Thursday, August 27, 2015

The Wrecking Crew puts names to the notes of some iconic music

The story behind the making of The Wrecking Crew is nearly as interesting as the film itself. In 1995, director Denny Tedesco set out to document the life story of his father, legendary guitarist Tommy Tedesco, who had been diagnosed with terminal cancer. Tommy was one of a group of Los Angeles session musicians in the 1960s known as The Wrecking Crew, who played on thousands of famous albums by such artists as The Beach Boys, Frank Sinatra, Herb Alpert, Dean Martin, The Mamas & the Papas, The Monkees, John Denver and many more.

By 2008, Denny was screening his final cut on the film festival circuit, including its premiere at South by Southwest. However, it took years for him to raise the additional $200,000 needed to secure the licensing rights for the 110 songs heard in the movie.

Finally finding its way into theaters,
The Wrecking Crew follows in the footsteps of Standing in the Shadows of Motown, Muscle Shoals and 20 Feet From Stardom, other documentary salutes to unheralded, behind-the-scenes performers. The Wrecking Crew was the informal moniker assigned to the talented LA-based studio musicians who busied their days and nights with recording sessions, sometimes cutting whole albums in a single day. Although usually uncredited for the music they recorded—with credit frequently going to frontmen who never played a note in the studio—the Wrecking Crew were often well-compensated for their seemingly endless gigs.

Denny spotlights about a dozen of the more notable performers, including drummers Hal Blaine and Earl Palmer, bassists Carol Kaye and Joe Osborn, saxophonist Plas Johnson and guitarists Al Casey and Glen Campbell (yes, the Glen Campbell).

It’s not surprising to learn that
The Monkees didn’t play their own studio music. However, Brian Wilson also employed the Wrecking Crew to lay down the tracks for such seminal Beach Boys recordings as “Good Vibrations” and the Pet Sounds album because of the demands of Wilson’s arrangements and the Beach Boys’ lack of available rehearsal time.

The time it took the film to reach distribution has some jarring repercussions. Seven of the featured Wrecking Crew musicians passed away during the intervening years, and it’s startling to see commentary from Dick Clark obviously recorded prior to his December 2004 stroke. The joy of The Wrecking Crew is revisiting a panoply of ‘60s rock standards, with the mostly unknown musicians responsible for the distinctive, intoxicating sound of an era.

Wednesday, August 19, 2015

Savages announce new LP via trailer featuring Henry Rollins, playing FYF Fest and other West Coast shows this week

Savages were in NYC in January for a nine-show residency to work out new songs live. The band have just announced that their still-untitled sophomore album will be out in 2016. News comes via an album trailer featuring footage from those residency shows, and curiously, Henry Rollins reading Phyllis Rose's poem, 'Jazz Cleopatra: Josephine Baker in her time.'

Savages are in the U.S. right now, playing West Coast shows surrounding this weekend's FYF Fest. Those dates are listed below.


Savages - 2015 Tour Dates
AUG 20 - Pappy & Harriet's - Pioneertown, CA
AUG 21 - The Sayers Club - Las Vegas, Nevada
AUG 22-23 - FYF Fest - LA State Historic Park - Los Angeles, CA
AUG 23 - Casbah - San Diego, CA
AUG 25 - Great American Music Hall - San Francisco, CA
AUG 26 The Roxy - Los Angeles, CA

Thursday, August 13, 2015

2015 New York Film Festival lineup: 'Steve Jobs,' 'The Walk,' 'Miles Ahead,' 'Bridge of Spies,' 'The Lobster' & more

So, as the dog days of summer wind down and the studios finish dumping their late summer dreck on us (I'm looking at you Fantastic Four, American Ultra, Man from U.N.C.L.E.) we focus our eyes on the fall heavy hitters season. While most of the world awaits December for the force to be awakened once again, the fall brings us the 53rd Annual New York Film Festival which runs September 25 - October 11. (That's the poster, above, designed by Laurie Anderson.) The main slate of 26 films were just announced and this year looks to be uniformly wonderful. Let's pick a few highlights.

