Going Ga Ga Ga Ga Ga for Spoon; New Album, Extra Goodies, Reissues, and More!

Okay, so I just pre-ordered Ga Ga Ga Ga Ga, the new Spoon album scheduled for release by Merge Records July 10 in the US of A. And if you quickly head over to Merge's website, you'll have a chance to receive an autographed Britt Daniel 7-inch with two tracks that aren't on the new album, just as long as you're among the first 200 people to pre-order Ga Ga Ga Ga Ga. YES!

Ga Ga Ga Ga Ga (named for the sounds in the album's second track, "The Ghost of You Lingers") was recorded all throughout 2006 by Spoon in Austin, Texas at drummer Jim Eno's studio with Mike McCarthy. The album will come packed with a limited-edition, 22-minute bonus EP.

Spoon have some upcoming shows and a tour in the works, but in the meantime, they are playing many-a-secret show, which you can only find out about by singing up for their mailing list here.

Ga Ga Ga Ga Ga Ga tracklisting:

Saatchi & Saatchi Pt 1: Fool me once, get played by Annie Nightingale. Fool me twice, get played by Judge Jules. Fool me three times, get banned by the BBC

Rarely a day passes without each and every one of us receiving the mandatory spam e-mail like “Bill Gates is giving away his money... it worked for me... I got $5000!” or “Sick child needs your help” or “Nigerian millionaire will pay you back 10x your loan!” into our already overcrowded inboxes. Even the most respectable newspapers occasionally flash a “Man gets kidney removed after passing out in snow!” or “Alien autopsy... real?” headline occasionally. From the Shroud of Turin, the Voynich Manuscript, the Cerne Abbas Giant and “Paul is dead,” Milli Vanilli and crop circles, hoaxes and scams are simply part of our everyday wack-off-in-the-shower-and-go-to-work lives. Unless it is someone getting shirked or swindled out of their old-age pension (hilarious, but sad) or something about Scott Stapp getting arrested (say it ain’t so!), we just shrug our shoulders and get on with our everyday wack-off-in-the-washroom-while-everyone-else-is-in-a-meeting/in-class/in-church lives.

For the most part, if there’s egg to be splattered on someone else’s face (but NOT a wrinkled old person’s or former Creed singer’s, heaven forbid!) most of us are pretty okay with it. Like, if someone was to pull the wool over some BBC executives' and DJs' sheep-like eyes, it would be a hoot. It has happened, and it is kinda funny.

Radio1 DJs Annie Nightingale and Judge Jules both gave “Style, Attract, Play” by Shocka (featuring Honeyshot) a spin, thinking they were servin’ up the latest piping-hot shit cold. The ditty also played on XFM and Kiss in the U.K. That isn’t anything in itself -- BBC and Kiss and XFM play a lot of bad dance-oriented, global girlie-group, electro crap -- but Honeyshot, the band, is a creation of Gum, a subdivision of advertising giants Saatchi & Saatchi, and “Style, Attract, Play,” the song, is nothing more than an ingenious ad pitch for hair gel brand Shockwaves.

NME reports that a press rep for Shockwaves at first denied all knowledge of the song but later said “there may be a link” between the two, after the track had been pulled by BBC. He then twisted his ‘stache between his thumb and forefinger and declared, “Got you again, you fooooools” (he drew out the “oo” in “fools” to emphasize a dramatic, evil effect) before grabbing his top hat and jumping out the window onto a train that happened to be passing at that very instant.

BBC claims that “Style, Attract, Play” was pushed at them via the usual process. However, no one mentioned it was a promotional song, despite the fact that Honeyshot and the marketing concept surrounding them had already been reported on a few times in the press, the fact that it is by someone called ‘Shocka,’ and the fact that the label bears the name Gum Records. A nameless, faceless spokesman for BBC1 (maybe the idiot that that didn’t clue in at first and playlisted the song, maybe just someone covering for an idiot at the BBC who green-lighted the song for rotation, your choice) said, “The track was presented to Radio 1 in the usual way, via a legitimate promotions company and we were not aware that it was a promotional tool for a hair product. As this is created by an advertising agency with the sole purpose of selling the product, and we do not play adverts, it is not something we would play again.” If only the same could be said about “Crazy Frog” and the dozens of novelty songs that get to number 1 in the U.K. every year. Isn’t every song played on the radio an ad placed by cutthroat music marketers to entice listeners to buy or download a full album anyway?

