Black Francis to debut Bluefinger musical this fall (no word yet on his Saturday morning cartoon about a superhero named Tony)

Black Francis to debut Bluefinger musical this fall (no word yet on his Saturday morning cartoon about a superhero named Tony)

Frank Black will be damned if he’s going to let those hippie-dippy fucks in Animal Collective hog all the multimedia glory. “Visual albums?” Where’s the balls in that? “Interactive art installations?” Those words are not even in Black’s punk rock dictionary. But wait… “musical stage show?” Aha! Now that’sin the man’s wheelhouse.

According to the late-80s college-rock blog Slicing Up Eyeballs, a musical stage show based on Francis’ 2007 release Bluefinger is set to premiere via the Catastrophic Theatre on November 12 in the historically liberal-loving left-wing-artist haven of Houston, Texas. The stage show (as well as the album) takes as its subject the life and death of Herman Brood, a Dutch musician and painter who committed suicide in 2001 following a tumultuous battle with depression and drugs. It’s probably safe to say that this won’t exactly be the “feel-good play of the year.”

The play will feature songs from Black’s Bluefinger record as well as songs by Brood himself, and was brought to life by Pixies biographer Josh Frank, Francis, and Catastrophic director Jason Nodler. All of this comes on the heels of Black’s recently-released 16th solo album, NonStopErotik, as well as his recent stint behind the boards for the new Pete Yorn album, which is also due this fall.

So to recap, Black’s recent output consists of helping spawn a musical suicide show, playing MOR-muse to Pete Yorn, and spelling the word “erotic” with a “k.” I just want to make sure we’re all on the same page here.

• Frank Black:
• Slicing Up Eyeballs (oh-ho-ho-ho!):
• Catastrophic Theatre:

Does the sun make music? Scientists say “Why indeed it does, and it sounds like Kevin Drumm!”

Legendary talent scouts Scientists have announced that they have recorded their first single and will be working on a full-length with newly-signed singer The Sun. You see, according to TIME, it turns out that the sun’s coronal loops (“vaguely banana-shaped plasma structures” that can measure up to 60,000 miles) produce tones and vibrations similar to music.

The coronal loops work to keep the sun’s corona (the uppermost layer of atmosphere) all stirred up and turbulent; this process of stretching and contracting, say the Sheffield, UK scientists, creates transversal oscillations and longitudinal oscillations, which in layman’s terms means music. If you’re wondering what these “oscillations” sound like, just imagine a guitar string and a woodwind instrument and you’ll see that, when combined, the oscillations make a pretty dope duet.

A team of scientists, led by Robertus von Fáy-Siebenbürgen (awesome name!) discovered the music by “compiling a catalog of high-resolution videos and still images of the Sun shot by a number of satellite observatories… [they] then used a computer algorithm that converted the visual data to acoustical information and sped up the frequency of the sound so it would fall within the human auditory range.” I wish I was a scientist and could do cool shit like that.

“It was strangely beautiful,” says von Fáy-Siebenbürgen about the six-second song, “[a]nd exciting to hear those sounds for the first time from such a large and powerful source.” If you’re curious about the solar ditty, then check it out for yourself:



Scientists have also announced that the sun will release its first album by winter of this year, and plans are being made for a Spring 2011 tour. More information to follow.

• Scientists:
• The Sun:

Imbogodom (Alexander Tucker and Daniel Beban) to release debut album on Thrill Jockey, are really called Imbogodom

That skinny kid in the front of your Philosophy lecture who plays in an “improvised noise” band on the weekends is stoked right now that Alexander Tucker and Daniel Beban, the transatlantic duo behind Imbogodom, have announced plans to release their debut album on Thrill Jockey. The duo is, as its well-written press release states, “Mutual friends in sound exploration who create other-worldly transmissions where improvisation gives way to mutated song forms and intricate soundscapes.” I think that’s just another way of saying “We make instrumentals,” but I’m not too sure.

The album is entitled The Metallic Year and is due August 24.

The Metallic Year tracklisting:

01. The Metallic Year pt. 1
02. Unseen Ticket
03. Of the Cloth
04. The Endless Body
05. Indosoap
06. Bvsh Hovse Ghost
07. Report from Iron Mountain
08. Calibos
09. The Metallic Year pt. 2

• Imbogodom:
• Thrill Jockey:

Lee “Scratch” Perry album Revelation descends from Swiss chalet and into stores on August 10

These days, reggae and dub pioneer Lee “Scratch” Perry is still as bonkers as ever, only he’s less “hands on” about it. The twisted dub and dancehall tracks he’s glossed his croaky voice over lately often come from the minds of trusted collaborators such as Mad Professor or, as was the case of 2008’s Repentance, Andrew W.K. The Upsetter also has a tendency to stack his sleazy new LPs with extremely disparate guests acts, with contributors ranging from David Tibet and Lightning Bolt’s Brian Chippendale to Keith Richards and George Clinton.

For his upcoming record Revelation, due August 10 on Megawave Records, Perry has stuck to the same formula that’s served him so strangely for the past couple of decades. In fact, Richards and Clinton have both hopped back on the Scratch train once again (sadly, no appearance from AWK), the last time being 2008’s derided Scratch Came, Scratch Saw, Scratch Conquered. Recorded at his mountaintop abode in Switzerland (seriously), this time around Perry has enlisted the songwriting assistance of U.K.-based reggae multi-instrumentalist Steve Marshall. The last time these two collaborated resulted in a 2007 Grammy nomination for The End of an American Dream, so here’s hoping they can recapture that same magic that so enthralled the Grammy Reggae Council or whoever decides those types of dumb things.

