Monthly Archives: May 2012

Trent Reznor: New Music "later this year"

 

No, he’s not referring to Nine Inch Nails

By Perez Mills

In the spirit of Twitter, we’ll keep this short and sweet: a few minutes ago Trent Reznor tweeted that new music is due in 2012  from his band How To Destroy Angels (Reznor, Atticus Ross, Mariqueen Maandig). No additional details. Here’s the original Twitter post:

@trent_reznor Getting the plan together for @destroyangels. You will hear new music later this year. Stay tuned.

New Dan Deacon LP En Route


New tune “Lots” already available for download at website.

By Blurt Staff

Dan Deacon has pencilled in an Aug. 28 release date for his next album. Titled America, it will arrive on the Domino label. Also, at Deacon’s website you can listen to new track “Lots” or nab a free MP3 download. (Thanks to Pitchfork for the tip.) As the tracklisting, below, suggests, there is indeed an American theme running through much of the album – if so, though, why not release it the first week of July, Dan?

Guilford Avenue Bridge
 True Thrush
 Lots
 Prettyboy
 Crash Jam
 USA I: Is a Monster
 USA II: The Great American Desert
 USA III: Rail
 USA IV: Manifest

 

Report: Hugh Laurie Live in San Fran

 

Freed
from playing Dr. Gregory House, veteran British actor Hugh Laurie charms
legions of fans at the Great
American Music
Hall on May 27 by performing vintage American
soul music. 

By Jud Cost

It might have been a shock to some of the more casual fans of House, the
critically-lauded doctor show that recently ended its successful 8-year run on
Fox-TV. Its main character, Dr. Gregory House played by Hugh Laurie, doesn’t
really need a cane to walk about,  he isn’t addicted to Vicodin pain
killers-and he’s British, not American. He is, he admits, totally hooked on
vintage, soulful American music.

Now freed from a demanding television schedule, Laurie has time to follow his
heart’s desire, accompanied by the Copper Bottom Band, a six-piece outfit of
grizzled music veterans who can add baritone sax, bottleneck guitar, bass and
drums in all the right places to the ancient music he loves. Perched behind a baby
grand piano at San Francisco’s Great American Music Hall, Laurie drinks it all
in. “It’s such a joy to play in a beautiful old building like this,”
he says. “I only hope I don’t defile it. And let’s face it,” he
quips, “this could be awful.”

Of course, “awful” was never in the equation. For any folks who
wandered into the joint by accident, scratchy recordings of marches by Edward
Elgar and John Philip Sousa, as well as classic arias by Enrico Caruso and
light opera from Gilbert & Sullivan that warmed up the crowd, should have
tipped them off to what was about to happen.

The Cambridge and Eton-educated Laurie, who worked on dramatic productions with
Emma Thompson and Stephen Fry during his college days, got a foothold in
America from 1990-93 by playing Bertie Wooster to Fry’s valet Jeeves in PBS’
Masterpiece Theatre’s Jeeves and Wooster, from characters created by
P.G. Wodehouse.

House‘s roaring success has made Laurie a household name in the States.
Urbane and witty, the antithesis of his surly television doctor, Laurie strides
onstage to a thundering ovation from a crowd that had stretched all the way
down O’Farrell Street
and around the corner to see their hero. “Tonight has been billed as ‘An
evening with Hugh Laurie.’ That seems too suggestive,” he says impishly.
“I would have called it ‘A cup of tea and we’ll see where it goes.'”
As to his mid-life change of career, he says, “What if I’d said, ‘Now I’d
like to be a pilot for Delta Airlines.’ That’s not going to happen, although in
L.A. (where
he’s been living during the House years) who knows?”

“I should advise you, if I screw up these songs, just look at me and
listen to them,” he warns, pointing toward the Copper Bottom people. He
proceeds to knock it out of the park with a scary version of Louis Armstrong’s
“St. James Infirmary.” Afterwards, Laurie claims, “That song was
written about a leprosy clinic in London.
It’s always fascinated me that songs like these have the ability to cross
oceans and take on new meaning.”

Next comes a stellar version of “Crazy Arms,” the first song Jerry
Lee Lewis ever cut for Sun Records. Laurie even tries a brief Jerry Lee-style
keyboard schmear. Obviously in his element, Laurie  prefaces a sad tune by
12-string guitar legend Huddie Ledbetter with: “Leadbelly was so good he
sang his way out of prison-twice. After you hear this, you may say I belong in
prison.” If a gospel number attributed to Mahalia Jackson and a Buddy
Bolden song as interpreted by pianist Jellyroll Morton are less successful,
Laurie & Co. strike the mother lode with the Ray Charles R&B gem
“Unchain My Heart.”

Whingers might complain Laurie is just another Limey hijacking American music.
In reality, this isn’t much different than the Beatles, Rolling Stones,
Yardbirds and Kinks cutting their teeth on Afro-American-style R&B they
worshipped as kids from the likes of Arthur Alexander, the Cookies, Muddy
Waters, Carl Perkins, Solomon Burke, Smokey Robinson and Marvin Gaye. Laurie’s
just doing it later in life with source material dating back to the dawn of the
recording industry. Where he takes it from here is anybody’s guess. More of the
same would be just fine with me.

 

Oneohtrix Point Never Remix EP Due

 

Followup to/re-envisioning of 2011 album.

 

On 2011’s Replica, Daniel
Lopatin — aka Oneohtrix Point Never — turned a world of samples into one of
the year’s most acclaimed albums (it made BLURT’s Top 10 for that year;
read the review here). Now comes Dog In
The Fog – Replica Collaborations & Remixes
, a digital EP featuring
new edits and remixes of “Replica”, “Remember” and
“Nassau” by a handful of OPN’s friends and favorites. It’s available
digitally 6/12 from the Software Recording Co.

 

 

Listen To The Matmos Remix HERE

 

 

 

Lopatin approached Limpe Fuchs to contribute vocal and viola
parts to the album’s namesake centerpiece, having been influenced by her
1987 electroacoustic record Via. The parts were then handed
to Matmos to arrange, known most for 2001’s brilliant A Chance to Cut is a Chance to Cure, as
well as their production work on Björk’s Vespertine and Medulla records.
Another version of the title track features King Midas Sound’s Roger Robinson,
whose affecting vocal is set alongside a new arrangement by Lopatin
himself.

 

The EP also features versions of “Remember”, which becomes a
churning percussive ember under techno legend Surgeon’s direction. Richard
Youngs, another influential artist on Lopatin’s own work, concludes the EP with
a blasted, dirge-like vocal edit of “Nassau”.

 

 

 

Track Listing:

1. Oneohtrix Point Never w/ Limpe Fuchs – Replica
(Matmos Edit) 

2. Oneohtrix Point Never w/ Roger Robinson – Replica (OPN Edit)

3. Oneohtrix Point Never – Remember (Surgeon Remix)

4. Oneohtrix Point Never – Nassau (Richard Youngs Remix)

 

 

Tour Dates:

05/31/12 – Kilbi Festival – Düdigen,
Switzerland

06/01/12 – Ensems Festival – Valencia,
Spain

06/09/12 – Volt Festival – Sopron,
Sweden

06/20/12 – Webster Hall  – New
York NY – w/ Liars

07/05/12 – Robert Johnson Club – Frankfurt,
Germany

07/06/12 – Roskilde Festival – Copenhagen, Denmark

07/07/12 – Bloc Festival – London,
UK

07/08/12 – Holland North
Sea Jazz Festival – Den Hague, NL

07/15/12 – Pitchfork Festival – Chicago,
IL 

08/10/12 – Helsinki

08/12/12 – Dockville Festival – Hamburg, Germany 

 

 

Trent Reznor: New Music “later this year”

 

No, he’s not referring to Nine Inch Nails

By Perez Mills

In the spirit of Twitter, we’ll keep this short and sweet: a few minutes ago Trent Reznor tweeted that new music is due in 2012  from his band How To Destroy Angels (Reznor, Atticus Ross, Mariqueen Maandig). No additional details. Here’s the original Twitter post:

@trent_reznor Getting the plan together for @destroyangels. You will hear new music later this year. Stay tuned.

Photos: Polyphonic Spree Live in D.C.

 

Tim DeLaughter & Co. came to Sixth and I Historic Synagogue – May 21,2012 – Washington, D.C. Special guests: Sweet Lee Morrow, New Fumes.

All photos by Tony Landa

(above) The Polpyphonic Spree

New Fumes opens the show.

Polyphonic Spree keyboardist Sweet Lee Morrow pulls double duty as opening act with a solo acoustic set.

