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Beiträge
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Am Freitag ist mir auf einmal wieder diese Band in den Sinn gekommen.
Sie waren mit dem Song „Everything’s Fucked“ auf einer von thokei’s Tapes vertreten, wenn ich mich richtig erinnere.
Nun – thokei oder auch andere: Welche Album ist als Einstieg gut, und welches danach? Und wie ist die „In the fishtank“ Zusammenarbeit mit Low? Was gibt es sonst noch zu dieser Band zu sagen?Danke schon im vorraus!
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25 Jahre „Parachutes“ von Coldplay: Traurige Zuversicht
WerbungHabe gerade zum wiederholten Male „Everything’s Fucked“ gehört. Wow – eine verzerrte Geige. Aber trotzdem sehr schöner Song.
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Die meisten Männer können nur nicht so perfekt unterdrücken, wie die Frauen es gerne hätten.
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
ach ja…als einstieg..eigentlich klingen sie sehr ähnlich, wobei ich das neue album noch nicht kenne. ch würde das 2.album von ihnen als einstieh nehmen…es heißt “ The Dirty Three „..das ist auch das von dir erwähnte stück drauf.
Momantan touren sie in den usa….in europa haben sie sich recht rar gemacht, in der letzten zeit. Sie sollen auch sehr verstreut leben…der geiger in Paris ( spielt auch noch bei den Bad seeds )…der drummer in London…und der gitarrist ( früher bei Venom P.Stinger) in Chicago..
Die cd mit LOW ist auch ganz schön..obwohl ich mir beide bands auch etwas übergehört habe…bin momentan auf „entzug“ sozusagen….auch die musik von LOW ist ja etwas „beschränkt“…zumindest die alten sachen.
:D
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Für alle, die beim Lesen dieses Threads die Stirne runzeln:
Bei „The Dirty Three“ spielt Warren Ellis (Geige) von den Bad Seeds (Nick Cave) mit!
Grandiose Instrumentalmusik!!!B.R.
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
Im Herbst ( Oktober ) soll es ein neues album von ihnen geben. Mit 19 songs!
Die stücke sollen alle eine länge von jeweils ca. 3minuten haben.
Weiß nicht so recht, was ich davon halten soll, da ihre songs eigentlich immer einen längeren/intensiven Aufbau haben. Als Gäste sollen Cat Power und Sally Timms (Mekons) dabei sein.--
Beste Band aller Zeiten.
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Da ich die Band nicht kenne: Was macht sie für Musik? prog. Metal?
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AnonymRegistriert seit: 01.01.1970
Beiträge: 0
Len? prog. Metal?
nein!
zitat aus Trouserpress:
It’s not just the Dirty Three’s unusual lineup — violin, guitar and drums — that makes the Melbourne, Australia, trio special. The group’s rumbling, kinetic sound bypasses the pure pleasure of surf instrumentals and even the heavier reality of Australia’s fine swamp-rock tradition for something altogether more dynamic. Led by violin player Warren Ellis (a sometime Robert Forster sideman whose breathless rants during live shows add a further dimension), the Dirty Three fold into their burly rhythms and squalls of guitar noise a force rife with pain and possibilities.
wobei man „surf instrumentals“ und „swamprock“ nicht so wörtlich nehmen sollte. Der letzte satz trifft es eigentlich am besten.
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thokeinein!
zitat aus Trouserpress:
It’s not just the Dirty Three’s unusual lineup — violin, guitar and drums — that makes the Melbourne, Australia, trio special. The group’s rumbling, kinetic sound bypasses the pure pleasure of surf instrumentals and even the heavier reality of Australia’s fine swamp-rock tradition for something altogether more dynamic. Led by violin player Warren Ellis (a sometime Robert Forster sideman whose breathless rants during live shows add a further dimension), the Dirty Three fold into their burly rhythms and squalls of guitar noise a force rife with pain and possibilities.
Das hört sich interessant an. Werde ich bei Gelegenheit mal probehören.
Danke dir!--
Dirty Three / Josh Pearson – Doris / So Lonesome I Could Cry
This is a very special, very limited double A-side Vinyl single featuring two very fine and respected artists indeed. This is a complete bellaunion.com exclusive – you won’t see this in any shops. Only 1,000 in existence.
A) Doris – Dirty Three
B) I’m So Lonesome I Could Cry – Josh Pearson (Ex-Lift to Experience)The single is released on March 13th.
