Die! Die! Die! announces U.S. tour including Fanatic showcase at SXSW, New Zealand noise-pop trio featured on MySpace and cover of CMJ receives wealth of praise for new album Promises, Promises.

Die! Die! Die! announces U.S. tour including Fanatic showcase at SXSW, New Zealand noise-pop trio featured on MySpace and cover of CMJ receives wealth of praise for new album Promises, Promises.

“If the name didn’t tip you off, Die! Die! Die! have little patience for pop concessions. Abrasive and bare-bones, the band makes a lot out of a little… …the result is mind-numbingly satisfying.” – Spin

“Die! Die! Die!’s self-titled debut is a gem, jam-packed with nine tracks of urgent garage- and post-punk coupled with hip-shaking rhythms…” – Alternative Press

“DDD smash head-on the decidedly British post-punk of Wire into the snotty anger of American hardcore act Black Flag, bringing forth an exciting punk fusion from the other land down under.” – Skyscraper

The Dunedin, New Zealand, trio Die! Die! Die! has announced U.S. tour dates, including an intensive run of performances during the South By Southwest music festival in Austin, TX next month where the band will headline the Fanatic Promotion showcase at the Wave on March 12th (please see complete dates below). This news arrives hot on the heels of the band’s lauded gigs at Australia’s massive Big Day Out Festival (a touring show equivalent to 90’s era Lollapalooza), as well as a cover feature story in CMJ New Music Report and praise in Alternative Press, Spin, Paper Thin Walls and more. As if that weren’t enough surmounting excitement, Die! Die! Die! was also recently chosen as one of the highly-sought-after featured artists on MySpace.com, resulting in the band receiving tens of thousands of plays for select songs culled from its sophomore release Promises, Promises.

Die! Die! Die! has been compared to an intriguing mix of bands, including …And You Will Know Us By The Trail of Dead, Wire, Sonic Youth and kiwi faves like Bailter Space and The Clean.

The boys in the band — vocalist/guitarist Andrew Wilson, drummer Michael Prain and bassist Lachlan Anderson — traveled to Chicago two years ago to cut their first self-titled release with Steve Albini in a brick basement (responsible for some of the greatest records of all time). Needless to say, this record sent the trio on a whirlwind series of countless tours (supporting Blood Brothers, Wire, Slint and Wolfmother) and gained it considerable world wide notoriety which no band from their native Dunedin, New Zealand had seen since the Dunedin sound heyday of the 80’s.

In August 2007, Die! Die! Die! recorded Promises, Promises with popular New Zealand songwriter Shayne Carter producing. The record was engineered by Kevin Mcmahon in upstate New York in The Walkmen’s Marcata studio.

Reminiscent of the spirit and sounds of Black Flag, The Pixies, The Wipers, Wire, and Bailter Space, Die! Die! Die! delivers an unfiltered and powerful stage show. The band’s relentless tour schedule and onstage antics has earned it a reputation as one of the most energetic and hardest working bands around. Shows for Die! Die! Die! go on with fearless and confident delivery. In a wild fit, Wilson occasionally removes his guitar (with microphone in hand) to enter the crowd. This is a most effective way of dissolving the invisible crowd/performer boundary as Prain and Anderson keep the pummeling rhythms flowing without missing a beat.

The trio embodies a vitality that has long since made its way into the recent rock and punk circuits. There isn’t a rehearsed set of messages or stage antics, no glitter, no make-up, no phony sass. Cutting to the quick, Die! Die! Die!’s songs and live delivery are nothing short of awe-inspiring. These three are on the forefront of a new revolution without the aid of gimmicks or pretense.

Cathartic, direct, indispensable… You will know the sound as Die! Die! Die!

More quotes from the press:

“This trio has called Dundedin and Auckland their home but are in actual fact more like confrontational musical nomads plying a situationist international inspired lifestyle and calling it a band. The fact that they can make a simply brilliant noise along the way has been duly noted by fans around the world.” – CMJ

“This hit the player and eyes shot up! Totally in your face, like they’re playing vaccum cleaners, and their vicious, spare, distorto-punding and vocals are hair rasing like a splatter film.” – The Big Takeover

“Willful dissonance is often the terrain of effete art rockers, but Die! Die! Die! pull it off with cool aplomb, recalling the abrasive hypnotism of mid career Sonic Youth and the noisy vigor of Jesus Lizard.” – The Sentimentalist

“This first full-length from New Zealand’s Die! Die! Die! is a shattered, angular masterpiece of animal instincts and serrated edges.” – Exclaim!

“…full of an indescribable power and beauty.” – Chord Magazine

“Play this record to really f***ing appreciate your own dull ache, to wallow in the disaster of your own creating – and secretly enjoy every last wail.” – Plan B

Die! Die! Die! On Tour:
03/07 Los Angeles, CA @ Echo
03/08 Los Angeles, CA @ Echo
03/12 Austin, TX @ Red Eye Fly SXSW
03/12 Austin, TX @ The Wave SXSW (Fanatic Showcase)
03/13 Austin, TX @ The Dirty Dog
03/14 Austin, TX @ Emo’s Lounge
03/15 Austin, TX @ 219 West Bar
03/16 Austin, TX @ TBA
03/17 Dallas, TX @ The Cavern
03/20 Orlando, FL @ Taste (Backbooth)
03/21 Tampa, FL @ Crowbar
03/22 Jacksonville, FL @ TSI
03/24 Atlanta, GA @ Earl
03/25 Washington, DC @ DC 9
03/26 Philadelphia, PA @ Northstar Bar
03/27 Toronto, ON @ TBD
03/28 Montreal, PQ @ Zoobizare
03/29 Brooklyn, NY @ Music Hall of Williamsburg
03/30 New York, NY @ Highline Ballroom

Promises, Promises Tracklisting:

Stream the album HERE

Release Date: February 12, 2008

01. Blinding
02. Britomart Sunset
03. Sideways, Here We Come (MP3)
04. Death To The Last Romantic
05. Whitehorses
06. A.T.T.I.T.U.D. (MP3)
07. Maybe: Definitely
08. People Talk
09. Promises, Promises
10. Hold Me
11. Echo Echo
12. Throw A Fit
13. Blue Skies (MP3)

Arcade Fire, Tom Waits, TV On The Radio, Burning Spear and Anthony Braxton share one thing in common: sideman Colin Stetson, revered musician launches New History Warfare: Volume 1.

Arcade Fire, Tom Waits, TV On The Radio, Burning Spear and Anthony Braxton share one thing in common: sideman Colin Stetson, revered musician launches New History Warfare: Volume 1.

