Luna to release LP box set, Luna: Long Players (92-99), to help soundtrack your next beautiful drug coma
Last year, following one of those “lengthy hiatus” type things that bands do, Dean Wareham’s badass post-Galaxy 500 project Luna announced that they were reuniting for a batch of reunion shows in Europe. Maybe it was all the readily accessible Absinthe that they have over there, but apparently, things didn’t go too shabbily, because Wareham and his buds are continuing the reunion tour this summer and fall in North America and have also announced a new box set that will compile each of their five 9’s albums, plus a new “rarities” record containing various B-sides, demos, etc.
In keeping with the band’s easy-breezy, shambly, space-gazing vibe, the new box is titled Luna: Long Players (92-99), and it’s coming out via Captured Tracks… eh, sometime in the late fall or winter. Sounds about right!
In addition to putting all that pleasantly yawn-y, dreamy music on wax for the first time, the new set will also feature a 12x12 book containing interviews with Dean Wareham conducted by film director Noah Baumbach (Wareham did the music for Baumbach’s 2005 film The Squid and the Whale and did some less musical actor-stuff in 2013’s Frances Ha). Although, it’s probably unwise to attempt reading (or pretty much ANY other task that requires concentration on ANY level) while listening to Luna. You’re pretty much guaran-damn-teed to be simultaneously sleeping and engaging in sexual intercourse with someone or something within meremoments of dropping that needle.
Luna: Long Players (92-99):
Pup Tent (1997)
The Days of Our Nights (1999)
01. Egg Nog (from Time 7”, 1992)
02. Indian Summer (Beat Happening cover from Slide EP, 1993)
03. Ride Into the Sun (The Velvet Underground cover from Slide EP, 1993)
04. That’s What You Always Say (The Dream Syndicate cover from Slide EP, 1993)
05. Anesthesia (pre-Elektra Records demo, 1991)
06. In the Flesh (Blondie cover from In the Flesh 7”, 1997)
07. Bonnie and Clyde (Serge Gainsbourg cover, Penthouse bonus track)
08. I Know You Tried (unreleased demo from Bewitched sessions)
09. Roll in the Sand (from Outdoor Miner 7”, 1996)
10. Dear Paulina (from Dear Paulina 7”, 1999)
Luna tour dates:
06.11.15 - Brooklyn, NY - McCarren Park
07.30.15 - Brighton, England - The Old Market
07.31.15 - London, England - The Garage
08.01.15 - Leeds, England - Brudenell Social Club
08.02.15 - Glasgow, Scotland - CCA
08.03.15 - Manchester, England - Gorilla
08.05.15 - Tel Aviv, Israel - Club Barby
10.03.15 - Atlanta, GA - Terminal West
10.05.15 - Philadelphia, PA - Trocadero
10.06.15 - Washington, DC - 9:30 Club
10.07.15 - New York, NY - Bowery Ballroom
10.08.15 - New York, NY - Bowery Ballroom
10.09.15 - Brooklyn, NY - Music Hall of Williamsburg
10.10.15 - Boston, MA - Paradise
10.11.15 - Portsmouth, NH - 3S Artspace
10.13.15 - Toronto, Ontario - Danforth Hall
10.14.15 - Pittsburgh, PA - The Andy Warhol Museum
10.15.15 - Detroit, MI - St. Andrew’s Hall
10.16.15 - Chicago, IL - House of Blues
10.17.15 - Minneapolis, MN - The Cedar
10.23.15 - San Francisco, CA - The Fillmore
10.24.15 - Los Angeles, CA - Teragram Ballroom
Ticketmaster buys Front Gate and Universe ticketing companies for undisclosed amount (+ convenience charge)
Ticketmaster, the corporate baby of a wicked threesome to remember between the monocle-wearing, top hat-bedecked Hasbro creation known as the Monopoly Man, large Japanese nuclear lizard Godzilla, and the slime that turned you into an alien if it touched you on that late series arc of The X-Files, continues its quest for world domination. The entertainment industry behemoth recently acquired a couple of competing ticketing services, Front Gate Tickets and online indie platform Universe.
Front Gate was taken after it stabbed an alien emissary, tragically missed, and was subsumed by that weird slime stuff that makes your eyes all weird lookin’ up close. Nah, jk, y’all, Front Gate just straight-up got bought. Formerly an alt ticketing group based out of Austin, TX, you might know Front Gate best from ticketing basically every festival ever in the US, including Coachella, Austin City Limits, Lollapalooza, and The Governors Ball, etc. Last year, they sold over 3 million tickets. Mmm. TICKETS.
Universe provides ticketing service and management tools to bands and promoters, who are able to then sell their own event tickets through their websites.
Now, together as one, Ticketmaster and its newest tentacles will reach even further into the vast ticketing landscape of America. Congrats on your new tentacles, Ticketmaster! Reach for the stars, and if you miss, at least you’ll have like 17 weird suction-cupped arms, a bunch of different ticketing avenues, and bazillions of dollars.
I’m wondering if describing a music video as “hot” draws clicks from Tiny Mix Tapes readers? I bet it does. Regardless:
Thank you, Heems, really — you’ve given us much, from Das Racist and your own mixtapes, to breaking Le1f and Lakutis, to featuring Eric Andre and Hannibal Burress in one of your music videos and just being there as one of hip-hop’s most nuanced voices.
Now we’ve got another thing: a music video for “Damn Girl” off Eat Pray Thug, Heems’ “debut” album from earlier this year, which doubles as a capstone to the Eat Pray Thug “project” that included the album, an art show, and I guess “a custom grey cowl-neck shirt.” Heems wears the latter (designed by himself and Jason Calderon) for the video, in which he performs “Damn Girl” while busting suave moves in the gallery space. The Eat Pray Thug exhibition took place at NYC’s Aicon Gallery and featured work by Heems, Abdullah M. I. Syed, Chiraag Bhakta a.k.a. Pardon My Hindi, and Aakash Nihalani.
Now for the video, which includes lots of Heems’s dreamy, teary eyes. It’s right below this paragraph. In addition, he’s on tour throughout the US and Canada this summer with occasional guests Spank Rock, Pictureplane, and Bruiser Brigade-affiliate ZelooperZ. Check those dates right below the video.
06.12.15 - McCarren Park, Brooklyn NY - Northside Festival
06.14.15 - Portsmouth, NH - 3S Artspace
06.15.15 - Boston, MA - Red Room/Berklee College
06.16.15 - Burlington, VT - Higher Ground
06.17.15 - Montreal, Canada - Bar Le Ritz PDB
06.18.15 - Toronto, Canada, NXNE
07.11.15 - Lansing, MI - Common Ground Festival
07.12.15 - Ottawa, ON Canada - Ottawa Blues Fest,
07.14.15 - Minneapolis MN - 7th Street Entry +
07.16.15 - Boulder CO - Fox +
07.17.15 - Denver, CO - Larimer +
07.18.15 - Salt Lake City, UT - Music Garage + $
07.20.15 Seattle, WA - Sunset $
07.21.15 - Vancouver, BC Canada - Fortune Sound Club $
07.22.15 - Portland, OR - Star Theater $
07.25.15 - Santa Ana, CA - Constellation Room*
07.27.15 - Los Angeles, CA - Echoplex *
07.28.15 - Phoenix, AZ - Pub Rock *
07.29.15 - Albquerque NM - Launchpad *
07.31.15 - Dallas, TX - Gas Monkey +
08.01.15 - Austin, TX - Red 7, 30-21H +
08.02.15 - Houston, TX - Fitzgeralds, +
08.03.15 - New Orleans, TX - Hi Ho Lounge
08.05.15 - Atlanta, GA - Purgatory $
08.06.15 - Nashville, TN - Exit In $
08.07.15 - Carrborro, NC - Cats Cradle Back Room $
08.08.15 - Washington, DC - Rock And Roll Hotel $
09.11.15 - Humboldt Park, Chicago, IL - Riot Fest
$ featuring Spank Rock
* featuring Pictureplane
+ featuring Zeloopers
• Heems: https://www.facebook.com/pages/Heems/120154634742911
• Megaforce: http://megaforcerecords.com
It starts off slow — tentative yet pregnant with tension. The volume gradually crescendos, a beautiful unease growing at the same time. It freaks my cat out. It sounds like soundtrack music. Because it is.
What’s currently on blast: Erik Enocksson’s Apan (English translation: The Ape). Originally intended as the score for Swedish director Jesper Ganslandt’s film of the same name, it didn’t take long for the artists to discover that the film straight-up shouldn’t have any music in it. And thus was born this companion piece, a work of synth/bass/tape magic, which was released back in 2011 by Release The Bats. Now Posh Isolation is reissuing Apan on vinyl, in a limited run of 500 copies. It’s available June 29, 2015.
Freak out your cats with a sample.
Adrian Younge and Ghostface Killah have announced a new collaborative album, out July 10 via Linear Labs, and titled 12 Reasons to Die II. A follow-up to 2013’s 12 Reasons to Die, 12 Reasons to Die II: Electric Twelvealoo finds Ghost and Young expanding their crop of collaborators to include The Rza, Raekwon (with whom Ghost will soon tour), Bilal, and Vince Staples. On 12 Reasons to Die II: 12 Fast 12 Furious, the mafioso story originally developed on the first album expands its scope, again following the Deluca family as they battle an up-and-coming crime syndicate in the “grimy streets of mid-1970s New York.”
12 Reasons to Die II: Live Free or Die Because of these 12 Reasons was recorded entirely to tape in order to imitate the analog sounds of old soul records, and it draws in inspiration from vintage Italian horror scores as well as classic Wu-Tang Production. Available in a variety of packages, several of which include the instrumentals for the album as well as the original 12 Reasons to Die, 12 Reasons to Die II: The Empire Strikes Back is up for pre-order now from Linear Labs. It’s also available from iTunes.
To accompany this announcement, they have shared the album’s second single, “Let the Record Spin,” featuring Raekwon. Listen below via the embedded player, and get pumped for a near future where you can listen to all of 12 Reasons to Die II: Batman Forever in your car or living room!
“It was when I found out I could make mistakes that I knew I was on to something”
– Ornette Coleman
From The New York Times:
The alto saxophonist and composer Ornette Coleman, one of the most powerful and contentious innovators in the history of jazz, died on Thursday morning in Manhattan. He was 85.
The cause was cardiac arrest, a representative of the family said. […]
[Photo: Tom Beetz]
• Ornette Coleman: http://www.ornettecoleman.com
Alrighty, let’s talk about an album. No, not just any album; you’re not the one in charge here. I am the one in charge [editor’s note: say what??], and I say we’re going to talk about the new Jerusalem In My Heart record that’s coming out September 4 on Constellation. What do you say to that? Just kidding, I don’t care what you say to that. We’re doing it. And don’t even try to tell me that we’ve already talked about enough Jerusalem In My Heart-related records, what with 2013’s excellent Mo7it Al-Mo7it and the collaborative album from Suuns and Jerusalem in My Heart from earlier this year.
And you know what? Before you come with me to the next paragraph where we’ll talk about more details related to the album, why don’t you go ahead and read this great interview Birkut did with Radwan Ghazi Moumneh, founder of Jerusalem in My Heart. I don’t want you to end up with egg all over your face when we start talking turkey.
Alright, now for that egg-free turkey I mentioned. The new album is called If He Dies, If If If If If If, and it’s the product of Moumneh working with Montreal-based artist Charles-André Coderre. If He Dies, If If If If If If reportedly expands on the compositional palette that Moumneh established on his first album by “exploring new deconstructions and juxtapositions of both traditional and popular Arab musical currents.” Although the first Jerusalem In My Heart release came only in 2013, Moumneh had been performing live under the name for some time before that, drawing together the sounds he was making with a vital visual angle. As such, his collaboration on this release with Coderre (a visual artist who also created the album artwork) is a natural extension of the central goals of the project.
Pre-order the album via Constellation here, and watch a short video pairing Coderre’s visual’s with Moumneh’s music below.
If He Dies, If If If If If If tracklist:
01. Al Affaq, Lau Mat, Lau Lau Lau Lau Lau Lau (The Hypocrite, If He Dies, If If If If If If)
02. A Granular Buzuk
03. 7ebr El 3oyoun (Ink From The Eyes)
04. Qala Li Kafa Kafa Kafa Kafa Kafa Kafa (To Me He Said Enough Enough Enough Enough Enough Enough
05. Lau Ridyou Bil Hijaz (What If The Hijaz Was Enough?)
06. Ta3mani; Ta3meitu (He Fed Me; I Fed Him)
07. Ah Ya Mal El Sham (Oh The Money of Syria)
08. 2asmar Sa7ar (The Brown One Cast A Spell)
If the styles colloquially labeled “mutant techno” and “trip metal” in the US underground can loosely claim any sort of spiritual godfather figure, in terms of both sonic vocabularies and label/distribution practices, Chicago-by-way-of-Ann-Arbor champion zoner Jim Magas is that person. Over a catalog starting in the early 1990s, Magas built his reputation on the strength of experimental industrial outfits like Lake of Dracula, along with the mechanical squall of his own solo output. His seminal label Bulb Records kicked off the careers of gonzo luminaries like Quintron, Andrew WK, and the Wolf Eyes crew (Dilloway, Young, Olson, etc.), helping define what we’ve come to know as the grassroots avant-garde tradition in the American Midwest and beyond.
This year, Magas has decided to start a new imprint called Midwich Recordings, which has focused its scope thus far on beat-based electronic deconstruction. A new 12-inch under the MAGAS moniker constitutes the label’s inaugural jams, alongside the brain-smashing MEQ by the Nate Young-featuring duo Moon Pool and Dead Band.
Press play on “Machete King,” our first taste of MAGAS’s Heads Plus EP, and step out onto his twisted dungeon dancefloor. Although it bops along over a steady 4/4 electro beat, the track’s deranged lead tones prod the groove deeper into gnarled chaos. Magas’s synth voice carries the crunch and attack of a guitar, hitting us as blocky chords of overlapped analog riffing. As the rhythm thickens with the onset of stuttering handclaps and tom patterns, Magas piles on extra layers of corrupted synth mania that rise into the upper register of the mix in atonal swirls.
Heads Plus lands July 14 via Midwich.
Maybe you’ve seen the photo elucidating Dr. Dre’s marked transition to “coming straight out of Cupertino,” and maybe you consider Ice Cube’s cinematic portrayal of a paternal hero a success story given his Jheri-curled past, but that doesn’t mean that either of these individuals, or the surviving members of N.W.A. in general, are willing to understate the significance of their early music careers down in South Central L.A. To that end, a film that’s long been in the works navigating the seminal rap group’s rise and ultimate dissolution, Straight Outta Compton, is set for release this August. So, how about an anticipatory reunion concert in which a few members nostalgically engage in polite police criticism?
Ice Cube, MC Ren, and DJ Yella will be performing together for the first time in 26 years on June 27 at the Staples Center in Los Angeles as a part of this year’s BET Experience. 26 years! Dr. Dre may or may not also be there, as Ice Cube gave a metaphysical non-answer to Rolling Stone on the subject, but separate from the performance itself — which includes appearances by Kendrick Lamar, Snoop Dogg, and ScHoolboy Q — is additional word of new N.W.A. recorded material as at least soundtrack to the upcoming film. Ice Cube sort of elaborating:
We’re definitely dibbling and dabbling, so to speak. It’s all about how great it comes out when you’re creating something. We can throw anything together; we can put rhymes and beats together easy. But our expectation level is so high, and if we meet our threshold, the world gets to hear what it is. If we don’t, we still need more time together to make it happen. It’s really some TLC, tender love and care, being put into these records. We’ll see what it is.
Just don’t ponder the potential problems of having an N.W.A. outside of its original cultural context. It’s easier this way.
After releasing her debut 7-inch release last month, Virginia-based, Bolivian-born artist Elysia Crampton (formerly E+E) has revealed her anticipated full-length follow-up to THE LIGHT THAT YOU GAVE ME TO SEE YOU (which made it to #13 on our year-end list). It’s called American Drift, and it’s being released by FaltyDL’s Blueberry Recordings.
Crampton describes, beautifully, the four-track album as “Virginian American history, exploring brownness as more than culture or Othering, as geology. American narratives are re-examined on this level: narratives of colonized and colonizer, slave histories, impact events and fern spikes, two-spirit and queer indigenous histories. Trans-ontologies are given voice and resonance.”
The FADER has a premiere of the album’s first single, “Petrichrist.” Check it out here:
Crampton’s “epic psych metalera crunk tribalosa” is out July 31.