Holy shit, has it been that long? The Stone Roses reunion rumors will forever continue to swirl but what is certain is that the Manchester quartet’s eponymous debut album will definitely be reissued to celebrate its 20th anniversary. The much-loved album will be released by Silvertone (who will cease repackaging The Stone Roses catalogue when it is pried from their cold dead hands) and Legacy (friendly reissue pixies) on August 11 (Joe Rogan’s birthday, for all of you completely unrelated bracket-filler lovers). The album has been remastered by producer John Leckie and singer Ian Brown and contains a lot of goodies, depending on which version you can afford (note: the remastered album will be a hybrid of the original U.K. issue and the second 1989 U.S. issue; so, minus "Elephant Stone" but plus "Fools Gold").
Three of the planned releases below are real. One was written after a dream fueled by ecstasy and bad cocktail shrimp. Think you can tell which one is the stooge? It may not be as easy as you think…
1. Stone Roses: Special Edition includes the remastered album and an expanded booklet. Simple, understated, pure.
2. Stone Roses: Legacy Edition is a three-disc set that groups the remastered album with a second disc entitled The Lost Demos which features 15 tracks, including the previously unreleased song (“Pearl Bastard”) and a Live in Blackpool concert DVD filmed in 1989. All of this will come in a 28-page booklet. Let us pray Brown’s live voice has been doctored for the Blackpool DVD.
3. Stone Roses: Collector’s Edition is that special something for that special mixed-format friend in your life. Packing the remastered album, the Lost Demos collection, and a third CD compilation of B-sides and non-album tracks, it also comes with a 12” album folder with three vinyl albums, believed to include “the original album as well as 13 B-sides and non-album tracks housed in a gold foil-embossed hardback slipcase.” If that doesn’t sound quite ridiculous enough for you, it also comes with a lemon-shaped USB stick that holds some promo videos, ringtones, wallpapers, single cover art prints, and home-video footage of Leckie’s documenting the recording of seminal Madchester baggy indiedance anthem “Fools Gold.” AND it will come with a 48-page book of photos and band notes and celebrity fan quotes courtesy of The Charlatans’ Tim Burgess, Oasis’ Noel Gallagher, Primal Scream’s Bobby Gillespie, and star producer Mark Ronson. Holy marketing working overtime, Batman!
4. Stone Roses: Lunatic Edition includes the remastered album, The Lost Demos, the B-side compilation, the Live in Blackpool DVD, all of John Squire's post-Roses music and artwork, all of Ian Brown's solo albums and singles, Mani's Primal Scream work, and every demo version of all members post-Stone Roses music. It also comes with a bronze gatefold picture frame containing ultrasound images of all four band members in their mothers' wombs. The Lunatic Edition comes with a functioning R2 droid unit that produces holographic images of the band playing in Glasgow in 1990. Vouchers in select copies are redeemable for a free haircut by the band member of your choice (not including Brown or Squire). A hand-painted, Jackson Pollock-inspired thimble is thrown in the mix, as is a giant pair of foam-rubber flares. The entire thing is crammed into a Frank Gehry-designed “Stone Rose” granite complex that can only be opened by clicking your heels three times and chanting “I’m off me ‘ead! I’m off me ‘ead! I’m off me ‘ead!” The edition comes hand-delivered to your door by a bartender from the original Manchester hotspot The Hacienda who will proceed to administer a foot massage and make you dinner (the meal will consist of lychee-infused snow peas and some sort of turkey and rice concoction).
If I weren’t surprised whatsoever by the repackaging stunts I have seen over the years I would think this was an elaborate joke by Silvertone to raise Stone Roses awareness. But it's no biggie, I guess. I’ll buy all three editions if it will delete all recollection of their second album abomination, The Second Coming, from my memory.
