Three or four chords, snarling dirty bass lines, and loud drums — that's what Eddy Current Suppression Ring has to offer. They are a bit subdued and sing songs about waking up, eating ice cream, and not having any money. They pretty much follow a garage band punk playbook from the Sex Pistols, Stooges, and Velvet Underground.
Named after small copper rings found on electrical transformers, which are used at vinyl pressing plants where lead singer Brendan Suppression and guitarist Eddy Current worked, the Eddy Current Supression Ring has been around since 2005. This self-titled debut album was originally released in 2006 but only in Australia. After the band's second release Primary Colors, Goner Records, a Memphis-based punk label, decided to go back and put out ECSR's first release. Recorded in four hours, this release is messy and alternating catchy and blah.
The 11-track effort has some high points — songs like "Cool Ice Cream," "Having a Hard Time," "Precious Rose," and "Insufficient Funds" — at which a song bursts forth quick and dirty and fun and the lyrics - "It's all square even when it's round/That's what I've found" and "I'm having a hard time, having a hard time, stayin' awake, fallin' asleep" among others — are juvenile but make you a bit giddy. The rest of this CD is mostly not that interesting.
The quartet, rounded out by bassist Rob Solid and drummer Danny Current, doesn't make any bad songs, in fact they mix in some cool keyboard and gnarly rhythms, but they aren't above average. ESCR is pretty solid though and I would bet they put on a hell of a fun live show.
Monday, February 28, 2011
Thursday, February 24, 2011
X-ray Spex' Poly Styrene Announces New Album + "Virtual Boyfriend" Video!
“Poly, DayGlo heroine of playfully serious punk and icon to Beth Ditto among many others, makes an unexpected festive return”
- NME
“’Generation Indigo’ is her most commercial record yet but remains spiritually, socially, and environmentally concerned”
- Mojo
At the end of 2010, Poly Styrene, the unforgettable frontwoman and iconic face of the seminal band X-ray Spex announced her return to the music scene by releasing a free download of alternative festive anthem "Black Christmas". Poly’s reggae tinged track took on the commercialism that has infected the holidays and served as a reminder of how much we need her voice. Along with her ahead-of-their-time sound and vocal styling, her lyrics have been amazingly prescient. A true musical; and fashion rebel, Poly Styrene has returned at her most thrilling.
“Black Christmas” was just the beginning of what Poly Styrene has in store. The forthcoming album Generation Indigo is due on April 26 through Future Noise Music and was produced by Youth (The Verve, Killing Joke, The Fireman, Edwyn Collins).
X-ray Spex may have only been around for a couple of years but their star shone brightly. Poly Styrene’s return is highly anticipated; she remains a genuine icon and one of the premier influences on the Riot Grrrl and Britpop scenes. Currently, a new set of young American bands like the Yeah Yeahs Yeahs, The Gossip and countless others recognize her fiery, irrepressible presence. With her great self-styled image, brilliantly sharp lyrics and powerful presence, Poly’s indomitable spirit still inspires.
After reforming the band for a one off show at The Roundhouse, Camden in 2008, Poly was persuaded to start writing a solo album. Armed with a record’s worth of songs, Poly met Youth who added his own epic style to the tracks. The resulting LP kicks off with the mighty, power-pop of "I Luv Ur Sneakers", and maintains the quick pace with forthcoming single "Virtual Boyfriend" - before then moving into dubstep territories on the title track "Generation Indigo". The album takes in everything from neo-X-ray Spex punk rock on "Thrash City" and "L.U.V" to the Trojan-reggae infused grooves of "No Rockefeller", "Code Pink Dub" and "Colour Blind" whilst one of the stand out songs, "White Gold" attests to the power of Poly’s soaring vocals.
Go to AOL Spinner to view the "Virtual Boyfriend" video.
The forward looking Generation Indigo showcases Poly’s humorous musings on pop culture, the internet and fashion whilst also tackling heavier subject matter (war and racism) with her politically aware and intelligent lyrics. Generation Indigo is a fantastic return to form for Poly and a welcome comeback for her fans. With her never-failing ability to connect with her audience regardless of the year and their age, Poly Styrene’s remarkable voice sounds as vibrant and innocent as ever.
www.poly-styrene.com
www.twitter.com/poly_styrene
www.facebook.com/polystyrenemusic
Tuesday, February 22, 2011
Music Review: The Bomb – Speed Is Everything
Rocking beats, darting guitars, and smart lyrics are the calling card of The Bomb, a Chicago quartet featuring ex members of Naked Raygun, The Mathadones, and The Story So Far. The 11 tacks the four lads lay out on Speed is Everything, released on No Idea Records, are pounding feedback driven post-punk rockers with short poetry notebook kinda lyrics.
The Bomb is fronted by Jeff Pezzati of Naked Raygun fame and he brings his mellow punk style to the band with the sharp and deadly cadences from Pete Mittler and Mike Soucy of The Methadones setting the scene for him.
Speed Is Everything is the followup to their first release on Thick Records and No Idea Records.
The balance of fist pumping and chest thumping on Speed Is Everything is beautiful, the record jumps up and down, takes a breather, then goes back to bouncing and shouting. It is constantly moving and never feels dull. The album is recorded with sparkling clarity by J. Robbins of Jawbox, etc fame – Robbins along with Bob Nanna of Braid, Dan Yemen of Paint it Black makes a guest appearance on the album.
