Bryan Ferry’s Handsomeness Pulls Jonny Greenwood and Flea into Its Orbit and Compels Them to Appear on Its Upcoming Record
By Mike McHugh on Dec 8 2009
You can’t sleep. The day has been long and your body is tired, but rest will not relieve you anytime soon. Beautiful, terrible visions have seized your mind. The images are familiar; you’ve seen them before dozens, perhaps hundreds of times. Those bedroom eyes . That cresting coif of chestnut perfection. This song . But why must they torment you now? What is to blame for this glorious torture? And then it strikes you: the last time you were so gripped with insomnia was in June 2007, when this ridiculous record came out. The cosmos speaks to you: “Bryan Ferry’s handsomeness is releasing a new record .”
The visions continue. A man appears faintly on the horizon, but even at such a distance you notice his face is unusually angular. At first glance you’re sure it's The Giant from Twin Peaks, but once the air clears of mist you note that it is in fact Jonny Greenwood , guitarist for the alternative rock group Radiohead. Before you can even muster an “In Rainbows sucked!” at him, a second man comes forward. Wiry and bald, the man is not difficult to place. You know him well from his unforgettable role in 1994’s The Chase, starring Charlie Sheen and Kristy Swanson. He is Flea, better known to some as the bassist for that stupid funk-punk-hooray-California band. How these two men came into league with Bryan Ferry’s handsomeness, you do not know. But even as they stand before you, motionless and silent, you know that His Handsomeness has willed that they appear in some capacity on his new record. No more than that is revealed. Consciousness fades as you are shepherded into the standard nocturnal brouhaha that you pathetically call dreams.
You wake in the morning and find a single red rose and a signed copy of Avalon waiting on the nightstand. “So it is true,” you think. “Jonny Greenwood, Flea, and Bryan Ferry’s handsome, handsome ass... just what the fuck is this going to be like?”
What’s Your Sign, Baby? Sub Pop Picks Up Dum Dum Girls, Releases Info about New Album
By Liz Louche on Dec 8 2009
LA-based Dum Dum Girls have been picked up by the venerable Sub Pop label. (No, not that kind of picked up, hayyyyyo!!!) The brainchild of a lady known only as Dee Dee, Dum Dum Girls make dark, hazy, lo-fi garage. So far Dum Dum Girls have releases through Captured Tracks, Hozac, and Zoo Music. Dee Dee has also collaborated with some Blank Dogs peeps via their project The Mayfair Set. Dum Dum Girls’ Sub Pop debut is called I Will Be, and features production from Dee Dee and Richard Gottehrer, who wrote “My Boyfriend’s Back” and “I Want Candy,” as well as producing the debut albums for Blondie and the Go-Gos and oh yes, co-founded Sire Records. The label press release declares I Will Be a tribute to love and fun. Wow! I love love and fun.
Tracklisting:
1. It Only Takes One Night
2. Bhang Bhang, I’m a Burnout
3. Oh Mein M
4. Jail La La
5. Rest of Our Lives
6. Yours Alone
7. Blank Girl
8. I Will Be
9. Lines Her Eyes
10. Everybody’s Out
11. Baby Don’t Go
Cat Power’s Chan Marshall Gets Sad Again; Is It Wrong for Me to Be Happy About This? Maybe Australia Will Cheer Her Up!
By Jon Lorenz on Dec 8 2009
Many singer-songwriters go through different stages throughout their careers due to mood changes or focus shifts: Daniel Johnston stopped writing songs about Laura; Bill Callahan changed his voice, changed his name, and changed his name again; and Cat Power (as well as the previous mentioned artists) got slicker recordings, slicker backup musicians, and started heading away from her sad and lonely songs. As a fan of the earlier, lonelier, lo-fi recordings from all three of these artists, I am a wee bit happy to announce that Chan Marshall is sad again.
Chan Marshall recently told the Courier-Mail that she has been working on a new record and said, "It's just me this time... I don't know if I should push all these [new] songs away and actually try to write and record it with the band. I don't know what to do. But I'm at a point where my heart tells me, ‘Chan, you haven't played piano or guitar for four or five years,’ and I do have guilt about that. People ask me, ‘When are you going to play by yourself?’ I have problems with strange yearnings and guilt." Elsewhere, she said, "I'm also frightened because some of them are sad again and I feel really nervous about that."
I say bring on the sadness!! Let it all out, Chan!!
At the end of the year, Cat Power will be heading over to Australia to do a short tour. Maybe she'll try and do the solo thing again and see how that goes. Here ya go, Australian fans:
12.30.09 - Phillip Island, Australia - Pyramid Rock Festival
12.31.09 - Brisbane, Australia - Powerhouse
01.02.10 - Gold Coast, Australia - Coolangatta Hotel
01.05.10 - Adelaide, Australia - Governor Hindmarsh Hotel
01.06.10 - Perth, Australia - The Astor Theatre
01.08.10 - Wollongong, Australia - Waves
01.09.10 - Newcastle, Australia - Panthers
01.10.10 - Sydney, Australia - Days Like This Festival
RIP: Bruce C. Allen, guitarist of The Suburbs and artist for Replacements’ Let It Be artwork
By Shane Mack on Dec 7 2009
From City Pages:
Bruce C. Allen, best known as the guitarist for local rock band the Suburbs and as a graphic designer responsible for iconic images like the logo for Twin/Tone records and the album art for the Replacements' Let it Be, will be taken off life support this evening at the age of 54.Friends close to Allen say that he had been struggling with health issues for many years, including a triple bypass surgery last year, issues with kidney stones, and symptoms of hemophilia. Allen was hospitalized last week for uncontrolled bleeding, and subsequently suffered internal bleeding and organ failure.
As a member of the Suburbs and, later, the Pilgrims, Allen was a beloved member of the local scene, and made an impression with both his guitar work and talent for design. We will be gathering stories and memories from those who knew Allen best -- feel free to leave your own anecdotes in the comments.
- Bruce C. Allen MySpace
Apple Set to Purchase Lala, Still in Talks with Dipsy, Po, Tinky Winky
By Nat Towsen on Dec 7 2009
Apple Inc., a 33-year-old computer software and consumer electronics corporation, has agreed to purchase Lala, a four-year old music-distribution start-up. Presently, Lala offers a service that allows users to either download a song, or pay a small fraction of the download price to stream the song an unlimited number of times. Users can also upload their preexisting music collection to Lala's server to later stream from any device with an internet connection. Although Lala's user base seems to be satisfied with the service, the company has failed to achieve mainstream success, leaving their financial prospects in a dubious state.
Apple Inc., whose success in recent years has been defined by their paired domination of the digital music distribution and digital music player markets, is obviously monitoring the success of mobile music streaming services like Pandora for iPhone. Cloud computing, while an alarmingly accurate fulfillment of the dystopian fictions of our upbringings, seems to be the direction in which media-access is developing. A major fear about cloud-based storage, that data could be lost should the host go bankrupt, would be easily abetted by the financial stability and public reputation of a corporation like Apple.
The success of the iPod over the numerous challengers that have sprung up throughout the years has been largely dependent on its exclusive compatibility with iTunes. Now, facing serious competition in the mobile device market from Android-based phones, especially the new Droid, Apple might be looking for a new, innovative music service to pair exclusively with the iPhone. While the buyout does not allow Apple to acquire Lala's streaming licenses, it does allow them to acquire a team of engineers with several years experience with cloud-based music streaming, jump-starting the process toward a new service.
In late October, Google announced that it would partner with Lala and iLike to create a Google Search-based online music service. With Apple and Google butting heads of late, it would seem that Lala's involvement in the project is likely to be quickly phased out. Of course, this does raise an interesting question: Did Apple buy the ambling startup as a tactical attempt to prevent Google from taking a lead in the music distribution market? Did Apple rescue Lala just to watch it die? And, once Lala was dead, would all of the other Teletubbies demand to watch it die again? (That's the joke from the headline!)
