Sunday, June 19, 2016

Daft Punk and Jarvis Cocker working on Stanley Kubrick exhibition in London


‘Daydreaming with Stanley Kubrick’ runs from July 6 until August 24 at Somerset House.

Daft Punk and Jarvis Cocker are working on an exhibition that pays tribute to legendary filmmaker Stanley Kubrick, which opens at London’s Somerset House next month.

Cocker and Daft Punk’s Thomas Bangalter, among other artists including Beth Orton and sculptor Anish Kapoor, will provide a new or existing work inspired by the 2001: A Space Odyssey director, “responding to a film, scene, character or theme from the Kubrick archives, or even the man himself.”

The exhibition, ‘Daydreaming with Stanley Kubrick’, is being helmed by Kubrick’s wife and artist Christiane Kubrick, who will be contributing a portrait called ‘Remembering Stanley’ to the show. Go to the Somerset House website for more information.

A Reality Tour (180 Gram Audiophile Translucent Blue Vinyl/Limited Edition/3 LP Box Set)


David Bowie’s A Reality Tour is an extensive live and final overview of his greatest hits, popular album tracks, along with artist and fan favorites, performed live during his amazing performance in Dublin, Ireland.

The 2004 show was captured on film for DVD, later on CD, but never released on vinyl. Friday Music being a home to several of David Bowie’s later masterworks like Heathen, Reality, Earthling, Outside, and Hours, we are very honored to announce for the first time anywhere the 180 Gram Audiophile 3 LP Box Set of his final concert tour recordings A Reality Tour.

Featuring almost three hours of music on six sides of audiophile vinyl, the songs are simply some of his finest from the classic and modern rock eras like Heroes, Ziggy Stardust, Changes, Fame, Under Pressure, All The Young Dudes, Rebel, Rebel and many more. Mastered impeccably by Joe Reagoso at Friday Music and Capitol Mastering, this limited edition release will be housed in a very handsome sturdy box, with two first time poster inserts featuring the wonderful 12” x 12” front cover image as well as a 12” x 24” double-sided poster featuring unique live performance shots from this great concert tour.

For a very limited time, each LP will be pressed by R.T.I. on translucent blue vinyl, making A Reality Tour a highly collectable David Bowie title. Each LP label will have its own custom David Bowie image, plus we are including 3 bonus tracks only found on the CD version of the original release China Girl, Fall Dog Bombs The Moon and Breaking Glass.

David Bowie was one of the world’s finest gifts to all forms of popular culture, music, film and art. His voice, songs, musicianship and unparalleled artistry will live on. A Reality Tour proves that now and forever.

Wednesday, June 15, 2016

Blonde Redhead at Coffey Park (Red Hook), June 16

http://www.cityparksfoundation.org/summerstage/

Warpaint announce 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.

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

Sunday, June 12, 2016

Rainer Maria begin Union Pool residency TONIGHT


Rainer Maria are continuing their reunion with a few shows scheduled for this year, including Atlanta’s Wrecking Ball festival. They’ve now added a hometown residency for three Sundays in June at Union Pool (6/12, 6/19 and 6/26). Tickets are on sale.

Wednesday, June 8, 2016

David Bowie Rarities -- Including a Song For Frank Sinatra -- Unearthed For New BBC Documentary


Did you know David Bowie was once asked to contribute lyrics for a song eventually recorded by Frank Sinatra? As you might imagine, his version was rejected immediately, but Bowie’s version of “My Way” is just one of several rarities making their official premiere in an upcoming episode of BBC4’s four-part doc, The People's History of Pop.

According to NME, the crowdsourced documentary will feature Bowie’s 1968 rendition of “My Way,” a song eventually popularized by Frank Sinatra after he chose lyrics written by Paul Anka over Bowie’s. It will also contain alternate versions of the Bowie standard “Space Oddity” and his 1967 single “The Laughing Gnome.”

"The program is still being made, but we can confirm that there will be some rare and special Bowie material in it,” a BBC spokesperson confirmed to NME.

The doc’s concept involves fans offering their most prized memorabilia to help tell the story of popular music’s evolution from the mid ‘50s to the mid ‘90s. In Bowie’s case, biographer Kevin Cann gave the BBC access to the storied vault. The Bowie episode is the second installment in the series, which began back in April.

Some of these rarities are available on outlets like YouTube, though The People's History of Pop will give the masses a rare official glimpse. We leave you with Bowie’s “My Way,” based off music originally written by French songwriting legend Claude Fran├žois:

Tuesday, June 7, 2016

Interview with Michael Nesmith about "Good Times!", Vinyl, The Beatles and The Monkees


Could there be a better name for the first all-new Monkees studio album in 20 years than Good Times? Produced and mixed by Adam Schlesinger (Fountains of Wayne, Tinted Windows), Good Times! (Rhino) teems with vintage energy from all four Monkees — including the late Davy Jones, whose vocals appear on the Neil Diamond-penned “Love to Love.”

From the folky shuffle of Peter Tork’s “Little Girl” to the wistfulness of Michael Nesmith’s “I Know What I Know” to the inherent cheerfulness of Micky Dolenz and Schlesinger’s “I Was There (and I’m Told I Had a Good Time),” Good Times! is the perfect soundtrack to accompany the band’s 50th anniversary celebrations this year, which also include having the TV show appear for the first time on Blu-ray (The Monkees: The Complete Series collection, available only at www.monkees.com) and a tour featuring Dolenz and Tork (and sometimes Nesmith, schedule permitting).

Recently, I sat down with Nesmith, 74 (with arms crossed and legs splayed out in the above photo), in New York to discuss his songwriting influences, his sonic goals for his Good Times! contributions, and The Monkees’ enduring legacy.

Mike Mettler soundandvision: You’ve mentioned that you listened to Cole Porter and Johnny Mercer when you were growing up. Would you also consider them to be some of your earliest songwriting influences?

Michael Nesmith: Oh yeah. I was exposed to a lot of different music growing up. There was an organist who played in a music store and you could hear him on the street, and there was an organist who played in the cafeteria. The Hammond organ was the sort of cocktail piano of its day. They would play things like “Tico Tico” — songs that had become standards by then. That had a big influence on me.

There was a lot of country music and a lot of blues music that were just as important, but it all melted together in an odd way in my head. It was a strange amalgam that got in there, and just never left. I can’t play it exactly — but if I hear it, I’m drawn to it.

Mettler: Is there one album you listened to growing up that sticks with you as the “lightbulb” record that turned you onto wanting to make your own music?

Nesmith: No, there were several that, because they were from such different genres, were big in their effect on me. Of course, the Chuck Berry records were hugely influential, but in an odd way, Henry Mancini was also a big influence on me, especially the Peter Gunn TV series (1958–61), and what he did on that TV show. And I got a lot of play out of some of the big-band schmaltz stuff that started to happen during that time.

But there was no one album I listened to over and over and over again, nonstop. I didn’t start doing that until the music was really set in my head. I had deep folk roots by that time, and when I heard The Beatles, those were the records I played over and over and over again. I thought, “Oh, that’s the way records are supposed to sound. That’s what it’s supposed to be like when you listen to a record, the way they’re playing songs.”

Mettler: Is it easy to quantify a “favorite” Beatles record?

Nesmith: There are a few of the early things that stand out — “Lady Madonna” (1968) and “Paperback Writer” (1966). But the whole collection — there’s nothing of theirs that I stop playing once I start playing it. I play it all the way through.

Mettler: Does mono or stereo matter to you at all?

Nesmith: Not particularly. I do like the idea of, “Oh look, there’s a guitar in the left speaker, and the bass is in the right speaker.” But it doesn’t make the music “better” for me.

Mettler: What do you think of the vinyl revival that’s been going on of late?

Nesmith: I’m just not a vinyl guy. I don’t get it. When I started making records, professional records, it was 3-track Ampex: left-right-center, and twist your knobs on the board. It was highly analog. Everything was in real time, so you had the noise floor continuously with you. And the noise floor went up depending on the quality of the vinyl, the way it was cut, how hot you mastered it, and all the other stuff that went along with it. When digital came along, I breathed a sigh of relief.

Mettler: Did you feel digital gave you more options in the studio?

Nesmith: Yeah — huge nuances, frequency range, and crystal-clear sonics. So I was puzzled when everybody said, “Vinyl — it’s warmer!” I’d say, “Well, I suppose...”

I was talking to a sound engineer and I said, “I can’t hear 190 Hz; I can’t hear 200 Hz. When it gets that fine, I don’t know. I’m happy with red-book CDs.” He said, “Well, that’s because you haven’t learned it. Once you hear it, you won’t go back. You’ve never heard it. It’s like when you started recording — you didn’t hear all that noise floor. You didn’t hear all the stuff that was a problem to you then. Then, when CDs came along, you did hear it.”

I’ve still got to learn my way through the benefits of hi-res. I do think it’s true that I will, at a certain point, think, “Ohhhh, I see the difference now.” But so far, I’m not there.

Mettler: David Crosby and I have talked about how you can hear things like the overtones — the spaces between the notes — when listening to hi-res music.

Nesmith: Yeah, he’s right. You do. They exist in a very delicate and fragile register. You can’t really hear it unless you have something that supports those higher registers.

Mettler: Is there anything from The Monkees catalog you’d like to hear in hi-res?

Nesmith: You’re only going to get this music back to its multitracks, and it’s not going to get any better than that. If you start to pump it up, you’re going to start introducing artifacts, and then you get something else.

I know how these albums sounded. They were mixed on Altec Lansings, the old [Super Duplex] 604E’s. That’s as good as it’s going to get. The best way to hear them is to get a set of 604E’s in your living room, get a nice McIntosh amp and preamp, and a really good stylus and turntable, and then you’ll get it as close to that original tape as you can.

Mettler: Being a video pioneer yourself, if you don’t mind me calling you that [see 1981’s Elephant Parts, for starters], you must be excited about the Blu-ray collection of the TV show.

Nesmith: I am interested to see it, and see what the enhanced video looks like. I’m definitely down for getting things in high resolution and as close to the original as possible. You figure it’s a step up from this [points to the 2003 six-disc DVD box set collector’s edition of Season 1 on the table].

Mettler: Oh yeah, I think so. The bright and broad color palette of the show and the spatial relationships between you guys when you’re interacting onscreen all come across much clearer. We should also talk about Good Times!, the new Monkees album. One of the songs you have on there is called “I Know What I Know,” which carries a certain weight to it.

Nesmith: Yes. I wrote it maybe 4 or 5 years ago, but I didn’t do anything with it. I kept it close. I don’t know how Micky heard it, or how Andrew [Sandoval, their A&R rep] heard it to go, “Boy this is a great song. It would be a great song for a Monkees album.” I was surprised. I said, “Oh, it’s very melancholy. It’s wee-small-hours-of-the-morning lonely. Are you sure, given the fact that there’s this kind of happy thing that goes on with The Monkees?” They said, “No, this is great. This is what we want. We want to have more like this — more grown-up stuff, songs that have more substance to them, things that are about deeper emotions.” So I said, “Let’s do it.”

And then Adam [Schlesinger] produced it, and that’s how he made it sound. I’ve got my own versions of it sitting around my house, but nobody’s ever heard them — nor will they ever! (chuckles)

Mettler: Were those actual strings on that track?

Nesmith: Oh, no. That’s one of the first synthesizer string machines, called the chamberlain. That’s why Adam used it — it had a real retro sound to it.

Mettler: In general, the whole record sounds like it could have come out back in the day, which had to be part of the plan.

Nesmith: Yeah, Adam carefully worked on that, even on “Birth of an Accidental Hipster” [a Good Times! song co-written by Paul Weller and Noel Gallagher]. He went out of his way to make it sound more... (pauses) timeless.

Mettler: What guitars did you play on the album?

Nesmith: I played my Martin 12-string, which has a pickup and a microphone in it. And I played a lot of stuff capo’ed way up the neck, so I’ve got it a couple of octaves high. A lot of the “jangle” you hear is coming from that guitar. But the main lines are played by Mike Viola.

Mettler: Now that the TV show is on Blu-ray, we’ll get to see you play that 12-string blonde Gretsch [also known as Model 6076] in high-def. How pristine was that guitar kept?

