SoundSugar

November Artists On SoundSugar Week #1

noreply@blogger.com (SoundSugar) — Tue, 08 Nov 2011 05:19:00 +0000

Wilco

Wilco’s eighth studio release, The Whole Love continues the group’s string of top notch albums. The lineup’s third record as currently constructed shows a marked cohesion, as the band brilliantly underscores Jeff Tweedy’s offbeat observations of personal displacement in an effortlessly catchy style that has become distinctly Wilco’s. Until further notice, any Wilco release warrants a serious listen, so do yourself a favor and pick up a copy of
The Whole Love. The Whole Love (Deluxe Edition).

Del The Funky Homosapien

Twenty years underground and in the mainstream, and Del The Funky Homosapien’s verbal alacrity is still alive and well. His latest release Golden Era showcases the technical acumen the Oakland native is known for. Hard hitting, groovy beats put Del in his element to unleash this particular brand of lyrical hypnosis. Golden Era is a high quality listen, and packaged with his two 2009 online releases, Funk Man and Automatik Statik, it is a triple album that is a must for any Del disciple. Download Golden Era: Golden Era.

Leaving Venus

Straight out of Hickory, North Carolina, Leaving Venus blast out soulful tunes that have a penchant for sticking with you. Diversity in the sound is the band’s distinguishing characteristic. At times sounding like a collection of mix CDs strewn throughout your car; a little Guided by Voices here, some Dispatch there, with The Old 97’s and Better Than Ezra mixed in, all with a classic rock feel for good measure. This is an upbeat hodgepodge of sound that will help you keep your head up during that march towards autumn.
Enjoy the tunes on the Leaving Venus SoundSugar page.

La Scana Del Domingo

When a collection of classically trained Frenchman who grew up listening to Tom Waits and Duke Ellington start a band, the result isn’t your average dance floor/ska/punk/jazz/rock/folk/latin group. What you get is La Scana Del Domingo, a horn heavy Gogol Bordello with Parisian vigor. La Scana takes the listener on gypsy jazz trip through the French countryside and beyond. The band transcends the term eclectic; picking through musical styles like a tourist at a cruise ship buffet.
Admire the madness at the La Scana Del Domingo SoundSugar page.

Music news above contributed by: jack@soundsugar.net

October Artists On SoundSugar Week #3

noreply@blogger.com (SoundSugar) — Sun, 16 Oct 2011 03:29:00 +0000

The Olive League

The Olive League, an Austin, Texas duo consisting of Matthew Murphy and Elizabeth Sarp, engineer a hand-crafted sound that ranges from the resonant beats and melody of a lo-fi Trent Reznor, to a floating guitar instrumental that harkens Zep’s "Ramble On”, creating a feeling of apprehension that resonates throughout the tracks. The Olive League provides the listener with a turbulent and interesting flow that is worth experiencing. Check out what they have to offer, the eight song EP is available for download on The Olive League SoundSugar page.

Gotye

Gotye, AKA Wally von Backer, a Belgian born Australian with Beck’s soul and Sting’s voice has been tearing it up Down Under for almost ten years. Starting as a member of the indie rock trio, The Basics, he subsequently rose to fame as a solo artist by putting his smooth voice over funky homemade backdrops. Now, fresh off the release party at the Sydney Opera House for his third LP Making Mirrors, comes the video for album’s second single “Somebody That I Used To Know”, featuring Kimbra. The track is as catchy, intense and haunting as you’re likely to hear; and if that doesn’t do it for you, the video also features the most striking use of male nudity since D’angelo’s “Untitled (How Does It Feel)”. It truly is a tune with something for everybody.
Watch video on YouTube: Gotye- Somebody That I Used To Know (feat. Kimbra)- official film clip (HD).

Leaving Venus

La Scana Del Domingo

Music news above contributed by: jack@soundsugar.net

Gorillaz – The Fall (Free Album)

Some visuals dropped earlier below for the intro. Now here goes the full project from the Gorillaz, that they decided to release for the holidays.

