Can fans, hold hands: Mute releasing triple-CD The Lost Tapes in June, all unearthed material from 1968-1977

Can fans, hold hands: Mute releasing triple-CD The Lost Tapes in June, all unearthed material from 1968-1977

Can, the legendary krautrock weirdos that influenced everyone from LCD Soundsystem to James Murphy solo (probably a few others too), have been riding the reissue train lately, with a deluxe edition of 1971’s Tago Mago out last year and reissues of all their albums in a vinyl box set on the horizon. That’s great and all, but you should really be smacking yourself hard if you haven’t heard all those Can albums already (pre-Landed, at least). Superfans have found much to satiate their need for more Can, with fantastic bootlegs (like Radio Waves and Horrortrip in the Paperhouse), and recent releases of pre-Can material (The Inner Space’s Agilok & Blubbo), but it seemed like the archives would be running dry about now… .. ..ohmanlookingforwardtothenextparagraphherewego!

However, Mute Records has announced that it will release — in the shape of an oversized reel-to-reel tape box — The Lost Tapes, a 3-CD set compiled by Can keyboardsman Irmin Schmidt and Mute head Daniel Miller consisting of unreleased, rediscovered CAN JAMS from 1968-1977, featuring the lineup of Schmidt, Holger Czukay, Michael Karoli, Jaki Liebezeit, and both Malcolm Mooney and Damo Suzuki on vocals! Thank god it wasn’t material from 1978-1989. The set (along with 28-page booklet) comes out June 18 in Europe and June 19 in the US. Irmin Schmidt explained the origins of this random bounty:

Obviously the tapes weren’t really lost, but were left in the cupboards of the studio archives for so long everybody just forgot about them. Everybody except Hildegard, who watches over Can and its work like the dragon over the gold of the Nibelungen and doesn’t allow forgetting.

And there’s the cold hard facts. Head here to sign up for a mailing list about any new information, and hear an edit of the opening cut “Millionenspiel” below. Yep, it’s as good as you’d hope!

• Can:
• Mute:

Prefuse 73 and Teebs join together to form Sons of the Morning; Satan sues for trademark infringement

Yes, we all know that Twitter was essentially designed to give people with narcissistic personality disorder a more dedicated outlet to vent their trivial frustrations, but there are also some clear benefits to the service: 1. It’s hilarious reading people’s attempts to condense insightful thoughts down to 140 characters, only to have the resulting tweet be an incoherent mishmash of abbreviations (circa 2005), hash tags, and “at” signs. 2. Established artists like Prefuse 73 and Teebs can bypass traditional methods of publicity-seeking, and instead opt for such casual messages as, “big day today. starting work with Prefuse 73 on a collab record,” and “@teebsio yup! i’m there! + this musical email is amazing. I got the Other ‘5/5/2k12’. @teebsio + prefuse73 are: ‘SONS OF THE MORNING.’” For the purpose of clarity, and credit to Prefix: Warp mainstay Prefuse 73 and Los Angeles-based Brainfeeder bulwark Teebs are working on a joint album under the moniker Sons of the Morning.

Considering the numerous collaborations that Prefuse 73 a.k.a. Guillermo Scott Herren has already contributed his services to (Savath y Savalas, A Cloud Mireya, Prefuse 73 & The Books, Diamond Watch Wrists), this appears to be one of the few in which the artists involved both lie within close proximity to one another along the musical landscape. Ever since the release of Vocal Studies + Uprock Narratives back in 2001, Prefuse 73 has steadily paved the way for the next generation of experimental/instrumental hip-hop, and Teebs, who has settled in on a label founded by Flying Lotus, seems to have found his niche specializing in a more downtempo continuation of that. I’ll take the evolution of hip-hop for now, but where the hell are those hoverboards we were promised?

• Prefuse 73:
• Teebs:
• Warp:
• Brainfeeder:

[Photo: Eric Coleman]

Light Asylum turn up the heat lamp on self-titled debut for Mexican Summer

Hey scientists! Stop working on your life-saving vaccines and your pills to help dudes with “problems” get it up. There’s a new life-or-death issue grabbing headlines and a raging debate consuming the America’s best musical scientist. That question is… uggggh why exactly is Shannon Funchess soooo freaking cool??? We need our best people on this one. Because, If Funchess and her musical partner Bruno Coviello’s much-buzzed-about stint at SXSW last week is any indication, a severe case of Light Asylum Fever may soon be sweeping the nation.

Funchess has done her thang with !!!, Telepathe, and TV on the Radio, and now she and Coviello seem set to take center stage with the release of Light Asylum’s self-titled debut on May 1. Like the New York group’s earlier In Tension EP, the full-length will come out via Mexican Summer. It’s been a minute since the EP first took the music world by storm, but Light Asylum hasn’t been sleepin’: they’ve been polishing up their live show, collaborating with other artists, and releasing snazzy remixes. Last week in Austin, everyone seemed consumed by a sweltering thirst for more Light Asylum, so fellow fever sufferers, you’ll be relieved to see that the band is gearing up for a short US tour this May in support of their debut. Now go drink some water.