Nesmith: It was a “picture” guitar; it didn’t play very well. But it got stolen; it’s gone.

Mettler: How did that guitar get in your hands for the show?

Nesmith: Well, I started played 12-string as a singer/songwriter. That’s what I played on my own. But when they said, “What do you want to play on the show?” I said, “Well, I want to play a 12-string.” They said, “Gretsch will give you instruments.” I said, “Oh, that’s great. Do they make a 12-string?” “No.” “Oh. Would they make me one?” And they said, “Yeah, they will.” And that’s how I got it.

Mettler: It’s a shame it got stolen.

Nesmith: Yeah, I don’t know where it is. You’d think somebody would get caught with it at some point, you know?

Mettler: People will be even more on the lookout for it now, I bet. Did you ever think you’d be talking about all this 50 years later?

Nesmith: (chuckles) I had kind of a sense that it would persist, yeah. I didn’t know it would be 50 years later, but I had a sense that, as long as I’m around, I’d be talking about it for sure. It may be that, after I’m gone, somebody else is going to pick it up [points at The Monkees’ Classic Album Collection vinyl box set] and say, “You see this thing? What’s going on with this?” I hope there’s enough historical record left to talk people through this whole thing.

Mettler: Oh, I think there’s plenty left to discuss. Coming from a folk background, were you surprised a song of yours like “Papa Gene’s Blues” made the cut for a pop-driven album like The Monkees (1966)?

Nesmith: Well, no; it made sense to do it. I would have been surprised if they hadn’t.

Mettler: I also think it’s nice that “Tapioca Tundra” [from 1968’s The Birds, The Bees & The Monkees] has a continuing life to it.

Nesmith: Yeah, me too! That was one of those songs that you never know where it’s going to end up.

Mettler: It’s very folky, and has a Byrds-like feel in some of its passages. And it still seems to be a fan favorite today, is that fair to say?

Nesmith: It is fair to say, yes. It was always kind of an odd piece to me, and I was surprised that it was as accepted as it was. I thought it would be too offbeat, but actually, people seem to think of it as right in the center of the lexicon, the overall collection, so that’s fine with me.

Mettler: Why do you feel Monkees music endures to this day?

Nesmith: Well, the real answer is, “I don’t know.” It’s obviously plugged into something that’s very deep. People who come to it at an early age get impressed by it in a way you wouldn’t if you discovered it when you’re older. But it certainly speaks to a kind of innocence, something that does endure. Those are spiritual qualities that don’t go away. You may lose your innocence, but you don’t lose your sense of innocence, is what that means. It’s a nice thing to revisit.

But like I said before I started this answer, I don’t know. You’d have to ask deep Monkees fans what they think of it and why they think it lasts. My guess is, for every single fan, you’ll get a different answer.

Sunday, June 5, 2016

Sick Feeling at Elvis Guest House, June 6

https://www.facebook.com/sickfeeling/?fref=ts

Prince died of an overdose, officials say


Officials confirm what many suspected.

A law enforcement official has confirmed that an opioid overdose is the cause of Prince’s death, The Guardian reports.

The official is close to the investigation, but has remained anonymous due to not being authorized to speak to the media. Now that an overdose has been confirmed, police are continuing to investigate whether a doctor was prescribing the drugs that led to his death.

Many suspected an overdose after stories of Prince’s longstanding addiction to painkillers came to light following his death. He did try to get help for his addiction, but died on the same day he was meeting with a specialist.

Last month, Prince’s sister confirmed an official memorial service will be held in August.

Wednesday, May 25, 2016

How Prince and Bowie started streaming music services


In the wake of Prince’s untimely death, more and more stories have been revealed about his secret life of good works: anonymous checks, civil rights activism, charity concerts, etc. Right now, Paisley Park staff members are handing out to mourning fans purple boxes filled with CDs, t-shirts and other memorabilia.

But I’d like to talk about something else — the NPG Music Club, an online subscription music club founded on Valentine’s Day 2001 as a virtual love letter to Prince’s many fans.

Sure, Prince had a conflicted relationship with the Internet — just try to find any trace of him online (it’s nearly impossible due to his strict control over his music and his liberal use of takedown notices). But what many don’t know is that he was also a digital pioneer in the Subscription Economy.

For five years, NPGMC (named after Prince’s backing band the New Power Generation) offered a monthly or annual membership that not only let fans get new releases, but also provided access to prime concert seats and passes for events like sound checks and after parties.

Perhaps most importantly, the site provided a place for his dearly beloved fans to gather, “to get through this thing called life” amidst a supportive community of like-minded Prince devotees.

As with most things, Prince nailed the subscription business model: NPGMC didn’t just send out invoices once a month as a mere conduit for recurring revenue. It was built on a foundation of meaningful relationships, which were carefully and respectfully cultivated. 


Music itself is going to become like running water, or electricity.— David Bowie

Case in point: When members complained about heavy traffic on the site, which limited their access, Prince lowered the price from $7.75/month ($100/year) to $2.50/month ($25 for a lifetime membership). In 2006, the Webby’s acknowledged the strong community Prince had built with a lifetime achievement award, saying: “Prince’s leadership online has transformed the entertainment industry and reshaped the relationship between artist and fan.”

Prince always wanted to make sure he was putting his subscribers — his biggest fans — first, so after five years, when Prince felt like the music club had “maximized its potential,” he shut it down, saying, “In its current form, there is a feeling that the NPGMC has gone as far as it can go.”

The club was put on indefinite hiatus until such time as Prince could be sure he was providing value to his subscribers and authentically honoring that relationship between artist and fan. NPGMC never did return as a subscription music club, but Prince continued to play a big role in the subscription economy.

Monday, May 23, 2016

Radiohead Graces Us With A Masterpiece On A Moon Shaped Pool


In the days prior to Radiohead releasing their ninth studio album, A Moon Shaped Pool, the group mysteriously erased their internet presence, effectively throwing the music and social media world into an absolute tizzy. Then they released the Trumpton and Camberwick Green-inspired video for “Burn the Witch”, along with a cryptic logo. While everybody tried to guess what the artwork meant, it became clear that amongst all the speculation over the last year or so, Radiohead was finally ready to grace the world with their latest masterpiece. And a masterpiece it is.

A Moon Shaped Pool will find those that didn’t quite feel 2011’s King of Limbs back on the bus, as the album takes the listener on a journey of Radiohead’s past and present, while always staying two steps ahead of us in their just-out-of-reach future. The aforementioned lead single off Pool, “Burn The Witch”, delivers a strong opening, especially with the background strings that lead us into an absolute frenzy, quite the “low flying panic attack”, with Yorke never ceasing to fail in the angst category. The strings become a familiarity throughout the album, and find Jonny Greenwood continuing his pursuit of orchestral and compositional dominance.

“Daydreaming” has a beautiful melody, very much a lullaby of sorts, with the orchestral strings creating a calming dreamscape. Radiohead has always found a way to be both somber and ethereal at the same time, making us look deep inside while reaching for the stars. “Decks Dark” is a case study of how Radiohead can be both so simple and complex at the same time. A simple piano melody, along with a simple drum beat from Philip Selway, and Colin Greenwood delivering a driving bass line. Radiohead has always been a culmination of all its parts (and sounds, for that matter); so simple, with so much going on. So haunting, yet oozing with sex at the same time. By the time you get to the last stanza, if you don’t find yourself bobbing your head ever-so-slightly while undulating your hips, you aren’t listening properly.

The strumming of an acoustic guitar opens up “Desert Island Disk”. Probably the lightest and most straight forward track on the entire album, there are no innuendos here, as Yorke’s lyrics take us on a journey of rebirth and new experience, “Through an open doorway / Across a stream / To another life / And catching my reflection in a window / Switching on a light / One I didn’t know / Totally alive / Totally relieved”….it very much seems that our protagonist has left the past behind him. Could Yorke be discussing his separation from Rachel Owens, his girlfriend of 23+ years and mother to his two children? It is anybody’s guess, but the lyrics are somewhat of a change from the typically angst-ridden Yorke.