DOWNLOAD: Gorillaz – The Fall [via]

noreply@blogger.com (SoundSugar) — Sat, 18 Sep 2010 02:12:00 +0000

Erykah Badu – Window Seat (rmx) f. Rick Ross (Video)

Finally, we get the Control Freaq x Creative Control-directed visuals for Ricky Rozay’s remix to Erykah Badu’s single (and Turn Me Away (Get MuNNY)). Shouts to TSS.

noreply@blogger.com (SoundSugar) — Sat, 18 Sep 2010 02:09:00 +0000

Hannibal King – Kill Superman ep.2 (Video)

On August 21st, Hannibal King will be releasing his new beat tape, Villains Gone Bad II: Kill Superman. And while you wait, you can check the above clip to get a brief listen of what you can expect. Art direction by Visual High Life.

DOWNLOAD: Hannibal King – Villians Gone Bad (Beat Tape)

noreply@blogger.com (SoundSugar) — Wed, 05 May 2010 13:38:00 +0000

Kiesza rocks it live at Arlenes Grocery

Canadian- born Kiesza is a soulful young singer/songwriter whose growing fan base has made her an instant hit on independent music review site, thesixtyone.com. Kiesza blends pop, folk, orchestral and jazz influences with intricate, emotional lyrics that reflect introspective and deeply personal experiences.

Her pure, hypnotic voice is showcased on the popular song, Burning Man, that rocketed in popularity within one week on thesixtyone, going from 0 to 515 hearts (the site’s ranking system) – a rare accomplishment for a newcomer. With nowhere to go but forward, there is nothing stopping this ambitious young woman from making an impact on the music scene. Discover more music from Kiesza on her official myspace page!

Lupe Fiasco – I’m Beamin’ (Video)

No words. Just enjoy. Directed by IllusiveMedia.

Updated with a working link and – more importantly- proper tags, here’s the sequel to Jeezy’s Tap Or Die mixtape, this time with Don Cannon on the boards. Tracklist and link down bottom.

DOWNLOAD: Young Jeezy – Trap Or Die 2 (Mixtape)

Mansions On the Moon – Birdsong (Video)

Another victory for Mansions On the Moon

noreply@blogger.com (SoundSugar) — Mon, 22 Mar 2010 00:19:00 +0000

Live@SXSW... video snippets that are so hot right now!

Athens, Georgia's Mathew Houck sings "At Death, A Proclamation" from the 2007 Phosphorescent release "Pride."

Los Angeles's Shadow Shadow Shade perform "Did Not the Lights Go Out For You."

Austin-based sextet the Black Angels perform "You on the Run" from the 2008 release "Directions to See a Ghost."

MORE SXSW UPDATES ON THE WAY!"

noreply@blogger.com (SoundSugar) — Sun, 21 Mar 2010 21:48:00 +0000

Live@SXSW... So Hot Right Now!

Spoon performing at STUBBS during SXSW 2010

As SXSW Interactive bleeds into SXSW Music, the crowd suddenly shifts. One geek joked that SXSWi is definitely over when the 'faux-hawks and beards' arrive. And once the volume knob starts cranking on Sixth Street, the laptops definitely need to be tucked away. Layer in St. Patrick's Day festivities, and the party-in-the-streets insanity is complete.

In fact, SXSW Music itself is almost like a physical manifestation of the internet. Log onto the streets of Austin, and endless variety comes with a price tag; namely chaos and an overabundance of choice. That opens opportunities for curating showcasers - whether Fader, eMusic, Duck Down, Digiwaxx, NPR, URB, KCRW, or Perez - as well as curating technologies and apps.

Ten foot tall Gibson guitar sculptures to exhibit throughout city for charity.

AUSTIN, TX - Gibson Guitar announced the launch of Austin GuitarTown, a public arts project that will feature up to fifty (50) 10-foot tall fiberglass Gibson guitars painted by visual artists and celebrities. The project launched with a special announcement hosted by the Honorable Mayor Will Wynn and musical legend Ray Benson on Wednesday, April 12 at 11:00 AM at City Hall Pavilion (301 W. Second Street). Co-chairs of the Austin GuitarTown project, Mayor Wynn and Benson, unveiled an exclusive ten foot tall guitar sculpture featuring the Lone Star state’s flag which is on loan by Gibson Guitar as part of the kickoff of the project. The sculpture was painted by visual artist Jason Sorey and the country band Little Texas and made its way from Nashville to Austin two weeks ago. Henry Juszkiewicz, Chairman and CEO of Gibson Guitar serves as Chairperson of the project.

Radney Foster at the Gibson Guitar SXSW day party!

