Spiegelworld at South Street Seaport

spiegelworldSpiegelworld will return to Pier 17 on the South Street Seaport for its third annual Summer carnival, running from August 6 – November 2nd 2008. Once again, Spiegelworld will deliver a non-stop program of ground-breaking theater, intimate concerts, brazen burlesque, the city’s top DJs and superb dining, and dancing under the stars, all at the one stunning waterfront location.

Over the course of 12 weeks, 50 bands and 60+ DJs will play the waterfront under the Brooklyn Bridge in not one but two tents this summer and fall. The second hand-sewn tent known as The Deluxe will mark the first time in American history that two Belgian traveling venues will be side by side.

In addition to dozens of live concerts and dance parties being presented this year, Spiegelworld New York will present the world premiere of Desir, a daring new theatrical circus experience. Inspired by the sexual, intellectual and artistic adventurers of early 20th century Paris, Desir will take audiences backstage at the greatest nightclub the world has known.

Absinthe, the number one NYC summer event since 2006, will once again take New York by storm with a brand new line up of talent from the seediest and sexiest cabaret dens of the world. The 2008 season will also present the filthy-rich host of Absinthe, The Gazillionaire, in the premiere of his very own fully staged variety show of questionable entertainment. The Gazillionaire’s Late Nite Lounge will play six nights a week in The Deluxe, with his band Fish Circus.

The festivities start off with cabaret diva Meow Meow & Tony Award winning performer, Justin Bond followed by Amanda Palmer of the Brechtian punk cabaret duo The Dresden Dolls, brings her electrifying solo repertoire in a reprise of her legendary Spiegeltent engagements across Europe and in celebration of her forthcoming album, Who Killed Amanda Palmer produced by Ben Folds.

Look for the full schedule to be posted soon!

Spiegelworld: website | myspace



As a Missourian fully aware of my state’s rivalry with Kansas, I knew I would be taking a risk in making the trek across the border to see the special screening of Air, the first full-length feature of Chris Blunk and Jeremy Osbern. Air is a film set in Kansas, starring Kansans and even written and produced by Kansans. With this screening, I would risk having to admit that Kansas is actually kind of cool.

A musical is a rather daunting task for a first film, but Blunk and Osbern pulled it off perfectly. Through their artistic vision displayed in their innovative camera angles combined with the simple, but beautiful score, Blunk and Osbern told a refreshing tale. Air mainly focuses on the story of six people who feel lost , as if they are nothing more than a spirit floating in the air, but as their paths cross and each person finds love, they finally feel alive and part of the world.

The music present in the film covers several different styles from country to rock to classical. Early in the movie, much of the music is acoustic and percussive, but as the film progresses and the characters find themselves, they also find their musical style.

One character whom best epitomizes the idea of finding yourself in music is the rocker Donnie, played by Dylan Hilpman. Donnie, although a songwriter, is unable to write a love song for his girl, much to her displeasure. She leaves him and Donnie finds himself in a dreamlike state conducting an orchestra in a very romantic classical piece, but he has still to find his love rock song. Later he finds himself singing in the middle of a rock concert a do-bop song that would belong in a 50s dance. When he finally figures things out by the end of the film, he writes the love song that his girl has been waiting for and the song that is true to his character’s style.

Donnie’s song at the concert is the strongest song in the film. While local KC rockers, the Architects, are performing to an ecstatic crowd, Donnie belts his broken love song, “I’m living in two worlds / Because without you, / Everything’s breaking in two / I’m lost in the crowd.” This number is worth checking out for the cool chaos of the crowd shots, the cameo by the Architects and the catchy and moving song.

This film does a great job of endearing the characters to the audience and it shows that first impressions aren’t always accurate. Take Ian Stark’s character of Dan. Stark’s portrayal of Dan subtly turns the character’s awkwardness into a charming trait. Dan is a guy bored with the world and bored with life, but he meets a girl that awakens a sweet curiosity about her and motivates him to begin living. Like so many of the characters of the film, Dan was part of the living dead until he found love that could bring him to life. Just watch Stark’s facial expressions and you can see him come to life as he develops a little smile as the film progresses.

We can all probably see a little bit of ourselves represented in the awkwardness of these romances, the passion of these songs and the chaos in the world around the characters. There are so many details to pay attention to that this is something you’ll find yourself wanting to watch again and again.