The sound of The Bomb is similar to a hopped up Fugazi or Shellac. The power the exhibit on each track sucks the listener in and the 11 tracks fly by, so you wanna hear them again. The strongest tracks are “Haver,” a smarmy bouncy adrenaline filled sing-a-long; “Integrity,” a punk rock shouter; “A Song For The Helenas,” a softer love song; and “Spaceman,” a dreamy rocker with extra catchy beats but each song fits together well and flows smoothly and rocks nicely.
Pezzati’s lyrics: “Our dancing days aren’t here again/ You were a sucker a sucker for that song/(You’re)Lying all about the lie/And when you sing along you’re wrong,” “How come the darkness/devours the light,” and “you were always going to be a spaceman/You would take a rocket to the sky/But you just ended up takin’ up a lot of space, man/You were taken for a great big ride,” and “I’ll sing about you/And you will never even know my name,” are highlights in The Bomb. But the simple song structures allow your whole body to jump into his feelings and the beats carry you along.
Find The Bomb online at their MySpace profile page and see what they are up to.
Check a song from The Bomb here.
The Bomb is fronted by Jeff Pezzati of Naked Raygun fame and he brings his mellow punk style to the band with the sharp and deadly cadences from Pete Mittler and Mike Soucy of The Methadones setting the scene for him.
Speed Is Everything is the followup to their first release on Thick Records and No Idea Records.
The balance of fist pumping and chest thumping on Speed Is Everything is beautiful, the record jumps up and down, takes a breather, then goes back to bouncing and shouting. It is constantly moving and never feels dull. The album is recorded with sparkling clarity by J. Robbins of Jawbox, etc fame – Robbins along with Bob Nanna of Braid, Dan Yemen of Paint it Black makes a guest appearance on the album.
The sound of The Bomb is similar to a hopped up Fugazi or Shellac. The power the exhibit on each track sucks the listener in and the 11 tracks fly by, so you wanna hear them again. The strongest tracks are “Haver,” a smarmy bouncy adrenaline filled sing-a-long; “Integrity,” a punk rock shouter; “A Song For The Helenas,” a softer love song; and “Spaceman,” a dreamy rocker with extra catchy beats but each song fits together well and flows smoothly and rocks nicely.
Pezzati’s lyrics: “Our dancing days aren’t here again/ You were a sucker a sucker for that song/(You’re)Lying all about the lie/And when you sing along you’re wrong,” “How come the darkness/devours the light,” and “you were always going to be a spaceman/You would take a rocket to the sky/But you just ended up takin’ up a lot of space, man/You were taken for a great big ride,” and “I’ll sing about you/And you will never even know my name,” are highlights in The Bomb. But the simple song structures allow your whole body to jump into his feelings and the beats carry you along.
Find The Bomb online at their MySpace profile page and see what they are up to.
Check a song from The Bomb here.
Friday, February 18, 2011
CANNIBAL CORPSE: "Global Evisceration" DVD preorders and video sneak peak now live!
Florida's kings of death metal, CANNIBAL CORPSE, are set to release the group’s 4th DVD titled Global Evisceration on March 15 via Metal Blade Records. Global Evisceration was shot and edited by director Denise Korycki (Wild Wind Productions) who also shot and directed Centuries of Torment – The First 20 Years (entered the Billboard Music Video Charts at #8 in its 1st week of release!) in addition to DVD’s for bands like As I Lay Dying, Mastodon, Killswitch Engage, and Super Joint Ritual.
Global Evisceration contains one disc and is approximately 3 hours long with artwork by the infamous Vince Locke. The main program includes full live-song performances from two live shows: the Gothic Theater in Englewood, CO shot on 5/3/10 and Sunshine Theater in Albuquerque, NM shot on 5/8/10. Global Evisceration also includes bonus performances and extra segments including behind the scenes footage covering Evisceration Plague era tours.
Head over to the CANNIBAL CORPSE landing page HERE for the first sneak peek at Global Evisceration.
http://www.facebook.com/cannibalcorpse
http://www.myspace.com/cannibalcorpse
http://www.cannibalcorpse.net
Wednesday, February 16, 2011
Music Review: Static Thought – The Motive for Movement
Static Thought pounds your ears and your brain with angry and political punk rock, growing out of the Sex Pistols and Dead Kennedys. The four members of Static Thought stand up on stage, using microphones and amplifiers to yell about the injustices and dehumanization in the world. They are the best and brightest kinds of punks, those that use their minds and welcome everyone.
The sound of Static Thought builds off of guitars and spitballs. They fit together pretty hooks with pounding drums and singer/guitarist Eric Urbach barks out lyrics about control, greed and the importance of being educated and giving a fuck. The band released an album on Hellcat Records in 2007 bringing their Bay area punk fury out to the masses, and The Motive for Movement is the followup to that album, also released on Hellcat. Static Thought inter-fuses some pop-punk and dynamic song building with their traditional three chord punk approach to make their sound powerful, aggressive and thoughtful
They cite influences like Van Halen, Johnny Cash, Led Zepplin, and Metallica and they do their best to mix their sound with straight-forward storytelling and expansive rocking. Each of the tracks on The Motive for Movement clock in around 3 minutes or less and they are jam packed with plenty of feedback and pain.
The best track on the album is “Amivalence” which is filled with catchy crisp guitars and calls for a wrecking ball to knock down all the walls, because people are disgusted.
In the band bio on the Hellcat Records Web site it says "I became a punk because I always felt like I didn't fit in with my peers. Punk rock became an outlet for my aggression and a place that shared many of my ideals. I think there are a lot of serious issues that people are unaware of in the punk scene; such as sexism, ignorance, and lack of self-control. All ages venues across the country are shutting down as a result of this. People need to realize that the meaningless destruction that occurs is ruining our scene. There's no better way to take your anger out on something than running around like a mad man in the pit or going down to your neighborhood protest."
So, if you wanna feel part of the positive punk rock movement again, pick up The Motive for Movement and rock out with your body and mind.
Listen to Static Thought on Youtube.com here.
The sound of Static Thought builds off of guitars and spitballs. They fit together pretty hooks with pounding drums and singer/guitarist Eric Urbach barks out lyrics about control, greed and the importance of being educated and giving a fuck. The band released an album on Hellcat Records in 2007 bringing their Bay area punk fury out to the masses, and The Motive for Movement is the followup to that album, also released on Hellcat. Static Thought inter-fuses some pop-punk and dynamic song building with their traditional three chord punk approach to make their sound powerful, aggressive and thoughtful
They cite influences like Van Halen, Johnny Cash, Led Zepplin, and Metallica and they do their best to mix their sound with straight-forward storytelling and expansive rocking. Each of the tracks on The Motive for Movement clock in around 3 minutes or less and they are jam packed with plenty of feedback and pain.
The best track on the album is “Amivalence” which is filled with catchy crisp guitars and calls for a wrecking ball to knock down all the walls, because people are disgusted.
In the band bio on the Hellcat Records Web site it says "I became a punk because I always felt like I didn't fit in with my peers. Punk rock became an outlet for my aggression and a place that shared many of my ideals. I think there are a lot of serious issues that people are unaware of in the punk scene; such as sexism, ignorance, and lack of self-control. All ages venues across the country are shutting down as a result of this. People need to realize that the meaningless destruction that occurs is ruining our scene. There's no better way to take your anger out on something than running around like a mad man in the pit or going down to your neighborhood protest."
So, if you wanna feel part of the positive punk rock movement again, pick up The Motive for Movement and rock out with your body and mind.
Listen to Static Thought on Youtube.com here.
Monday, February 14, 2011
DATAROCK Announce "Catcher in the Rye" The Most Extravagant Single in History!
Get new DATAROCK song "Catcher in the Rye" As Free MP3
They’ve done everything from tearing the roof off Coachella to playing Yo Gabba Gabba and now DATROCK will release “Catcher in the Rye”, the most extravagant single in history on March 21! The single will come as a designer toy with a USB stick that features 110 tracks, 1500 photos taken at their shows in 33 countries, 20 music videos, and Never Say Die a brand new hour-long concert film. The single will also be released as a digital 5 track EP. The USB features the EP, the new album Music For Synchronization, both of their previous albums with bonus tracks, the new Lost and Found b-sides and rarities compilation, 15 new instrumentals, and the 40 track remix album Mixed Up. The toy was created by Brian Flynn at Hybrid Design and San Francisco based pioneer company SUPER7. The band are offering the song “Catcher in the Rye” as a free MP3 which premiered on SPIN.com. Download it here and feel free to repost!
For the past decade Norway’s DATAROCK have melded indie dance, new wave, pop, and funk into a custom sound responsible for a steady stream of unforgettable tracks and performances. “Catcher in the Rye” is the band at their best, instantly memorable and insanely fun. The single takes their adventurous pop to the next level.
DATAROCK are a festival favorite in North America, Europe, Asia, and South America. Their 2008 performance at Coachella drew twice the amount of people as the tent’s capacity! The band will be launching a world tour in support of “the most extravagant single in history” so be sure to join in on the madness!
datarockmusic.com
twitter.com/datarock
facebook.com/datarock
myspace.com/datarock
Friday, February 11, 2011
Joan As Police Woman Video for Single “The Magic” Out Now
Video for Single “The Magic” Out Now
“Listening to Joan has been a deep love affair. I trust her voice and her heart.“
– Antony (Antony and the Johnsons)
Joan As Police Woman’s new album, The Deep Field, is available digitally via www.joanaspolicewoman.com and iTunes today. PIAS will release the CD and vinyl with a bonus track on April 12. Also released today is the steamy Lynchian video for lead single “The Magic”. Watch it here and please repost.
The Deep Field is Joan As Police Woman’s most stirring work to date, full of her inimitable hybrid of soul and indie rock. Album opener “Nervous” is one of Joan’s most adventurous songs with a stomping rhythm and drones are underscored by her heart-breaking voice. The seductive horn and string arrangements of“ Action Man” wrap themselves around her tale of someone’s desire to set things in motion. “Human Condition” is a testament to Joan’s fearless way of expressing love and hope without masking it with metaphor. “I Was Everyone” begins with a laid-back organ groove before Joan lets her voice go and the song ascends to its thundering climax.
Joan As Police Woman has been championed by as well as played and recorded with artists including Lou Reed, Sheryl Crow, Scissor Sisters, Rufus Wainright, and Antony and the Johnsons. The Deep Field is her fourth studio album.
www.joanaspolicewoman.com
“Listening to Joan has been a deep love affair. I trust her voice and her heart.“
– Antony (Antony and the Johnsons)
Joan As Police Woman’s new album, The Deep Field, is available digitally via www.joanaspolicewoman.com and iTunes today. PIAS will release the CD and vinyl with a bonus track on April 12. Also released today is the steamy Lynchian video for lead single “The Magic”. Watch it here and please repost.
The Deep Field is Joan As Police Woman’s most stirring work to date, full of her inimitable hybrid of soul and indie rock. Album opener “Nervous” is one of Joan’s most adventurous songs with a stomping rhythm and drones are underscored by her heart-breaking voice. The seductive horn and string arrangements of“ Action Man” wrap themselves around her tale of someone’s desire to set things in motion. “Human Condition” is a testament to Joan’s fearless way of expressing love and hope without masking it with metaphor. “I Was Everyone” begins with a laid-back organ groove before Joan lets her voice go and the song ascends to its thundering climax.
Joan As Police Woman has been championed by as well as played and recorded with artists including Lou Reed, Sheryl Crow, Scissor Sisters, Rufus Wainright, and Antony and the Johnsons. The Deep Field is her fourth studio album.
www.joanaspolicewoman.com
Wednesday, February 9, 2011
Music Review: Bellini – The Precious Prize of Gravity
Bellini is a gruff, but nuanced, post punk band that has power and grace. They poke around the same areas as Fugazi, Scrawl, Shellac, and Shipping News and produce harsh angular ballads. The band features members of Uzeda and Boys Against Girls and deal out kiss followed by sucker punches.
The Precious Prize of Gravity is the band’s 4th full-length album, their second on Temporary Residence Records and is produced by Steve Albini, who has produced the band since their inception in 2001. The album is 10 tracks long and is a smoky , shifty, boxing match of an album. Like a prize fighter, Bellini uses the best footwork, fantastic fundamentals, and methods. It lulls you to sleep then jars you with some uppercuts.
The album starts off intense with a dirty, fuzzy guitar riff and pounding drums on “Wake up Under a Truck” which is one of the best tracks on The Precious Prize of Gravity. The tempo picks up a bit with the second track “Numbers” with the vocals from Giovanna Cacciola straining and pleading, She has an interesting way of being powerful and disarming. The band seems that way too.
The guitars and drums in Bellini dance aggressively with your ear drums revving them up only to drop them off a cliff of spiraling chaos, then start the next song with slow flamenco like guitars. Another of the top tracks on the CD is “The Man Who Lost His Wings” a completely instrumental adrenaline fueled rush, with guitars breaking down doors, drums rattling cages and basslines that strut around like they own the place. “Susie” is another one of the best tracks along with” The Thin Line” and the big uppercut of “A Deep Wound” at the end.
Half of the 10 tracks are really all you need on this album though, the others are more boring versions of the best ones. The top tracks include the grace and the fury and keep you interested, but too often on the record you get lulled to sleep and don’t feel the uppercut come at all, you just keep peacefully nodding your head.
See Bellini performing "Wake Up Under A Truck."
The Precious Prize of Gravity is the band’s 4th full-length album, their second on Temporary Residence Records and is produced by Steve Albini, who has produced the band since their inception in 2001. The album is 10 tracks long and is a smoky , shifty, boxing match of an album. Like a prize fighter, Bellini uses the best footwork, fantastic fundamentals, and methods. It lulls you to sleep then jars you with some uppercuts.
The album starts off intense with a dirty, fuzzy guitar riff and pounding drums on “Wake up Under a Truck” which is one of the best tracks on The Precious Prize of Gravity. The tempo picks up a bit with the second track “Numbers” with the vocals from Giovanna Cacciola straining and pleading, She has an interesting way of being powerful and disarming. The band seems that way too.
The guitars and drums in Bellini dance aggressively with your ear drums revving them up only to drop them off a cliff of spiraling chaos, then start the next song with slow flamenco like guitars. Another of the top tracks on the CD is “The Man Who Lost His Wings” a completely instrumental adrenaline fueled rush, with guitars breaking down doors, drums rattling cages and basslines that strut around like they own the place. “Susie” is another one of the best tracks along with” The Thin Line” and the big uppercut of “A Deep Wound” at the end.
Half of the 10 tracks are really all you need on this album though, the others are more boring versions of the best ones. The top tracks include the grace and the fury and keep you interested, but too often on the record you get lulled to sleep and don’t feel the uppercut come at all, you just keep peacefully nodding your head.
See Bellini performing "Wake Up Under A Truck."
Tuesday, February 8, 2011
LITTLE TYBEE to Release New Album, 'Humorous To Bees', on Paper Garden Records, April 5, 2011 + Full Tour Announced!
"Atlanta-based five-piece Little Tybee plays music with a soothing, roots-y, island-tinged sound and some unexpected yet smooth turns." - Explore Music
Setting up for a busy Spring, Paper Garden Records is excited announce the long-awaited release of Little Tybee's 2nd album, "Humorous To Bees", on April 5th, 2011! Hatching from Atlanta, GA, Little Tybee is sure to be one of this year's most buzz-worthy bands.
Amidst playing the SXSW and Stopover Savannah music festivals, Little Tybee is spreading its sweet nectar on tour this Spring all over the Northeast, South, and Midwest from March 11th through April 2nd.
Little Tybee is 'buzzing' with creative and fun ideas to be announced soon, but in the meantime, keep an eye out for wheat-pasted, QR-carrying bees in your city!
Check out Little Tybee's full EPK HERE
Events
3/11-3/12 - Savannah, GA - Savannah Stop Over Festival
3/13 - Atlanta GA - Dunch @ The Earl
3/14 - Birmingam AL @ Spring St Fire House
3/15 - Baton Rouge @ TBA
3/16 - Austin, TX @ SXSW
3/17 - Austin, TX @ SXSW (PGR/YYZ day party)
3/18 - Austin, TX @ SXSW
3/19 - Austin, TX @ SXSW (PGR/YYZ official showcase)
3/20 - Austin, TX @ SXSW
3/21 - Denton, TX @ TBA
3/22 - Little Rock, AR @ TBA
3/23 - Nashville, TN @ 5 spot
3/24 - Asheville, NC @ Grey Eagle
3/25 - Marion, VA @ House Show
3/26 - Washington, DC @ TBA
3/27 - Philadelphia, PA @ Millcreek Tavern
3/28 - New York, NY @ Rockwood music Hall
3/29 - New York, NY @ TBA
3/30 - Boone, NC @ TBA
3/31 - Savannah, GA – The Bean
4/1 - Athens, GA – Caledonia Lounge
4/2 - Atlanta, GA – The Earl
Monday, February 7, 2011
Music Review: Chris Wollard & the Ship Thieves – s/t
Hot Water Music singer/guitarist Chris Wollard has popped up again with another project. This one is an alt-country, singer/songwriter slow and expansive rocker. It draws from Arlo Guthrie, Johnny Cash, Lucero, Damien Jurado and Wollard’s previous projects like Hot Water and Rumbleseat. It takes a few listens but the tunes are solid, catchy, well crafted pieces that will have you nodding your head and humming along as you notice the beautiful little finishing touches.
Chris Wollard & the Ship Thieves - released on No Idea Records - is driven by Wollard’s rough voice and roughly strummed acoustic guitar and has a melancholy, lazy evening feel to it. The storytelling is straight-forward and touching, and it’s a generally pleasant listening experience.
The tracks bounce a bit between rocking and twanging and ballading, but all flow together and keep pushing forward, driving you home. The top tracks on the CD are the opening rocker “No Exception” and the third track “The Same To You” which is a dreamy acoustic guitar campfire song, apparently written and recorded during a marathon whiskey session in the studio. The remaining eight songs are the ones that take a bit to grow on you, but they will, the constant handclapping fun heartbreak of the album will get in you. Wollard's voice is a dirty and sexy instrument, as always, and his vocals take center stage on the entire album, which is good.
The recording was done by Ben Lovett and began back in 2003 when Wollard was still doing Hot Water Music primarily and writing songs on the side. Over the next five years the recordings kept happening in different places with different people – musicians from Hot Water Music, Less Than Jake, Radon, Gunmall, The Enablers and others appear on the disc. With Hot Water Music on again and off again, Wollard and No Idea put out Chris Wollard & the Ship Thieves in February of 2009 and the project was not ever supposed to go on the road, but it did, with different members, and more dates are planned so check out their MySpace profile for info and tour dates.
See "Same To You" here.
Chris Wollard & the Ship Thieves - released on No Idea Records - is driven by Wollard’s rough voice and roughly strummed acoustic guitar and has a melancholy, lazy evening feel to it. The storytelling is straight-forward and touching, and it’s a generally pleasant listening experience.
The tracks bounce a bit between rocking and twanging and ballading, but all flow together and keep pushing forward, driving you home. The top tracks on the CD are the opening rocker “No Exception” and the third track “The Same To You” which is a dreamy acoustic guitar campfire song, apparently written and recorded during a marathon whiskey session in the studio. The remaining eight songs are the ones that take a bit to grow on you, but they will, the constant handclapping fun heartbreak of the album will get in you. Wollard's voice is a dirty and sexy instrument, as always, and his vocals take center stage on the entire album, which is good.
The recording was done by Ben Lovett and began back in 2003 when Wollard was still doing Hot Water Music primarily and writing songs on the side. Over the next five years the recordings kept happening in different places with different people – musicians from Hot Water Music, Less Than Jake, Radon, Gunmall, The Enablers and others appear on the disc. With Hot Water Music on again and off again, Wollard and No Idea put out Chris Wollard & the Ship Thieves in February of 2009 and the project was not ever supposed to go on the road, but it did, with different members, and more dates are planned so check out their MySpace profile for info and tour dates.
See "Same To You" here.
Friday, February 4, 2011
Azure Ray release new Sparklehorse collaboration - see two videos
Azure Ray release new Sparklehorse collaboration.
Free track premiered today at Paste.
Two new live videos from Azure Ray's fall tour available now.
New tour dates for UK, Europe, Japan, and Korea.
Azure Ray has released a new 2 songs single, Silverlake, which presents a non-album track from the sessions that became 2010's Drawing Down the Moon, Orenda Fink and Maria Taylor's first recordings together as Azure Ray in years. The first round of recording was done with Mark Linkous (Sparklehorse) prior to him passing away.
The girls recall the session and time with Linkous fondly. ''We were very fortunate to record this song with Mark. It was the first time we worked together and the first song Azure Ray wrote after our six year hiatus, so everything about the song is dear to us.''
The two-song single includes ''Silverlake'' and ''Silverlake (demo),'' and is available via iTunes and the Saddle Creek Online Store. The demo version of the track was recorded with Linkous and Scott Minor in Knoxville, TN. ''Silverlake'' is a re-recording of that session, with some original tracks and some new, that the band did with Eric Bachmann at Echo Mountain Studios.
Paste premiered the A-side of the single earlier today. Here is a link to their feature:
( http://www.pastemagazine.com/blogs/free_mp3/2011/01/mp3-premiere-azure-rays-silverlake.html )
Two videos from last fall's US tour are now available here:
''Don't Leave My Mind''
Make Your Hear
And finally, the band is set to embark on a tour next week that will take them to the UK, Europe, Japan, and Korea. Full dates are below.
Azure Ray - Winter 2011
Wed-Feb-02, London, UK, Borderline
Thu-Feb-03, Manchester, UK, Ruby Lounge
Fri-Feb-04, Glasgow, UK, King Tuts
Sun-Feb-06, Amsterdam, NL, Paradiso (afternoon show)
Sun-Feb-06, Utrecht, NL, db's
Mon-Feb-07, Leuven, BE, STUK
Tue-Feb-08, Leffingen, NL, De Zwerver
Wed-Feb-09, Hamburg, DE, Gruenspan
Thu-Feb-10, Malmo, SE, Debaser
Fri-Feb-11, Gothenburg, SE, Pusterviksbaren
Sat-Feb-12, Oslo, NO, Bla
Mon-Feb-14, Berlin, DE, Comet
Tue-Feb-15, Leipzig, DE, Schaubuhne Lindenfels
Wed-Feb-16, Cologne, DE, Gebaude 9
Thu-Feb-17, Munster, DE, Gleis 22
Fri-Feb-18, Erlangen, DE, E-Werk
Sat-Feb-19, Frankfurt, DE, Mousonturm
Sun-Feb-20, Munich, DE, Ampere
Mon-Feb-21, Vienna, AT, Chelsea
Wed-Feb-23, St. Gallen, CH, Grabenhalle
Thu-Feb-24, Zurich, CH, Papiersaal
Fri-Feb-25, Rome, IT, Circolo degil Artisti
Sat-Feb-26, Cavriago, IT, Calamita
Sun-Feb-27, Pisa, IT, Caracol
Sat-Mar-19, Tokyo, JP, O-NEST
Sun-Mar-20, Matsumoto, JP, Gunjyo
Tue-Mar-22, Kyoto, JP, UrBANGUILD
Wed-Mar-23, Nagoya, JP, Tokuzo
Thu-Mar-24, Tokyo, JP, Haretara Sorani Mame Mite
Sat-Mar-26, Seoul, KR, EHWA 100th Memorial Hall
3/19 with Kinoshita & Todaka (from Art-School)
3/20, 23 with Shiraoka
3/22 with Youcan
Find out more about Azure Ray and other great bands at Saddle Creek Records
Free track premiered today at Paste.
Two new live videos from Azure Ray's fall tour available now.
New tour dates for UK, Europe, Japan, and Korea.
Azure Ray has released a new 2 songs single, Silverlake, which presents a non-album track from the sessions that became 2010's Drawing Down the Moon, Orenda Fink and Maria Taylor's first recordings together as Azure Ray in years. The first round of recording was done with Mark Linkous (Sparklehorse) prior to him passing away.
The girls recall the session and time with Linkous fondly. ''We were very fortunate to record this song with Mark. It was the first time we worked together and the first song Azure Ray wrote after our six year hiatus, so everything about the song is dear to us.''
The two-song single includes ''Silverlake'' and ''Silverlake (demo),'' and is available via iTunes and the Saddle Creek Online Store. The demo version of the track was recorded with Linkous and Scott Minor in Knoxville, TN. ''Silverlake'' is a re-recording of that session, with some original tracks and some new, that the band did with Eric Bachmann at Echo Mountain Studios.
Paste premiered the A-side of the single earlier today. Here is a link to their feature:
( http://www.pastemagazine.com/blogs/free_mp3/2011/01/mp3-premiere-azure-rays-silverlake.html )
Two videos from last fall's US tour are now available here:
''Don't Leave My Mind''
Make Your Hear
And finally, the band is set to embark on a tour next week that will take them to the UK, Europe, Japan, and Korea. Full dates are below.
Azure Ray - Winter 2011
Wed-Feb-02, London, UK, Borderline
Thu-Feb-03, Manchester, UK, Ruby Lounge
Fri-Feb-04, Glasgow, UK, King Tuts
Sun-Feb-06, Amsterdam, NL, Paradiso (afternoon show)
Sun-Feb-06, Utrecht, NL, db's
Mon-Feb-07, Leuven, BE, STUK
Tue-Feb-08, Leffingen, NL, De Zwerver
Wed-Feb-09, Hamburg, DE, Gruenspan
Thu-Feb-10, Malmo, SE, Debaser
Fri-Feb-11, Gothenburg, SE, Pusterviksbaren
Sat-Feb-12, Oslo, NO, Bla
Mon-Feb-14, Berlin, DE, Comet
Tue-Feb-15, Leipzig, DE, Schaubuhne Lindenfels
Wed-Feb-16, Cologne, DE, Gebaude 9
Thu-Feb-17, Munster, DE, Gleis 22
Fri-Feb-18, Erlangen, DE, E-Werk
Sat-Feb-19, Frankfurt, DE, Mousonturm
Sun-Feb-20, Munich, DE, Ampere
Mon-Feb-21, Vienna, AT, Chelsea
Wed-Feb-23, St. Gallen, CH, Grabenhalle
Thu-Feb-24, Zurich, CH, Papiersaal
Fri-Feb-25, Rome, IT, Circolo degil Artisti
Sat-Feb-26, Cavriago, IT, Calamita
Sun-Feb-27, Pisa, IT, Caracol
Sat-Mar-19, Tokyo, JP, O-NEST
Sun-Mar-20, Matsumoto, JP, Gunjyo
Tue-Mar-22, Kyoto, JP, UrBANGUILD
Wed-Mar-23, Nagoya, JP, Tokuzo
Thu-Mar-24, Tokyo, JP, Haretara Sorani Mame Mite
Sat-Mar-26, Seoul, KR, EHWA 100th Memorial Hall
3/19 with Kinoshita & Todaka (from Art-School)
3/20, 23 with Shiraoka
3/22 with Youcan
Find out more about Azure Ray and other great bands at Saddle Creek Records
Thursday, February 3, 2011
Music Review: The Spits - The Spits (IV)
This album, obviously the 4th full length from The Spits is only a bit over 15 minutes long, so that tells you what kinda stuff it is – loud fast punk rock. It’s a bit fuzzy and demented too, so it’s pretty good. It’s a combination of the Misfits and the Ramones with shittier instruments, played in a shittier basement.
