The Flaming Lips play eight shows in one day??!!!!??!!!! What a buncha weirdos!!!!!!!!

The Flaming Lips play eight shows in one day??!!!!??!!!! What a buncha weirdos!!!!!!!!

Wayne Coyne wants to know what it would be like to play a show at a strip joint in Mississippi at four in the morning. He might find out on June 27, and so will everyone else who catches MTV’s stream of The Flaming Lips’ jaunt from Memphis to New Orleans.

I know, I know. You’re thinking, “Jeez, Caroline, don’t you know I’ve already seen Wayne Coyne run around in a giant plastic bubble and shout through a megaphone? I’ve got a season of Pete and Pete to watch.”

Consider this, whippersnapper: according to the good folks at Consequence of Sound, The Flaming Lips are out to break the record for the most shows played in a 24-hour period. Jay-Z set the record back in 2006 by playing seven shows in seven different cities. Wayne Coyne and company are up for eight.

And you’re thinking, “Seriously? Only eight? I thought Wayne Coyne was some crazy shoot-for-the-stars type of guy. Shouldn’t The Lips be aiming for like 50 shows?”

Don’t get your knickers in a twist. Even Wayne Coyne thinks this shit is absurd, and considering that he puts out records containing collaborators’ blood, that’s saying something.

• The Flaming Lips:

Mount Eerie will haunt the Pacific Northwest more than usual in June

Phil Elverum is no stranger to the magisterial Douglas-firs and omniscient owls (perhaps of Ga’hoole?) that have long stood sentinel in America’s Pacific Northwest. If 2009’s distinctly Twin Peaksian Wind’s Poem (TMT Review) was akin to taking a schvitz in the Black Lodge, then this year’s excellent Clear Moon (TMT Review) is more like playing quarters with the Log Lady then hauling a load of coke from Canada with Leo.

And we’re sure that’s exactly what Elverum’s gonna do on his upcoming trip into the spooky spooky forest this June. One show in British Columbia doesn’t even have a venue listed! So be sure to ask around the Roadhouse or just cut out the middle man and head straight to Owl Cave. Okay, all Family Ties references will halt exactly NOW


06.17.12 - Olympia, WA - Northern #
06.18.12 - Portland, OR - Common Grounds Coffee House $
06.19.12 - Portland, OR - Valentine’s $
06.20.12 - Seattle, WA - 20/20 Cycle #
06.21.12 - Vancouver, BC - The Rickshaw Theatre #
06.22.12 - Nanaimo, BC - ask around
06.23.12 - Victoria, BC - The Fifty Fifty #
06.24.12 - Bellingham, WA - Make.Shift Art Space
07.13-15.12 - Anacortes, WA - 1st Anacortes Unknown Music Series

# Hungry Cloud Darkening, Motorbikes
$ Key Losers

• Mount Eerie:

NGUZUNGUZU weaponize bass this summer with Warm Pulse EP on Hippos in Tanks

The name can’t be ignored — partially because it’s in all caps, and partially because its pronunciation remains uncertain… until now! On word from someone in the know, it’s pronounced en-goo-zoo-en-goo-zoo, which is a relief, because I’d hate to have to express my eagerness to see “gazungas” while among friends. That’s one distraction done away with. Here’s another: the cover for their upcoming EP Warm Pulse, due out July 3 on the internet and August 14 on CD/vinyl, via Hippos in Tanks. If I had to characterize the cover with a particular abbreviation, it would be “TMNT,” as in Teenage Mutant Ninja Turtles. The green represents the turtles themselves, and the chains/concrete slabs represent their gritty upbringing. The (what appears to be) lightning signifies their mutant status. Please tell me there’s a career in album cover interpretation.

The music of Asma Maroof and Daniel Pineda, the two Angelenos who make up NGUZUNGZU, is a bit less easy to figure out. A press release describes Warm Pulse as a “a deadly combination of grace, warmth and paranoia.” Their previous work strikes me as electronic music that simultaneously shrugs away the genre, in favor of overtly tribal rhythms and punching bass. And the bass is indeed quite punchy and stabby; in addition to acquiring Warm Pulse, you may want to consider updating your first-aid kit as well, especially if you’re in Europe and plan on catching them live at one of the venues listed below.


05.24.12 - Glasgow, UK - The Arches
05.25.12 - Bristol, UK - DOJO Lounge
05.26.12 - Utrecht, Netherlands - Ekko
05.27.12 - Paris, France - Villette Sonique
06.01.12 - Dudingen, Switzerland - Bad Bonn Festival
06.02.12 - Copenhagen, Denmark - Distortion
06.06.12 - Stockholm, Sweden - Debaser Slussen
06.07.12 - Malmo, Sweden - Debaser
06.08.12 - Berlin, Germany - Berghain
06.09.12 - Bassano Del Grappa, Italy - Shindy Club
06.15.12 - Barcelona, Spain - Sonar Festival

• Hippos in Tanks:

RIAA seeks $75 trillion in LimeWire copyright case, as if their plot for world domination was ever in question

Ohhhh, I get it. The Recording Industry Association of America (RIAA), not known for their sense of humor, are simply reenacting that now culturally passé scene from Austin Powers: International Man of Mystery — the one where the tragically inept antagonist Dr. Evil holds the world hostage in pursuit of a laughably ridiculous sum of money. But like the movie itself, the RIAA’s actions are all for the sake of comedic value, right? … Right?

It’s laughable to the rest of us, for sure, but unfortunately the RIAA are completely serious when they say that they want the essentially defunct peer-to-peer software company LimeWire to dole out up to $75 trillion in damages after the latter lost a copyright infringement claim. Read that number again: $75 trillion. To put it in perspective, that’s more than the GDP of every country in the world combined, which is about $63 trillion. That’s more money than what Microsoft CEO Bill Gates would have if we cloned him one-thousand times and multiplied his net worth an equivalent amount. That’s more money than would fit under your obese mother’s custom-made mattress. Okay, that was rude.

How did the RIAA come up with such a preposterous number? Presently, about 11,000 songs have been identified as legally “infringed” material, with each song likely having been downloaded thousands of times. Instead of being compensated a single time for each individual song, the RIAA believes that they’re entitled to damages for each individual download. Multiply the maximum statutory damage award of $150,000 times the number of downloads, and you probably reach that unfathomable trillion dollar number. Multiply $150,000 times each individual song, and you still have the potential for a billion dollar award, but apparently that isn’t vampire-like enough.

For her part, Judge Kimba Wood, who presided over LimeWire’s shut down last October, and found them liable for copyright infringement back in May 2010, has labelled the $75 trillion amount an “absurd result,” in a 14-page ruling on the case. Ultimately, she states, “Plaintiffs are entitled to a single statutory damage award from Defendants per work infringed, regardless of how many individual users directly infringed that particular work.” Now, now. Dry your eyes.

• LimeWire:

Release the Bats label ends after 10 years, and it is likely your fault

I fucking warned you shitheads. But no, you little fuckers just kept on, with your RapidShares and your Spotifys, not giving one fetid shit whether or not you were sustaining the businesses that put that shit out. Oh, sure, you self-righteous pussies love bragging about the sustainable foods you eat or how you bike to your government job, but it’s all while you play ripped MP-whatevers on your iSomethings. Well, guess what? Another label, an actual good one, Release the Bats, is calling it quits after 10 years of awesome records. Why? Among the many reasons given, founder Matthias Andersson lists that expenses, declining orders, and just way too many other labels out there (but not for long!) all contributed to his frustration.

But ultimately, Andersson claims he never planned to do it forever. In his final comment on the matter, he explains, “The reasons for the folding are many, but I’ve lost my inspiration completely the last year or so. The label has been a very big part of my life for the last 10 years, and at this point there are so many other things I’d rather do in life.”

RTB had released many great albums from many great artists, such as Dolphins into the Future, Ducktails, Glass Candy, Black Eyes, Woods, Heavy Winged, and many more. The label will release two final releases — a 7-inch by Timeless Reality and a compilation highlighting the Swedish electronic underground — before closing its online store in December.

• Release the Bats:

Constellation readies second Musique Fragile box set: Pacha, Kanada 70, and Tony “Dr. Drone Ph.D” Conrad

Gather ‘round the telescope ever’buddy, we got new stars to observe! It’s been two years since we first discovered the Musique Fragile constellation — a three-star cluster of full-length albums by Khôra, Nick Kuepfer, and Les Momies De Palerme — and now another linked cluster has become visible in the night sky. Kanada 70, Pacha, and dual strobe star Hangedup/Tony Conrad are set to become official additions to the growing constellation on June 26, and to commemorate the event Constellation is releasing a 3LP set documenting each star’s most beautiful “sounds of burning.” Since the first Musique Fragile volume, Constellation has released (incredibly) Evangelista’s In Animal Tongue, Matana Roberts’ COIN COIN, Tindersticks’ The Something Rain, and Colin Stetson’s towering New History Warfare Vol.2: Judges, so one would be wise to keep an ear open to anything new coming from our extreme neighbors to the north. Here’s the rundown.

— Kanada 70 a.k.a. Craig Dunsmuir has been recording loop-based music in Toronto since 2006, releasing dozens of albums in limited CD-R editions over the years influenced by everything from “abstract techno, industrial and noise music to prog-rock, African funk, no wave and metal.” Vamp Ire will be his very first vinyl release, and based on the microphone I installed in his toilet at home, he’s very excited and nervous to be reaching a wider audience this summer. Listen to two tracks b4 u buy at the Chocolate Grinder.

— Pacha is the solo moniker of superpercussionist Pierre-Guy Blanchard, who has performed with countless ensembles around the world since the early 00s, previously brushing up against Constellation’s leg in 2006 as a special guest on Black Ox Orkestar’s Nisht Azoy album. Affaires Étrangères sees Blanchard “feel da rhythm” for 40 minutes over a series of hypnotic Middle-Eastern processionals. Wear shorts while listening.

— Hangedup is the duo of Eric Craven and Gen Heistek, who put out three AMP’d up instrumental punk albums on Constellation in the early 2000s. Tony Conrad is Dr. Drone Ph.D. Transit of Venus sees Conrad teach Hangedup how to keep their third eye pried open as far as it’ll go, and the result recalls some of the same taffy-pull jamming that went on between the good doctor and Faust in 1972.

Each album is packaged in its own screenprinted jacket and comes on 180 gram vinyl and looks PRETTY!! Limited to 500 hand-numbered copies, so act now; here’s a 26-minute mix of album tracks to help lubricate this deal:

Kanada 70 Vamp Ire tracklist:

01. Ignore Dub I
02. Mou
03. Krankqui
04. Molle
05. Delivery
06. Gnaer
07. Errora High II
08. Chimura
09. For T.O. (Perish)
10. Annoyo
11. Redrag
12. Thumas
13. Redsidled
14. Scorpi
15. Doubles

Pacha Affaires Étrangères tracklist:

01. L’Aeroport de Charlo
02. Macedonian Mind
03. Modern Malaise
04. La Gare De Podgorica
05. Tunel
06. Ankara
07. Starcevo
08. Le Soviet

Hangedup & Tony Conrad Transit of Venus tracklist:

01. Flying Fast n Furious
02. Transit of Venus
03. Principles
04. Bright Arc of Light
05. Gentil the Unlucky Astronomer
06. Panorama from Maxwell Montes

• Constellation: