Vans Warped Tour review

written by Mike Cox

Date: July 1, 2007

Venue: Shoreline Amphitheatre, Mountain View, Ca.

From the dust it had risen, and into the dust it would fade. On July 1st 2007, Shoreline Amphitheatre in Mountain View California was home to the 13th annual Vans Warped Tour. Take time to note, that of all the music festivals conceived in the early 90’s the Warped Tour is one of only two still clinging to life’s breath, a true credit to the “underground”.

That being said, it’s important to recognize just how much the festival has evolved over the last decade.

Once a mere spotlight for the Punkers, the tour is now brand central, with representatives from every hipster clothing line and record label between here and Timbuck Two, shamelessly promoting their wares by any means possible. Not necessarily a bad thing, the consumer microcosm created offered many the chance to sample sounds ne’r heard at the local Sam Goody. Though most were no more than new school “Monk”(mock punk) bands trying to jump on the Emo/Screamo/Teeno bandwagon being paraded on the airwaves these days. Still there were a few standouts.

The So Cal based Street Drum Corps (S.D.C.) were well worth the time and effort it took to see them. An audience of well over a hundred packed into an amazingly small tent where temperatures easily reached the century mark to enjoy the sights and sounds of this so called “Punk Rock Stomp”. Founded by Bobby Alt (S.T.U.N.), Adam Alt (Circus Minor) and Frank Zummo (The Start), S.D.C. unleashed an all out auditory assault, arming themselves with anything and everything they could get their hands on. Look for the new record “We Are Machines” in stores this summer.

Conscious of the tours continued evolution (success?) the powers that be again offered another first, the combination of athlete and artist. Mike Vallely (Mike V. to the rest of us), host of Fuel TV’s “Drive”, pro Skater extraordinaire, and all out punk rock madman, on board skating and singing. On tour for the summer with his band Mother Revolution. Unfortunately as his set coincided with the Vandals I was only able to catch the last few songs. Alas the sound and accompanying vision provided by Mike and his band on stage was nothing short of refreshing. With the day and age of eyeliner and emo upon us Mother Revolutions’ hurricane like zeal for fast loud rock was certainly one of the day’s high points. Hardcore fans rejoice, this album is for you.

Added bonuses aside, I was here for the meat and potatoes of the line-up. Conveniently, every band I specifically came to see were set to perform on the Lucky stage one after another starting at 3:00 P.M.

The only scheduled exception was New Found Glory (whom I find nothing glorious about) taking the stage at 5:00 P.M. This gave me a chance to check out “The Brothers Grimm Sideshow” which amounted to nothing more than a K-Mart quality rip off of “The Jim Rose Circus Sideshow.” Don’t bother. Spend the 5 on a beer instead.

The Tiger Army set kicked things off with the brand new “Prelude: Signal Return”, stirring the crowd into a frenzy and in the process creating what was to become a day long dust storm in front of the parking lot stage. Suffering through some technical problems (Nick13’s amp lost power a few times), T.A. offered a blend of new and old, pulling out a few crowd favorites while mixing in tracks from the recently released “Tiger Army IIII, Music From Regions Beyond”. T.A. finished the set with F.T.W. – dedicating it to everyone who had been at B.F.D (where rumor was, they were told not to play it).

Next up, playing their only date on the tour, So Cal career goofballs, The Vandals. For some odd reason, the Vandals started the set several minutes early causing many to miss the first few songs. Not to fear as most of their tunes seem to clock in around 90 seconds apiece. Tardy fans were still treated to classics along the lines of “I’ve Got An Ape Drape” (if you actually have to ask, don’t) and “Happy Birthday to Me”. Closing with “And Now We Dance” a sing-along that conquering punk hordes might have used in ancient Rome. At this point in the day it was safe to say the Vandals had set the crowd standard, performing with an almost seismic energy.

Picking up where the Vandals left off, the Circle Jerks assaulted the crowd with deafening decibel levels. Keith Morris and company did not disappoint. The ‘Jerks, attracted a largely older crowd, most paying tribute to a group amounting to punk rock royalty. The kids in attendance were treated to a blistering set dating back to 1979, offering them a glimpse of what life was like for us old guys. Suffice it to say I think the ‘Jerks swayed a few new fans their way. Thanks Keith.

Pennywise took the stage at six o’clock to a mind-blowing crowd. Seemingly everyone in attendance made a concerted push upon hearing front man Jim Lindberg’s classic call, “Hi we’re Pennywise, from Hermosa Beach California.” The ensuing set was a fans’ dream come true. PW stormed out of the gates with high-energy classics that moved the crowd so forcibly the dust had reduced vision to a blur. At one point Jim gave up the mic to Fat Mike (who was backstage with wife and child), treating everyone to an impromptu NoFX tune. Pure electricity! It must be said that although true punk zealots Bad Religion followed them, Pennywise stole the show. Never was it more evident than during “Bro-Hym” an emotional ode to Jason Matthew Thirsk, the bands original bassist lost to suicide in 1996. Watching my son worked over by the energy was moving. Instantly I remembered my introduction to PW. Not much different than today’s high schooler, riding in the back of a minivan en route to Ocean City, New Jersey. Cranking the newly released self- titled album “Pennywise.” I love the bond music has offered my son and I. We owe it to people like Jim Lindberg, Fletcher Dragge and our brother Jason Matthew Thirsk. Jason may you rest in peace with the eternal comforts of brotherhood and music.

Finally the act scores had patiently waited for, Bad Religion. Following Pennywise would prove a difficult task, Greg Graffin and company played a set heavy with tunes released on 1994’s “Stranger Than Fiction” and few too many from 2004’s disappointing release “The Empire Strike First” much to the dismay of older fans chanting “No Control.” Though the set list was less than ideal the Band made up for it with a razor sharp performance including tastes’ of the soon to be released (July, 10th) “New Maps Of Hell” which seems to stray from the concept of the last few releases and is more reminiscent of 1993’s “Recipe For Hate”, a direction longtime fans will be pleased with. Having closed the set with “Sorrow” the band exited the stage to chants of “One More Song”, which proved futile due to the powers that be. Just like the man to fuck up a good thing.

Call it corporate. Call it a sell-out. Hell call it whatever you want, but The Vans Warped Tour is still the best opportunity to see the best of the best do what they do.

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek, quits his job and goes on tour with Dan Deacon.

Although you’re more likely to see Gillis strip down to his skivvies at a Girl Talk show, half a million people saw Gillis exposed in June’s “Man of The Year” issue of Playgirl Magazine. When discussing what he likes to do in his free time, Gillis says, “I enjoy swimming, playing basketball, lighting off fireworks, snacking it out, and bro’n down.” About the issue, Gillis says, “I didn’t know it was out, and a friend actually spotted it in a women’s restroom at this pretty dive-y bar in Pittsburgh. She didn’t know I was in it, she was just browsing. Pretty funny situation.”

What some might find even funnier is the fact that Gillis ate hot dogs with Newsweek journalist Steven Levy and Congressman Mike Doyle shortly after the Playgirl piece hit stands. Levy and Congressman Doyle flew to Pittsburgh to meet Gillis at local hot dog joint Franktuary to discuss Doyle’s recent statements supporting Girl Talk ’s sample based music on the floor of Congress. Read all about it (LINK).

Gillis recently was granted the freedom to do the above mentioned things, as he recently resigned from his job as a biomedical engineer that up until now has also kept him from taking on more remix projects and touring on a regular basis.

“I couldn’t keep up with both worlds,” Gillis says. “It was just too much. I keep getting sick because I’m in a constant state of running somewhere else. Music has always been my main interest, but I never really thought of it as a possible career. I think I’m extremely lucky to be in the position I am in now, where I can dedicate at least a year of my life to music and stay afloat.”

According to Gillis’ booking agent Sam Hunt at The Windish Agency, “It shouldn’t have too great of an impact on his live schedule. There’s something awesome about only playing on the weekends, and we’d like to do our best to keep that going,” Hunt says. “However, there have been a number of uniquely awesome opportunities that have been impossible because they took place during the week. Also, there’s a chance he’ll be able to do a more thorough/actual tour involving multiple consecutive shows!”

Gillis’s resignation also granted him the opportunity to go on tour with Dan Deacon, more flexibility to perform at special events during the week and also more time to work on Trey Told ‘Em, a band he started with friend and collaborator Frank Musarra (Hearts of Darknesses). The duo has already completed one remix for Tokyo Police Club, and has many more in the works including tracks for Simian Mobile Disco and Professor Murder.

Girl Talk was one of the highlights of this year’s Coachella festival (VIDEO), with Paris Hilton (mere weeks before her incarceration!) and Perry Farrell dancing alongside him and throwing confetti. As usual, Gillis had a crew of dancers join him on stage, with gigantic bright yellow balloons tied to their wrists. Girl Talk was also a hit at this month’s Bonnaroo Festival and the Primavera Sound Festival in Barcelona.

