Heterotic (Planet Mu founder Mike Paradinas and Lara Rix-Martin) prep debut album Love & Devotion… aww

Heterotic (Planet Mu founder Mike Paradinas and Lara Rix-Martin) prep debut album Love & Devotion... aww http://www.tinymixtapes.com/sites/default/files/1301/news-13-01-heterotic.jpg

Everyone knows married couples make the best musical duos. Actually, reality has yet to confirm such an idea, and stereotypes would suggest the opposite; do I really want to creatively collaborate with somebody who has smelled my dirty underwear and, not to mention, knows all of my deepest and darkest secrets? Frustrations inevitably arise, and then comes the potential for blackmail. I have to deactivate my Facebook account. The reputation of the label I’m running has become tarnished with accusations that I like wearing nothing but a Halloween mask and a purple feather boa on my days off. Is it worth the risk, I ask? Is it!?!?!

Thankfully, the debut album from Heterotic — the duo of Lara Rix-Martin and spouse Mike Paradinas a.k.a. μ-Ziq — appears to have been produced without incurring any bad blood. Love & Devotion comes out March 25, and it follows a handful of tracks previously released and listenable via their SoundCloud, including a spacey, extended take on Kuedo’s “Shutter Light Girl,” and a splendid house original, “Probingzed.”

Both of those songs are instrumentals, but four out of the eight tracks on the upcoming album feature Nick Talbot, of the folkish Gravenhurst, supplying vocals. Curiosity piqued. Commence waiting.

Love & Devotion tracklisting:

01. Bliss
02. Blue Lights (feat. Gravenhurst)
03. Wartime (feat. Gravenhurst)
04. Robo Corp
05. Devotion (feat. Gravenhurst)
06. Knell
07. Slumber (feat. Gravenhurst)
08. Fanfare

• Heterotic: http://www.facebook.com/pages/Heterotic/138367089545225
• Planet Mu: http://www.planet.mu

M.I.A. not enough of a bummer for Interscope Records; new album Matangi set to finally drop in April

Interscope! Stop with the Spencer’s Gifts and the black light posters and the multiple ferrets crawlin’ around whilst you listen to The Cure in your dark bedroom, smoking clove cigarettes! We’re your friends, sorta — even though, I personally will never forgive anyone who helped push LMFAO onto the American people — and we care about you. You’re just getting a little too… goth. There, I said it. Are we really to believe that you told glitter-spangled neon activist M.I.A. that her new album is “too positive”? That she needs to “darken it up a bit”?? ARE WE?!?!?

Well, that’s the word on the street. And by “street,” of course, I mean “an interview with Australia’s Gold Coast Bulletin,” in which M.I.A. explained how her upcoming fourth album, Matangi, just didn’t jive with the label’s preferred image of the outspoken singer. “I thought I’d finished it. I finished it and then I handed the record in, like a couple of months ago,” she said. But then, according to M.I.A., Interscope was all like, “We just built you up as the public enemy No. 1 and now you’re coming out with all this positive stuff.” The release date for the album is set for April 15, but Ms. Arulpragasam is still working on gothin’ it up. Don’t worry, M.I.A.! Three months is plenty of time to stock up on black eyeliner from Walgreens and triangle necklaces from Urban Outfitters and give that lil’ album a reverse teen movie makeover. DAAAAAAAAAARK.

• M.I.A.: http://www.miauk.com
• Interscope: http://www.interscope.com

Spiritualized tour the West Coast’s most awesomely named venues

Coolio once quipped, “Ain’t no party like a Spiritualized party ‘cuz a Spiritualized party don’t stooooooop.” (True story: the lyrics to Coolio’s classic “1, 2, 3, 4 (Sumpin’ New)” were edited by his record company in hopes of achieving higher sales on the West Coast. At the time, Spiritualized fans were not thought to be a big enough audience for Coolio’s party jams.) And yea, Coolio was right. Because if you’ve ever seen Spiritualized, you know that the live show lives up to the band name: it’s like, transcendent and shit.

And now, Mr. Jason Spaceman will bestow the gift of a live Spiritualized performance upon the Western Coast of these United States. The tour, seemingly booked to include all of the coast’s most mystical and awesome sounding venues… and the Las Vegas House of Blues… starts in Denver and ends in Sin City. Spaceman and friends will be repping last year’s critically acclaimed Sweet Heart Sweet Light (TMT Review), which came out on Fat Possum.


04.04.13 - Denver, CO - The Bluebird Theater
04.05.13 - Salt Lake City, UT - Urban Lounge
04.06.13 - Boise, ID - Eqyptian Theatre
04.08.13 - Seattle, WA - Neptune Theatre
04.09.13 - Portland, OR - Wonder Ballroom
04.11.13 - Santa Cruz, CA - Cocoanut Grove Historic Ballroom
04.12.13 - Las Vegas, NV - House of Blues

• Spiritualized: http://www.spiritualized.com
• Fat Possum: http://www.fatpossum.com

Vimeo feels the pressure of being second; record labels double down on copyright claims

Vimeo, also known as the site you find yourself on whenever a video isn’t immediately available on YouTube, has recently found itself embroiled in a copyright dispute brought about by the Digital Millennium Copyright Act and some of it its record label enforcers.

Last Friday, according to The Hollywood Reporter, Capitol Records, Caroline Records, and Virgin Records America asked a judge for a “summary judgement win” in a joint lawsuit first filed three years ago in New York federal court. For those with less than a marginal knowledge of legalese, asking for a summary judgement is the equivalent of asking for an end to a case without trial, given the undisputed nature of the facts. Thank you, Internet.

Since the case had been delayed pending an appellate court ruling in Viacom v. YouTube, it’s worth summarizing what it’s all about, as if you couldn’t have guessed: the record labels are accusing Vimeo of “copying, performing, and distributing” sound recordings from artists such as The Beatles, Coldplay, Norah Jones, Nat King Cole, and The Beach Boys. Going even further, in its motion for summary judgement, the record labels essentially dub Vimeo the negligent parent of copyright-infringing, user-generated content websites. Here’s an excerpt:

YouTube, Veoh, and other websites do not create and consistently upload their own infringing videos; do not expressly tell users it is permissible to use infringing music in their videos and instruct their users how to do so; do not have a team of employees monitoring to ‘curate’ their content and a set of technological tools to accomplish that task; do not actively participate in the website ‘community’ to define and delimit the content on their website; do not at their sole discretion delete and ‘bury’ content that they believe does not reflect the image or brand they want to establish; and do not refuse to obtain licenses from music copyright owners or to deploy available technologies to filter copyrighted music. As described below, Vimeo does all of these things and more.

The entire motion attempts to demonstrate that Vimeo encourages (and makes a point to ignore) uploads that use copyrighted music.

For what it’s worth, Vimeo filed their own motion for summary judgement last September, in which they stated, “Vimeo does not—and cannot—view every video uploaded by its users to attempt to determine whether it infringes a copyright or otherwise violates Vimeo’s terms of service. Instead, Vimeo relies upon copyright holders to inform it if a user has uploaded an infringing video. This is exactly what Congress envisioned when it enacted the DMCA.”

My perspective: if someone wants to upload a video of themselves dancing sexily to Nat King Cole’s rendition of “O Tannenbaum,” while wearing a Santa hat over their nether region, shouldn’t that be their right? Shouldn’t it?!

• Vimeo: http://vimeo.com

Bryan Ferry’s The Bryan Ferry Orchestra to release album of 1920s-style covers of Bryan Ferry-penned songs

The romance! The glamour! The Louise Brooks movies and the bootleg champagne! The whole world teetering on the precipice, spinning faster and faster toward the horrible oblivion of war war WAR! The 1920s were a mad, dazzling time. And who better than Professional Dapper Man Bryan Ferry to bring the swingin’ sounds of the era back in a “totally not another swing revival” way? The Roxy Music frontman and solo dude has assembled the finest ensemble of Roarin’ 20s-style musical players and created The Bryan Ferry Orchestra, who’ll be releasing their first album, The Jazz Age through BMG. You can check out a short promo video for track “Do the Strand” below. It’s enough to make Baz Luhrman cry.

In what sounds like a wedding band dreamed up by Andy Kaufman, the Bryan Ferry Orchestra exclusively plays — as you may have guessed from the tracklisting — covers of Bryan Ferry-penned songs in a 1920s manner. Ferry doesn’t perform or sing with the orchestra, instead standing to the side, nodding his head, dreaming of a green light at the end of a dock and sighing as he sips bathtub gin.

The Jazz Age tracklisting:

01. Do the Strand
02. Love Is the Drug
03. Don’t Stop the Dance
04. Just Like You
05. Avalon
06. The Bogus Man
07. Slave to Love
08. This Is Tomorrow
09. The Only Face
10. I Thought
11. Reason or Rhyme
12. Virginia Plain
13. This Island Earth

• Bryan Ferry: http://www.bryanferry.com
• BMG: http://www.bmg.com

RIP: John Wilkinson, rhythm guitarist for Elvis Presley

From Rolling Stone:

John Wilkinson, a guitar player who accompanied Elvis Presley for more than a thousand shows as a member of the TCB Band, died on Friday at the age of 67 after a long battle with cancer, the Associated Press reports.

Wilkinson grew up in Springfield, Missouri, watching Presley perform on television. In 1955, when he was ten years old, Wilkinson snuck into the star’s dressing room before a concert at Springfield’s Shrine Mosque and berated the King for his musicianship. “You can’t play guitar worth a damn,” the boy said.

Wilkinson went on to become an accomplished guitarist, playing in folk groups such as the Kingston Trio and the New Christy Minstrels. Some 13 years after that first meeting in the dressing room, Presley asked Wilkinson to join his backup group, the TCB Band, after seeing the 23-year-old play on television. Over the next nine years, Wilkinson played rhythm guitar for Presley in 1,200 shows, remaining in the TBC Band until the singer’s death in 1977.

• John Wilkinson: http://www.johnwilkinson.net