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If you are at all familiar with the snippet of the quote that’s in the title to this post, you know it comes from Mario Savio’s famous oratory from the Sproul Hall Steps of UC-Berkeley as part of the Free Speech Movement in 1964.

The Free Speech Movement was aimed at the leaders of the university in an attempt to get them to remove the ban on on-campus political activities, and Savio’s wise, impassioned words have been remembered and recalled ever since.  He said,

“There’s a time when the operation of the machine becomes so odious—makes you so sick at heart—that you can’t take part. You can’t even passively take part. And you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it that unless you’re free, the machine will be prevented from working at all.”

Now that is a quote.

For their upcoming album, A Thousand Suns, Linkin Park has made no mystery of the fact that they are thinking big.  The title itself comes from a speech by J. Robert Oppenheimer, quoting the Bhagavad Gita, in reference to the atomic bomb.  And now we see that they’ve nabbed Savio’s genius as well, using his speech as the intro and outro to their new song “Wretches and Kings.”  This song has all the elements that you associate with Linkin Park – serrated-knife guitars, hip-hop rhyming mixed with angsty screams, and DJ scratch flourishes – but it’s put together like never before (does Chester have a reggae tinge to his voice?).  Throw in the fiery context of Savio’s words and this song is nothing if not exciting – I can see it going over really well live.  Check it out:


I’m feeling pretty lukewarm in regards to Serj Tankian’s upcoming sophomore solo album, Imperfect Harmonies (out Sept. 21).  It just seems like he’s reached the point in his career where he’s not satisfied with any one sound so he throws everything together into some sort of murky goulash.

We get it.  You like metal and orchestral and jazz and electronic music.  Doesn’t mean they all need to get squished together.

But whatever, I’ll still give the album a fair chance.  And it doesn’t hurt that the new video for his song “Left of Center” kicks a bunch of ass.  That diamond Eye of Sauron thing is a total dick though.



Linkin Park’s first single, “The Catalyst,” off their much anticipated new album A Thousand Suns (in stores Sept. 14) is easily one of the longest songs the band has written, coming in at 5:47, which, for a band that pretty much stuck to a strict diet of three and a half minute blasts for most of its first three records, is definitely a sign of changes.

Unfortunately, kids these days don’t have any semblance of an attention span, so they had to go with the radio edit of the song, which is a minute shorter, for the music video.  You end up losing a lot of the imaginative transitional sections, but it doesn’t obscure the fact that this is a killer song that takes the band in an entirely new direction.

I wasn’t fully on-board with the new sound the first few times I heard “The Catalyst” but it has grown on me a lot since then.  This may be high expectations, but A Thousand Suns could be a game-changer.

Joe Hahn (the band’s DJ) directed the video:

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Cee-Lo Green has just released a song that is sure to be a contender for most subversively awesome summer anthem.

Usually telling your gold-digging ex-girlfriend and her new douchebag guy to fuck off is a sore subject.  Apparently, not in Cee-Lo’s world, though, because on this absolutely appropriately titled track (“Fuck You,” natch), he sounds positively jubilant.

And no, this song isn’t a novelty, so don’t just write it off.

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This track will appear on Cee-Lo’s new solo album, The Lady Killer, which should be out before the end of the year.


Local H Cover Album

20 August5 comments
Author: Schiano

There’s still something amazing, for me, about Local H’s Bound For The Floor track. Despite it’s rather vague lyrics, it’s still a catchy tune.  I used to use it to get pumped up for ice hockey during high school.  Good times, good times.  I’ll still occasionally put it on and the track still amazes me.

But umm… (shot!).  Local H is getting set to release a new album, but not with new material.  Instead, it’ll be a compilation of covers.  It’s expected to roll out October 19th and will be titled, Awesome Mix Tape #1. 

We have the track listing after the jump. continue reading

After being teased with the Medal of Honor trailer that Chavez posted yesterday, you can now hear the full, unedited version of “The Catalyst” – the first single off Linkin Park’s forthcoming new album A Thousand Suns, which will hit stores on September 14.