The opening night film is Robert Zemeckis' The Walk which depicts the true story of Phillipe Petit's August 1974 historic cable walk across the World Trade Center's Twin Towers. (You may have seen the documentary about this, Man on Wire.) If you have seen the trailer and you know Zemeckis's work, you know this should be a dazzler. The middle "Centerpiece" film is the much anticipated Steve Jobs from director Danny Boyleand writer Aaron Sorkin. Blithely pushing aside that earlier Ashton Kutcher version, this should cast a wider, more intense net (word from a friend who saw a test screening earlier is that it's great and Michael Fassbender playing Jobs is fantastic). This year's closing night film, and one which should be on the radar of all the music fans here, is Don Cheadle's directorial debut Miles Ahead. It's a portrayal of the legendary Miles Davis starting from his time holed up in his Upper Manhattan apartment in the 70's and looking back on one extraordinary life.

Besides the opening and closing night, there are two other world premiers: Steven Spielberg's cold war drama Bridge of Spies and Laura Israel's documentary about the amazing photographer/filmmaker Robert Frank.

NYFF will also bring some highly regarded films from this year's Cannes Film Festival, including jury prize winner The Lobster, an absurd dark comedy from Dogtooth directorYorgos Lanthimos (although we don't get either Palme D'or winner Dheepan or Grand Prize winner Son of Saul. Those went to Toronto. Boo!)

There are also new works from festival mainstays such as Hong Sansoo (Right Now, Wrong Then), Arnaud Desplechin (My Golden Days), and Michael Moore's intriguing new Where Do We Invade Next, Todd Haynes (Carol), Michael Gondry (Microbe & Gasoline), among others.

Besides many of the above, I am really looking forward to director Jia Zhangke's new filmMountains May Depart. His 2013 festival film A Touch of Sin was one of my favorites that year. Also: the master Hou Hsiao-hsien's The Assassin; Thai director Apichatpong Weerasethakul's Cemetery of Splendor; insane director (not really but maybe?) Guy Maddin's The Forbidden; NY based director (who you might see out at local concerts all the time. I do.) Michael Almereyda's Experimenter and, well, there are just too many to name. It is a great lineup for all you film obsessives and a perfect start to what looks to be a powerhouse fall season. Be on the lookout as well for announcements on special events, documentaries, and Convergence and Projections lineup of films.

Tickets to the 2015 NYFF go on sale to the general public on Sunday September 13, with Film Society of Lincoln Center presales starting September 8. There are also other VIP and member options. Check out below the full main slate as well as trailers for some of the films, below...

Saturday, August 8, 2015

Read A Classic, Candid Interview With Elliott Smith From 1998 On Darkness And Drug Use

What happened to Elliott Smith is a story for another time. He’d prefer it if… well, you know, we could… maybe… And off the record, he’s talking. Talking about a situation that went out of his control. Telling a story that is one of the most terrifying you’ll ever hear. 

But like we say, that’s a story for another time, not this time. The man with the face like the Easter Island statue, smoking a succession of Camel cigarettes in a London pub, already has enough circulating about him. About his Vietnam vet dad. About how he wrote a song nominated for an Oscar. About his shiftless life, his drifting, and now and then just a whisper about his drugs. 

There’s those stories he’s written himself, too, on four solo albums: songs of love and loss, filled with a quiet and almost holy sorrow. The lovelorn medieval minstrel, that’s Elliott. Twenty-eight years old, and possessed of a pure talent for melancholy, whose latest album is called ‘XO’, because that’s what you put at the end of a letter before you sign your name, when you want to say ‘hugs and kisses’. Another thing: Elliott never writes letters.

But this isn’t just another story, about heroin and broken hearts, though that is a story for this time. His voice – high and flat and calm – might not sound it, but Elliott Smith is an angry man, and his new record "a lot more hostile" than his previous one, 'Either/Or. Thing is, right now, he can’t quite tell you why. 

