Monthly Archives: May 2011

Report: Echo & Bunnymen Live in SF

Ian McCulloch and Will
Sergeant of Echo and the Bunnymen re-pledge their allegiance to the Doors at
the Warfield in San Francisco
on May 19.

 

By Jud Cost

 

The ten-minute walk from the Fifth and Mission parking
garage to the Warfield Theatre, two blocks west on Market St., slices through
the southern border of San Francisco’s Tenderloin, a hardscrabble  district notorious for hookers, muggings and
drug dealers. During the warm months, the walk is made more palatable by a
large group of men playing chess close to the Powell St. BART station.

 

No chess players on this brisk, damp evening, however. About
75 yards from the Warfield’s front door, a garish ad shouts out from the window
of a cut-rate shoe store: “Now Is The Time For Ruffles,” illustrated
by a photo of three men’s shoes, each with a broad, colorful ruffled-up ribbon
attached where the shoelaces ought to be. On the sidewalk in front of the shoe
store, a young black man is sitting in the middle of every piece of
garbage-orange peels, hamburger wrappers, beer cans, fragments of stale
doughnuts, banana peels, plastic bags of dog excrement-he’s meticulously
removed from a concrete  trash container.

 

The abrupt transition to the glowing interior of the art
deco-era Warfield, already perfumed with incense for tonight’s return of Echo
and the Bunnymen, is jolting to the nervous system. It might require an
adjustment period in a hyperbaric chamber used by deep-sea divers to keep from
getting the bends.

 

There’s no denying that for a brief period in the ’80s, Echo
and the Bunnymen were the best band in the world. Great neo-psychedelic songs
performed by a dynamic vocalist and superb guitarist, swathed in moody,
dusty-parlor arrangements. Even the stage lighting, low beams of light stabbing
upwards through a confusing network of what looked like hemp fishing nets was
spectacular. Each of their first four album covers found the group, bathed in
surrealistic light, in a different natural predicament: stumbling around a
forest on bad acid; outlined against a cloudy beach skyline as seagulls swarm;
peering over an icy abyss; and stranded in a boat on a frozen purple grotto.

 

Frontman Ian McCulloch and guitarist Will Sergeant, founding
members of the Bunnymen in 1978 along with bassist Les Pattinson (who is not
here tonight), are slated to play Crocodiles and Heaven Up Here, the band’s first
two albums, from 1980-81. A murky roomful of dry-ice fog and a stage lit only
by gloomy yellow streetlight-like structures make visual identification
impossible. It’s not until 50 minutes later that the house lights briefly
reveal there are six people onstage. Oddly enough, high above the crowd is a
series of high-voltage strobe lights rigged up to the drum kit to flash like an
interstellar cruiser whenever the percussionist plays a fill. Maybe somebody
figured it might give the light-sensitive (as well as those prone to epileptic
seizures) fair warning if they have a decent sense of rhythm.

 

The boys waste no time digging into Crocodiles, a milestone of the post-punk landscape, every bit as
important at the time as the sullen, beautifully depressed ruminations of Joy
Division. Some songs have been expanded enough tonight so that the debut album
takes up almost the entire hour of the first set. Each number is punctuated by
McCulloch uttering “thank you” just as the final chord is decaying
about him. Cue the applause.

 

The obvious connections the Bunnymen have always had with
the Doors (morose lyrics sung by a supercharged baritone accompanied by a
guitarist who does not play the obvious “rawk” licks) is made
perfectly clear tonight when McCulloch segues into a delightful fragment from
Jim Morrison & Company’s “Roadhouse Blues” (“Well, I got up
this morning and got myself a beer”). He’s changed “Ashen lady, give
up your vows” to “San
Francisco lady” just for tonight. It answers once
and for all the question: What would it sound like if the Bunnymen cut a Doors
cover album? The answer: pretty effin’ good.

