"Here Comes The Night Time" directed by Roman Coppola- "Win = Barry Manilow?"

The Roman Coppola directed "Here Comes The Night Time" plays like a scenes in Wayne Coyne's head if he fell asleep while watching an old episode of "The Love Boat." As high octane as a dozen Redbull's and vodka drinks, there are furries, tons of celebrity cameos and Arcade Fire in matching white suits decorated wit sea and farm creatures and other random shapes in hot flashy colors.The look strikes me as a house band on a Carnival Cruise disco lounge. Take the suit that Win is wearing plop it on Barry Manilow in 1978 doing "Copacabana" and it works just as well. Is Arcade Fire trying to look campy or actually cool? I don't know. The Black swatch of make up across Win's eyes like a painted on Zorro mask pushes the look into weirdo land but not all that much. Arcade Fire has always borrowed their look from cultural clues and classic looks reminiscent of the 40's Europe's or Russian Propaganda-esque looks so this slick and shiny 80's artifice does seem strange. Maybe that's the point.

As "indie" artists and "indie" audiences there is always the sense that both are outsiders looking in but with menagerie of celebrities who pop up in "Here Comes The Night Time" from Bono to Ben Stiller to Zack Galifianakis to Bill Hayder and more it is clear that Arcade Fire are the popular kids in school. While I didn't care for Reflektor and still don't I must admit that the songs on display on "Here Comes The Night Time" (including the title track) are pretty brilliant indeed. Normal Person does make you think of Talking Heads as does We Exist but the cool sultry feel of We Exist makes me think more of Roxy Music or ABC even. While I could not connect with Reflektor at all I already love these other songs. Thank god. I was worried that Reflektor was going to be their signature sound on the new album.

"Here Comes The Night Time" breaks into quirky comedy works. I was entertained. Zack Galifianakis and Bill Hayder as super rude astronauts might be the funniest bit as Zack chides Arcade Fire "You DON'T need three Drummers!" Funny stuff as is the slow motion diversion into some drug induced nightmare or horror movie called "Festi."  Arcade Fire also portrays a bad 80's band with Miami Vice pastel jackets- nice cameo by Rainn Wilson as the roadie. This short indie rock diversion never gets boring and has some cool and stupid surprises, stupid in a good way. I loved Michael Cera's Grandmaster Mike (what a rook worm!) Great job Arcade Fire, Great job Mr. Roman Coppala.

-
Robb Donker

ROOFTOP Concert-!! WIN TIX !! to see The Babies, Alex Bleeker and the Freaks, and FreeTime - Sunday 9/29/13 ALL Ages at SkyFOX

There is something magical about a roof top concert especially when it features the amazing Babies and Alex Bleeker and the Freaks and Free Time!! Also DJ Set: Domenico de Caro. This killer show is brought to you by Viva Pomona who has graciously allowed American Pancake to give a couple of tix away.! Do you have to decipher a puzzle? or give me Kevin Morby's, Cassie Ramone's, Justin Sullivan's and Brian Schleyer's middle names?? No fucking waaay. All you have to do is contact American Pancake and let me know your favorite Babies song and we will randomly choose one winner to win two tix (so you can bring your favorite bud, girlfriend or boyfriend).

See FACEBOOK event page-- here

How to enter:

Tell us your fav Babies song on our FACEBOOK PAGE 
OR Tweet us here AMERICAN PANCAKE @AMERICANROBB
OR email us at americanpancakelive@gmail.com

We will pic a winner and announce on Saturday the 28th at 8pm California Time
Everyone is eligible but if you are gonna enter please be sure you are gonna go--

While you are contacting us enjoy this video I shot at Viva Pomona!!

Teitur- NEW ALBUM "Story Music" dropping October 14th - "Nice to have finally met you Teitur"

As a casual music blogger there are thousands and thousands of talented artists who I know nothing about, who I have never heard of until I stumble upon them or some publicist sends me a link or press release. Such is the case of my lack of knowledge of the talented Teitur who is a Faroese musician  from Torshavn in the Faroe Islands which is a part of Denmark Kingdom. Yes Kingdoms are still around as a political designation. In any event, Teitur has been making cool sounds since 2003, put out some stellar albums that have garnered praise in the UK and his homeland and all around.

His latest Album is dropping early in October. It is entitled "Story Music" and boasts a song called "It's Not Funny Anymore" with an orchestral arrangement by the man himself Van Dyke Parks. If you do not know who he is then shame on you. I am looking forward to hearing this new album from a talented Danish fellow who I didn't know existed 20 minutes ago. Isn't life grand.

Check out this beautiful live performance of the upcoming album's lead single called "Rock and Roll Band" and then if you are a reader- read from the informative press release were you will find a link to the aforementioned single's Official Video.

Nice to have finally met you Teitur.
-
Robb Donker

Teitur (Tie-tor), left his homeland, the remote, beautiful, wild and weather beaten Faroe Islands in the far North Atlantic as a teenager. He was convinced that if he wanted to follow his dream of making his own music he had to go somewhere with the access to the technology and musical professionalism that he felt wasn’t available at home.

Ten years after the release of his first album, he has come full circle returning both to home and his musical roots to record his sixth album Story Music, (released in the UK on October 14th 2013). Those ten years and his experiences gave him the conviction that he had to make his next record on The Faroes. April of this year saw Teitur recording in the brand new Studio Bloch in Torshavn, recently built by his long time sound engineer Jonas Bloch Danielsen in a 130 year old former ice factory. He had a collection of songs and compositions, with which he says he set out to challenge the conventions of pop songwriting.

“So much of new pop music doesn’t have any social awareness. It’s like a sweet sugary snack that gives you a quick rush that is soon gone. I feel that the music we like defines who we are.” This is a theme he explores on the songs Indie Girl and the lead single Rock and Roll Band (available now to download on iTunes) is a song which obtusely juxtaposes pedal steel, banjo and euphonium with a wry observational lyric about the absurdities of rock and roll lifestyles. (View the video on http://youtu.be/oPf6DdwP_qo). “I wanted the album to come from a good place and to continue the analogy, provide something organic and nourishing, many of the tracks are stories, told through lyrics or music. Music as wholefood!”

Eschewing conventional form and structure on songs like If You Wait and Monday, which has, amongst other random features, a spoken word and a choir chanting the title against a freeform modernist and jazz influenced composition. On the other hand Teitur hasn’t forgotten his pop roots, many of the tracks showcase his knack for combining lush mournful melodies with memorable instrumental hooks. Also integral to the sound are the folk influences of his youth. More than 70 musicians and singers ranging in age from 8-80 were brought together for the recording, with choirs, especially on Hard Work that are reminiscent of classic Disney songs.

Set in the middle of the album, like a sparkling jewel is It’s Not Funny Anymore a song written with long-time collaborator Pam Sheyne. The song features an epic orchestral arrangement by the legendary Van Dyke Parks whose fifty year career encompasses a host of classic compositions and arrangements, including many with Brian Wilson and The Beach Boys. Parks had met Teitur when they were on the same bill in Athens, Georgia and wrote to him to say how much he had enjoyed the performance, expressing the hope that they might work together. “The song seemed to call out for an orchestral arrangement, so I sent the track over to LA for Van Dyke’s thoughts. I was blown away when he said he wanted to do it and by the score that he sent back, which we went on to record in Holland. I like it when you don’t know what’s going to happen next and the track provides a perfect pivotal point for the album.”