Colin Stetson, the revered brass and woodwind player who has played and recorded with such greats as Arcade Fire, Tom Waits, TV on The Radio, Antibalas, Anthony Braxton, Medeski, Martin and Wood and Burning Spear has announced the forthcoming release of his latest solo full length album on Aagoo Records. Stetson’s thoughtcrafty experiments in sound on the album, titled New History Warfare: Volume 1 push the boundaries of genres and the sounds that can be expected from his vast assortment of instruments, including saxophones, clarinet, flute and French horn.

Colin Stetson was born and raised in Ann Arbor, MI, where he began to carve out his singular musical voice that channels John Coltrane’s sheets of sounds, as well as the post-modern beauty and angst of Sonic Youth and The Pixies. Studying with the likes of Roscoe Mitchell, Donald Sinta, Steve Adams and Henry Threadgill, Stetson earned a music degree from the University of Michigan in 1997. More importantly, extensive gigging with his band Transmission around Ann Arbor and Detroit earned him a reputation for being an exemplary improviser, composer and circular breather. Never one to cage himself into categories, Stetson joined forces with progressive jazz-rockers Larval, as well as DJ Recloose, which eventually led to Stetson’s appearance on the acclaimed Cardiology recording.

Along with the rest of Transmission, Stetson moved to San Francisco in 1998, befriending, playing and recording with the likes of Fred Frith, Kenny Wollesen, Beulah and the late Matthew Sperry. Stetson and his Transmission brothers anchored a musical community that garnered high praise in the Bay Area press, and eventually led to national and international attention when in 2002, Tom Waits recruited Stetson to record on the landmark albums Alice and Blood Money (which led to Stetson making an appearance on The Late Show with David Letterman with Waits).

While it is true to say that Stetson makes an impression whenever he plays, his ability to become the music comes through best when he is the leader of a band, or a one-man show. Since relocating to New York City in 2004, Stetson has been able to balance high-exposure gigs with innovative solo performances in front of captivated audiences. According to the Village Voice, “Stetson’s solo work ranges from fireside-warm Hungarian folk tunes to bass squonking that jackhammers the mind.”

In 2002, Stetson recorded a solo, limited edition 3-inch CD release of a performance at the Artship in Oakland, and his full-length debut as a leader came in the summer of 2003 with the quintet recording Slow Descent. Approaching songs as narratives, a trick he learned from Waits, adds an emotional dynamic to Stetson’s playing that exceeds listeners’ expectations as to what sounds can issue forth from any of the instruments Stetson puts to his lips. No better is this virtuosic ability heard than on New History Warfare: Volume 1, Stetson’s first full-length solo recording from Aagoo Records. On this album, the vast musical experiences that Stetson has accumulated over a short period of time have been crafted into 12 songs that defy genres, establishing a sound that is Colin Stetson in full bloom.

New History Warfare: Volume 1 Tracklisting:

Stream The Album HERE

Release Date: March 4th, 2008

01. And It Fought To Escape
02. Stand, Walk
03. Groundswell (MP3)
04. Time Is Advancng With Fitful Irre
05. Drown The Rats and Giants
06. As A Bird Or Branch
07. OHP
08. Quincy Had A Glandular Problem
09. Nobu Take
10. Tiger Tiger Crane
11. Letter To HST (MP3)
12. Our Heartbreak Perfect

Colin Stetson Live:
02/28 Chicago, IL Elastic Arts
03/05 Ann Arbor, Michigan The Kerrytown Concert House
03/15 Philadelphia, PA Gershmann Y Borowsky Gallery (Bowerbird Series)
03/21 Brooklyn, NY Monkeytown CD Release Event
03/22 Brooklyn, NY Monkeytown CD Release Event

Post, math and prog rock find a home in the hard-to-ignore music of O! The Joy. Fans of Do Make Say Think, Hella and Amon Düül take note of the band’s upcoming album Zen Mode due March 11th from French label Distile Records.

Post, math and prog rock find a home in the hard-to-ignore music of O! The Joy. Fans of Do Make Say Think, Hella and Amon Düül take note of the band’s upcoming album Zen Mode due March 11th from French label Distile Records.

Sacramento’s rock scene has long been a source for amazing bands. O! The Joy is the next big thing to come from this city of indie rock angels. This atypical band, born from the ashes of Mister Metaphor (former project of Justin Goings, O! The Joy’s drummer), succeeds in creating a perfect harmony between a wide range of genres, from kraut-rock to emo. Zen Mode is their impetuous first album, the kind of record that you will keep in your CD player for years.

There’s something really catchy that grabs you when you first hear the abounding universe of O! The Joy. Their amazing tunes and musicality focus your attention on their talent. The melodies take over until the music rises and begins to lead you in some unexpected territories. You won’t have what you expected you’d get, but you’ll be rewarded a thousand times with what you are about to listen to. Their music takes some unpredictable paths when the songwriting explodes to reveal the amazing personality of the band.

O! The Joy represents a remarkable crossover of styles, which makes their sound hard to label. Perhaps calling them an “experimental pop band,” although simplistic, would do. Vocalist Kurt Travis’s singings are moving. He possesses a punchy and sensitive voice that plays a key role in the expanse of the music, just above the instrumentation. He is the gateway to the richness of the compositions. Guitarist Jason Ellis plays the most experimental role in the band, assisted by Justin Goings on methodic and polyrhythmic drums and cymbals. Both Goings and Ellis play constantly to create complex structures, putting adventurous ideas on the table in unexpected directions.

O! The Joy recorded Zen Mode at Tiny Telephone (San Francisco). The fine sound engineering by Aaron Prellwitz raises each band member’s musicianship to the highest level. The band brings to mind post-rock bands like Do Make Say Think, math rock outfits like Hella, or even prog rock, like Amon Düül. But O! The Joy are definitely too ingenious to get stuck on a genre. They bring indie rock further than it has ever been.

We compare this tricky record to Russian nesting dolls: when you’ve come to the end of an idea, there is always another one, hidden. Zen Mode is the musical outcome of musicians completely suitable to play together.

