Tuesday, August 23, 2016

Liam Gallagher says ‘Oasis will sail again’ and Noel should get back to ‘his side of the stage’

Liam Gallagher still holds out hope that Oasis will ‘sail again’.

While discussing plans to release new music in 2017 during an interview with Q Magazine – his first since the split of Beady Eye – Gallagher nevertheless had thoughts for his first and biggest love.

“I believe that Oasis will sail again and it will be glorious,” he said. “In the film (Supersonic) Noel says that Knebworth wasn’t really about Oasis, it was about the fans because you can book the biggest venue, but what if nobody had come?”
“And if it’s really about the fans Noel let’s do it, because they want it. One year. A tour for a year. We’d smash it. My bags are still packed from my last tour, so I’m ready.”

Gallagher also re-stated his belief that Noel left Oasis primarily to scratch his frontman itch, but that in the middle of the stage he presents more of a Don McLean vibe than the Steve Jones of his lead guitarist role.

“He’s a great guitarist, our kid,” Liam said. “He looks like Steve Jones when he’s over there on that side. Be happy over there. But out front he looks like Don McClean. If he thinks he’s Lee Mavers he needs to have another look at himself because Lee Mavers is dark and mysterious and you don’t know what’s going to happen with Lee Mavers.”

“You know what’s going to happen with Noel. His sleeves rolled up. It’s like Dermot O’Leary with a guitar. He needs to f**k back over his side of the stage and strike a pose.”

In the feature, Q described the forthcoming Supersonic movie, which charts Oasis’ rise from Manchester to Knebworth, as a ‘masterpiece of a rock documentary’, containing key footage from the band’s early days such as Noel Gallagher first discovering his younger brother had joined a band and the aftermath of their now legendary gig in Glasgow in the presence of Creation boss Alan McGee.

Rest in Audio: Company Will Turn Your Ashes Into Vinyl

Now your friends can scratch you into the afterlife

Figuring out how you want to be memorialized after your death is often a lifelong question, some artists spend their whole lives trying to commit one act that may resonate beyond their mortal coil, yet for the deepest (and somewhat laziest) of audiophiles there is a convenient new answer: having your ashes pressed onto vinyl.

Founded in 2009 by Jason Leach, And Vinyly is a pun-obsessed UK-based service that allows customers to press their remains onto a vinyl record. What began “just for fun” is now a bustling business for Leach, as people can use the skull and crossbones mouse icon to choose from a selection of different packages.

You can get album artwork portraits by James Hague (of the National Portrait Gallery) or street artist Paul Insect (or just choose your own art). You can hire musicians through the company who will write and record a track at £500 (about $650) a pop (or maybe you want to write your own song?). And for those who have a hard time making decisions, you can have parts of your body cremated and committed to vinyl while the rest of your body is buried (but why not just have a Viking funeral and save everyone the confusion?).

Yet some do take this option more seriously than the website’s “Live on beyond the groove!” type candor. Aeon’s Hearing Madge documents one And Vinyly customer’s process of making a record of his deceased mother. It does make one think, what song would be on your death record?


Museum Dedicated to Founding Member of The Wailers and Prolific Solo Artist Will Be Located at the Re-Named ‘Peter Tosh Square’ at the Pulse Centre in New Kingston, Jamaica

This October, late Reggae Legend Peter Tosh will be honored with the opening of a new museum dedicated to his life and impact on the music industry and the world. A founding member of the groundbreaking reggae group The Wailers along with Bob Marley and Bunny Wailer- his work with the group, later solo career, social activism, and advocacy of the Rastafarian religion have left a lasting mark on not only Jamaican culture, but the world at large.

The project comes on the 40th anniversary of the commercial release of Tosh’s 1976 hit single “Legalize It”, and is promised to give fans a fascinating and introspective look into the life of one of Jamaica’s most celebrated figures. Many prominent artists/entertainers who have been majorly impacted by his life and music have also been invited to attend.

