- Aqualaygualry in arcade fire - black wave/bad vibrations Today i watching overlay from here. this is wondeful film. Who are watching this?
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This December, the Twin Cities’ Tapes ‘n Tapes (if you’ve never heard ‘em, you can download a few free mp3s here) will be leaving the frozen North to tour sunny Australia:
12.09.06 Meredith Music Festival
12.10.06 The Zoo, Brisbane
12.12.06 The Gaelic Club, Sydney
12.13.06 The Corner Hotel, Melbourne
12.14.06 Amplifier, Perth
For those of us stateside who don’t have the cash necessary to take an early Christmas vacation, T’nT will be playing the following North American tour dates:
09.30.06 Summit Big Brew, Harriet Island, St. Paul, MN
10.07.06 The Ukrainian Federation (POP Montreal Festival), Montreal, QC @
10.19.06 Mojo’s, Columbia, MO
10.21.06 Phoenix Hill Tavern, Louisville, KY
10.22.06 Bottletree, Birmingham, AL
10.24.06 Club Downunder, Tallahassee, FL
10.25.06 Common Grounds, Gainesville, FL
10.26.06 The Social, Orlando, FL
10.27.06 Cafe 11, St. Augustine, FL
10.28.06 Tasty World, Athens, GA
10.29.06 The Loft, Atlanta, GA
10.30.06 Local 506, Chapel Hill, NC
10.31.06 Black Cat, Washington, DC
For additional information on the band or the tour, visit tapesntapes.com.
(for band links, check out DJ’s Survival Guide)Â Â
Touch and Go Records, love it or hate it, has managed to exist twenty- five years. In that time it’s ushered in the standard bearers that would help define the soundtrack to a few eras of independent rock and roll. If you’re the type of punk puritan who sneers the word “indie†and thinks the only music listening to is Ramones Rehash ’06, you’ve probably always hated it. And, if that’s the case, it sucks to be you.
As any number of nobly like minded indies have come and fallen, Touch and Go has survived numerous financial, legal and personal setbacks, proving that yes, a handshake deal and fair treatment of your artists, all of whom are your friends, is a legitimate model of how business- at least the business of Rock and Roll- can and probably should be done.
In conjunction with the always locally anticipated Hideout Block Party, Touch and Go celebrated its twenty- fifth with a weekend of acts spanning its roster since its humble beginnings, in the eighties, as a label that might’ve disappeared with most of the rest (i.e. Boner, Alchemy, Mordam, notably SST, recently Lookout, etc. etc.) Like Ron Burgundy, it was kind of a big deal.
Having had the good fortune to volunteer all three days, I was there. However, volunteering meant I had to miss sets by The Ex, Killdozer, the Didjits, Negative Approach, Three Mile Pilot, Enon and the Black Heart Procession as well as short sets by Sally Timms, PW Long, Mekons sidebar Jon and Kat and Returnables, Silkworm memorium Tim and Andy. That’s just too fucking bad, but I saw Big Black, so there’s no complaining.
Anyway- a kinda brief recap of my weekend:
A look at the sendoff album and the artists who thankfully denied us an encore:
Smart is the aging, wizened rocker who knows when to call it a day and surrender those glorious things of youth. After all, even the best of them can only take their initial inspiration and motivation- usually unrequited lust- so far before there’s not much to do but embarrass themselves, and their fans, by trying to squeeze their middle age into the rock n’ roll costume du jour. Or, worse, they could keep churning through their old hits, recycling hooks, revisiting all those shining nuggets of former glory and being a one- note revival of themself. Either way, you’re another casualty in the mess of misguided comebacks and painfully protracted careers, all clogging up that cult of youth we call Rock N’ Roll. Sometimes, old man, you don’t have sense enough to die on your own and we’re just itching to pull the plug on you. Granted, we know that if we did it wouldn’t shut you up. You’d go acoustic.
The following bands, for whatever reason- be it creative differences, money issues or the inadvertently shared girlfriend- said their piece and left. They may have left us wanting more, and wondering what could’ve been, but it’s probably to our benefit that we never know.
Government Issue- Crash
This album marked the end of a storied near- decade long career (and, in the eighties, almost ten years was a long time to be a hardcore band.)Their preceding album, You, was much better, but that in itself makes Crash a near perfect goodbye, the sound of a band stepping down after reaching their pinnacle. Read more »
well, i am right this minute listening to sam’s town by the killers for the 3rd time and though i wish i could say i didn’t like it, i must admit that i am quite enjoying it. i say this despite (or maybe because of) the fact that rolling stone and pitchfork! at the disco scoffed at it for attempting to channel bruce springsteen’s brand of anthem americana rock but come on - who honestly hoped for this to be anything but more of the same dancy, punky, glam n roll kind of thing that their first album hot fuss was? and anyway, we should be all about encouraging attempts at innovation with bands we like. let the crazy rockstar kids experiment and try new stuff - why should we care as long as it is as good or better than their previous work, right?
and i honestly think this is better, taken apart from the plethora of annoyingly cliche lyrics. to me it sounds as if the music is much more influenced by meatloaf than springsteen, although i may be the only person on this planet who means that as a compliment. yeah, it’s a bit overwrought, a little wanna-be-jaded, a tad overly sincere perhaps…they are definitely playing with the epic rock genre here, but the record has that same nouveau-romantic twist that made you love or hate the killers in the first place. stream “when you were young,” the first single from sam’s town, and see what i mean about the meatloaf thing…can’t wait to hear them cover “paradise by the dashboard light.”Â
there are catchier, less ”80’s-anthem” songs on here as well, like the 5th track, called “for reasons unknown.” it starts slow and ballad-y but has those little hooks in the chorus that make you want to listen to it again as soon as it finishes. it’s like the spoiled bastard child of morrissey and freddy mercury, in a good way. and my current favourite, ”read my mind,” manages to make synthesizers sound angsty and that’s the kind of thing that makes joie happy.
i personally cannot wait for the revisionist history that will surely come about in a year or two when this album has been startingly successful and suddenly all the elitist music publications “remember” that they did indeed love it when it first came out. in the meantime, i will be listening to it and enjoying myself and perhaps dancing a bit, all the while laughing on the inside. and when it officially comes out next week, you should do the same.
well, guess what i just found out? all of us who have been salivating for jeff mangum, the genius behind neutral milk hotel, to do something…anything…can take a drooling break this february. why february, you ask? because that’s when denver-based indie-pop darlings apples in stereo are releasing their new album new magnetic sound, featuring none other than jeff on “drums, cow object (?), backing vocals, handclaps.”
robert schneider, the apples in stereo singer, was a founding member of the elephant 6 collective, which i will always love for giving the world some pretty amazing bands like beulah (please get back together…i’ll do anything!), the gerbils and the essex green. this upcoming album, however, will come out on the brand new simian records (owned by hipster hobbit elijah wood, oddly enough). not sure of the reasons behind this but the record itself promises to be interesting…and this is despite the fact that it was just announced that drummer hilarie sidney is amicably leaving the band - since robert schneider produced nmh’s chillingly brilliant in the aeroplane over the sea i tend to trust anything and everything he touches but maybe that’s just me.
nothing has been been released (read:leaked) from it yet but some great old apples in stereo songs are on their myspace…maybe they will tide us over until we can check out this new double album early next year.Â
I don’t know if Scott Campbell, owner of the Larimer Lounge is a reliable source of information, but he says the following in his weekly newsletter:
NICK URATA!! Pssss Nick Urata is now opening the ERIC BACHMANN and RICHARD BUCKNER show this Friday!! This is also the last night of Eric’s national tour, please come welcome him back to Denver (where Eric will be living after this tour!!).
This really isn’t very newsworthy, I suppose, but I offer it in more of a tongue-sticking-out way to certain folks in certain cities. Enjoy!
If there’s a better place to hear independent music than The Space in Hamden, Connecticut, I’ve never seen it. You may argue the “concert experience” merits of a venue that doesn’t serve alcohol, has a strictly-enforced rule against talking in the concert area while anyone is playing, and is decorated like an explosion in a knick-knack factory, but if all you want to do is hear the music, it’s certainly difficult to beat.
The opening act for the Sept. 25th show was Saint Joe Hazelwood, a sort of folk collective led by one Chris Alspach — or at least all of them that were able to attend the show. For this particular event, they were a guitar and flute duo. Much as I like the idea of a guitar and flute duo conceptually, it lacked something in the execution. They played five lower-mid-tempo songs that were very difficult to tell apart, in a manner that would make Low look like GWAR. Although Alspach’s vocals are something of an acquired taste, the group comes across rather better on CD; this sort of music depends heavily on texture, and there simply weren’t enough instruments in this performance to provide the proper depth.
After they finished up, Aeroplane, 1929, a New Haven band whose name predates that of Death From Above 1979 by fifty years, took the stage. The change from the previous act was neck-wrenching; Aeroplane, 1929 began their life as an emo-punk band, but live at least, are closer to a straight-up rock and roll band, the kind you might expect to hear in your classier garages somewhere in mid-America. It wasn’t earth-altering, but it was fun; the band was tight, and they seemed to enjoy themselves. I picked up a copy of their new CD after the show; a review may be forthcoming.
Next up was Elijah Wyman. For someone who ostensibly has a current CD to support, Wyman’s set list was kind of perverse: Read more »
NYC’s Motherfucker makes double the headlines in NY Times Magazine and NY Times this past month (Motherfucker is selected as the opening spread of the magazine’s issue celebrating the legendary NYC Downtown figures);After having launched NYC’s wildest parties during the spring and summer, a documentary is set to finish this fall and hits the festival circuit early next year.
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If you haven’t been to Motherfucker during the last 5 months, well then, you just haven’t been out! The all star cast of 4 producers, Michael T., Justine D., Johnny T. and Georgie Seville continue to out due themselves with their cultural undertaking. NY Times boasts “Together, they’re like a group of night life superheroes, united to fight the scourge of late-night boredom with music, dancing and sexy outfits.”
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And so our Superheroes continue to wow their audiences by booking our favorite legendary artists such as The Cramps and NY Dolls and even bless NYC with surprises as with their Independence day celebration featuring unannounced special guests The Futureheads. All of this along with their outrageous performances and lavish hosts such as Mistress Formika and Lady Bunny, it’s no wonder lines continue to stretch around the blocks of the 2000-3000 capacity venues. Read more »
eMusic has a free download of a song from Tom Waits’ new album coming out in November.
If you like it, come back here, and click on our emusic ad and sign up!
Don’t you love how I’m too lazy to actually use our own affilitate link Joie?
If there’s anything more amusing than a reunion of a band that very few people cared about in the first place, it’s a “reunion” of said band that essentially doesn’t involve most of the band. Just the thought of that kind of thing makes me want to start giggling hysterically. Seriously.
Anyway, the latest such band to “regroup” seems to be When In Rome, whose only album, a self-titled affair, came out in 1988. However, after their only memorable song, “The Promise,” was used for the ending of the geek-chic hit Napoleon Dynamite, someone thought it would be a good idea to get the band back together.
They were only able to get one of the original members, however — and unlike, say, A Flock Of Seagulls, they weren’t even able to get the singer. Instead, they’re stuck with keyboard player Michael Floreale and a cast of even more anyonymous extras, if that’s possible.
They claim that they’re recording a new album right now, to be released before the end of the year, and they’ve even somehow managed to get themselves signed to Virgin. No good can come of this, mark my words. But in the meantime, you can click on over to their myspace (they don’t have a regular site, just a myspace), and listen to their rerecording of “The Promise,” sung by their replacement singer, with a couple of extra keyboard blips to remind themselves it’s the ’00s.