O! The Joy Live

03/13 Vacaville, CA @ Cheers

Zen Mode Tracklisting:

Stream The Album HERE

Release Date: 03.11.08

01. Conceivable Test Tube Baby
02. There Is No Such Thing As Organized Crime
03. This Fault Is Not Mine (MP3)
04. Under the Radar
05. 22435
06. The Man and The Secrets
07. We Write The Next Chapter (MP3)
08. I Just Didn’t Tell You
09. Guiding Role
10. Zen Mode (MP3 )

SAVING ABEL JOIN THE SICK PUPPIES TOUR AS OPENING BAND ON 31-CITY TREK BEGINNING TODAY SELF-TITLED MAJOR LABEL DEBUT DROPS MARCH 11TH

SAVING ABEL JOIN THE SICK PUPPIES TOUR AS OPENING BAND ON 31-CITY TREK BEGINNING TODAY SELF-TITLED MAJOR LABEL DEBUT DROPS MARCH 11TH

First Single “Addicted” Is Quickly Climbing The Rock Charts


Memphis based Southern boys Saving Abel, whose self-titled Virgin Records debut is set to be released on March 11th have announced a string of tour dates as opening band for label mates Sick Puppies beginning today at the Canyon in Las Vegas, NV (full schedule below). With four weeks until Saving Abel’s debut hits stores, the southern rockers first single “Addicted” is quickly becoming a staple at rock and alternative radio. The infectious, sexually charged anthem has been one of the most added new songs at both formats for the last three weeks and charted at active rock during its first official week of airplay.

“We’re excited to tour with the Sick Puppies and we’re ready to take on the world with the release of our album, 08’ is going to be a big year for Saving Abel,” said frontman Jared Weeks.

Saving Abel – named after the Biblical sibling of Cain – was formed by Jared Weeks and guitarist Jason Null in 2004 in their hometown of Corinth, Mississippi. Influenced by southern rock, hard rock and mainstream alternative, they went through several musicians before arriving at their current lineup which includes guitarist Scott Bartlett, bassist Eric Taylor and drummer Blake Dixon – the perfect blend of chemistry and musical ability. The band’s first break came in 2005, when they hooked up with Skidd Mills (12 Stones, Saliva, Submersed), who produced their 2005 self-titled EP.

Saving Abel Tour Dates the Sick Puppies

Feb 21 Las Vegas, NV The Canyon
Feb 22 Pomona, CA The Glass House
Feb 23 Bakersfield, CA Golden State Hall
Feb 24 Orangeville, CA The Boardwalk
Feb 26 Boise, ID Big Easy
Mar 3 Madison, WI The Annex
Mar 4 Des Moines, IA The House of Bricks
Mar 5 St. Louis, MO The Pageant
Mar 7 Chicago, IL House of Blues
Mar 8 Toledo, OH Headliners
Mar 9 Detroit, MI St. Andrews
Mar 10 Grand Rapids, MI The Intersection
Mar 12 Cincinnati, OH Bogart’s
Mar 13 Cleveland, OH House of Blues
Mar 19 Allston, MA Great Scott
Mar 21 Raleigh, NC Lincoln Theatre
Mar 22 Columbia, SC Headliners
Mar 24 Charlotte, NC Amo’s Southend
Mar 25 Atlanta, GA The Loft at Earthlink Live
Mar 26 Jacksonville, FL Freebird Live
Mar 27 Port St. Lucie, FL The Mojo Room
Mar 28 St. Petersburg, FL State Theatre
Mar 29 Tallahassee, FL Beta Bar
Mar 31 Baton Rouge, LA Varsity Theatre
April 2 Fayetteville, AR George’s Majestic Lounge
April 3 Tulsa, OK Cain’s Ballroom
April 5 Dallas, TX House of Blues
April 6 Houston, TX Meridian
April 7 Austin, TX Emo’s
April 9 Phoenix, AZ The Brickhouse
April 11 San Diego, CA Canes Bar & Grill

If you loved Juno, you’ll love The Terrordactyls – check out the adorable antifolk duo’s debut album featuring Kimya Dawson.

If you loved Juno, you’ll love The Terrordactyls – check out the adorable antifolk duo’s debut album featuring Kimya Dawson.

“Everything The Terrordactyls do is wonderful.” (Megan Seling, The Stranger)

The Terrordactyls are Michael Cadiz and Tyrel Stendahl. Although Michael was born in Maryland and Tyrel hails from Washington, the pair met in high school on the tiny Northwest island of Vashon where they first began to play music together (along with some games of four-square and capture-the-flag.)

Now split between NYC and Washington, Michael and Tyrel still find plenty of time for music-making. The boys recently put the finishing touches on the upcoming Mike Bowers EP, covering five songs by the Seattle band (and close friends) The Pharmacy. Meanwhile, the duo’s self-titled debut album has been receiving lots of attention recently for its song “Devices” (MP3) featuring Kimya Dawson.

With the unexpected popularity of the Juno soundtrack and its many Kimya-penned songs, this Terrordactyls track and its accompanying stop-motion video has become an internet sensation with over 150,000 YouTube views to date.

As you can see, The Terrordactyls are rather talented individuals. In addition to music, Michael’s interests include fabricating truths on job applications, answering multiple choice questions and running away. Tyrel enjoys guns, organizing his iTunes music library and being good at life. During the brief periods that Michael and Tyrel are away from the gym, they enjoy watching inspirational sports films and talking about their abs.

On their self-titled album, The Terrordactyls’ quirky, lighthearted yet decidedly melancholic tunes are augmented by toy pianos, kazoos, the “stumpf fiddle” and the voice of Kimya Dawson (The Moldy Peaches, Juno). Despite all these charming trappings, though, nothing really serves to take the edge off The Terrordactyls’ gutsy interpretation of the sad sweetness (or sweet sadness) of living.

Andrew WK writes: “I’m honored that you decided to cover my ‘Long Live The Party’ song (MP3) and I enjoyed your version very much. I could’ve never imagined the arrangement you recorded, and I was delighted at the effect. Again, thank you… No matter what, let’s all continue to make music and enjoy every moment of this process that is life. Never let down and long live the party.”

More quotes from the press:

“The duo spin a web of clever lyrics, catchy sing-a-longs and goofy instrumentation… their communist inspired, love tortured sound could be the hottest thing since Yikes! Pencils” – The Vox

“When the opener nails its performance, there is an odd electricity that runs through the room, and it was certainly there when the Terrordactyls left the stage. Their head-swaying songs, filled with out-of-tune kazoo harmonizing and a plinking toy piano, were almost the pinnacle of the whole show. With the lightheartedness of a child and the lyrical earnestness a grandfather might have, Terrordactyls resembled old friends weaving tidy, ephemeral songs around a campfire, especially during the song ‘Fall.’” – West Coast Performer

“This will fit in nicely next to your Jeffrey Lewis, Boat, and Bishop Allen records; it takes the best bits of 90s indie-pop and twee and blends it with some semi-serious melancholy and half-ironic cries for help, along with a few melodies you may be physically unable to keep from singing the second time around.” – indiefolkforever

“The earnest quality of their music is immediately endearing, and at the same time belies a deeper songwriting.” – Rock Sellout

The Terrordactyls Live:

03/01 Olympia, WA 1502 Legion Way

03/06 Seattle, WA Fusion Cafe

03/07 Seattle, WA The Vera Project

03/08 Portland, OR Kurt’s House

03/09 Oakland, CA Ghost House Gallery

03/10 Santa Barbara, CA The Oven

03/11 Phoenix, AZ The Phix

03/12 Austin, TX SXSW Fanatic Promotion Showcase

03/21 Durham, NC Bull City HQ

04/02 New York, NY The Canal Room

04/08 New York, NY Pianos

04/13 Columbus, OH Wholly Craft

04/20 Denver, CO Rhinoceropolis

The Terrordactyls Tracklisting:

Stream The Album HERE

01. Facelift
02. Sabina
03. Zombie Girl
04. I Want To Cry
05. Decoration Daniel
06. Fall (MP3)
07. Devices (MP3)
08. Sandcastles
09. Shipping
10. Parking Lots
11. Nobody Knows
12. Swimming
13. Home
14. Baltimore

Announcing Sasha and John Digweed Spring Club Tour 2008

Announcing Sasha and John Digweed Spring Club Tour 2008.

Tickets go on sale tomorrow at 11am EST

This Spring 2008, America will witness the legacy that is Sasha and John Digweed as they launch their Sasha and John Digweed Spring Club Tour 2008 at the Winter Music Conference on Thursday, March 27th at Mansion. This is the first time that Sasha and John Digweed are touring North America extensively in six years taking them thru 21 cities landing at Coachella on Saturday April 26th where the duo will be headlining the Dance tent which may look something like this: click here

TOUR DATES
THU 27-Mar-08 Miami Mansion

SAT 29-Mar-08 Miami Ultra Music Festival

WED 2-Apr-08 Boston The Estate

THU 3-Apr-08 Philadelphia The Fillmore @ TLA

FRI 4-Apr-08 New York Webster Hall

SAT 5-Apr-08 Washington, DC Ibiza Nightclub

MON 7-Apr-08 Nashville City Hall

WED 9-Apr-08 Columbus Karma

THU 10-Apr-08 Detroit Clutch Cargos

FRI 11-Apr-08 Toronto Kool Haus

SAT 12-Apr-08 Chicago House of Blues

MON 14-Apr-08 St. Louis Dantes

TUE 15-Apr-08 Minneapolis Epic

THU 17-Apr-08 Guadalajara Foro Alterno

FRI 18-Apr-08 Monterrey Autocinema

SAT 19-Apr-08 Mexico City Arena Mexico

TUE 22-Apr-08 Seattle Showbox Sodo

WED 23-Apr-08 Vancouver Plush Nightclub

THU 24-Apr-08 Portland Roseland Theater

FRI 25-Apr-08 San Francisco The Warfield

SAT 26-Apr-08 Coachella Coachella Festival

The last time Sasha and John Digweed toured the US was in 2002 on their infamous Delta Heavy Tour, known as the most important DJ tour to ever hit America. The tour forever raised the bar for large-scale electronic music events. Technically produced like a rock concert, complete with touring sound, lighting, staging and laser and video production Delta Heavy catapulted Sasha & John Digweed into arena headlining status and was attended by more than 85,000 people during its six weeks.

While most DJ tours are all about taking flights from city to city, Sasha and John will be hitting the pavement, bussing it through the country. However, unlike Delta Heavy, this tour is about going back to their grass roots. “You know that’s what it’s all about — giving the people a good time.” Sasha and John

“Its been six years since Delta Heavy. Both Sasha and myself have been talking for ages about touring the states together again, but really wanted to go back to our underground roots as recently the only shows we have done together have been massive festival events. So this time around we are playing a great selection of clubs with great sound systems rather than big arena shows, which will give our fans a chance to see us in a more intimate environment.” John Digweed

Sasha and John Digweed are truly bringing their sonic experience back to the people, and this tour offers something for every one of their fans. The tour will make stops at legendary rock venues such as the Warfield in San Francisco and Webster Hall in NYC. In addition, many of the shows are 18+ and some are even all ages. And because many of these events are taking place in traditional rock venues their shows may start at 9 and end at 2, as opposed to a traditional club night which starts at 2am and ends at 6am. A rare exception indeed for Sasha and John Digweed fans.

“While Delta Heavy was billed as an arena tour it was the theatres and clubs where John and I had the most fun and where we felt our sound worked best. So this time around we decided to focus on those venues. Over the last 6 years we have played together a lot in LA and NY, and whilst I love those cities, I’m really looking forward to returning to places like DC, Seattle and Minneapolis, where John and I haven’t shared the decks since 2002. Plus, spending time on the road with John on a bus touring the country is something I just couldn’t turn down.” – Sasha

For this tour, Sasha and John have partnered with Beatport and Wantickets for a very special promotion.

Advance tickets will be available directly through Wantickets:
Wantickets.com/SashaandJohnDigweed
Or
Sasha’s site:DJSasha.com
John Digweed’s site: JohnDigweed.com

Those who purchase a ticket in advance through Wantickets will get a free Sasha/John Digweed track. In addition, for everyone who attends a show, Beatport will be giving a Beatport Download card which will give the fans another free track. It’s just one way for Sasha and John Digweed to thank their fans for all their support.

Both Sasha and John Digweed will be releasing CDs to coincide with the tour.
More information on these releases to follow soon.

For All Media Inquiries please contact:
SiouxZ@MagnumPR.net
212.532.4650

BRIEF HISTORY:
When indie rock and cheesy pop dominated the national charts and the underground was desperate for a sound of its own, along came two young British DJ’s, both making their mark in the burgeoning UK Rave scene and eager to take an underground phenomenon to another level. A meeting of minds and musical collaboration soon lead them to become one of the worlds most internationally recognized and acclaimed dj duos in electronic music, to this day. They became the first dj collective and tastemakers to bring dance to the foreground of mainstream music, when in 1994 the inception of their partnership formed as they released the seminal triple disc compilation Renaissance The Mix Collection which provided a yardstick for all future DJ mix albums. Sasha and John Digweed have never given in to the mainstream yet have always somehow defined it.

What followed in 1996 was the infamous Northern Exposure double disc set on Ultra Records. And in the same year, the British duo were invited to share a monthly residency at the world’s most renown club, New York City’s Twilo, becoming the first British DJs to hold a residency. With their awe-inspiring all-night sessions, Sasha and John conquered New York City. Soon, the rest of America became transfixed by the maestros’ blistering sets that captivated crowds in cities across the nation.

“What distinguishes Northern Exposure from other DJ’S mixed compilations available these days is how cerebral DJs Sasha and John Digweed’s mixology is. Instead of your typical Dance mix USA volume, these guys thrive on transition as much as they do groove. They gracefully combine their notably fierce progressive house and fluttering-yet filthy dance music signature style with a lush selection of melodies and banging anthems from groundbreaking dance artists of yesterday, today and tomorrow.”
– Smith Galtney, Time Out

Before their existence, the concept of a compilation was merely a mixture of tracks packaged together and sold to the masses at face value. Never before in mainstream music had anyone taken the initiative to fuse together underground anthems and deliver them in the form of a dj set. Flavored, motivated and driven by another’s interpretation with their own original productions in the mix, the superstar dj was born and the line between dj and artist was quickly blurred.

“Sasha and Digweed have really stepped right up to the plate and hit an all American home run.”
-Smith Galtney, Time Out

Indeed, they did. It is their ability to reach people by hooking their audience into the personality behind the decks.

“Presiding over the packed dance floor like new millennial rockstars, the two pioneering DJs took turns spinning piping hot wax, whipping the throbbing crowd in and out of frenzy.”
– Boston Herald

Sasha’s trademark power-packed, emotional sets embody the essence of his high-octane moments. He propels listeners into the future of electronic music by constructing innovative and forward-thinking concepts. While John’s sets are enveloped in imagination and invention without heroic pretensions his sets are filled with moodiness and musical mystery but held down with a punchy distinctiveness and earthly rhythm. Always emanating a sense of boundlessness he overlaps dream events that spill into reality with an enormous certainty. However, working together they bring their individual purposeful eclecticism to the forefront both through their selection of songs and their supreme mixing skills.

“In the same way bands like the Chemical Brothers, Prodigy and the The Crystal Method broke new ground last year with recordings, that overflowed out of the clubs and into the homes of the mainstream America, DJ duo Sasha and John Digweed are setting the agenda for the next chapter in the rewriting of the textbook of modern dance music. For those timid about this brave, new electronica-drenched world, this is a good primer.”
– Eric Nonacs, Jane Magazine

“With DJ tag team extraordinaire Sasha and John Digweed”. Only slated to perform through 3:30 A.M. at Bonnaroo, Sasha and John Digweed’s set continued well into the morning, providing a sound track while I moseyed on back to the Spin compound as the sun rose, smiling and shaking my head in a blissful confusion, wondering what had happen to the past five hours.”
– William Goodman, Spin.com 2007

WHAT THE PRESS SAY…

“Their legendary twelve-hour Twilo sets — sets that continue on to this day because of an almost unspoken musical chemistry and compatibility.”
-Rolling Stone

“A longing for rapture and transcendence is never far from the surface of dance music, particularly in the utopian pulsations set out by the English disk-jockey team of Sasha and John Digweed.”
– Jon Pareles,The New York Times

“HEARTBREAKINGLY POWERFUL…”
-Mix Mag UK

“When Sasha & Digweed take turns bouncing keyboard-rich hooks and delivering show-stopping rises, fans beyond dance will understand the fuss.”
-Los Angeles Times

“The tent’s main draw was the incomparable Sasha & Digweed. The dynamic duo of Djs obliterated the tent with a roof-raising blend of percussive beats, and synthesizer-heavy rises.”
– Rolling Stone

“…experienced an unsurpassable vibe brought on by not only the high quality of the music, but by the the exhilaration of the crowd that welcomed the duo back with open arms.”
– Mixer

“For our money, there’s no more groovalicious way to spend an evening than cuddled up to a speaker column, ears popping with the tag-team basso profundo and spiraling breaks of S&D’s superstar DJ routine.”
– Austin Chronicle

“For many people, Sasha & Digweed define the clubbing experience. As evidenced by their live performances, both are masters of taking classic house records and weaving them into a nearly perfect web of more progressive grooves.”
– Westword

Who loves Freddie Stevenson? Scottish singer to make 2008 debut at the Fanatic Promotion South-by-Southwest showcase

Who loves Freddie Stevenson? Scottish singer to make 2008 debut at the Fanatic Promotion South-by-Southwest showcase.

Freddie Stevenson is a Scottish afro’d punk poet who might remind you of a character from Fraggle Rock. It’s not much of a coincidence considering his mother was the co-creator of the groundbreaking Jim Henson-helmed children’s show. Some might think such a creative pedigree would give an aspiring musician a leg up. Luckily, Freddie doesn’t need it. His upbeat, tongue-in-cheek, highly melodious and expertly played pop songs speak for themselves.

Let’s rewind a minute for perspective’s sake. Not long after Freddie’s debut album Body On The Line had been named a BBC Album of the Year in 2006, he found himself ready to make another record. Whether sitting alone in a hotel room in New York City, or nursing a whiskey by the fire at home in Scotland Freddie’s always writing.

For the recording of Freddie Stevenson’s new album All My Strange Companions, and it’s collection of visceral, raw, and rustic tunes, it was apparent that Nashville was oozing with exactly the types of musicians Freddie needed to work with. Soon half of Emmylou Harris’ band was in for the long haul. Next to step forward: David Z., Prince’s legendary engineer and producer.

As the sessions began, the songs kept coming. The resulting album reveals a great British songwriter bringing together the flavors of soul and rhythm and blues that only Nashville can offer.

And why has Freddie been hanging out with Giorgio Armani and Dita Von Teese?

As previously stated, Freddie grew up around artists and sometimes an artist’s earliest supporters are other creative people. Over the years Freddie has been lucky enough to cultivate a fan base of such notable people as actors Tom Hanks, Scarlett Johansson and Javier Bardem and musicians such as Dave Matthews, Lucinda Williams and Mike Scott of The Waterboys.

Perhaps Freddie’s most notorious accolade to date was having The Office co-creator Stephen Merchant call his 2006 tune “If You Don’t Kiss Me” the “ultimate song to seduce women to.” It must work, as evidenced by burlesque performer (and Marilyn Manson-ex) Dita Von Teese penning her phone number in lipstick on Freddie at this year’s Paris Fashion Week (which Freddie was invited to by Mr. Armani – mystery solved.)

Back to the tunes — a listen to All My Strange Companions demonstrates the intricate diversity in Freddie’s writing. From the acoustic-punk sing-a-long opener “Easy Now” (often referred to as “the JK Rowling song”) to the woeful, tender pining of “Alibi Song,” Freddie conjures melodic hooks from the most wondrous of places. Musically the record soars. Its sound spans the intricate weaving of acoustic guitar and languished lap steel in “The Soft Collapse” through to the vicious punk stylings of “Ordinary Girl.”

Freddie gigs regularly around the UK, Europe and USA, with residencies in New York and London set for early 2008. He plays with Brady Blade (Drums – Bob Dylan, Dave Matthews, Emmylou Harris, Indigo Girls, Barenaked Ladies), Chris Donohue (Bass – Emmylou Harris), Phil Madeira (Keyboards, Guitars, Accordion – Emmylou Harris, Buddy Miller), John Perry (Guitars – lead guitarist of underground UK punk legends The Only Ones). These are the sounds of four great musicians capturing the raw energy that can only come from an honest, real performance.

Freddie’s first US show of 2008 will be during Fanatic Promotion’s yearly showcase during the South by Southwest music conference in Austin, Texas at The Wave on Wednesday, March 12. The showcase also boasts critically acclaimed artists Die! Die! Die!, The OaKs, Saint Bernadette, Kate Tucker & The Sons of Sweden and Steve Smith.

Spend a moment with Freddie and expose yourself to one of the UK’s most vibrant songwriters.

All My Strange Companions Tracklisting:

Release Date: 04.15.08

01. Easy Now (MP3)
02. Alibi Song
03. Czechoslovakia
04. Photographs
05. If There Is A World
06. If An Alien Astronomer Could See Us From Afar
07. Nothing’s Gonna Change
08. Brand New Heart
09. The Soft Collapse
10. The Occasional Spell
11. Ordinary Girl

65daysofstatic kicks off massive five-month European and US tour supporting The Cure. Band to release new Dance Parties EP, 2004 debut The Fall of Math and subsequent Hole EP to receive first U.S. release.

65daysofstatic kicks off massive five-month European and US tour supporting The Cure. Band to release new Dance Parties EP, 2004 debut The Fall of Math and subsequent Hole EP to receive first U.S. release.

“Kicking off with their trademark electric crackle, it’s clear that with their third album 65daysofstatic have resisted the urge to tone down their quite frankly mental tsunami of noise and make a play for the mainstream sales potential of an ever scene-conscious world. Instead, they have done what they’ve always done — thrown the rulebook out the window and grown organically. With such clinical conviction 65DOS are utterly peerless in their chosen field of post-rock.” — Kerrang Magazine

“65daysofstatic have made their masterpiece, or something close to it; three albums in, in the most dirty, shallow decade of music we’ve known, who else can say that? A handful, not enough. The Destruction of Small Ideas is a weight, a tower of babel, a journey, learnings, understandings, communication, evolution. I’ve been waiting. I was promised this or something like it. The rise and fall. All so deep, so rich, so comically dynamic and detailed and powerful for it that it makes me want to cry. How to make a record. Play loud.” — Stylus Magazine

When British post-rock quartet 65daysofstatic was hand-picked by goth-pop legends The Cure to support its entire North American tour last fall, the group’s fans were ecstatic; only to be disappointed a short time later when the headliner decided to postpone all tour dates. Now, 65daysofstatic and its fans worldwide have even more to celebrate with the announcement of several new releases AND reinstated dates with The Cure in Europe and the U.S. beginning this week and running through June (see complete schedule below.)

Hot on the heels of the tour, 65daysofstatic has announced the release of a new EP The Distant and Mechanized Glow of Eastern European Dance Parties (or, more succinctly, Dance Parties as the band likes to call it) on its longtime label, Monotreme Records. The EP, based around a core track from the band’s current album The Destruction of Small Ideas, won’t hit streets until April 29th, but until that time American fans can finally acquire a domestic release of 65daysofstatic’s 2004 debut album The Fall of Math as well as the subsequent EP Hole which was released that same year. As if that weren’t enough good news, a gatefold double-LP edition of The Destruction of Small Ideas will also hit U.S. shelves in spring 2008. Upon its original release, The Fall of Math was heaped with critical praises and championed by BBC Radio One DJs John Peel and Zane Lowe, among others. It appeared on numerous best of 2004 lists and earned the band recognition as “one of the few genuine boundary-pushers in contemporary rock music.”

Last summer, American audiences finally had their first chance to experience the band that’s been all the rage in the UK, Europe and Asia for several years now. 65daysofstatic’s tour with Fear Before the March of Flames was a rousing success, once the band was able to get its work visas cleared at the 11th hour. In the first week of its release, The Destruction of Small Ideas sold out of its first pressing, forcing Monotreme to scramble to meet the overwhelming demand. Likewise, press response overseas for the album has been phenomenal, with Kerrang Magazine deeming the Sheffield, England quartet’s latest “utterly peerless” in the post-rock genre, awarding the album a 4/5 K-rating.

The Destruction of Small Ideas, released in April 2007, is the highly-anticipated follow-up to 65daysofstatic’s massively popular sophomore album One Time For All Time. A three-song single “Don’t Go Down To Sorrow” preceded the release of Destruction, building upon the critical and commercial success of One Time For All Time in the UK, Europe and Japan which catapulted the band to festival stages and pages in the NME, The Wire, Rock Sound and many more since its UK release in 2005. That album was released in the U.S. in fall 2006.

65daysofstatic made its American live debut to an enthusiastic audience at the SXSW festival last year at the Fanatic Promotion showcase. (We don’t want to gloat, but we’ve been telling the press for a year now that they’d be huge and it now looks like 65daysofstatic’s ascent has begun!) Stylus Magazine called The Destruction of Small Ideas a masterpiece and the American press has begun to pick up on the band, including coverage in Magnet, Paste and Harp magazines.

In previous years, the group has packed venues and headlined festival dates overseas. It was during much of this activity that 65daysofstatic’s UK label Monotreme Records inked a deal for an American release of the band’s refreshing gene-splice of electronic glitch and guitar girth. The group’s futuristic tone makes for a seductive score for an unwritten sci-fi epic that melds cutting guitars and electronic tones with sampled beats, live drums and computer glitch. But where IDM culture cuts out in the low end, 65daysofstatic delivers a thunderous wall of guitars that’s reportedly still shaking some festival grounds since those performances.

Since its debut, 65daysofstatic has spent several months touring the UK, playing to packed venues and festival tents. With the UK release of the band’s second album 65daysofstatic further cemented its position as one of the most innovative bands to emerge in the UK, with its groundbreaking blend of drum’n’glitch beats, walls of guitar noise, broken laptop clicks and overwhelming melody. A relentless touring schedule in the UK and mainland Europe has seen the band share stages with the likes of Mono, Wolf Eyes and Mogwai. The group headlined the Kerrang! Stage at The Great Escape Festival in Brighton, followed by a headlining Kerrang! ‘Most Wanted’ sponsored tour.

65daysofstatic Selected Discography

Stream the sampler HERE

* The Distant and Mechanized Glow of Eastern European Dance Parties EP (US/UK April 2008)
* Hole EP (US 2008)
* The Fall of Math LP (US 2008)
* The Destruction of Small Ideas LP (UK/US 2007)
* Don’t Go Down To Sorrow EP (UK/US 2007)
* One Time For All Time LP (US 2006)
* One Time For All Time LP (UK 2005)
* Hole EP (UK 2004)
* Retreat! Retreat! EP (UK 2004)
* The Fall of Math LP (UK 2004)

65daysofstatic Live

* w/ The Cure

02/18 Warsaw, Poland @ Warsaw Tower *

02/19 Katowice, Poland @ Katowice Spodek *

02/21 Prague, Czech Republic @ Saska Arena *

02/23 Vienna, Austria @ Bank Austria Halle, Gasometer *

02/25 Munich, Germany @ Olympiahalle *

02/27 Zurich, Switzerland @ Hallenstadion *

02/29 Rome, Italy @ Palalottomatica *

03/02 Milan, Italy @ Palasharp *

03/04 Marseilles, France @ Le Dome *

03/06 Madrid, Spain @ Palacio de Deportes *

03/08 Lisbon, Portugal @ Pavilhao Atlantico *

03/10 Barcelona, Spain @ Palau Sant Jordi *

03/12 Paris, France @ Le Bercy *

03/14 Antwerp, Belgium @ Sportpaleis *

03/16 Oberhausen, Germany @ Konig-Pilsener *

03/18 Rotterdam, Netherlands @ Ahoy Rotterdam *

03/20 London, UK @ Wembley Arena *

04/09 Bristol, UK @ Thekla

04/10 Nottingham, UK @ Rescue Rooms

04/11 London, UK @ Indigo

04/12 Leeds, UK @ Cockpit

04/13 Brighton, UK @ Concorde 2

04/14 Wolves, UK @ Wulfrun

04/15 Manchester, UK @ Academy 2

04/16 Portsmouth, UK @ Wedgewood Rooms

04/17 Brussels, Belgium @ TBD *

04/18 Amsterdam, Netherlands @ TBD *

04/19 Koln, Germany @ TBD *

04/20 Hamburg, Germany @ TBD *

04/21 Copenhagen, Denmark @ TBD *

04/22 Berlin, Germany @ TBD *

04/23 Prague, Czech Republic @ TBD *

04/24 Vienna, Austria @ TBD *

04/25 Munich, Germany @ TBD *

04/26 Milan, Italy @ TBD *

04/28 Paris, France @ TBD *

05/09 Washington, DC @ Patriot Center *

05/10 Philadelphia, PA @ Wachovia Spectrum *

05/11 Hoboken, NJ @ Maxwells

05/12 Boston, MA @ Agganis Arena *

05/14 Montreal, PQ @ Bell Center *

05/15 Toronto, ON @ Air Canada Centre *

05/15 Toronto, ON @ El Mocambo

05/16 Chicago, IL @ Allstate Arena *

05/16 Detroit, MI @ The Magic Stick

05/17 Chicago, IL @ Beat Kitchen

05/18 St. Louis, MO @ 2 Cents Plain

05/19 Kansas City, MO @ Starlight Theatre *

05/21 Denver, CO @ Red Rocks Amphitheater *

05/22 Denver, CO @ Lorimer Lounge

05/23 Salt Lake City @ E Center *

05/24 Boise, ID @ The Venue

05/25 George, WA @ The Gorge Sasquatch! Festival *

05/26 Vancouver, BC @ General Motors Place *

05/28 San Francisco, CA @ Bottom Of The Hill

05/29 Santa Barbara, CA @ Santa Barbara Bowl *

05/30 Los Angeles, CA @ Troubadour

05/31 Los Angeles, CA @ Hollywood Bowl *

06/01 San Diego, CA @ The Casbah

06/02 Anaheim, CA @ Chain Reaction

06/03 San Diego, CA @ Cox Arena *

06/04 Phoenix, AZ @ Dodge Theatre *

06/04 Phoenix, AZ @ The Sets

06/06 Dallas, TX @ American Airlines Center *

06/07 Austin, TX @ Music Hall *

06/07 San Antonio, TX @ Rock Bottom

06/08 Austin, TX @ Emo’s

06/09 Houston, TX @ Toyota Center *

06/11 Tampa, FL @ St Pete Times Forum *

06/12 Orlando, FL @ The Social

06/13 Fort Lauderdale, FL @ Bank Atlantic Center *

06/14 Gainsville, FL @ The Atlantic

06/15 Atlanta, GA @ Gwinnett Civic Center *

06/16 Charlotte, NC @ Charlotte Bobcats Arena *

06/18 Cleveland, OH @ Cleveland State University *

06/19 New York, NY @ Mercury Lounge

06/20 New York, NY @ Madison Square Garden *

06/21 New York, NY @ Radio City Music Hall *

All bets are on for indie music fans as Universal Republic newcomers Your Vegas makes live trek across the US with The Bravery. Debut album “A Town and Two Cities” in stores April 22nd

ALL BETS ARE ON FOR INDIE MUSIC FANS AS UNIVERSAL REPUBLIC NEWCOMERS YOUR VEGAS MAKES LIVE TREK ACROSS US WITH THE BRAVERY DEBUT ALBUM, “A TOWN AND TWO CITIES” IN STORES APRIL 22

New Universal Republic band Your Vegas, whose sweeping pop EP is garnering raves and turning heads of iTunes fans (it opened up on the iTunes rock chart at a stunning #27), are making their way through several towns and cities on their much anticipated US tour, which kicked off on January 25 in Seattle Washington. The much buzzed about run is ’08’s kickoff alt-romp, with Your Vegas joining New York’s new-wavey quintet the Bravery and British powerpoppers Switches on the multiple city trek before venturing off for a handful of solo shows in March.

Hailing from Leeds, UK, the resilient band hit their epic stride by selling everything and squatting smack down in Hells Kitchen, NYC, signing with Universal Republic last year, and drawing comparisons to breakthrough bands such as Coldplay, The Killers, and others. “Their sound is so polished, carefully constructed and grand…you could be mistaken for thinking it was U2 up on the stage”, crowed one review. Pop culture tastemakers have also taken notice, with Your Vegas putting in a rousing TV performance from the Sundance Film Festival and picking up a key endorsement from Playboy magazine as one of the Top 10 Bands to Watch in 2008. Upcoming touts by indie-chroniclers Alternative Press, Music Connection, and Blender.com are also in the works.

Propelled by calling card signature songs on the 3-track EP like the soaring “It Makes My Heart Break,” and the plaintive pulse of “Troubled Times,” Your Vegas has already carved out that rarest of profiles: Anthem-driven rockers re-setting the indie music clock. Their debut CD, A Town And Two Cities is in stores April 22nd.

YOUR VEGAS TOUR DATES:

Feb 21, 2008 Terminal 5 (w/ The Bravery) – New York, NY
Feb 22, 2008 The Fillmore at TLA (w/ The Bravery) – Philadelphia, PA
Feb 23, 2008 The Station (w/ The Bravery) – Portland, MA
March 8, 2008 Cabo Wabo Cantina – Cabo San Lucas Baja, CA Sur
March 9, 2008 Mar Nikki Beach (acoustic show) – Cabo San Lucas Baja, CA Sur

“In My Head” Mp3

The Jet Age leader Eric Tischler explains the band’s new stark and dark concept album What Did You Do During the War, Daddy?

The Jet Age leader Eric Tischler explains the band’s new stark and dark concept album What Did You Do During the War, Daddy?

“Good songs played by a straightforward rock trio will always find their way into people’s playlists, regardless of what’s big at the moment. The Jet Age provides exactly that…” – Pitchfork

“The Jet Age is sure to please several kinds of rock fans: Punks will thrill to the fast tempos, classic rockers will dig the guitar heroics, indie kids will appreciate the deft musicianship and experimental sensibility, and power-pop aficionados will swoon to the ocean-sized hooks.” – Express

“The songs are ragged without being sloppy and bring to mind some of the best in the indie rock pantheon, whether it be Dinosaur Jr., with the distorted solos or Superchunk with Tischler’s high pitched, enthusiastic vocals.” – The Washington Post

Eric Tischler of The Jet Age on the band’s new album, What Did You Do During the War, Daddy?

There’s no easy way to put this, so here goes: What Did You Do During the War, Daddy? was conceived as the soundtrack to an imaginary musical that asks what is our (my) responsibility, as citizens, when our government is out of control. Bear with me.

While finishing 2006’s Breathless, I came up with the Stones-y riff of “If I Had You Then, I’d Still Want You Now.” Shortly thereafter, I wrote the stark, dark “Shake,” a fairly literal retelling of a nightmare I had about my son. Around the same time, I came up with the sinister funk™ of “False Idols,” a song about martyrs, revolution, and political messaging. Although three tunes do not an album make, I was concerned about how these songs would get along on one CD. Shortly thereafter, I read Pete Townshend’s claim that he found writing was much easier when he had a “brief” to write to, and suddenly the idea of CREATING a structure for this new record immediately made sense; I realized I already had a dramatic trajectory, from the euphoric gallop of “If I Had You Then…” (a song clearly sung by a family man) to the climax of “False Idols,” in which the narrator blows himself up in order to make the world a better place for his family.

Yes, this is the tragic tale of a revolutionary American suicide bomber. It sounds crazy when I write it, and I hope the widow’s lament (“Ladies, Don’t Cry Tonight”) that bookends this record makes it clear that I’m not advocating suicide bombing as a solution for anything, but drama provides a forum for discussing some dark ideas and, frankly, I really DON’T know what else I can do as a voting citizen to rectify the terrifying course our country has been set upon. As a father of two, that’s pretty fucking vexing, hence this album.

So, the story: The first act opens with “Ladies, Don’t Cry Tonight,” which establishes some background (there’s a war on) and serves as foreshadowing. “If I Had You Then …” is our introduction to the happy couple. “Dance” is about the importance of being true to — and comfortable with — one’s self, and is sung by the wife to the couple’s daughter. The husband, moved by this exchange, later serenades his wife with “O, Calendar”

However, while things may be happy at home, the world outside is anything but, hence the creeping dread in Act 2, starting with the nightmare of “Shake.” The negativity grows in “Dumb,” as our hero rants about his own passivity while his government is dumbing down half of the populace while keeping the other half complacent and thus complicit in its silence. The increasing awareness of the darkening world around him-and the threat it poses to his family’s future-leads our hero to align himself with a brewing underground movement in “I Said, ‘Alright.’”

In Act 3, the father has become engrossed in the plan to sacrifice himself in the opening salvo of the revolution. His inadvertent withdrawal from the family he wants to save prompts his wife to sing “Now We Are Three,” raising that ol’ brain teaser: Do the ends justify the means? In “False Idols,” our protagonist does, indeed, sacrifice himself, narrating the song from beyond the grave. The driving, bombastic-grandiose(?) ”Maybe Love’s a Transmission” is his (spectral) farewell to his wife, and hers to him. The record closes with a reprise of the widow’s lament but this time it’s for our protagonist’s family. Phew.

Despite my efforts to make the plot work, it was important to me that these songs would be able to stand on their own, too. The “musical” concept allowed me to write songs that spoke directly to the concerns I have without having to force myself to move the plot along incrementally; I assumed that dialog, some of which I almost recorded as interstitials, would handle some of the narrative work. So, outside the context of the record, “Maybe Love’s a Transmission” is still about losing a loved one, regardless of the cause of death. “Dumb,” I fear, is a topical rant; the first act is mostly love songs. In other words, this thing should be iPod friendly, but I want people to listen to the record front to back. Don Quixo-who?

The tunes: Yeah, my usual nods to The Who, Swervedriver, My Bloody Valentine, the New Zealand scene, etc. are all here; that’s my DNA and I’m proud of it. The range drummer Pete Nuwayser shows on this record is astonishing, from the C&W shuffle of “Ladies, Don’t Cry Tonight” to the no-holds-barred chaos of “O, Calendar” to the funky strut of “False Idols”; I don’t know of any drummer who covers so much ground in one band. But bass player Greg Bennett is the hero of this record. Apart from writing the music for shoegazer epic “Now We Are Three” (a riff so good we ultimately decided to just play it for three minutes), he drives these songs. Just listen to the climax of “I Said, ‘Alright’,” the turnarounds in “If I Had You Then…” the insistent throb in “O, Calendar.” The concept is mine, but the album’s power is the band’s. Regardless of whether people embrace the themes discussed herein or not, we hope and believe the appeal of the music itself is incontrovertible. Please, pass it on. – Eric Tischler, 2008.

What Did You Do During the War, Daddy? Tracklisting:

Stream The Album HERE

Release Date: 02.05.08

01. Ladies, Don’t Cry Tonight
02. If I Had You Then, I’d Still Want You Now
03. Dance
04. O, Calendar (MP3)
05. Shake
06. Dumb
07. I Said, “Alright”
08. Now We Are Three
09. False Idols (MP3)
10. Maybe Love’s a Transmission
11. Ladies… (Reprise)