RADIOHEAD guitarist Ed O’Brien told Rolling Stone Magazine in a
new interview about new gigs: “It’s definitely happening. What we’re
going to do is, every year we’re going to do a different continent, and
we’re going to do 20 shows each year, starting in 2027.”.
.@radiohead to play “20 shows each year” on a different continent from 2027, reveals Ed O’Brien
HÜSKER DÜ (guitarist/vocalist Bob Mould, bassist Greg Norton, and drummer/vocalist Grant Hart) turned up the decibels between 1979 and 1988 with no less than 6 LPs.
The 5th one, named CANY APPLE GREY, came out on 17 March 1986, today 40 years ago. It was their first major label release, though Warner Bros.
Candy Apple Grey was the first Hüsker Dü album to chart on the Billboard Top 200,
but despite positive reviews, exposure with the singles on radio as well as MTV, it
only went to No. 140.
AllMusic said in retrospect: “Demonstrating that punks can mature without losing
their edge, Mould inverts the rules of conventional confessional singer/songwriter songs
with these two haunting numbers, and in doing so, he illustrates the faults with the relatively staid post-hardcore punk that dominates the remainder of the record.”
Former Sonic Youth sheroKIM GORDON (aged 72) unleashed her
new solo album, titled PLAY ME.
Press info: “Kim Gordon‘s vision of art and noise has come sharper into focus just
as readily as it has changed, a paradigm of possibility that, four decades on, still
feels like a dare. Play Me is distilled and immediate, expanding Gordon’s sonic
palette to include more melodic beats and the motorik drive of krautrock.”
AllMusic says: “Reunited with Justin Raisen, Gordon tightens her focus on quickly recorded dispatches brimming with punk audacity and the multi-layered approach of an artist who still subverts expectations.”
TUTV: At age 72, no pension yet for Gordon. On the contrary, Play Me is her brand-new 3rd LP in 6 years; in between, she writes the records and tours. The first half (1-6) of the album stands out as more melodic the capricious Kim way, less percussion aggressiveness than on her previous work, especially on Play Me, Girl With A Look and sped-up rocker Not Today. Vocally, she impresses once again with her almost out-of-breath vocals.
The second half (7-12) of the full-length connects more with the other LPs. Harsh industrial shock-waves, edgy electro punches, all but one under 3 minutes, which makes your mind swing from left to right and back.
Overall, Gordon takes us again on a spooky-chilling-distressed-knife-edged crusade,
spiked with sinister, haunting, and at times bizarre lyrics. Play her on repeat.
Nu metal giants KORN (formed in 1993 – 14 albums so far)
played Europe two years ago and they obviously liked it as
they just announced new dates over there for the Fall.
British dark-electro-pop-wave titans DEPECHE MODE, active since 1980,
released their 5th album, BLACK CELEBRATION, 40 years ago,
on 17 March 1986.
It topped the UK charts, but only went to #90 in the US.
Martyn Atkins designed the album cover, as he’d done for all of the band’s LP
covers since A Broken Frame from 1982. Originally, he had envisioned a physical
miniature building, draped in black banners and inspired by totalitarian imagery,
to be photographed.
However, the band was not happy with the original design and so the cover
was re-designed to include only a cropped, close-up of the original photograph
and they instead emphasized the logos around the image, which the band paid
to have embossed on initial pressings of the album.
The LP’s title was not a reference to Black mass or rituals of the Occult, it was meant to describe the daily boredom of a dreary life without climaxes or hope for improvement.
Martin Gore: “Our songs from Black Celebration capture the idea: Make
the most of what you have, and find consolation wherever you can.”
David Gahan: “It’s a common thing: at the end of a working day you go
out and drown your sorrows no matter how shitty you feel or how bleak your
future looks.”
NME: “Within their own parameters, Depeche Mode create a resonant, if undemonstrative techno-pop tapestry” with “a rich textured sheen that is not without a certain depth. When the songs address topics other than the composer’s state of mind, Depeche Mode sound like a lot more than just a high tech, low-life melodrama.”
TUTV: Alarming vocals, vicious pulsations, sick guitars, ceaseless drumming,
and a cry-out chorus. Put all these expressive elements together, and you get
everything you need to go apeshit.
TUTV: Olé. A stirred-up ska-like groove gets your pelvis abuzz. Rapping vocals,
a hefty guitar upsurge, and 70s organ glow complete the hustling picture. What
if I tell you to jump? Would you?
TUTV: This is YF’s contribution for the recently released benefit longplayer Help (2)
to raise funds for Warchild UK. It’s a rushing, percussion-motorized steamroller.
British rock heroes THE WHO released their
9th LP FACE DANCES on 16 March 1981, today 45 years ago.
Despite mixed reviews, the record peaked at #4 on the
US Billboard Charts and #2 on the UK Albums Chart.
The album was originally to be titled simply The Who, but the name Face Dances
replaced it just before release. The phrase was inspired by a friend of Pete Townshend‘s who was rhythmically moving a match between her teeth, an action that Townshend jokingly termed “face dances.”
The album cover features 16 paintings of the band members by 16 British painters,
who were commissioned by Peter Blake, designer of the cover of the Beatles‘ album
Sgt. Pepper’s Lonely Hearts Club Band in 1967.