And like most years, a number of acts are buzzing the hardest. Sure, bigger names like Muse are easy picks, and SXSW is colossal enough to attract established superstars every year (often unannounced). But a number of up-and-comers are probably more interesting.

Perhaps organic discovery is the most rewarding process. Everyone is heading to one showcase or another, and word-of-mouth - whether online or off - tends to herd listeners. But some of the best gems come randomly, the result of unplanned sampling.

Video: Fool's Gold - "Suprise Hotel" - SXSW 2010 Showcasing Artist

ShareThis

ESSO – Popularly Anti-Social

noreply@blogger.com (SoundSugar) — Thu, 31 Dec 2009 05:33:00 +0000

As of late ESSO has been keeping quite, plotting for the future. And after a convo I had with dude last night, y’all better get ready for the Harlemite’s 2010 takeover. Before the year ends though he wanted to let loose of this latest joint, over the Clipse x Cam’ron collaboration. Thanks
Low.

DOWNLOAD: ESSO – Popularly Anti-Social | Mediafire

Cookin’ Soul Presents: Game & Jay-Z – The RED Album (Mixtape)

noreply@blogger.com (SoundSugar) — Thu, 31 Dec 2009 02:13:00 +0000

DOWNLOAD:
Cookin’ Soul Presents: Game & Jay-Z – The RED Album | Usershare

Public Enemy In Washington, DC (Video)

noreply@blogger.com (SoundSugar) — Thu, 31 Dec 2009 02:00:00 +0000

FULL SCREEN
The Sounds of VTech / oc_vtech_final7-largeqt

On November 18th, Virgin Mobile brought Public Enemy to D.C. for a good cause to celebrate the three year anniversary of National Homeless Awareness Month designated by Congress through the efforts of the RE*Generation, Virgin Mobile’s charity arm. Proceeds from the event went to benefiting homeless youth, helping them keep warm, and giving back to the Sasha Bruce House, where a young person who needs a place to stay – for any reason – can find a home here.

Virgin Mobile sponsored an early Thanksgiving dinner at the Sasha Bruce House with Public Enemy, with a tour of the shelter and participated in a Q&A session with the kids and press.

Once they finished, they proceeded to George Washington University’s Lisner Auditorium in true Public Enemy style, on the back of a flat bed truck, livening up the mood by giving a small performance on the streets of D.C. before taking the stage for one unforgettable night.

“Don’t believe the hype. Just because everyone says the economy’s coming back doesn’t mean that homeless kids don’t need a place to sleep and keep warm.” – Flavor Flav of Public Enemy

That’s the smartest thing Flavor Flav has said in… ever. Is that really saying much, though?

Yelawolf – Dirt Road

noreply@blogger.com (SoundSugar) — Wed, 30 Dec 2009 05:37:00 +0000

DOWNLOAD:
Yelawolf – Dirt Road | Mediafire

H.O.P.E. – Everybody (Freestyle)

noreply@blogger.com (SoundSugar) — Wed, 30 Dec 2009 05:31:00 +0000

Here’s the latest track from Compton’s finest, going over Diddy’s former he-bitch’s lone single.. I Believe in Hope Wright is coming soon.

DOWNLOAD:
H.O.P.E. – Everybody (Freestyle) |
Mediafire

Robert Schneider's "Robbert Bobbert" Being Developed For Animated TV Series

noreply@blogger.com (SoundSugar) — Mon, 23 Feb 2009 03:18:00 +0000

Robert Schneider's "Robbert Bobbert" Being Developed For Animated TV Series.
Robbert Bobbert and The Bubble Machine Out Now; Featured on Three ABC News Segments 2/23 and 3/1!

(New York, NY): Robert Schneider's "Robbert Bobbert" kids character, released 2/17 to the public via his Robbert Bobbert and The Bubble Machine album (Little Monster), is being developed into a television series by Puny Entertainment, the animation team behind Nickelodeon's hit kids show "Yo Gabba Gabba", and Creative Producer Carolyn Suzuki, who has developed and produced hits for the Disney Channel and Cartoon Network.
Additionally, Schneider, the mind behind one of indie-rock's seminal music groups, The Apples in stereo, is being featured on ABC News in three separate segments.