When the Peter Tosh Museum officially opens its doors, Jamaicans and visitors from around the world will be able to see a large collection of never-before-seen Tosh memorabilia, as some of the treasures will be displayed to the public for the first time. Visitors will also be able to relive aspects of the non-conformist, futuristic and abundantly creative Tosh experience through sizzling audio and video recordings featuring the superstar, as well as iconic artifacts including his M16 guitar and beloved unicycle that became one of his favorite means of transportation. Also available will be exclusive merchandise for sale to the public.

Museum Launch Itinerary:

Wednesday, October 19th: Launch VIP Cocktail Event (7PM)

Thursday, October 20th: Symposium (6PM)

Friday, October 21st: Press Conference (10AM)

Saturday, October 22nd: Museum Benefit Concert (8PM)

Sunday, October 23rd: Peter Tosh Memorial Garden Excursion (9AM)

Jamaican Prime Minister Andrew Holness (Right) with Niambe McIntosh (Center, holding her Father’s M16 guitar) and Chairman of Pulse Kingsley Cooper (Left) at Jamaica House

A self-taught guitar and keyboard player, Tosh and The Wailers became pioneers of the burgeoning reggae scene in the late 1960’s, and together they toured the world for over ten years. He left the band in 1973 to pursue his solo career and earned huge success with “Legalize It” and later solo releases. The project is promised to give fans a deeper look into the man behind the music. Tosh died at the age of 42 in 1987 during a tragic home invasion.

“This is an important turning point in the preservation and advancement of my father’s legacy, and the museum will allow my father’s message of equal rights and justice to be heard by generations, both young and old,” Niambe McIntosh, daughter of the Grammy winner and administrator of the Peter Tosh Estate has recently said.

Tosh with Fellow Wailer Bob Marley and Mick Jagger, with Whom He Collaborated on 1978’s “Walk and Don’t Look Back”

The Museum project is a joint-venture collaboration between the Peter Tosh Estate, Pulse Investments Ltd, and Andrea Marlene Brown.

Pulse Chairman Kingsley Cooper, who produced the 1983 Pulse Superjam concert which became Tosh's last ever performance, and who led the initiative for the museum’s establishment, said he was pleased that the lengthy negotiation had finally borne fruit and he is looking forward to this game-changing project. “The great Rastafarian campaigner for equal rights and justice, for the abolition of apartheid and for the legalization of marijuana, who did not get his due in life, will now be duly honoured by this important addition to his legacy,” Cooper said.

Tosh left behind a legacy that included countless hits, collaborations with artists such as Mick Jagger (“Walk and Don’t Look Back”) and Keith Richards, and a family who have worked diligently in recent years on the Museum project and preserving his legacy.

The Peter Tosh Museum, opening this October, will help to further solidify Peter Tosh as a founding father of reggae, and an abounding social activist who accomplished so much in a short time.

For More Information on Peter Tosh and His Legacy, Visit:


Monday, August 22, 2016

Primal Scream + Anton Newcombe 12"

Primal Scream + Anton Newcombe

"We gave Anton an ecstatic depressive post punk blue eyed soul song to remix and he gave us back a paranoid crushingly heavy claustrophobic 9 minute dub of medicated dread psychosis and we love it" - Bobby.

'100% or Nothing' feat. Big Belly Nothing 100% Dub (Bobby Selassie and Primal Jah). Out Friday August 19th on clear vinyl. 

Pre-order: https://Scream.lnk.to/100

Frank Ocean: Endless first-listen review – brilliantly confounding

And so, after all the delays and rumours and teasers and the DIY-themed live streams, Frank Ocean’s new album is finally here! What, I hear you ask, is Boys Don’t Cry actually like?

Erm, we don’t really know. Because Frank Ocean being Frank Ocean, the album he has put out isn’t Boys Don’t Cry. At least we don’t think it is. Instead it’s billed as a “visual album” called Endless. Apparently, it is one big teaser – the teaser to end all teasers, if you will – before the real thing, with a brand-new title, arrives this weekend. Although haven’t we heard that before?

So what, I hear you ask – perhaps with a slightly less patient tone than before – is Endless like? And what the bloody hell is a “visual album”?

To answer the second question, the 18 tracks here have been released as one long video in which Ocean appears to get back on the home improvements game. We see him building a spiral staircase in his warehouse, while rocking various outfits – from an impressively baggy Jesus and Mary Chain sweater to a protective suit – as the music drifts by. And it really does drift, with brief instrumentals such as Ambience 001: In a Certain Way and the Daft Punk-sampling Hublots acting as segues. They also double up as palette-cleansers throughout what is a rich, varied and – at times – challenging musical feast.


Because Endless isn’t always an easy listen. There are computerised voices (arty curtain-raiser Device Control), hazy electronic shimmers (In Here Somewhere) and the odd snippet of conversation littered across Endless, the latter providing a pleasingly lo-fi counterbalance to what is overall a rather futuristic and lush aesthetic (the London Contemporary Orchestra provide a variety of sumptuous strings). Song structures are often free-form, especially through the second half of the record, where the point at which one song ends and another begins is difficult to keep track of. Strangest of all is the final track, Higgs, which seems to be a spoken-word advert for a Samsung Galaxy phone, read aloud by German artist Wolfgang Tillmans over pulsing electronica. It must have thrilled the execs at Apple Music.
Endless feels like an artistic statement before a pop album, even if it’s ultimately an impressive merging of the two

But the idea that this is a singularly avant-garde statement would be wide of the mark. There are clearly songs here, as proved by the swooning synth lines on Commes Des Garçons, or the reggae-tinged Slide On Me, staged over a skittering rhythm and acoustic guitar. It’s just that these tracks have the tendency to dissolve into cut-up voices, or pitch shifts, or electronic bleeps. That’s certainly the case on Alabama, but that shouldn’t discount the fact it also features Sampha’s gorgeously plaintive question: “What can I do to love you more than I do now?”

In fact, soulful melody is in no short supply throughout Endless, and Ocean’s voice ensures it’s delivered more passionately than any other mainstream pop star is managing right now. You realise how much you’ve missed that devastating falsetto the second it hovers into view on a cover of the Isley Brothers’ 1976 hit At Your Best (You Are Love). As Ocean gets busy with a circular saw (those stairs won’t build themselves, you know), the track embodies the merging of R&B and sadboy electronica that’s been developing ever since Ocean first emerged. (Hardcore Frankophiles will have heard a slightly different version in a 2015 tribute to Aaliyah.) The influence of James Blake, Sampha and Jonny Greenwood would have been heavily present here even if those artists hadn’t appeared on Endless.

Of course, your view of Endless may well depend on how you approach it. If you’re expecting a conveyor belt line of hits, then you will be somewhat disappointed as much of this album floats by hazily and with no clear direction. Endless feels like an artistic statement before a pop album, even if it’s ultimately an impressive merging of the two. You might wonder at times – perhaps as beats flicker by and Ocean starts sanding down a particularly rough piece of wood – what on earth is going on. But surely the whole point of Frank Ocean is that he likes to confound, and this really does feel like a brilliantly confounding, unique piece of work.

And besides, the full pop Frank will undoubtedly be unveiled when whatever Boys Don’t Cry is now called emerges. Probably. Possibly. Who knows with this most mysterious and intriguing of artists? All we can say for sure is that there are rumours that an image of Ocean’s face is gradually being projected on to the John Lewis store in Peterborough, along with a countdown clock to a date in March 2018, when etc etc etc.

Tuesday, August 9, 2016

Kanye West Surpasses Michael Jackson With His 40th Top 40 Hit

Kanye West has always been pretty forthright with his wish to be the biggest name in music since Michael Jackson. It’s a desire he first made clear way, way back in 2004 on his debut The College Dropout, and it’s a claim he has continued to make in each one of his albums ever since. But now it seems like Kanye has truly made it, as he has officially surpassed Michael by earning his 40th Top 40 Hot 100 hit on mainstream radio.

This record-breaking moment came courtesy of Ye’s feature on ScHoolboy Q’s single “Hhat Part,” which moved up to the 40th slot on the Hot 100 this weekend, just nudging Kanye in amongst the top 10 highest charting male artists ever. But he still has a long way to go if he plans on claiming that number one spot, which is currently held by Elvis with a whopping 80 hits. He’ll also have to pass the likes of James Brown, Stevie Wonder and his mentor/best friend Jay Z along the way.

But regardless of the obstacles ahead, he’s done it. Expect any future references to MJ to be served with a good deal more shade.

