Daughters Embark on “Creem of Sum Yung Gai” Tour

THE STRANGER:

Take it easy, Daughters -- I know that you will.

DAUGHTERS:

Yeah, man. Well, you know -- Daughters abide.

THE STRANGER:

I don't know about you, but I take comfort in that. It's good knowin' they're out there, Daughters, takin' her easy for all us sinners. Shoosh. I sure hope their tour goes okay. Welp, that about does her, wraps her all up. Things seem to've worked out pretty good for Daughters, and it was a purdy good story, don'tcha think? Made me laugh to beat the band. Parts, anyway. Course -- I don't like seein' Daughters go. But then, I happen to know that there's a little Daughters on the way. I guess that's the way the whole darned human comedy keeps perpetuatin' itself, down through the generations, Westward the wagons, across the sands a time until-- aw, look at me, I'm ramblin' again. Well, I hope you folks enjoyed yourselves. Catch ya further on down the trail.

EMI, DRM, and BK Get Together in Hopes of Forming a Complete Word

Apparently, one of the higher-ups at EMI owns an XBOX 360. After hours spent playing Burger King’s Sneak King video game, it became clear to this higher-up that there was no better way to reach consumers than through the big taste of Chicken Fries. Accordingly, EMI has announced that it will release DRM-free tracks to customers looking to have it their way, saying:

"Under the campaign, consumers will be able to search for, sample, and download a pre-paid EMI Music track from a specially created microsite after inputting a unique code. Codes are being distributed to Burger King consumers upon purchase, and there will be links from the microsite to an online retailer, allowing consumers to purchase further tracks by EMI artists featured on the microsite."

The question remains, however, if Meredith Brooks’ “Bitch” will be available for download, seeing as she left the label in 1999.

Finally, I Have An Excuse To Write About How Much I Like Bonde Do Role: Bonde Do Role Tour

Bonde do Role is the kind of band we'd start together. You know, the one where we’d just cut up samples and loop them over some loud, funky beats, and then all shout into microphones like crazy people? And we’d writhe around the stage and hump each other and bring fans up on stage and then hump them too? And fuck the FCC, because we’d use any samples we wanted! We’d even illegally sample music that sucks! That would show them! It would be so awesome!

Well, that band already exists, and it is awesome. Bonde do Role were the first artists signed to Diplo’s Mad Decent label, which makes them far realer than our proposed band. Other cool points they have over our band include:

- Their first LP, With Lasers, came out June 5, and it is totally sweet.
- They were featured in Rolling Stone, the only magazine that still has the guts to tell the truth about music.
- They are a baile funk group from Brazil, which is a much cooler scene than the collective space in front of our laptops.
- They use funk carioca beats in their songs; we'd use mostly Apple Loops.
- They make music videos like this; we'd make music videos like this.

This fall, MCs Marina Vello and Pedro D’Eyrot, along with MC/DJ Rodrigo Gorky, will cause boners to be popped all across the North American continent. They will play shows nearly every day for a month, only taking brief breaks to apply Marina’s more severe hair dyes. We should totally see them. Check out this video if you don’t believe me! Come on, this will be cooler than that time we found that pineapple full of bees!

At least we knew about their tour before Todd did:

Anteater to Eat Ants, Fly to Fly, Diplo to Tour

My theory is that Diplo is actually a set of identical twins taking 12-hour shifts. One is a Buddhist and blind in the left eye. The other can run slightly faster and has 11 fingers, which no one seems to have noticed. This is the only possible way I can imagine how he (they?) can have so many projects yet still have time to buy milk and sponges. (Either that, or Diplo has evolved a gland that secretes liquid productivity. In this case, it would be my job, as a journalist, to find Diplo, kill him, harvest his gland, synthesize the chemical, and sell the formula to the highest bidder.)

This summer alone, Diplo has released an iTunes-exclusive EP, produced some tracks for M.I.A., toured throughout Europe, and started a non-profit program to support young musicians in underprivileged communities (which you can support by buying their first single on iTunes). On top of all that, Diplo has been making mixes/remixes, updating his podcast, and editing his baile funk documentary, Favela On Blast.

How does he even have time to listen to records?

I've already told you how: secret twins. Think of the wacky situations they must get into! I bet, at least once, they coincidentally took two women out on separate dates to the same restaurant at the same time, and one woman saw the wrong Diplo, so they had to switch places, but then they almost got caught when one Diplo didn’t realize that the other Diplo’s date was casually referencing something the first Diplo had said during coitus the previous night and thought she was quoting the movie Duck Soup.