Singer Tim DeLaughter and violinist Tamara Cauble of The Polyphonic Spree

Guitarist Cory Helms of The Polyphonic Spree

Tim DeLaughter of The Polyphonic Spree

Jennie Kelly (left), Jessica Jordan (right) of The Polyphonic Spree choir

Tamara Cauble of The Polyphonic Spree

Tim DeLaughter of The Polyphonic Spree

Cellist Buffi Jacobs of The Polyphonic Spree

The Polyphonic Spree

Tim DeLaughter of The Polyphonic Spree

The Polyphonic Spree

The Polyphonic Spree

MP3: Hot As Sun Single + Remixes

 

New EP arrives June 19
on Last Gang Entertainment.

 

By Blurt Staff

 

With a “hot” new single, “Come Come” b/w “Come Come” (Tokyo
Club Remix), just out, L.A.’s art/pop duo Hot As Sun is gearing up for the June
19 release of its self-titled EP on Last Gang; a full-length is slated for
later this year. Listen to both sides of the single along with an additional
version of the song remixed by Teams:

 

 


Hot As Sun – Come Come by Last Gang Entertainment

Hot As Sun – Come Come (Tokyo Police Club Remix) by Last Gang Entertainment

Hot As Sun – Come Come (Teams Remix) by t e a m s

 

 

The backstory: “Hot
As Sun is an artist collaboration formed by Jamie Jackson (singer/musician) and
Deborah Stoll (lyricist/visual artist). It has since expanded to a full band.
After bonding over a soundbath at the integration in Joshua Tree, Jackson and
Stoll soon found they shared a love of weird sounds, magic houses, Pegasus and
bacon. Jamie wrote all of their songs on the omnichord and spent the summer
recording the music in her loft in downtown LA with musician WAZ. Soon after
music videos and live show projections were created in Deborah’s house in
Silverlake.”

 

EP Tracklisting:

1. Come Come
2. Only A Woman
3. New Town
4. Don’t Crowd Around The Light
5. Come Come (Tokyo
Police Club Remix)
6. Only A Woman (Blood Diamonds Remix)

 

 

Doc Watson 1923-2012 R.I.P.

 

Tarheel flatpicker
helped reinvent country, folk and bluegrass for the modern era.

 

By Fred Mills

 

Musical legend Arthel
Lane “Doc” Watson has died at the age of 89. He
passed away last night (May 29) following colon surgery last week that left him
in critical condition in a Winston-Salem,
NC, hospital. He leaves behind an
immense legacy, having influenced several generations’ worth of musicians and
helping to popularize old-time music in the process. From his unique
flatpicking style of guitar and his facility at making the acoustic guitar a
lead rather than a rhythm instrument to his annual MerleFest
gathering-of-the-folk tribes each spring in Wilkesboro, NC, and his I’m-not-the-star-the-music-is
personal demeanor that marked him as a true scholar and gentlemen, Watson will
be deeply missed.

 

Watson’s longtime musical partner David Holt, talking to News & Observer music critic David
Menconi yesterday,
said, of Watson, “Different systems were failing the last
few days. But I got to say goodbye, even though he wasn’t conscious. Maybe he
heard us. We told him how much we loved him, and how much other people loved
him. We told him about all (the) letters and emails that were coming in from
all over, just thanking him for being who he was.”

 

Watson was born in 1923 in Deep Gap and went blind at the
age of one due to an eye infection. He eventually began playing the banjo,
later switching to guitar and, in 1963, performed at the Newport Folk Festival
where he was a huge hit. His solo debut Doc
Watson & Family
was released in 1963 as well, and over the course of
his life he won seven Grammys and was awarded the Recording Academy’s
Lifetime Achievement award in 2004; President Clinton gave him the National
Medal for the Arts in 1997 as well.

 

He took part in the legenday Will The Circle Be Unbroken LP sessions in 1972, contributing an iconic version of “Tennessee Stud.” He also founded and hosted MerleFest each year – it was
named in honor of his son Merle, who died in a tractor accident in 1985 – and over
the years the event grew into a must-attend festival for fans of folk, country
and bluegrass. “I think the only way he’d retire was if he just couldn’t physically do
it anymore,” Holt told the News & Observer.  “He loves to
play. It’s what he does, and he’s still so great at it. And it’s not too
bad to have a couple thousand people patting you on the back with
handclaps. That’s always good for the spirit.”

 

Below, watch a few clips of Watson.

 

 

 

Ween Calls It Quits

Influential
alt/experimental rock provocateurs gives up the ghost after 28 years of
merrymaking. But for what – McKuen poems?!?

 

By Fred Mills

 

There’s the old adage about not giving up your day job, and
then there’s the one about quitting while you’re still ahead, but the
application of either, in this instance, is muddled for Aaron Freeman, aka Gene
Ween. In the wake of the release of his solo album Marvelous Clouds he’s decided to put Ween to rest and concentrate
on that solo career.

 

“It’s time to move on,” Freeman told Rolling
Stone
in an interview this week.
“I’m retiring Gene Ween…. For me
it’s a closed book. In life sometimes, in the universe, you have to close some
doors to have others open. There’s no, ‘Goddamn that such and such!’ For me,
I’d like to think it’s a door I can close finally.”

The split appears amicable, with his partner Mickey Melchiondo (Dean Ween) no
doubt currently super-busy with his work as a registered sea captain and fishing tours guide. And Freeman indicated
to Rolling Stone that doing his solo
album has convinced him tht he is “forging a new thing” for himself.

 

 Marvelous
Clouds
, remember, is a collection of Rod McKuen poems put to music. It’s
also, according to a number of critics, nigh-on unlistenable, and it makes some
of Ween’s more out-there moments seem, now, like harbingers of musical
prescience.

 

But it is
apparently too late to tell Freeman not to give up his day job….

 

 

 

 

First Look: New Japandroids Album

Released next week on Polyvinyl, Celebration Rock is a
mission statement for the Canadian band.

 

By Danny R. Phillips

 

In my book, it is a good
sign when a record opens with the sound of fireworks ripping open the night
sky.  It is a signal to the world of what
is to come in the 35 minutes that are to follow: an explosion of distortion,
pounding drums, ear-splitting volume and stories of fighting against a mundane
life.  Japandroids’ Celebration Rock has that by the truckloads; the Canadian duo picks
up seamlessly were Bob Mould’s Husker Du and Sugar left off: Japandroids are showing,
without reservation, their allegiance to music built upon pop sensibilities and
the rotten teeth of punk rock.  Celebration Rock is their mission
statement and it seems to be written in all caps.

 

 


Japandroids – Jack the Ripper by Polyvinyl Records

 

Few bands blend the
sing-along wonder of bands like The Hold Steady and Against Me! with the
ability and prowess to make aggressive music with conviction and not just
present itself as Hot Topic sponsored bullshit. 
There is nothing contrived or manufactured feeling when listening to the
all too short Celebration Rock.  The Vancouver,
British Columbia duo (Brian King,
David Prowse) seem to revel in what could be perceived limitations that come
with the guitar/drums only setup.  Brian
King buries his guitar in fuzz and volume while Prowse deals out rapid-fire
rhythms.  Instead of being stuck in a
small sound they explode, telling great stories of fighting against mediocrity
and making the most of what life has dealt you, whether it is a royal flush or
the Dead Man’s Hand.

 

The album can be
exhausting with its full throttle blast through 35 minutes but that is ok, life
can be exhausting.  Like the band’s first
release Post-Nothing in 2009,
Japandroids sophomore effort is loaded end to end with great songwriting and
the joy they’ve found in their influences. 
“The House That Heaven Built” makes a racket like that you would expect
if Bob Mould had been the lead guitarist for The Replacements.  “Continuous Thunder” sounds like U2 with
much, much bigger balls, “Nights of Wine and Roses” and “Adrenaline Nightshift”
would have been right at home on Springsteen’s Born to Run.  Hell, they even
throw in an exceptional cover of The
Gun Club’s “For the Love of Ivy” as if to tell the music nerds out there,
“Yeah, this one’s for you.  We did our
homework.”

 

Granted, Celebration Rock is not something that
has never been heard before but the name fits perfectly.  The album ends as it begins, with
fireworks.  Japandroids have a reason to
celebrate, to explode into the night because they have given world back guitar
driven fuzz rock with real storytelling. 
King sings “Still waiting for a generation’s bonfire to begin” on
“Adrenaline Nightshift”; well, my man, I think Celebration Rock is both the can of gas and a box of matches
they’ve been waiting for and I could not be happier.