This is a film sure to garner a lot of attention as the creators take it on a festival run in the coming months, so here’s your chance to be one of those, “I knew that film/song back when” people and check out Air, the little indie musical that will have you dancing in the streets of Kansas City.

Air: website
Through A Glass: website

by: Bethany

Josephine Collective – We Are the Air

josephine collectivePop punk screamo outfit Josephine Collective doesn’t sing the same old love songs and definitely are not your usual romantics, but the group’s outlook on life and love is romantic nonetheless. With the help of Goldfinger’s John Feldmann, this Kansas City group’s major label debut We Are The Air manages to perfectly capture the energy of their live show that has made them popular tour mates for bands like The Used.

We Are The Air has the possibility to be overwhelming coming from a group with six members, but the guys did a superb job balancing out their size so they could keep it interesting, but not so busy that the album is confusing. Much like Taking Back Sunday, their excellent balancing act is especially noticeable in the nice hand off of vocals between Dillon DeVoe and Alex Sandate.

The album kicks off with their single “Living,” a song about enjoying life and avoiding drugs. It’s a strong song that doesn’t beat you over the head with its message. This song is what Josephine Collective is all about: there are interesting tempos, fun effects not done solely through the keyboard, a chorus where they change up the notes so it doesn’t get repetitious and the feeling that the band is talking directly to the audience as if you were seeing the song live.

As the album develops, songs get quirkier and reveal more about the band’s likes and personalities. “Clementine” shows how knowledgeable the band is as they reference clichés, songs and Shakespeare as they cleverly sing, “I hate to see you die before you’re born, / Now is the winter of your discontent,” which leads them into their twist on a classic American folk song, “Oh Clementine, /  you’ll never be mine.”

The band takes a break from their usual style in “Leave Me Love” as they break out the beats and start rapping. It gets even stranger as they toss in some choral vocals, but while my tendency is to ask, “WTF?” this song surprisingly turns into a fun dance number. Their cleverness is again evident when thinking of the double meanings of “Leave Me Love,” which can be interpreted as leave me the feeling of love or if love is a person then, love, leave me.

As I said earlier, the band is surprisingly romantic. My favorite track on this album is the ballad, “It’s Like Rain,” which has the band howling with the emotions of the song as they sing, “It’s like rain on a beautiful day. The clouds go away as we’re just singing and playing and alright. Then you’ll know that no matter where the wind blows us we’ve always got each other.” Who would have thought that a screamo group could even come off sounding this cuddly?

Despite the tenderness of the song “It’s Like Rain”, their humor isn’t lost as they end by fading into a little buzz that sounds like a fly. The fly sounds like it has been swatted by the crack of the drums that starts the next song, “Ivy League,” and by doing this they create a transition between the songs that not only helps the listener move on from the previous song’s music, but also the previous song’s sentiments.

Josephine Collective’s debut is full of surprises. If you can’t find a song you like in their wide range of styles then maybe you can find a chuckle in their banter between tracks. Either way, this is a band you will see a lot more of in the future if they keep turning out energetic hits like the ones found on this album.

We Are The Air was digitally released on June 24, 2008 by Reprise/Warner. Look for a hard copy in the fall.

01. Living
02. Crack My Heart
03. Lye
04. Clementine
05. Scarlett
06. Leave Me Love
07. It’s Like Rain
08. Ivy League
09. Let Go
10. Pray For Rain

Tour Dates:
July 02 @ Rock Bottom in San Antonio, TX
July 03 @ Red 7 in Austin, TX
July 04 @ Ridglea Theatre (early show) / Ft. Worth, TX
July 06 @ High Ground / Metairie, LA
July 15 @ New Brookland Tavern / Columbia, SC
July 16 @ Greene St / Greensboro, NC
July 18 @ Uncle Pleasant’s / Louisville, KY
July 19 @ House Café / Dekalb, IL
July 22 @ Beaumont / Kansas City, MO
July 23 @ Creepy Crawl / St. Louis, MO
July 24 @ Station 4 / St. Paul, MN
July 26 @ Reggie’s Rock Club / Chicago, IL
July 27 @ Mac’s Bar / Lansing, MI
July 31 @ The Ottobar / Baltimore, MD
Aug. 02 @ Knitting Factory-Tap Room / NY, NY
Aug. 03 @ Middle East-Upstairs / Boston, MA
Aug. 05 @ The Space / Hamden, CT
Aug. 06 @ Maxwell’s / Hoboken, NJ
Aug. 07 @ Water Street Music Hall / Rochester, NY
Aug. 09 @ Boney Junes / Evansville, IN

Josephine Collective: website | myspace
Reprise/Warner: website

by: Bethany

Me First and the Gimme Gimmes – Have Another Ball

me first and the gimme gimmes - have another ballI must first confess that I’m an unabashedly self-proclaimed cover whore. Punk and power pop covers are a weakness of mine and I can only thank/blame the meticulously well-crafted covers produced by San Francisco’s Me First and the Gimme Gimmes. At the first listen of 1999’s Are a Drag, I was hooked. I picked up predecessor Have a Ball and, admittedly, got hold of some bootlegs from that recording sessions which are finally officially being released at the Gimmes’ seventh full length studio album, Have Another Ball.

The record begins with the electrifying cover of Hall and Oate’s “Rich Girl.” It’s an explosion of power chords and pounding beats with all the catchiness of the original, allowing it to stick in your head for hours. Drummer Dave attacks the kit with unmatched ferocity as Joey Cape and Jake “Chris” Jackson shred their respective guitars on Simon and Garfunkel hit “The Boxer.”

One of my favorite Gimmes songs is John Denver‘s “Country Roads,” the bootleg of which I’ve possessed for years, and managed to get my 50-something year old USAP teacher Mr. Austin into it during the yearly AP sing along in my high school years. The sing along occurred following the AP test at the end of the year and involved Mr. Austin bringing his acoustic guitar to class and playing classic American folk songs. I made him a mix CD of the songs played and included the Me First renditions of “Country Roads” and “Leaving On A Jet Plane” (download), both of which Mr. A enjoyed despite his conservative approach to life, proving that Me First and the Gimme Gimmes bridge generational gaps.

Aside from the increased tempos and power chords on the Me First versions of these classics, it’s Spike Slawson‘s distinctive vocals and seemingly abundant energy that makes Me First and the Gimme Gimmes so appealing. I always find myself looking forward to his excited shouting “Yeah! Yeah! Yeah!” at the end of almost every track as if there wasn’t anything else in the world that would make him happier than what’s he’s doing.

Have Another Ball is rife with tempos at breakneck speeds, fully charged riffs, pulsating bass lines provided by Fat Mike and, most importantly, a hyperactive excitement that many modern bands lack. Me First and the Gimme Gimmes’ excitement is best displayed in the album’s closing track, Elton John’s “Don’t Let The Sun Go Down On Me.” It starts fairly subdued in the first verse but simply explodes with vigorous enthusiasm in the form of power chords and a fervent melody.

In support of Have Another Ball, Me First and the Gimme Gimmes will be playing a short string of West Coast dates (below) in August. Before then, pick up a copy of Have Another Ball out on Fat Wreck Chords starting July 8, 2008.

01. Rich Girl (Hall & Oates)
02. The Boxer (Simon & Garfunkel) download
03. Country Roads (John Denver) download
04. I Write The Songs (Barry Manilow)
05. Sodomy (“Hair” the musical)
06. You’ve Got A Friend (Carole King)
07. Mahogany (Diana Ross)
08. Mother & Child Reunion (Paul Simon)
09. Only The Good Die Young (Billy Joel)
10. Coming to America (Neil Diamond)
11. The Harder They Come (Jimmy Cliff)
12. Don’t Let The Sun Go Down On Me (Elton John)

Tour Dates:
Aug 02 – Sacramento, CA at Blue Lamp
Aug 03 – West Hollywood, CA at House of Blues
Aug 04 – San Luis Obispo, CA at Downtown Brew
Aug 05 – Santa Barbara, CA at Velvet Jones
Aug 07 – Pomona, CA at The Glass House
Aug 08 – San Diego, CA at House of Blues
Aug 09 – San Francisco, CA at Thee Parkside
Aug 10 – San Francisco, CA at Thee Parkside

Me First and the Gimme Gimmes: website | myspace | download “Country Roads” | download “The Boxer”
Fat Wreck Chords: website | myspace

Sybris – North Star Bar, Philadelphia

sybris, angela m.Philadelphia’s own Mercury Radio Theater, a punk rock art performance trio, opened for Unwed Sailor and Sybris last week with a loud and fast bang. Their set was nothing but tight as they raced through their own insane brand of punk rock, ending songs as abruptly as they started. Following the art school punk show was Foosa, another Philly band, those much more melodic and experimental indie sound. Foosa opened with a light and ambient instrumental number, setting the tone for their mellow and beautifully dreamlike set.

Chicago-based Sybris took the stage setting up their equipment and mic checking following Foosa’s set. While prepping for the band’s set, bassist Shawn Podgurski encouraged the audience to “drink Sparks!” to which the sound guy replied, “when you can’t afford cocaine.” Despite the jokes as the band set up, they got down to business playing loud and fast rock songs rich in reverb.

sybris, philFront woman Angela Mullenhour‘s unique vocals blended beautifully with guitarist Phil Naumann‘s shredding riffs and Podgurski’s driving bass lines atop drummer Eric Mahle‘s pounding beats. Sybris performed a tight and passionate set, betraying an obvious love and commitment to music. The rapid tempos lent themselves to a highly energetic set from the foursome as they powered through a surprisingly short set, leaving the audience wanting more.

The crowd demanded a tenth song from the Chicago quartet, which Sybris readily agreed to play once the sound guy betrayed the fact that the band had plenty of time to play another song. Though visibly and audibly nervous about playing the last song, one they’ve not got great experience playing live, Sybris pulled it off well, letting the audience rock out to one last tune.

Sybris, whose sophomore LP Into the Trees is available now, will be playing their hometown’s Belmont Art and Music Fest today and Austin City Limits this fall.

more photos @ flickr

Set List:
01. Dark Horse
02. Burnout Bob
03. Safety City
04. Baseball
05. Hobo
06. Hurt Hawk
07. Gin
08. Oh, Man! (download)
09. Best Day
10. (surprise song)

Tour Dates:
June 28-Belmont Art and Music Fest / Chicago
Sept 28-Austin City Limits / Austin

Sybris: website | myspace | download “Oh, Man!”

David Ford @ World Café Live, Philadelphia

david fordBritish indie sensation David Ford graced Philadelphia’s World Café Live last night with an astounding headlining set for a rapt audience. His recent live performances in the Philly, opening gigs for Augustana and Sara Bareilles, were outstanding in every way imaginable, so I was more than excited to see a show with only Ford on the bill. Despite its late start (10:30pm) on a Thursday night, Ford filled the upstairs performance space of World Café Live and delivered a one of a kind performance.

The most incredible aspect of Ford’s live performance is his technically perfect ability to play every single instrument on stage simultaneously via looping. The set’s opener “Go To Hell,” first single from the latest record Songs for the Road, displayed Ford’s talent and ability to be a one man band in spite of the number of instruments surrounding him on the stage. (Check out the video for “Go To Hell” to see for yourself.)

As a bit of an ego boost for Philadelphia, Ford lamented that it’s his favorite city and that World Café Live is his favorite building in it. The set was chock full of bumbling British stage banter that was nothing short of endearing, especially as Ford insisted that Philadelphia really is his favorite place and it’s not something he says all the time. “Insincerity doesn’t wash well with me,” he insisted, and it wasn’t hard to believe.

david fordThe emotion and intensity with which Ford sings and pounds away on his guitar and, at times, piano is truly moving. It’s impossible to not feel his anguish as his vocals grow fierce and guitar riffs become louder, tortured and wrestled out of the used, 50 year old acoustic Ford plays with. As the force of “Requiem” picked up, my plus one for the evening leaned over and whispered, “he’s even better live!” The volume and stress of Ford’s vocals on “Requiem” distorted the song’s sound, achieving a desired violent and maddening effect to fit in with the song’s devastating lyrics.

On the emotionally daunting “St. Peter,” Ford informed the audience that he’d placed a “thinly veiled insult to your current President” in the song and encouraged the audience to cheer when they picked up on it so that he’d know his song writing wasn’t too subtle. “St. Peter,” Ford went on to explain, was written following a conversation he had with a Baptist in Kentucky who told Ford he wouldn’t get into Heaven. After singing the line against President Bush, (“there is nothing so deadly as the forces of right / Or some fool with a shotgun in a house painted white.”) he paused to announce, “fight the power!” while raising his right fist in the air.

Another, far more politically charged song, followed later in the set. Before he launched into the powerful “State of the Union,” Ford promised the audience, “I’m very pro-American,” even if he’s disillusioned with the country’s current Administration, which inspired the song. “State of the Union” again saw Ford become a maniac on stage, moving from instrument to instrument creating loop after loop so that you’d swear there were at least seven people on stage instead of a lonesome Ford. His political leanings shine through as he pounds away on both his guitar and piano to create a glorious barrage of noise at the song’s dynamic end.

Ford ended the lively set with “Song for the Road” and received a standing ovation as he walked of the stage. No more than a second passed before he literally ran back on stage for a blatantly desired encore. The night officially ended with more of Ford’s signature looping on “Cheer Up (You Miserable Fuck).” Again, Ford encouraged crowd participation, this time singing the “las” that accompanied the song’s chorus. The audience humored him by singing along, but Ford stopped after the first, weak chorus stating, “how very polite. It’s like a room full of angels. I want a room full of satanic demons this time!”

What David Ford wants, David Ford gets. The audience’s next effort at the chorus roared ferociously, filling the upstairs of World Café Live with welcomed cacophony. Shortly thereafter, the lights came up and the radio filled the momentary silence as the encore drew to a close. In spite of the show’s official end, Ford stuck around with stragglers from the audience and conducted a one song sing along with his fans, hanging around to chat afterwards.

david fordmore @ flickr

Ford is set to head back to the UK following the next couple of gigs he’s got lined up here in the States (dates below). If you’re within a day’s travel time to either Baltimore or Los Angeles, I strongly urge you to catch David Ford’s live set before he heads back across the pond. You’ll have more than gotten your time and money’s worth.

Set List:
01. Go To Hell
02. I Don’t Care What You Call Me
03. Don’t Tell Me
04. Requiem
05. To Hell with the World
06. St. Peter
07. Katie
08. I’m Alright Now
09. State of the Union
10. Song for the Road

01. …And So You Fell
02. Cheer Up (You Miserable Fuck)

Tour Dates:
Jul 03 – West Mount Vernon Park / Baltimore, Md.
Jul 10 – Hotel Café / Los Angeles, Ca.

David Ford: website | myspace | live review | interview with

Setting Sun and Quitzow @ the Khyber, Philadelphia

Young Love Records darlings Setting Sun and Quitzow, both of whom released new [wonderful] albums this month, Children of the Wild and Art College, respectively, have hit the road to pimp out the musical gems nationwide. Tuesday night, they kicked off the string of dates at Philadelphia’s Khyber bar bringing their beautiful brand of indie and electronic pop to the City of Brotherly Love.

The evening opened with ZibraZibra, a trio from Minnesota who excel in bringing the dance. The three, who go by pseudonyms The Z, KillaVanilla and Red Baron (The Atomic Wolf), produced super catchy electronic beats while dancing around the room with energy that somehow only continued to soar. Head over to their MySpace page and check out their dance inspiring tunes.

Quitzow, fronted by the lovely Erica Quitzow, took the stage next for a rousing electronic set with catchy keys provided by Quitzow herself, pounding beats from Miles Kennedy, pulsing bass lines from Setting Sun front man Gary Levitt and beautiful and fun cello parts. The set kicked off with the fun and quirky “Peanut,” my personal favorite from recent release Art College, sampling a vaguely familiar classic children’s song.

She delves into heavier territory with the dark “Stay Away From John” and the warped dreamlike sound of “Love” before falling back into pulsing dance party bass lines and contorted synth parts with “Art College.” It was with the title track of the new record that Quitzow and co. seemed to settle into the set after a bit of a shaky beginning, being the first night of a 29 date tour.

“R. Crumb” and its successor slowed the set down a bit and brought about a far more mundane sound than I’d normally associate with Quitzow. The middle of her set saw Quitzow playing the acoustic guitar on bass heavy tunes without any keys or synth, creating a more minimalist indie rock sound that was executed just as wonderfully as Quitzow’s ambitious electronic sound that I love.

The set returns to its electronica jams with “Cats R People 2.” Quitzow introduced it by purring into the microphone and asking the audience for “lots of cat noises, please,” a request which was readily answered. Quitzow’s vocals really shined through on this song, displaying how beautiful her voice is.

gary levitt, setting sunA very brief intermission occurred following Quitzow’s set as the six on stage rearranged themselves and set up to perform Setting Sun’s set. Decidedly less electronically influenced than the evening’s predecessors, Setting Sun powered through a fantastic set of jaunty and catchy indie pop rock tunes rife with guitar and drum hooks.

The set started out upbeat and catchy with “What We Wanted” and the addicting “No Devil Me No More” before taking a heavy and intense turn with “Carry Me Away” and “Love My Love.” In the middle of the set, Levitt announced the fantastic news that both Setting Sun’s and Quitzow’s new records broke onto CMJ’s Top 200, a first for both acts. (On behalf of PopWreckoning, I’d like to extend congratulations and say it’s more than deserved!)

The energetic feel of the evening came surging back, following some slight technical difficulties, with “Happy Joy” and “The Only One.” The latter, one of my favorite Setting Sun songs, is an upbeat love songs that removes itself from being sappy with its hook-laden chorus and rocking instrumentation.

Quitzow setlist:
01. Peanut
02. On TV! (download)
03. Stay Away From John
04. Love
05. Art College
06. R. Crumb
07. unknown
08. Cats R People 2
09. Sponsor (It Didn’t Mean A Thing)
10. Jackpot

Setting Sun setlist:
01. What We Wanted
02. No Devil Me No More
03. How Long
04. Carry Me Away
05. Love My Love
06. Happy Joy
07. The Only One
08. Overjoyed

Tour Dates
Jun 27 – Room with a Brew / LEONARDTOWN, Maryland (All Ages!)
Jun 28 – The Spazzatorium Galleria / GREENVILLE, North Carolina
Jun 29 – The Acoustic Coffeehouse / JOHNSON CITY, Tennessee
Jun 30 – Lenny’s / ATLANTA, Georgia (w/ Cat Riley & Nerdkween (cd release!))
Jul 02 – Murphy’s / MEMPHIS, Tennessee (w/ The Warbles)
Jul 03 – The Hallway / TAHLEQUAH, Oklahoma (All Ages! w/ The Beau Weevilz)
Jul 04 – Andy’s / DENTON, Texas (w/ Admiral David V.)
Jul 05 – Soundpony / TULSA, Oklahoma (w/ Lindsey Neal)
Jul 06 – The 806 / AMARILLO, Texas (All Ages! w/ P.L.O.Y.)
Jul 07 – The Atomic Cantina / ALBUQUERQUE, New Mexico (w/ Bellemah)
Jul 08 – The Totah Theatre / FARMINGTON, New Mexico (All Ages!)
Jul 09 – Indie 103 Presents Club NME @ Spaceland / LOS ANGELES, California
Jul 10 – Rickshaw Stop / SAN FRANCISCO, California (w/ The Love X Nowhere)
Jul 11 – The Crepe Place / SANTA CRUZ, California
Jul 12 – Jambalaya / ARCATA, California (w/ John Ludington)
Jul 13 – Kelly’s Olympian / PORTLAND, Oregon (w/ Testface)
Jul 14 – The High Dive / SEATTLE, Washington
Jul 16 – Neurolux / BOISE, Idaho
Jul 17 – Boing! Collective / SALT LAKE CITY, Utah (All Ages!)
Jul 18 – The Lions Lair / DENVER, Colorado (w/ Able Archer & Princess TIger)
Jul 19 – Oleaver’s / OMAHA, Nebraska (w/ Landing on the Moon!)
Jul 20 – Ronny’s / CHICAGO, Illinois (w/ Dirty Diamonds)
Jul 21 – Mac’s / LANSING, Michigan
Jul 22 – Small’s / DETROIT, Michigan ( w/ Statement of a Burning Paradiso)
Jul 23 – Howlers Coyote / PITTSBURGH, Pennsylvania (w/ The Bossettes)
Jul 24 – The Annex for Club NME / NEW YORK, New York ( w/ Siwat)
Aug 02 – 60 Main (All Ages) / NEW PALTZ, New York (w/ John Ludington and DUFUS)
Dec 07 – TREIBHAUS / Lucerne
Dec 12- Glazart / PARIS

Setting Sun: website | myspace | review of, listen to Children of the Wild | live review
Quitzow: myspace | review of, listen to Art College
Young Love Records: website | myspace