Download "We R Super Heroes" on SoundSugar

Amazon.com Widgets

Relix & Jambands.com were bought, saved

noreply@blogger.com (SoundSugar) — Mon, 23 Feb 2009 02:28:00 +0000

Relix Magazine was launched by Les Kippel in 1974, stemming from the underground network of Grateful Dead concert-goers who taped and traded live recordings. The newsletter was originally distributed under the name Dead Relix and featured hand-drawn black and white concept artwork covers created by artist Gary Kroman. Averaging 20 pages per issue, the articles focused on taping tips and Grateful Dead news.

Even as early as the second issue, non-Dead editorial found its way into Dead Relix's pages and, with the addition of an editor, the young magazine expanded its scope to cover the music of the San Francisco Bay Area psychedelic scene. By 1978, Dead Relix contained reviews, essays, short features and artwork, and had dropped the "Dead" from its title. In a world that was moving away from hippy culture, Relix managed to remain relevant, by expanding its scope of coverage beyond "Bay Area psychedelic rock" to cover genres as diverse as reggae and heavy metal, with varying degrees of success. Wiki

To quote an anonymous source, someone "bought RELIX and Jambands.com and saved both from going under." The investor "didn't buy any of the other Zenbu entities though."

Amazon.com Widgets

Sweet Noise from Soundsugar

noreply@blogger.com (SoundSugar) — Mon, 23 Feb 2009 01:48:00 +0000

Sprinkled with tid bits from our fav blogs and The Latest Sweet Noise from Soundsugar.net

The SoundSugar scoop on some hip ass music

Video: “Officer Ricky” Episode 4 (Suge Knight & Akon)

SoundSugar is about to jump into the game with some seriously cool new music tools and since our cool little development team seems to be on top of their game, I’m going to focus on getting this blog tight enough for some real writers to jump on and contribute…always so much shit to do when one loves music and speaking on it…

Amazon.com Widgets

Right off the back I wanna acknowledge Nah Right ( www.nahright.com ) and 2dopeboyz ( www.2dopeboyz.com ) I wish they would respond to how much we love them and all that awesome hip-hop news and soulful tid bits they spit out every second...and lemmie not forget onSmash (www.onsmash.com) and okay player (www.okayplayer.com). Yes there are more but these are right up at the top...Holla!

Nickelus F - Trenches

noreply@blogger.com (SoundSugar) — Mon, 23 Feb 2009 01:42:00 +0000

Here’s the bonus track off Nickelus F’s Heathen, dropping the 26th. But we thought we should also add a few links so you can stay up on whats good and get ya mind right;

Nickelus F’s Heathen on Myspace

Nickelus F Press Kit: Click Here

Download the bonus track off Nickelus F’s Heathen, dropping the 26th

Amazon.com Widgets

Jadakiss - Death Wish f. Lil Wayne [NoDJ]

noreply@blogger.com (SoundSugar) — Mon, 23 Jun 2008 03:47:00 +0000

Jadakiss - Death Wish f. Lil Wayne [NoDJ]

From 2dopeboyz.com. One of the hippest blogs Onlne.

Meka dropped the
DJ infested version
of this a little while back and now we get the album version courtesy of OS (who says another big southern artist is supposed to lay a verse before

The Last Kiss
hits stores. Look out for the
Kiss My Ass
mixtape, coming soon!

DOWNLOAD:
Jadakiss - Death Wish f. Lil Wayne
|
Mediafire
[NoDJ]

Alien Transmission

noreply@blogger.com (SoundSugar) — Mon, 07 Apr 2008 04:04:00 +0000

Acid Mothers Temple and the Melting Paraiso U.F.O.

Johnny Brenda’s, March 24, 2008

The SoundSugar Scoop from our man Geoff

The geometric grid of Center City Philadelphia yields uneasily to the patchwork of cobblestone alleys and narrow streets that mark passage to the city’s Northeast section. The angular avenues, brought into being by the organic movement of goods and people between the farms and estates of the interior and the bustling markets along the mighty Delaware River and later hemmed in and rolled back by the soaring buttresses of Interstate 95, serve as a reminder of a forgotten pastoral culture of cattle paths, river landings, and dockside merchants. Our car snaked up Delaware Avenue, in the shadow of the highway, past innumerable dead ends and industrial lots, toward Johnny Brenda’s, a modern marketplace where, soon, we would delight in the psychedelic wares of Acid Mothers Temple and the Melting Paraiso U.F.O., exotic sound-merchants from the Far East.

As we nosed forward, we came upon a great break in the grey: a vehicle engulfed in flames, crackling under a black column of smoke, at once a sentinel that propelled us onward and an omen that portended danger and savagery. We hastily left that scene behind, found a parking spot on a side street (safe from fire, it would seem), and made our way to the side staircase of the bar.

Butterflies of excitement washed over me as I ascended the stairs, anxious for the sensory disorganization and overload that I have come to expect from an Acid Mothers Temple show. We steeled ourselves as we left the world outside, ascending the dim stairway into the aerie of the unknown, the playground of the muses.

Within the mortal plane, Acid Mothers Temple is nominally led by guitarist and “speed guru” Kawabata Makoto, a veteran of improvisational outfits such as Mainliner and Musica Transonic. In 1995, Makoto recorded a series of casual jams with an assortment of lesser known musicians and friends from the fringes of the underground scene of his adopted hometown of Nagoya. The results were edited and overdubbed to create a jittery fusion of hard rock and electronic sounds that Makoto dubbed “extreme trip music.” Soon, a collective coalesced around the leadership of Makoto to continue to create and record expansive music that suggested the influence of the progressive and psychedelic rock of the seventies and the avant-garde experiments of seminal 20th-century composer Karlheinz Stockhausen.

Despite the inherent difficulties in translating his collage concepts to the concert hall, Makoto formed a group to perform under the name Acid Mothers Temple; an overseas tour was planned for 1998. (Several iterations of the Acid Mothers Temple collective have taken to the stage in the decade since, using a variety of names. However fluid the lineup, the band remains dedicated to exploration and improvisation.)

I first saw Acid Mothers Temple on an overheated June night in 2004. My initial impression as I strolled into the basement of the Unitarian Church in Philadelphia, which had been transformed into an impromptu concert venue, was that I had accidentally walked in on a middle-school dance. It was quiet except for an undercurrent of mumbled conversations; groups of disinterested young people sequestered themselves along the candy-colored walls. Some confused-looking men with long hair were milling about the stage, adjusting the equipment. As I pondered whether this was the band or its road crew, the first notes started to bubble out of the comically massive amplifiers. Attention slowly turned to the band as bassist Tsuyama Atsushi laid down a mesmerizing foundation of repeating figures over the rumble of Koizumi Hajime’s drums. Higashi Hiroshi stood center stage, leaning over a synthesizer, purple lights framing his flowing gray hair. On his left stalked the mighty Makoto, adding to the ambience with patient arpeggios.

Suddenly, without warning, peals of electric noise blasted forth from the speakers, tearing the fabric of the quiet night neatly in two. The band showed great discipline by keeping the groove steady as Makoto stepped forward and released chromatic sheets of sound. As he drew out more profound tones from deep within the instrument, the speed guru held his guitar vertically, its head pointed to the heavens. The posture was reverent, not prurient; the resultant energy was spiritual, not sexual or onanistic. As the band moved through its unforgettable set, the crowd and the band became one, merging in a frenzied ritual akin to worship. Time became distorted: How long had they been playing? An hour? Two hours? Have they always been playing?

When the band finally left the stage for the night, the hollow-eyed crowd staggered out of the sweltering venue. Haggard faces wore the blank expressions of shellshock. People began to remove whatever items of clothing that they dared and wring them dry. I’m not sure if the pervasive silence that I made note of on the way out was the natural reaction to such an onslaught or if it reflected an inability to comprehend or elucidate what we had just witnessed; maybe it was the natural result of the hearing damage that we all must have endured.

Back to the present: I entered the bar area and surveyed the scene. On the ground to my left, sitting against the wall behind the merchandise table, was Makoto. As I caught his eye, I gave him a nod and a smile. In the split second before he returned the gesture, I thought, Did I give him too much nod? Was it more of a long nod or a bow? Oh Christ, does he think I bowed to him because he’s Japanese, or maybe because I have some celebrity thing going on? I’m an ignoramus.

I bought a drink at the bar and then staked out a plum spot in front of the stage before the show started. The performance area at Johnny Brenda’s, in the room beyond the bar, is intimate, almost claustrophobic. The only other show I had seen there was an acoustic evening with Bert Jansch, so I was unsure how the heavy rain of Acid Mothers Temple would go over in the limited confines. As it turned out, the band adjusted their leaden attack to accommodate. I don’t mean to suggest that they weren’t loud, or had somehow “gone soft”; on the contrary, the volume level was high enough that I was wise to keep my distance from the main speakers, just not loud enough to peel back the varnish off the walls. This restraint on the part of the soundman rewarded us with a mix of instruments that stayed clear and sharp all night long. (A recording of the show that I heard later confirmed my observation.)

The band took the stage to a smattering of cheers. The first phantom notes from the theremin drifted over the crowd, joined by a droning guitar. A feedback assault poured out of the speakers, blitzing the crowd. A ferocious guitar riff weaved its way to a dramatic conclusion, ending with a crunchy low E. Bassist Atsushi and Shimura Koji, the drummer, locked into a sludgy, loping groove that threatened to swallow up the guitar lines like mud over spinning tires. Deep-bass guttural chanting soon joined the mix. The effect of the Dorian-mode melodic lines, the quicksand-stop rhythm, the deep-throat singing, and the bodies swaying in synchrony was a sharpening of the senses coupled with a feeling of great calm. It brought to mind the meditative alpha-state or the sharp focus attained through intense study, fasting, or other ritualistic behaviors. When I looked again at the band, they had taken on an otherworldly glow. They looked less like men than animated devil-gods receiving and broadcasting distant signals consisting of Gregorian chants, space noise, and seismic waves from deep within the mantle of the Earth. For a moment, I felt as if I were watching Cartoon Network’s “Metalocalypse,” played at half speed, after drinking my weight in cough syrup.

The next song opened with wah-wah tones playing call-and-response with a lone voice, until the sounds began to intermingle, weaving their way to the slab-guitar riff of “Dark Stars in the Dazzling Sky.” The music lurched forward deliberately, punctuated by vocalizations that modulated from low to high register—Frankie Valli, live from the Mongolian steppes. The music dissolved to feedback, wailing electronic noises, and, eventually, to bass alone. Suddenly, the band shot back. Koji rode the hi-hats to construct a strident double-time rhythm, as Makoto fought his space wars. Atsushi’s kinetic bass lines spun in an orderly orbit like electrons. Hiroshi’s synth sounds hovered well above it all, mutating, unstable. Brief drill-sergeant outbursts caused momentary distress, like biting into aluminum foil, before disappearing beneath the music as immediately as they emerged. A whistling jam preceded the telltale bowed guitar sounds of the Occitan traditional song, “La Nòvia.” Hiroshi and Makoto established a sympathetic interplay before a renewed guitar attack introduced another song from the ancient Mediterranean region of Occitania, “La Le Lo.” The evocative tune reminds me of a sea shanty; Acid Mothers Temple is quite interested in traditional folk music, and their acumen for interpretation shines in this arrangement.

Following a brief improvisational interlude led by Atsushi, the air cleared, and the pleasant, lilting arpeggios of “Pink Lady Lemonade” were greeted with cheers of recognition from the crowd. The drums propelled the music forward, and the band created a delicate latticework over the next 10 minutes, repeating a simple chord progression of C major to D major. Makoto’s arpeggios created an aggressive tension, moving from the major third to the unsettling tritone over the C, but resolving to the sweet perfect-fourth suspension from a major third over the D. Makoto held the framework together in unison with Koji as the drummer lengthened the measures, modulating from the dominant 4/4 time signature to 5/4, then to 6/4. Atsushi alternated between playing it straight and firing off blistering bass runs. Finally, Makoto broke from the hypnotic groove, setting squealing guitar rounds over the foundation. Hiroshi added ambient electronic sound and then supportive guitar, playing a host of utility roles, as the music built toward an anti-crescendo of bowed guitar and drums. Atsushi kicked in with a bass line that suggested Pink Floyd’s “See Emily Play,” and the band was off again. This time, the guitar played a series of six notes in three I–V movements, each couplet beginning on the fourth of the root note of the preceding couplet, heralding the show-stopping closer, “Speed Guru.”