Said Mr Parks of Teitur : "Teitur's music reminds me why I go nuts over island music. 
Winning Teitur's trust isn't just funny business--it's an honor to orchestrate for such an accomplished composer. Teitur is, in fact, totally continental!"

History:

In 2003, Teitur released his first album, Poetry & Aeroplanes, produced by Rupert Hine (Suzanne Vega, Kevin Ayres et al.) Its simple, sincere songs made it a critical hit and he toured the USA and Canada extensively and attracted the attention of respected singer-songwriters like Rufus Wainwright, Aimee Mann and KT Tunstall all of whom took him on tour. During this time, he found the time to co-write a song Choux Pastry Heart which featured on the 4 million selling debut album by Corinne Bailey Rae.

In 2006, he released his second album Stay Under The Stars, a record full of richer writing and bolder characters, which went Gold in Denmark and two Danish Grammies followed. By 2008, he had 700 gigs in 20 countries under his belt, which earned him the reputation of one of the hardest working International artists on the road.

Third album, The Singer, recorded in a Swedish Princess’s house in Gotland, was released in 2008 in Europe and early 2009 in the UK, his first album to be issued in Britain. Garnering five star reviews in The Guardian ("deep, viscous stuff that is never less than extraordinary") and The Independent ("a rare beast"), while the Sunday Times praised the singer-songwriter's " wonderfully idiosyncratic talent".

Then in October 2009, the UK only release album 'All My Mistakes', which was a retrospective of Teitur's career to date. Achieving his second Album of The Week in The Independent, Andy Gill wrote of the album: “..there's more than enough evidence here to bear out Teitur's assertion, in the title-track, that "all my mistakes have become masterpieces".

Teitur continued his eclectic career path, co-writing and performing with American contemporary film musician Nico Muhly (who scored the film The Reader), and by writing for and producing other artists, including French star Nolwenn.

During 2010, he recorded his again acclaimed album Let the Dog Drive Home in Denmark. Betty Hedges was the first UK single while in the rest of the world “You Never Leave L.A.” was the lead, accompanied by an astounding animated video. A worldwide tour followed over the next 18 months. In the meantime, Seal recorded Teitur’s song “You Get Me” as a duet with Italian superstar Mina and then recorded it for his own album, which was a top 20 hit around the world.

Teitur released a 4 track EP in September 2012 entitled Four Songs. These solo recordings,  were featured during a world tour which ran from September to January 2013 and also served to try out and develop the news songs written for Story Music. In November, Teitur took a break to tour Holland with the famous Dutch wind orchestra, the Netherlands Blazers Ensemble, performing the music to the short film, Everyday Song, which he commissioned and was screened simultaneously.

The first single, Rock and Roll Band is out now and the album Story Music will be released on October 14th, on Arlo and Betty Recordings, via Believe for digital and Kartel/Proper for Physical.

Previous peer and critical praise for Teitur:

 “Teitur is the sound of melting ice, haunted woods, and beautiful honesty”  KT Tunstall

“Music like this is jet fuel on the fire of a broken heart.”  John Mayer

“Do we need another ludicrously talented Scandinavian singer-song writer? Yes.”Word Magazine

"...Never less than extraordinary"  ***** The Guardian

“..A rare beast..” *****  The Independent

“..Sublimely gifted, Teitur brings the beauty and the blues that recall Guillemots, Josh Rouse and a heart pummeling Sufjan Stevens..”   NME

Album Review: The So So Glos- BLOWOUT - "A monument of punk rock"

I have not seen The So So Glos since February of 2011 when they performed at a Peter, Bjorn and John Secret Loft Show in downtown LA. It was a brief but impactful. About them I wrote. "They have a decidedly British punk sound ala the Clash, (but not), with wonderful downbeats punctuated by piercing guitar leads. No one is doing this kind of jag as good as the So So Glos. As I listened to them jam I was longing for my old Doc Martens". It was true then and is true now. Since then, I made the mistake of losing sight of these Brooklyn punk rockers so when they released their latest album "Blowout" I was eager to hear what they've been up to.

Brothers Alex (bass, vocals) and Ryan (guitar) Levine, Zach Staggers (drums) and Matt Elkin (guitar) have (in one form or another) been thrashing on instruments since they were little kids. Having grown up together and tearing into music as a form of explosive bonding and escapism has seriously resulted in a truly significant piece of work. When you hear the songs on Blowout they feel in your gut like songs that have existed for decades and are established bonified monuments of punk rock. Alex does have the strident vocal strain of Joe Strummer and Mick Jones combined that certainly makes your mind think back to the late 70's and early 80's but it is not only that, it is sonic tone the So So Glos have honed. The production is stellar and thick with energy without adopting the Fuzz and garage rock / lo-fi leanings of many indie bands today. The vocals are front up with a smartly spartan music bed of kick ass drums, heavy bass and guitars (and other elements) set back but not too far to kick serious ass. In this regard, their sonic tableau has more to do with bands like The Clash or The Descendents. I guess I am old school but this particular sound really appeals to me.

The songs are also so well rendered and show a diverse range. You have the full on punk rock with clearly Americana rock strains and crowd grabbing power of Son Of An American, House Of Glass, Blowout, and Lost Weekend. In some ways these songs have as much connection to an artist like Springsteen as to Brit punk. These songs thematically and sonically create images of rebellion, "fuck off" hopefulness and wanderlust. Diss Town with it's sharp edges and drum changes has an almost 79 Mod feel like The Jam. The break of "Oh, oh ohs" is brilliantly stirring. Xanax with it's la la beginning and Speakeasy feels decidedly Brit / Mod / Punk. They jam like hell but have light carefree underbelly. Wrecking Ball is balls out rock feeling like a punk rock anthem with power pop guitar licks and a crust punk attitude. Totally out of left field, All of The Time feels like Burt Bacharach could of written it if he as a punker and liked to drop F-Bombs. Amidst the angst and anger their is an elegance in both melody and production.  Everything Revival with it's delicate bell starting dives head first into a jagged bit of punk pop revelry. The So So Glos continue to ease into a lighter flavor with Island Ridin that shifts from punk pop to punk ballad and the amazingly charming Dizzy full of acoustic guitar, toy sounding piano and a summer carefree beat that feels more like the Monkees than the Clash. Don't worry it still has a purely punk rock heart as does the entire album.

In Blowout, the So So Glos have crafted a truly engaging album. It is cliche to say that it sounds timeless but it really does. The songs also manage to make you want to cheer, dance, mosh your ass off and smile broadly. This will undoubtedly be one of my favorite records of this year. Good fucking job guys.
-
Robb Donker-

As of the time this review was published you can stream the album here.

Track Review: The Rebel Light - Jukebox Dream - Open Your Heart and Let In In.

The Rebel Light's new single Jukebox Dream satisfies like a bottle of ice cold Coca Cola on a super hot summer day. In fact, it is so happy and light that it tips dangerously on a razor blade edges between sweet nostalgia and  syrupy cornball. How it hits you in your heart will probably hinge on your level of openness and or cynicism. For me, the vintage vibe cuts somewhere between 1971's New Seekers "I'd Like To Teach The World To Sing (in Perfect Harmony) which did start off as a television commercial for Coca Cola (hence my opening line) and 60's Jan and Dean (Dead Man's Curve). It is definitely dreamy and has solid California pop chops Even I can push away my cynical heart and feel the warm glow of youthful optimism. Open your heart and take it all in.
-
Robb Donker

TRACK REVIEW: Maybelene by The Love Junkies

Australia's The Love Junkies - Maybelene is a song that is angry and intoxicated. The body grinding beat is thunderous but easy to dance to. It is a party shuffle type beat, the kind you can raise your glass of beer high to, shake your ass with your loved one and not spill a drop of precious brew. The vocals have a smirk on the verse and goes balls out grungy on the chorus. Love the "gargled with glass" biting sound to the vox. The lead break is equally engaging, a little off kilter, incredibly nasty and good. It gives way to drunken "la las"- a final bad ass chorus and then what could be interpreted as the song passing out. This is my introduction to The Love Junkies and as such I am duly impressed and wanting to see them live. I imagine their shows could be rowdy fun affairs. Sober or buzzed, check out Maybelene. It goes down hard but you will like it.
-
Robb Donker

Album Review: Porches- "Slow Dance In The Cosmos" - Blows You Into Unknown Places

When you listen to "Slow Dance In The Cosmos" by Porches in it's entirety it feels like a transformative experience. The songs that often feel like constant builds of sound, sweeping organs, sustaining guitars and vocals are moving even though the lyrics can feel like a jig saw puzzle with 20 percent of the puzzle pieces missing. They are decidedly obtuse but within their abstract poetry lie some beautifully wrought passages. There are enough to keep you emotionally satiated. In Permanent Loan, Aaron Maine sings, "How come I never see it coming? I am the meat on the fruit pit clinging flung into a black black moon." The vocal melody amidst powerful crashing waves of sound is passionate and makes you feel conflicted and sad even though the lyrics only serve as vague clues. In this way, the songs on "Slow Dance In The Cosmos" are like a musical Rorschach tests as each person who hears these songs will see them a different way.

This level of abstraction is akin to some of The Flaming Lips songs although, for the most part, Porches songs seem to come from a more folk indie place (even though they are wrapped up in a lot of dense sounds). Jesus Universe is propelled by a lovely organ sound and the vocal melody sung by Aaron and Greta Kline embraces you. Welcome to the "Church of Aaron Maine" as he seems to question his sad destiny, "kills me like my cigarettes, how pure and deeply upset my momma gets" and "well I'm idiot offspring, here is my sad offering and though I'll never know how to sing, I promise to stay glittery." Jesus Universe is not for the faint of heart. Incredibly moving and sad but beautiful at the same time. There is also an elegance in it's production. When I first listened to Jesus Universe I thought about the amazing Beach Boys song "Surfs Up" (written by Brian Wilson and Van Dyke Parks). I could hear some Beach Boys similarities in the vocals and when I heard Intimate (track 5) I felt it again. Maybe it is the sweet earnestness of the vocal melodies or the lush harmonies but the Smile / Surfs Up vibe popped in my head and heart. In Intimate- Greta Kline's vocals are a bit more up front along with Aaron's reinforcing the relationship aspect even more, "what if I'm not what you expect, what the heck, let's get intimate."  It is a slow dance of a song or maybe a slow motion jump into dark waters.

The tonal shifts on this album can be striking. Skinny Trees busts out with all the psychedelic fuzzy rock of a Crystal Antlers song while Xanny Bar pushes emotional buttons with slow acoustic guitar as Aaron seems to lament a chance encounter or maybe a one night stand. It is engaging and quite beautiful. Then there is Franklin the Flirt with it's pervasive bass line, electronic clap sound mirroring the snare, and high pitched ghostly synth, It almost has a retro feel like you stepped back in time to 1976. In the same way that Foxygen captures times gone by, Franklin the Flirt has a nostalgic underbelly. Aaron's hard and soft vocal performance sells the forlorn (and clever) lyrics, "all the beauty kids in the ugly parts of town and in the good parts we get ugly and lie down."

Fog Dog beautifully screams with Greta and Aaron trading or mirroring lines. After Glow has a funky feel and beat cemented together with a thick organ. It has dashes of arty kitch, dreaminess and whimsy and made me think of MGMT a bit. The Cosmos, starts with acoustic guitar and then erupts with rockish almost boogie woogie guitars and very cool sounding drums that sound like they were recorded from a distance. There is cool "two mic high" live sound to the recording. It has a sense of playfulness, "when you stay up late in retrograde, watch the loners gracefully get laid." The chorus strains "we all die, we all die, but not I.. I don't live here I live in the cosmos." Headsgiving has a bluesrock / Americana feel with it's plucky guitar licks. The music with all it's dramatic breaks weave in an around the lyrics, "we share a bed just like the French, just like true parents."

Porches has released 3 Ep's in 2011 and a 15 minute tape in 2012. "Slow Dance In The Cosmos" is their first full length. It may be by design or may be by chance but in terms of songs fitting a project all these songs feel right together and all the songs are amazingly good. Somehow this collection of music has one voice. One might think that this is self evident since Aaron Maine is the creative force behind the songwriting but believe you me, you often hear albums that have too many disparate styles or have various songs that just don't (or shouldn't of) made the cut. Aaron and members Greta Kline (bass / backing vocals), Kevin Farrant (guitar), Cameron Wisch (drums) and Seiya Jewell (keyboards) have crafted a stirring, lovely, wonderful piece of work. Emotional, artistic and abstract stories and sounds that take my head and heart to places unknown. "Slow Dance In The Cosmos" will clearly be on my best albums of 2013 list.
-
Robb Donker

Porches- "Slow Dance in the Cosmos" released on Exploding In Sound Records

LISTEN: "Cold Rush" by Audacity (off the upcoming album Butter Knife)

Audacity premiered the track Cold Rush off of their upcoming album Butterknife that is scheduled to drop October 29th on Noisey. I have heard them perform this song live for quite some time and I am so stoked that all their energy and tight chops were captured so well on this track. After the chill intro it kicks into overdrive featuring that great Audacity guitar drenched sound, heavy downbeats, tom tom exploding drums, cool lead pattern on the chorus and a very sweet vocal melody. Cold Rush portends a great album. I am so looking forward to hearing Butter Knife in it's sun soaked entirety.

- Robb Donker

Butter Knife drops on October 29th- is on Suicide Squeeze Records. Pre-order it here.

PIXIES TO GUEST ON "LATE NIGHT WITH JIMMY FALLON," MONDAY, SEPTEMBER 16

Pixies backstage at the El Rey Theatre, September 9 L-R:  David Lovering, Kim Shattuck, Black Francis, Joey Santiago  Photo Credit:  Andy Keiler

PRESS RELEASE:

Having given fans what they've dreamed about for years - brand new music - the Pixies - Black Francis, Joey Santiago and David Lovering, along with touring bassist Kim Shattuck - will make their second appearance as the musical guest on "Late Night with Jimmy Fallon" this Monday, September 16.  "Late Night with Jimmy Fallon" airs on NBC at 11:35PM ET/PT and 10:35PM CT.

The Pixies' "Fallon" appearance is part of the launch of not only the release of brand new material, but the first leg of what will be a 15-month global tour that started with a surprise fan club show last Friday at Echo in Los Angeles, then four sold-out shows this week in L.A., four more sold-out shows in New York next week, the closing night's headline spot at RiotFest in Chicago, and sold-out concerts in London, first at the iTunes Festival and then a special "fan show" at Brixton Electric. (see dates below)

The Los Angeles Times reviewer Randall Roberts, who had some reservations about founding member Kim Deal's departure, found his concerns dispelled at the Echo show, writing, "[Shattuck] was fun to watch, filled the stage with a much needed brightness and certainly knows her Pixies bass lines...she guided the songs with loving devotion and enthusiasm."

For Monday's show at L.A.'s El Rey Theatre, Rolling Stone's Steve Appleford had this to say:  

"The Pixies proved that they have entered a new phase as they delivered four new songs.  The new song to earn the strongest reaction was 'Bagboy'...it was a good sign for the future...fans can be confident that the band is sticking around for the long haul."

With no record company affiliation or pre-release announcements, "Bagboy" was made available as a free download on the band's website at the end of June, and in its first month alone, was streamed or downloaded more than one-million times.  Although available for free, "Bagboy" still sold more than 15,000 digital copies on iTunes, and the track's music video was viewed more than one-million times on YouTube during that same time period.  "EP-1," the first collection of new Pixies music in more than two decades, was released digitally and as a limited-edition, 10-inch vinyl disc on September 3.  The vinyl sold out in less than two days, and the music video for the track "Indie Cindy" is fast closing in on a quarter-million YouTube views.

In his New York Times feature Ben Sisario wrote about "EP-1" - "Plenty of their defining obsessions are still there, like the twangy surf guitar and sic-fi surrealism on 'Andro Queen'...'Another Toe in the Ocean' and 'What Goes Boom' are more straightforward rock, but on 'Indie Cindy' the band uses some of the sudden dynamic shifts that were its most recognizable stature."

The nine combined L.A., N.Y., and London club shows set for this month all sold out in minutes, and nearly all of the shows on the band's extensive European tour that starts September 29 in Paris, are sold out, even with multiple shows having been added in a number of cities.  Announced Pixies tour dates are as follows:

SEPTEMBER

 9    El Rey Theatre, Los Angeles, CA - sold out

10   El Rey Theatre, Los Angeles, CA  - sold out

11   El Rey Theatre, Los Angeles, CA  - sold out

12   Mayan Theatre, Los Angeles, CA  - sold out

15   Riotfest, Chicago - sold out

17   Bowery Ballroom, New York, NY  - sold out

18   Bowery Ballroom, New York, NY  - sold out

19   Music Hall of Williamsburg, Brooklyn  - sold out

20   Bowery Ballroom, New York, NY  - sold out

25   Roundhouse, iTunes Festival, London, UK  - sold out

26   Brixton Electric, London, UK  - sold out

29   Olympia, Paris, France  - sold out

30   Olympia, Paris, France  - sold out

OCTOBER

 2   Ancienne Belgique, Brussels, Belgium - sold out

 3   Ancienne Belgique, Brussels, Belgium - sold out

 5   Paradiso, Amsterdam, Holland - sold out

 6   Paradiso, Amsterdam, Holland - sold out

 8   Huxleys, Berlin, Germany - sold out

 9   Huxleys, Berlin, Germany - sold out

10   Lucerna Music Hall, Prague, Czech Republic - sold out

11   Lucerna Music Hall, Prague, Czech Republic

NOVEMBER

 1   Gasometer, Vienna, Austria

 2   Thonex, Geneva, Switzerland - sold out

 4   Alcatraz, Milan, Italy

 5   La Phare, Toulouse, France

 7   La Riveria, Madrid, Spain - sold out

 8   La Riveria, Madrid, Spain - sold out

 9   Coliseum, Lisbon, Portugal  - sold out

11   Rockhal, Luxembourg, Luxembourg

13   Falkoner, Copenhagen, Denmark - sold out

14   Sentrum Scene, Oslo, Norway - sold out

15   Munchen Brewery, Stockholm, Sweden - sold out

18   Olympia, Dublin, Ireland - sold out

21   Apollo, Manchester, England - sold out

22   Barrowland, Glasgow, Scotland - sold out

24   Hammersmith Apollo, London, England - sold out

25   Hammersmith Apollo, London, England - sold out

TRACK REVIEW- Arcade Fire: Reflektor - It Grooves But Does It Engage You Emotionally?

When I first heard Reflektor, the much anticipated single from the upcoming Arcade Fire album of the same name I said out loud, "What the fuck?" I had a similar reaction when I heard Queen's Back Chat and Blondie's Heart of Glass. Now don't get me wrong, we all knew that the inclusion of LCD Soundsytem's frontman James Murphy could stir dance beats into the fray but I guess I didn't envision it sounding so, well, old school disco like. I mean Arcade Fire has been a cherished part of my indie / art rockish persona because I can't dance. Indie rock is the perfect place for people like me who, yes, have wonderful rhythm but they don't translate well to my lower extremities. I am much better at the normal indie rock forms of movement like bobbing my head and getting that one leg going a bit, or moshing even, and don't forget the inevitable crowd surfing. I am pretty sure that they didn't do any crowd surfing at the legendary Studio 54.

But seriously, Reflektor has many of the hallmarks of American disco, the thump kick drum, programmed percussion, plucky formulaic bass lines as well as that more hybrid Euro-dance feel of bands like Depeche Mode and The Cure even (and I do like that). It is musically broad in scope and has a super lush production. The first dance I had with this song was a short one. At about 3:30 I had to walk away. As engaging as Win and Regine vocal performances are, the song seemed to drag out. I have since come back to this song again (finally getting to hear Bowie's pretty cool contribution) and again still and while I am still not feeling it, I can appreciate it's beautiful production. It just doesn't engage me emotionally and is not different enough artistically to wow me. If it is one thing Arcade Fire has always done is to engage me emotionally. I am now so curious if the entire album is going to have this euro-dance / disco atmosphere. Selfishly, I hope not. Remember I do have two left feet.

I do absolutely love the video, everything about it and look- (at around 5:47) it appears that Arcade Fire cannot dance either! Do you think maybe they are mocking disco? Now that would be subversive. I will listen to Reflektor from time to time and see if it grows on me. You never know, Heart of Glass did.

-
Robb Donker



OTHER ARTISTS WHO HAVE FLIRTED WITH THE DISCO BALL-

Stream Kal Marks new Album "Life is Murder" Via Stereogum-

Kal Marks Stream "Life is Murder" via Stereogum + Tour Dates

KAL MARKS Streaming New LP Now via Stereogum. Tour Starts Next Week!

 

Boston, MA trio Kal Marks are getting ready to release their sophomore full length, Life Is Murder, this coming Tuesday, September 17th through Sophomore Lounge, Midnight Werewolf, and Exploding In Sound Records. The entire record is now available for streaming via Stereogum. Life is Murder marks a change for the band thanks to an exceptional solidified line-up of musicians as well as the band’s first album recorded in a professional studio. The results are stunning. An extremely personal record, Carl Shane (vocals/guitars) says the name Life is Murder is “roughly about dealing with depression and the struggle of keeping a band and my life together”.

 

The band will be heading out on a US tour kicking off Thursday, September 19th, including a stop at Louisville, Kentucky's Cropped Out Festival. Find dates below.

Kal Marks sound is unique, mixing brilliant songwriting with spacious and patient guitars and heavy rhythms. Slow builds lead to chaotic finales. Warm folk rock influences collide with sludgy beauty and post-rock tension. Kal Marks influences encompass a wide range of rock music, from Harvey Milk, KARP, and Modest Mouse, to Neil Young, Brian Eno, and John Fahey. The heavy sounds of Black Sabbath and Shellac, to the explorative music of Nick Drake and Mount Eerie.

Fixtures of Boston’s fertile music scene, Kal Marks are one of the city’s hardest working bands. Originally a solo project of Carl Shane, Kal Marks began in 2007 with Shane recording to a 4-track in his sisters’ bathroom in New Hampshire. Soon after he moved to Boston and by 2009, the line-up had expanded to become a full band, embraced by the rabid basement scene due to consistently entrancing shows. The band self-released their debut Goodbye Horses in March 2011 and followed with the incredible Piss of the Century EP in July 2012. Kal Marks’ line-up shifted throughout the years until Mike Geacone (bass) and Nick Egersheim (drums) joined the band in early 2013.

The guys wasted no time getting to work, heading to Galaxy Park Studios in Watertown, MA to record Life is Murder, produced, mixed, and mastered by Richard Marr (Pile, Fax Holiday). What they came out of the studio with was nothing short of a masterpiece. Dark and ominous, the record is filled with sludgy guitars, enormous locking rhythms, and Carl’s vocals and introspective lyrics. The first single and title track, “Life is Murder” features guest vocals from Krill’s Jonah Furman, combining two of Boston’s most eccentric voices together with triumphant results.

"[Kal] Marks' [Carl Shane] is sneering earnestly, singing his personal tales the only way he knows how, and not questioning it for a minute." - Consequence of Sound

"...eventually building into a massive rallying cry for anyone who’s ever felt a little too close to the void" - Stereogum

 

Kal Marks "Life is Murder" Tour Dates:

 

09/19 Bard College @ Root Cellar w/ Lives of the Obscure
09/20 Baltimore @ Club K w/ Two Inch Astronaut & Hive Bent
09/21 Harrisonburg VA @ Crayola House w/ Skimask, Malatese & (New England) Patriots
09/22 Richmond VA @ BOYZHOUSE w/ Starfish Prime & Lil Huffy
09/23 Greensboro NC @ TYP HAUS w/ Dumpster & Electric Nature
09/24 Asheville NC @ Apothecary w/ Doomster & Onj
09/25 Murfreesboro @ Rack City w/ Boyfriend & Subnovas

09/26 Nashville, TN @ Stone Fox Tavern w/ TWIN PEAKS, Music Band, Faux Ferocious
09/27-28 Louisville KY @ Cropped Out Festival
09/29 St. Louis, MO @ CBGB
09/30 Chicago @ Wally world w/ Tom Blacklung and more TBA
10/01 Iowa City @ Trumpet Blossom Cafe w/ Blues Control, Alex Body, Bleeds
10/02 Minneapolis @ Pine Cone Castle w/ Sonic J, Grow Fangs, Babe Quest
10/03 Milwaukee @ Quarters w/ Appleseeds & Heartthrob
10/04 Chicago @ Observatory w/ Geronimo! The New Diet, Meat Wave, My Dad
10/05 Kalamazoo MI @ Milhouse w/ Old Man Mason & Terror... Terror... Oh My!
10/06 Columbus OH @ Treebar w/ Graves, Churchcamp
10/07 Pittsburgh @ TBA
10/08 Philadelphia @ Connie's Ric Rac
10/09 New Brunswick @ Cooler Ranch w/ Knights Templar, Sink Tapes, Harmoos
10/10 Brooklyn, NY @ Shea Stadium w/ LVL UP, Palehound, Frankie Cosmos
10/11 Purchase, NY @ The Stood w/ Poverty Hallow
10/12 Cambridge MA @ The Elks Lodge w/ Pile, Tom Blacklung & The Smokestacks, Krill, Sneeze
10/17 Brooklyn, NY @ Cameo Gallery (Brixton Agency CMJ Showcase)
10/19 Brooklyn, NY @ Silent Barn (Exploding In Sound "Unofficial" CMJ Showcase)

Kal Marks is:
Carl Shane (guitars, vocals)
Mike Geacone (bass)
Nick Egersheim (drums)

Links:
Facebook
Bandcamp
Blog

Filter Magazine's Culture Collide 2013- Don't MISS this International Music Happening

LOS ANGELES, CA (Sept. 10, 2013) – FILTER Magazine’s Culture Collide is thrilled to announce an exciting keynote speaker and expanded Creative Summit for 2013, as well as additional headliners and four new international happy hour events. Curated by keynote speaker – renowned musician and industry-leader – Moby, the all-new Innovators Panel is slated to kick-off the Creative Summit with a round-table featuring Moby-himself, as well as the “Obey the Giant” designer and street artist Shepard Fairey, Beatle-heir, Dhani Harrison of the band thenewno2, and more.

The Culture Collide Creative Summit:
The second annual Culture Collide Creative Summit is set to turn the Champagne Room at Taix into an impressive industry forum once again this year, offering wristband holders and bands access to five expert panels, plus two opportunities to tour the world through the respective beers and spirits native to many of the countries represented at Culture Collide 2013.

A two-day event, the Creative Summit gives aspiring artists and inquiring attendees a glimpse behind-the-scenes of the music industry. Each panel comes to the table well equipped with helpful tips, inspiring and informative anecdotes, and insight into everything from breaking into the business, to where the business itself is heading and more. See below for the Creative Summit schedule and panelist highlights.

Creative Summit Schedule:
Thursday, Oct. 10 – Doors open at 11:30, with drinks and refreshments
12:00-12:45: Keynote address and Innovators Panel, ft. Moby, Shepard Fairey, Dhani Harrison and more

1:00-1:45: International Festivals Panel – event-planners and talent-bookers share stories from festivals all over the world, ft. festival reps from Germany, Canada, Russia and beyond

2:00-2:45: Sync Panel – insiders provide priceless insight for bands looking to gain exposure through the lucrative syncing industry, ft. reps from Hitcher and music supervisors from Media Arts Lab, Electronic Arts (EA Games), Moonlight Music and others

3:00-3:45: Beers of the World – attendees will be introduced to beers from France, Brazil, Scotland and more, brought to attendees by some of each of the nations’ own inhabitants

Friday, Oct. 11 – Doors open at 12:30, with drinks and refreshments
1:00-1:45: Labels Panel – panelists from Capitol, Warner Bros., Epitaph and more speak on the ever-changing record industry from the labels’ perspective

2:00-2:45: Brands and Bands Panel – FILTER Creative Group continues to set the industry standard for creating organic and endemic partnerships between bands and brands. For this panel partner-companies including Ernie Ball, men’s lifestyle brand Haggar Clothing Co. and Ontisuka Tiger will share their unique approaches to connect their message with musicians and consumers

3:00-3:45: Spirits of the World – the most spirited of the Culture Collide bands have brought over their favorite home-country liquors, from Russian vodka, to whisky hailing from the UK, plus Brazilian cahaça and Japanese sake, attendees will need to pace themselves on this trip around the world

Culture Collide 2013 - Additional Headliners:
Bleached has just been announced as headliners for the Culture Collide World Stage. Bleached joins previously announced Saturday-night World Stage-headliners Liars and King Khan and the Shrines.

Also announcing today, the London-based, electro-rock band Duologue is set to bring their unique sound from across the pond to a top spot on the bill for Culture Collide 2013 – stay tuned for full stage and schedule details coming soon.

International Happy Hours:
A Culture Collide tradition, International Happy Hours enhance the multicultural experience by bringing foreign booze and bands from other lands to the stage both Thursday and Friday evenings at Taix.

Happy Hour Schedule:
Thursday, Oct. 10
4:00-6:00: Latvia Happy Hour
6:00-8:00: Israel Happy Hour

Friday, Oct .11
4:00-6:00: Sweden Happy Hour
6:00-8:00: Netherlands Happy Hour

FILTER magazine’s Culture Collide 2013 line-up:

Liars (US), King Khan & The Shrines (Canada, Germany), The Raveonettes (Denmark), Miami Horror (Australia), Rhye (US, Denmark, Canada), Iceage (Denmark), The Men (US), Bleached (US), Rob Crow (Acoustic, US), Alice Russell (UK), Medicine (US), F*ck Buttons (UK), No Joy (Canada), Keaton Henson (UK), Plastic Plates (Australia), Duologue (UK), Mumiy Troll (Russia), Prata Vetra (Latvia), Vadoinmessico (UK), The Great Wilderness (Costa Rica), SiMoN (Japan), StereonoiZ (Peru), IZA (Poland), Chateau Marmont (France), Maya Vik (Norway), STARSYSTEM (US), The Deer Tracks (Sweden), Mujuice (Russia), Birth of Joy (The Netherlands), Hell Shovel (Greece, Germany, Canada, France), GRMLN (US), Wooster (US), Okta Logue (Germany), Instrumenti (Latvia), The Pack A.D. (Germany, Greece, Canada, France), Gemini Club (US), Bagheera (US), Gliss (Denmark), Mystery Skulls (US), Incan Abraham (US), Heliotropes (US), D E N A (Bulgaria), PanSTARRS (Egypt), Ghost Wave (NZ), Beneen Squad (Senegal), The Secret Shine (UK), Like Swimming (Sweden), Vincente Gayo (Mexico), Float Fall (Belize), Bombay Show Pig (The Netherlands), Frida Sundemo (Sweden), Family Wagon (US), Cosmic Suckerpunch (US), Exile Parade (UK), The Novocaines (Australia), The Cooper Gamins (Mexico), Adi Ulmansky (Israel), Optic Yellow Felt (Brazil), Terry Poison (Israel), South of France (US), Kid Karate (Ireland), Claire (Germany), Brodka (Poland), Tiny Ruins (New Zealand) + more.

FILTER magazine’s Culture Collide 2013 Venues Include:
Taix – Champagne Room, Front Lounge; Culture Collide World Stage – Outdoor Taix Lot Stage; The Echo; The Echoplex; Echo Park United Methodist - The Church; Lot 1 Café, 826LA

FILTER Magazine’s fourth annual Culture Collide is presented by Red Bull Sound Stage, Slacker Radio, Onitsuka Tiger, AQUAhydrate, ASCAP, Tiger Beer, Lyft, Ploom, and others to be announced. Promotional partners include KROQ, Upright Citizens Brigade, 826 LA, Swing House Studios, Amoeba Music and Busy Beaver Button Co.

Culture Collide Wristbands Available Now

Culture Collide wristbands are on sale now via Ticket Fly for $30. Culture Collide wristbands allow access to all general Culture Collide shows pending capacity. Attendees must be at least 21 years-old to attend Culture Collide and all associated events and venues pertaining to the festival.

Link to Purchase Culture Collide Wristbands: http://ticketf.ly/YnA2Zx

For the most updated information on FILTER Magazine’s Culture Collide, visit culturecollide.com and follow FILTER on Tumblr: www.filtermagazine.tumblr.com.

About FILTER Creative Group
FILTER Creative Group is an industry leading lifestyle and entertainment creative marketing agency devoted to championing quality brands, music, fashion film and credible services. FILTER has implemented successful marketing and advertising campaigns for numerous major companies, including Toyota, Macys, Dickies, Converse, Spotify American Rag, SONY, Guitar Center, Landmark Theatres, Slacker Radio, and many others. FILTER Creative Group also has a publishing company that produces the international music magazine, FILTER. For more information please visit www.FILTERcreativegroup.com.

About FILTER Magazine
Good music will prevail. These are the words that we here at FILTER live by. In an ever-evolving musical landscape, we're here to help. Through FILTER's various outlets - our informative website, our irreverent blog, the FILTER Good Music Guide, our local listening parties and the jewel in our music-loving crown, FILTER magazine - we want to help you discover your new favorite band. www.FILTERmagazine.com

OPINION: Music Critic: Jayson Greene- Sure You Are Entitled to Your Opinion But Why Be Such A Dick About It?

Not since Nick Hornby's scathing review of Kid A published on October 30, 2000 in The New Yorker has a review grated on me so much as has the review of the recent Pixies release EP 1 by Jayson Greene for Pitchfork. The fact that Greene assigns a 1 score to the 4 song EP (while surprising) is not what get's my hackles up it is his scorched earth style of reviewing. From the onset he is in attack mode and gets pretty nasty. I understand fully that he does not like the EP but why be such a dick about it??

The answer might lie in the arrogant edge that is present in some music critics or critics of every art form. Some critics actually do believe that they have such rarefied taste that eveyone should agree with them. There is also a sense of ownership that some critics have, that artists are only there to please them. About EP 1 Greene states:

"Nothing in these four faceless, fatuous alt-rock songs distinguishes them as the music of the Pixies."

This is where Greene feels he can dictate or define how the Pixies should sound when in truth if the EP was in the style of German Polka music it would still sound like the Pixies, (doing German Polka music). The Pixies luckily get to decide what they sound like. In this way, Greene reminds me of Hornby who scolded Radiohead like they were little kids mocking their decision to do more experimental music, to change. It also brings to mind the classic story of Geffen Records attempting to sue the pants off of Neil Young for creating an album that didn't sound (to the record label) like a Neil Young album. Yes, the mind spins at the nonsensical brains of Record Labels and some music critics. Greene also doesn't mind getting personal. He goes on:

"Nothing, in fact, distinguishes them at all. Kim Deal is absent, having left the band, but no one else-- not Santiago or Lovering or even Frank Black-- seem to have shown up either."

Again, Greene is entitled to his opinion but again why be such a dick about it? It takes a lot of hutzpah to insinuate that artists as talented and influential as Charles Thompson (Frank Black), Joey Santiago and David Lovering are not trying to do anything but perform well on this record. Greene is like a football coach who thinks his players are not giving it their all. He states:

"There is no Pixies in this Pixies. No tension between preschool giddiness and grad-school school sophistication, between finger painting pop and Buneuel-quoting lyrics; no seesaw between playfulness and menace; no intimations of terror. There is no alien shimmer to the guitars or vocal melodies."

Greene has set the definition and is now disappointed that his beloved Pixies don't match up. And while I disagree whole heatedly (EP-1 has many hall marks of a classic Pixies record)- the point is that in the same way that Nick Hornby vehemently objected to his beloved Radiohead of The Bends and Computer OK shifting styles to create Kid A, Greene cannot seem to accept anything but his version of the Pixies. Hornby was convinced that Kid A did NOT sound like Radiohead (or more acurately his idea of what Radiohead should sound like) when in fact Kid A sounds exactly like Radiohead. EP 1 too sounds just like the Pixies. Maybe Greene simply cannot stand the fact that Kim Deal left or that Frank Black has matured, maybe even mellowed. Maybe Greene feels wounded in some way.

As Greene winds down his critique full of barbs he actually writes:

"Very soon, no one will remember much about this EP, or that it even exists. Bit it's a minor tragedy that it was released, and it's almost enought to make me wish the reunion (2004) and even that magical show I saw never happened."

Now these last lines actually floored me. How can one be so utterly mean and dismissive to a band that has influenced the likes of Bowie, PJ Harvey, Thom Yorke, Jonny Greenwood and Kurt Cobain to name a few, and literally changed the course of music as we know it today? Show some respect man. Greene seems to wish this EP 1 was never released. Hornby implied as much when writing about Kid A. Time has proven Hornby incredibly wrong and clearly millions of Pixies fans will enjoy EP-1 for years to come. It is also laughable that Greene has such venom for the songs on EP 1 that he "almost" wishes he never saw the reunion show back in 2004. So apparently, he is content for an iconic band to only play past songs.

I can't help but think that Jayson Greene looks at bands like trained monkeys to do his bidding, to make him happy and if they do not do so they get a thrashing. Now let me be clear, Greene is a fantastic writer. Much better than I. He knows how to turn a phrase as they say. He is at once concise but also dresses his words with just the right amount of poetic license but his knee jerk delivery is devoid of compassion. He comes off sounding like a lot of music critics of his ilk. Like wannabe musicians and artists who know little about the creative process but take pleasure in judging it.

In closing, Jayson Greene seems to imply that EP 1 has tarnished the astonishing musical legacy that the Pixies have left all of us. While this is utterly ridiculous it must be noted to Greene how wonderful it must be to have a legacy to tarnish. In stark contrast, part of Greene's legacy includes tarnishing others. From interviews I have read it seems that Frank Black like Thom Yorke has found a way to not let critics get to him, to get inside his head. He is content to avoid the haters and to put his music out there not to be judged bu rather to be enjoyed by all who love it.

-
Robb Donker

Pitchfork EP 1 Review

Nick Hornby Review of Kid A- The New Yorker

LIVE REVIEW: KXLU plus Burger Records: End of Summer Bash at the Warehouse in El Monte, Ca. - 9/7/13- Together Pangea, The Lovely Bad Things, The Garden, Cherry Glazerr, Tashaki Miyaki and MORE

Together Pangea at the Warehouse (pic courtesy of XYTIO)

Sure people of all ages can and do enjoy rock shows but clearly indie rock shows especially the kind that lean to the punk side of things is the sport of teens. If you see a show advertised with bands like Together Pangea, The Lovely Bad Things, The Garden, Cherry Glazerr and more you will surely witness a spectacle of epic proportions. This was the case at the KXLU plus Burger Records presents the "End of The Summer Bash" at the Warehouse venue in El Monte, California (of all places). Hundreds of mostly under 21 kids danced, moshed, and crowd surfed the night away. The epicenter of the mosh pit was right at center stage circling back about 15 feet like a cyclone. In between bands the venue would open side doors on either end of the stage so people could cool down. In the parking lots kids sat displaying their war would proudly... all sweaty and a handful with bleeding necks or knees. At one point I ran into a fellow blogger and as we chatted outside the front entrance her friend (nearly out of breath) came to find her. He had just moshed his ass off to Cherry Glazerr and blood trickled out of his nose. He was sniffing it back up until it really started to flow. I told him he should go to the bathroom and take care of it. He did. Later as the Together Pangea ripped it up I saw him happily flopping about in the cyclone again.

All the bands played so well. Two who I had not seen before impressed me. Criminal Hygiene played super tight garage rock with a grungy undercurrent that had many flavors all good, all propelled by Michael Fore's raspy vocals solid heavy bass and punchy drumming. Dazehounds seemed to have some adoring fans up front and churned out smiles and doo wop punk. By the time Cherry Glazeer took to the stage the size of the crowd seemed to be growing. They played a great set as usual. Garage rock infused with spacey tones like Twin Peaks was invaded by teenage girls. Trick or Treat Dance floor has always been weirdly engaging and now it is quite fashionable too having been featured on Vogue, V Magazine and YSL websites. Tashaki Miyaki with their beautiful mid tempo songs felt like a much needed breather. A time to chill to haunting melodies while catching your breath and wiping away sweat and blood. The audience hung to listen to their sweet sounds some sitting along the walls.

The much needed chill time was about to evaporate instantly as The Garden took to the stage. When Wyatt plugged in his guitar and as Fletcher adjusted the drum kit everyone who was outside piled in. Suddenly the room was packed and from song one the entire room was moving. The mosh pit was in heavy mode. This is a good time to describe this stage. It is good size, wide and deep but literally only about knee high if that. It almost begs you to step up on it and after about 3 songs it seemed like everyone did. People were crowding up there with the multitude of photographers. Pretty soon Fletcher was no where to be seen except for a random flail of a drum stick. I had to push away The Garden t-shirts and tapes and climb up on the merch table to shoot video. It was a great moment. Everyone was into them and a ton of kids were mouthing the words to their short experimental punk songs. The Garden's musical mayhem was a highlight of the night.

The Lovely Bad Things shows are known to be moshy dance parties were people walk away with happy bruises. Apart from crowd pleasers like Darth Lauren and Dinosaur Song, they played 3 new songs. Guitarist singer Camron asked , "Do you mind if we do a new one?" before charging into a punk song that shifted between rapid fire beats. Even though drummer Brayden's mic seemed to be off during "I Just Want You To Go Away" the crowd sang along. They always do a fair amount of shifting to other instruments but whomever seemed to get the guitar was breaking strings and near the end of the set they were nearly guitarless until one appeared. Crowd ate them up.

Pangea, I mean Together Pangea closed out the night with tons of energy and piles of people chilling and dancing on either ends of the stage. William shouted out "Calm Down!" before doing his screech scream beginning of  No Feelin (someone grabbed Danny's) mic and snuck in a prepubescent squeal. It was hilarious. Badillac sounded dreamy and cool.My favorite part of any Pangea show is when people join in on the chorus of Too Drunk to Cum -"I want to go outside, Stay out all night, Come back instead, I'll find you in my bed! (and so on)" - AND it sounded particularly fun this night. Hands raised, fists pumping, people screaming and smiling broadly at the same time. Together Pangea kept everyone up and closed out an awesome night of music.

A few words about the venue. Apparently it is a church during the day or was, still is, I am not sure but it is a nice large space. Stage is substantial enough. The large screen above the stage had what looked like multi-colored I phones or bars of soap with the Band Names on top. Looked cool and trippy like something you would see on some 80's Dutch Television variety show. The venue has two nice sized parking lots. The PA is kinda bare bones. No instruments are mic'd and a lot of bands were saying they couldn't hear themselves on stage. Not a good thing but the staff was very cool. They allowed ins and outs and there was a positive vibe there including a magical unicorn prancing around. I heard on instagram that the huge turn out (roughly 400 attendees) at the End of Summer Bash raised enough money so that the venue can purchase a new sound system / PA. I hope they do it right. This venue has tons of potential to put on great shows in the future. In the end, people of all ages walked out into the cool air at 1 am totally satisfied having seen a pretty epic show.
-
Robb Donker

If you want to see kick ass pics of this night go here to XYTIO - Tashaki Miyak, Together Pangea, The Lovely Bad Things, Cherry Glazerr, The Garden-

Also- additional pics and coverage here (photos by Angela Ratzlaff)

See Videos at our youtube channel- and special playlist

Way to Celebrate a Birthday - KXLU and Burger Records present END OF Summer BASH with Together Pangea, The Lovely Bad Things, The Garden, Cherry Glazerr, Tahaki Miyaki and MORE!

The KXLU / Burger Records End Of Summer Bash for Jaclyn's Birthday is going to be one of those kick ass hot and sweaty and totally mosh worthy all ages warehouse shows. The amazing Dirt Dress had to cancel last minute but performing are Together Pangea, The Lovely Bad Things, The Garden, Cherry Glazerr, Tashaki Miyaki, Criminal Hygiene, and Daze Hounds!

Doors upen at 6:30 - The Warehouse Venue - 3042 santa Anita Ave. El Monte, California 91733 - $5.00 admission

Track Review- Miles, Miles and Miles by Kevin Morby

Track Review: Miles, Miles, Miles by Kevin Morby

When you hear Miles, Miles and Miles you are transported through time and space. The polished sound of this flawlessly rendered indie folk pulls you back to iconic sounds of days gone by. Kevin Morby (from The Babies and Woods) will release his first solo album called Harlem River this November and this lovely song is a sneak peak. Morby deftly exhibits the earnest songwriting and tone of iconic artists like Van Morrison, Nick Drake, Dylan and Leonard Cohen. Miles, Miles, and Miles shifts it's tempo from a smooth slow dance to a wanderlusty vagabond's quick step. All the while Morby's forlorn vocals taking you on the ride with him while a wonderful bed of organs, ooohs, picking guitar, rolling bass and country folk lead guitar provide the tattered nostalgic imagery. It is a song as beautiful and self assured as Van Morison's Into The Mystic, a lovely piece of sweet music that makes me want to hear anything else Kevin Morby has to offer.

- Robb Donker

Review: PIXIES EP 1 - The Musical Fix That Came Just In Time.

PIXIES EP 1 - This Musical Fix Came Just In Time.

After the twerking musical dystopia that is the VMAs (and all it's dissection), the 4 song EP released by the Pixies yesterday simply entitled EP 1 is the sonic fix that came just in time. Since their first reunion tour in 2004 I have been hoping that new songs, even an album would emerge. Yes that tour did spawn the crazy Bam Thwok that almost sounds like a public underground television cable show theme song but over the subsequent tours, the Pixies have felt like a band content to pull out those iconic great songs. Sure that is fucking amazing but dare I say, it is also like shooting fish in a barrel. When after a 9 year new song hiatus, Bagboy came to light this past June I just about fell off my chair and cried at the same time. The man behind the curtain obviously had the desire to put out new material. I don't care why the new song sprung forth and I realize the reasons may be both deep and shallow. I just care that the need is there. Yes, don't kid yourself, even a twisted poetic / musical genius like Charles Thompson needs to feel the passion, the fire to create anything that is decent and good. Bagboy was much more than just good. It felt so incredibly potent, it felt so incredibly Black Francis and so incredibly like the Pixies.

When I unwrapped EP 1 I seriously felt like it was Christmas and I was like 7 years old. Four songs that will raise your chin as you listen intently. Produced by Gil Norton of Doolittle fame (and more) I thought of how a wry smile might of graced Mr. Norton's face as he helped to realize Pixies songs that time out from 3:27 to 4:44 each. The first track Andro Queen shocked the hell out of me because of how "un Pixies like" it sounds. Almost majestic in tone like a slightly tortured space fable. It feels like the Pixies doing a grade school play with cardboard spaceships and androids. Charles' vocals even have a dash of vocodorish effects at the very beginning. It is sadly hopeful and romantic. Yes, the Pixies are not playing it safe (is the foreign language being spoken Pixie jibberish?). Another Toe In the Ocean is metered and polished in both song structure and production touches. Probably one of the most mainstream sounding song the Pixies have ever put out. As a rule I dislike song fade outs and by Pixies high song writing standards Another Toe In the Ocean is rather formulaic fair but I cannot deny the melody that hooks you almost instantly and the Pixies doing kind of formulaic mainstream rock is in and of itself a total departure and thus for them un-formulaic. I swear I just made sense, I did.

My mind stirs in a trance like state of bliss when I listen to Indie Cindy. This tempo shifting indie rock opera transforms from folk rock to a spaghetti punk western to a lush rock ballad where you want to sway and hold cigarette lighters in the air. The musical break is dangerously bad ass but what makes this an instant classic is the tear jerker lyrics and production on the chorus that feels so wonderfully wanderlusty as Charles sings, "I am in love with your daughter and though she has no need, I'm the one who's got some trotters, you've many mouths to feed." From start to finish this song works. The last track What Goes Boom is back to the crazy jibber jabber loveliness that is the Pixies. With incendiary rhythms that almost gallop as Charles attacks the vocals, it feels as rockish as Queens of the Stonage in spots. The lead guitar lines are thick and piercing. You drown in the lovely rock sound and then rise to the surface as the song lets you come up for air into what might be described as a sub chorus or secondary chorus. It is vibrant and pretty "Grace in her lace and her stocking...  carryin' her bass she really likes to get rocking" a melody that is beautifully lifted into heaven by Joey Santiago's inspired lead lines and David Lovering's drumming that charges forth and lays back in the right spots. I absolutely adore this song and expect to have a long lasting love affair with it.

All and all EP 1 has slapped me squarely across the face and fired up the malnourished synapses in my brain.  It is the exact musical fix I needed- heavy, quiet, dreamy, riotous, surprising and expected. And it came just in time.
-
Robb Donker

 YOU can get the 4 track EP -limited edition 10- inch exclusive vinyl (only 5000 copies Worldwide)
plus limited edition "Indie Cindy" T-Shirt and Instant Lossless audio download

HERE to VIEW DETAILS