 

Mac begins to lose the thread a bit when taunted by some
ex-pat football hooligans up front who apparently are railing at him about his
allegiance to the Liverpool soccer club. He
exchanges brief, indecipherable banter with the lads before congenially
admitting, “Manchester U has been the best team for years, so good luck to
’em.”

 

A connection even more curious than their link to the Doors
appears when the Bunnymen play their 1985 single “Bring On The Dancing
Horses” which displayed moments of pre-Beatles British instrumental stars
the Tornadoes, famous worldwide for their Joe Meek-produced 1962 Space Age hit
single “Telstar.”

 

Mac punctuates the end of the first set by declaring,
“You go and smoke whatever you’ve gotta smoke, and I’ll go have a drink.
See you back here in ten minutes.” But the incense has done its work on
this allergy sufferer. Reckoning it couldn’t get much better than the first
hour, I split for home and hearth. Also I’m having second thoughts about
whether it really is “time for ruffles.” I wonder if that shoe store
is still open.

 

 

 

 

Watch New Yellowbirds Video

 

“The Reason” from
their most recent album.

 

By Blurt Staff

 

Back in February, the band Yellowbirds, featuring Sam Cohen,
formerly of Apollo Sunshine, released their album The Color (Royal Potato Family). It rapidly became a critical
darling, and now Cohen & Co. have released
a terrific new video for the song “The Reason.”

 

 It was created through a stop-motion
collage using ten years worth of notebook drawings and sketches given to
him by illustrator Michael Arthur (NY
Times, New Yorker, Brooklyn Vegan
, etc.) Check
it out below – you will definitely be entertained.

 

Report: Echo & Bunnymen Live in SF

Ian McCulloch and Will
Sergeant of Echo and the Bunnymen re-pledge their allegiance to the Doors at
the Warfield in San Francisco
on May 19.

 

By Jud Cost

 

The ten-minute walk from the Fifth and Mission parking
garage to the Warfield Theatre, two blocks west on Market St., slices through
the southern border of San Francisco’s Tenderloin, a hardscrabble  district notorious for hookers, muggings and
drug dealers. During the warm months, the walk is made more palatable by a
large group of men playing chess close to the Powell St. BART station.

 

No chess players on this brisk, damp evening, however. About
75 yards from the Warfield’s front door, a garish ad shouts out from the window
of a cut-rate shoe store: “Now Is The Time For Ruffles,” illustrated
by a photo of three men’s shoes, each with a broad, colorful ruffled-up ribbon
attached where the shoelaces ought to be. On the sidewalk in front of the shoe
store, a young black man is sitting in the middle of every piece of
garbage-orange peels, hamburger wrappers, beer cans, fragments of stale
doughnuts, banana peels, plastic bags of dog excrement-he’s meticulously
removed from a concrete  trash container.

 

The abrupt transition to the glowing interior of the art
deco-era Warfield, already perfumed with incense for tonight’s return of Echo
and the Bunnymen, is jolting to the nervous system. It might require an
adjustment period in a hyperbaric chamber used by deep-sea divers to keep from
getting the bends.

 

There’s no denying that for a brief period in the ’80s, Echo
and the Bunnymen were the best band in the world. Great neo-psychedelic songs
performed by a dynamic vocalist and superb guitarist, swathed in moody,
dusty-parlor arrangements. Even the stage lighting, low beams of light stabbing
upwards through a confusing network of what looked like hemp fishing nets was
spectacular. Each of their first four album covers found the group, bathed in
surrealistic light, in a different natural predicament: stumbling around a
forest on bad acid; outlined against a cloudy beach skyline as seagulls swarm;
peering over an icy abyss; and stranded in a boat on a frozen purple grotto.

 

Frontman Ian McCulloch and guitarist Will Sergeant, founding
members of the Bunnymen in 1978 along with bassist Les Pattinson (who is not
here tonight), are slated to play Crocodiles and Heaven Up Here, the band’s first
two albums, from 1980-81. A murky roomful of dry-ice fog and a stage lit only
by gloomy yellow streetlight-like structures make visual identification
impossible. It’s not until 50 minutes later that the house lights briefly
reveal there are six people onstage. Oddly enough, high above the crowd is a
series of high-voltage strobe lights rigged up to the drum kit to flash like an
interstellar cruiser whenever the percussionist plays a fill. Maybe somebody
figured it might give the light-sensitive (as well as those prone to epileptic
seizures) fair warning if they have a decent sense of rhythm.

 

The boys waste no time digging into Crocodiles, a milestone of the post-punk landscape, every bit as
important at the time as the sullen, beautifully depressed ruminations of Joy
Division. Some songs have been expanded enough tonight so that the debut album
takes up almost the entire hour of the first set. Each number is punctuated by
McCulloch uttering “thank you” just as the final chord is decaying
about him. Cue the applause.

 

The obvious connections the Bunnymen have always had with
the Doors (morose lyrics sung by a supercharged baritone accompanied by a
guitarist who does not play the obvious “rawk” licks) is made
perfectly clear tonight when McCulloch segues into a delightful fragment from
Jim Morrison & Company’s “Roadhouse Blues” (“Well, I got up
this morning and got myself a beer”). He’s changed “Ashen lady, give
up your vows” to “San
Francisco lady” just for tonight. It answers once
and for all the question: What would it sound like if the Bunnymen cut a Doors
cover album? The answer: pretty effin’ good.

 

Mac begins to lose the thread a bit when taunted by some
ex-pat football hooligans up front who apparently are railing at him about his
allegiance to the Liverpool soccer club. He
exchanges brief, indecipherable banter with the lads before congenially
admitting, “Manchester U has been the best team for years, so good luck to
’em.”

 

A connection even more curious than their link to the Doors
appears when the Bunnymen play their 1985 single “Bring On The Dancing
Horses” which displayed moments of pre-Beatles British instrumental stars
the Tornadoes, famous worldwide for their Joe Meek-produced 1962 Space Age hit
single “Telstar.”

 

Mac punctuates the end of the first set by declaring,
“You go and smoke whatever you’ve gotta smoke, and I’ll go have a drink.
See you back here in ten minutes.” But the incense has done its work on
this allergy sufferer. Reckoning it couldn’t get much better than the first
hour, I split for home and hearth. Also I’m having second thoughts about
whether it really is “time for ruffles.” I wonder if that shoe store
is still open.

 

 

 

 

SF JAZZ Center Breaks Ground

 

Improvisational legends and SF
JAZZ donors brave the elements in San
Francisco groundbreaking for new concert hall.

 

By Jud
Cost / Photos by Jenifer Cost

 

Surrounded
by tons of smashed concrete, twisted girders, broken brick and the heavy
machinery that demolished the two auto body shops that once stood here, an
oasis of sanity, fenced off from the industrial rubble, has attracted about 100
invited guests for a much-anticipated celebration at 4:00 in the afternoon.
It’s the May 17 groundbreaking ceremony for the SF JAZZ Center, a
state-of-the-art, 700-seat permanent home for San Francisco’s
wildly successful jazz festival to be erected in the Hayes Valley
neighborhood at the corner of Fell and Franklin Streets. Of the $60 million
needed for the project’s completion, $46 million is now in the bank.

 

 

Just as
another round of late-spring rain begins to fall, San Francisco’s Bourbon Kings
Brass Band (pictured above, who,
unlike Tony Bennett, left their heart in old New Orleans) begin to wail on a Crescent
City-style trad number. It doesn’t take long for the nine-piece outfit – two
tenor saxes, two trombones, a trumpet, a cornet, a tuba, a snare drum and a bass
drum-to switch gears and dig into Sonny Rollins’ post-bop classic
“Oleo.” The crowd, as instructed, has brought festive, brightly
colored umbrellas and a few Mardi Gras beads to twirl and shake at the Bourbon
Kings as they high-step it through the mud puddles as if they were marching
down South Rampart Street.

 

The foul
weather this afternoon has no effect on the beaming Srinija Srinivasan, current
chair of the SF JAZZ board of directors. “This will be the first structure
of its kind anywhere in the country, a stand-alone facility dedicated
specifically to jazz,” she says. “When Randall spoke to the board
about finally getting construction under way, he was literally moved to tears.
We’ve all been working on this for so long. But Randall is the one with the
persistence, almost the damn craziness, to pull it off.”

 

 

“Randall”
is SF JAZZ’s Executive Artistic Director Randall Kline (pictured above, with the author), the man whose missionary zeal and passion for what has been called
“America’s
greatest cultural achievement” founded this non-profit jazz festival in
1983. SF Jazz today, with a spring and a fall season that almost overlap,
embraces all facets of creative, improvisational music in over 100 concerts a
year. From the rhythm & blues of Solomon Burke, the Portuguese fado of Ana
Moura and the tropicalia of Caetano Veloso, to the classic raga of Ravi
Shankar, the  country gems of Rosanne
Cash and the bossa nova of Joao Gilberto, SF JAZZ has something for every
taste.

 

Of
course, the surviving heroes from jazz’s golden age abound here, as well:
Herbie Hancock, Jim Hall, Ahmad Jamal, Archie Shepp, Etta James, Pharoah
Sanders, Randy Weston, Cecil Taylor, Dave Brubeck, Kenny Burrell, Lee Konitz,
Keith Jarrett and McCoy Tyner, along with the Rushmore-like icons of Ornette
Coleman and Sonny Rollins have all played the festival in recent years.

 

Up until
now, SF JAZZ has used multiple venues spread throughout the City: Herbst
Theatre, the Masonic Auditorium, Davies Symphony Hall, the Palace of Fine Arts
and many others. With its permanent home to be completed by  the fall of 2012, scheduling the mammoth
event should become somewhat easier.

 

SF JAZZ
membership director Barrett Shaver foresees the new facility as having a broad,
inclusive policy towards its use. “We want this place to be open year-round,
every night if possible,” he says. Randall Kline agrees heartily,
envisioning artists being able to spend three or four nights in the Mark
Cavagnero-designed showplace rather than play a one-nighter in a larger hall.
“Without the musicians, none of this would be possible,” adds Kline,
almost drowned out by an emergency police siren. “If Ornette Coleman wants
to play here for a month – great!”

 

 

Legendary
vibraphonist Bobby Hutcherson (above,
with family members)
speaks movingly to the crowd, jammed together even
tighter under a plastic marquee as the rain gets heavier. “I remember so
many things: playing the Jazz Workshop in North Beach
and the Both/And on Divisadero, where I first met my wife, selling tickets
there at the time. I had just come from New
York and thought I was big stuff, but she’d never
heard of me. When I played Keystone Korner in North Beach,
opening for (stand-up comedian) Professor Irwin Corey, he said to the crowd,
‘Who’s Bobby Hutcherson?’ And my young son piped up and said, ‘He’s my
Dad.'”

 

John
Handy (pictured below),  a mainstay of the Bay Area jazz scene even
before his potent alto sax first swapped titanic passages with tenor saxman
Booker Ervin in Charles Mingus’ landmark band more than 50 years ago, is
visibly moved afterwards at the prospect of a permanent home for SF JAZZ.
“It’s going to be amazing what will take place here,” he says.
“And remember, remember… this is all happening right here-in America.”

 

 

 

 

 

 

 

 

 

Juliana Hatfield Courts Failure w/New LP

 

Also will be donating a
chunk of money to a pair of well-deserving charities.

 

By
Blurt Staff

 

Juliana
Hatfield’s new album, Speeches Delivered To Animals and Plants,
is set to drop August 30th on her own Ye Olde Records. It was
entirely fan-funded via www.pledgemusic.com,
wherein individuals pledged varying amounts in advance of the album’s
completion for different returns including Hatfield memorabilia, a guitar used on the recording of the new
album, original Hatfield
artwork, song workbooks, demos, and more.

 

PledgeMusic gives artists
the option to build a charitable donation into their campaigns; Juliana will be donating a percentage
of the funds raised to two of her favorite charities, the Save a Sato animal
shelter in San Juan, Puerto Rico, and the
Northeast Animal Shelter in Salem,
Massachusetts.

 

In
a statement, Hatfield noted, “I
really think that PledgeMusic and similar sites are the future of music,
especially for people like me who have devoted cultish fanbases but who have
never sold a ton of records and don’t really fit in anywhere at major labels.
Working with this new model, you go straight to the fans, who become your
patrons, in a very direct and vital way. They have a special kind of access to
you in a way that makes them happy – they see the progress of the album-making
in real time with the video and audio updates I post at the PledgeMusic site.
And I have total ownership of the music at all stages, present and future. I
love working like this.”

 

(Read BLURT’s feature on
music patronage and sites such as PledgeMusic here.)

 

Speeches… is the follow up
to last year’s Peace and Love and was cut at Q Division Studios in Somerville, Massachusetts.
Hatfield produced and played all
the six-string guitars and keyboards on the new album. Ed Valuaskas played bass
and Pete Caldes played drums.

 

Hatfield describes the
album as a conceptual piece about “failure”:

 

“I think that when
people get to the presumed halfway point in their lives, they inevitably look
back and assess what they have or have not accomplished. There is an acceptance
of one’s limitations, a scaling back of goals, a settling into the way things
are,” observes Hatfield.
“I think I have always had a pretty measured perspective-I am always
grateful for all the good opportunities I’ve had but at the same time I’m never
really content. I always want to do more, to be better-a better singer,
performer, writer, person, friend, sister, daughter, etc. I don’t shy away from
the dark stuff -without the darkness there would be no light.

 

“I’ve gotten to a
place where I am really proud of the large body of work that I have produced,
regardless of how my work is or is not received, or how many records I’ve
sold,” she reflects. “I know my weaknesses but I also know that I have
gifts and I’ve made the most of them with this new album.”

 

Tracklisting:

 

1.    Stray Kids

2.    Taxicab

3.    Vagabond

4.    Sex and Drugs

5.    Failure

6.    Someone Else’s Problem

7.    Change The World

8.    Batteries

9.    Don’t Wanna Dance

10.There’s Always Another Girl

11.Candy Wrappers

12.Thousands Of Guitars

13.Wasting Time

 

 

Video: The Liberators go Blaxploitation!

 

Afro-beat you can use. “Muthafucka’s
wheel is on the wrong side of the car!”

 

By Fred
Mills

 

This has
got to be one of the most fun videos to come down the pike since the trailer
for Son of Blacula (or any number of
Yo La Tengo clips, take your pick): The Liberators, doing “Rags To Riches.” It’s
courtesy of Don’t Look Back Pictures and was directed by Ken Karpel.

 

But it’s
way more than just a promo vehicle for the song; it’s a 7 ½-minute traipse
through the back pages of Blaxploitation flicks. As one of the commentators put
it at YouTube, “This is the shiz! Love it when he punches the hat!” ‘Nuf said.

 

The
Liberators are a killer funk/Afro-beat/jazz combo from Sydney, Australia,
and their self-titled debut came out a couple of months ago on the Record Kicks
label
. Check ‘em out at their Facebook page.

 

[Photo
Credit: Chris McKeen]

 

First Look: New My Morning Jacket LP

 

Released next week by ATO Records,
it sounds completely of a piece, and sets the stage for one of the summer’s
potentially best tours.

 

By Hal Bienstock

In the
chorus of Circuital‘s title track,
Jim James sings “Right back in the same place I started out.” While that may be
literally true – this is the first album the band has recorded in its home
state of Kentucky
since 2003’s It Still Moves –  it’s not exactly a return to the old days. If
anything, it’s more like the musical version of someone who goes back to his
hometown after a few years away. The town may be the same, but the person
certainly isn’t. So while Circuital has
the warm, folk-based sound that characterized the band’s early work, it also
makes room for the experimentalism of its more recent albums.  

 

In fact,
the most interesting thing about Circuital – and MMJ itself – is the way it manages to sound completely of a piece, while incorporating
tons of different sounds. Opening track “Victory Dance” sounds like Neil Young
& Crazy Horse performing with an orchestra, while the title track combines
the galloping beat of U2 with Grateful Dead harmonies. There are also steel-guitar
ballads (“Wonderful”), psychedelic funk-rock (“Holdin’ On to Black Metal”) and
catchy, alternate-universe radio hits (“First Light”).

 

 

Overall, Circuital is a strong album that stands
a notch below MMJ’s best (Z and It Still Moves). But as anyone who has
seen its live shows will attest, albums aren’t really what this band is about.
There are a lot of songs on here that should kill onstage. For now, think of Circuital as an enjoyable set of coming
attractions for what should be one of the best tours of the summer.

 

[Photo
Credit: Danny Clinch]

 

Tour Dates:

 

5/31

LOUISVILLE, KY
Louisville Palace
Theatre

06/02

OZARK, AR
Wakarusa Festival
(Schedule to be announced soon)

06/03

OZARK, AR
Wakarusa Festival
(Schedule to be announced soon)

06/04

OZARK, AR
Wakarusa Festival
(Schedule to be announced soon)

06/05

HUNTER,
NY
Mountain Jam

06/09

MANCHESTER, TN
Bonnaroo Festival
(Schedule to be announced soon)

06/10

MANCHESTER, TN
Bonnaroo Festival
(Schedule to be announced soon)

06/11

MANCHESTER, TN
Bonnaroo Festival
(Schedule to be announced soon)

06/12

MANCHESTER, TN
Bonnaroo Festival
(Schedule to be announced soon)

06/16

MILWAUKEE, WI
Riverside Theater

06/17

CHICAGO, IL
Auditorium Theatre

06/22

LOS ANGELES, CA
Pantages Theatre

06/24

OAKLAND, CA
Fox Theatre

06/26

SEATTLE, WA
Paramount Theatre

06/28

PORTLAND, OR
Edgefield

06/29

VANCOUVER, BC
Orpheum

06/30

QUINCY, CA
High Sierra Music
Festival (Schedule to be announced soon)

07/01

QUINCY, CA
High Sierra Music
Festival (Schedule to be announced soon)

07/02

SANTA
BARBAR, CA
Santa Barbara Bowl

07/03

QUINCY, CA
High Sierra Music
Festival

07/11

TORONTO, ON
Kool Haus

07/12

MONTREAL, QC
Metropolis

07/16

SOUTHWOLD, UK
Latitude Festival

07/17

LONDON, UK
Somerset House

08/02

ST. LOUIS, MO
The Pageant

08/03

KANSAS CITY, MO
Uptown Theater

08/04

MORRISON,
CO
Red Rocks Amphitheatre

08/05

BANGOR, ME
The KahBang Festival

08/06

BANGOR, ME
The KahBang Festival

08/07

INDIANAPOLIS, IN
The Lawn at White River
State Park (w/ Neko Case)

08/08

COLUMBUS, OH
LC Pavillion (w/ Neko
Case)

08/09

BANGOR, ME
The KahBang Festival

08/10

PITTSBURGH, PA
Stage AE (w/ Neko Case)

08/11

BANGOR, ME
The KahBang Festival

08/12

COLUMBIA, MD
Merriweather Post
Pavillion (w/ Neko Case)

08/13

BANGOR, ME
The KahBang Festival

08/14

BOSTON,
MA
Bank of America
Pavillion (w/ Neko Case)

08/16

ROCHESTER HILLS, MI
Meadow Brook (w/ Neko
Case)

08/17

CINCINNATI, OH
PNC Pavillion at Riverbend
Music Center
(w/ Neko Case)

08/20

ALPHARETTA, GA
Verizon Wireless
Amphitheatre (w/ Neko Case)

08/21

CHARLOTTE, NC
Time Warner Cable
Uptown Amphitheatre (w/ Neko Case)

09/17

AUSTIN, TX
Austin City Limits Music Festival

 

 

Big Ears Festival “Will Return” 2012

After celebrated gatherings
in 2009 and 2010, the adventurous, eclectic Knoxville-based event took 2011
off.

