Friday, February 12, 2016
Kanye West celebrated the completion of his The Life of Pablo album with a new cut "30 Hours." Several scribbled tracklists ago, "30 Hours" was on the LP lineup at No. 5 when the project was formerly called Swish and Waves. Now, it enters the tracklist at No. 14.
Mr. West begins with a reference to his ex (you can fill in the blank), spitting, "My ex said she gave me the best years of her life/ I saw a recent picture of her, I guess she was right." He also waxes nostalgic about rhyming for Jay Z and Cam'ron in the early days of his career while offering a look into his morning routine that includes the gym, a smoothie, MediaTakeout and making "a movie" with his wifey.
The G.O.O.D. Friday freebie comes 24 hours after Kanye's massive Yeezy Season 3 fashion show and T.L.O.P. listening session with an alleged 20,000 people at New York's Madison Square Garden.
He also tweeted that T.L.O.P. will arrive today (Feb. 12).
Fresh from their debut performance at The Space in Westbury, The Lords of 52nd Street take it to The Big Apple!
"Just a heads up to all folks deciding about coming to this event. This will most likely be the last small club we will be playing in the NY area, as we move on to bigger rooms here. So if you are into the small club setting and want to see what all the fuss is about, you don't want to miss this show! You can say you were there in that small setting with this dynamic band! Come join us! See what all the fuss is about.." - The Lords
Thursday, February 11, 2016
Wednesday, February 10, 2016
Synth legend Giorgio Moroder did his first-ever live DJ set at Brooklyn club Output in 2013. He's kept at it in the live realm, and also released a new album this year featuring Kylie Minogue, Kelis, Sia, Charli XCX, Britney Spears and more.
He only has one date scheduled right now (though maybe more TBA), and it's a return to Output on February 10.
Tickets are on sale now.
Monday, February 8, 2016
TEEN share "Please" from new LP, teaming w/ Pains of Being Pure at Heart & more for David Bowie tribute show
TEEN have shared a third track from their excellent third album Love Yes, which is out February 19 via Carpark. Where "Tokyo" and "All About Us" were on the pop side, "Please" is more contemplative and ethereal. You can stream it below.
As mentioned, TEEN will celebrate Love Yes on Valentine's Day at Union Pool with Miho Hatori and Gemma (tickets) which doubles as the kick-off to their tour. They've extended their tour a bit, too, and updated dates are listed below.
Before that, Teeny from TEEN will team up with The Pains of Being Pure at Heart for a David Bowie tribute at Mercury Lounge on February 8. In addition to The Pains of Being TEEN (as they're calling themselves), "Wham Bam Thank You Ma'am: A Tribute to David Bowie" also features White Hinterland, Best Behavior, Caroline Partamian of Scully, and Adesuwa. Sounds like fun. Tickets are available.
TEEN - 2016 Tour Dates
Feb 14 New York, NY @ Union Pool
Feb 16 Philadephia, PA @ Ortlieb's
Feb 17 Baltimore, MD @ Metro Gallery
Feb 18 Pittsburgh, PA @ Club Cafe
Feb 19 Louisville, KY @ Zanzabar
Feb 20 Lakewood, OH @ Mahall's
Feb 21 Chicago, IL @ Hideout Inn
Feb 22 Cincinnati, OH @ Monday Night at the Comet
Feb 24 New Haven, CT @ BAR FREE SHOW
Feb 25 Burlington, VT @ Signal Kitchen
Feb 26 Stony Brook, NY @ Stony Brook University
Feb 27 Hudson, NY @ Half Moon
Mar 09 Richmond, VA @ Gallery 5
Mar 10 Asheville, NC @ Tiger Mountain
Mar 11 Charleston, SC @ Tin Roof
Mar 12 Atlanta, GA @ Drunken Unicorn
Mar 13 Birmingham, AL @ Syndicate Lounge
Mar 14 Baton Rouge, LA @ Spanish Moon
Mar 28 Salt Lake City, UT @ Kilby Court
Mar 29 Denver, CO @ Hi-Dive
Mar 31 Omaha, NE @ O'Leaver's
Apr 01 Iowa City, IA @ Gabe's
Apr 02 Grand Rapids, MI @ Ladyfest GR
Labels: teaming w/ Pains of Being Pure at Heart & more for David Bowie tribute show, TEEN share "Please" from new LP
Saturday, February 6, 2016
This summer marks the 50th anniversary of the Monkees' television series and the release of their debut single "Last Train To Clarksville," and the group will celebrate by releasing their new album Good Times! and embarking on an extensive North American tour. The album is the Monkees' first collection of original material since 1997's JustUs, and it will feature new songs by Noel Gallagher, Rivers Cuomo, Ben Gibbard and many more. Adam Schlesinger of Fountains of Wayne serves as producer on the new LP.
Good Times! also features a handful of songs written for the Monkees back in the 1960s that they never got around to releasing, including Neil Diamond's "Love to Love," Boyce and Hart's "Whatever's Right" and Carole King's "Wasn't Born To Follow." There's also "I Know What I Know," a new song by Mike Nesmith. The title track was written by Harry Nilsson and cut at a 1968 session with Nesmith on guitar, though never finished. The group plans to flesh out the tune, turning it into a virtual duet between Nilsson and Monkees singer Micky Dolenz.
The Monkees returned from a decade-long hiatus in 2011 when the three-man lineup of Micky Dolenz, Peter Tork and Davy Jones reunited for a 45th anniversary tour. Jones died of a sudden heart attack early the following year, and months later the group stunned fans by hitting the road with Mike Nesmith, who sat out nearly all Monkees reunion tours since the group split in 1971. The lineup of Nesmith/Tork/Dolenz played a series of American shows through the summer of 2014, though last year Nesmith stepped aside yet again and Dolenz and Tork began gigging without him. "Mike has a lot of other arrows in his quiver," says Dolenz. "For starters, he runs a big business. He's also writing a book, which was the specific reason he gave me for not wanting to leave town again for any particular length of time."
Talk of a 50th anniversary Monkees project began a couple of years ago. The group's trademark is owned by Rhino, and they oversee the release of all Monkees reissues (both the music and TV series) and they license out the name so they can use it on tour. "There have been some recent personnel changes at Rhino and the incoming personnel were very, very pro and positive about the Monkees," says Dolenz. "[Rhino executives] John Hughes and Mark Pinkus both said they wanted us to make a new album, and they spelled out the exact kind of album that would go down well with the 50th anniversary and with our fans."
Adam Schlesinger was hired to produce the disc, and songwriters all over the world were approached about submitting tunes for the group to cut. "I'm not a big music listener outside of Frank Sinatra during martini hour," says Dolenz. "But I began doing research and I realized that the whole indie rock scene is all about recapturing that 1960s jangly guitar sound of the Monkees, amongst many other groups, of course. One reason we don't have a final track listing yet is because once we put the word out all these people said they wanted to get involved."
The album has a hard release date of June 10th, though right now Schlesinger is busy creating music for the CW show Crazy Ex-Girlfriend and formal recording sessions have yet to begin. "We've been talking a lot back and forth and sharing music via Dropbox," says Dolenz. "It's coming together fast, which isn't a bad thing since it forces you to make decisions. My job is just to come in and sing lead vocals. It's no different than the old days when we had to get everything done in three-hour sessions because that was the limit of the musician's union."
Right now, he's focused on wrapping his head around the new songs. "We all agree that the lyrics in the Rivers Cuomo song needed to be aged up a little but," Dolenz says. "It sounds like it's about a little girl and I'm 70 years old, so Rivers is re-writing the lyrics." Noel Gallagher is still crafting lyrics for his contribution, though Dolenz says that Ben Gibbard's song "Me & Magdalena" and Zach Rogue's tune "Terrifying" are both in and ready to go. "They're all keeping with our sensibility," says Dolenz. "I just keep calling it that jangly guitar pop sound, though I used to call it 'progressive bubblegum.'"
The Monkees in 1965. Dezo Hoffmann/REX
As of now, there's no formal plans for Mike Nesmith to contribute any guitar or vocal parts. "I don't know what's going to happen with that," he says. "Frankly, we don't even have a recording schedule right now!" Peter Tork, however, will definitely be on hand to record vocals and likely play guitar and possibly the banjo on some of the songs. Davy Jones' voice will be heard on Neil Diamond's "Love To Love," which the group cut in the 1960s. "I'm hoping to do harmonies on that," says Dolenz. "But I haven't spoken to Adam about that in any great detail."
The tour kicks off on May 18th in Fort Myers, Florida and runs though October 29th in Shippensburg, PA, though more dates may be added. The group expects to play some new songs, though the show will revolve around their deep catalog of classics. "I've always felt it was important to give the audience what they want," says Dolenz, "which is the hits. Peter and I do a lovely acoustic portion of the show, like we're sitting around a campfire. Our vocal blend has become very, very interesting."
They plan on performing many songs that originally featured Mike Nesmith on lead vocals, though he won't be on the tour. "He's always invited," says Dolenz. "And at times he has blessed us with his presence. I don't see him going on the road, and certainly not for the whole grueling thing. I sure hope he does show up at some point and sing a couple of songs with us."
The Monkees' heyday lasted little more than three years, and nobody is more shocked than the members of the band that they're still around for the 50th anniversary. "Here I am, 70 years old," says Dolenz. "How the hell did that happen? But I'm more excited for this album and tour than I've been for anything in a long time."
The Monkees Tour Dates
May 18 - Fort Myers, FL @ Barbara B. Mann Performing Arts Hall
May 19 - Melbourne, FL @ King Center for the Performing Arts
May 20 - Tampa, FL @ Ruth Eckerd Hall
May 21 - Atlanta, GA @ Frederick Brown Jr. Amphitheater
May 24 - Charlotte, NC @ Blumenthal PAC - Belk Theater
May 26 - Washington, DC @ Warner Theatre
May 27 - Boston, MA @ The Wilbur Theatre
May 28 - Philadelphia, PA @ Keswick Theatre
May 29 - Red Bank, NJ @ Count Basie Theatre
June 1 - New York, NY @ The Town Hall
June 3 - Toronto, ON @ Casino Rama
June 4 - Windsor, ON @ The Colosseum at Caesars Windsor
June 5 - Cleveland, OH @ Hard Rock Live Northfield Park
June 7 - Fort Wayne, IN @ Foellinger Theatre
June 10 - Louisville, KY @ Louisville Palace Theatre
June 11th - Hammond, IN @ The Venue at Horseshoe Casino
June 12 - Indianapolis, IN @ Murat Theatre at Old National Centre
June 14 - Dayton, OH @ Rose Music Center at The Heights
June 28 - Dallas, TX @ AT&T PAC – Winspear Opera House
June 30 - Tulsa, OK @ Hard Rock Hotel & Casino
July 1 - Mayetta, KS @ Prairie Band Casino & Resort
July 16 - Hampton Beach, NH @ Hampton Beach Casino Ballroom
July 22 - Hot Springs, AR @ Oaklawn Racing and Gaming
September 14 - Tucson, AZ @ Fox Tucson Theater
September 15 - Phoenix, AZ @ Mesa Arts Center
September 16 - Los Angeles, CA @ Pantages Theatre
September 17 - Las Vegas, NV @ Primm Valley Casino Resorts
September 20 - San Francisco, CA @ The Warfield
September 21 - Modesto, CA @ Gallo Center For The Arts
September 23 & 24 - Lincoln City, OR @ Chinook Winds Casino Resort
September 25 - Seattle, WA @ The Moore Theatre
October 1 - Biloxi, MS @ Hard Rock Live
October 22 - Paso Robles, CA @ Vina Robles Amphitheatre
October 29 - Shippensburg, PA @ H. Ric Luhrs PAC
Tuesday, February 2, 2016
Sia - 'This Is Acting' - Hitmaker-for-hire makes a silk purse out of songs rejected by Rihanna, Adele and others
Camera-shy Australian Sia occupies a singular position as a hit pop songwriter who moonlights as a chart-topping artist in her own right. ‘This Is Acting’ features tracks she wrote for A-listers including Adele, Beyoncé and Rihanna but kept for herself after they were rejected. It’s an album filled with scraps, then – but they’re scraps that would be snapped up by most pop stars in a second.
Any faults can be rebutted, at least partly, by the album’s conceit. Some of the songs don’t feel especially personal, but they weren’t supposed to be. Sometimes she relies on unimaginative imagery like “a house on fire” and “footprints in the sand”, but when you’re aiming to create global mega-hits like Rihanna’s ‘Diamonds’ and David Guetta’s ‘Titanium’ – both Sia’s handiwork – it’s best not to complicate things. It’s a bit strange when Sia apes Shakira’s vocal style on ‘Move Your Body’, but it’s also entirely possible she penned this tune with the Colombian in mind.
Despite these niggles, the album is fairly cohesive. ‘Move Your Body’ is pure Europop and ‘Sweet Design’ is a clattering R&B track. Elsewhere it features the bombastic balladry of her last album ‘1000 Forms Of Fear’.
But her songwriting sparkles – ‘Alive’ rivals her 2014 hit ‘Chandelier’ for sheer drama. ‘One Million Bullets’ and ‘Unstoppable’ boast infectious pop melodies and ‘Cheap Thrills’ benefits from some silly but irresistible playground chant hooks. Even the plodding ‘Broken Glass’ wins you over with its gloriously cheesy key changes.
Despite recently saying she “doesn’t care” about the Kanye-produced soul-pop jam ‘Reaper’, her vocals are committed throughout. When she strains so hard on ‘Alive’ that her voice becomes pretty ragged, it’s thrilling. If you can buy into its concept, Sia’s play-acting is very entertaining indeed.
Posted by Muddy at 11:00 PM
Wednesday, January 27, 2016
Tuesday, January 26, 2016
Miley Cyrus to star in Woody Allen’s new TV series, because life is full of misery, loneliness, and suffering
Woody Allen says he’s too lazy to make another great film, which may explain the casting choice for his latest project. As previously reported, Allen is set to helm his first-ever TV series for Amazon, and he’s enlisted none other than Miley Cyrus to star in it.
Deadline reports that Cyrus and 83-year-old director and screenwriting legend Elaine May have signed on for the as-yet-untitled series. They’ll star alongside Allen in six half-hour episodes set in the 1960s.
Production is slated to begin in March.
Labels: and suffering, because life is full of misery, loneliness, Miley Cyrus to star in Woody Allen’s new TV series
Monday, January 25, 2016
The death of Scott Weiland last December hit many hard, including some of his Wildabouts bandmates. Guitarist Nick Maybury, who had just joined the group earlier in 2015 after the death of guitarist Jeremy Brown, reveals that while his time with Weiland was brief, he felt he got to the know the rocker and was left numb when the news of Weiland’s death was delivered.
Speaking with the No Guitar Is Safe podcast for Guitar Player (as transcribed by Alternative Nation and heard in the player below), Maybury recalled that on the day of the singer’s passing, Weiland wanted to stay on the bus while the rest of the band and crew went off to visit the Mall of America. The guitarist was catching an Uber ride back to get a bite to eat when he arrived and saw police cars surrounding the tour bus. Soon after, he got a text message from the tour manager telling everyone to get back to the bus and upon arrival he learned from the production manager that Weiland had died.
“From then on, I was just blank. Numbness, shock, trauma, tears, emotions, the whole thing. Having to talk to the cops, being in an emotional state, was just rough,” says Maybury, who added, “I never saw Scott do any drugs. It’s obvious now, we all know that he was. He obviously wasn’t doing it in front of everyone. I never saw him doing any drugs, so I figured, okay, as long as he can do the gig and keep it together, I guess it’s not a problem. I’d see him drinking a lot, we all knew he was drinking, and on the prescription stuff too. We knew that was a terrible mix to start with already.”
Maybury reveals in the interview that he joined the band as a guy who was sober and that he initially had a rough time fitting in. “By the time we had gotten back from that first tour, that first tour was exciting, but rough at the same time. It was rough for them having to adjust to a new guy, the new dynamic, and missing the co-writer who wrote the stuff, their buddy, and I wasn’t drinking, or doing anything like that,” says the guitarist.
At one point, Maybury shared his concerns for Weiland with the singer. “It was one of those things he had that he had been dealing with for years. It was hard to take at first, because they were all really hurt by Jeremy passing away and stuff, and that stuff will start happening if you don’t look after yourself. I would have thought that would have been some kind of revelation to look after yourself more or something,” says Maybury. “I had a chat with him about it, I did bring it up with him. [It was] before we went on stage at Carolina Rebellion, I had a deep heart to heart, serious conversation with Scott Weiland, about his life and his career, and where he was heading, on the bus. I think just the fact that we had a chance to connect on a deeper level, put us closer together. He goes, ‘I’ve had a career for 20 years, and I don’t think this is really going to change it.’ I was like, ‘Okay.'”
“I was that concerned about him, and we were on that level,” continued Maybury. “I would have thought, ‘Okay f–k, am I going home? Did I just get myself fired just saying all this s–t?’ It wasn’t like that at all, Scott was so compassionate. He would listen, he might not say anything, but I knew he would take things [and listen]. He was the kind of guy, he would want you to feel better, he wanted you to feel comfortable. He made me feel like I was his family in the end. We came a long way in such a short amount of time.”
The guitarist says that he wanted to keep doing the gig and he went to AA meetings to figure out how to better deal with Scott’s drinking. “It made me realize to be more compassionate, and less judgmental towards people with their disease. It’s a disease, it’s such a deep thing. I figured out a way how to deal with it. He just wasn’t well man, he should have been recovering, and getting healthy.”
At the time of his passing, Maybury revealed that Weiland and the Wildabouts were discussing doing another record and that the singer had talked about the possibility of getting back together with Stone Temple Pilots after another album cycle had passed.
Posted by Muddy at 1:55 AM
Sunday, January 24, 2016
As the late David Bowie’s song “The Stars (Are Out Tonight)” goes: “The stars are never sleeping . . . the stars are never far away.” This is proving true for the Starman himself, as Newsweek reports that the artist prepared a number of, what sounds like, anthology albums to be released posthumously. As they put it, “a long list of unscheduled musical releases that Bowie planned before he died.”
The first release is schedule to arrive sometime in 2017. Newsweek notes that the records have “been divided into eras and will not necessarily be released in chronological order. It is not yet known whether they will contain previously unheard work, though past re-releases of Bowie’s work have.”
There’s no confirmation if the album of new material that Bowie had reportedly been working on in the weeks leading up to his death (he wrote and recorded five tracks, even) will be part of the upcoming slate.
Newsweek also confirms there won’t be a Bowie memoir, but a cast album from the artists behind Bowie’s off-Broadway play Lazarus, starring Dexter’s Michael C. Hall, is in production.
Posted by Muddy at 2:24 PM
Thursday, January 21, 2016
Radiohead will tour this summer in support of their as-yet-unreleased ninth studio album.
This morning the band was announced as a headliner for OpenAir St. Gallen, a Swiss music festival scheduled for June 30th – July 3rd. And that’s just the beginning.
A source for familiar with Radiohead’s plans says the band plans to headline several music festivals both in America and abroad this summer. A North American jaunt is expected to take place in July.
Radiohead’s return to the stage will coincide with the release of their ninth studio album, which could surface any day now. Back in October, the band’s members established a new company called Dawn Chorus LLP; they took similar actions months before releasing their prior two studio albums.
Radiohead last performed live in November 2012 supporting their 2011 LP, The King of Limbs.
Below, listen to Radiohead’s rejected theme song for the latest James Bond film, Spectre.
Posted by Muddy at 1:08 AM
Wednesday, January 20, 2016
With general public ticket sales beginning just this past weekend, tickets have begun to flood the secondary market. According to TiqIQ the average price for Black Sabbath tickets on the resale market is $199.88 across the 17 North American dates currently scheduled.
The tour will is slated to kick off on January 20 at CenturyLink Center in Omaha. The North American leg will stretch until February 25, when it culminates at New York City's Madison Square Garden (MSG) . That midtown Manhattan gig will easily be the most expensive of tour, with Black Sabbath MSG tickets currently averaging $314.56 and get-in price starting at $124. No other shows will exceed the $300 ticket average on the secondary market.
Black Sabbath is the latest iconic group to announce a landmark tour this year. While The Who has struggled to keep up along its 50th Anniversary Tour with Roger Daltrey's health concerns, the band has managed to still pack a punch and generate big resale ticket prices along the way. Perhaps more similar to Black Sabbath's upcoming run is Motley Crue, who have set North America ablaze along its own farewell tour.
Motley Crue began its swan song, dubbed Final Tour, back in July and have plans to play dates through the end of the year, wrapping with a three-night stay at the Staples Center in its native Los Angeles. Across the band's remaining 27 shows, Motley Crue tickets on TiqIQ are averaging $190.66, just 4.6% below Black Sabbath. An October 5 stop at State Farm Arena in Hidalgo, Texas owns the highest ticket prices at an average of $372.03 and a $134 get-in price. The most expensive Staples Center show comes on December 31, where tickets average $236.53 and get-in price is $57.
As for The Who, a decision to cancel the first four stops of their final North American leg will now see Daltrey and guitarist Pete Townshend kick things off on September 24 at the Moda Center in Portland, Oregon. The Who tickets average $225.34 across the band's 24 shows through December, making them the most affordable ticket among all three acts. Their most expensive stop comes on October 23 at Consol Energy Center in Pittsburgh. The Who Pittsburgh tickets own a secondary market average of $302.36 and a $61 get-in price.
Three of Black Sabbath's original members will embark on The End Tour, though drummer Bill Ward will again be absent from band activities. Ward hasn't been associated with Sabbath since the recording of 13, the band's 19th studio album that was released in 2013. While Ozzy Osbourne, Tony Iommi and Geezer will all take part in the road stint, it is unknown who will man the drums for their final jaunt across the world.
For fans who don't see their city scheduled on the initial tour itinerary, don't fret -- Black Sabbath have announced that more dates will be added to The End Tour at a later date. With more than seven weeks of downtime between the current end of the North American leg and beginning of the Australia leg, it is highly likely that the band will fit in more shows during that period. Expect organized chaos on the road as the iconic group takes the stage together one final time.
Tuesday, January 19, 2016
Pearl Jam have announced dates for a 2016 North American tour. Spanning April to August, the jaunt includes multi-night stints at Madison Square Garden in New York City, Boston’s Fenway Park, and Chicago’s Wrigley Field, as well as festival appearances at Bonnaroo and New Orleans Jazz Fest.
Pearl Jam 2016 Tour Dates:
04/08 – Ft. Lauderdale, FL @ BB&T Center
04/09 – Miami, FL @ American Airlines Arena
04/11 – Tampa, FL @ Amalie Arena
04/13 – Jacksonville, FL @ Jacksonville Veterans Memorial Arena
04/16 – Greenville, SC @ Bon Secours Wireless Arena
04/18 – Hampton, VA @ Hampton Coliseum
04/20 – Raleigh, NC @ PNC Arena
04/21 – Columbia, SC @ Colonial Life Arena
04/23 – New Orleans, LA @ New Orleans Jazz Fest
04/26 – Lexington, KY @ Rupp Arena
04/28 – Philadelphia, PA @ Wells Fargo Center
04/29 – Philadelphia, PA @ Wells Fargo Center
05/01 – New York, NY @ Madison Square Garden
05/02 – New York, NY @ Madison Square Garden
05/05 – Quebec City, QC @ Centre Vidéotron
05/08 – Ottawa, ON @ Canadian Tire Centre
05/10 – Toronto, ON @ Air Canada Centre
06/09-12 – Manchester, TN @ Bonnaroo Music Festival
08/05 – Boston, MA @ Fenway Park
08/07 – Boston, MA @ Fenway Park
08/20 – Chicago, IL @ Wrigley Field
08/22 – Chicago, IL @ Wrigley Field
Monday, January 18, 2016
Super Furry Animals have announced their first North American tour in six years. The trek, which kicks off February 4 in Vancouver, British Columbia, comes in the wake of last year's 15th anniversary deluxe reissue of Mwng. Find a full itinerary below.
The Welsh band's last album was 2009's Dark Days/Light Years.
Super Furry Animals:
02-04 Vancouver, British Columbia - Imperial *
02-05 Portland, OR - Crystal Ballroom *
02-06 Seattle, WA - The Neptune *
02-09 San Francisco, CA - Great American Music Hall
02-10 San Jose, CA - The Ritz
02-11-12 Los Angeles, CA - The Roxy *
04-29-05-01 Austin, TX - Levitation
05-03 Cambridge, MA - The Sinclair
05-04 Portland, ME - Port City Music Hall
05-05 New York, NY - Webster Hall
05-06 Washington, D.C. - 9:30 Club
05-07 Philadelphia, PA - Union Transfer
* with Dead Meadow
Watch Super Furry Animals' set from Glastonbury 2015:
Posted by Muddy at 1:28 PM
Kanye West has released his latest single "No More Parties In L.A." — announcing the new track on Twitter this morning. It's the first song which has West rapping alongside Kendrick Lamar (although Lamar has a writing credit on "All Day," released in March last year), and uses a beat produced by Madlib, apparently created during work on West's 2010 album My Beautiful Dark Twisted Fantasy.
After a preview for "No More Parties In L.A." dropped earlier this month (more on which below), internet sleuths started digging around for more information, eventually finding a clip of West talking about his work with Madlib on a featurette for the documentary Our Vinyl Weighs A Ton. In the clip (which starts at around 21 minutes in here), West describes working with Madlib and "hearing the textures" for the new song, before rapping a few bars from the recently-released track.
Hopefully, the release of "No More Parties In L.A." will be a smoother affair than that of "Real Friends," which was pushed online earlier this month and hastily taken down again, becoming the subject of a cat-and-mouse chase between illegal uploaders and copyright enforcers. The famously detail-obsessed West blamed "a slight distortion in the main loop" of the track as his reason for removing and re-upping it online. "No More Parties In L.A." sounds pretty pitch-perfect to us, but we're crossing our fingers that West is happy too.
Tuesday, January 12, 2016
The influence on popular culture of David Bowie, who died today following an 18-month fight against cancer, simply cannot be overstated. From psychedelic folk rock to glam rock, plastic soul, avant garde experimentalism and beyond, Bowie's relentless innovation and reinvention was one of the great driving forces of modern music and his impact reached into fashion, performance art, film and sexual politics. While his songs, consistently accessible no matter how difficult the style he explored, inspired countless musicians across a vast tapestry of rock music which he helped weave as he went. His shape-shifting nature – which Bowie himself put down to restlessness and boredom – laid the blueprint of what a pop star should be: chameleonic, enigmatic, seductively alien and constantly challenging society’s accepted boundaries of personal freedom and expression.
Ziggy Stardust, Aladdin Sane, The Thin White Duke and Major Tom; his mastery is encapsulated in the roles he so briefly adopted and so casually discarded for each phase of his career, and to the man behind the masks every superlative applies. Icon, legend, starman.
Born David Robert Jones on January 8 1947 in Brixton, London, Bowie’s talents first emerged in dance and movement classes at Burnt Ash Junior School at the age of nine, his interpretive dance described as “vividly artistic” and “astonishing” by teachers. His introduction to music via his father’s US rock 'n' roll records and his half-brother’s interest in modern jazz inspired him to join a skiffle group as a child and take up the plastic alto saxophone in 1961, while studying art, music and design at Bromley Technical High School. In 1962, the same year a fight with his future artwork collaborator George Underwood left him with a permanently dilated pupil that gave him the appearance of having different coloured eyes, a 15-year-old Jones formed his first rock 'n' roll band, The Konrads, and his restless nature soon came out. Shifting through groups including the King Bees, Manish Boys, Lower Third, the Buzz and Riot Squad over the course of five years, Jones eventually signed a solo deal and took the name David Bowie in 1967, to avoid further confusion with Davy Jones of The Monkees.
Bowie’s debut solo single ‘The Laughing Gnome’ and the surreal psychedelic music hall of its eponymous parent album, a cousin to the music of Anthony Newley, Tommy Steele, early Floyd and The Kinks, remains a curio. It wasn’t until Bowie met dancer Lindsey Kemp and became immersed in London’s bohemian art, theatre and dance scene that his lengthy golden period of creativity and reinvention began. ‘Space Oddity’, the 1969 lead single from his second self-titled album released to coincide with the ill-fated Apollo 11 mission, became his first major Top Five hit, yet he quickly shifted his sound towards dark and paranoid rock for 1970’s ‘The Man Who Sold The World’ and amalgamated the two for 1972’s seminal ‘Hunky Dory’, recently voted by NME as the third best album ever made, thanks to such timeless classics as ‘Life On Mars’, ‘Queen Bitch’ and ‘Changes’. His image was also in constant flux, incorporating outlandish fashions and hairstyles and indulging in androgyny; Bowie, who met and married Angie Barnett in 1969, would later claim to be bisexual.
These disparate splatters of image and ideas would cohere in the alien rock god form of Ziggy Stardust, tragic hero of 1973’s ‘The Rise And Fall Of Ziggy Stardust And The Spiders From Mars’ and the otherworldly creature who made every teenager in Britain want to be a pop star simply by wiggling his finger down the Top Of The Pops camera and cooing “I had to phone someone so I picked on you”. Ziggy became a phenomenon of the glam age but, reflecting Ziggy's demise on the album, Bowie killed off the character onstage at the height of his success, to reportedly orgiastic scenes at the Hammersmith Odeon.
Over the coming decades, and despite developing a cocaine addiction that would see him become a virtual recluse in Los Angeles “in a state of psychic terror” in the mid-70s, Bowie would repeatedly reinvent his music and persona to critical and cultural acclaim. After two further glam character albums in ‘Aladdin Sane’ and the Orwellian ‘Diamond Dogs’ he discarded the style in favour of what he called ‘plastic soul’ on 1975’s ‘Young Americans’. Just one year later he released the bleak, experimental ‘Station To Station’ and toured under the monochrome persona of The Thin White Duke, a character inspired by Bowie’s interest in Nietzsche, Aleister Crowley and the occult and described as an “emotionless Aryan superman”, right down to expounding the benefits of fascism in interviews and allegedly performing a Nazi salute at Victoria station. His experimental bent, and efforts to kick cocaine, then led him to Berlin where, alongside Iggy Pop, Tony Visconti and Brian Eno, he recorded his most avant garde '70s work over the legendary trilogy of ‘Low’, ‘”Heroes”’ and ‘Lodger’.
Critics and fans alike were constantly amazed and inspired by Bowie’s creative and personal shifts and his innovative stage shows – from the dystopia of ‘Diamond Dogs’ to the Thin White Duke’s German Expressionist starkness and the interpretive dance spectacle of the Glass Spider tour – but Bowie himself claimed it was down to “attention deficit disorder”; he simply couldn’t stay interested in any one thing for more than an album or two. As his success peaked in the early 80s, reaching Number One by revisiting the story of Major Tom on ‘Ashes To Ashes’ and selling seven million copies of his funk pop collaboration with Nile Rogers ‘Let’s Dance’ in 1983, he allowed himself to slip into a groove. “Artistically it was probably my lowest point,” he’d say of his mid-80s output, but at the same time he was expanding on his polymath status. He performed interpretive dance pieces at fashion events, followed up his perfectly cast turn as an alien visitor in Nicholas Roeg’s The Man Who Fell To Earth with a string of film roles in films such as Labyrinth, Absolute Beginners and The Last Temptation Of Christ, a sideline he’d pursue right up to playing Nikolai Tesla in 2006’s The Prestige – and developed his business interests to the point where he created his own radio station, bank and Bowie Bonds.
Over the coming decades Bowie would return to his restless, boundary-pushing ways, delving into metallic rock with the under-rated Tin Machine, and industrial, drum’n’bass, jungle and jazztronica on solo albums such as ‘Earthling’, ‘Outside’ and ‘Heathen’. His vision was far-reaching; an early internet adopter he was amongst the first to explore downloading and launched his own service provider. When he disappeared from the public eye following 2003’s ‘Reality’ many thought he’d said his final piece on rock music, so it was with to shock and delight that he released ‘Where Are We Now?’ with no warning on his 66th birthday in 2013, and a fantastic new album ‘The Next Day’ within two months. Where 'The Next Day' occasionally saw Bowie look back on the past, the follow-up, 'Blackstar', released just two days before his death, saw him forging forwards to another new sound.
It’s fitting that the last years of his life were characterised by fervent creativity, some of the strongest and most passionate studio performances of his career and deep secrecy. It means that one of the greatest talents that rock music has ever seen leaves us the way he lived. A glorious, unknowable enigma.
Monday, January 11, 2016
New York alternative rock band Gnarly Karma just debuted a fresh new album called "Classic Breeze" and play The Bitter End, Saturday - January 23rd.
Gnarly Karma is one of the most interesting bands on the New York City scene right now. They have a unique sound made up of guitar, bass, drums, sax, keyboards, harmonica and vocals. Mike Renert is an emotional singer with a dynamic range, full of classic rock influences and a grungy rasp. He has the lyrical wit of Neil Young, or similar to Adam Duritz on the softer songs, songs about 'love and life' from a storyteller's point of view. The more upbeat acoustic tracks are in the vein of the Dave Matthews Band and O.A.R.. There's always a great groove. There's always a solid pulse. The saxophone gives the music a transcendental vibe and contemporary jazz/rock feel that works with Renert's hypnotic songwriting style. They are an exciting act to catch live and always impress. Top notch musicians.. Check them out at The Bitter End, January 23rd!
"Classic Breeze" is now available on iTunes, Spotify, Amazon, Apple Music, and more.
Saturday, January 9, 2016
Kim Kardashian promised us new Yeezy last night, and indeed, her man has exceeded all expectations by dropping two songs in one, both with the potential to be SWISH material. The first is titled "Real Friends," the track Kim hinted at with last night's tweet, and afterwards, there's a surprise collab with Kendrick Lamar and Madlib, "No More Parties in LA."
In a since-deleted tweet, Kanye revealed that "Real Friends" is produced by himself, along with Frank Dukes and Boi-1da, who are responsible for the sampling, and Havoc of Mobb Deep, who's behind the drum programming. Though he didn't include his name in the original tweet, the song also contains vocals from Ty Dolla $ign.
Next comes "No More Parties in LA," which features Kendrick Lamar and is produced by Madlib. 'Ye credited himself for the intro. The clip of "No More Parties in LA" included in today's stream is just over 1 minute, and it's assumed it's a snippet of a full record that's on the way.
With the new songs, coming just over a week after "FACTS," Kanye has proved his Internet-breaking capabilities to be just as potent as those of his wife.
Labels: Kanye West drops 'Real Friends/No More Parties In LA' Feat. Kendrick Lamar & Ty Dolla $ign, Swish