No more fitting band to go berserk to on this Friday the 13th than psycho-billy
freaks THE CRAMPS. They were and still are the devilish priests of graveyard
parties.
No rest for the wicked. Dress/look/scream
like a zombie and scare your neighbours.
Track: DIRTY TECH
New piece from her 3rd full-length in 6 years,
titled Play Me. It’ll drop on March 13th. More
info here.
“I was kind of musing about, is my next boss going to be an AI chatbot? We’re the first ones whose lights are going to go out — not the tech billionaires. It’s so abstract that people can’t comprehend.”
TUTV: Former Sonic Youth icon has found her niche as a solo artist. She experiments with synths, loops, overdubs, and other studio tricks, as she does also here again with this 2nd taster from the upcoming 3rd album, appropriately and sarcastically titled Dirty Tech.
Band: BLEACHERS Who: The moniker of American multi-instrumentalist/singer-songwriter Jack Antonoff, who worked under several other aliases and who composed
4 soundtracks, so far, too.
“An optimistic record that feels lovestruck and hopeful.”
TUTV: Bleachers always make me think a bit of Beirut and vice versa.
Both create relaxing atmospherics with multi-layered tunes, inventively
constructed, like Jack Antonoff shows here once more with this new
glorious pop symphony.
One of the 23 tracks performed by big-name bands/artists on a new album,
named Help, with all benefits going to War Child. An organisation that shapes
systems that protect and support the well-being of children affected by conflict.
War Child UK: Website
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Band: THE ORIELLES Who: 3 thrilling indies
from West Yorkshire, UK.
Track: TEARS ARE
Newest single from album #5, named Only You Left.
It’ll come our way on March 13th. Order info here.
Esmé Hand-Halford (bassist/vocalist) about the song: “You could think of
something deeply human. But you could also answer it in a completely linguistic
sense and think of a tear as a symbol or an image.”
TUTV: Near-whispering vocals and musing thoughts about tears
surrounded by creaking guitars until the long acoustic outro.
English prog-rock legends GENESIS released their 7th studio album,
today 50 years ago, on 13 February 1976. It was the first LP with their
drummer Phil Collins on vocals replacing face/voice Peter Gabriel
who had left the band.
It went to #3 in the UK and #31 in the US.
Upon release, critics were impressed by the improved sound quality
and the group’s ability to survive the loss of Gabriel without sacrificing
the quality of the music.
AllMusic said: “This album is not quite as memorable as Foxtrot or Selling England, largely because its songs aren’t as immediate or memorable: apart from “Dance on a Volcano,” this is about the sound of the band playing, not individual songs, and it succeeds on that level quite wildly — to the extent that it proved to longtime fans that Genesis could possibly thrive without its former leader in tow.”
The fabulous/controversial/notorious performer/producer, feminist/gay activist PEACHES, born Merrill Nisker, has her 7th LP, baptized No Lube So Rude out next
week, February 20th.
The Canadian shedevil had a talk with British magazine NME about
the soundtrack (single, album etc) of her life. Full interview here.
At 58 she still looks cool, folks.
The newest single from the upcoming LP, right here.
Band: WILD BABY Who: Helsinki-based rock band formed in 2024. Their music blends influences
from Foo Fighters, The Beatles, and Mumford & Sons, yet their sound remains
distinctively their own – organic, energetic, and emotionally charged.
TUTV: Upside Down starts smoothly with silken guitar play, but
when every band member joins in, the decibels go up, the ardour
goes up and Wild Baby work their way to a razzle-dazzle chorus,
before heading to an incendiary finale.
Peppered power pop panache with all cylinders on, a stream
of ripping riffs and vigorous vocals. Finland rocks. Big time.
Since Doherty got clean (2019) and lives in France with his family (wife and two children) and his big dog, far away from the temptations of parties and drugs, he has become very busy.
He released albums with one-time outfit Puta Madres (2019), with French musician Frédéric Lo (2022), with his first-and-forever band The Libertines (2024), and a solo
one (2025).