 

By Steven Rosen

 

Even as AC Entertainment head Ashley Capps prepares for his
company’s biggest event of the year, the massive Bonnaroo Music & Arts
Festival in Manchester, Tenn., on June 9th-12th,
he’s announced that the smaller, artier and cutting-edge Big Ears Festival will
return next year.

 

That will be the third edition of the festival, which mixes
adventurous rock with New Music, jazz and various experimental strains of pop.
It skipped 2011, after occurring in late March of 2010. It is held in Knoxville, AC’s headquarters and a city it is trying to
help make a Tennessee music-tourism
destination like Nashville and Memphis. It uses numerous downtown sites,
including two historic, restored theaters – a 1920s-era movie palace called the
Tennessee and
the smaller, jewel-like 101-year-old Bijou.

 

The three-day 2010 event featured Terry Riley, a pioneer of
Minimalist classical music, as its spotlight artist-in-residence and had such
guests as the National, Joanna Newsom (pictured
above),
Vampire Weekend, the Books, Bang on a Can All-Stars, the Clogs,
Nico Muhly, Dirty Projectors and the XX. Bryce Dessner, member of the National
and the Clogs, served as its guest curator.

 

Capps made his commitment to the return of Big Ears during
an interview with this writer (for www.soapboxmedia.com)
about the similar – but much smaller – festival that Dessner curated this month
in Cincinnati,
MusicNOW.

 

“I’m really interested in the concept of boutique
festivals,” Capps said.  

 

He said it was too hard to put Big Ears together for 2011,
since he had also started another indoor festival called Moogfest in Asheville,
N.C., that pays tribute to the late synthesizer pioneer (and Asheville
resident) Robert Moog and also features an unusual mix of acts. (BLURT was a
cosponsor of the event.) It was held over Halloween weekend last October and
was a big success, Capps said.

 

“That’s coming back this year with a vengeance,” he said of
Moogfest.

 

 

 

 

 

Black Lips Album Streaming Online Now

 

If you just can’t wait until June 7…

By Blurt Staff

As we’ve pointed out a few times now, the new Black Lips album, Arabia Mountain, drops on June 7 via Vice. A couple of songs have already been released online, including “New Direction” which we posted last week.  But since every hipster blogger on the planet was apparently threatening to upload the entire record to their favorite torrent site, the band decided to go ahead and stream it.


Pop in at Grooveshark
if ya wanna listen to some smokin’, Mark Ronson-produced garage skronk…

 

 

 

 

Massive Attack & Scarlett Johansson Team Up

“Summertime” – just in
time for summertime.

 

By Fred Mills

 

The name of the movie is Days
of Grace
, and the IMDB.com description for the Mexican production suggests
nothing less than, er, soccer noir. (“Mexico City. 2002, 2006,
2010. A cop. A hostage. A wife. Corruption, violence, vengeance. Three
destinies, during 30 days, during three Soccer World Cups. Three ways to fight
in order to survive.”)

 

Awesome. But the even more awesome news about the Everardo
Valerio Gout-directed indie film, which just premiered at the Cannes Film
Festival, is that Massive Attack and Scarlett Johansson collaborated on the
song “Summertime” for the soundtrack (via the NME).

 

Johansson, of course, is no stranger to music, having
recorded a so-so collection of Tom Waits tunes in 2008 (Anywhere I Lay My Head) as well as 2009’s Break Up, which teamed her with everyone’s favorite five o’clock
shadow rocker Pete Yorn. More recently, however, she redeemed herself with the
tune “One Whole Hour” for the soundtrack of the Wretches & Jabberers film, so here’s hoping that the Massive
Attack connection continues to up her game.