ovde samo iz dijaspore imam podršku, bezmalo ;)

 

de si bre ti? ajd vidi da dođeš ranije i zakačiš ostala dva opasna koncerta za trinaestogodišnji jubilej :)

ma ne, mislio sam na podrsku u vidu predgrupe:)

 

sve sam pokusao, al¡ ne vredi, mucenicki zivot je moj :(

bade, kakav trinaestogodisnji jubilej? jel zato sve nakrcano u septembru kad ja ne mogu da dodjem? mada mozda na ovo i stignem.

Edited August 26, 201410 yr by batticuore

al' je podrška, ubilo se - dodjem, cuvaj mi kartu.

+1

 

al samo pola karte, da ne gledam gay pedere iz mnjenja.

Bade, ja bih uslovio ovih par reakcionara da se učlane u mRenje fan club ako žele da gledaju čekićare ;)

ma ne, mislio sam na podrsku u vidu predgrupe:)

 

sve sam pokusao, al¡ ne vredi, mucenicki zivot je moj :(

ejebajga :(

 

bade, kakav trinaestogodisnji jubilej? jel zato sve nakrcano u septembru kad ja ne mogu da dodjem? mada mozda na ovo i stignem.

eh, a od tebe sam očekivao da ćeš odmah da razumeš :( 

 

+1

 

al samo pola karte, da ne gledam gay pedere iz mnjenja.

na više načina sam probao da eskiviram, ali badava. 

 

 

Karte u pretprodaji od ponedeljka, 1. septembra:  Pinball Wizard Records + Kc Grad

+1

 

al samo pola karte, da ne gledam gay pedere iz mnjenja.

 

Reci to na srpskom. I nismo gej pederi, nego pederi cigani, sa majčine strane šiptarskog porekla a sa očeve afrocrnačkog. I ispišaću ti se u pivo koje ću da ti uzmem na crtu.

Reci to na srpskom. I nismo gej pederi, nego pederi cigani, sa majčine strane šiptarskog porekla a sa očeve afrocrnačkog. I ispišaću ti se u pivo koje ću da ti uzmem na crtu.

ocu i ja pivo, bez dodataka.

Kad uzimam na crtu, uslov je da se ispišam u pivo :(

 

Just as a new generation of musicians is finding inspiration in lo-fi indie from the early 1990s,Jack Yarber has more or less abandoned the scene for a grittier sound that's more junkyard than garage. A onetime member of Memphis stalwarts the Compulsive Gamblers and the Oblivians, he's also recorded a handful of albums under a variety of aliases, plying a mid-fi, R&B-tinged boogie rock that has more in common with Suicide or how you wish New York Dolls sounded than with his former projects. Rat City, released under the Jack Oblivian moniker, is a solo record in the truest sense, with Yarber playing almost all the instruments himself and only occasionally outsourcing to local musicians like librarian/badass Ross Johnson and local guitarist John Paul Keith. These songs are Camaro'ed out, streamlined for headlong tempos and seedy urgency.

Rat City is not ironic cock rock: Oblivian betrays no smirk, just a coolly stoic expression capped with dark sunglasses. What should be limiting, however, is instead a blueprint for a stylistically diverse album, one that changes shape and direction almost with every song. Rat City is a bustling, ungentrified metropolis: Memphis standing in for 1970s New York City. With its disco-derived bassline and close-to-the chest drumming, "Crime of Love" wields a mirrorball as a murder weapon, and Yarber's cover of "Moses & Me" mugs the Tommy James original, drenching it in distortion but maintaining the original blues-pop energy. His greatest reach may be the album's greatest payoff: Local indie-pop outfit Star & Micey back him on "Girl on the Beach", which sounds like boardwalk-era Springsteen and Dexys Midnight Runners kicking over Wavves' sandcastle. It's an adult summer anthem with a fall release, a discrepancy that more or less sums up the song's sense of wistful frustration with unattainable people and unreachable places.

The downside of this rambling aesthetic is that Yarber occasionally comes across as a cipher, too cool and detached to maintain a specific perspective from one song to the next. Instead, what threads the album together isn't his vocals or even the songwriting, but the guitars. Yarber is a slyly inventive player, deploying concise riffs in a variety of styles and changing them subtly with each repetition. By himself, he's a commanding presence, but he's even better when he can bounce off a second guitarist, like Keith or Jake Vest. They bluster bluesily through "Mass Confusion" and roll out Bakersfield variants on "Kidnapper", simultaneously enabling the stylistic digressions to cohere into a focused record. They lend Rat City its punk shrewdness and endow these songs with a prickly intelligence that makes what could have been dumb rock sound seriously smart.

 

http://pitchfork.com/reviews/albums/15841-rat-city/

Žikica Simić pre neku godinu napisao opasnu recenziju Oblivianovog albuma "The Disco Outlaw":

http://www.politika.rs/rubrike/spektar/ritam/Poslednje-skretanje-za-Memfis.sr.html

https://www.youtube.com/watch?v=1c9FPnXedY8

Žikica Simić, recenzija koncerta Jacka Obliviana u Beogradu pre 7 godina:

http://www.b92.net/kultura/pop/recenzije.php?nav_id=264247

 

 

 

Another in the epic list of bands of underground garage rock legend Jack Yarber, the Tearjerkershave the same soulful mix of scuzzy rock and blues as any of his other projects. The stomping R&B of "White Lie, Black Eye" opens it up, combining the attitude of the Oblivians with the sensitivity of Cheap Trick's Robin Zander. "Stupid Cupid" has the same approach, but with a catchy '70s-type rock riff and a great dual guitar solo. Then the album opens up to a more twisted side, with the Stooges-esque "Wire Tapper Calling" and "Dollar to Death" sounding like a less distorted, keyboard-happy Ramones. Much like the Compulsive Gamblers or several other of his bands, what makes this so special is Yarber's interpretation of classic song styles, mixed with an uncanny ability to fill each self-deprecating lyric with a complete range of emotion and intensity. The psycho-country of "Bank, Gun, Jail" provides a great outlaw story, with Yarber's typically creative and at times humorous lyrics ("She was my Bonnie, I was her Clyde"). Other standouts include the frantic, upbeat crunch of "Earthquake Date" and the Western twang and futility of "living behind a tin badge" on "Devil's Border." Ten of the 12 tracks are originals, and Bad Mood Rising closes with "D.O.A. Blues," an unusual but solid garage-blues cover of a Van Halen song. Yarber's honesty and delivery, not to mention his appreciation of a well-written song, somehow make this scattered collection of songs sound timeless and essential.