For the full statistics on the highest-ranking male artists of the Hot 100, head over to Billboard.

Blonde Redhead (performing Misery is a Butterfly) at Cathedral of Saint Joseph, October 11

Sick Feeling, Diet Choke, Nani, Chorizo at Bowery Electric, August 10


Monday, August 8, 2016

Warpaint 2016 North American tour

Warpaint were one of the highlights at last October’s III Points Festival in Miami, their set described as “hypnotizing and reassuring,” and offering both “chemistry and sonic fidelity.” The California dream pop outfit will look to impress more audiences on its newly announced North American fall tour. The outing commences in late September and runs through mid-October. Consult the full schedule below.

Revisit Warpaint standout “Love is to Die” The band’s last album was 2014’s acclaimed self-titled LP. Warpaint 2016 Tour Dates:
09/19 – Seattle, WA @ The Showbox
09/20 – Vancouver, BC @ Imperial Vancouver
09/21 – Portland, OR @ Wonder Ballroom
09/23 – Oakdale, CA @ Symbiosis Festival
09/24 – Long Beach, CA @ Music Tastes Good
09/25 – Las Vegas, NV @ Life is Beautiful Festival
09/27 – Englewood, CO @ Gothic Theatre
09/29 – Minneapolis, MN @ Varsity Theater
09/30 – Chicago, IL @ Thalia Hall
10/01 – Detroit, MI @ St. Andrews Hall
10/03 – Toronto, ON @ Danforth Music Hall
10/04 – Washington, DC @ 9:30 Club
10/06 – Boston, MA @ Paradise Rock Club
10/07 – Brooklyn, NY @ Warsaw
10/08 – New York, NY @ Bowery Ballroom
10/09 – Philadelphia, PA @ Union Transfer
10/12 – San Francisco, CA @ The Fillmore
10/13 – Los Angeles, CA @ The Fonda Theatre
10/22 – Bristol, UK @ Simple Things Festival
10/23 – Edinburg, UK @ Queens Hall
10/24 – Manchester, UK @ Albert Hall
10/26 – Liverpool, UK @ The Dome
10/27 – London, UK @ The Roundhouse
10/29 – Paris, FR @ Pitchfork Festival
10/30 – Cologne, DE @ Live Musik Hall
11/01 – Berlin, DE @ Astra
11/02 – Amsterdam, NL @ Paradiso
11/04 – Reykjavik, IS @ Iceland Airwaves

Tuesday, August 2, 2016

Warpaint announce new album ‘Heads Up’ and release ‘New Song’

Warpaint have announced their new album ‘Heads Up’.
The LA group will release the follow-up to their 2014 self-titled album on September 23 via Rough Trade.

The band also shared a track from the record, titled ‘New Song’, which NME’s Rhian Daly calls “easily the poppiest thing they've ever done and probably the catchiest too”.

Wednesday, July 27, 2016

New Daft Punk Figures Feature Light-Up LED Helmets

Japanese toymaker Medicom has announced a special edition release of Daft Punk figures, paying homage to their Discovery era in 2001.

Medicom didn’t skip out on any minor details, ensuring that all parts of the figures were given top quality features, namely the realistic LED light-up helmets. Another interesting detail Medicom has tended to is the folding and body contours of the figures, giving each figure a realistic shape and feel. Each figure will stand around 300 mm tall, clad in their signature gold and silver suits.

The figures won’t be available until May of 2017, but given the $255 USD price tag per figure, it should be more than enough time to save up for the pair totaling $510 USD.

Shock Radar & Off The Turnpike at Mercury Lounge, July 29!


Saturday, July 23, 2016

Melancholic And Comedic, 'Café Society' Marks The Return Of Woody Allen

It’s that time of the summer again, when moviegoers of a certain stripe dutifully line up for Woody Allen’s latest offering. Alas, these days a lot of us look at it more like an annual obligation — as one would a trip to the dentist or the DMV. Allen may have recently scored Cate Blanchett an Oscar and won some over-generous reviews for his 2013 Tennessee Williams’ riff “Blue Jasmine,” but the subsequent “Magic in the Moonlight” and “Irrational Man” ranked among the very worst of his career. Inert and indifferent, movies so slack and repetitive that the filmmaker himself seemed to be forgetting what happened from one scene to the next.