After several more minutes of trancelike build-up, a final assault was unleashed. Makoto held the neck of his guitar aloft, in his worship pose, fusing with the instrument to emote ever more sublime frequencies. Hiroshi sent arcs of electronic sound in wild vectors. The music became pure entropy, an incomprehensible disorder. As the players sounded the final notes, Makoto hung his guitar, which had threatened all night to fly away under its own impossible power, on a hook that protruded from the face of the balcony. The instrument was left to hover above the stage as the band exited. The crowd, however exhausted, still exhorted the band with several minutes of claps and cheers for one more putsch, but there was to be no encore. Just as well: The state of transcendent passion, love, and pure joy that had been reached by the band and the audience alike could not have been improved upon. We walked out feeling not exhausted, but exalted. We floated above the sidewalk as we made our way to the car. Touching ground again, cool breeze brushing my cheek, I realized anew how good it felt to be alive. Alive and free.

About SoundSugar

noreply@blogger.com (SoundSugar) — Sun, 25 Nov 2007 04:27:00 +0000

SoundSugar is an Independent Music portal that was created by Musicians and Music lovers for Musicians and people who love music! Our goal has always been clear:

We simply aspire to create the best possible outlet for Independent Bands and Artists to present, sell & license their Music to a Global Fan Base....and to provide that audience with a world of possibilities. Many of the functions of our website will be familiar to you....like auditioning & buying new music or creating playlists of your favorite indie artists & sharing those playlists with friends!Many functions of our online music community will enhance what you've come to expect from a music website.

Like creative and different ways to search for new music. You can search for a band playing exactly the kind of music that you like and then refine your search for artists located in your city or state.....or reach out to Any Country in the world.See what Goth bands are doing in Japan....or what the alternative scene is like in Luxembourg....try a completely random search of any specific style or search all genres and watch the artists page light up with names you've never heard before!

What really makes SoundSugar stand out in an Ocean of independent Music websites and Social Networks is "How we do it" and "Why we do it"...
We all know technology moves! Fortunately the development of SoundSugar coincides with new technologies that allow us to plan for the future...with an Open Ended Architecture that knows no boundaries.

We use your needs, suggestions and ideas as guidelines to build cool stuff for artists and fans! New website functions and applications will always evolve here at SoundSugar. Seamless integration between what you love about music, and what we need to do to "Make It happen" stays on our table daily.You will grow as a listener and your wants and needs will change.....and we'll grow with you...

Soon you will navigate on a completely state of the art enhanced music player that shuns the limitations of flash technology and unleashes our uniquely flexible secret weapon built with MGScript....which will link you to the artist's video content, allow you to buy the music that you're listening to,or email it as a link to your friends to without interruption....even allow you to view the artists lyrics while listening to their music!

Visit SoundSugar Now!

SoundSugar

November Artists On SoundSugar Week #1

Wilco

Del The Funky Homosapien

Leaving Venus

La Scana Del Domingo

October Artists On SoundSugar Week #3

The Olive League

Gotye

Leaving Venus

La Scana Del Domingo

Gorillaz – The Fall (Free Album)

Erykah Badu – Window Seat (rmx) f. Rick Ross (Video)

Hannibal King – Kill Superman ep.2 (Video)

Kiesza rocks it live at Arlenes Grocery

Lupe Fiasco – I’m Beamin’ (Video)

Mansions On the Moon – Birdsong (Video)

Live@SXSW... video snippets that are so hot right now!

Live@SXSW... So Hot Right Now!

Video: Fool's Gold - "Suprise Hotel" - SXSW 2010 Showcasing Artist

ESSO – Popularly Anti-Social

Cookin’ Soul Presents: Game & Jay-Z – The RED Album (Mixtape)

Public Enemy In Washington, DC (Video)

Yelawolf – Dirt Road

H.O.P.E. – Everybody (Freestyle)

Robert Schneider's "Robbert Bobbert" Being Developed For Animated TV Series

Relix & Jambands.com were bought, saved

Sweet Noise from Soundsugar

Sprinkled with tid bits from our fav blogs and The Latest Sweet Noise from Soundsugar.net

Video: “Officer Ricky” Episode 4 (Suge Knight & Akon)

Nickelus F - Trenches

Jadakiss - Death Wish f. Lil Wayne [NoDJ]

Jadakiss - Death Wish f. Lil Wayne [NoDJ]

Alien Transmission

Acid Mothers Temple and the Melting Paraiso U.F.O. Johnny Brenda’s, March 24, 2008

About SoundSugar

Acid Mothers Temple and the Melting Paraiso U.F.O.

Johnny Brenda’s, March 24, 2008