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.

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

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.

Wednesday, July 20, 2016


Sound Royalties Dishing out Money to Musicians, Producers, and Songwriters While Allowing them To Retain Ownership of Their Creativity

In today’s music industry it’s getting harder and harder for musicians, writers, producers, and creative individuals to not only make a living financially, but to retain the rights to the final products they toil frivolously to create. But in an ever-growing and ever-changing music market, New York based company Sound Royalties is helping the creators get the cash they need so they can continue doing what they do best with the return of a creation made famous by one of the most iconic figures in music.

In 1997 the boundary-pushing artist David Bowie and his banker David Pullman orchestrated a bond issuance of $55million in $1,000 denominated-bonds on future earnings of Bowie's music. It was a way for Bowie to buy full ownership back of his older recordings. Now known as "Bowie Bonds", the issuance was extremely innovative and paved the way for future artists. The bonds were eventually bought up by a division of Prudential. In 2007, as planned, the bonds liquidated and the rights of the music were returned to Bowie.

Fast forward to today, the age of streaming music. Full out album sales are paltry and the music industry, artists, managers, producers, rely on royalties from music streaming sites to get paid. However, those paychecks can be delayed for months.

Rihanna's latest album Anti set a record in the music industry gaining number one on the Billboard 200 with 54,000 equivalent units moved. But how many of these units were actual sales? Only 17,000 copies.. making it the lowest sales figure connected to a number one album.

Today, a new form of Bowie Bonds has emerged, and Sound Royalties is paving the road. Sound Royalties is a new breed of company that offers advances on royalties to musicians, producers, song writers and the like. Sound Royalties is able to give the music industry up-front funding based on future earnings of their music. A service that is much needed in the industry.

For More About Sound Royalties, Visit:


Twitter: @SoundRoyalties

Announcing the first ever Temple Of The Dog Tour! Tickets on sale July 29

Temple of the Dog — the Seattle supergroup featuring Soundgarden's Chris Cornell, Pearl Jam's Jeff Ament, Stone Gossard, and Mike McCready, and drummer Matt Cameron (who plays drums with both Soundgarden and Pearl Jam) — has reunited and will tour for the first time ever since forming in 1990. The band will play five cities, Philadelphia, New York, San Francisco, Los Angeles, and Seattle, in November.

A special ticket pre-sale for fans signed up to the Ten Club, Soundgarden, and Chris Cornell email lists begins immediately and runs through July 27th. Tickets will go on sale to the general public on Friday, July 29th, at 12:00 PM local time. $1.50 from each ticket sold will benefit the Chris and Vicky Cornell Foundation and an additional $1.50 will benefit Pearl Jam's Vitalogy Foundation.

The tour marks the 25th anniversary of the release of Temple of the Dog's first and only album, a self-titled set that was released by A&M Records on April 16th, 1991. "We wanted to do the one thing we never got to do … play shows and see what it feels like to be the band that we walked away from 25 years ago," Cornell says of the 2016 tour.

On September 30th UMe will release a special Temple of the Dog 25th anniversary reissue collection of their landmark album, newly mixed by Brendan O'Brien. The collection will be available in four configurations, including a four disc Super Deluxe, a double LP, a two CD Deluxe, and a single CD. Physical pre-orders are available today along with a detailed list of the contents of each configuration HERE.

Temple of the Dog came together from the ashes of Mother Love Bone following the death from a drug overdose of its frontman Andrew Wood, Cornell's close friend and roommate. Cornell wrote future TOTD songs "Say Hello 2 Heaven" and "Reach Down" to help process his grief, "but the songs didn't have any destination," he says. "I was compelled to write them and there they were – written in a vacuum as a tribute to Andy. My thought was that maybe I could record these songs with the remaining members of Mother Love Bone and that maybe we could release them as a tribute."

Mother Love Bone's Gossard and Ament began playing with McCready, and they brought in Soundgarden's Cameron to drum on demos. Because this was a collaboration, and a tribute, there was no commercial expectation for the Temple of the Dog album. It would be, Gossard would later observe, "the easiest and most beautiful record that we've ever been involved with." Adds Cornell: "Temple was about making an album simply for the joy of doing it. We weren't concerned what anyone outside of our group of friends would think of it. It was the first and maybe only stress-free album that we all made."

