May 26th: Hanging out with The Frail and Sporting Life

27 05 2011

Stream the show archive:
Or download the MP3


The Frail
http://www.tricycle-records.com/artist/thefrail/
Recently named the best up-and-coming act in San Francisco by Deli Magazine, The Frail has already been featured on MTV, won the viewer’s choice award in Owl Magazine’s “Video Makes The Radio Star” contest, and played alongside the likes of Justice, Moby and Goldfrapp. Of course, momentum like this doesn’t happen over night.

Over the past four years, velvet-throated vocalist Daniel Lannon and hyper-prolific producer Kevin Durr have pushed the group from a Craigslist collaboration to a stage-shattering electro-pop act worthy of national acclaim. Pop-indie hybrids, the group’s electro-tinged cuts now toe the line between falsetto homage to Michael Jackson and the hyper-literate electro experimentation of DFA acts like LCD Soundsystem.


Sporting Life
http://www.ilivethesportinglife.com/
This agreement will confirm the understanding between SPORTING LIFE (“Sporting Life”), a California band with a principal office located in San Francisco, CA, and ROCK MUSIC FANS (“RMF”), regarding the creation by Sporting Life and listening by RMF, as detailed herein, of kickass rock n’ roll tunes (the “Sporting Life Singles”), which such tunes are created by recording the amplification of sounds caused by: (i) the vibrations of an assortment of wooden stringed instruments, including, but not limited to, Guitar (“Keith Brasel,” “Andrew Gomez,” “Ryan McGee”) and Bass (“Mike Soss”); (ii) an electronic approximation of the act of striking steel cords with a felt-covered hammer, thus creating a vibration at the resonant frequency of said cords, such approximation being more commonly referred to as “keyboards” (“Keith Brasel,” “Andrew Gomez”); (iii) the rhythmic striking of a set of membranous percussion instruments with wooden sticks, such activity being colloquially described as “drumming” (“Terry Yerves”); and the use of controlled and sustained vocalizations at such pitches and rhythms as to serve a complementary function to the sounds created by the various professional musical implements described herein, such vocalizations as shall hereafter be known as “singing” or “vocals” (“Keith Brasel,” “Andrew Gomez”).

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