In a passionate addressing of the situation, Peter Robinson argues that it was important that the song “failed”; however, getting played on Radio 1, XFM, and Kiss, plus getting a ridiculous amount of attention from a world-press heavyweight like The Guardian and evenheavierweights Tiny Mix Tapes could hardly be considered a “failure,” could it? As Robinson himself claims in this article, “one must never underestimate the absurd desperation of companies attempting to Connect With The Kids,” sounding very much like a man who works for an absurd, desperate industry that is forever attempting to Connect With The Kids.

NME also reports that last year Andrew Wilkie, managing director of Gum (the company that created the fictional Honeyshot), offered this prescient nugget into the mind of modern advertising agencies: “It could be as simple as sponsorship of a tour through to clothing that could be worn, drinks, cosmetics -- all that stuff is possible.” Indeed it is, indeed it is.

Heavy research (read: 5½ pints and 3 bottle tokes) reveals that this kind of thing has been happening for a lot longer than one would have thought. Our diggers didn’t come up with the exact details of the arrangement, but there has to be some sort of thread between Jose Eber, “Achey Breaky Heart,” and the ensuing “Cyrus virus” and line-dancing combo that took hold of North America in 1992. Well, there is no other reason I can come up with to explain the ridiculous “Tennessee waterfall” atop both of those two douchebags’ heads, can you?

Saatchi & Saatchi Pt 2: “Dr. Martens Sort of Exploits Images of Iconic Rockers, Estates Fight Back, People Get Fired.” - Kurt Cobain

Last week, the ad agency Saatchi & Saatchi were doing the work that has made them famous and realized that, apparently, people had completely forgotten what subculture is commonly associated with: Dr. Martens boots. Some guy named Andrew Petch did some serious outside-the-box thinking and had the boys down in design whip up a few ads featuring Kurt Cobain, Joey Ramone, Joe Strummer, and Sid Vicious hanging out in heaven, still wearing the boots that two of the four were seen wearing occasionally.

Petch, whose childhood next-door neighbor owned Nevermind, he thinks, spouted: "We wanted to communicate that Dr Martens boots are 'made to last' and we discovered that these idolized musicians wore them. Showing them still wearing their Docs in heaven dramatized the boots' durability perfectly. And, as images, they feel very iconic."

The ensuing circus in summary:

Blogs: (Distribute things, complain about them.)

Courtney Love: This ad campaign is exploiting my former husband’s likeness! Crap! Plus he never even wore those things.

Joe B.: I should get around to writing that Doc Martens story soon.

Saatchi & Saatchi (Pushes glasses up onto nose, points to a book): But the ad campaign was only licensed to run in a U.K. magazine, where you don’t have to get people’s permission to profit from their dead relatives.

Dr. Marten: The only possible PR move at this point is to fire you guys.

Saatchi & Saatchi: Dude

Joey Ramone’s Brother: I don’t really approve these ads either. Plus I’m pretty sure Joey never even wore those things. Courtney Love was right. Weird.

Saatchi & Saatchi: But dud-- Aw. The ads were “edgy,” not “offensive,” by the way. (Remains extremely profitable)

Dr. Martens, Courtney Love, The Estates of Johnny Rotten, Joe Strummer, and Joey Ramone: (Remain extremely profitable).

Mr P: There, two Saatchi & Saatchi stories. Okay, guys, time to buy ad space.

Joe B.: (Distributes things, complains about them.)

Bump up the Terror Alert, New Mexican Disaster Squad is Hitting the Homeland

In a brash move, the Department of Homeland Security has decided to go ahead with their plans on digitally releasing a five-song EP, titled Peace with Nothing. Instead of using a kewl play on their own name, for instance H-Land Scurdzy, they have chosen to work under the moniker or New Mexican Disaster Squad. The outfit is a standard four piece (two guitars, bass, and drums) with very North American names. Due to security reasons, they have never played a public show and, in the vein of Steely Dan, rely on CD sales to keep their career afloat.

The EP will be available though the internet only, starting June 5. As of today, however, you can go on over to Jade Tree and stream it for free. Peace with Nothing will be available through iTunes, eMusic, Yahoo! Music, and loads of other digital music services.

Though contact has with the band has been limited ever since the national threat level has been raised from mauve to red, NMDS was nice enough to let me speak with the head of Homeland Security, Michael Chertoff.

Petya: Mike, if I may, what’s the story on this new EP your boys are putting out?

Mike: Cast through shades of indignant but energetic punk, Peace With Nothing serves as a culmination of the band's allegiance to a simpler time in hardcore, while still maintaining a refreshed sense of insanity, urgency, and the band's crucial heritage as a vehicle for change in punk.

Petya: Not to call you out or anything, but didn’t you just lift that straight from the Jade Tree website?

Mike: You wanna go to Guantanamo, bitch? No, but all jokes aside, the record has a lot of political themes. The boys work a lot with irony, making fun of the President and whatnot. But you know, it’s all ironic because G-Dub is doing one helluva job right now.

Petya: He is?

Mike: What the fuck? Are you some tree-humping pinko? Watch the news, kid. He has completely revitalized what was once a barren wasteland in Iraq.

Petya: Really? Because that’s not what most news sources are saying.

Mike: Anyway, back to the music.

Petya: Yes, let’s.

Mike: The CD is genius because it will work under the guise that they hate the government, but all the complaints they mention are actually positive things the government has done. So by the end of the CD, the kids will be like, “NMDS is full of shit. America rocks!”

Pete: You guys are quite the moralists.

Mike: Thank you.

EMI Defies Fate as Predicted on Godspeed You! Black Emperor’s Yanqui U.X.O., Bought Out By Terra Firma for $4.7 Billion; Sorry Warner Music Group

In my future fantasy world, I'm the professor of an advanced ethnomusicology course. After spending a considerable amount of the semester wading though The Beatles, The Rolling Stones, Bob Dylan, Led Zeppelin, and Frank Zappa, we finally get to the part in the course where I'm something of an expert: post-rock — a genre typified by sometimes large music ensembles and often vocal-less, extended-length pieces, with instrumentation typified more so by European classical than by American rock 'n' roll.

I spend more time explaining how Tortoise evoke a sense of place — in this case, Chicago — with their mix of jazz and vocal-less, well, umm, post-rock. Either way, an entire class period is consumed with the playing of, first, "Djed" from Tortoise's Millions Now Living Will Never Die and second, "Rockets Fall on Rocket Falls," from Godspeed You! Black Emperor's Yanqui U.X.O. With the latter, I discuss how GY!BE evoke strong anti-government and protest sentiments with their crescendo-laden jams and field-recorded samples, not to mention their album artwork.

And so, just prior to playing the entire 20 minutes-plus "Rockets Fall on Rocket Falls," I show the class the back cover album art from Yanqui U.X.O, showcasing the major record labels' ties — through monetary contributions — to the military industrial complex (click the image above to see more, or buy the album).

In 2002, things were a bit different, the state of the music industry slightly less bleak. The majors consisted of Vivendi-Universal, Sony, BMG (currently one entity known as Sony BMG), AOL-Time Warner (now, just Warner Music Group), and EMI.

GY!BE, subversive as they were/are, chose to add EMI to the long list of AOL-Time Warner labels. They have since apologized for their oversight, stating that at the time they printed the album, Warner was in the process of acquiring EMI. And to Godspeed's credit, Warner was indeed in the process of acquiring EMI. Some might have predicted a Sony and BMG merger, but what we have all really been waiting for half a decade is for this damn EMI and Warner Music Group merger. Well, I don't think that's going to happen.

Announced Monday, private equity group Terra Firma purchased EMI for $4.7 billion. Apparently this equity group did something Warner Music Group didn't do, which is: "Terra Firma's offer is the most attractive proposal received and delivers cash now, without regulatory uncertainty and with the minimum of operational risk to the company," says EMI Chairman John Gildersleeve.

Terra Firma's CEO said the following of the purchase: " Terra Firma's objective is to build on EMI's current position as one of the world's leading music companies and accelerate the development of its digital and online strategy to fully exploit this long-term growth opportunity."

Did you catch the joke about "long-term growth opportunity?" Well, anyway, none of that trust-busting bullshit; the deal is legit, just gotta show up with the cash. Meanwhile, The Financial Times reports that Warner is already in talks with Terra Firma and other private equity groups about acquiring the recorded music division of EMI once the sale is complete (and rumor has it they are still considering raising their bid), and another equity firm, One Equity Partners, is also expected to make a bid. EMI's gotta be blushing by now.

EMI Defies Fate as Predicted on Godspeed You! Black Emperor’s Yanqui U.X.O., Bought Out By Terra Firma for $4.7 Billion; Sorry Warner Music Group

In my future fantasy world, I'm the professor of an advanced ethnomusicology course. After spending a considerable amount of the semester wading though The Beatles, The Rolling Stones, Bob Dylan, Led Zeppelin, and Frank Zappa, we finally get to the part in the course where I'm something of an expert: post-rock — a genre typified by sometimes large music ensembles and often vocal-less, extended-length pieces, with instrumentation typified more so by European classical than by American rock 'n' roll.

I spend more time explaining how Tortoise evoke a sense of place — in this case, Chicago — with their mix of jazz and vocal-less, well, umm, post-rock. Either way, an entire class period is consumed with the playing of, first, "Djed" from Tortoise's Millions Now Living Will Never Die and second, "Rockets Fall on Rocket Falls," from Godspeed You! Black Emperor's Yanqui U.X.O. With the latter, I discuss how GY!BE evoke strong anti-government and protest sentiments with their crescendo-laden jams and field-recorded samples, not to mention their album artwork.

And so, just prior to playing the entire 20 minutes-plus "Rockets Fall on Rocket Falls," I show the class the back cover album art from Yanqui U.X.O, showcasing the major record labels' ties — through monetary contributions — to the military industrial complex (click the image above to see more, or buy the album).

In 2002, things were a bit different, the state of the music industry slightly less bleak. The majors consisted of Vivendi-Universal, Sony, BMG (currently one entity known as Sony BMG), AOL-Time Warner (now, just Warner Music Group), and EMI.

GY!BE, subversive as they were/are, chose to add EMI to the long list of AOL-Time Warner labels. They have since apologized for their oversight, stating that at the time they printed the album, Warner was in the process of acquiring EMI. And to Godspeed's credit, Warner was indeed in the process of acquiring EMI. Some might have predicted a Sony and BMG merger, but what we have all really been waiting for half a decade is for this damn EMI and Warner Music Group merger. Well, I don't think that's going to happen.

Announced Monday, private equity group Terra Firma purchased EMI for $4.7 billion. Apparently this equity group did something Warner Music Group didn't do, which is: "Terra Firma's offer is the most attractive proposal received and delivers cash now, without regulatory uncertainty and with the minimum of operational risk to the company," says EMI Chairman John Gildersleeve.

Terra Firma's CEO said the following of the purchase: " Terra Firma's objective is to build on EMI's current position as one of the world's leading music companies and accelerate the development of its digital and online strategy to fully exploit this long-term growth opportunity."

Did you catch the joke about "long-term growth opportunity?" Well, anyway, none of that trust-busting bullshit; the deal is legit, just gotta show up with the cash. Meanwhile, The Financial Times reports that Warner is already in talks with Terra Firma and other private equity groups about acquiring the recorded music division of EMI once the sale is complete (and rumor has it they are still considering raising their bid), and another equity firm, One Equity Partners, is also expected to make a bid. EMI's gotta be blushing by now.

At TMT, we pride ourselves on our make-'em-or-break-'em powers. On a daily (hell, hourly) basis, the fate of so many artists rests in the clammy palms of our taste-making hands that sometimes we're overwhelmed. We've all learned that $500-million lesson about the relationship between power, responsibility and all that dribble, but the bottom line is that it's difficult. Sometimes we're forced to just roll the dice on an artist, and it ends up paying off for us both. I mean, come on, do you really think we've ever heard a whole Björk record? But we gave her the go ahead and sister just caught on. We come out looking like we've got the foresight, and now she's got the big video budgets. Like I said, it's win-win. But sometimes, you hear something and you just know.

David Bowie is that kind of performer. This guy is a phenomenon waiting to happen. Just look at the guy! That hair, those suits... those nostrils. The look screams success. Plus, I hear he rolls with TV On The Radio and The Arcade Fire. Anyway, so homeboy's putting out two (2!) albums June 5 and had the balls to call one of them The Best of David Bowie 1980-1987. Irony's one thing and retro's another, but I smell Best New Music. The second CD is called Young Americans, and this guy must've enlisted Girl Talk to work some mash-up magic because he's rolling with John Lennon AND Luther Vandross. But don't think this man can't rep the 21st century, as both CDs come with DVDs. Throwback style with a fresh twist; the kids'll eat this up.

Here at Tiny Mix Tapes, you hear it first:

Young Americans: Special Edition (CD/DVD):

Physical World Only A Secondary Reality, Knowledge Of It Bound To Be Imprecise; Shapes And Sizes Still Plan “The National They Shoot Horses” Tour

Socrates: Now, let us consider the shapes and sizes of our mortal bodies in relation to the shape and size of the universe.

Timaeus: Yes, that would be wise.

Socrates: Well, it seems to me that the gods copied the shape of the universe and fastened the two divine orbits of the soul into a spherical body, which we now call the head, the divinest part of us, which controls all the rest.

Critias: I agree.

Socrates: It follows, then, that they put together the body as a whole to serve the head, knowing that it would be endowed with all the varieties of motion there were to be. And to prevent the head from rolling about on the earth, unable to get over or out of its many heights and hollows, they provided that the body should act as a convenient vehicle.

Glaucon: Quite right, but what of the body that desires to view Shapes and Sizes at a distant setting?

Socrates: Well, the gods hold that the front is more honorable and commanding than the back, so they made us move, for the most part, forward. So it was necessary to distinguish the front of man's body and make it different from the back; and to do this they placed the face on this side of the sphere of the head, and fixed in it organs for the soul's forethought, and arranged that this, our natural front, take the lead as it carries us into the Beachland Ballroom, limbs and soul-stuff flailing to the sound of the beat.

Adeimantus: My dear Socrates, you took the words right out of my mouth. Yet where shall those in distant lands fi--

* The National

& They Shoot Horses Don't They

Thrasymachus: Alright, thanks.

Beastie Boys have announced their next LP release with this message on their website: “it's named THE MIX-UP and is out june 26. g'wan. all instrumental record. ‘see i knew they were gonna do that!’ that's a quote from you…you love us. don't you?”

They’re right. We do love them. We just don’t like it when they get so mad. But we know we wanted this album. Otherwise, we wouldn’t dress the way we do at Beastie Boys shows. We wouldn’t ask Beastie Boys to help us move when we clearly can easily carry all of the boxes ourselves.

You like The In Sound From Way Out!? Well maybe this album will be kind of similar to that one, according to every music website in existence (and now TMT as well). The Mix-Up will feature Mike D, Adrock, and MCA on drums, guitar, and bass, joined at times by Keyboard Money Mark and percussionist Alfredo Ortiz. The album will not contain vocal tracks, samples, or the use of turntables. The result is “radically different” from previous album To the 5 Boroughs, according to Mike D. “If you know us you can trace the influences and they're not completely surprising. Someone who listens to us casually might think 'What the hell are these guys doing?’ ”

Perhaps the decision to return to their rock roots had something to do with the upcoming Bad Brains LP release, which is the first to feature the band’s complete lineup since 1995. The album was produced by Adam Yauch (real name MCA). Explains Bad Brains bassist Darryl Jenifer: “I told Adam I was thinking about a new Brains record, then Adam said 'Word! You should let me produce that shit, son! I'll smoke those other cats that tried to produce y'all. I'll make you sound real!' I said 'Word!' ” One can only assume these are exact quotes.

Apparently trying to create an analog website, the band has relaunched BeastieBoys.com with all sorts of knobs and switches. The site now offers some interesting exclusive content, such as a section detailing the equipment used to make the new album. There is also a “Remix” section that offers 32 free MP3s of a cappella Beastie Boys hits (these are real, DRM-free free, not iTunes-Music-Store-free). Only 20 of these MP3s, however, seem to want to load into my iTunes library (more on this story as it develops).

Oh word, The Beastie Boys care about the environment, which is super important, because humanity has nearly destroyed it. They’ll be playing in the London show of Live Earth on July 7. Said Mike D in a recent interview: "It's come to the point where/ drastic measures have to be taken now/ To really create a/ mass consciousness of what needs to be done/ mass action, it's gonna take mass awareness/ And these huge concerts around the globe are probably one of the best means of doing so.”

The Beastie Boys’ tourdates:
05.26.07 - George, WA - The Gorge Amphitheater, Sasquatch Festival * $
05.27.07 - George, WA - The Gorge Amphitheater, Sasquatch Festival *
06.10.07 - Lisbon, PT - Passeio Marítimo de Algés, Alive Festival
06.11.07 - Lisbon, PT - Aula Magna $
06.14.07 - Barcelona, ES - Sonar Festival $
06.15.07 - Barcelona, ES - Sonar Festival $
06.16.07 - Athens, GR - Olympic Baseball Stadium, Ejekt Festival
06.17.07 - Istanbul, TR - Parkorman Maslak, One Love Festival
06.18.07 - Istanbul, TR - Yeni Malek $
06.20.07 - Berlin, DE – Columbiahalle $
06.22.07 - Scheesel, DE - Hurricane Festival
06.23.07 - Cologne, DE - Live Music Hall $
06.24.07 - Neuhasen, DE - Southside Festival
06.26.07 - Paris, FR - Le Zenith $
06.27.07 - Paris, FR - Le Bataclan $
06.28.07 - Werchter, BE - Festival Park Werchter, Rock Werchter Festival
06.30.07 - Gdynia, PL - Babie Doly Airfield, Heineken Open'er Festival
07.01.07 - Gdynia, PL - Babie Doly Airfield, Heineken Open'er Festival
07.03.07 - Kristiandsand, NO - Idrettsplassen (Main Stage), Quart Festival
07.06.07 - Roskilde, DK - Roskilde Festival
07.06.07 - Roskilde, DK - Roskilde Festival
07.07.07 - London, GB - Wembley Arena, Live Earth
07.09.07 - Montreux, CH - Stravinsky Hall, Montreux Jazz Festival
07.10.07 - Montreux, CH - Miles Davis Hall, Montreux Jazz Festival
07.11.07 - Locarno, CH - Moon & Stars Festival
07.13.07 - Novisad, CS - Exit Festival
07.14.07 - Vienna, AT - Nuke Festival
07.15.07 - Zamárdi, HU - Lake Balaton, Balaton Sound Festival
07.28.07 - Niigata, JP - Naeba Ski Resort, Fuji Rock Festival
08.04.07 - Baltimore, MD - Pimlico Race Course, Virgin Festival
08.31.07 - Argyll, GB - Inveraray Castle, Connect Festival
09.01.07 - Stradbally, IE - Stradbally Hall, Electric Picnic
09.02.07 - Stradbally, IE - Stradbally Hall, Electric Picnic
09.04.07 - London, GB - Brixton Academy
09.05.07 - London, GB - Brixton Academy
09.08.07 - Isle of Wight, GB - Robin Hill Countryside Adventure Park, Bestival
09.09.07 - Isle of Wight, GB - Robin Hill Countryside Adventure Park, Bestival

* with Bad Brains

$ Instrumental-only set

  

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