Gossard, Ament, and McCready were also simultaneously forming a new band, which more than six months later would be known as Pearl Jam. A singer from San Diego named Eddie Vedder, who was vying to lead the project, came into the studio to sing background vocals on three of the Temple songs. When Cornell thought another song, "Hunger Strike," needed a duet, Vedder was enlisted. "Hunger Strike" became a hit single, peaking at No. 4 on Billboard's Mainstream Rock Tracks chart.

Temple of the Dog performed live only a handful of times, most notably in Seattle, in November and December of 1990. Those shows have become some of the most legendary Seattle concerts of all-time. Their 2016 shows mark the first time the band has ever toured. (Cornell joined Pearl Jam in 2014 at the Bridge School show and for two nights at PJ20 in Alpine Valley, WI, and the Temple line-up played "Reach Down" and "Call Me a Dog" at Seattle's Benaroya Hall in January 2015.)

"This is something no one has ever seen," Cornell says of the official reunion. "We wanted to stop and recognize that we did this and pay homage."

Temple of the Dog's upcoming tour dates are as follows:

11/04 Philadelphia, PA Tower Theater
11/07 New York, NY Madison Square Garden
11/11 San Francisco, CA Bill Graham Civic Center
11/14 Los Angeles, CA The Forum
11/20 Seattle, WA Paramount Theater

Wednesday, July 13, 2016

Primal Scream announce fall North American tour dates (2 in NYC)

While Bobby Gillespie convalesces following his on-stage fall, Primal Scream are making plans for the rest of 2016, including a short North American tour. Dates include two stops in NYC: Irving Plaza on November 1 and Warsaw on November 2. Tickets for Warsaw go on sale Wednesday, July 13 at 10 AM; tickets for Irving Plaza go on sale Friday, July 15 at 10 AM with various presales beginning Wednesday at 10 AM (password: MUSICGEEKS).

Primal Scream released Chaosmosis earlier this year and are also celebrating the 25th anniversary of their classic album Screamadelica.

Tuesday, July 5, 2016

John Frusciante’s Surprising Thoughts On Red Hot Chili Peppers Releasing ‘The Getaway’

“I have not spoken to John lately. But I did hear something positive and lovely, which was that he was looking forward to hearing the record. That made me happy, to hear (a) that he cared and (b) that there was not a sour grape rolling around somewhere. When John quit it was a great loss, because he is a brilliant songwriting partner and just an enormous musical human. But it also opened up the chance for us to have someone fresh and new. And often new blood will create new chemistry and maybe give you that B-12 shot in the ass to keep you going for another five years or another 10 years.”

He also discussed the Chili Peppers’ longevity, “We never had any confusion that everything should be equal: the sharing of the work, the sharing of the money, the sharing of the joy, the sharing of the pain. That was a big step in the right direction for us having the potential for longevity, because so many bands break over “Hey, I wrote that!” We do love and respect each other; we do fight regularly. Our attitudes, our moods, and our egos clash — but we’ve been able to work it out. We’ve been able to roll with the punches. Flea and I are like brothers. I don’t think that relationship will ever end no matter what, because you can’t quit your brother. You just can’t.”


Last week, Red Hot Chili Peppers released their 11th studio album, The Getaway, and it isn’t the predictable work of a band three decades into their career. The alt-rock quartet continues to adjust to the departure of longtime guitarist John Frusciante — replaced for the second consecutive album by Josh Klinghoffer — and they refreshed their tried-and-true sound by tapping Danger Mouse to produce The Getaway, rather than Rick Rubin, who they had worked with since the first Bush administration.

But while the Peppers have seen numerous lineup changes over the years, their core members have remained the same: Singer Anthony Kiedis and bassist Flea founded the group in 1983 and drummer Chad Smith has been a stalwart since coming aboard in 1989.

When Entertainment Weekly connected with Kiedis to discuss The Getaway, he was on tour in Europe and preoccupied with the view from his hotel in Bern, Switzerland. “[I’m] looking down on this river that’s pouring out of the Alps, through this old, 500-year-old town,” he said. “It’s kind of beautiful.”

Below, the iconic singer shares thoughts on collaborating with Danger Mouse, supporting Bernie Sanders, and why he sees Klinghoffer as helping to give the band “that B-12 shot in the ass.”

ENTERTAINMENT WEEKLY: You had a health scare in May that forced you to cancel a gig. How are you feeling now?

ANTHONY KIEDIS: I had a stomach malady that is probably going to take a long time to heal, but the criticalness of it went away after two days. My job is half stuntman, half vocalist, so I’m always playing with some kind of injury. Just keeping your voice together is a pretty huge challenge unto itself — but it’s also the greatest job in the world.

This is the Peppers’ first album in nearly five years. What took so long to get back into the studio?

We had a pretty significant setback with Flea snapping his arm in two on a Montana mountain [in 2015]. We had a hard time figuring out what to do with our producer situation. We have somebody we love in [longtime producer] Rick Rubin, but we also were quite hell-bent on doing something different this time around—trying to evolve our game a little bit and force ourselves into unknown territory.

You ended up choosing Beck’s producer Danger Mouse. What was that experience like?
He was not afraid to tell us when something wasn’t as great as he thought it could be. After being in the band for 30 years, maybe we were in danger of people not wanting to tell us when something wasn’t finished or could be better. He would say, “I’m sure you can do something better. Go back to the drawing board.” It was one of those things where the coach pushes you that extra mile and you finally break your record.

What did Danger Mouse bring to your recording process musically?

He wanted to write music in the studio which was a very new experience for us and something that we all jumped at the opportunity to do. My boys were so thrilled to go into the studio and create something on the spot that would last for eternity.

His methodology is so different from anything we’ve ever done before. Traditionally, we don’t play to a clicktrack or to any kind of machinery. So our sound has been very imperfect and organic, rising and sinking with the tide of the song. He likes everything to be to a click, but it turns out that brings something really fun and exciting out that’s just different. A lot of these tracks that I would get to write to had that robotic quality — which isn’t to say it’s lifeless, because it’s just a different groove.

How did working with Elton John on “Sick Love” come about?

Flea came in one day with this bass line that melted my heart. He was inspired by the chords of Elton John’s “Bennie and the Jets.” We finished writing this song and it was really nothing like Elton’s—different tones, different textures, different lyrics, different melodies—but we felt like Elton had an ownership of those chords. We said, “Elton, we’d like to give you credit for this, but we’d also like you to play on it.” With his blessing, it seemed to make more sense.

You have such a deep catalog to draw from for your concerts. How do you choose what to play?

It is a bit of a balancing act, but part of the fun of making the record is now you have 13 new songs to play live. For us, we tour a lot and we played all our old songs a lot. We still love them and we still recognize the importance of playing those for people who haven’t seen us too much. People might spend their savings to come see us, and we want to make it a beautiful experience for them, and maybe one of our older songs is their jam.

The longer our new record is out, the more new songs we’ll play. For us on stage those are the highlights. Those are the moments where we really feel the new spirit dancing around the stage. [Song selection] is my job and I take it very seriously. I spend a lot of time trying to come up with the right setlist.

Over the years the Peppers have been outspoken about politics—you even played a Bernie Sanders fundraiser recently. How do you feel about the upcoming election?

I hate politics personally, and honestly, I try to avoid it. It’s just such a nasty, self-serving field of weirdness. Early on in this entire chaotic process, I listened to all of the candidates give their spiel and they all seemed like dishonest, untrustworthy, ignorant, hateful, awful humans—except this one little cutie-pie from New England. I believed him and I trust him and he seems smart and interesting and wanting something for the good of the whole and not for the good of the few. When the opportunity came up to support Sanders with that show, it seemed like a no-brainer. We did our part. I’ll be able to go to sleep at night knowing that I wasn’t a lazy punk.

On-again, off-again guitarist John Frusciante left in 2009 and was replaced by Josh Klinghoffer. Have you talked to John recently?

I have not spoken to John lately. But I did hear something positive and lovely, which was that he was looking forward to hearing the record. That made me happy, to hear (a) that he cared and (b) that there was not a sour grape rolling around somewhere. When John quit it was a great loss, because he is a brilliant songwriting partner and just an enormous musical human. But it also opened up the chance for us to have someone fresh and new. And often new blood will create new chemistry and maybe give you that B-12 shot in the ass to keep you going for another five years or another 10 years.

How have the Peppers maintained a fruitful working relationship for so long?

We never had any confusion that everything should be equal: the sharing of the work, the sharing of the money, the sharing of the joy, the sharing of the pain. That was a big step in the right direction for us having the potential for longevity, because so many bands break over “Hey, I wrote that!” We do love and respect each other; we do fight regularly. Our attitudes, our moods, and our egos clash — but we’ve been able to work it out. We’ve been able to roll with the punches. Flea and I are like brothers. I don’t think that relationship will ever end no matter what, because you can’t quit your brother. You just can’t.

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

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 François: