Wave hello to WAVVES, a great little noise pop group who surfed onto the scene last last year with their album WAVVES. Their upcoming shows will surely have audiences everywhere doing the wave, especially since their new album, WAVVVES (not the extra "V"), is set for release March 17 via Fat Possum.
“At first I thought they were just another group riding a wave of hype,” said TMT writer Munroe at an office picnic. “But their sound waves turned out to be the real deal. I can see why they’ve been making waves with critics and fans alike.”
Get ready to wear your wave haircuts and eat some Wavy Lays at the following:
03.16.09 - Phoenix, AZ - Trunk Space
03.17.09 - Denton, TX - 715 Panhandle
03.18.09 - Austin, TX - SXSW
03.22.09 - Dallas, TX - The Lounge
03.23.09 - Knoxville, TN - The Pilot Light
03.24.09 - Chapel Hill, NC - Nightlight
03.25.09 - Harrisonburg, VA - The Blue Nile
03.26.09 - Baltimore, MD - The Zodiac
03.27.09 - Philadelphia, PA - The Marvelous Music
03.28.09 - New York, NY - Cake Shop
03.29.09 - Brooklyn, NY - Market Hotel
03.30.09 - New York, NY - Mercury Lounge
03.31.09 - Toronto, ON - Sneaky Dee’s
04.01.09 - Detroit, MI - Magic Stick
04.03.09 - Chicago, IL - Empty Bottle
04.04.09 - Milwaukee, WI - U of W Project Lodge
04.05.09 - Minneapolis, MN - 7th Street Entry
04.06.09 - Fargo, ND - Aquarium
04.08.09 - Olympia, WA - The Northern
04.09.09 - Seattle, WA - The Funhouse
04.11.09 - Portland, OR - Holocene
04.12.09 - Davis, CA - DAM House
04.13.09 - San Francisco, CA - Bottom of the Hill
04.15.09 - Los Angeles, CA - The Echo
04.16.09 - Irvine, CA - Acrobatics Everyday
04.17.09 - San Diego, CA - Casbah
[Photo: Alex Miranda]
The minds at the RIAA must have thought economists of the future would describe their innovative business model -- suing their customers -- with flowery adjectives such as “brilliant” and “good.” So, it must really hurt to hear their practices being described as a campaign of “sham litigation.” Shahanda Moelle Moursy, a North Carolina resident, was a defendant in such a sham lawsuit with the RIAA, and she has had it. She is suing the RIAA (along with Vivendi Universal, Warner Music, Sony BMG, Motown Records, Safenet, and MediaSentry) for abusing the legal system. According to Moursy's attorney:
These suits are designed to attract media attention, and often do, as stories emerge of [the RIAA, etc.]’s suits against the elderly, disabled, technologically clueless, and other vulnerable victims. Many of these victims have no idea how to operate a computer, let alone how to install and use peer-to-peer networking software to exchange music they would not likely be listening to anyway. But actual innocence is rarely a consideration.
Along with the much dugg Pirate Bay trial (which ends today), this lawsuit against the RIAA represents yet another blow to the current system of record sales, distribution, and the corresponding enforcement suits. It will be interesting to watch this case unfold.
John Parish and PJ Harvey are touring together across Europe this spring. They'll be playing cards on the bus, taking photos in front of the Eiffel Tour, telling each other ghost stories, and all the other fun things people presumably do on tour. But wait -- who is John Parish, you ask? Well, ask no more. Perhaps you are familiar with his 1996 joint album with Ms. Harvey, Dance Hall at Louse Point. Perhaps you recall that he produced her latest full-length, White Chalk (TMT Review). But there is soooo much more to John Parish than just the aforementioned facts.
Let me lay it down for ya. The working relationship between these two fine English artists started in the late 1980s, when they were in a band together called Automatic Dlamini -- one of PJ Harvey's first musical projects. Parish then began working as a producer, both with Harvey and with a spectrum of artists like Giant Sand, Sparklehorse, Tracy Chapman, and 16 Horsepower. He co-wrote an Eels album, guested on the first Goldfrapp album, and collaborated with Portishead's Adrian Utley. Quite an impressive pedigree, mmmm??? All I've done in the past 10 years is work retail and learn how to make Thai green curry. And now the Parish/Harvey partnership is back in effect. Not only is this tour in the works, but a new album, A Woman a Man Walked By, is slated for a March 30 release on Island Records
04.15.09 - Brighton, UK - Corn Exchange
04.16.09 - Oxford, UK - Regal
04.18.09 - Bristol, UK - Anson Rooms
04.20.09 - London, UK - Shepherds Bush Empire
04.22.09 - Birmingham, UK - Town Hall
04.24.09 - Manchester, UK - Ritz
04.26.09 - Edinburgh, UK - Queen's Hall
05.02.09 - Porto, Portugal - Casa Da Musica
05.04.09 - Milan, Italy - Auditorium
05.06.09 - Stuttgart, Germany - Theaterhaus
05.07.09 - Berlin, Germany - Passionskirche
05.09.09 - Stockholm, Sweden - Nalen
05.10.09 - Oslo, Norway - Rockefeller
05.11.09 - Copenhagen, Denmark - Vega
05.13.09 - Amsterdam, Holland - Paradiso
05.14.09 - Brussels, Belgium - Ancienne Belgique
05.17.09 - Paris, France - Bataclan
The last we heard from Beach House was, well, the last time you listened to "Gila" on iTunes. Not much news has trickled in from their front, but at the rate the year is going, I fully expect them to surprise and wallop us with a fantastic EP in the fall.
Beach House will mostly breeze through the South on an upcoming tour that starts March 11. Actually, is there a minimum requirement of dates for it to qualify as a tour? Lawd knows.
Here's the schedule:
03.11.09 - Baltimore, MD - Sonar
03.17.09 - Houston, TX - The Orange Show *
03.18.09 - Austin, TX - Forcefield PR/Terrorbird SXSW Day Party
03.18.09 - Austin, TX - Red 7 and The Radio Room
03.19.09 - Austin, TX - Volume (Carpark/Paw Tracks SXSW Showcase) #
03.20.09 - Austin, TX - Cedar Street Courtyard
03.21.09 - Austin, TX - Auditorium Shores
03.31.09 - Lexington, KY - Hop Hop
04.01.09 - Bloomington, IN - Waldron Arts Center
04.02.09 - Iowa City, IA - The Picador
04.03.09 - St. Louis, MO - Billiken Club
05.25.09 - George, WA - Sasquatch Festival
* Jana Hunter
# Adventure, Belong, Ear Pwr, Ecstatic Sunshine, Lesser Gonzalez Alvarez, Dent May & His Magnificent Ukulele
We love Twitter because bite-sized conversations are the future. Fuck depth, fuck substance, and -- most of all -- fuck Alan McGee (Alan McWho?). The former Oasis manager and one-time boss of Brian Eno is using the social networking site to pick a fight with old-man Eno. See the following:
@Brian_Eno put on any record you have ever produced brian if you want people to sleep.was it your idea to dress up coldplay as the beatles
@Brian_Eno morning brian wondered when you would wake up when are you going to make a decent record again it was 1972 was the last one cunt
@Brian_Eno or should i say obnoxious cunt
@Brian_Eno what boring shit are you going to produce next brian old bean?
@Brian_Eno i would have stuck to the art installations more chance of having a decent conversation with a bulb than coldplay or dido/bland
So far, Eno only had this to say:
@alanjmcgee Fuck off, wanker
Maybe Twitter's not so bad after all. Actually, don't we have a Twitter too?
Last week, as part of a recent settlement with New Jersey regarding its Great Leader Bruce "The Boss" Springsteen, Ticketmaster said it would stop redirecting visitors to its solely-owned resale site, TicketsNow, before tickets went on sale to the general public (TMT News). Because, you know, it's kind of a little bit unethical. Fast forward to now. Looks like the company is doing just that with tickets to see The Patron Saint of Canada Leonard Cohen. Ontario's Attorney General Chris Bentley won't have it and says his office is now looking into a whole slew of entertainment and sporting events that Ticketmaster is in charge of. In layman's terms: you screw with The Kinky Jew/Monk, you screw with Canada, eh?
"Sometimes it's a matter [in] large corporations like that of the left hand not knowing what the right hand is doing. Is that understandable? Yes. Is that excusable? No. Do they need to correct it? Absolutely. We're not happy and I think fans are justifiably very unhappy," Copps Coliseum chief executive officer, Duncan Gillespie said. "The reality is that somebody will pay $1,000 for a Cohen ticket, but he [The Good St. Cohen] wants to keep it at reasonable prices for people, so this undermines [his intensions] totally."
Tickets with a face value of $99 to $250 were being sold on TicketsNow.com for between $568 to $856, plus a service charge ranging from $85 to $128 per ticket. Ticketmaster took a break from cackling and rolling in the money of the Great White North to insist that it hasn't done anything wrong whatsoever. It then let out a high-pitched shriek, morphed into a Jabberwocky, and flew off into the night.
Ticketmaster has already been hit with four Canadian lawsuits. The latest represents Canucks in Manitoba going all the way back to February of '07. It was initiated by a woman who tried to purchase Carrie Underwood tickets in an attempt to see the subtle differences in vocal inflection between the recorded and live versions of such hits as "Jesus Take the Wheel." She tried to buy tickets on the Ticketmaster website, but kept being redirected to TicketsNow where she thought she purchased four tickets at $57 a pop. Later, the credit card was charged $917.75 including "service" and a "delivery charges." After seeing the bill (and I can only assume after actually listening to Carrie Underwood), she tried to cancel the order, but was denied. Cohen wept.
Nachtmystium Booted from Toyota-Sponsored Event for Alleged Ties to Nazism; Say What You Want about the Tenets of National Socialism, At Least It’s an Ethos
In a shocking turn of events, the Illinois psychedelic black metal band Nachtmystium have been banned from playing the Toyota Scion Rock Fest in Atlanta this past Saturday due to alleged ties to Nazism. Although the group has released material on Unholy Records, a label known to promote and adhere to Neo-Nazism, they claim the relation was business-oriented only and that Nachtmystium in no way espouse or condone the ideologies or practices of Nazism. In fact, in a press release put out by band leader Blake Judd, the group claims to be totally apolitical and consider themselves to be more like "hippies" than your average leather-clad metal dudes. Judd also stated he would be filing legal proceedings against those who slander or libel the band and cause them lost opportunities.
While Toyota hasn't made any public statements regarding the debacle, we can all sleep easily tonight knowing that corporate entities like IBM, Coca-Cola, Bayer, Volkswagen, Chase Bank, and Ford have never funded Nazism or have been affiliated with National Socialism or fascism in any way. Cough.
With Andrew Broder’s formerly main music outlet Fog on hiatus, the hip-hop/indie rock/electronic musician needs something to do. So what did he decide to do? Why, make music and release it exclusively online, of course!
Mr. Broder has released an astonishing five albums in roughly just as many weeks, and he’s perfectly okay if you go ahead and download ’em (sorry, there's no website to link to). However, he does hope that you leave a lil’ sumthin’ sumthin’ in the way of a donation, so he can still eat and continue to release his “audio-diary of-sorts” for awhile.
"The material on these records is improvised, layered music for guitar and turntables," says Broder. "It is a process and style I have been developing over the last couple of years, and it is a big departure from Fog's music."
Below are some links that bring you to the albums, as well as Broder’s preferred tracklisting for each one. And, hey, if you got no cash, don’t worry. Broder says it is okay if you can’t pay -- just tell everyone you know if you like it, and make THEM pay!
1. I Must Fix
2. All the Problems
3. Wet Match
1. Gas Leak
2. One Hundred Dollars
3. Stop Making Plans
1. No Argument Here
4. Pay the Man
5. All Automatic
6. Until it Bleeds
3. Goodbye Tom
5. Places No One Else Is
6. Reasons Not to Go
8. By Force
If you would like to donate, PayPal Broder some money to email@example.com.
The Decline of British Sea Power, British Sea Power’s debut album, was one of the strongest records of 2003. It wasn’t just the brilliant, distortion-heavy rock songs or the quirky use of Gregorian chanting, but the way they had made something truly evocative of Great Britain, both in terms of historical musical trends and the way they captured something of the British spirit in their tales of decay, the ocean, and past military adventures. Which is why it’s been such a shame to see them descend into stereotypical stadium rock and U2-esque anthems with their two most recent releases, Open Season and Do You Like Rock Music?
However, British Sea Power seem to be going back to that redolent, erstwhile style. On May 5, Rough Trade will be releasing a DVD of 1934’s Man of Aran, featuring new music written by British Sea Power that will not only soundtrack the film, but will also be included separately on CD. Check out this clip. I think it demonstrates what BSP do best: capturing a sense of mood, time, and place with modern instrumentation. According to BSP guitarist Noble:
It’s a wonderful film. The images vary between huge drama and a brilliant kind of ridiculousness -- check out the amazing foot-wide bobbled berets that the fishermen wear. It’s a great look, like a 1930s Irish version of Jack White or Kraftwerk. It’s a film that’s also relevant to the current era – a time when the idea of living a simpler life is in the air. The film shows something I'd like to think I could do, but know I never will.
The band will perform the soundtrack live to the film April 23 at London's BFI Southbank.
“Don’t Stop the Groove” wasn’t just the title of one of organist Lyman Woodard’s best records. It was the immutable truth at the core of his being, the philosophy that transformed his live performances into four-alarm parties.
Woodard, who died Tuesday at Owosso Memorial Hospital at age 66, was a stalwart on the local jazz scene for decades. But he really hit his stride in the 1970s, when his band, the Lyman Woodard Organization, took up residence at Cobb’s Corner, a Cass Corridor nightspot that became a leading showcase for jazz in Detroit. Mixing a grits ’n’ gravy, bluesy approach to jazz with R&B, soul, funk and even a bit of disco, Woodard created a charismatic brew, with booty-shaking rhythmic grooves supporting natty horns and enough improvisation to give the music an edge of spontaneity.