home Urinanlysis. And then which I thought again saving . . . it’s one thing to go to WebMD or fact check your doctor when he leaves the room. It’s another thing just to do the testing yourself at home, and those are things I didn’t know that you could actually get at this point. But then there’s this thing called Beddit which is basically a device that supports tracking your sleep but it purports to be so sensitive that it can capture individual heartbeats and breath. And I just thought, wow, are we there at the point where the bed is now more alive than our partner in the bed with us? What do you think of these devices that are just coming out of the woodwork and these sensors that’s just . . . what do you think? NJ: I’m no expert in the quantified self movement. I read Whitney Erin Boesel’s piece in Cyborgology. It was really, really good on gender and quantified self and it certainly doesn’t surprise me. What I know about the quantified self movement, doesn’t surprise me that the bed would be part of self quantification. It’s part of the self so why wouldn’t it be quantified under that rhetoric. Personally, my first thought usually with the QS people is I think the most interesting part of quantified self probably isn’t the movement that calls themselves quantified self. I think I’m interested in lower case QS rather than uppercase. I think for instance keeping track of how many likes our photos get would be an example of quantified self that is far more prevalent and probably diffused through society. I think those are things I’m most interested in. But as far as these devices or things like that I’m no expert in those. KF: I sort of like the idea of the bed insofar as just to make the sensors and tracking devices more invisible. Rather than wearing some sort of weird strap into bed the bed itself just keeps track of your movements and your heartbeat and so forth so that we can have less and less of external devices that we have to carry around and configure and just have all of that stuff disappear into the background. CD: And then you go to the opposite direction with things like Google Glass and all the devices that we do wear very externally. I was just at a conference in Vancouver. They asked me my opinion on this and I said to me it reminds me of homosexuals who came out of the closet in the 70s and 80s, me being one of them, and the type of flamboyant clothing we would wear. And it just seems like we’re in this kind of revolution where we have to prove just how techsy we are almost with a digital hanky code by wearing certain types of devices to show people yes, I’m identified as this person which hopefully will migrate through that period of time. I don’t know. NJ: Yes, I mean that’s what Eric Schmidt was getting at when he was talking about how using a smartphone is emasculating and you need to have this Google Glass that is somehow more masculine or something like that. It was really, I thought, offensive. And I think the correct reading of that was that the smartphone, now, everybody has a smartphone. How can you look like you’re a rich, powerful man if you have this thing that everybody has? Well, there’s Google Glass now and again reinforces how what a cellphone used to do. When people see you wearing the Google Glass will say oh, well, you’re an important rich, powerful man. It’s really I think sad in sort of an offensive way to market that product. They’ve done a terrible job marketing Google Glass I think. CD: Yes, we featured your tweets on the subject on the show. Two tweets a week, one of them of course is from Nathan Jurgenson, our favorite topic so far. But the other tweet was from Cyborg Camp and that was “While designing the future. We don’t want to disturb normalcy too much and the concept was MAYA (Most Advanced Yet Acceptable).” And the person who actually was talking about this came up with the concept of minimal viable person. So, if you take a smiley face, just a hand drawn smiley face in one end and you take a realistic cartoon on the other. There is this uncanny value of people want imprint more themselves on products that are not fully drawn lifelike things. They actually want something as he called minimal viable person. Do you have any thoughts or concepts around his theory that people want technology to be less like them so they can imprint themselves on it? NJ: No, I hadn’t thought about it. You put me on the spot there a little bit. Yes, it’s super interesting. CD: Klint, with all the tech and all the companies you meet, I mean has anyone the concept of minimal viable person when designing services applications or devices? KF: No, I’ve never come across that idea. CD: So, we’ll wrap up with a Nathan Jurgenson tweet which was sometimes you read Twitter and you like look at something and then you’re like you re-tweet it instantly but then you look at for like 30 seconds which seems like 7 years because you really want to soak it in before you share it with anyone else. Nathan tweeted “I think social media’s over stimulation largely occurs when we’re away from the screen.” KF: Yes, Nathan, what do you mean by that? Because I read that and wasn’t really sure. CD: I think I know what he means by it. That’s why I loved it but I was just like . . . NJ: You tell me what you think I meant by it. CD: Because when I’m away from the screen I cannot wait to go back to Oz. When I’m in Oz, I’m just there. There's munchkins running around. It’s normal. It’s just it feels natural. It’s a complete weird reverse fetishism. I’m hyper stimulated when I’m away from these things. They enriched my physical life even though that would be a fetish. NJ: Yes, I think that’s in the spirit of what I meant. I think I’m most interested in . . . I think the way that social media, or say Facebook specifically, the way that most impacts us, most influences us is how we sort of downloaded the logic of these sites into our heads, how we carry them with us. I think Facebook’s biggest influence happens when we’re away from the screen. How Facebook has influenced ourselves and our identity and as I was talking about earlier even the way that we perceive the world, for instance, as the potential Facebook photo, as a potential status update. When we’re away from the screen that stuff all happens when we’re not even logged into Facebook. And so one time I was on a subway. I think it was like 3:00 in the morning and there was these young very drunk people behind me and one of the girls said, she said “real life is the place where you take photos for Facebook.” And I was just thinking she’s the smartest person I’d ever heard on a train and she was articulating exactly that point that Facebook’s influence isn’t just what happens when you’re logged in and sitting in front of the screen. Instead social media’s stimulation or overstimulation is what happens when we’re away from the screen partly because we don’t even know it. CD: Boom! Boom! Nathan, thank you so much for being on this show. It really means a lot to me personally. I’m such a huge fan. Is there any place people can see you speak? I’m going to tell people how they can find you online and stuff. Are you’re going to be at any events or any place where people can catch up with you... “in real life?” NJ: I’m going to be speaking at a conference in Milan a week from today. And boy, I don’t know if I have any. Conference season just sort of ended. I don’t think I have another one till the American Sociological Association annual meetings in New York City in August. But if you go to follow my Twitter or whatever you’ll be able to keep up with where I’m at or if you want me to speak somewhere let me know that might be the easier way. CD: Yes, and we’ve got people who do that sort of thing. So, you can follow Nathan. He is @NathanJurgenson. I’ll put in the show notes. You can Google him. He comes right up. You can read his stuff over at New Republic and Cyborgology. NJ: The New Inquiry. CD: New Inquiry. I always say that. I don’t know why I say New Republic. I need to figure out what the psychological kink is for me there. Klint, you’ve got some things coming up, don’t you, events? KF: Well, just the Digital Global Congress in Barcelona. It’s from June 12th to 14th. I’m speaking the first day of June 12th about quantified work. CD: And we’ve got two other events. We’ve got Global Feature 2045 which is that Russian billionaire renting out the Lincoln Center and turning us all into avatars June 15th and 16th in New York City. And of course we’ve got Buddhist Geeks August 16th and 19th in Boulder, Colorado. Well, thanks so much Klint and Nathan. It’s been a real pleasure. We will see everybody back here in 2 weeks from Mindful Cyborgs. I like to think our producer Ross Nelson from Brown Hound Media and the creator of the Mindful Cyborgs art, Aaron Jasinski. Thanks so much. NJ: Thanks for having me on, Chris, and, Klint. Good to meet you. KF: You too. Thanks. Bye. NJ: Bye.

nothing at of , which is


14. Corsica Garden

Corsica Garden

Corsica Garden Released on Evil Hoodoo Records 01.09.2014 Bass – Coline Presley Drums - Baldo Guitar/Organ/Piano/Vox – Nick Wheeldon Lead Guitar – Valentin Buchens Produced by Nick Wheeldon Mastered by Matthew Johnson at Suburban Home Studio Recorded 16th/17th July 2013 at Corsica Garden Backing Vocals on Wild by Eléonore Gabriel & Stephane Piquemal Backing Vocals on It Scares Me by Eléonore Gabriel Thanks to Thom Bettney & Evil Hoodoo Records, Alex Studer & Stolen Body Records, Guillaume Meynard, Flat Ed, Frankystein at Radio Lux, Eléonore Gabriel, Stéphane Piquemal, Angélique Dailcroix, Antonin Heck, Nina Airtz, Chris & Tom at Liverpool International Festival Of Psychedelia, Fuzz Tonic Tom & Julia Seeman, Nikko Pandemic, Célia Morgendorffer, Los Tentakills, Nathan Ford at The Active Listener, Mr Avatist at Sunrise Ocean Bender, Thee Marvin Gayes, Manuel Gomez and all at El Diablo, L’Imposture, Laura Burn-Acaster, The Bell Jar, Nathan Clark & Jonny Strangeways at Brudenell Social Club, Lau & Elsa, Mitou, Jaco, Acacio & Rachel, Topper Harley at La Mécanique Ondulatoire, All at La Taverne Des Gaulois, Nico at SDZ Records, Karen Kurowski, Plantains, Heaters, Black Fruit, The Hinds Feet, All at Basement Studios, Jean-Jacques Favel, Randy Shone, Chris Baxter, Margaux Deleprouve & la maison Le Clech. Review from Loud & Quiet Os Noctàmbulos, while distinctly in the camp of ‘retro’, manage to cast a wider net than most. The smooth rounded production nods as frequently to fifties RnR licks as it does the more honed, pristine sound of ‘golden age’ Bristish & American rock, whilst also taking in country tinged flavours of groups such as Big Star and the Flying Burrito Brothers. A gentle undercurrent of psych carries the records pace, ebbing and flowing, weaving between the hypnotic and the upbeat garage surf propulsions. Whilst there are plenty of explosive moments, the record feels less focused on scrappy ramshackle ruggedness and more focused on controlled, well crafted and masterfully recorded songs, allowing the Them-era Van Maorrison vocal growls to tear through and elevate above the music. Craggy DIY production methods favoured by many similar groups are ditched in favour of making a record that sounds like it came from a timewhen large scale recording budgets were still a commonality, creating a record that feels effervescent and gutsy yet considered and poised. 8/10 By Daniel Dylan Wray Review from Styrofoam Drone OS NOCTÀMBULOS released their debut album, Corsica Garden, Septemeber 1, 2014. The promising Franco-British newcomers boast a distinctly 60’s style that combines garage rock, surf, psychadelia and shades of country. Corsica Garden is available on limited edition vinyl from Evil Hoodoo Records in Sheffield. Os Noctàmbulos is a Portuguese/Spanish name meaning “The Night Owls” or “The Nightwalkers”. The name is derived from the James Ellroy neo-noir novel, “L.A. Confidential”, which features a bar called The Night Owl. Os Noctàmbulos is an extension of Nick Wheeldon’s (guitar/organ/vox) solo project, also influenced by Ellroy. Corsica Garden is surprisingly complimentary to the dark subject matter and notorious staccato sentence style of Ellroy. Corsica Garden’s sound is based in the primitive beginnings of psychedelic garage rock, heavily influenced by surf rock and early rock n’ roll as evidenced by the rapid staccato picking technique and appealing pop melodies. It’s a difficult movement to replicate; these proto-psych artists were innovators still developing and experimenting with their newfound craft. At times the blossoming genre came off somewhat hodgepodge and chaotic but the vigor exhibited added to the appeal of the emerging sound. Corsica Garden has refined their predecessor’s wide-ranging influences into easily digestible Freakbeat bangers. The lo-fi recording style keeps the release in the realm of “rare psychedelic nugget” instead of coming off as an overproduced imitation pyrite. Standouts from the debut release include “It Scares Me”, “Forget Everything” and “On The Run”. However, Corsica Garden is stacked with soon-to-be favorites of for fans of psychedelic garage rock. By G Chivalry styrofoamdrone.com/2014/09/10/os-noctambulos-corsica-garden-lp/#more-23631 Review from Caustic Whimsy Some things in life are so good they hurt to consider. Is it safe to believe in magic? If I'm being completely honest, the idea of a modern Franco/Anglo band sounding as if they came from mid-late '60s garage/surf/psych pop era isn't quite impossible to fathom. Plenty of bands try for this sound, but when one seems to nail it so precisely, it seems unreal, and the initial shock upon first listen is considerable. Is every instrument actually played so stylistically as to sound era-specific or era-authentic? Even for myself, it's bit hard to imagine this perfect sound existing in 2014. "Take my hand. Take my wrist. 'Cause it scares me, what I might do." sings Nick Wheeldon on, perhaps, the best track on Corsica Garden, 'It Scares Me'. Those are convincing words considering Os Noctambulos have pretty much perfected their sound. Nothing on Corsica Garden feels the least labored. If this band can write such masterful pop tunes so seemingly effortlessly, is there any limit to their potential? It scares me to think of what the hell else they "might do". Os Noctambulos belong on a Wes Anderson film's soundtrack. I can undoubtedly state that they have the same chops as any heavy-hitting '60s pop band that I can name-drop. Not only that, but I will, from today forward, rank Corsica Garden among the best albums from any of that era. I don't think it's crazy to set this album alongside the greats. For music lovers, Corsica Garden is nothing short of beguiling. Os Noctambulos have set a new, bold standard for all modern garage pop bands. 4/5 By Mike Monrouge causticwhimsy.blogspot.fr/2014/09/music-review-os-noctambulos-corsica.html Review from Sly Vinyl We did a write up on Anglo-French Paris-based garage/psych revivalists Os Noctàmbulos brilliant split LP with Plantains (now re-named Heaters) on Stolen Body Records earlier this year, and now we see the release of their proper debut-album “Corsica Garden” via Evil Hoodoo Records on September 1. These guys sound like they come straight out of the 60′s, with their classic, surf-inspired garage rock. Great licks, roaring organs and vocals that makes you wanna start a riot with it’s tense and edgy attitude. This album is really a killer, and grabs a hold on you directly from you drop the needle on “Forever”, and doesn’t let go until it’s way past “Walk On” and has been popping dead centre on side B a dozen times! Jeez, this is some genuine soulful stuff.. Check it out underneath, and be sure to pre-order it asap, as all orders thrown in before release are included in the draw to win a one of a kind signed Test Pressing! This Limited Edition 12″ Vinyl also comes in official Evil Hoodoo handmade cotton sleeve. (Only direct orders from Evil Hoodoo) By Sindre Ernst http://slyvinyl.com/garage-rock/os-noctambulos-corsica-garden-limited-to-500-black-vinyl-lp Review from The Active Listener Back in 2012 Sheffield's 39th & the Nortons released a "Blonde on Blonde" inspired piece of excellence that I raved about (review here). Since then Nick Wheeldon has relocated to Paris, and his new outfit there, Os Noctàmbulos, have moved onto greener pastures (of a similar vintage). Gone then are the thin wild mercury sounds of "On Trial", with "Corsica Garden" focusing on quality vintage sounding garage psych which sits firmly in the Seeds / Dovers camp ("On Trial"s "Don't Look Back" showed that Wheeldon already had an affinity for these sounds). Os Noctàmbulos first release - a split album with Plantains a few months ago, proved that he could sustain the style over a lengthier run, and now debut full length "Corsica Garden" is the fulfillment. The first thing that struck me about "Corsica Garden" was that his three bandmates are on exactly the same page as Nick - particularly successful is the way that Valentin Buchens' spidery guitar leads wind their way around Wheeldon's spooky organ runs, especially on moody slow-burners like "It Scares Me". Wheeldon's vocals are equally visceral, with palpable anguish in his delivery of the refrain "...I don't understand..." on "Bad Man" which perfectly captures the sense of frustration, brattiness and angst that's long been at the heart of garage-punk. Elsewhere there's an effective surf guitar instrumental (Polly) which given the gritty, vintage production aesthetic has a hell of a lot more balls than most of the original surf / rockabilly guns, and gives the kings Dick Dale and Link Wray a run for their money. Vintage garage collectors who wrinkle their nose at the new stuff need this one. Coming on vinyl September 1st from Evil Hoodoo Records. By Nathan Ford http://active-listener.blogspot.fr/2014/06/os-noctambulos-corsica-garden.html Review from Space Rock Mountain The Anglo-French psychedelic garage rock band Os Noctàmbulos are a band that I believe Amazing Larry had put in for our podcast before, and I think I wrote up a band featuring a member of this group previously, called 39th & The Nortons. Beyond being a band that is British and French musicians with a Portuguese looking name, the group sounds like they're ardent listeners of early garage rock, surf and psychedelia of the 60s. Bearing the unmistakable influence bluesy garage that period such as the Animals, the Monks and the Sonics along with some tracks showing an affinity toward the reverberated style of Dick Dale. Corsica Garden is a fine distillation of the era's sound, almost eerie how much the songs sound like their out of time having just come out this year. I not only liked the album but I am prepared to defend the fact that it sounds so spot on like 60s groups. Of course that would be impossible to have an absolutely unique style, as all music, and literature and visual art for that matter, is derivative. Yet it is fair to say Os Noctàmbulos aren't derivative as much as purposefully retrospective. Garage rock hasn't been stagnate, for every now and then something like punk comes along and infuses itself into everything, and not the least into garage rock, but it doesn't shift completely otherwise it would cease to be garage rock at all. That said, why can't a modern band play like a band from the 1960s, but perhaps better or more interestingly while leaving out the punk and shoegaze that came later. Especially considering that the actual music from the period was so studio-driven with many hits being written by songwriters from bands that failed to make it big, yet got to see other bands ride to fame with them (I am thinking of the Buckinghams here, who were from Chicago and took that name to seem British and whose hit was written by another Chicago band, yet they're still great). So some dudes from the United Kingdom and France got together and wrote something that reflects a particular time and place in musical history, but still did a fucking amazing job at doing it and deserve credit for such masterful songwriting. I wholeheartedly enjoyed Os Noctàmbulos and would recommend the album to anyone that is a fan of late-60s garage. Finally, Corsica Garden is being put out by Evil Hoodoo Records, along with a slew of other cool releases. By Antartikos spacerockmountain.blogspot.fr/2014/09/os-noctambulos-corsica-garden-2014.html Review from The Garage So we don't get to hear of many rock bands that came out of Paris in the 1960's. There should be given it's bohemian backstreets were at the heart of so much European culture then. Film directors, actors, singers, artists, poets, jazz clubs, and then there were the student rally's and riots ! Now if that isn't a breeding ground for raw rock and roll nothing is. Actually after all that the most obvious name to spring out when 1960's Paris is mentioned is Jim Morrison, although he moved there just after the decade was over, along with Jim's interest in rock and roll and his life. No, it has to be said the age of Paris beat groups are filed under 'obscure' in rock history. Today many major cities in Europe, like Paris are suffering from the financial meltdown that arrived at the end of the last decade and now those Paris backstreets are looking rather worn. There is unrest too, There are undercurrents of some unpleasant political views in the air. These are tough times for Paris. So maybe that's why Os Noctàmbulos have appeared with their raw 60′s garage psych. It's a sound that should have been bred out of the 60's backstreets but here it is alive today. Just listen to this surf rock and roll guitar matched with the vocal style backed with a classic 60's farfisa organ or something near and you can very nearly hear the riots going on in the background. What a record this is, and least Parissienne of all it's sung in English. Blimey m'sieur what's happening over there. Even more oddly their record label 'Evil Hoodoo' are in Sheffield, UK. Os Noctàmbulos and their superbly named 'Corsican Garden' album is on limted edition vinyl out in September. Advance orders from The Evil Hoodoo website only. But you can hear it all right now. By The Garage http://thegarage13.blogspot.fr/2014/08/os-noctambulos-and-obscure-world-of.html Review from Optical Sounds Issue No.6 OS Noctàmbulos – Corsica Garden (Evil Hoodoo) Following of from Evil Hoodoo’s ace 39th & The Nortons cassette release from last year, we find main man Nick Wheeldon in fine voice with his new Anglo-France beat combo Os Noctàmbulos. Wheeldon seems to have an effortless handle in knocking out nuggets that would make The Seeds in their prime proud. There is something about Os Noctàmbulos that is both effortless and classic, without ever feeling like winklepicker-ed corny 60’s parody. No filler on here what-soever. Check out ‘Song For Olivier’, which no doubt is a nod to the Shakespearan actor, and a masterclass in soulful psych. By Brett Savage Review from The 405 Although Corsica Gardens is their debut album proper, Anglo-French Paris-based quartet Os Noctâmbulos are hardly strangers to the world of touring and recording: last year they put out their 39th & The Nortons cassette via Evil Hoodoo, played an amazing set at Liverpool Psych Fest, and recorded what is now their first LP (according to their Bandcamp, the album sessions only lasted two days!). The album opens with 'Forever' - a beautifully haunting tune that showcases how visceral and incredibly nostalgic Nick Wheeldon's voice can be. 'Song For Olivier''s lo-fi guitars places the band's influences a couple of decades later with its slightly grungy, proto-punk nature. And if 'It Scares Me' appears as one the album's weakest links (its immediate, uninventive structure sounds a bit like a B-side filler, although the keyboards during its second half are a pleasant surprise), we clearly understand why 'Forget Everything' was chosen as one of the release's preview tracks: featuring a very subtle surfy beat (developed later in the album by tracks like 'Polly'), the tune is memorable, dramatic, contagious, and overall stunning - something that you'd expect to see on a Nuggets compilation. Oh, and that organic ending with the lingering keyboards? Beautiful. Instrumental, Dick Dale-ish track 'Polly' closes the first half of the album: we've now been transported to the Pacific Coast's most perfect wave and the sun is setting smoothly, softly burning your skin. Back to the garage-coloured side of the fence, two more forgettable tracks 'Devil Don't Hide' and 'On The Run' give room to another '60s underground-inspired gem - a fabulous song titled 'Wild' whose desperate undertone oddly makes it something The Wytches could have recorded. Another great garage-sounding track ('Bad Ma') follows, and the half hour of Corsica Gardens ends with the smooth, lullabyesque 'Walk On'. In a year where neo-psychedelia gains a new dimension and, by losing its novelty status, it becomes necessary to separate the wheat from the tare, Os Noctâmbulos have definitely shown they are not a fad. Corsica Gardens is not perfect, but it's a pretty tight record that showcases the band's potential - and if you're into early Garage proto-psych bands like The Seeds or Electric Prunes, this one is definitely for you. Rating: 6/10 By Ana Leorne www.thefourohfive.com/review/article/os-noctambulos-corsica-gardens-140 Review from Sunrise Ocean Bender Named after their home studio in Massy Palaiseau, France, Anglo-French garage rockers Os Noctàmbulos offer a bag full of Nuggety treats on their first full-length ‘Corsica Gardens.’ Spearheaded by Nick Wheeldon (The Jesus Loves Heroin Band, 39th & The Nortons) Os Noctàmbulos are garage rock revivalists with a sound steeped in ingredients from the top-shelf, managing to sidestep being another retro retread. Sure, they’re targeting a very specific time and sound, but rather than sounding like their aping one hey-day band’s trademarks one to track to the next, Os Noctàmbulos come out of the other side of the garage sounding most like Os Noctàmbulos. That’s what makes them more appealing than just another rehash, as satisfying as that can be when done right. It’s rib-sticking rather than rib-tickling. Recorded straight to 1/2″ tape and mastered by Matthew Johnson from Hookworms, ‘Corsica Gardens’ doesn’t try to sound like an unearthed gem, or yet another lost classic that you have to know about. All the stylings and tropes are there in the sound and production—the gritty, pebbly guitars, groovy keyboards, frenetic but economical skin beating—but to everyone’s credit involved, they have the good sense to just turn it all down a bit. It only takes a few notes into opener ‘Forever’ to know exactly where Os Noctàmbulos are coming from let alone what they’re aiming for. Unlike many outfits that have such a disciplined focus on a specific vibe, Os Noctàmbulos know as much as we do that you don’t have to hit us on the head. We get it. And we get that they get it. Now that that’s out of the way, get on with it. Get on with the songs … if you have any underneath all the sleight of hand effects. ‘Corsica Gardens’ has them, and has more than just one that gets redone over and over and called an album. ‘Forever’ is part yearning, part desperation and actually, a full on love song. So is ‘Song for Olivier’ in many ways (aren’t they all?) but it has its own notes and notions. It may be the same story over and over through the history of the world, but it’s unique from one jilted heart to the next. ‘It Scares Me’ plays up the circular surf guitar a bit more as well as hands over a good chunk of its character to the keys ensuring their status as anything but second fiddle in the combo. They most certainly earn their keep on the stellar and snotty ‘Wild.’ And yes, ‘Wild’ sounds just like you think it would … and should. Sexy, swaggering and desperately lustful. ‘Bad Man’ shows them equally adept at working up a fuller head of steam without resorting to phoning in the overkill to get there as much as the instrumental ‘Polly’ shows they don’t need any water-wings in the surf. Along with Coline Presley, Baldo and Valentin Buchens, Nick Wheeldon show through ‘Corsica Gardens’ that they actually have a handle on what makes all this work and possess more than just unbridled love for their era of choice. A desirous, lustful and often hurt heart is great. It goes a little further if you got a plan. Os Noctàmbulos have one, one that seems effortless. They turned the garage into a garden without missing a beat. By Mr Avatist http://mratavist.com/2014/07/07/os-noctambuloscorsica-garden/ Review by Long Player / Late Blogger Au risque d'avoir l'air de l'idiot du village, j'ai une idée fixe qui tout le temps me chatouille : un album, c'est tout ou rien. Soit épique soit fiasco, insurrectionnel ou alors sirop, c'est ça un album, ça doit être ça et rien d'autre. Os Noctambulos avec Corsica Garden ( Evil Hoodoo Records GB), dernier des projets de Nick Wheeldon ( The Jesus Loves Heroin Band et 39th & The Nortons) tombe à pic pour remettre en question ces certitudes adolescentes. Corsica Garden c'est un palmier au milieu des pins, ni pasteurisé ni pyrotechnique, et pourtant plus fort qu'une toile de maître, une toile éminemment abrasive, qui vire toupie et train électrique parfois pour qui a connu ça. Pas de raz de marée, juste une putain de ballade sur la grève entre houle sévère et soleil brûlant, mais une ballade de gosse de riche, les pieds nus survolant les rochers, entre baignade intrépide et écorchures d'escalade. Intègre et passionnant, c'est ça aussi un album, un vrai. L'album sort le 1° Septembre, en vente sur Evil Hoodoo Records. By Lester Bangs http://www.longplayerlateblogger.com/2014/07/os-noctambulos-corsica-garden-2014.html Review from Psych Insight Every now and again you discover some music that just blows you away, it speaks to you so directly and viscerally that you cant really explain why you like it. Even more rarely comes something that completely changes your musical frame of reference and sets you off on a new path, exploring new directions which feel fresh and exciting. This is how I felt when I first heard the, what I now know to be, famous and highly influential Nuggets compilation; expanded to cover four CDs worth of mind-blowing material. That was in 1998, a full thirty years after the originals were recorded. Not only was I amazed by what I’d heard, I wondered why it had taken me so long to come across it. Hearing those songs, and the subsequent Nuggets II of tracks from “The British Empire and Beyond” provided me with the missing link for so much music that I already liked as well as providing me with a new touchstone for great music (as regular readers will probably have guessed by now), and a baseline from which to explore the sixties afresh. This also planted the seed for my love of psych music, which has been germinating for the past four years or so; and has helped me to appreciate a wide variety of bands who might have otherwise passed me by. Some of these might seem abstract, but that most definitely cannot be said of Os Noctambulos whose new album comes out at a time when I’m re-exploring the Nuggets era: I’ve been listening to a lot of likes of Crystal Syphon, The David, and The West Coast Pop Art Experimental Band. Corsica Garden is the first real chance I’ve had to listen to Os Noctambulos and I must say that I like what I hear. From the first bars of ‘Forever’ there is no doubt that this is a band that locates themselves primarily in the sixties as far as influences are concerned, yet it is a testament to the power of garage/ psych/ proto-punk/ freakbeat/ surf rock (whatever you want to call it) that it still sounds so fresh today.these are songs that are stripped back of all the accretions that years and years of rock and roll deposits have left on music, it takes us back to the source. But it takes us there through great songwriting and playing. Mastered by MJ of Hookworms, this is an album that is, itself, like a compilation because Os Noctambulos turn their collective to talented hands to many of the aforementioned genre in a way that still makes this sound like a coherent album rather than a collection of songs. I like this album because it’s a kind of ‘one stop’ for many of the sounds that I really like. I like this album because it puts a huge smile on my face. I like this album because it reminds me of what rock and roll music is all about, and where it came from. by Simon Delic http://backseatmafia.com/2014/07/11/psych-insight-album-review-corsica-garden-by-os-noctambulos/ Corsica Garden by Os Noctàmbulos Corsica Garden cover art Wishlist Wild 00:00 / 03:47 package image package image (private) Edit Record/Vinyl Ltd Edition Vinyl of Os Noctàmbulos debut album Corsica Garden. Includes unlimited streaming of Corsica Garden via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days edition of 500 50 remaining €10 EUR or more 1. Forever 03:01 2. Song For Olivier 02:18 3. It Scares Me 03:30 4. Forget Everything 03:24 5. Polly 03:19 6. Devil Don't Hide 02:57 7. On The Run 02:56 8. Wild 03:47 9. Bad Man 02:34 10. Walk On 03:21 about Corsica Garden Released on Ltd Edition Vinyl by Evil Hoodoo Records 01.09.2014 Pre-order now at Evil Hoodoo's Big Cartel The Band Bass – Coline Presley Drums - Baldo Guitar/Organ/Piano/Vox – Nick Wheeldon Lead Guitar – Valentin Buchens Produced by Nick Wheeldon Mastered by Matthew Johnson at Suburban Home Studio Recorded 16th/17th July 2013 at Corsica Garden Backing Vocals on Wild by Eléonore Gabriel & Stephane Piquemal Backing Vocals on It Scares Me by Eléonore Gabriel Thanks to Thom Bettney & Evil Hoodoo Records, Alex Studer & Stolen Body Records, Guillaume Meynard, Flat Ed, Frankystein at Radio Lux, Eléonore Gabriel, Stéphane Piquemal, Angélique Dailcroix, Antonin Heck, Nina Airtz, Chris & Tom at Liverpool International Festival Of Psychedelia, Fuzz Tonic Tom & Julia Seeman, Nikko Pandemic, Célia Morgendorffer, Los Tentakills, Nathan Ford at The Active Listener, Mr Avatist at Sunrise Ocean Bender, Thee Marvin Gayes, Manuel Gomez and all at El Diablo, L’Imposture, Laura Burn-Acaster, The Bell Jar, Nathan Clark & Jonny Strangeways at Brudenell Social Club, Lau & Elsa, Mitou, Jaco, Acacio & Rachel, Topper Harley at La Mécanique Ondulatoire, All at La Taverne Des Gaulois, Nico at SDZ Records, Karen Kurowski, Plantains, Heaters, Black Fruit, The Hinds Feet, All at Basement Studios, Jean-Jacques Favel, Randy Shone, Chris Baxter, Margaux Deleprouve & la maison Le Clech. credits released 01 September 2014 Review from Loud & Quiet (Album Of The Week) Os Noctàmbulos, while distinctly in the camp of ‘retro’, manage to cast a wider net than most. The smooth rounded production nods as frequently to fifties RnR licks as it does the more honed, pristine sound of ‘golden age’ Bristish & American rock, whilst also taking in country tinged flavours of groups such as Big Star and the Flying Burrito Brothers. A gentle undercurrent of psych carries the records pace, ebbing and flowing, weaving between the hypnotic and the upbeat garage surf propulsions. Whilst there are plenty of explosive moments, the record feels less focused on scrappy ramshackle ruggedness and more focused on controlled, well crafted and masterfully recorded songs, allowing the Them-era Van Maorrison vocal growls to tear through and elevate above the music. Craggy DIY production methods favoured by many similar groups are ditched in favour of making a record that sounds like it came from a timewhen large scale recording budgets were still a commonality, creating a record that feels effervescent and gutsy yet considered and poised. 8/10 By Daniel Dylan Wray www.loudandquiet.com/2014/09/corsica-garden-by-os-noctambulos/ Review from Sly Vinyl We did a write up on Anglo-French Paris-based garage/psych revivalists Os Noctàmbulos brilliant split LP with Plantains (now re-named Heaters) on Stolen Body Records earlier this year, and now we see the release of their proper debut-album “Corsica Garden” via Evil Hoodoo Records on September 1. These guys sound like they come straight out of the 60′s, with their classic, surf-inspired garage rock. Great licks, roaring organs and vocals that makes you wanna start a riot with it’s tense and edgy attitude. This album is really a killer, and grabs a hold on you directly from you drop the needle on “Forever”, and doesn’t let go until it’s way past “Walk On” and has been popping dead centre on side B a dozen times! Jeez, this is some genuine soulful stuff.. Check it out underneath, and be sure to pre-order it asap, as all orders thrown in before release are included in the draw to win a one of a kind signed Test Pressing! This Limited Edition 12″ Vinyl also comes in official Evil Hoodoo handmade cotton sleeve. (Only direct orders from Evil Hoodoo) By Sindre Ernst slyvinyl.com/garage-rock/os-noctambulos-corsica-garden-limited-to-500-black-vinyl-lp Review from The Active Listener Back in 2012 Sheffield's 39th & the Nortons released a "Blonde on Blonde" inspired piece of excellence that I raved about (review here). Since then Nick Wheeldon has relocated to Paris, and his new outfit there, Os Noctàmbulos, have moved onto greener pastures (of a similar vintage). Gone then are the thin wild mercury sounds of "On Trial", with "Corsica Garden" focusing on quality vintage sounding garage psych which sits firmly in the Seeds / Dovers camp ("On Trial"s "Don't Look Back" showed that Wheeldon already had an affinity for these sounds). Os Noctàmbulos first release - a split album with Plantains a few months ago, proved that he could sustain the style over a lengthier run, and now debut full length "Corsica Garden" is the fulfillment. The first thing that struck me about "Corsica Garden" was that his three bandmates are on exactly the same page as Nick - particularly successful is the way that Valentin Buchens' spidery guitar leads wind their way around Wheeldon's spooky organ runs, especially on moody slow-burners like "It Scares Me". Wheeldon's vocals are equally visceral, with palpable anguish in his delivery of the refrain "...I don't understand..." on "Bad Man" which perfectly captures the sense of frustration, brattiness and angst that's long been at the heart of garage-punk. Elsewhere there's an effective surf guitar instrumental (Polly) which given the gritty, vintage production aesthetic has a hell of a lot more balls than most of the original surf / rockabilly guns, and gives the kings Dick Dale and Link Wray a run for their money. Vintage garage collectors who wrinkle their nose at the new stuff need this one. Coming on vinyl September 1st from Evil Hoodoo Records. By Nathan Ford active-listener.blogspot.fr/2014/06/os-noctambulos-corsica-garden.html Review from The Garage So we don't get to hear of many rock bands that came out of Paris in the 1960's. There should be given it's bohemian backstreets were at the heart of so much European culture then. Film directors, actors, singers, artists, poets, jazz clubs, and then there were the student rally's and riots ! Now if that isn't a breeding ground for raw rock and roll nothing is. Actually after all that the most obvious name to spring out when 1960's Paris is mentioned is Jim Morrison, although he moved there just after the decade was over, along with Jim's interest in rock and roll and his life. No, it has to be said the age of Paris beat groups are filed under 'obscure' in rock history. Today many major cities in Europe, like Paris are suffering from the financial meltdown that arrived at the end of the last decade and now those Paris backstreets are looking rather worn. There is unrest too, There are undercurrents of some unpleasant political views in the air. These are tough times for Paris. So maybe that's why Os Noctàmbulos have appeared with their raw 60′s garage psych. It's a sound that should have been bred out of the 60's backstreets but here it is alive today. Just listen to this surf rock and roll guitar matched with the vocal style backed with a classic 60's farfisa organ or something near and you can very nearly hear the riots going on in the background. What a record this is, and least Parissienne of all it's sung in English. Blimey m'sieur what's happening over there. Even more oddly their record label 'Evil Hoodoo' are in Sheffield, UK. Os Noctàmbulos and their superbly named 'Corsican Garden' album is on limted edition vinyl out in September. Advance orders from The Evil Hoodoo website only. But you can hear it all right now. By The Garage thegarage13.blogspot.fr/2014/08/os-noctambulos-and-obscure-world-of.html Review from Optical Sounds Issue No.6 OS Noctàmbulos – Corsica Garden (Evil Hoodoo) Following of from Evil Hoodoo’s ace 39th & The Nortons cassette release from last year, we find main man Nick Wheeldon in fine voice with his new Anglo-France beat combo Os Noctàmbulos. Wheeldon