The Stone Roses:
1. I Wanna Be Adored
2. She Bangs the Drums
4. Don't Stop
5. Bye Bye Bad Man
6. Elizabeth My Dear
7. (Song for My) Sugar Spun Sister
8. Made of Stone
9. Shoot You Down
10. This Is the One
11. I Am the Resurrection
12. Fools Gold
The Lost Demos:
1. I Wanna Be Adored
2. She Bangs the Drums
4. Bye Bye Badman
5. Sugar Spun Sister
6. Shoot You Down (1 version)
7. This Is the One
8. I Am Resurrection
9. Elephant Stone
10. Going Down
11. Mersey Paradise
12. Where Angels Play
13. Something's Burning
14. One Love
15. Pearl Bastard
The B-Sides & Non-Album Singles:
1. Elephant Stone
2. Full Fathom Five
3. The Hardest Thing
4. Going Down
6. Mersey Paradise
7. Standing Here
9. Fools Gold
10. What the World Is Waiting For
11. One Love (Full Length)
12. Something's Burning (Full Length)
13. Where Angels Play
I’ve always thought the type of metal exhibited by the likes of Pelican and Isis would probably sit fairly well with your mum and dad. It’s melodic, not too screamy, and avoids lyrics that praise Satan’s unholy greatness. Tours by Cradle of Filth and Dimmu Borgir are unlikely to meet with parental approval. When post-metal bands come to town, however, you can marvel your folks with Isis’ reflections on the philosophies of Jeremy Bentham and Pelican’s musings on the impacts of globalization. “You see dad,” as I explained to my father when he was horrified to learn I was going to see a metal band, “this isn’t just a musical experience, it’s an intellectual experience.” Of course I just wanted to get wasted and hit on the surprisingly attractive women at an Isis concert. But when Pelican tour during May and June in support of their new EP on Southern Lord, Ephemeral, emphasize the educational aspects to your protective mum and dad.
05.16.09 - Tokyo, Japan - Ebisu Liquidroom (Raid World Festival) #
05.19.09 - Austin, TX - Emo's *
05.20.09 - Dallas, TX - Granada Theatre *
05.21.09 - Houston, TX - Meridian *
05.22.09 - Baton Rouge, LA - Spanish Moon *
05.23.09 - Birmingham, AL - Bottletree Cafe *
05.25.09 - Orlando, FL - The Social *
05.26.09 - Gainesville, FL - Common Grounds *
05.27.09 - Jacksonville, FL - Jack Rabbits *
05.28.09 - Atlanta, GA - The Earl *
05.29.09 - Carboro, NC - Cats Cradle *
05.30.09 - Washington, DC - Black Cat *
05.31.09 - Baltimore, MD - Sonar *
06.02.09 - New York, NY - The Fillmore at Irving Plaza *
06.03.09 - Philadelphia, PA - Theater of Living Arts *
06.04.09 - Northampton, MA - Pearl Street *
06.05.09 - Boston, MA - Paradise Rock Club *
06.06.09 - Montreal, QC - The National *
06.07.09 - Toronto, ON - Phoenix Concert Theatre *
06.09.09 - Cleveland Heights, OH - Grog Shop *
06.10.09 - Cincinnati, OH - 20th Century Theatre *
06.11.09 - Detroit, MI - Small’s *
06.12.09 - Chicago, IL - Bottom Lounge *
* Isis & Tombs
Performance Rights Act Passes House Judiciary Committee, Will Now Face a House Vote; I Can’t Think of a Finer Double-Edged Sword, Unless It’s Made with Damascus Steel
A long time ago, in a universe far far away, an unwritten truce was made. The record labels, young and untested, decided to turn a blind eye to the profit potential of performance royalty payments from an equally nascent form of media, radio, to allow both of them to grow out of a relationship of mutual reliance. This was about 70 to 80 years ago, when the first radio music broadcasts occured, and when jazz was actually popular. Not that there's anything wrong with jazz, unless it's from Utah.
We fast-forward to now, and the record labels under the RIAA are running out of effective ways to recoup the loss of their primary source of income, and are now resorting to political means to do so. Their latest effort, one that was initially reported in December in the year-end piece The War on Copyright (TMT Feature), is the Performance Rights Act, which basically forces the equally declining radio industry to pay royalties to the labels to play their music. Ironic cross-industry secret: Most of these stations get their music from the labels for free to begin with. I'm surprised the labels don't use that as a source of revenue.
The House edition of the act, H.R. 848, has passed the House Judiciary Committee yesterday on a vote of 21-9. All the Nays save one (Maxine Waters (D-CA)) were Republican, including Ranking members Lamar Smith of Texas and Bob Goodlatte of Virginia, according to FMQB. Its passing means that it will go to the House for an actual vote. While there are still a few hurdles before the act reaches the President's desk, its passing means that it is one of the few bills that will likely reach the President's desk in the first place. Its massive bipartisan support in both the House and Senate (bill S.379) will likely allow it to coast there.
What does it mean if it comes to pass? On the one hand, it will do some significant damage to commercial radio, forcing them to pay upwards in the hundreds of thousands to pay for royalties, and perhaps it will be a deserved beating. The majority of you readers likely do not even listen to commercial radio, due to its monotony, lack of original selection, and non-support for local artists. There are not many that will mourn if pop radio stations go the way that newspapers are going. On the other, this will likely damage college and independent radio stations just as much. While the amendments passed by Committee Chairman John Conyers (D-MI) before the bill's passing reduced the flat fees for radio stations making less than $500,000 in revenue, these fees can still be significantly damaging to radio stations that rely heavily on donations, especially in these trying times. Many of these stations will likely shutter in the few years after they are forced to start paying, if they can't scale back their operations significantly. Further, royalties like these often do not end up in the majority of artists' hands. And finally, the labels will only get a large amount of revenue in the short term, for as radio stations scale back and shutter, so too will the sources of royalty income.
In the end, it's a no-win situation.
Oh fudge! A recent iPhone application designed to remotely control the Transmission BitTorrent client has been re-diddly-jected by the giant, disembodied, floating, translucent head that gate-keeps that good Apple App Store. The App Wizard told the meek little Midwestern developer (in a booming voice) that this type of application is often used to infringe copyrights and that Apple has therefore decided not to allow such software on the App store. Then a bunch of cool shock-and-awe pyrotechnics went off and shit.
The program in question, Drivetrain is an iPhone application used to remotely control the multi-platform Transmission BitTorrent client via an ordinary FM radio signal... I mean, the internet. According to its developer, Maza Digital, Drivetrain “provides all the details of the web interface in a native iPhone app that’s easy to use.” The corn-based developer submitted the old girl to Apple for approval way back in the halcyon days of April, and then also resubmitted ‘er after making a few small UI changes. But darned if they didn’t just receive an email in return saying that the review would take longer than expected, which was then followed up by a second email in which the Wizard rejected the application for inclusion in the App Store, telling Maza Digital, “we’ve reviewed Drivetrain and determined that we cannot post this version of your application to the App Store at this time because this category of applications is often used for the purpose of infringing third party rights. We have chosen to not publish this type of application to the App Store.” Then he revved-up the fog machines some more.
“By now I am very disillusioned with the whole App Store process," Maza Digital told the website TorrentFreak in a torrential response, citing the old adage that people infringe copyright, not software. “We] find it rather ridiculous that they have rejected an app that does not do anything that may be ‘often used for the purpose of infringing third party rights,’” they added. Of course, all BitTorrent clients are absolutely legal, and yes, Drivetrain is just an application to control a torrent client (and as such goes absolutely nowhere near any copyright infringing material); but nevertheless, the Wizard of Apple has still decided that everything BitTorrent-related is a no go for the App Store for the time being. Time for Plan B, Maza Digital: call [Billy Mays.
Last we heard about Prurient's Dominic Fernow was that he was heading out on tour with everyone's favorite indie band Xiu Xiu, which probably didn't settle well with all their ultra-hipster fans. This time around Prurient is heading to Europe with darkwave synth artist Cold Cave. This one isn't as weird, considering the fact that Fernow recently put out a collection of early Cold Cave tracks on his Hospital label called Cremations, as well as previously issuing a seven-inch. Maybe this isn't that weird of a combination today, but imagine this happening in the '80s! Whitehouse and Depeche Mode double-bill!
Here are the dates:
05.20.09 - London, UK - The Luminaire *
05.21.09 - Leeds, UK - Brudnell
05.22.09 - Glasgow, UK - 13th Note
05.23.09 - Birmingham, UK - Vivid
05.24.09 - Cambridge, UK - Portland Arms
05.25.09 - London, UK - Cargo #
05.26.09 - Brighton, UK - Sex Is Disgusting
* Ariel Pink
# Jamie Stewart
Atlanta garage rock band Black Lips released Drop I Hold, an iTunes-only EP, last Wednesday. Known for their impressive live shows and for finding their place in the vast gray-zone between hype and substance, their new EP features a track from 200 Million Thousand, their latest album on VICE Records. Along with their questionably ironic mustaches and aviator shades, Gary Grice, better known as GZA, can be found dropping a new verse on the speak-songy psychedelic title track. I'm pretty stoked, mostly at the prospect of a new music video, which could potentially end with Cole Alexander bursting through the wall, haloed in stage lights, screaming at the whole Wu-Tang Clan with a scarf tied around his microphone. Here's hoping.
05.14.09 - Brighton, UK - The Great Escape
05.15.09 - Nottingham, UK - Nottingham Trent University
05.16.09 - Sheffield, UK - Rollerpalooza
05.17.09 - Cardiff, UK - The Globe
05.20.09 - Leeds, UK - TJS
05.21.09 - Liverpool, UK - Liverpool City Sound Station Festival
05.22.09 - Dublin, IE - Crawdaddy
05.23.09 - Glasgow, UK - The Classic Grand
05.24.09 - Manchester, UK - Academy 3
05.26.09 - London, UK - Electric Ballroom, Camden
05.27.09 - Amsterdam, AN - Melkweg
05.28.09 - Paris, FR - Vilette Soniques at Cabaret Sauvage
05.30.09 - Barcelona, ES - Primavera
06.01.09 - Essen, DE - Pfingstfestival
06.02.09 - Bremen, DE - Tower
06.03.09 - Copenhagen, DK - Loppen
06.04.09 - Stockholm, SE - What We Do Is Secret
06.05.09 - Stockholm, SE - Debaser Medis
06.06.09 - Malmo, SE - Debaser
06.08.09 - Bergen, NO - Hulen
06.09.09 - Oslo, NO - John Dee
06.10.09 - Aarhus, DK - Musikcafeen
06.18.09 - Toronto, ON - NXNE
06.19.09 - Baltimore, MD - Sonar
06.26.09 - Athens, GA - Athfest
06.27.09 - Nashville, TN - Sonar
07.02.09 - Atlanta, GA - The Earl
07.18.09 - Chicago, IL - Pitchfork Festival
07.23.09 - Vancouver, BC - Commodore Ballroom
07.24.09 - Seattle, WA - Capitol Hill Block Party
Not Only Do We Have to Catch Swine Flu, but Now We Can’t See, Merzbow? No Fun. And He’s Not Playing at No Fun Fest, Either
Yup. Japanese noise-monger Merzbow isn't coming to the states anymore, resulting in the cancellation of his appearance at this year's No Fun Fest. While part of me thinks it's some kind of postmodern non-performance art in some way or another, it's probably not. They probably just don't want our germs. Wusses.
While it's too bad you won't be able to catch renaissance man & "noise technician" Masami Akita, fear not, ear-bleeders: No Fun Fest is liable to be quite an avant-noisy riot without him. There are a myriad of other acts playing this weekend at the Music Hall of Williamsburg in Brooklyn. All you deaf hipsters who haven't bought a ticket already are shit out of luck, though -- tickets for the weekend and individual days are SOLD OUT. Bites. Check out the lineup below and Swedes of the future, look out; No Fun Fest SWEDEN is coming this September to Stockholm. The lineup has yet to be announced, but I'm crossing my fingers for at least one ABBA tribute band.
No Fun Fest Lineup:
- Friday, May 15 (starts at 7 PM):
Xeno and Oaklander
- Saturday, May 16 (starts at 7 PM):
Rafael Toral w/ C. Spencer Yeh, Trevor Tremaine
Sons of God
- Sunday, May 17 (starts at 6:30 PM):
Prurient / Kevin Drumm
Peter Rehberg/Marcus Schmickler
Chicago in 2009: so much to answer for. Not only are the Cubs and White Sox tagged to have impressive 2009 campaigns in the glorious world of Major League Baseball, but the Blackhawks have finally become a real hockey team and the Bulls almost pulled off a major upset in the “Association.” Before I get too excited and head off to McChuggigan’s S.B.A.G. (Sports Bar and Grill) to ogle skimped-out cougars and future wait-staff lifers while I mainline draft Bud and Jager in my Manny dreads, I should first take a reality pill and get my bearings. If this were Sports, I would have come up with a half-assed Huey Lewis-inspired headline. But this is rock ‘n’ roll, dammit, and for eight years, Chicago-based Chin Up Chin Up have mastercrafted their truly unique version of it. On May 15, the band will play their final gig after recently deciding to hang up their spurs for good.
Having no discernable talent whatsoever, I am unsure how ex-bands spend their time. Scrapbooking circles? Mahjongg? Investment banking? Whatever the future holds for the members of Chin Up Chin Up they can rest easy knowing they left behind a two-album legacy marked by dazzling, contorted avant-rock bliss (We Should Have Never Lived Like We Were Skyscrapers, Flameshovel Records, 2004, and This Harness Can’t Ride Anything, Suicide Squeeze, 2006 [TMT Review]). We reached out to singer/guitarist Jeremy Bolen to get his reflections on the decision to break up, the final show, and future plans.
We might as well start with the most obvious question...what prompted the end to the band and why now? And am I going to be able to pull out either the "amicable split" or "musical differences" cliché?
Well the band has really been inactive for quite a while now. I think musical differences could be part of it, but more than anything it just suddenly felt like it was time. I really never in my wildest dreams imagined it ending at any point but things just weren't progressing in a very positive way. Everyone approaches things differently and I personally was not into how some of the members were approaching things in general. Being part of any kind of creative outlet should be fun, and when it becomes a job, well, then you kind of have to rethink where it’s all going. CUCU was the main priority in our lives for 5 years or so, we spent all of our time and energy on it, and for me at least, I wanted to get back to other parts of my life. I think this is true for everyone. We were all fine with just letting the band linger in hiatus but when Greg (Sharp, CUCU keyboardist) told me he was moving in June, it just seemed like it would be good to have some closure. I was fairly confident the band really was never going to do anything again. Our last show was a shitty street fair, and no one should go out like that.
What’s next for all of you?
Greg is moving to State College, PA where he is going to attend Penn State to get his Ph.D in Sociology. It’s a pretty amazing thing and I am super proud of him. At some point you will have to call him Dr. Sharp. Chris (Dye) is playing drums in a band called Speck Mountain. Nathan (Snydacker, guitar) has a daughter who is six months old or so, and I think that is his main focus at this point. I am spending the majority of my time concentrating on photography and also Vacations (Bolen, Sharp, and Bobby Burg). Jesse (Woghin, bass) is working at The Onion and playing in, like, 12 bands (Ghost Jeans, Shrimpsss, and Hardy Mums to name a few).
Will Vacations remain a "side project" to other future music outlets?
We never really meant Vacations to be a side project. It is something we try not to take too seriously because at this point I think that’s how we feel a band should be. We work hard though, so there’s a difference really. It think a lot of bands are playing office half the time. We're just not interested in that rat race anymore. We will be stepping things up a bunch this summer -- a tour in August, and recording a new record in October.
Is it with a sense of relief or sadness that you guys are ending the band? Are you looking forward to having Chin Up Chin Up behind you and starting a new chapter, so to speak?
I don't think a relief would be the right word... we’ve been practicing the last few weeks for the show and yeah, I get a little sentimental and sad. We have been though a ton together. Closure is always nice. I guess I am just happy that we can pull this off and that we’re all on good enough terms to play together still. We have been insanely lucky and really accomplished far more than I ever thought we would. My 16-year-old self is way psyched. That said, I think we have all already moved on, and that feels good.
Did you guys toy with the idea of doing a full farewell tour or has it always been a one-off Last Waltz type of thing?
Wow, I really wish we could pull off something as great as The Last Waltz. No, we never really talked about a full tour. We toyed with doing a New York show, and I still would love to, but it just never came together.
For fans of the band, The Empty Bottle venue brings up immediate and possibly uncomfortable memories, considering its association with Chris' death (note: original bassist Chris Saathoff was killed in a hit-and-run accident after a show at the club on February 14, 2004). Did the band's history with the club come into play when deciding where to book the final hoorah or was The Bottle an obvious choice?
The Bottle, for better or worse, has been our home venue from the beginning, so there was really no question on that at all. It’s where we basically started and where we have always hung out. As far as Chris, as always we kind of see it as a celebration of his life. It will be nice to play some songs we wrote together one last time.
What can fans expect you to play for the final show?
We’re going to play our favorite songs from the last 6 years, and hopefully everything people want to hear.
How will you look back at your time spent in the band and how do you think Chin Up Chin Up will be remembered?
Although it’s kind of a blur, it’s been something I wouldn't trade for anything. I guess you always kind of hope that you will be remembered in some way... but it’s not really something I'm thinking of or really concerned about now.
The end of the road:
05.15.09 - Chicago, IL - Empty Bottle #
# Tight Phantomz, Sleep Out, Rain Delay Theatre
[Photo: Chris Strong]
Wilco (The Band) are streaming Wilco (The Album) for Wilco (The Audience). You can find the stream right here. Or you can click on this link, but it's not really safe for work and has nothing to do with Wilco. I recommend the latter!
The album's due June 30 on Nonesuch.
05.23.09 - Tenerife, Spain - Tenerife Auditorium
05.25.09 - Malaga, Spain - Teatro Cervantes
05.26.09 - Madrid, Spain - Teatro Calderon
05.29.09 - Seville, Spain - Territorios Festival, La Cartuja
05.30.09 - Oporto-Braga, Portugal - Teatro Circo
05.31.09 - Lisbon, Portugal - Lisbon Coliseu
06.01.09 - Santiago de Compostela-Galicia, Spain - Palacio de Congresos
06.03.09 - San Sebastian, Spain - Kursaal
06.04.09 - Barcelona, Spain - Auditori Barcelona
06.12.09 - Cincinnati, OH - Aronoff Center
06.13.09 - Manchester, TN - Bonaroo Festival
06.15.09 - Oklahoma City, OK - Bricktown EventsCenter
06.17.09 - El Paso, TX - Abraham Chavez Theatre
06.18.09 - Tucson, AZ - Centennial Hall
06.19.09 - Las Vegas, NV - The Joint
06.20.09 - Pomona, CA - Fox Theatre
06.22.09 - Los Angeles, CA - Wiltern Theater
06.23.09 - Los Angeles, CA - Wiltern Theater
06.27.09 - Berkeley, CA - Greek Theater
06.28.09 - Stateline, NV - Lake Tahoe Outdoor Arena
06.30.09 - Jacksonville, OR - Britt Pavilion
07.03.09 - Morrison, CO - Red Rocks
07.08.09 - Vienna, VA - Wolf Trap
07.10.09 - Wilmington, DE - Frawley Stadium
07.11.09 - Lowell, MA - LeLacheur Park
07.13.09 - Brooklyn, NY - Keyspan Park
07.17.09 - Portland, ME - Maine State Pier
07.18.09 - Wappingers Falls, NY - Dutchess County Stadium
07.19.09 - Lewiston, NY - Art Park
07.23.09 - Detroit Lakes, MN - 10,000 Lakes Festival
08.13.09 - Oslo, Norway - Oya Festival
08.14.09 - Gothenberg, Sweden - Way Out West Festival
08.21.09 - Erfurt-Hohenfelden, Germany - Highfield Festival
08.23.09 - Brecon Beacons, Wales - Green Man Festival
08.25.09 - London, England - Troxy
08.27.09 - Dublin, Ireland - Vicar Street
Thanks to EVP for the tip!
You Can Now Listen to All Major NIN Releases in Their Entirety via the NIN: Access iPhone App; Your Correspondent Left in a Quandary!
Trent Reznor is certainly down with the kids! Last month, he announced the Nine Inch Nails iPhone App which “is a mobile window on all things NIN: music, photos, videos, message boards, even — thanks to a GPS-enabled feature called Nearby — the fans themselves.” These NIN-fanboys are now able to listen to all NIN albums ever released on their precious iPhones (with the added benefit of eavesdropping on conversations between other fans at NIN concerts).
The trouble is, as a pretentious, liberal, plant-eating TMT news writer, I don’t know whether to hate or love this news story. Should I rejoice in the fact that this is another kick in the teeth to record labels and their total inability to get the internet, or do I lament Mr Reznor’s never-ending pursuit for more profit?
It’s a tough life writing for Tiny Mix Tapes!