Who ever thought you would see the day when the words Playgirl, Newsweek and Paris Hilton could all be used in one of our press releases? In true Girl Talk fashion, he never ceases to amaze.

In addition to the tour with Dan Deacon, Gillis is excited to be playing several more summer festivals, including Pitchfork and the Winnipeg and Montreal Jazz Festivals. He will also put his fan base to the test this July by playing Red Rocks in Colorado with Violent Femmes and Blues Traveler, soon to be followed by a show with Widespread Panic in Boston. This just further illustrates Girl Talk ’s notorious “down for whatever” attitude about music.

Girl Talk Live:

* w/ Dan Deacon

07/04 Morrison, CO Red Rock Pavillion
07/14 Chicago, IL Pitchfork Music Festival
07/18 Boston, MA Bank Of America Pavilion
07/27 Seattle, WA Capitol Hill Block Party
07/28 Louisville, KY Forecastle Festival
08/04 Baltimore, MD Pimlico Race Park
08/09 Indianapolis, IN Talbott Street
08/10 Baton Rouge, LA Spanish Moon
08/24 Tulsa, OK Cains Ballroom
09/08 Portland, OR Roseland Theater
09/12 Toronto, ON Phoenix*
09/15 New York, NY Webster Hall*
09/17 Philadelphia, PA First Unitarian Church*
09/20 Charlottesville, VA Satellite Ballroom*
09/21 Asheville, NC Orange Peel*
09/22 Atlanta, GA MJQ Concourse*
09/27 San Diego, CA Epicentre*
09/28 Los Angeles, CA Echoplex*
09/29 San Francisco, CA The Fillmore*
10/04 Lawrence, KS The Granada Theatre
10/05 Minneapolis, MN First Avenue
10/06 Iowa City, IA The Picador
10/11 Calgary, AB The Warehouse
10/12 Edmonton, AB The Starlite Room
11/01 Houston, TX Engine Room
11/02 Dallas, TX Palladium Loft

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts, Louisville, KY band features ex-VHS or Beta guitarist Zeke Buck.

Louisville, KY quintet People Noise is on a mission. Just like in the days before the Interwebs when the only way for a band to build a fan base was consistent touring, the band led by former VHS or Beta guitarist Zeke Buck set out on a seemingly endless tour last April with dates stretching into late September this year. …And the tour itinerary keeps stretching onward.

“There’s so much lost time to cover,” says Buck in a recent interview with The Louisville Eccentric Observer’s Mat Herron. “Basically, I’m trying to start anew.” After a successful 10 year run in VHS or Beta – which included a national arena tour with Duran Duran – Buck now devotes his time and talent to People Noise, the band he started with good friend and ex-Boom Bip member Matt Johnson. With Johnson on drums and Buck on, well, everything else, these Louisville natives have produced an epic, drone-laced rock album reminiscent of Black Rebel Motorcycle Club, Spiritualized and Interpol.

Although we never heard him sing a lick during his years in VHS or Beta, Buck’s resume would lead us to ask the question, “why the hell not?” From the ripe age of only four years old he was belting out opera all over the country until the inevitable struck: puberty. Unfortunately for him, it struck in the middle of a performance. It wasn’t until only recently that Buck began to sing again. For a number of months he studied under Turley Richards, a blind Louisville musician with a vocal range that would impress Whitney Houston, and eventually regained the confidence that was lost long ago. On People Noise’s debut album Ordinary Ghosts, Buck sings about everything from reincarnation to thoughts on his former band.

Johnson, a guitarist turned drummer with an experimental electronic music background, boasts quite a resume himself. During his time in Boom Bip, he toured extensively across Europe and has shared the stage with notable acts like LCD Soundsystem, Yo La Tengo, Pinback and Matt Pond PA. Johnson has also performed at London BBC Peel Sessions, Centre Pompideu, Royal Festival Hall and The Renne Music Festival in Renne, France. Not to mention he studied the djembe under Yaya Diallo for a number of years. Quite an accomplishment for a guy who wrote and performed all of the drum parts on Ordinary Ghosts on a rural Kentucky farm with no internet and no cell phone service!

For its live shows, Johnson and Buck are joined by Rahman McGuinnis on guitar, Woody Woodmansee on keyboards, and Sam Marino on bass. People Noise’s debut album Ordinary Ghosts album hit stores on June 12th. And, considering its crazy tour schedule, the band might be available to deliver its album straight to your door.

People Noise on Tour:
07/03 Athens, GA Tasty World
07/04 Chapel Hill, NC Blend Nightclub & Lounge
07/05 Atlanta, GA The ISP Space
07/06 Tampa, FL New World Brewery
07/07 Orlando, FL The Back Booth
07/09 Jacksonville, FL Jack Rabbits
07/10 Tallahassee, FL The Beta Bar
07/11 Deland, FL Cafe Davinci
07/12 Delray Beach, FL City Limits
07/13 Miami, FL Churchill’s Pub
07/14 Gainesville, FL The Atlantic
07/15 New Orleans, LA House of Blues (The Parish)
07/16 Montgomery, AL Off the Wagon
07/17 Jackson, MS Swell-o-Venue
07/18 Little Rock, AR Sticky Fingerz Rock-n-Roll Chicken Shack
07/19 Lafayette, LA The Grant Street Dance Hall
07/20 Houston, TX The Meridian Room
07/21 Austin, TX Beauty Bar
07/25 Salina, KS Lucky’s Bar
07/26 Kansas City, MO El Torreon Ballroom
07/27 Tulsa, OK DFest
07/28 Oklahoma City, OK The Conservatory
07/29 Aurora, CO Wyatt’s Torch Bar
07/30 Boulder, CO The Trilogy Lounge
07/31 Denver, CO 15th Street Tavern
08/01 Albuquerque, NM Atomic Cantina
08/04 Phoenix, AZ Casa Blanca
08/06 Pomona, CA The Glass House
08/07 San Diego, CA The Jumping Turtle (All Ages)
08/09 Davis, CA KDVS 90.3 (In-Studio)
08/12 Eureka, CA The Boiler Room
08/15 Seattle, WA The High Dive
08/18 Boise, ID Neurolux
08/19 Salt Lake City, UT Monk’s House of Jazz
08/20 Riverton, WY Fremont County Fairgrounds
08/24 Missoula, MT The Badlander
08/25 Fargo, ND The Nestor
08/27 Omaha, NE The Slowdown
09/01 St. Louis, MO Lucas School House
09/02 Clinton, IA Zabbies
09/03 Des Moines, IA Vaudeville Mews
09/11 Augusta, GA The Mission
09/26 Durham, NC Duke Coffeehouse
10/11 Bloomington, IN Live From Bloomington

120 Days release new EP Sedated Times on Vice Records

Norwegian electronic rock band 120 Days just released a digital EP June 26th on Vice Records. Featuring songs previously released only in Norway, studio versions of live staples, and an exclusive reinterpretation of “Come Out Come Down Fade Out Be Gone” by Secret Machines, SEDATED TIMES is a a 7 song power house of what the band has been, what they are now, and a glimpse into where the they will take us next year.

120 Days – SEDATED TIMES
1. Float
2. Let Me Come Down
3. So This Is Suicide
4. Sleepless Nights #II
5. Justine
6. Sedated Times
7. BONUS: Come Out Come Down Fade Out Be Gone (Reconstructed by Secret Machines)

The band will release a new 12″ in the fall, their first collaboration with Norwegian space-disco producer Lindstrøm, and begins work on their second full-length in the winter for an 2008 release.

UPCOMING FESTIVAL DATES

June 21 Sunndal, Sunndal Kulturfestival (NORWAY)
June 28 Hove, Hove festivalen (NORWAY)
June 29 Stjørdal, Hell Music Fest (NORWAY)
July 7 Roskilde, Roskilde Festival (DENMARK)
July 12 Arvika, Arvika festivalen (SWEDEN)
July 13 Florø, Fotballflora (NORWAY)
July 14 Wales, Swansea, Flam Festival (UK)
July 15l Indian Summer festival, Glasgow (SCOTLAND)
July 19l Molde, Moldejazz (NORWAY)
July 21l Tønsberg, Slottsfjell-festival (NORWAY)

July 26 Emmaboda, Emmaboda-festivalen (SWEDEN)
Aug 03 Ã…ndalsnes, Raumarock (NORWAY)
Aug 11 Osaka, Summersonic Festival (JAPAN)
Aug 12 Tokyo, Summersonic Festival (JAPAN)
Aug 17 Steinkjær, Steinkjær-festivalen (NORWAY)
Aug 24 Bodø, Parkenfestivalen (NORWAY)
Sep 8 Stavanger, Numusic Festival (NORWAY)

Their self-titled debut album from Vice Records is one of the most amazing of the year, taking elements of a very modern mood, mixing them with an almost classic-rock feel and taking off to someplace elegantly galactic, like on the single “Come Out (Come Down, Fade Out, Be Gone),” which makes you want to smash illusions, take off, hook up. – URB

Wonder what Radiohead would have sounded like if they had discovered big, room-filling synthesizers during their U2-worshipping phase? The answer is 120 Days, a Norwegian quartet that creates giant, sweeping, rock epics powered by a thick distillation of guitars, bass, and rumbling analog synths. Rather than evoke new wave, these young rockers sound like late-’70s techno-punks mingling with mid-’70s prog-rockers over a 21st century Pro Tools rig, banging out cell phone-waving anthems for hipsters and nerds alike. – XLR8R

120 Days is an interstellar storm of dance beats, synth riffs, guitar drones and Bono-in-Berlin vocals. – ROLLING STONE

It’s a post-punk, post-rave, post-pre-Armageddon masterpiece of sleazy, chaos-worshipping industrial rock, not all unlike Primal’s brilliant XTRMNTR. Good thing they’re on our side, then. – FILTER

Black Moth Super Rainbow to tour with Flaming Lips in September, Aesop Rock in October

“A lot of neo-psych bands get the trippiness right, but can’t find that magical mix of tunefulness and sonic invention that makes listeners want to take their trip more than once. On Black Moth Super Rainbow‘s third album, Dandelion Gum, the mysterious Pennsylvania combo builds songs out of scratched fragments of roller-disco, sunshine-pop, and what sounds like intercepted interstellar broadcasts. Songs like “Jump Into My Mouth And Breathe The Stardust” are dense and fuzzy, with layers of vocoder, shrill synthesizers, and twangy guitar, but they also maintain a basic structural integrity. Even though Dandelion Gum opens with “Forever Heavy,” one of the best mind-bending album-starters since My Bloody Valentine’s “Only Shallow,” Black Moth Super Rainbow is effective because it isn’t afraid to let songs float off like brightly colored balloons.” — Noel Murray, The Onion

The rural Pennsylvania psych-damaged bubble-gum-pop enigma known as Black Moth Super Rainbow continues to tantalize and melt minds with its stellar third album Dandelion Gum and mesmerizing live shows. And, this September, The Flaming Lips has invited the swoozy quintet to support its U.S. tour. Furthermore, the band will soon announce west coast dates with Aesop Rock for October. What next… a tour with the Rolling Stones? Please see current dates below.

To add extra lysergic to the trip, a bizarre and somewhat eerie home video depicting the band members in their natural environment, traipsing through the woods at night has been posted on the RollingStone.com web site (LINK). The influential magazine’s “Artist to Watch” feature on the group describes its sound as “Air + Grateful Dead + CIA = Black Moth Super Rainbow.” The accompanying video clip shares more in common with the spookiness of the Blair Witch Project than a simple psychedelic rock band’s home video.

Whatever it is that drives the rural group’s aesthetic, it appears to have caught the fancy of many influential writers. David Fricke of Rolling Stone previously cited the band as one of four standout acts that performed at this year’s South By Southwest Festival last March. “Musically,” Fricke writes, “this bucolic-futurist quintet was a firmly directed trip: pillowy synth chords and day-glo songcraft nailed to Earth by insistent back-beats.”

Likewise, Jon Pareles of the New York Times raved over Black Moth Super Rainbow‘s live show, writing, “its songs are pulsating neo-psychedelia, driving and dizzying, with vamps that keep on building as the keyboard sounds go whizzing, bubbling, zapping and swooping above the beat. Vocals are run through a vocoder for a vintage robotic tone, repeating lines like ‘I love to be with you,’ and ‘this time we’ll rise’ or ‘We miss you in the summertime.’ Above the band, a screen showed eye-popping video animations: wildly proliferating plants, cartoon people and food in metamorphosis. The band’s albums revolve around stories and concepts–its current one, Dandelion Gum, is a tale of witches in a forest–but onstage, its music was one glorious buzz.“

Similarly, many of the nation’s finest music magazines have affirmed their affinity for the Pittsburgh group, including praise in Spin, Blender, Vice, Pitchfork and many more.

More about Black Moth Super Rainbow:
Black Moth Super Rainbow comes from the woods of Western Pennsylvania. An actual, five-person band not comprised of the expected laptops and sequencers, Black Moth Super Rainbow is a psyche-pop group in early ’70s electronic clothing. Some songs feel like local folklore of witches in the forest filtered through a brightly saturated Japanese candy store. Some are like pagan rituals in a sugarcoated fairyland. Others are like sad thoughts on the happiest days…. all played and lovingly assembled by real people with real hands. Black Moth Super Rainbow lives and makes music in its own lollipop neon folktale world.

Dandelion Gum is a concept record loosely-based on witches who make candy in the forest. Each of its 16 songs represents a different candy-induced freakout in the gooiest and sweetest ways possible. Songs that are built to stick in listeners’ heads for hours meet textures that are impossible to scrape off your teeth. You might not even realize that the sunny melody you’re humming to yourself all day has so many hidden layers behind it — all hummable as well. It’s as accessible of a record as it is abstract, and as bright on the surface as it is moody underneath. Dandelion Gum feels as colorful and sticky as its name suggests.

Recorded over the course of three years, the album is a product of the woods. It is deeply inspired by stories passed down from relatives and ones the band created themselves after long nights in the cabin. The best of those stories, and one that we hope could be true, is of the sisters who refused to leave their shack deep within the forest. The sisters (or witches as they are lovingly referred to in local folklore) were truly scary and it is said they would concoct all kinds of sugary treats for anyone foolish or adventurous enough to wander that deep. Most likely, this is an allegory for drugs and you can come up with whatever seemingly appropriate type of operation those women were running. But the stories of the individuals who made it back home are some of the most twisted stories around. Some are really bright, some are really sad, and some are designed to make you think about life and rainbows and death. Black Moth Super Rainbow wants you to feel that when listening to this record. And then they want you to remember it all day, and try it again tomorrow.

Black Moth Super Rainbow‘s first sad/happy/nostalgia-for-something-that-never-existed record, Falling Through A Field (2003) was three years of four-track and sampler recordings that shows how the band came from an almost folk beginning. Printed initially in a limited quantity of 500, the disc has been out of print since its initial release. A reissue on Graveface is in the works.

The band’s sophomore record, Start A People (2004) was about recreating the sounds of childhood public broadcast television and applying them to the Black Moth Super Rainbow formula. It’s a blissful, hazy, fuzzy record that can make you feel good whether you were a kid in 1982 or not. The concept of Start A People is the face Black Moth Super Rainbow is best known for and a thread that runs through everything they do.

Putting together the live show, the group started developing around this time as the extremely psychedelic pop band it is today. Echoplex freakouts and gong smashes with drums spinning all over the place are part of the repertoire now. Noise plays with melody, and old synths that aren’t used by anyone anymore might help you remember why it can be fun to wiggle or jump or cry.

Black Moth Super Rainbow lives on Graveface Records, and although known as somewhat of an enigma, has come out of the forest in 2006 to play at the request of bands like Of Montreal and The Black Angels. They have released a wild full-length collaborative record with The Octopus Project and are working with such diverse artists as Dreamend, Laura Burhenn (Georgie James), and Anticon’s Passage on their future projects.

“It’s hard to imagine that any other artists are treading ground anywhere near this. Hell, it really doesn’t matter anyways – because if anyone was, it sure as hell couldn’t be as good as this.” – Delusions of Adequacy

Black Moth Super Rainbow Live:

w/ The Flaming Lips

07/06 New York, NY Seaport Festival
08/11 Santa Fe, NM Santa Fe Muzik Fest
08/17 Philadelphia, PA Khyber
08/18 Brooklyn, NY Aladdin’s Garden Party
09/07 Chciago, IL Aragon Theater*
09/09 Minneapolis, MN The Myth*
09/12 Kansas City, MO Uptown Theater*
09/18 Vancouver, BC Orpheum Theater*
09/19 Portland, OR Roseland Theater*
09/20 Seattle, WA Paramount Theater*

Dandelion Gum Tracklisting:

01. Forever Heavy
02. Jump Into My Mouth And Breathe The Stardust
03. Melt Me
04. Lollipopsichord
05. They Live In The Meadow
06. Sun Lips
07. Rollerdisco
08. Neon Syrup For The Cemetery Sisters
09. The Afternoon Turns Pink
10. When The Sun Grows On Your Tongue
11. Spinning Cotton Candy In A Shack Made Of Shingles
12. Drippy Eye
13. Lost, Picking Flowers In The Woods
14. Caterpillar House
15. Wall Of Gum
16. Untitled Roadside Demo

Bonde Do Role to tour North America

BONDE DO ROLE TO TOUR NORTH AMERICA IN SUPPORT OF THEIR DEBUT LP, WITH LASERS, OUT NOW ON DOMINO RECORDS

Bonde Do Role, the riotous funk carioca trio from Curitiba, Brazil are taking their incendiary live show on the road for an extensive tour of North America this fall. The group, comprised of MC’s Marina Vello, Pedro D’Eyrot, and DJ/producer Rodrigo Gorky, are quickly becoming synonymous with the rising baile funk movement garnering attention from outside of Brazil. Most recently opening for CSS and Diplo, these headlining dates will surely incite any audience into a frenzy.

More info on Bonde Do Role:
Since forming two years ago and signing to Diplo’s Mad Decent label in 2006 – with the ‘Melo Do Tabaco EP’ prompting some big waves and little earthquakes among Very Cool People – they’ve teamed up with Domino for ‘Å With Lasers’, a debut album which bangs through 13 songs in half an hour. It is not exactly an album which beats around the bush. Nor do the band’s members pull their punches. “Bonde Do Role is the ultimate, stupid party,” Marina announces, defiantly. “It’s not music which is there to make you want to break something.”

Press on With Lasers:
“Bonde Do Role is taking the world by storm with their filthy Paulista funk. In the process, they might just re-draw the map of Brazil.” – THE FADER

“Their “Gasolina” (not the Daddy Yankee song), with deadpan women’s voices turning “Afrika Bambaataa” into a percussive hook, ought to have dance floors everywhere chanting, “Boom-cha-cha, chicky chicky cha.” – NEW YORK TIMES

“A mutant strain of baile funk – a whiplash-inducing mix of Miami bass, samba drums, Alice in Chains riffs, and lascivious rapping that originally hails from the favelas (shantytowns) of Rio de Janeiro.” – SPIN

Tour dates:
9/11/07 WASHINGTON, DC BLACK CAT
9/12/07 BALTIMORE, MD SONAR
9/13/07 PHILADELPHIA, PA JOHNNY BRENDA’S
9/14/07 NEW YORK, NY THE POWERHOUSE @ American Museum of Natural History
9/15/07 BROOKLYN, NY TBA
9/17/07 ALLSTON, MA HARPERS FERRY
9/18/07 MONTREAL, PQ LA SALA ROSSA
9/19/07 TORONTO, ON CABARET
9/20/07 DETROIT, MI MAGIC STICK
9/21/07 CHICAGO, IL EMPTY BOTTLE
9/22/07 MINNEAPOLIS, MN TRIPLE ROCK CLUB
9/25/07 VANCOUVER, BC RICHARDS ON RICHARDS
9/26/07 SEATTLE, WA NEUMOS
9/27/07 PORTLAND, OR HOLOCENE
9/28/07 SAN FRANCISCO, CA THE INDEPENDENT
9/29/07 LOS ANGELES, CA ECHOPLEX
10/1/07 SAN DIEGO, CA CASBAH
10/2/07 TUCSON, AZ PLUSH
10/4/07 AUSTIN, TX EMOS JR
10/5/07 DALLAS, TX PALLADIUM LOFT
10/6/07 BATON ROUGE, LA SPANISH MOON
10/8/07 TALLAHASSEE, FL BETA BAR
10/9/07 GAINESVILLE, FL COMMON GROUNDS
10/10/07 JACKSONVILLE, FL TSI
10/11/07 ORLANDO, FL THE CLUB AT FIRESTONE
10/12/07 ATLANTA, GA MJQ CONCOURSE
10/13/07 CHAPEL HILL, NC LOCAL 506

Tiger Army IIII – Music From Regions Beyond review

Tiger Armywritten by Mike Cox

“Music From The Regions Beyond” may be Tiger Army’s fourth full length offering, but it’s their first attempt at a radio friendly album. Oblivious only seconds into “Prelude: Signal Return” (track one) “Music From Regions Beyond” is just that, music from regions far beyond what has become the trademark Tiger Army style.

Prelude: Signal Return is IIII’s version of the recurring intro fans have become accustomed to. Gone is the black streaked Psycho-Billy style, replaced with a dark neo-disco pop sound that seems to be all the rage these days. Suffice it to say the track is saved by the dark thumping of Jeff Roffredo’s bass and the omnipresent group shout out: “Tiger Army Never Die!” followed by a bass laden track just oozing punk ferocity. The second cut “Hotprowl” starts full bore and never backs down. Highlighted by Nick13 showcasing his vocal talent, these two are the closest anyone is getting to vintage T.A. on IIII.

At this point things change. Now the catalyst for change could and should be attributed to several things. The slick “put me in rotation” sound comes as no surprise to anyone familiar with Producer Jerry Finn’s work. That’s right, the same Jerry Finn credited for
thrusting AFI into the national spotlight and jacking up Alkaline Trio’s Sound Scan. Finn really exerts his influence on tracks like “Afterworld” and “Forever Fades Away” the former even featuring AFI front man Davey Havok. Loyal fans may reject both tracks, but expect them to get some heavy airtime. And speaking of rejection, one has to question Nick13’s departure from the normal T.A. lyrical content. Gone are the days of evil anthems and b-grade blood and guts. Bye, bye Bram Stoker hello Anne Rice. When did Psycho-Billy become “emo” sensitive?