The Spits (IV) or the School’s Out LP, the band’s first with Recess Records, is an okay little ride put together by two brothers – Erin and Sean – on bass and guitar, and a drummer that follows their simple punk rock formula. The formula has worked before and will work again. It's pretty good, not perfect, but decent angry catchy tunes that would have you pumping your fist at a concert.
They have some good lyrics to yell out about not living in a van and setting teachers on fire, but mostly they are fuzzy and angry. There are flashes of intelligence on the 10 tracks on The Spits (IV) but it’s not enough to make up for the rest of the album. Unfortunately, there are not enough songs that beg to be listened too, most of them are just feedback and angriness that has been done before.
Luckily, this is a short album, and is a relatively pleasant and noninvasive 15 minutes. It is also unlucky. Nothing about this punk rock record kicks you in the ass like punk rock should.
I wouldn’t call this album a bad album, but it is not essential, and mostly a retread of old music. The Spits would probably be a kickass concert though, and they are touring soon, so check their Web site and go see 'em.
Listen to The Spits on You Tube here.
The Spits (IV) or the School’s Out LP, the band’s first with Recess Records, is an okay little ride put together by two brothers – Erin and Sean – on bass and guitar, and a drummer that follows their simple punk rock formula. The formula has worked before and will work again. It's pretty good, not perfect, but decent angry catchy tunes that would have you pumping your fist at a concert.
They have some good lyrics to yell out about not living in a van and setting teachers on fire, but mostly they are fuzzy and angry. There are flashes of intelligence on the 10 tracks on The Spits (IV) but it’s not enough to make up for the rest of the album. Unfortunately, there are not enough songs that beg to be listened too, most of them are just feedback and angriness that has been done before.
Luckily, this is a short album, and is a relatively pleasant and noninvasive 15 minutes. It is also unlucky. Nothing about this punk rock record kicks you in the ass like punk rock should.
I wouldn’t call this album a bad album, but it is not essential, and mostly a retread of old music. The Spits would probably be a kickass concert though, and they are touring soon, so check their Web site and go see 'em.
Listen to The Spits on You Tube here.
Wednesday, February 2, 2011
Stream the recent SAMIAM album and watch Samiam’s entire set from recent show in Germany!
Berkeley, California’s Samiam recently returned from an extensive European tour to support the release of their double LP/ CD collection entitled Orphan Works out now on No Idea Records!
While on the journey they played the Westend Indoor in Dortmund, Germany. Local TV Show, Rockpalast, filmed some quality video of their 16 song set.
You can watch the video of the entire show here, and also enjoy an interview with the band here!
If you have not heard the 18 track Orphan Works collection you can head over to AMP Magazine to stream the release in its entirety.
The 18 tracks consist of studio outtakes, in-studio radio shows and live recordings from the Clumsy and You Are Freaking Me Out period of the band’s career.
Samiam formed in late 1988 after the break of up of Gilman’s Isocracy. Samiam released seven albums during their life on several labels including Hopeless, Burning Heart, Atlantic, New Red Archive, and Igition/Tommy Boy.
Crucial Links:
http://www.ampmagazine.com/3305/samiam-orphan-works-full-album-stream/
http://www.noidearecords.com
http://www.myspace.com/samiam
While on the journey they played the Westend Indoor in Dortmund, Germany. Local TV Show, Rockpalast, filmed some quality video of their 16 song set.
You can watch the video of the entire show here, and also enjoy an interview with the band here!
If you have not heard the 18 track Orphan Works collection you can head over to AMP Magazine to stream the release in its entirety.
The 18 tracks consist of studio outtakes, in-studio radio shows and live recordings from the Clumsy and You Are Freaking Me Out period of the band’s career.
Samiam formed in late 1988 after the break of up of Gilman’s Isocracy. Samiam released seven albums during their life on several labels including Hopeless, Burning Heart, Atlantic, New Red Archive, and Igition/Tommy Boy.
Crucial Links:
http://www.ampmagazine.com/3305/samiam-orphan-works-full-album-stream/
http://www.noidearecords.com
http://www.myspace.com/samiam
Tuesday, February 1, 2011
Music Review: Riverboat Gamblers - Underneath the Owl
On Underneath the Owl, Riverboat Gamblers play catchy punk rock with some fancy polish on it – to bring it out of the basement. The Riverboat Gamblers are a group in the vein of No Use For a Name and Fall Out Boy, with rapid-fire drum beats and big guitar riffs and they lay down some solid beats to make you smile.
The problem with Underneath the Owl — the second Riverboaters release on Volcom and their sixth album overall — is it’s a bit too polished. It lacks the sweaty, feedback-driven bounciness of their previous records and live show. There are some nice tracks on this album though, powerful vocals from singer Mike Wiebe, and lyrics that are witty, fast, thoughtful wordplays, but the album lacks some heart and some messiness. It sounds too produced and more like Sum 41 than the Dead Kennedys.
The new extra polish on the Riverboaters' sound is somewhat understandable since they have been aboard the Warped Tours in recent years and sharing the stage with a lot of pop/punk bands that lean more toward pop. Underneath the Owl gets a little better with additional listens, but the initial over-produced sugary feel sticks to you.
While Riverboat Gamblers are still far superior to many of their Warped Tour counterparts they are pulling their punches on Underneath the Owl instead of hitting you on the chin with a nice follow-through. If the album just gave way to the punk rock fury in the lyrics then it might soar, but there still are a few high spots.
The album opens nicely with “DissDissDissKissKissKiss” which starts off with a sharp drum beat and driving guitars and lyrics that you could envision a crowd chanting: "Action, action, Kitty, Kitty/ Fast one, fast one / No tip /Hey /Lesson, lesson / Furry belly/ 'Lection, 'lection / Get paid." The third track “Catastrophe” ("We both know this fiasco won't be complete without broken bones") is the grittiest track of the 11 songs on Owl; it is the most powerful rocker and it bleeds swanky hate and disregard. The track “Robots May Break Your Heart” is sparse rocker driven by a thumping bassline and decorated with keyboard sounds, “Steer Clear” is a good college rock band song about breaking up with a girl (the best songs are always bout girls) with the lyrics sung/spoken as a plaintive description of a night on the town: "I'm so so so so so so so indecisive / I'm making compromises / If I just stay in, I'm alone again / If I go out what's the chances I see you and him."
The album ends with “Victory Lap” a song about the band being on tour and having fun. It's a cool, slice of life song about a rock band and it has some good, sweat-drenched guitar solos and loud drum fills that can definitely get your neck moving, but the refrain is kind of hokey and the song is uneven, powerful in places and thrown away in others. It also ends abruptly and leaves you unfulfilled.
“Victory Lap” is representative of Underneath the Owl as a whole: a good album overall, with spots of awesome. If the band decided to dig into the grimy dirt floors of the small rock clubs across the U.S.A., or if they decided to expand more by bringing in some softer sounds and instruments to accentuate their music, going full force with it and dealing out a unique slow song or two, they would be better. Instead they make no decision and straddle the line and don’t accomplish either punk or prettiness extremely well. It is only sad, because they probably can master either, if they try with all their heart.
See the video for DissDissDissKissKissKiss
The problem with Underneath the Owl — the second Riverboaters release on Volcom and their sixth album overall — is it’s a bit too polished. It lacks the sweaty, feedback-driven bounciness of their previous records and live show. There are some nice tracks on this album though, powerful vocals from singer Mike Wiebe, and lyrics that are witty, fast, thoughtful wordplays, but the album lacks some heart and some messiness. It sounds too produced and more like Sum 41 than the Dead Kennedys.
The new extra polish on the Riverboaters' sound is somewhat understandable since they have been aboard the Warped Tours in recent years and sharing the stage with a lot of pop/punk bands that lean more toward pop. Underneath the Owl gets a little better with additional listens, but the initial over-produced sugary feel sticks to you.
While Riverboat Gamblers are still far superior to many of their Warped Tour counterparts they are pulling their punches on Underneath the Owl instead of hitting you on the chin with a nice follow-through. If the album just gave way to the punk rock fury in the lyrics then it might soar, but there still are a few high spots.
The album opens nicely with “DissDissDissKissKissKiss” which starts off with a sharp drum beat and driving guitars and lyrics that you could envision a crowd chanting: "Action, action, Kitty, Kitty/ Fast one, fast one / No tip /Hey /Lesson, lesson / Furry belly/ 'Lection, 'lection / Get paid." The third track “Catastrophe” ("We both know this fiasco won't be complete without broken bones") is the grittiest track of the 11 songs on Owl; it is the most powerful rocker and it bleeds swanky hate and disregard. The track “Robots May Break Your Heart” is sparse rocker driven by a thumping bassline and decorated with keyboard sounds, “Steer Clear” is a good college rock band song about breaking up with a girl (the best songs are always bout girls) with the lyrics sung/spoken as a plaintive description of a night on the town: "I'm so so so so so so so indecisive / I'm making compromises / If I just stay in, I'm alone again / If I go out what's the chances I see you and him."
The album ends with “Victory Lap” a song about the band being on tour and having fun. It's a cool, slice of life song about a rock band and it has some good, sweat-drenched guitar solos and loud drum fills that can definitely get your neck moving, but the refrain is kind of hokey and the song is uneven, powerful in places and thrown away in others. It also ends abruptly and leaves you unfulfilled.
“Victory Lap” is representative of Underneath the Owl as a whole: a good album overall, with spots of awesome. If the band decided to dig into the grimy dirt floors of the small rock clubs across the U.S.A., or if they decided to expand more by bringing in some softer sounds and instruments to accentuate their music, going full force with it and dealing out a unique slow song or two, they would be better. Instead they make no decision and straddle the line and don’t accomplish either punk or prettiness extremely well. It is only sad, because they probably can master either, if they try with all their heart.
See the video for DissDissDissKissKissKiss
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