And if all that record-making weren’t enough (seriously, he releases like four fucking albums a year), here’s a few tourdates just for good measure:

08.17.10 - New York, NY - Highline Ballroom
08.18.10 - Boston, MA - Harper’s Ferry
08.19.10 - Philadelphia, PA - World Café Live
08.20.10 - Stephentown, NY - Bella Terra Festival
08.22.10 - Los Angeles, CA - Sunset Junction Festival

• Lee “Scratch” Perry:
• Megawave:

Details about Brian Wilson’s Gershwin album emerge, okay’d by George via Ouija board

I’ll be honest; I was a little afraid of this moment. Last fall, Brian Wilson got the all-clear from George Gershwin’s estate to work on songs left incomplete by Gershwin at the time of his death 73 years ago. Details about Brian Wilson Reimagines George Gershwin are now available, and I must say that I’m personally relieved that there are only two tracks actually stemming from Gershwin’s later inchoate works (I felt the same queasy chagrin when I heard about The Flaming Lips covering Pink Floyd, so maybe this reluctance to embrace reinterpretations of classics is just me), making the album into more of a tribute than true Wilson/posthumous Gershwin teamwork. One of the aforementioned two new songs, “The Like in I Love You,” is available for streaming here, and while you may not enjoy digging the same stuff your parents do, there’s no denying its near-universal appeal (unless you’re a miserable curmudgeon and hate The Beach Boys).

Brian Wilson’s band joined him in the studio, poured one down for George, and began and ended the album with an a capella rendition of “Rhapsody in Blue.” Brian Wilson Reimagines George Gershwin will be released August 17 via Disney Pearl (vinyl release on August 24), hopefully leaving enough time for someone to think of a more clever title (“Gershwin and Wilson: They Can Take Some Things Away,” maybe?).


01. Rhapsody in Blue/Intro
02. The Like in I Love You
03. Summertime
04. I Loves You Porgy
05. I Got Plenty of Nothin
06. It Ain’t Necessarily So
07. ‘S Wonderful
08. They Can’t Take That Away From Me
09. Our Love Is Here to Stay
10. I’ve Got a Crush on You
11. I’ve Got Rhythm
12. Someone to Watch Over Me
13. Nothing But Love
14. Rhapsody in Blue/Reprise

• Brian Wilson: http://

Antibalas have a busy summer and spread afrobeat across America like your mom spreads for me

This year (2010), Brooklyn-based afrobeat collective Antibalas will be celebrating its 12th year together. As we all know, staying together for 12 years can be tough. For example, by the time I was 12, I hated myself and couldn’t stand being around me. But then I discovered Antibalas and I danced my pain away! To commemorate its own anniversary, the band will be releasing a new 12-inch, reissuing its classic 2004 album Who Is This America?, and helping the country dance the night away by playing an eight-date tour. The band will also celebrate by taking a trip to Six Flags: Great America, where they will be riding the Batman ride all day.

The new 12-inch single, “Rat Race” b/w “Se Chiflo,” will be issued on the band’s newly forged Exactamundo imprint. The single’s two songs are a rip-roaring cover of Bob Marley’s “Rat Race” and a commentary on the global financial crisis (“Se Chiflo,” which is translated as “Everything’s Gone Mad” and features vocals from Marcos Garcia of Chico Mann). Both songs are certified live favorites and the disc is produced by Victor Axelrod (whose name sounds like a super-villain), a man who has worked with The Dap-Kings, Mark Ronson, and Amy Winehouse, and even once helped me paint my fence.

Once you’ve bought the single, which you will totally do (I command it!), you can head back to your local record depository on August 17 and pick up the reissue of Antibalas’ critically acclaimed album Who Is This America?, which is being released by Ropeadope Records. The LP was produced by Bosco Mann (Sharon Jones, Amy Winehouse) at Daptone Records’ “House of Soul” and features guest appearances from classy dudes like TV on the Radio’s Tunde Adebimpe. Or, you can just stay at home and do nothing, but that’s dumb.

If you would much rather celebrate Antibalas’ 12th-centennial (or whatever) by seeing the band in person, well, like I said earlier, you can totally check them out at any one of the following dates. As long as you dance when you’re there. You better fucking dance. Especially ‘cause The Sway Machinery are opening. But more especially because Antibalas are playing.

07.14.10 - San Diego, CA - Casbah *
07.15.10 - Los Angeles, CA - The Echoplex *
07.16.10 - San Francisco, CA - Great American Music Hall *
07.17.10 - Garberville, CA - Reggae on the River
07.19.10 - Portland, Or - Berbati’s Pan *
07.20.10 - Seattle, WA - Neumos *
07.22.10 - New York City - River to River Festival, Castle Clinton
07.29.10 - Philadelphia, PA - Kimmel Center, Perelman Theater

* The Sway Machinery

In other news: I went over to your parents’ house last night. Your mom was home alone, and I played some Antibalas to get us dancing. Then we fucked.

• Antibalas:
• Ropeadope: