The Fall to release new album on May 15 despite the obvious/awesome PR opportunity to release it in THE FALL

The Fall to release new album on May 15 despite the obvious/awesome PR opportunity to release it in THE FALL

Hey, guys. Did you know already that The Fall’s Mark E. Smith and his buddies (whom are currently still Peter Greenway, Keiron Melling, Elena Poulou, David Spurr, and presumably FUCKING NO ONE ELSE) announced (via FACT) that they’ll be releasing a post-punkin’ new album on May 15 via the UK label Cherry Red?

Well, come to think of it, if you didn’t know that stuff already, it’s probably because you’re not really a fan of that band, am I right? I mean, if you were, you’d already be “up” on this sort of thing, you know? This story is old as fuck! And you’d be all like: “Formed in the year blah-blah-blah and with over X albums to their name, The Fall are a British post-punk band from Manchester, UK that features an ever-changing line up centered around founder Mark E. Smith, who…” And if that were the case, then it would logically follow that you wouldn’t need me here to be all like:

Hey, I’m Nobodaddy! I’m a real smartass! Get this, dudes, the new Fall album is called Re-Mit and follows this or that other album from 2011! Casual swearing is not only acceptable on the internet, but it’s totally awesome! Exclamation points and italics forever!

Whoa. Yeah, that’s right. I totally just put myself in a block quote. This news story is over, pal.

Re-Mit tracklisting:

01. No Respects (instrumental)
02. Sir William Wray
03. Kinder Of Spine
04. Noise
05. Hittite Man
06. Pre-MDMA Years
07. No Respects rev. (featuring vocals)
08. Victrola Time
09. Irish
10. Jetplane
11. Jam Song
12. Loadstones

• The Fall:
• Cherry Red:

Goblin to play live soundtrack to Dario Argento’s Suspiria at the Housecore Horror Film Festival, attend and prove yourself the Gothiest of your friends!

Goblin are as important to electronic music as Kraftwerk. Now that I have your attention with that hyperbolic and probably indefensible statement, I’m going to explain it as if it were neither of those things. Goblin’s scores for Dario Argento’s films during the 70s and 80s formed a blueprint (along with John Carpenter and Fabio Frizzi, but let’s stay focused) for the likes of Xander Harris, Umberto, Mater Suspiria Vision, a good chunk of the “witch house” movement and, if we are being honest, probably The Haxan Cloak. And that’s just bands that are still active; Coil sampled Goblin back in the 90s, which is basically like knighting them, in my never-humble opinion.

That previous series of wild and largely unsubstantiated claims I made? That was all for your benefit, gentle reader. Let me put it this way: have you ever stumbled upon a band only to find that they just toured through your town naught but two months ago? Do you remember the feelings of regret upon the realization that the songs that now have 50+ plays on your iPod could have been vibrating straight through you live? Well one of those normally overlooked events is coming up: Goblin is playing a live soundtrack to Suspiria during the course of the Housecore Horror Film Festival. The $175 price tag for a three-day ticket is pretty hefty, but being that this is the first time Goblin has played in the good ol’ USA it’s worth it. So now that the importance of this event has been explained, if you have the expendable income to both fly to Austin, Texas around October 25-27 of this year and get yourself a ticket to the show, you have no choice but to go. You will be compelled to, in fact. Now aren’t you happy this was brought to your attention?

• Goblin:
• Housecore Horror Film Festival:

Lieven Martens Moana (Dolphins Into The Future) readies Music From the Guardhouse LP; guardhouses are now pretty interesting

In his rather extensive overview of Lieven Martens Moana’s Dolphins Into The Future project, my colleague and aspiring masseuse M Rubz initially, and aptly, brought up the kosmische character of the now-disbanded Emeralds. Though the “Emeralds” name might seem satisfactorily fitting given the electronic allure of their output, it’s hard to think of a moniker more surprisingly appropriate, once you’ve had the chance to listen to his music, than its sea-mammal counterpart. First it inspires thoughts about super-intelligent dolphins building their own time machine, but listen through the suboceanic drift of the synthesizer, and you’ll realize those dolphins are much more concerned with technological advancements in human sedation. Enslavement may or may not follow.

In what’s arguably a move designed to avoid giving sea creatures any ideas, Moana’s next release will come under his own name; Music From the Guardhouse will be released on June 3 via the Belgian label KRAAK.

The switch in name coincides with a relatively harsh change in style, whereby the “sedation” previously referenced is replaced with sparsely-positioned notes of electronic blurbage. Literary references and themes of nature persist, helped along by the familiar utilization of field recordings and various MIDI devices, but it’s all for a different, more challenging purpose. For their part, KRAAK describes the album as a “blue print for the future of compositions,” which, ignoring any exaggeration, should be more than enough to inspire curiosity. Prepare your brain, and stuff.

• Lieven Martens Moana:

Neutral Milk Hotel reuniting all over your cheerios

After pulling out of our 2007 Tiny Mix Fest at the last minute, it seemed like Jeff Mangum, Julian Koster, and crew might never actually get back together for some shows under the Neutral Milk Hotel moniker. But now that news of a full-fledged reunion is coming in from more reputable sources, we can confirm that The Milks are reuniting for a series of shows that will only be expanded upon in the near future! Early reactions across the blog-o-sphere include “YEAAAAAAAAAA,” “OMGG,” and “UR ALL SHEEPLE.”

In any case, there’s no turning back the clock now. Jeff Mangum, Jeremy Barnes, Scott Spillane, and Julian Koster will be in the same room with you (if you get tickets soon as they go on sale), and with enough luck you might hear them over the din of an entire audience screaming along to every word.


10.22.13 - Athens, GA - 40 Watt Club *
10.23.13 - Athens, GA - 40 Watt Club $
10.25.13 - Asheville, NC - Thomas Wolfe Auditorium $%
11.28.13 - Taipei, Taiwan - Hostess Club Festival
12.01.13 - Tokyo, Japan - Hostess Club Festival

* Elf Power
$ Half Japanese
% Daniel Johnston

• Neutral Milk Hotel:

Boards of Canada announce new album Tomorrow’s Harvest; my exclamation point key is now broken

Remember this day. Do not forget it. In like 40-60 years (depending upon your current age and the speed with which medical technology advances) when you’re hanging out at a nursing home and your spoiled rotten asshole grandchildren come to visit they are definitely going to ask “Where were you when the clouds parted and the sound of trumpets filled the air and Boards of Canada announced their first album since The Campfire Headphase (TMT Review)?”

For what it’s worth, I was about to hop in the shower (I still had my shorts on if you want a visual) when I heard that (un)holy blasting of trumpets that at first I thought was my neighbor mowing his lawn with like 10 mowers at once (would not put it past the guy). Then I realized it was those ethereal trumpets and I looked outside and saw the clouds parting and everything. Because I voraciously read those Left Behind books when I was a kid, I was all like, “Oh shit, it’s the rapture, Jesus please save me!” but then I remembered that if it was the rapture Jesus was definitely not going to save me because I had already been Left Behind and no amount of Kirk Cameroning was going to keep me out of the cold hands of the antichrist.

Anyway! The new Boards of Canada album is called Tomorrow’s Harvest and it’s out June 11 in North America via Warp Records (one day earlier in the UK). The announcement comes after a whole slew of mysterious activities from BoC, including a Cartoon Network commercial, some hidden online streams, and those cryptic singles that were like something straight out of an episode of Lost if Lost was actually good and about music. Also! As it turns out, if you combine the numbers from those singles into one series (i.e. ‘699742628315717228936557813386519225’), they make a password that Google refers to as “Very Strong” (Boards of Canada are nothing if not invested in their online security) and that will let you watch a video that’s basically just static here. In the interest of not letting down your future grandchildren and permanently jading them, I’d recommend pre-ordering the album right now from the Bleep webstore.

Tomorrow’s Harvest tracklist:

01. Gemini
02. Reach For The Dead
03. White Cyclosa
04. Jacquard Causeway
05. Telepath
06. Cold Earth
07. Transmisiones Ferox
08. Sick Times
09. Collapse
10. Palace Posy
11. Split Your Infinities
12. Uritual
13. Nothing Is Real
14. Sundown
15. New Seeds
16. Come To Dust
17. Semena Mertvykh

• Boards of Canada:
• Warp:

Matthew Herbert announces new record The End of Silence, nobody ever gets any work done ever again

Matthew Herbert likes things conceptual. Who would be surprised if, when making breakfast every morning, he makes five slices of bacon, each from a different manufacturer, to show how things can be the same and different at one time? It may be inefficient, but he’s making a point. Most of Matthew Herbert’s records are inefficient, records made from strange, obscure sources when he could make electronic music the way everyone else does. Resident Advisor reports that Herbert has a new album, The End of Silence, coming out June 24 through the producer’s own Accidental label. Obviously, the first question: what’s the concept this time? Sit down, it’s a little tiny bit of a doozy.

In 2011, war photographer Sebastian Meyer was bombed by Libyan air forces. A 10-second sound recording of this incident was captured. This same 10-second sound recording makes up the entirety of The End of Silence. Since Matthew Herbert is into both concepts and making listenable full-length albums, this new record is more than 10 seconds long. That same 10-second recording has been, as Herbert puts it, “fragmented and atomised” into samples, which were then performed by Herbert’s band and recorded over three days at a barn in the Welsh countryside. That session has been split into three tracks, which, together, make up The End of Silence. The first of those tracks you can hear below. It answers the question of how that 10-second sample became way, way longer than 10 seconds.

• Matthew Herbert:
• Accidental:



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