"More of the songs have a vibe of 'Get the fuck off me, and quit telling me what I should be doing'," he snarls, politely. "And there’s a repetitious theme of someone telling someone else what they should be doing, and how fucking insulting that is. I mean that makes me furious."

You’ve experienced this recently?

"Not in the way you’d think," Elliott begins. "But…" … But that’s a story for another time.

The theory of the brief candle goes a bit like this. It burns for only a short while, but when you see it, it’s the most beautiful thing you’ll ever see. Tragic because it’s beautiful, tragic because it’s not around for long. 

"If you take the time to look at anyone, and find out what their story is," Elliott begins, "then their story becomes immediately interesting. Someone could live for ten minutes and still have plenty to write about. You can feel a lot of ways, and notice a lot of things. People are really kaleidoscopic. There’s no topics that can’t be put into a song, so I try to write about everything."

Elliott’s seen a lot already as he’s moved around. From Texas as a small boy, where he would get into fights because he was wound up about his mother having remarried someone whom he didn’t like. To Portland, through jobs as a baker, ditch digger, construction worker, insulation fitter. On to New York, where he festers slightly in the heat, but is keeping hold of much of his daily routine. He looks around, and he writes.

Elliott writes on the subway, writes in bars. Keeps writing stuff until he feels finally he’s come up with something good. And all the time people hear his songs, they say the same things. They say they’re sad. This amuses Elliott slightly. 

"Everybody’s got their problems," he says. "But I don’t play music because I’m a tortured person. I play music because I enjoy it. Because…" He laughs. "Because it sounds really good. I’m no sadder than anyone else I know. I also think it’s not all true: there’s things about my songs that are sad, but that’s not the point of them. People overlook the happiness. It all depends on your point of view: something that makes you feel sad might make someone else feel happy, because they’re like, 'Well, that’s how I feel now.' There’s a million ways people can feel."

Under the apparently fragile exterior, you see, beats a steely heart in Elliott Smith. What you might expect to learn from the voice and the softly picked melodies is not what you find. Elliott is a man who has spent time in his own head, and who knows his balance: thought long and hard and built a kind of sly, self-deprecating determination not to be fucked around.

He puts it down to his background. Partly his itinerant lifestyle, partly the constant sense of battle he had with his folks when he was a child, even to get a guitar. And now he rejects – though quietly, always quietly, some predetermined notions about him and his songs. They’re not 'folk'. And they’re not sad, either. 

"When people start to pay attention to what you do," he sighs, "you have to try and battle back from whatever little box they try to put you into. But I’m used to being self-reliant. I used to get into fights and have a bad attitude with people, but that way leads to bitterness. Those are the two big enemies," he smirks. "Bitterness and style. If I can escape both, then I’ll be happy." 

Elliott Smith is currently taking small steps to overcome style. He pads around in boots and flares and a t-shirt with the discreet hum of wear, but he feels to have only gone part of the distance. "Gonna grow my hair like David Bowie on the cover of 'Hunky Dory'," he grins. "And it’s gonna look like shit on the way. And when it gets that long… It might look like bullshit."

To work on bitterness though, is more difficult. There’s a song on the second album, 'Elliott Smith', which, if it doesn’t point directly to the heart of the matter, then is at least a signpost on the way. It’s called 'Needle in the Hay', and when it was released, everyone in Portland who followed Elliott’s progress got kind of worried. This one was all about drugs. 

He flinches slightly at the recollection. Yes, there were drugs, but he never got too deeply involved for it to become a problem, and anyway, writing a song about drug use… that’s pretty tedious stuff. And it doesn’t all have to be bad: there’s a song on that record about walking around, alone and on drugs, and having, well, an excellent time. 

What gets Elliott is the people looking in. It’s part of the story for another time too, but you start living your life the way you want and then all these… people start sticking their noses in, and that’s what he resents. "People think they know all these things about other people, and if you ask them why they think they know that, it’d be hard for them to be convincing," he fumes. "It’s like they think people are stupid, but generally people don’t do things for no reason. The whole conversation just gets dumbed down to a point where it’s just a lot of names being thrown around." 

Like 'junkie'? "Yeah," he sighs. "Or that so-and-so is bad. Well, yeah, but maybe certain people wouldn’t have done certain things if it was all bad. I don’t advocate drug use – I just don’t see it as being as simple as being 'wrong’."

He walks slightly sadly away from the table, but he’s bent, not broken. Alone again, but knowing that in a way, hell is other people. 

"People have a tendency to go into self-protect atomised mode when things go wrong, and never come back," he smiles gently. "But you’ve gotta come back."

Oh he’ll be back, all right.

Wednesday, July 29, 2015

Liam Gallagher performs new song at local pub in Ireland

"God moves in a mysterious way," as the 18th Century composer William Cowper once wrote. What Cowper understood is that mere mortals cannot possibly comprehend the whims of the Almighty. What arrogant fools we would be to even attempt it. What vanity of vanities.

In very much the same way, it's hard to ever say for sure what's going on in Liam Gallagher's head. Since Beady Eye ended in a whimper on 25 October 2014, he's been at something of a loose end, aside from stacking shelves at Pretty Green and stealing Roger Daltrey's thunder on TFI Friday.

Yet this weekend, thanks to some grainy, shaky YouTube footage recorded in a pub on the west coast of Ireland, we perhaps saw a glimpse of Our Kid's plan. Picking up an acoustic guitar, he treated the assembled congregation to a sermon from the couch, playing what appears to be a new song. The tune raises plenty of talking points. Here's a couple we've been discussing in the NME office...

Does this mean a LG solo album is in the works?

There have been rumours in the all year that Liam may be at work on a solo album, although tabloid stories that he's been writing with Lee Mavers of The La's have since been denied by his spokespeople. Still, the inclusion of the line referencing "chasing yesterday" strongly suggests that this song was written recently - so he's definitely been writing something.

Its lyrics are hugely autobiographical

Almost all of the lyrics in Liam's new song appear to have a self-referential angle. Most interestingly, the line about "chasing yesterday" appears to be an obvious reference to his brother Noel's most recent album of that name, although in context the line: "When I wake up and I hear you say, there's no love worth chasing yesterday" could be read as a response to the near-constant rumours and questions about a potential Oasis reunion. Alternatively, it could be read as a dig towards his big brother, suggesting he feels abandoned by Noel's pursuit of his solo career. Elsewhere, the line: "Yes I know, I've been wrong, Didn't do what I was told" sounds like a reference to his recent marital strife, while "I ain't looking for no 9-5, sick of wasting all my precious time" appears to reference his current band-less status. It's certainly a more melancholy side of Liam than we're used to seeing, but one which seems to suit him.

Has he discovered a love of playing guitar?

It's very rare for Liam to play guitar live (the less said about 'Songbird' the better). But in the comfort of an Irish pub he seems confident and comfortable accompanying himself. After years of sitting at the back of videos during guitar solos, occasionally shaking a tambourine, the idea that Liam could beat Noel to releasing a solo acoustic album is an intriguing one. 

He sounds more ambitious than he has in years

Towards the end of Beady Eye's short life, serious questions were being asked about whether Liam's vocals were still up to scratch. Yet here, perhaps helped by the more relaxed setting, his voice sounds better than it has in a long while. He even hits the high notes, something he avoided doing even early in Oasis' career, forcing them to ditch certain songs if they had notes Liam couldn't reach. 

He's going back to his family roots

It's no coincidence that Liam appears so at home in the pub in Charlestown, County Mayo. The Gallagher brothers' mother, Peggy Sweeney, is a Charlestown native and the boys often spent their childhood summers in the area. As well as playing in the pub, Liam has also used his recent visit to lend his support to the 'Mayo for Sam' campaign supporting the local Gaelic football team in their quest to win the Sam Maguire Cup. During his recent appearance on Desert Island Discs, brother Noel also spoke of his love of Mayo, saying that as a child his happiest days were the six weeks each year he spent in Charlestown. Perhaps after all the feuding, it's a return to the site of their old family holidays which might heal their rift. Chasing yesterday, indeed.

