Come on, people. You know Fiona Apple is very sensitive. She does not have thick enough skin for heckling, especially when it’s about her appearance. I have to admit I thought something was amiss when I saw her last September. She looked way too gaunt, but I know better than to yell my thoughts at her while she’s trying to play songs. Anyway, Apple had a heckler tossed from her show in Portland last night for screaming, “Get Healthy. We want to see you in ten years!” Now, it sounds like said heckler was trying to be supportive, but that’s just not the way to go about such things. Apple played one more song after the incident and then left the stage in tears, because, OF COURSE SHE DID.
She did manage to play a new song before storming off stage:
I’m unabashedly obsessed with this song- and the whole album for that matter. I’ve deliberately avoided the backstory on this girl, but it’s becoming increasingly more difficult now that she has the number one song in America and is cropping up on ubiquitious shows like this.
This interview with My Bloody Valentine’s Kevin Shields is worth a read even without the conspiracy theory that Britpop was pushed by the Labour Government in the mid-90′s (ha!).
‘But when it is jokingly suggested that, had Shields released m b v in 1994, as initially planned, he could have kiboshed Britpop, his mood changes. “Britpop was massively pushed by the government,” he says. “Someday it would be interesting to read all the MI5 files on Britpop. The wool was pulled right over everyone’s eyes there.”
However, this interview by Ian Svenonius of Nation of Ulysses and The Make-Up over at Vice is probably more fun, though:
David Yow fronting Girls Against Boys covering Joy Division’s “She’s Lost Control” doesn’t really need an introduction, but Yow’s is funny nonetheless: “If you like boring? songs by bands from the 70s and 80s, you might like this song.”
The Throwing Muses’ trajectory of out of left field alterna-art-pop has been anything but normal, which makes perfect sense when you consider bandleader Kristin Hersh’s mental health rollercoaster over the years. The band broke up in the late 1990′s only to return in the early aughts with just as much fire and intensity as when it had begun two decades prior. The return was an aberrant blip because the Muses haven’t been heard from since, which makes a forthcoming 32-song double album even more beguiling. The record is being packaged with a photo art book and musings (intended) by Hersh. The first fruits of those mammoth sessions, “Sleepwalk-1,” can be heard below. And it rocks with stuttering gusto, replete with Hersh’s maniacal vamping. Purgatory/Paradise is out November 11, 2013 on the Harper Collins subsidiary It Books.
Laura Marling is such a force to behold in a live setting. She’s both entreating and more than a little intimidating. This live version is just as sinister as the video for this song from one of my top albums of the year.
Tears for Fears have entered the studio to record the follow up to 2004′s reunion effort Everybody Loves a Happy Ending, which didn’t find near the audience it probably should have. That Donnie Darko momentum didn’t quite have the legs the duo was counting on, but never a band to give a wit about time TFF will reinvent itself once again almost a decade on. The band just posted a stream of the first fruits of its recent labors with a cover of The Arcade Fire’s “Ready to Start,” which sees the band embracing its synth-heavy origins to great effect. If this is the sonic direction, then Roland Orzabal and Curt Smith may reignite some of that lost momentum. [via Slicing up Eyeballs]
These guys make up for the roll call of references with a shit-kicking rock ‘n roll sound. I hadn’t thought of the Bruce Springsteen connection before I saw this live version of “Adrenaline NightShift,” but it’s definitely there. And also forgiven. Remember when people said The Killers sounded like Springsteen? Man, people are idiots.
I have to admit I think the new Nine Inch Nails song is great. Trent Reznor injects this comeback single with everything that was ever good about his band: Bracing synths, machine beats, aggro guitars, and Reznor’s idiosyncratic whisper/wail combination. All of it works exactly as it should in “Came Back Haunted.” It’s already one of the best NIN singles, hands down. Reznor knows exactly what he wants to do and, more importantly, he knows exactly how to do it. David Lynch directed this video. If you have epilepsy, you should probably not watch it.
I was giddy as a schoolkid this morning when I saw news of The Replacements rehearsing “Alex Chilton” off the band’s fifth LP, Pleased to Meet Me. No word yet on who’s playing guitar or drums with Paul Westerberg and Tommy Stinson at their upcoming Riot Fest appearances in August and September. Word is they didn’t even bother asking Chris Mars to play drums because they knew he’d say no. Oh well. Who cares? This sounds great. As long as Tommy and Paul are on board, it sounds like The Replacements to me. They were such a barely strung together ramshackle anyway. The haphazardness of all of this suits.
I feared something fishy was up when the Pixies announced Kim Deal’s departure so … politely. It’s been common knowledge that they wanted to record a new record and Deal was the sole hold-out. I actually don’t care whether this new song is good or not. (And for the record, it’s ok). It just seems silly to try to continue without an integral part of what made the Pixies so beloved. Kim Deal’s simple but memorable bass lines helped define the Pixies’ sound. And her vocal integration with Black Francis’ insanity sent chills down my spine more often than not. So, for the Pixies to continue without Kim is more than just a bummer. It’s a disappointment.
Also when you’ve been in a relationship for a really long time and that comes to an end … you know, so my identity was so tied up with Sonic Youth and my relationship and my marriage and so now it’s also like, who am I? It’s a little bit of, like, going back to the beginning. I mean, I basically feel like I’ve been the same person since I was little, but you know, it does make you really kind of search for who you really are.
Gordon has just completed an album with Bill Nace for a project called Body/Head. Matador Records will release the experimental guitar album on September 10th. Gordon is also at work on her memoirs.
It’s mind-boggling to me that The Dismemberment Plan‘s final album, Change, came out 12 years ago. I used to be able to mark years by what music came out. I lost that talent about a decade ago. Records don’t represent years anymore. Maybe that’s just what happens as you get older. But I still associate Change with 2001. The D-Plan started back in 1993 in Washington DC and broke up ten years later. Reunion shows for charity and the re-release of its masterpiece Emergency & I sparked not only renewed interest in the band but also actual excitement. The band obviously sensed it too and is moving forward with a new album. Uncanney Valley will be released in September on Partison records. Pitchfork revealed the track list today:
01 No One’s Saying Nothing
04 White Collar White Trash
05 Living in Song
07 Daddy Was a Real Good Dancer
08 Mexico City Christmas
09 Go and Get It
10 Let’s Just Go to the Dogs Tonight
The guys debuted a few new songs that will be on the record last summer, one of which is captured here:
Alan Myers, Devo’s “human metronome,” has died of cancer. Myers played with Devo for ten years from 1976 to 1986, leaving after the band’s Shout album over creative differences. Slicing Up Eyeballs has the details. Former Devo band mate Gerald V. Casale has paid tribute on Twitter.
Though not as aggressive as the clanging, reverb-drenched racket of its debut, Gauntlet Hair returns with more cryptic post-goth. The duo’s sophomore LP, entitled Stills, is out July 16 via Dead Oceans. Despite being produced by Jacobo Portrait from Unknown Mortal Orchestra, it actually doesn’t sound like shit. [via Stereogum]
This band has been beaten into my brain via Sirius XMU, and it’s a good thing I like it because I’d have been forced to find a new station by now. Despite the overexposure, this song is still catchy as hell. CHVRCHES debut LP The Bones of What You Believe will be out in September on Glassnote. Lauren Mayberry’s voice sounds just as adorably infectious live as it does on record.
And just like that a new single appears. Arctic Monkeys have thrown a brand new single up on iTunes today. It definitely stays true to Queens of the Stone Age influence that has coursed through the last few records. And it’s certainly an odd choice for a single, ignoring the upbeat aggression of its early sound in favor of a slow, psychedelic burn. Alex Turner sounds even more cocksure than usual over a sleazy, sexy riff.
This has been out a few weeks, but, if you haven’t seen it, you’re missing out. First of all, the new Queens of the Stone Age album is so, so good and on constant repeat on all my devices that play music. “I Sat by the Ocean” would be the song of the summer in a better world. It’s a hard slap to the face to hear a band unafraid to rock like this. Frontman Josh Homme goes heavy on the Bowie throughout the album, but it’s an overall blistering tour de force with Dave Grohl back on drums. This animated short-feature links several songs, including the entire video for the single, “My God Is the Sun,” and it’s a nightmarish interpretation of what Homme has described as a “manic year.” Visuals by Boneface and animator Liam Brazier.
In related news, the gatefold vinyl release is a thing of beauty, and there’s a special edition released only in local record stores, featuring blue artwork. It comes with a scratch off lottery ticket with a download code that I can’t bring myself to scratch to save my life.
Arctic Monkeys debuted some new music at the Northside Festival in Denmark a few days ago. It’s fan-footage, but the sound is remarkably clear. “Mad Sounds” is a slow-burner with a heavy Velvet Underground influence. Ever since the band discovered Josh Homme and the American desert it has seemed to lose momentum state-side for some reason. I’m still on board with the game-plan, though; Alex Turner can do no wrong in my world. [via The Awl]