And when he wasn’t in the studio, he went on tour with all
the above bands, that other group, Babyshambles, too, and
solo.
Who wants a fanzine?
Last Sunday, he was in Belgium again after two appearances last year (with The Libertines and solo), assisted by a full band including The Smiths‘ drummer Mike Joyce (now aged 62).
And like I witnessed last year, solo in Bruges, he was in an extremely happy mood, selling old Libertines fanzines (no joke) between the two support acts and playing a formidable show.
He was strolling around the stage, fooling around with band members and interacting with the audience in between songs. Talking about the songs. It was a sort of best of set, with songs from all his projects and, yes, two The Smiths covers (There Is A Light That Never Goes Out / How Soon Is Now?), and a Velvet Underground one, all delivered with a joyous flair and an effervescent spirit.
At the end of the night, three thoughts crossed my mind. He’s (as we know for a long time) a exquiste singer/songwriter who has musical components in his DNA. Secondly, he’s a most entertaining live perfomer and thirdly, he obviously embraces life again after too many turbulent years. Way to go.
.
Some of my favorites he played.
THE LIBERTINES
SOLO
BABYSHAMBLES
With Frédéric Lo
THE PUTA MADRES
SETLIST
Last Of The English Roses
Fantasy Live Of Poetry And Crime
I Don’t Love Anyone
Felt Better Alive
Ed Belly
Epidemiology
I Am The Rain
Pot Of Gold
The Day The Baron Died
Salome Uncle Brian’s Abattoir (Trampoline)
Calvados
Kolly Kibber
Ride Into The Sun (The Velvet Underground)
Stade Océan
How Soon Is Now? (The Smiths)/ Albion
Who’s Been Having You Over?
Time For Heroes (The Libertines)
Fuck Forever (Babyshambles)
Encore There Is A Light That Never Goes Out (The Smiths)
“Theft World is an ode to the power and pervasiveness of stealing,” says the band of the album. “It’s about taking something ugly and using it to make something cute. It’s about
eating an absurd world and falling in love with it as you digest.”
TUTV: Wham Boom Wham Boom Bam! From the first chord on, you can stamp your feet, spin your head around, and punch your hands in the air. Lip Critic bop to the beastly beat, so does your itching body.
But as the track progresses, the funky ambiance gets ominous, agressive and brutal. Vocalist Bret Kaser goes nuts, the band goes bonkers, your stereo goes berserk, and
your ears go bananas. Hallelujah. Fucktastic, right? You betcha.
It has already been 7 years since Arizona rockers JIMMY EAT WORLD released their 10th LP, named Surviving.
But last November, they dropped a new single, called Failure
as part of an upcoming EP, but not a word anymore about that
EP so far. Weird.
Anyway, the band is ready now to celebrate the upcoming 25th birthday
of their 4th full-length BLEED AMERICAN (released 17 July 2001), which
featured their gigantic hit The Middle (more than 1,227 billion streams
on Spotify).
They’ll take the road starting in June.
Jim Adkins (frontman/guitarist) is enthusiastic: “I feel like at this time in our lives, especially for me, it’s important to get back to a place that you can savor. This tour is designed to be an elevated version of our show, a heightened experience with production that reflects 25 years of learning how to stretch artistically in the live environment.” Fans can expect to hear the entirety of Bleed American, along with much more they’ll have to wait to see and hear!”
Canadian prog rockersRUSH started their musical enterprise
way back in 1968. Forty-seven years and 19 LPs later they called
it a day.
But 10 years later, in 2015, they returned to tour. And last year they celebrated
the 50th anniversary of their-self titled debut LP, which got a deluxe reissue
treatment.
Today marks the 45th birthday of their 8th album MOVING PICTURES, released on 12 February 1981.
It was a big hit, topping the Canadian charts and reaching #3 in both the US and UK.
Promo picture
PopMatters wrote in retrospective review: “Moving Pictures is, without any question, not only Rush’s masterpiece but one of those rare albums that epitomizes an era. It represents both a culmination and a progression: the peak of the band’s development as well as the blueprint for Rush’s subsequent work.”