The track is streaming at the band’s MySpace page.

When the guys said they were continuing with the sound experimentations that they began in a small way on Minutes to Midnight, they weren’t joking.  This song, while remaining identifiably a Linkin Park song, would have no place on either of the band’s first two albums and probably the third as well.  The two most striking aspects are the near total lack of guitars/predominance of electronics and Mike Shinoda’s singing, which was introduced in small way on the last album as well.

I’m having a hard time coming to terms with the fact that Linkin Park will most likely never sound like their earliest records again, but then again, this is a pretty good song.


We are only  a few weeks away from the release of Linkin Parks’ new album, A Thousand Suns, and I am sure a few of you have heard their new single “The Catalyst” (which will be officially released tomorrow Aug. 2nd). In case you haven’t you can now check it out in this video for a new Medal of Honor game that is set to release mid October. While the video is a trailer for the game, it’s set to “The Catalyst” and it’s directed  by LPs’ resident DJ Joe Hahn. Much like earlier statements from the band, the single sounds like its in the same vein as the Minutes to Midnight sessions.  Check out the video and let us know what you think.

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Edit: I was mistaken, this is not the full version of the song, it is an edited version. (Nice catch Sam)

We here at Suds get music suggestions and recommendations from time to time.  Sometimes they come from the artists themselves or the label/management, other times they come from the readers.  They are always welcome (and you can send in your own tips to tips@sudsonbleeker.com), but just be prepared for the possibility that we may say your suggestion (or your music if you’re the artist) sucks.  Hey, win some lose some, right?

So with that said, let’s talk about Mister Fusty.

Mister Fusty (aka Rob Gibson) is a British dude who makes “lo-fi electronic/acoustic pop musical confections.”  Well, I don’t know about that.  It’s certainly lo-fi, but to me what it really sounds like is jazzy elevator Muzak mixed with mumbly lyrics, all desperately trying to sound something like slower Gorillaz stuff.  Some of this music sounds like a crappy knockoff of the Napoleon Dynamite soundtrack /a drugged-out version of the intro to the Land of Make Believe on Mr. Rogers.  But that music was either purposefully ironic or genuinely retro .  This stuff sadly isn’t.

Apparently, Senor Fusty has a new EP called Connect coming out next week.  If what I’ve written thus far has actually intrigued you, well then go listen to the whole thing at his website.  At least he’s donating all the proceeds to charity.

Hey, there’s no such thing as bad publicity, right?


Can’t Help But Wonder

10 June12 comments
Author: Schiano

Matt BeilisIt was my pleasure to get some time with Matt Beilis to throw some interview questions his way.

Matt is releasing his first album, Can’t Help But Wonder, tomorrow, Friday June 11th. It’ll be available in your favorite online music stores such as iTunes, Amazon, and Rhapsody.

Before the interview, check out the brief introduction Matt did with us a few months ago. It’ll give you a bit more of his history. 

Even more information is available on his website, www.mattbeilis.com.

Read the interview after the jump. continue reading

Korn’s music went down the drain almost immediately after Brian “Head” Welch left the group to go be a Jesus freak.  Now I know some people might think Korn’s music has always been crap, but I think they made some pretty good music in their first decade together.  But the last six or seven years have been downright lousy.  The duel guitar attack provided by Head and James “Munky” Shaffer was the essence of Korn’s biggest hits.  Flying solo, Munky just hasn’t been able to come up with the same kind of heavy-hitting, infectious hooks.  And it hasn’t helped that the band had started to stray off into misguided experimentations with electronics and synths.

At least it seems like the band realized the path they were headed down was not leading to the best possible product.  For their new album, not so subtly titled Korn III – Remember Who You Are, the group’s mission statement seems to be to recapture the past glory that they established early on, particularly with their debut self-titled album.

I mean, just look at how many connections they are trying to draw between the albums:

continue reading