Musically the band has switched things up as well. Take for example track eight, “As The Cold Rain Falls” a confusing rant on some love lost supported by an eighties soundtrack that just reeks new wave revival. It’s almost contradictory. Listening to numbers like “Lunatone” and the Spanish take “Hechizo de Amor” (Spell of Love) will make loyal fans grimace with pain, yearn to grab T.A. II and play F.T.W. at full volume. Alas we are saved, “Where the Moss Slowly Grows” the albums eleventh and final song is a thought provoking Rock-a-Billy classic. The perfect medium for Nicks newer writing and softer vocal styles. Stirring chilling visions of a graveside outpouring with a lover no longer of this world.

Complaints and criticism aside, Tiger Army IIII amounts to a mediocre album from an excellent group. Even so fans should still be thankful. Nick13 is the sole reason T.A. exists. Having released four albums, the band has seen four different drummers and three count em three bass players. Nicks vision and dedication have never been more evident. So werecatyouth give thanks and send the evil shout out to Nick. Remember critical acclaim comes and goes with the moonlight, but loyal fans remain…like zombies in the night.

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65Daysofstatic hand-picked to support The Cure in the fall, summer U.S. tour launches July 18th. New album The Destruction

65Daysofstatic hand-picked to support The Cure in the fall, summer U.S. tour launches July 18th. New album The Destruction of Small Ideas album hailed by Kerrang magazine as “utterly peerless.”

“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.” — Razio Rauf, 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

British post-rock quartet 65daysofstatic has been hand-picked by goth-pop legends The Cure to support its entire North American tour this fall. The tour begins September 13th and runs through October, taking the band to arenas and amphitheaters nationwide — including the legendary Madison Square Garden in NYC and Hollywood Bowl in Los Angeles (see complete dates below.)

But, that won’t be the first chance for American audiences to experience the band that’s been all the rage in the UK, Europe and Asia for several years now. 65daysofstatic launches its first U.S. tour on July 18th (see complete dates below) with co-headliners Fear Before the March of Flames.

In the first week of its release, 65daysofstatic‘s new album The Destruction of Small Ideas sold out of its first pressing, forcing the label 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 new video for the first single from the album, “Don’t Go Down to Sorrow” has been posted online. Click HERE to watch.

The Destruction of Small Ideas is the highly-anticipated followup to its massively popular sophomore album. The 12-song collection released worldwide on April 30th via Monotreme Records. A three-song single “Don’t Go Down To Sorrow” preceded the album on April 9th, 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 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 this past March 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 calls the album a masterpiece and American press has begun to pick up on the band, including forthcoming coverage in Magnet, Paste and Harp magazines.

In the past year, the group has packed venues and headlined festival dates overseas, as well as recording three radio sessions for BBC Radio One. Recently, MTV Asia aired an interview and live set from the band’s performance in front of more than 10,000 fans in Tokyo at the 2006 Summer Sonic festival.

During much of last year’s activity, 65daysofstatic‘s UK label Monotreme Records inked a deal for an American release of the refreshing gene-splice of electronic glitch and guitar girth heard on One Time For All Time for fall 2006. The album’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 last summer’s performances.

Following the European release of its acclaimed 2004 debut album The Fall of Math, 65daysofstatic spent several months touring the UK, playing to packed venues and festival tents. With the UK release of their second album, One Time For All Time in October 2005, 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, Hundred Reasons and Mogwai. The group headlined the Kerrang! Stage at The Great Escape Festival in Brighton, followed by a headlining Kerrang! ‘Most Wanted’ sponsored tour.

Underoath: Just playing games, not seeking fame

UnderoathThere is a mass of shit on the floor, from clothes to teddy bears, given to the band by fans. Through the large windows of the $600,000 tour bus, all that can be seen is a line of fans, extending around the corners of Vancouver’s PNE Forum.

“What the hell was that breakaway,” shouts an Underoath band member. “That was ridiculous!” The group is playing some NHL game on a PS2. Show time is in an hour.

The boys are chilling out, “preparing” for an explosive 45-minute set of intense and mind-blowing songs taken from their latest album, Define the Great Line (released on June 10, 2006). Lead vocalist Spencer Chamberlain sits calm and collected, speaking in an almost monotone voice, but the 24-year-old expresses undeniable passion for what he does.

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