Even for two people, Diplo absorb and create an impressive amount of music. Just check out their podcast, Mad Decent Worldwide Radio, the “NPR for the streets.” Posting their own mixes or mixes from local DJs, Diplo set out to expose the local music of different communities to listeners who would never hear it otherwise. Quite a few cultures are represented, and any of these mixes can rock a party much harder than that last dance mix you made (the one with “I Want You Back” on it three times).

As for Favela On Blast, Diplo have not yet set a release date for the film. They also have not set an announcement date for the release date of the film, but they have hinted that this release date is soon-to-be announced. They have, however, released SEVEN TRAILERS (my favorite is the sixth). This movie focuses on the bailes funk in Rio de Janeiro, a remarkably underexposed scene that Diplo have become enamored with in recent years.

Sipping sweet secretions of your mutated anatomy on the following dates:

Lee Hazlewood Dead at 78

Songwriter, producer, performer, and outsider genius Lee Hazlewood died on Saturday at the age of 78. He had been battling renal cancer for over a year.

Although his echoing late-‘50s production work for Duane Eddy and others attracted the attention of Phil Spector (and became a major influence on Spector's Wall of Sound production style), Lee was probably most famous for writing Nancy Sinatra’s "These Boots Are Made For Walkin'." Legendarily, he instructed Sinatra to sing the song “like a 16-year-old girl who fucks truck drivers.” Given these circumstances, the song inevitably became an international megahit, and Hazlewood went on to write and produce much of Sinatra’s hugely successful '60s output, including their incredible 1968 duet album, Nancy and Lee. Ever the visionary, he also signed Gram Parsons’ International Submarine Band to his own LHI label in 1967.

Additionally, and no less notably, Hazlewood continued to furrow his singularly idiosyncratic solo career. His nicotine-stained baritone will undoubtedly remain one of the most perfect instruments of the pop canon, although his echoing, dark, and droll brand of countrified pop was not marked for any kind of commercial success. Indeed, most of his albums remained out-of-print and largely forgotten for years until Steve Shelley’s Smells Like imprint re-released many of them, to great success, in the late-‘90s. Notable highlights included gems such as Cowboy In Sweden (released after he had moved to Sweden in 1970), Poet, Fool or Bum, and his 1999 comeback album Farmisht, Flatulence, Origami, ARF!!! & Me. His self-proclaimed final album was last year’s Cake or Death.

Hazlewood is survived by his third wife, Jeanne, and three children.

Metal Machine Music Live Performance To Be Released on CD/DVD; Entire Death Metal Community Veers Into Collective Apoplexy

“Recommended cuts: None” – Billboard

“Sounds like the tubular groaning of a galactic refrigerator” – Rolling Stone

“An experience…both brutal and numbing” – allmusic.com

No, these hipsters aren’t talking about Ryan Adams’ latest nuggets of sun-dried shit, although they may as well be. They’re referring, of course, to Metal Machine Music, Lou Reed’s 1975 towering noise epic/contractual obligation -- your own opinion essentially depending on whether you are a “winner” or a “loser.” Either way, you could never really imagine Sweet Lou ever playing anything off the record live, especially considering that he himself claims never to have listened to it all the way through (although I’m sure he’s listened to Mistrial on more than one squalid occasion). This is because he is a “loser.”

That was until the hot and heady days of 2002. Inspired toward hitherto uncharted heights of creativity -- no doubt after hearing Hot Hot Heat for the first time -- German saxophonist Ulrich Krieger managed to transcribe the whole four sides of Reed’s career-ender, even though he had to use ‘special notation’ on some bits. Loser Lou described the results as “unbelievable,” and he agreed to play guitar in a live performance of the album with the German chamber music ensemble Zeitkratzer, at the Berlin Opera House, no less. (The Apollo Grill in Easthampton was unavailable that weekend.)

Why am I wittering on about this now? Well, five years on, the CD/DVD set of the performance is being released September 4 in the U.S. via Asphodel. In addition to providing the performance in its entirety, the DVD will also contain a 30-minute cheeky chat with Lou Reed himself. Wowsers!

But before all you ambrosial little noiseniks start auctioning off your Wolf Eyes lathe-cuts on eBay in order to afford the purchase of this undoubtedly expensive little package, I should leave you with a few choice words of warning from G. Naugle, “a music fan,” broadcasting from that bastion of critical profundity, Amazon.com. I quote:

“Horible![sic] Avoid this album at all costs! And just for the record for the so called "fan" who gave this a better rating than Death's albums, THIS ALBUM IS NOT DEATH METAL, NEVER WAS NEVER WILL BE! UTTERLY CRAP!”

Think on.

  

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