Light Asylum tracklisting:

01. Hour Fortress
02. Pope Will Roll
03. IPC
04. Heart of Dust
05. Sins of the Flesh
06. Angel Tongue
07. Shallow Tears
08. At Will
09. End of Days
10. A Certain Person


05.03.12 - New York, NY - Le Poisson Rouge
05.04.12 - Philadelphia, PA - Voyeur
05.05.12 - Washington, DC - Black Cat
05.11.12 - Seattle, WA - Electric Tea Garden
05.12.12 - Portland, OR - Branx
05.14.12 - San Francisco, CA - Public Works
05.15.12 - Los Angeles, CA - Echoplex

• Light Asylum:
• Mexican Summer:

Antony Hegarty, Blixa Bargeld, Gaspar Noé to appear on Throbbing Gristle’s final album Desertshore; TG insist on discipline among those waiting for its release

The unfortunate passing of member Peter “Sleazy” Christopherson back in November 2010 all but solidified the permanent demise of Throbbing Gristle itself. Genesis P-Orridge had already sworn off touring with the band just weeks prior, and Desertshore, an interpretation of Nico’s album by the same name, was a project buoyed principally by Sleazy himself, as Chris Carter notes in an interview with The Quietus: “When we started it, the three of us [Chris, Cosey Fanni Tutti, and Sleazy] were working on it together, but it was his concept and he came up with a lot of the tracks… It was Sleazy’s project, then Cosey and Sleazy’s, then I came in on it.” It wasn’t until roughly March of last year that Chris and Cosey decided to officially revive Desertshore, and as the likely period to TG’s deeply influential history, the album is filled with an impressive list of guest vocalists.

Among those contributing their oral talents on Desertshore are Antony Hegarty (appearing on the track “Janitor of Lunacy”), Blixa Bargeld (on “Abschied”), and Argentine director Gasper Noé (on “Le Petit Chevalier”). Given Bargeld’s own three-decade long involvement in the German industrial scene, his presence is perhaps not entirely eyebrow-raising, but any fan of Throbbing Gristle (or Nico, for that matter) should be duly excited not only to hear what these guest vocalists have to offer, but also a clue to what the end result will be of a project regarded initially by Chris as “quite odd,” and bearing little resemblance to anything that TG or Coil have released before. Almost certainly, this will be one of the most provocative, noteworthy albums of the year.

• Throbbing Gristle:
• Industrial:

RIP: Earl Scruggs, bluegrass legend

From Billboard:

Country legend Earl Scruggs died in a Nashville hospital on Wednesday. He was 88.

According to The Associated Press, his son Gary said the musician died of natural causes. The banjo player was a bluegrass icon who brought his distinct three-finger style from its ’50s and ’60s heyday to a new generation of folk musicians, performing with artists such as Bob Dylan and the Byrds as well as his sons in the Earl Scruggs Revue.

His performances with Joan Baez, Dylan and others were captured in the documentary “The Complete Earl Scruggs Story,” which showcased his efforts to establish the banjo as a vibrant piece of the Woodstock-era scene.

Born in Shelby, North Carolina, Scruggs got his start with Bill Monroe’s Blue Grass Boys in 1945. Three years later, he partnered with guitarist Lester Flatt to form the Foggy Mountain Boys, a musical team that lasted until 1969.

Scruggs is perhaps best known for the instrumental “Foggy Mountain Breakdown,” as well as “The Ballad of Jed Clampett,” the theme song of ’60s television show “The Beverly Hillbillies.”

In 2008, he received a Grammy Lifetime Achievement Award; he is also a member of the Country Music Hall of Fame.

• Earl Scruggs:

[Photo: Paul Butterfield]

Tompkins Square announces series of 78 rpm 10-inch records, because that newfangled digital stuff is overrated anyway

Did you know that there was an internationally-celebrated Record Store Day held on the third Saturday of April each year (which would be April 21 this year)? I simultaneously hang my head in shame when I acknowledge that, while the holiday did previously ring a bell, I couldn’t have been sure on what day it takes place. I’ve never done anything for it, except bask in the convenience that online music retailers afford me. It’s probably not a coincidence that the holiday has only been a thing since 2007 either; celebrating Record Store Day during the mid-90s would sort of be like having a VHS Rental Day during the same period — what other choice did we have? Despite the general rarity of my doing so, Record Store Day is a reminder that, acquiring music, for the time being, doesn’t have to be an impersonal activity facilitated by computer cursors and Shopping Carts.

Sure to be just one of many specials coordinated specifically around that day, the San Francisco-based label Tompkins Square has announced a series of 78 rpm, 10-inch vinyl releases, beginning with two previously unreleased recordings from bluegrass living legend Ralph Stanley, and Luther Dickinson from the North Mississippi Allstars. Both records will be released as limited editions of 500 copies on April 21, and given the nature of 10-inch 78s, both include roughly three minutes of music per side. Here’s what Tompkins Square owner Josh Rosenthal has to say about the project: “A lot of new turntables play 78’s, and many 78 collectors listen to their records on modern equipment. Tom Waits, Elvis Costello and Nick Lowe have all recently released 78’s. So I thought it would be fun to start a line of them.” Considering that the heyday of the 78 was close to 100 years ago, this seems like a splendid opportunity for vinyl (and folk/country/blues) enthusiasts to grab a piece of history.

• Tompkins Square: