Monthly Archives: July 2011

Report: Jeremy Messersmith Live Portland

 

July 22 at the Mississippi Studios, the
indie poster charmed a small but appreciative crowd.

 

By Tim Hinely

I was bummed
that I had missed Messersmith last year so I wanted to make sure I caught him
this time. The crowd was a bit sparse (but appreciative) probably due to the
PDX Pop Now! Festival going on on the other side of town.  Messersmith didn’t seem to mind, he seems to
be happy-go-lucky and is a well-dressed guy and has a bit of an Elvis Costello
look about him (ok, so it’s the glasses). He is supremely talented individual
and his backing back, comprised of a lead guitarist, drummer and a gent who
played some bass as well as bit of cello were all ace players as well. They
played a good chunk of material off his latest (3rd) record , the
terrific  The Reluctant Graveyard, as well as some earlier stuff. 

 

Not one to miss
a joke either, Messersmith joked that “I’ve only been in Portland for a few hours
but am impressed by both the quality and the quantity of the beards here”; and,
at the end of the set, “OK, this is usually the part when I walk off stage and
you guys cheer wildly then I come back out and play a few more songs, but let’s
just act like I left the stage but I will stay here….cool?”  The guy has the talent and deserves a bigger
audience so we will see if he will go the way of Matthew Sweet (who he reminds
me of a bit) and stay a cult favorite or break out. Stay tuned.

 

 

Lingua Musica/Blurt Say: RBTS WIN!

 

Taped Friday, July 22
at the Mother & Son Bistro in Asheville.

 

By Blurt Staff

 

A couple of the guys from Asheville’s
RBTS WIN sat down with Lingua Musica host Joe Kendrick for a chat in advance of
their appearance at the upcoming Bele Chere Festival on Saturday 7-30-11. They
talked about their synth-heavy sound and their ongoing relationship with Moog
Music, their numerous releases (well-worth checking out, incidentally – most of
them you can download for free) and upcoming plans, as well as life as an
independent artist on a local music scene. Videographer Jesse Hamm also edited
this video. 

 

 

You can visit RBTS WIN and check out song samples at their official website.

 

The videotaped conversation marks the latest in the new Lingua Musica
Interviews series and we’re looking forward to many more in the very near
future. (Previous installments have included Dex Romweber Duo, Paper Tiger,
Kellin Watson, Dubtribe, Dehlia Low, Ryan Montbleau, Brian McGee, Jon Dee
Graham, and more.) BLURT is a proud co-sponsor of Lingua Musica. Please visit
the LinguaMusicaAlive.com
website
, and meanwhile, check out the video.

 

[Photo Credit: Eric Graham Photography]

 

Report: Yuck Live in Portland

 

On the limp musical  evidence presented July 22 at Portland’s Doug Fir Lounge, perhaps it’s time
to go back to the drawing board for the over-hyped British band.

 

By Tim Hinely

Opening act Unknown Mortal
Orchestra is a trio of New Zealanders who now live in Portland, At least one,
leader Ruban Neilson, used to be in the Mint Chicks. They came out and had a
big Yuck banner behind them leading me to wonder if the headliners were indeed
playing first. They weren’t.  U.M.O.
played in total darkness and only ever uttered “Thanks” a few times. Mysterious
figures shrouded in mystery on the Doug Fir stage. The rhythm section rumbled
along, wanting to bowl over anyone in its path while Neilson, on guitar and
vocals, mumbled out words and scraped and clawed away at his guitar. At times
he sounded like Tony Iommi while at others like Steve Howe (from Yes) and while
the rest of the crowd was cheering wildly I wasn’t as impressed. Updated Pink
Floyd isn’t my idea of a good time.

 

Speaking of not
impressing: Yuck came on next and while I appreciated the drummer’s amazing
afro, musically it was all a bit limp. They played songs from their self-titled
debut, a record that I really enjoyed, but live it seemed like there was no
passion or inspiration, just four British youngster politely playing songs from
a heavily hyped record.

 

Songs like “The
Wall” and “Get Away”, a few favorites from said debut, sounded just like they
do on record, which is fine, but the band seemed to be going through the
motions. Both guitarists, Daniel Blumberg and Max Bloom had enough pedals to
make J Mascis jealous, so they’ve got that going for ‘em, and honestly, I’m not
100% sure what I was hoping for (the set certainly wasn’t awful or anything). But
whatever it was, I didn’t receive it.

 

The best part of
the evening was Bloom’s rendition of happy birthday on his guitar since it was
the female bassist’s birthday (lots of balloons all over the stage). Back to
the drawing board?

 

 

Read: New Son House Bio

 

Authored by Daniel Beaumont, the excellent Preachin’
The Blues: The Life & Times of Son House is published this month by Oxford University
Press.

 

By Sam Baltes

 

Of the myriad legendary
musicians to emerge from the Mississippi Delta during the early 20th century, Son House ranks among the most important. Successor to Charlie Patton,
mentor to Robert Johnson, and inspirational figure to Muddy Waters, House
played a pivotal role in forging the blues aesthetic. In this first full-scale
biography devoted to House, Daniel Beaumont does a commendable job of capturing
the essence of the man and his music.

 

It seems to be axiomatic that
dismal locales produce compelling artists, and the Mississippi Delta bears
testament to this. During the early 1900s the region was epitomized by lynch
mobs, torrential flooding, and widespread poverty. In spite (or because) of
these soul-crushing factors, the region also harbored some of the most significant
musicians of the 20th century, among these, Son House. House, born
into a sharecropping system that was “at best, a break-even proposition,” early
on looked for a way to circumvent the vacuous hardships that the occupation
entailed. As a youth he disdained the blues and maintained an abstemious lifestyle
— he channeled his stentorian vocals toward preaching, which provided a
respite from hard labor. This was ephemeral though, and after developing a
taste for whiskey, women, and bottleneck guitar, he underwent an apostasy and
became determined to “play one of them things.” This decision irrevocably altered
House’s life, and the cognitive dissonance that resulted from it leant his songs
a unique fervor.

 

The most engrossing section
of the book deals with House’s early career. Shortly after his commencement as
a bluesman, House was incarcerated for killing a man (allegedly in self
defense). He was sentenced to the infamous Parchman Farm, where under the aegis
of sadistic guards he served two years of intensive labor. Following his
release, House was “ramblified,” and upon drifting into the town of Lulu, he caught the eye
of Charlie Patton and the two became compatriots. While the relationship
between House and Patton has been touched upon in other books, the breadth of Beaumont’s depiction is unrivaled.
 House’s feelings toward Patton are made
clear — he harbored an undying respect for him, but was irked by the man’s
flippancy. New information is also dispensed concerning House’s relationships
with other bluesmen such as Willie Brown and Howlin’ Wolf. Beaumont is passionate about showing the
importance of House’s music and provides a detailed breakdown that illustrates its
impact on subsequent musicians like Robert Johnson.

 

Unfortunately, the period
between House’s retirement and “rediscovery” was uneventful, and the book drags
when chronicling these years. House moved to New York, quit performing, and besides boozing
and terminating another man (allegedly in self defense), didn’t get up to much.
This part of House’s life was haphazardly documented, and often his word (which
is frequently contradictory) is all you have to go by. The monotony of this chapter
is less the fault of Beaumont
than the subject, but it’s a bummer regardless.

 

The book picks back up after
House’s return to music. In an unusual turn of events, the folk revivalism of
the early ‘60s led suburbanite college students to seek out bluesmen who had
drifted into obscurity. As a result, House received the recognition he never
obtained during his youth and it’s interesting seeing how he responded to the
adulation laid upon him by affluent white kids. Despite being a hopeless alcoholic
during his last years, House filled concert halls, moved vinyl, and outlived
virtually all of his delta contemporaries before finally succumbing to lung
cancer at the age of 86.

 

An “ex-preacher, an
alcoholic, a convicted killer, and a bluesman,” Son House was a troubled man with
an indomitable constitution. While Beaumont’s
prose isn’t the flashiest, he does House justice with an illuminating,
well-researched biography.  Preachin’ The Blues is a must for House
fans, and an enthralling read for anyone interested in the blues.

 

 

 

 

 

Watch New Wild Beasts Video

 

Band also announces
next round of tour dates.

 

By Blurt Staff

 

Britain’s Wild Beasts just wrapped up a brief but successful
tour of the east coast, with stops in New York (where they sold out two shows
at Le Poisson Rouge and popped into WNYC for a Soundcheck
session
), Washington DC, and Philadelphia. Now they’ve released a video for
their new single “Bed Of Nails,” culled from their acclaimed album Smother (read the BLURT review here).

 

 

 

The single will also be available as a limited edition
postcard, featuring artwork by noted photographer Jason Evans, and signed by
the band. Each postcard (limited to 500) will include a download code for both
“Bed of Nails” and B-side “Catherine Wheel.” Meanwhile, in September they
return to North America for another round of
touring. Joining them on select dates will be Twin Sister and EMA.

 

Tour Dates:

 

Friday, Sep. 16 — Austin, TX @
Austin City
Limits

Tue. Sep. 20 – Atlanta,
GA @ Variety Playhouse

Wed. Sep. 21 – Chapel
Hill, NC @ Cat’s
Cradle

Thu. Sep. 22 – Baltimore,
MD @ Sonar

Fri. Sep. 23 – Brooklyn, NY @ Music
Hall of Williamsburg

Sat. Sep. 24 – Brooklyn, NY @ Music
Hall of Williamsburg

Tue. Sep. 27 – Boston,
MA @ Paradise Rock Club

Wed. Sep. 28 – Montreal,
QC @ Cabaret Mile-End

Thu. Sep. 29 – Toronto,
ON @ Mod Club

Fri. Sep. 30 – Detroit,
MI @ Magic Bag

Sat. Oct. 1 – Chicago,
IL @ Lincoln Hall w/ Twin Sister

Sun. Oct. 2 – Milwaukee,
WI @ Turner Hall w/ Twin Sister

Tue. Oct. 4 – Minneapolis,
MN @ Varsity Theater w/ Twin
Sister

Fri. Oct. 7 – Seattle, WA @ Neptune w/ EMA

Sat. Oct. 8 – Vancouver,
BC @ Biltmore Cabaret w/ EMA

Sun. Oct. 9 – Portland,
OR @ Doug Fir w/ EMA

Tue. Oct. 11 – Santa
Cruz, CA @ Rio
Theatre w/ EMA

Thu. Oct. 13 – Los
Angeles, CA @
Echoplex w/ EMA

Sat. Oct. 15 – Mexico
City, Mexico
@ Corona Capital Festival

Sun. Oct. 16 – San
Francisco, CA @
Treasure Island Music Festival

 

RTX release 45, schedule tour, Plan LP for 2010

 

Officially voted “most chaotic live
act” since the last one!

 

By Blurt
Staff

 

Jennifer
Herrema and her RTX gang will be playing 2 weeks of West coast shows starting
September 2nd in San Diego, CA
and ending September 15th  in Long
Beach, CA. They will
be taking the Nashville
garage band Heavy Cream on the road with them in celebration of their
“Killer Weed” / “Deadbeat” split 7″ that will be out
Sept. on Volcom’s vinyl club. RTX will be previewing plenty of new songs off of
their forthcoming album Rad Times IV,
slated for a Jan. release by longtime label Drag City.

Here’s what the label has to say about that: “Jennifer’s wide-angle lens has captured a universe of images over the
course of the Royal Trux and RTX discographies and the universe just gets
bigger with every record. The west wasn’t rolled over without a few ritual
sacrifices down the road. Our survival still depends on it and in the
sun-drenched new frontier, RTX have your back. RTX runs the rock up the
flagpole and rolls it around in strong winds. Put it this way if you don’t know
what RTX stands for, it’s “Rad Times Xpress.” So get on board!”

 

Yup. We’re
on board.

 

Tour dates:

 

9/2/11 San Diego, CA
– Tin Can Alehouse w/ Heavy Cream

9/3/11 San Francisco, CA
– Parkside Lounge w/ Heavy Cream

9/4/11 Eureka, CA – The Alibi w/
Heavy Cream

9/6/11 Olympia, WA
– The Brotherhood w/ Heavy Cream

9/7/11 Vancouver, BC
– The Warldorf Hotel w/ Heavy Cream

9/8/11 Victoria, BC – Logan’s Pub w/ Heavy
Cream

9/9/11 Seattle, WA
– Funhouse w/ Heavy Cream

9/10/11 Portland, OR – Mississippi Studios w/
Heavy Cream, Ty Segall

9/12/11 Oakland, CA
– The New Parish w/ Heavy Cream

9/13/11 Fullerton, CA
– Continental w/ Heavy Cream

9/14/11 Los Angeles, CA – Freak City
w/ Heavy Cream

9/15/11 Long Beach, CA – Alex’s
Bar w/ Heavy Cream

 

 

 

Report: The Cowsills Live in Indian Lake, OH

 

July 9, at the Old
Field Beach State Park, the beloved family combo toast their song-titling namesake.

 

Text/Photos by Steven Rosen

“Well, that was a first. We’ve never performed that song looking
directly at Indian Lake before.”

 

Bob Cowsill said that as the crowd, in summer wear and
bathing suits, surged and cheered on the open field at Old Field Beach State
Park at Indian Lake, on the western side of Ohio. Quite a few had arrived by
boat, having anchored at the beach. The hot sun was bearing down on them, which
somehow seemed to improve their mood. This was a perfect summer day, a perfect
summer event.

 

The Cowsills had just opened their concert with a rousing
version of “Indian Lake,” a Top Ten hit in 1968. For the locals at the Chamber
of Commerce’s annual Party at the Beach, it was an acknowledgement of past
glories – not just of a time when the clean-cut Cowsills were America’s
favorite family band, but also when Indian Lake (and the nearby town of
Russell’s Point) was a Midwest tourist resort, famous for its Sandy Beach
Amusement Park with its dance pavilion and 2,000-foot-long roller coaster. (It
was demolished in 1982 after decades of decline.) It was hard to judge crowd
size, given the spread-out nature, but it could have been around 1,000. An
anonymous local donor had paid to bring the Cowsills there for the event.

 

The Cowsills at Indian Lake were two brothers – Bob, 61, and
Paul, 59 – and 52-year-old sister Susan, who has her own budding career as an
Americana-oriented singer-songwriter. But at their peak, back in the day, they
consisted of those three plus brothers Bill, Barry and John and their mother,
Barbara. They were just kids – Boomer teens and younger – on tour with mom and managed
by their dad, a Navy careerist.

 

It is far from certain the song “Indian Lake” was named for
the lake. It was written by Tony Romeo, a pop songsmith who also wrote “I Think
I Love You” for the Partridge Family (more about them later) and had a thing
for forced rhyming (“Indian Lake is a
scene you should make with your little one”)
and catchy melodies. But the
Cowsills began their career in Canton, Ohio, around the start of the 1960s. And
though they were living in Newport, R.I., when their hits started, Ohio can
claim them.

 

Summertime, USA, is filled with small-town outdoor fairs and
parties that proudly book 1960s or 1970s oldies acts to play hits (often
without any original members) and meet and greet the locals. Such shows are
often slick, kitschy and soulless.

 

But the Cowsills show was different. First, because they
were (and still are) family, there’s meaning and feeling in the performance and
the interaction between the three singers. (The back-up band, too, is family –
Paul’s two sons Brendan and Ryan on guitar and keyboards, Susan’s husband Russ
Broussard on drums. The bass player, Mary Lasseigne, is introduced by Bob as
“sister” so she doesn’t feel out of place.)

 

There’s also poignancy and currency to being on the road
now. A new documentary, Family Band: The
Cowsills Story,
is just beginning to make the rounds of film festivals this
summer and advance word is that it uncovers some raw truths below the
family-friendly image, especially about the way their now-deceased dad, William
“Bud,” treated them, and how difficult adulthood turned out to be for some of
the siblings. But it also shows the bond existing among the three still active
in the band, and in a way their limited concerts are a way to reinforce that
relationship. It’s the oldies-rock version of The Tree of Life.