1000 Miles: Dirty Three Live
This feature-length tour film on the Australian band’s last North American tour is currently in post-production at Truckstop Media / NYC. Shot entirely on the west coast of Canada and the United States, the film includes numerous live performances by the Dirty Three but transcends the typical tour film structure, ultimately providing a cinematic mediation on the nature and moods of touring itself: landscape, geography, time and the road.
Shot by Jeremy Medoff, Braden King and the fans of Dirty Three
Live recording by Joseph Ferguson and MIchael Krassner
Edited by Braden King and Ian WilliamsThe film is currently set to be released in the spring of 2006.
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
höer gerade zum ersten mal die „Cinder“ Cd. Wunderbar! War ja ein wenig skeptisch wg. 3-4-min. songs und gesang, passt aber prima.
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neue 7″ in weissem vinyl-
bei interesse bitte ne kurze pn da ich noch paar exemplare hab-
Dirty Three | Doris / So Lonesome I Could Cry
This is a very special, very limited double A-side Vinyl single featuring two very fine and respected artists indeed. This is a complete bellaunion.com exclusive – you won’t see this in any shops. Only 1,000 in existence.
A) Doris – Dirty Three
B) I’m So Lonesome I Could Cry – Josh Pearson (Ex-Lift to Experience)
Dirty Three in China ( Pitchfork Media):
Dirty Three: Showdown in Shanghai!
Trio’s performance incites riot; „The audience was going crazy.“ — Warren EllisDirty Three’s previously reported tour of Asia is over now, but it was an eventful one for the instrumental chamber rock trio. As originally reported in Shanghaiist, the band’s very first date– at Shanghai’s Yun Feng Theatre on October 26– erupted into chaos.
Before they even got to China, the country’s government „decided to cancel our performance permit because they thought we were a pornographic act due to our name. They asked that we change it to Dirt Three,“ wrote violinist Warren Ellis to Pitchfork in a detailed e-mail account of the event.
With the help of Australian trade organization Austrade and tour manager James Chen, the band were able to „seal the green light three days before the show, on the grounds that we were an important Australian cultural act and that we had no lyrics, so we couldn’t be corruptive.“
So far so good, but here’s where things get crazy. Yun Feng Theatre, which is owned by the People’s Liberation Army, „decided to move the show forward an hour“ in order to accommodate an acrobatic performance „for local dignities and officials. James was told to take the offer or cancel the show,“ Ellis continued.
„The government has been closing down lots of venues and making it difficult for bands to play, and this decision to change the show was seen by the audience as another attempt by the government to curb their self-expression.“
About that audience: many of them were students, and there were about 600 of them in attendance. So when– as a result of all this bureaucracy and confusion– „the theatre decided to light the house at 8 o’clock instead of 8:30 [and] then close the curtains, the audience stormed the stage.
„It was in the middle of ‚Sue’s Last Ride‘. I had my back to the crowd. When I turned, I noticed some people climbing the curtains trying to pull them open. The audience was going crazy. Probably one of the most exciting moments I have ever had onstage. You could hear them screaming over the music, and we were playing very loud. In the wings, the acrobats were dancing and watching. Then a guy ran and jumped on me.
„By this stage, I had no idea what was happening, but our tour manager was white and shaking, holding people and the curtains back, assisted by others. There were people everywhere: crowd, security, and acrobats. It was fantastic. When we stopped, the place exploded, and James [Chen] grabbed me and said, ‚Get the fuck out. The police are coming, and you may be arrested.‘ I asked why, and he said he couldn’t explain. We packed and were shielded into a waiting van. The audience was chanting ‚Dirty Three,‘ and the theatre staff shook our hands. Confusing? You bet.
„We were back in the hotel for half an hour, and my friend, guitar maker James Trussart, was at the show [and] called me and said all hell had broken loose, the people wouldn’t leave and were throwing things at the officials and that it was announced we would do another show. Jim [White, drummer] walked back to the venue to see what was happening. He spoke to some people but didn’t come back with any clearer picture.
„We played a second show that night in another venue. James Chen spent the whole night refunding people’s money. I didn’t know the price of the tickets. We do get involved in that sort of detail but really had no idea what was the norm in China, and you hope that your people represent you well. Dirty Three were not being paid for the tour, only costs and a token fee. [Chen] returned all the money he had. Then the theatre director felt sorry and gave him some to refund. Then a policeman gave him some from his pocket. I think they just wanted everyone to leave. He refunded 300 people and expected to refund the other 300 people over the following days.“
Fortunately for the band, said Ellis, „the rest of the dates were fine, maybe a little less exciting. We had a fantastic time and thank the people of China and Taiwan. A lot of these places don’t have the infrastructure or the experience dealing with this sort of thing, and it’s really part of the attraction of touring there: you never know what is going to happen.“
We’re still trying to wrap our heads around this ridiculous situation (an austere, instrumental rock trio inciting a riot?!), but it is pretty great that the theatre staff shook the band’s hands on their way out. There is at least one thing of which we’re fairly certain: no one in the audience noticed that „in the excitement, we missed that last change in ‚Sue’s Last Ride‘.“
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Dirty Three in China ( Pitchfork Media):
Dirty Three: Showdown in Shanghai!
Trio’s performance incites riot; „The audience was going crazy.“ — Warren EllisDirty Three’s previously reported tour of Asia is over now, but it was an eventful one for the instrumental chamber rock trio. As originally reported in Shanghaiist, the band’s very first date– at Shanghai’s Yun Feng Theatre on October 26– erupted into chaos.
Before they even got to China, the country’s government „decided to cancel our performance permit because they thought we were a pornographic act due to our name. They asked that we change it to Dirt Three,“ wrote violinist Warren Ellis to Pitchfork in a detailed e-mail account of the event.
With the help of Australian trade organization Austrade and tour manager James Chen, the band were able to „seal the green light three days before the show, on the grounds that we were an important Australian cultural act and that we had no lyrics, so we couldn’t be corruptive.“
So far so good, but here’s where things get crazy. Yun Feng Theatre, which is owned by the People’s Liberation Army, „decided to move the show forward an hour“ in order to accommodate an acrobatic performance „for local dignities and officials. James was told to take the offer or cancel the show,“ Ellis continued.
„The government has been closing down lots of venues and making it difficult for bands to play, and this decision to change the show was seen by the audience as another attempt by the government to curb their self-expression.“
About that audience: many of them were students, and there were about 600 of them in attendance. So when– as a result of all this bureaucracy and confusion– „the theatre decided to light the house at 8 o’clock instead of 8:30 [and] then close the curtains, the audience stormed the stage.
„It was in the middle of ‚Sue’s Last Ride‘. I had my back to the crowd. When I turned, I noticed some people climbing the curtains trying to pull them open. The audience was going crazy. Probably one of the most exciting moments I have ever had onstage. You could hear them screaming over the music, and we were playing very loud. In the wings, the acrobats were dancing and watching. Then a guy ran and jumped on me.
„By this stage, I had no idea what was happening, but our tour manager was white and shaking, holding people and the curtains back, assisted by others. There were people everywhere: crowd, security, and acrobats. It was fantastic. When we stopped, the place exploded, and James [Chen] grabbed me and said, ‚Get the fuck out. The police are coming, and you may be arrested.‘ I asked why, and he said he couldn’t explain. We packed and were shielded into a waiting van. The audience was chanting ‚Dirty Three,‘ and the theatre staff shook our hands. Confusing? You bet.
„We were back in the hotel for half an hour, and my friend, guitar maker James Trussart, was at the show [and] called me and said all hell had broken loose, the people wouldn’t leave and were throwing things at the officials and that it was announced we would do another show. Jim [White, drummer] walked back to the venue to see what was happening. He spoke to some people but didn’t come back with any clearer picture.
„We played a second show that night in another venue. James Chen spent the whole night refunding people’s money. I didn’t know the price of the tickets. We do get involved in that sort of detail but really had no idea what was the norm in China, and you hope that your people represent you well. Dirty Three were not being paid for the tour, only costs and a token fee. [Chen] returned all the money he had. Then the theatre director felt sorry and gave him some to refund. Then a policeman gave him some from his pocket. I think they just wanted everyone to leave. He refunded 300 people and expected to refund the other 300 people over the following days.“
Fortunately for the band, said Ellis, „the rest of the dates were fine, maybe a little less exciting. We had a fantastic time and thank the people of China and Taiwan. A lot of these places don’t have the infrastructure or the experience dealing with this sort of thing, and it’s really part of the attraction of touring there: you never know what is going to happen.“
We’re still trying to wrap our heads around this ridiculous situation (an austere, instrumental rock trio inciting a riot?!), but it is pretty great that the theatre staff shook the band’s hands on their way out. There is at least one thing of which we’re fairly certain: no one in the audience noticed that „in the excitement, we missed that last change in ‚Sue’s Last Ride‘.“
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