So it’s my surprise and delight to report that “Café Society,” the Wood-man’s 46th theatrical feature, represents a huge leap in ambition, with an unorthodox structure one might even call bold. It’s a strange picture; a melancholic dirge in the guise of a comic bauble, at once light as a feather and pitilessly sad. “Café Society” is Allen’s best since “Midnight in Paris,” and they’d make a great double bill, both films interrogating a warm and fuzzy nostalgia that’s incredibly soothing and ultimately useless.

Jesse Eisenberg stars as young Bobby Dorfman, who leaves New York to go work for his Uncle Phil (Steve Carell), a hotshot agent in 1930s Hollywood. Bobby arrives bright-eyed and bushy-tailed, dazzled by the palatial mansions, movie star gossip and spectacular soirees. (“I’ve never had champagne with bagels and lox before,” he nervously natters.) Like most actors who star in Woody Allen movies, Eisenberg adopts his director’s signature tics and mannerisms. Unlike most actors who star in Woody Allen movies, he happens to be very good at it, hitting the stammering rhythms without falling into slavish imitation. Maybe it’s because Eisenberg had practice mimicking his boss in a segment of Allen’s 2012 anthology “To Rome with Love,” but Bobby’s a fully-rounded character of his own, not just an avatar.

He falls hard for his uncle’s assistant, Vonnie (Kristen Stewart) and boy, don’t we all. Stewart delivers an almost absurdly luminous performance, caressed by the golden hues of legendary cinematographer Vittorio Storaro (of “Last Tango in Paris” and “Apocalypse Now”), who raises Allen’s game immeasurably. For the first time in ages, the director seems to be trying to express something with the camera instead of just using it as a recording device. His first foray into digital video has an exquisitely polished flatness, attuned to the sumptuously shiny surfaces of this gilded age.

Bobby loves Vonnie. She might even love him back a little, but there’s somebody else. We learn long before our poor protagonist does that Vonnie’s been sneaking around with Uncle Phil. (Carell struggles in the role and never quite nails down the performance. He was a last minute replacement for Bruce Willis, dismissed a couple of days into shooting due to a quote-unquote “scheduling conflict.” A shame, as Carell can’t muster the rakish charm that Willis used to pull off in his sleep back when he cared about acting.) Much earlier in the picture than one might expect, Bobby finds out about the affair and asks Vonnie to choose: me or him. She chooses him.

And ... life goes on. Bobby goes back to New York while the novelistic “Café Society” expands to tell stories of Bobby’s gangster brother (a very funny Corey Stoll) and a popular nightclub the Dorfman boys wind up running together, with curious asides about family members and random socialite types, all narrated by Allen in a halting, breathy voice that alarmingly sounds every bit his 80 years of age. It’s the story of a young man’s heartbreak told with an old man’s wisdom. The world keeps spinning even when you don’t get the girl of your dreams. Years go by, and Bobby eventually even finds himself another shiksa (Blake Lively) to settle down with and live happily ever after. Babies are born, people die. Every once in a while Bobby and Vonnie run into each other, wondering for a moment or two what might have been.

Like most Woody Allen screenplays from the past 20 years, “Café Society” feels like a first draft, with a few clangy dialogue passages and bum one-liners that could use some punching up. But he feels engaged with the movie in ways he usually isn’t. I guess you can credit Storaro for a lot of the visual wonderment, and a closeup of Kristen Stewart is worth more than a thousand words. Still, there’s something haunting about the way Allen lingers on these empty Hollywood estates or fading sunsets, and the zingers are fatalistic even by Woody standards. ("Live every day like it could be your last and someday you'll be right.") The pace picks up as the film goes along, scenes get shorter the way life seems to move faster as you grow older. There’s a wistfulness in the movie’s relentless passage of time, accumulating unexpected emotional power by the end.

“The year is changing,” Bobby sighs on a bittersweet New Year’s Eve. He’s thinking of Vonnie again. Somewhere, far away, she’s thinking of him. The clock strikes midnight, and keeps on ticking.