RIAA: Spies in My Window, Hoes In My Room

The RIAA, fresh off its last lawsuit against the Lost Boys of Sudan, is finally tossing in the do-rag for Atlantic v. Andersen, the case against a disabled single mother from Oregon who lives with her nine-year-old daughter. Originally sued in 2005, Tanya Andersen was accused of downloading and sharing terminally phat beats through Kazaa, including Ludacris' anthem for all single mothers, "Hoes in My Room." Though Andersen denied the claim and further investigation dredged up no evidence, the RIAA charged forward for the next few years.

In October 2005, Andersen filed a countersuit, accusing the RIAA of fraud, racketeering, deception, and generally lambasting every other aspect of their pants-dropping agenda. An expert in forensics was called in by the RIAA to run tests on her lies, but the expert failed to find "any evidence whatsoever" that Andersen had even used file-sharing software, let alone sold her nine-year-old through Soulseek for a couple Quaaludes.

The case had been slowly coagulating until earlier this month, when both parties decided to dismiss it. The nice part of this story is that they dismissed the case with prejudice, which not only means that they both dislike Filipinos, but also that Andersen can now attempt to recover attorney fees. The RIAA's usual card-up-the-sleeve for a messy lawsuit is the ol' dismissal sans prejudice, which drops everything neatly, leaving the non-pirate destitute loaded with bills from the made-up lawsuit. With a dash of prejudice in the mix, Andersen could potentially win the attorneys' fee award, which is way better than getting into your high school's National Honor Society. She also plans on maintaining her counterclaim, buying chocolate milk at the store for her daughter and catching up on the last couple seasons of The Sopranos.

Holla to Andrew S for the tip!

Out of Print Hospital Productions Albums Re-Circulated, Nuclear Pig Shit Unfortunately Omitted, and Probably for Prudential Reasons

If I'm not mistaken, Dominick Fernow (Prurient, Hospital Productions) and Megan Griffin (Nuclear Pig Shit) used to be quite the item — Providence, Rhode Island's noisiest couple, I'm sure. An analogy might help: John Olson (Wolf Eyes) and Tovah Olson (formerly, O'Rourke) are quite the item now (Dead Machines) and certainly no less noisy. I can't even fathom the patience necessary to persist in such a relationship, one that involves so many surface microphones, distortion pedals, and scraps of metal.

Sometimes, and such is life, the noise of a relationship builds to such an extreme that the coupling falls apart. In the case of Nuclear Pig Shit, a move to Madison, WI, it seems, separated ties to Prurient/Hospital Productions.

I hate to use a failed relationship — and sorry for putting it that way — but it will help me make a point about the noise idiom, or at least how the genre has been canonized up to this point.

On one extreme, we have the "masculine" (read: sexist), death-obsessed; and on the other, the "feminine" (read: spiritual), and life-affirming. Allow me to elaborate. There's the "Night Stalking the Unsilent Boneyard" of Burial Hex on the one hand, and the GHQ-ing of Marcia Bassett on the other. We have John Olson self-injuring himself onstage with a medieval mace, and the kneeling of the Vanishing Voice. These things come from similar origins, but end in very different places.

So, when Tovah skronks her shit or when Megan scrapes her shovel, we take notice — women in noise turn heads because they are seemingly an exception to the rule: we've seen the ol' 4-track-tape-into-the-looper into-the-homemade-distortion-pedal operated-by-a-black-clothing-clad-fatso before.

Okay, Okay, but with all of that said, Hospital Productions has unearthed some of the long sought-after releases of days yore — more so the heavy, masculine stuff, but still — many of which were made available at the recent No Fun Fest and are now back in some general sense of "circulation."

"Circulation" being very limited quantities, of course:

Prurient – "Lily of the Valley"/"Return of Happiness" 2x10 min. cassette

Prurient/FFH – Women in the War 30 min. cassette

Malkuth – Mutus Liber LP

The New Blockaders – Live at Anti-Fest one-sided LP

Akitsa – Gothie CD

Akitsa – Sang Nordique CD

Ahlzagailzehguh – Bypassing Time Passing LP

Air Conditioning/Vegas Martyrs/Coughs/The New Flesh – Tiger Tongue Pussy Cactus: Terminal Fanatsies for Malefic Youth LP

MB – Symphony for a Genocide CD

Stereo Total Release New LP and Best-of LP, Tour Forever in Support of LPs, No Bullshit News Story

Stereo Total's new album and follow up to 2005's Do the Bambi, Paris <-> Berlin is slated to come out June 22 on Disko B in Europe and August 21 on Kill Rock Stars in the USA. In addition to the new album, the duo also recently released a best-of album titled Party Anticonformiste on German label Bungalow, which contains 24 tracks and 5 videos.

Stereo Total will be on an extensive tour this summer and fall, with a number of dates with Austin's the Octopus Project.

Party Anticonformiste tracklisting:

& The Octopus Project

* St. Etienne

Beirut Announce New Album and Tour, Almost Daring You Not To Blog About It

Is Beirut the next Nirvana? Of course not. Christ, that has got to be the stupidest thing I've ever heard. Although both seem to have inspired more than a few imitators (you'll find Nirvana clones on radio stations and Beirut clones at house parties), Beirut haven't exactly gotten to meal storage-levels yet. In a way, since they are one of the newer the newer groups to inspire imitation, they kinda are the next Nirvana (stop throwing shit at me).... or at least the next At The Drive-In (stop it!). The point is that Beirut has defiantly risen to the level where others are trying to bite their style. So, what do they do next?

The info surrounding the group's upcoming second LP, coming out October 9, seems to point toward a new direction of sorts. The yet-to-be-titled album, the follow up to 2006's The Gulag Orkestar (Ba Da Bing!) was recorded in two separate sessions, one at The Arcade Fire's studio in Montreal and the other at the A Hawk & A Hacksaw practice space. While the first LP was done almost completely by Head of Band Zach Condon, this time the other seven members of the group (the, *cough* Orkestar), with extra orchestration and vocals from Owen Pallett of Final Fantasy, took part in the process.

Sound-wise, the album is said to be headed out of the Eastern bloc and toward more of a classic French pop (the group covers Jacques Brel on an upcoming UK single) sound. Somebody should write in a news story about how some group of writers should review a bunch of French Pop records for a whole month, making it seem like the newswriter came up with the pre-existing idea. Anyway, Beirut is taking eight people, two LPs, and one EP's worth of tunes -- and a lot of weed -- on tour this fall to promote the new record. Go to those shows and make sure to ask Condon what the hell a track zero is...

Title TBA tracklisting:

Tour dates:
09.23.07 - Princeton, NJ - Terrace F Club*
09.24.07 - New York, NY - Society for Ethical Culture (Wordless Music Series) *
09.26.07 - New York, NY - Delacorte Theater *
09.30.07 - Montreal, QU - La Salla Rosa *
10.02.07 - Toronto, ONT - Danforth Music Hall *
10.04.07 - Chicago, IL - Portage Theater *
10.08.07 - San Francisco, CA - Herbst Theater *
10.09.07 - San Francisco, CA - Herbst Theater *
10.10.07 - Los Angeles, CA - Avalon *

* Colleen

Punk Planet Closes Its Editorial Doors

According to The Columbia Journalism Review, roughly 700 new magazines start up each year. 60% of those magazines don't even last a year. Lasting 13 years and 80 issues, Punk Planet is clearly not included in that 60%, as the magazines in the 40% margin are ones that standout, spread ideas, and make relevant points about culture. Punk Planet was one of those magazines. On June 18, 2007, a blog post was published on their site declaring that Punk Planet was dead. The biggest blow to Punk Planet, according to the post, is their bad distribution deal with RetailVision. Other factors included a lack of advertisers and declining subscription sales. All of these factors spell out disaster for any magazine, making it virtually impossible for any paper zine to survive.

Even though most of the writing was purely contribution-based, Punk Planet tried to pay their writers every now and then, but all payments stopped six issues ago. It's just so powerful to see how love and passion have nothing to do with money. It's terrible to see such a unique and amazing zine fall. It was an amazing zine that didn't follow the current trend of focusing on consumerism and aesthetics in culture but ideas and the people behind them. It focused heavily on music as well, with Punk Planet literally trying to review every independent album sent to them, and if not in the zine, you could always find more reviews on their website. Of course all of this is hard to keep rolling since the magazine version of Punk Planet is dead.

Notice how I simply said, "the magazine version of Punk Planet is dead." Thankfully, it means that Punk Planet can live on through the internet if they play their cards correctly. Punkplanet.com is a hell of a domain name (and excellent site already), so they could definitely utilize that domain and their massive list of credentials to create a website as influential as their print zine. Even better, it's still possible a company could pick up Punk Planet and get the magazine kilns fired up again. For the time being, though, all of Punk Planet seems in pieces and they aren't sure of a new direction, but their spirit still seems to remain intact, and I'm positive they're not finished wreaking havoc against ideas they denounce and proliferating the independent and punk ideas they feel so passionate about.

  

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