Monday, July 20, 2015

The Zombies reuniting w/ surviving original members to play 'Odessey & Oracle' in full on a US tour for the first time

British psychedelic/baroque/sunshine pop legends The Zombies performed their essential 1968 album Odessey & Oracle for its 40th anniversary in London (and turned it into a DVD), but they've actually never performed it in full in the US. That will finally change this fall, and making it even better, Colin Blunstone and Rod Argent are reuniting with surviving original members Chris White and Hugh Grundy for the shows. It'll be that lineup's first US tour together in five decades. The shows will also include the band's current lineup (Blunstone and Argent with Tom Toomey, Jim Rodford and Steve Rodford) playing music from their new album, Still Got That Hunger, which is set to come out this September.

So far the band have announced that they're playing September 30 in Dallas and October 9 in NYC at The Concert Hall at New York Society for Ethical Culture (2 West 64th St) with more dates TBA. Tickets for NYC go on sale Friday (7/24) at 10 AM. Stay tuned for more info.

Monday, July 13, 2015

Ride expand tour, add Stone Pony show: Tess Parks opening at NYC shows & other dates

Reunited shoegazers Ride will be coming back to North America this fall, including two nights at NYC's Irving Plaza on September 21 & 22 (Tickets). They just have expanded the tour, including another NYC-area show, this one happening at Asbury Park's Stone Pony on September 23.

Tickets for the Stone Pony show go on sale Friday (7/17) at 10 AM with a Citi cardmember presale beginning Tuesday (7/14) at 10 AM and Live Nation and Ticketmaster presales starting Wednesday (7/15) at 10 AM. Opening on many of the dates, including the NYC-area shows, will be Canadian singer Tess Parks who just released her collaborative album with Anton Newcombe of Brian Jonestown Massacre.

Friday, July 10, 2015


The year 2015 marks, among other things, the twentieth anniversary of the Super Furry Animals' first proper release and debut as a live act. It also represents, at maybe just a bit of a stretch, twenty-five years since their very earliest embryonic stirrings, in Wales, as a band.

But none of those is the milestone they've chosen to commemorate this year. Instead the Super Furries — in characteristic fashion, which is to say lovably askew — have elected to return to the road in honor of Mwng, the stripped-down 2000 outlier on which they sang exclusively in Welsh. (The title is pronounced somewhere between "moong" and "mung.") The album, long out of print, has just been reissued by Domino. The handful of dates behind it, including the Voice's own 4Knots (July 11), are their first outings as a unit since 2009.

So: Why not go with the silver jubilee, as opposed to a mile marker for which there is no handy nomenclature?

"The stars were just in alignment," insists Cian Ciarán ("KEY-an Kieran"), multi-instrumentalist and something of the group factotum. "We didn't plan any of it.

"We didn't plan last year to come back and do a reissue. We spoke to Domino maybe two or three years ago about reissuing, and a guy called Ric Rawlins wrote the biography [Rise of the Super Furry Animals], which came out in February, and then we got offered some shows and it was like those three things all came together around the same time. It wasn't like we put a marker down and decided, 'We're gonna do it.' It kinda made sense. It wasn't contrived. There was no big marketing ploy behind it. It happened to be the fifteen-year — well, every year is an anniversary of some sort, so."

Indeed, contrived seems to be a dirty word in the Super Furry lexicon, emerging as it does more than once in conversation with Ciarán to denote the antithesis, basically, of the group's ethos. Even in matters as trivially prescriptive as band roles — here Ciarán will cop to certain members having certain especial métiers, certain primary functions onstage, but apart from that paints a portrait of Super Furry World as rather a democratic and label-less place. Pressed on the accuracy of early-career depictions of him as the group's secret-weapon electronics guru/sonic architect — or as he puts it, "a synth wizard or some shit" — Ciarán bristles.

Those five members, incidentally, are: Gruff Rhys (lead vocals/guitar, he of the dark fluffy hair and beady eyes), Huw Bunford (guitar/vocals; scraggy, vaguely Scandinavian), Guto Pryce (bass; the most workaday-looking), Dafydd Ieuan (percussion/vocals; hale and hearty), and Ciarán (Dafydd's seven-years-younger baby brother, by the way). They are, alternately, and per Super Furry parlance, each known by a cuddly mononym: Gruff ("Griff"), Bunf, Guto ("Gitto"), Daf ("Dav"), and Cian. Gruff plays left-handed, without restringing, such that the high E is topmost on the guitar. His is the signature baritone, the group's calling-card. But Bunf and Daf sing like frontmen in their own right. None of the five can read music, but they'll leap octaves like the Beach Boys, harmonize like same, change keys on a dime, cram about five separate songs' worth of melodies into three or four minutes, and generally mash up all manner of modes and styles until the end result is unrecognizable as any of the above, until it is wholly their own.

‘We played in Japan, and people in Japan were singing back to us in Welsh.’
That last tendency — or rather, the repudiation of it — has often been cited as the impetus behind the comparatively barebones Mwng. Story goes that the previous album, 1999's Guerrilla — by Cian's own telling, "a lavish experience...weeks and weeks in the studio" — failed to meet pop-chart expectations, possibly on account of a certain kitchen-sink overstuffedness, in response to which the band declared a "pop strike." They then set about writing and rehearsing the all-Welsh array that was to become Mwng, for which Cian avers the recording and mixing process took a grand total of nine to ten days. It was, he says, "an opportunity, almost by default, to take a step back and sort of familiarize yourself again with what you used to do before you had money to go to the studio....We didn't have time to work into the production and all, and I don't think the songs needed it so much, either."

So was Mwng an overt political gesture, an effort to preserve and promulgate Welsh language and culture? A Metal Machine Music–type raging-against-the-music-biz-apparatus? A disavowal of the work that'd come before — the brashness of debut LP Fuzzy Logic, the manic busyness of Guerrilla — signaling a newfound seriousness of purpose?

Only, says Cian, with "the luxury of hindsight." As is the SFA way, Mwng was an organic outgrowth, an intuitive next step. "For us it was just going back to what we were doing ten years before," he says. "Everyone had been in bands previously and had recorded exclusively in Welsh. So it was a natural thing for us. Gruff, I think, hadn't sung in English till he was twenty-six....It might be obvious to others where certain times [are a] turning point, or whatever. Which at the time you don't think about, or it's not obvious."

Even so, the album resonated in ways that Cian, today, clearly finds vindicating. "It opened doors. It allowed us an invite to come to the States to do a two-week tour for the first time. We played in Japan, and people in Japan were singing back to us in Welsh, just singing the phonetics. And people had seen it as a real language, not a dead or a dying language."

So it seems fair to say, whatever the motivation, the album was the needed shot in the arm, the vital bridge to the charming raft of LPs to follow: 2001's pretty-much-undisputed-masterpiece Rings Around the World, 2005's beloved concept work Love Kraft, 2007's song-for-song-great Hey Venus! And maybe, just maybe, it's at least partially responsible for the Furries' all-but-unrivaled longevity. As Cian notes, "It's the same five members in the band, still the same five onstage, still the same five in the studio, and nine albums by the same-five lineup. Which is, I don't know, I'm sure there's — it's not unique, but I'm sure there's not many."

As for going forward, is this reunion a harbinger of things to come — possibly heralding a new album, maybe? Cian's coy on this point, except to say that it might all hinge on the fortunes of the Welsh national soccer team. "We've got a really good chance of qualifying for the Euros next year in France," he says. "And you know, that could see the return of the Furries going back to the studio. Every country has a sort of theme song when they go to these tournaments...Yeah, that might make us go back to the studio."

Monday, July 6, 2015

Mobb Deep, Freeway, Skyzoo, Lion Babe & more added to Brooklyn Hip Hop Festival (which begins this week)

The 2015 Brooklyn Hip Hop Festival takes place this week, Wednesday (7/8) through Saturday (7/11), and new updates were recently announced. The annual Brooklyn Bodega-presented festival begins with a "conference on Hip-Hop, Technology and criminal justice reform" on Wednesday, followed by a screening of 1994's Fresh on Thursday. Friday has a tour of Brooklyn bars and restaurants, courtesy of Brooklyn Brewery, and the JUICE Hip-Hop Exhibition at Littlefield with a dance-off, various showcases, and galleries.

Then as always, the main event is the big concert happening Saturday at 50 Kent. As mentioned, Common is headlining this year. Since we last spoke, they added Queensbridge legends Mobb Deep, plus Lion Babe, Freeway, Charles Hamilton, Skyzoo, DJ Rob Swift, Mista Sinista, Pitchblak Brass Band, John Robinson & PVD, DJ Parler, Uncle Ralph McDaniels, Torae, Chelsea Reject, Slim Dollars, Tripset, Waffle NYC, Money & Violence and more. Tickets are still available, and you can also try to win a pair.

Lion Babe, who appear on the upcoming Disclosure album, are also playing Afropunk Fest and an Afropunk-presented Lincoln Center Out of Doors show. You can watch the video for their Pharrell-produced single "Wonder Woman" below.

Friday, July 3, 2015

The Bunker Limited with Derek Plaslaiko & Mike Servito at Trans Pecos, July 3rd

We're finally back for another edition of The Bunker Limited at Trans Pecos, who now have a full liquor license and really chill backyard! For this party, we're keeping it simple ... two of our absolute favorite DJs, The Bunker residents Derek Plaslaiko and Mike Servito, are on deck all night. They recently played together in the Panther Room and at Anthology in Detroit, but of course have a long history of playing together going back to their youth in 90s Detroit. This will be the first time they've played all night like this in New York.

If you don't know the deal with these special Limited events: As The Bunker continues to grow significantly, many of you have expressed a desire to turn back the clock to the good ol' days when the party was weekly at subTonic for 100 people or so. We miss those days as well, so in 2011 we launched a new series of events called The Bunker Limited. For The Bunker Limited, we bring a ridiculous sound system into a very small space, and limit attendance to 150. Last year we said goodbye to Public Assembly and the small loft space above it that housed The Bunker Limited. In 2014 we relaunch The Bunker Limited in a new art space we could not be more excited to be a part of, Trans Pecos. There will be no guestlist for The Bunker Limited, the only way we can pull this off in a space this small is if everyone pays. The sets at these events are not recorded, and absolutely no photography is allowed inside.

Wednesday, July 1, 2015

Javotti Media Presents Talib Kweli LIVE with full band + Rapsody, NIKO IS, and K Valentine at Brooklyn Bowl, July 1st and 2nd

NYC hip hop vet Talib Kweli continues to release music and perform consistently. Tonight's his first of three hometown shows this week. Tonight and tomorrow he plays full-band shows at Brooklyn Bowl, and on Friday he'll be at the International African Arts Festival in Commodore Barry Park.

Tuesday, June 23, 2015

Stephen Malkmus & the Jicks and Screaming Females added to 2015 4Knots Festival with Super Furry Animals!

The lineup for the 2015 4Knots Festival has expanded once again. In addition to headliners Super Furry Animals, we'll also now get another '90s indie great, Stephen Malkmus and his band the Jicks, providing direct support. Also added are the shredding NJ punk trio Screaming Females. Those additions join Mikal Cronin, Twin Peaks and more.

This year's fest happens July 11 on Hudson River Park's Pier 84. Tickets are still available.

Blonde Redhead at Webster Hall, June 23rd