 

The show was well-rehearsed (the sound check took 40
minutes) and musically professional, but not “produced” in the way a current
Turtles or Monkees concert might be, to mention two other AM-friendly pop vocal
acts of the era. The three original Cowsills dress casually, banter about and
in general act like it’s just a bigger-than-usual family gathering.

 

In the concert, Bob and Paul do quite a few covers of
folk-rock tunes – just as the oldest brothers used to do in the beginning,
before the Cowsills became a Top-40 act. Simon & Garfunkel’s “Homeward
Bound” and Peter, Paul & Mary’s “Puff the Magic Dragon,” “If I Had My Way”
and “If I Had a Hammer” all got played here – the last gaining credibility when
three sang out about “the love between my brothers and my sisters.”

 

Susan does several songs from her fine Lighthouse album of 2011, and
the group performs material from the generally overlooked Americana-leaning
solo catalogue of their two deceased brothers, Bill and Barry. To give the
departed their due is one mission of the show.

 

The three siblings on stage at Indian Lake were pretty
matter-of-fact about addressing Barry’s shocking death. “We lost Barry during
Hurricane Katrina,” Bob told the crowd. “(He) did not evacuate when he should
have.” (Barry’s body was not found for some four months after the 2005 flooding
of New Orleans. And Bill, who lived in Canada and had health problems, died the
same day as Barry’s memorial service.) Susan took the lead on a rousing, emotional
version of Barry’s cathartic, Petty-like “River of Love,” a song filled with
dark irony now. (She also lived in New Orleans
when Katrina hit, but had left in time, and recorded “River of Love”
for Lighthouse.)

 

I’m not sure if the fans, who mostly were there for some pop
nostalgia, were prepared for the way the song – or the back story – darkened
their sunshine pop, but they did seem to respect it. And “River of Love” rocked
them.

 

The Cowsills did honor their Top 40 past – sometimes with
sweet good humor, other times with sly wit. And the hits hold up well. In
particular, the expansive melodic rush of “The Rain, The Park & Other
Things” – a chart topper from 1967 – fits in well with the era of “Good
Vibrations,” “Happy Together” and “Up, Up and Away” – pop-rock optimism at most
beautiful. It sounded fantastic, echoing throughout the park, as did “We Can
Fly” – a 1968 hit in a similar vein.

 

When one man in the crowd hollered out for “the milk song,”
they complied – saying they hadn’t done it live before. Bob and Paul sang out
“milk is the lift that will last.” The Cowsills also invited people on stage,
and so many came up (while others danced about in a sandy area in front) you
wondered if the stage would collapse.

 

Bob and Paul used the song selection to tell stories about
their career – explaining both how they felt at the time and how they feel now
about having been a family pop group with an image safe as milk at a time of
teenage revolution. For instance, Paul prefaced their theme to the TV series
“Love American Style” – a program on the square side of pop culture in the late
1960s/early 1970s – this way: “When we were kids, we didn’t care that we did
the theme for a TV show. Now that we’re older, we think it’s really cool.
That’s one of the ways you change through the years.”

 

 

That performance led to another TV-related one, a somewhat
in-jest version of Partridge Family’s goofy “I Think I Love You,” an awkwardly
constructed ditty somehow too friendly to fight. But while “Indian Lake’s”
Romeo wrote it, it isn’t really a Cowsills song. Or is it? It turns out the
producers of “The Partridge Family,” a comedy about a family that plays music
together, originally wanted the Cowsills for their early-1970s show, but the
family turned it down. So actors were put together for it. Million-selling
success followed.

 

“Since the Partridge Family didn’t tour, couldn’t perform or
sing ‘I Think I Love You,’ we’ve declared it our hit,” Bob told the crowd.

 

The oddest story – and one that cries out for more details –
concerned “Hair,” the Cowsills’ last and biggest hit, from the “American tribal
rock” musical of the same name. The Cowsills saved it for (almost) last at
Indian Lake, enduring lots of shouts for “Hair” in the meantime and making
jokes about the lack of it on the two brothers’ heads now.

 

By the time the Cowsills’ recorded version came out in early
1969, it seemed they were jumping on a bandwagon – Hair was a sensation. Still, it was shocking to hear the clean-cut
Cowsills record an ode to long hair, one that even mentioned the Grateful Dead
and came from a Broadway musical with nudity.

 

But as they explained it from the stage at Indian Lake, Carl
Reiner – the television/film producer/director – had been given an advance copy
of the soundtrack album and, thinking the Cowsills were perfect for covering
“Hair” (maybe because they had strong harmonies), urged them into the studio to
record it. They did so, but their record company – the notoriously tin-eared
MGM – hated it. So it sat unreleased.

 

Finally, the Cowsills gave a copy to a Chicago Top 40
station of the day, WLS-AM, which played it and got huge, instant reaction. The
rest, as they say, is history.

 

The Cowsills finished the show by reprising “Indian Lake.”

 

At the concert, it was announced the donor had agreed to
bring them back next year for the same event. If that’s the case, Indian Lake
will definitely be a scene you should make. And if you can’t bring your little
one, bring your favorite college professor. There’s a lot of American cultural history
on that stage.

 

 

(Top
photo: Susan and Paul, with microphones, with invited crowd on stage; second
photo also has Bob at right.)

 

 

 

Facebook to Nirvana: Ixnay on Penis-ay

 

Reissue of Nevermind
continues to make people nervous  just like it did 20 years ago.

 

By Perez Mills

 

As noted last month, Sept. 27 will bring a 4CD/1DVD super
deluxe edition reissue of Nirvana’s seminal Nevermind album – you may have heard about the ’91 album – from Universal as part of
a 20th anniversary celebration for the record. In addition to the
original Nevermind (remastered,
natch) it will feature a 1991 Seattle
concert (both CD and DVD) and the so-called “Devonshire Mixes” mixed by Butch
Vig. Also: a massive 90-page book.

 

 It will also be
available as a single CD remaster and a two-disc version which includes the
original album plus a CD containing B-sides, demos and BBC tracks. See the tracklist, below.

 

 

Meanwhile, yesterday Nirvana’s label and handlers posted
additional details about the upcoming release to Facebook, including product
shots detailing the contents of the package – only to later have the images
removed by Facebook! Facebook sent them a generic form letter takedown notice
reading, in part:

 

You uploaded a photo that violates
our Terms of Use, and this photo has been removed. Facebook does not allow
photos that attack an individual or group, or that contain nudity, drug use,
violence, or other violations of the Terms of Use. These policies are designed
to ensure Facebook remains a safe, secure and trusted environment for all
users, including the many children who use the site.

 

Whew. We certainly feel safer and more secure knowing that
the little prick – the member, silly, not the child himself – will not be out
there on Facebook where our children can view it. 

 

Some things never change. Raise your hand if you remember
how a lot of retailers got nervous when Nevermind originally came out? (Check out this Wikipedia entry on “controversial album
art
.”) It will be interesting to see what happens when WE post the news item
you are reading to OUR Facebook page, eh?

 

CD1:

Original album:

01 Smells Like Teen Spirit
02 In Bloom
03 Come as You Are
04 Breed
05 Lithium
06 Polly
07 Territorial Pissings
08 Drain You
09 Lounge Act
10 Stay Away
11 On a Plain
12 Something in the Way

B-Sides:

13 Even in His Youth
14 Aneurysm
15 Curmudgeon
16 D-7 (live at the BBC)
17 Been a Son (live)
18 School (live)
19 Drain You (live)
20 Sliver (live)
21 Polly (live)

 

CD2:

Smart Studios sessions:

01 In Bloom *
02 Immodium (Breed) *
03 Lithium *
04 Polly *
05 Pay to Play
06 Here She Comes Now
07 Dive *
08 Sappy *

The Boombox Rehearsals:

09 Smells Like Teen Spirit
10 Verse Chorus Verse *
11 Territorial Pissings *
12 Lounge Act *
13 Come as You Are
14 Old Age *
15 Something in the Way *
16 On a Plain *

BBC Sessions:

17 Drain You *
18 Something in the Way *

 

CD3:

The Devonshire Mixes:

01 Smells Like Teen Spirit *
02 In Bloom *
03 Come as You Are *
04 Breed *
05 Lithium *
06 Territorial Pissings *
07 Drain You *
08 Lounge Act *
09 Stay Away *
10 On a Plain *
11 Something in the Way *

 

CD4:

Live at the Paramount Theatre:

01 Jesus Doesn’t Want Me for a Sunbeam *
02 Aneurysm *
03 Drain You *
04 School *
05 Floyd the Barber *
06 Smells Like Teen Spirit *
07 About a Girl *
08 Polly *
09 Breed *
10 Sliver *
11 Love Buzz *
12 Lithium *
13 Been a Son *
14 Negative Creep *
15 On a Plain *
16 Blew *
17 Rape Me *
18 Territorial Pissings *
19 Endless, Nameless *

 

DVD:

Live at the Paramount Theatre:

01 Jesus Doesn’t Want Me for a Sunbeam *
02 Aneurysm *
03 Drain You *
04 School *
05 Floyd the Barber *
06 Smells Like Teen Spirit *
07 About a Girl *
08 Polly *
09 Breed *
10 Sliver *
11 Love Buzz *
12 Lithium *
13 Been a Son *
14 Negative Creep *
15 On a Plain *
16 Blew *
17 Rape Me *
18 Territorial Pissings *
19 Endless, Nameless *

 

Music videos:

20 Smells Like Teen Spirit (music video)
21 Come As You Are (music video)
22 Lithium (music video)
23 In Bloom (music video)

 

Watch New Animated Mountain Goats Video

 

“Estate Sale Sign” comes from this
year’s All Eternals Deck album.

 

By Blurt Staff

 

The
Mountain Goats kick off tour dates with Bright Eyes today with the release of
an animated music video for “Estate Sale Sign,” from recent album All Eternals Deck (Merge).

 

The Mountain Goats – Estate Sale Sign from Merge Records on Vimeo.

 

Directed by Brooklyn-based animation team Awesome and Modest and edited by Sean
Donnelly, the video was made using mixed media and handmade techniques to craft
the eerie landscapes and anthropomorphic creatures at war over a snow globe.

 

Tour
Dates:

7/27 – Lewiston, NY @ Artpark *
7/28 – Gilford, NH @ Meadowbrook US Cellular Pavilion *
7/29 – Shelburne, VT @ The Green At Shelburne Museum *
7/30 – Montreal, QC @ Osheaga Festival
7/31 – Baldwinsville, NY @ Papermill Island Amphitheatre *
8/2 – Cleveland, OH @ House of Blues*
8/3 – Grand Rapids, MI @ Meijer Gardens *
8/4 – Indianapolis, IN @ Egyptian Room *
8/5 – Chicago, IL @ Lollapalooza
9/24 – Maximum Ames Festival @ Ames, IA #
12/2-4 – All Tomorrow’s Parties curated by Jeff Mangum @ Minehead, UK

* = with Bright Eyes
# = solo show

 

Lingua Musica/Blurt Say: Paper Tiger!

Taped Friday, July 22
at the Mother & Son Bistro in Asheville.

 

By Blurt Staff

 

Molly Kummerle of North Carolina’s
Paper Tiger sat down with Lingua Musica host Joe Kendrick for a chat in advance
of Paper Tiger’s appearance at the upcoming Bele Chere Festival on Saturday
7-30-11. She talked about the band (which played at last year’s MoogFest,
incidentally – she’s got some great comments about that event) as well as her
many other activities on the regional music scene and her forays into the
fashion design world. Videographer Jesse Hamm also edited this video. 

 

 

You can visit Paper Tiger and check out song samples at their official
website
. Read the BLURT review of their Me
Have Fun
album here.

 

The videotaped conversation marks the latest in the new Lingua Musica Interviews
series and we’re looking forward to many more in the very near future.
(Previous installments have included Dubtribe, Dehlia Low, Ryan Montbleau,
Brian McGee, Jon Dee Graham, and more.) BLURT is a proud co-sponsor of Lingua
Musica. Please visit the LinguaMusicaAlive.com
website
, and meanwhile, check out the video.