“Ful Stop” has that walking down the stairs into a dark, dank underground club vibe to it. The music is muffled at first, then as you make your way further down the corridor, the doors burst open and the trip begins. One of the more uptempo songs on the album, this is going to drive people wild in the live setting, a la Kid A's "Idioteque". This is classic Radiohead at their best; they understand how to layer better than any other group of musicians out there.

At some point, do yourself a favor and walk through a garden or an arboretum, put “Glass Eyes” on and slowly breathe in and out as you begin to glide effortlessly through nature to the string arrangement that Greenwood has so eloquently composed for our ears. Just do it, and your stress level will go down exponentially. The quintet delves into a jazzier realm with the number “Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief”, once again soaring into this ethereal space with strings that eventually fade away as the number comes to a close.

It is interesting to see three songs that have been around for years make it onto Pools. “Identikit” carries a straight groove while Yorke and a backing choir chant, “Broken hearts make it rain”. It is also the most lead guitar we see on the entire album. As with “Present Tense” – a bossa nova number which features that all too familiar Yorke lament - and “True Love Waits” (the latter of which dates back to the 90’s), perhaps this is just another example of the band’s patience and perfectionist nature. This group has always been rather meticulous, and that quality is what makes them one of the greatest bands of all-time.

One thing that we rediscover with A Moon Shaped Pool is the sheer brilliance that is Jonny Greenwood. He could arguably be one of the greatest composers of the last fifty years. He is able to manipulate sound with these expressive tones, lush textures and layered distortions without being bombastic in any way, shape, or form; a stark contrast from the bands early days on Pablo Honey, The Bends, and OK Computer, yet undoubtedly recognizable. If A Moon Shaped Pool is any indication, Greenwood has a lot left in the tank. And within those Greenwood layers, we find the ever-understated Ed O'Brien, an incredible guitarist in his own right, who adds sweeping arpeggios, pedal effects and rhythm guitar in such subtle fashion.

This is still Radiohead, and undeniably so. Thematically, we still receive the alienation and malaise, as well as the serene and beautifully fractured; the band always walking along the precipice of both worlds. Elementally, there is still the balance between embracing the live instrumentation versus the electronic, a concept that Radiohead embraced early on and made no apologies for. We’ve always known that these five gentlemen from England have pushed the proverbial envelope with each of the nine albums they have so scrupulously created. They constantly evolve with each album, make no excuses for it, and sometimes at a pace that is quicker than what their fan base can keep up with. And while most will enjoy Pool on the first listen, this album (and most of Radiohead's catalogue) typically take a second and third listen to truly grasp the magic that is going on.

It could be said that A Moon Shaped Pool is the perfect culmination of each phase of Radiohead, touching upon every different period in the bands career, while at the same time making the argument that this is the band’s swan song, their final statement - as some rumors would make us believe. The album coming to a close on The Bends-era number “True Love Waits” could hint at that, as things may have come full circle. As Yorke sings “Just don’t leave / Don’t Leave” to close the album, we can question the meaning endlessly. Is it about his failed relationship? Is it time for the band to part ways? Or maybe they simply felt that they finally crafted the version of the song that was sought after all along.

Regardless of any of that, to concentrate on the dissolution of Radiohead is a depressing thought when they literally just delivered perfection to us within the last forty-eight hours, and a thought that I personally would prefer to keep at arms length for a while longer. It just doesn't seem like something that many of us are quite ready for just yet. Instead of speculating, we should be celebrating....at least for now. After all, if history tells us anything, we have another four to five year wait anyway. So, just relax and enjoy the album.

Sunday, May 22, 2016

Afropunk Festival in Brooklyn, August 27-28

http://afropunkfest.com/brooklyn/tickets/

AFROPUNK BROOKLYN returns to Commodore Barry Park August 27th & 28th for another weekend of live music and good vibes.

Described by The New York Times as “the most multicultural festival in the US,” it promises an eclectic line-up and an audience as diverse as the acts they come to see. More than just a weekend, as the AFROPUNK movement expands into international terrain, experiencing it on its home turf makes AFROPUNK BROOKLYN that much more special.

Join us this summer to add your voice to the sound behind the movement. And most importantly, come ready to party.