seems to have an effortless handle in knocking out nuggets that would make The Seeds in their prime proud. There is something about Os Noctàmbulos that is both effortless and classic, without ever feeling like winklepicker-ed corny 60’s parody. No filler on here what-soever. Check out ‘Song For Olivier’, which no doubt is a nod to the Shakespearan actor, and a masterclass in soulful psych. By Brett Savage Review from The 405 Although Corsica Gardens is their debut album proper, Anglo-French Paris-based quartet Os Noctâmbulos are hardly strangers to the world of touring and recording: last year they put out their 39th & The Nortons cassette via Evil Hoodoo, played an amazing set at Liverpool Psych Fest, and recorded what is now their first LP (according to their Bandcamp, the album sessions only lasted two days!). The album opens with 'Forever' - a beautifully haunting tune that showcases how visceral and incredibly nostalgic Nick Wheeldon's voice can be. 'Song For Olivier''s lo-fi guitars places the band's influences a couple of decades later with its slightly grungy, proto-punk nature. And if 'It Scares Me' appears as one the album's weakest links (its immediate, uninventive structure sounds a bit like a B-side filler, although the keyboards during its second half are a pleasant surprise), we clearly understand why 'Forget Everything' was chosen as one of the release's preview tracks: featuring a very subtle surfy beat (developed later in the album by tracks like 'Polly'), the tune is memorable, dramatic, contagious, and overall stunning - something that you'd expect to see on a Nuggets compilation. Oh, and that organic ending with the lingering keyboards? Beautiful. Instrumental, Dick Dale-ish track 'Polly' closes the first half of the album: we've now been transported to the Pacific Coast's most perfect wave and the sun is setting smoothly, softly burning your skin. Back to the garage-coloured side of the fence, two more forgettable tracks 'Devil Don't Hide' and 'On The Run' give room to another '60s underground-inspired gem - a fabulous song titled 'Wild' whose desperate undertone oddly makes it something The Wytches could have recorded. Another great garage-sounding track ('Bad Ma') follows, and the half hour of Corsica Gardens ends with the smooth, lullabyesque 'Walk On'. In a year where neo-psychedelia gains a new dimension and, by losing its novelty status, it becomes necessary to separate the wheat from the tare, Os Noctâmbulos have definitely shown they are not a fad. Corsica Gardens is not perfect, but it's a pretty tight record that showcases the band's potential - and if you're into early Garage proto-psych bands like The Seeds or Electric Prunes, this one is definitely for you. Rating: 6/10 By Ana Leorne www.thefourohfive.com/review/article/os-noctambulos-corsica-gardens-140 Review from Sunrise Ocean Bender Named after their home studio in Massy Palaiseau, France, Anglo-French garage rockers Os Noctàmbulos offer a bag full of Nuggety treats on their first full-length ‘Corsica Gardens.’ Spearheaded by Nick Wheeldon (The Jesus Loves Heroin Band, 39th & The Nortons) Os Noctàmbulos are garage rock revivalists with a sound steeped in ingredients from the top-shelf, managing to sidestep being another retro retread. Sure, they’re targeting a very specific time and sound, but rather than sounding like their aping one hey-day band’s trademarks one to track to the next, Os Noctàmbulos come out of the other side of the garage sounding most like Os Noctàmbulos. That’s what makes them more appealing than just another rehash, as satisfying as that can be when done right. It’s rib-sticking rather than rib-tickling. Recorded straight to 1/2″ tape and mastered by Matthew Johnson from Hookworms, ‘Corsica Gardens’ doesn’t try to sound like an unearthed gem, or yet another lost classic that you have to know about. All the stylings and tropes are there in the sound and production—the gritty, pebbly guitars, groovy keyboards, frenetic but economical skin beating—but to everyone’s credit involved, they have the good sense to just turn it all down a bit. It only takes a few notes into opener ‘Forever’ to know exactly where Os Noctàmbulos are coming from let alone what they’re aiming for. Unlike many outfits that have such a disciplined focus on a specific vibe, Os Noctàmbulos know as much as we do that you don’t have to hit us on the head. We get it. And we know get that they get it. Now that that’s out of the way, get on with it. Get on with the songs … if you have any underneath all the sleight of hand effects. ‘Corsica Gardens’ has them, and has more than just one that gets redone over and over and called an album. ‘Forever’ is part yearning, part desperation and actually, a full on love song. So is ‘Song for Olivier’ in many ways (aren’t they all?) but it has its own notes and notions. It may be the same story over and over through the history of the world, but it’s unique from one jilted heart to the next. ‘It Scares Me’ plays up the circular surf guitar a bit more as well as hands over a good chunk of its character to the keys ensuring their status as anything but second fiddle in the combo. They most certainly earn their keep on the stellar and snotty ‘Wild.’ And yes, ‘Wild’ sounds just like you think it would … and should. Sexy, swaggering and desperately lustful. ‘Bad Man’ shows them equally adept at working up a fuller head of steam without resorting to phoning in the overkill to get there as much as the instrumental ‘Polly’ shows they don’t need any water-wings in the surf. Along with Coline Presley, Baldo and Valentin Buchens, Nick Wheeldon show through ‘Corsica Gardens’ that they actually have a handle on what makes all this work and possess more than just unbridled love for their era of choice. A desirous, lustful and often hurt heart is great. It goes a little further if you got a plan. Os Noctàmbulos have one, one that seems effortless. They turned the garage into a garden without missing a beat. By Mr Avatist mratavist.com/2014/07/07/os-noctambuloscorsica-garden/ Review by Long Player / Late Blogger Au risque d'avoir l'air de l'idiot du village, j'ai une idée fixe qui tout le temps me chatouille : un album, c'est tout ou rien. Soit épique soit fiasco, insurrectionnel ou alors sirop, c'est ça un album, ça doit être ça et rien d'autre. Os Noctambulos avec Corsica Garden ( Evil Hoodoo Records GB), dernier des projets de Nick Wheeldon ( The Jesus Loves Heroin Band et 39th & The Nortons) tombe à pic pour remettre en question ces certitudes adolescentes. Corsica Garden c'est un palmier au milieu des pins, ni pasteurisé ni pyrotechnique, et pourtant plus fort qu'une toile de maître, une toile éminemment abrasive, qui vire toupie et train électrique parfois pour qui a connu ça. Pas de raz de marée, juste une putain de ballade sur la grève entre houle sévère et soleil brûlant, mais une ballade de gosse de riche, les pieds nus survolant les rochers, entre baignade intrépide et écorchures d'escalade. Intègre et passionnant, c'est ça aussi un album, un vrai. L'album sort le 1° Septembre, en vente sur Evil Hoodoo Records. By Lester Bangs www.longplayerlateblogger.com/2014/07/os-noctambulos-corsica-garden-2014.html Review from Psych Insight Every now and again you discover some music that just blows you away, it speaks to you so directly and viscerally that you cant really explain why you like it. Even more rarely comes something that completely changes your musical frame of reference and sets you off on a new path, exploring new directions which feel fresh and exciting. This is how I felt when I first heard the, what I now know to be, famous and highly influential Nuggets compilation; expanded to cover four CDs worth of mind-blowing material. That was in 1998, a full thirty years after the originals were recorded. Not only was I amazed by what I’d heard, I wondered why it had taken me so long to come across it. Hearing those songs, and the subsequent Nuggets II of tracks from “The British Empire and Beyond” provided me with the missing link for so much music that I already liked as well as providing me with a new touchstone for great music (as regular readers will probably have guessed by now), and a baseline from which to explore the sixties afresh. This also planted the seed for my love of psych music, which has been germinating for the past four years or so; and has helped me to appreciate a wide variety of bands who might have otherwise passed me by. Some of these might seem abstract, but that most definitely cannot be said of Os Noctambulos whose new album comes out at a time when I’m re-exploring the Nuggets era: I’ve been listening to a lot of likes of Crystal Syphon, The David, and The West Coast Pop Art Experimental Band. Corsica Garden is the first real chance I’ve had to listen to Os Noctambulos and I must say that I like what I hear. From the first bars of ‘Forever’ there is no doubt that this is a band that locates themselves primarily in the sixties as far as influences are concerned, yet it is a testament to the power of garage/ psych/ proto-punk/ freakbeat/ surf rock (whatever you want to call it) that it still sounds so fresh today.these are songs that are stripped back of all the accretions that years and years of rock and roll deposits have left on music, it takes us back to the source. But it takes us there through great songwriting and playing. Mastered by MJ of Hookworms, this is an album that is, itself, like a compilation because Os Noctambulos turn their collective to talented hands to many of the aforementioned genre in a way that still makes this sound like a coherent album rather than a collection of songs. I like this album because it’s a kind of ‘one stop’ for many of the sounds that I really like. I like this album because it puts a huge smile on my face. I like this album because it reminds me of what rock and roll music is all about, and where it came from. by Simon Delic backseatmafia.com/2014/07/11/psych-insight-album-review-corsica-garden-by-os-noctambulos/ Article from One Good Thing A Day #286 Harnessing hooks not seen since bands from the Original Nuggets compilation, Os Noctàmbulos‘s take on the garage/psych-rock of that era still sounds fresh despite musically being so out of time. It’s crisply produced (by MJ from Hookworms), which accentuates the sharpness on display from the band. Although there are a couple of stand-out tracks, this album really needs to be experienced as a whole. agoodthingeachday.wordpress.com/2014/08/05/twohundredandeightysix/ From Louder Than War Relative newbies on the Parisian garage scene, Os Noctàmbulos have just dropped their debut album. Louder Than War’s Craig Chaligne reviews. Os Noctàmbulos have become a fixture in the Parisian garage scene. Formed late in 2012, the quartet have been gigging constantly in the French Capital and made a successful appearance at The Liverpool International Festival Of Psychedelia in September 2013. The band headed by Sheffield born musician Nick Wheeldon was formed following his relocation to France. Coline Presley, bass player in Nick’s former outfit The Jesus Loves Heroin Band stayed on board and they were joined by Valentin Buchens on lead guitar (former bandmate of Coline in Le Mans Surf Rock combo Elvis…) and Baldo on drums (artist and an enduring presence on the garage scene in Paris). They have just released their first album Corsica Garden recorded last year in Baldo’s home studio in Massy Palaiseau, it could have also been recorded in Los Angeles in 1965. Strongly reminiscent of bands you could find on The Nuggets compilation, it will please any Seeds fan with Valentin channeling his inner Jan Savage on most of the tracks. Nick’s powerful vocals set them apart from the legion of garage bands on circuit nowadays with the rhythm section of Coline and Baldo doing a fine job with some really nice bass parts courtesy of Coline (the one on opening number Forever for example). The band wear their influence on their sleeves (Song For Olivier) but the execution is so good that they pull it off. There are some subtle touches like the organ on It Scares Me and Wild that show that although recorded over a short period of time, great care was put in the sonic texture of the record. The band members past endeavors are not forgotten with the instrumental Polly honoring Coline and Valentin’s former project. The album closes with a song that differs slightly in style from its companions, Walk On with its guitar arpeggios and organ “a la” House Of The Rising Sun prove that the band is far from a one trick pony and might venture in different territories on further recordings. By Craig Chaligne louderthanwar.com/os-noctambulos-corsica-gardens-album-review/

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