The indestructible nerd rockers WEEZER
will be very busy this and next year.
TOUR
ALBUM
The Los Angeles group will launch their 20th full-length, another self-titled
one (their 4th actually), decorated with symbols, think Led Zeppelin‘s 4th LP.
It’ll land next week, on August 21st.
Press info: “Leeds six piece release their much anticipated debut, self-titled LP.
Recorded and produced by the band at hometown The Nave Studios, the album
fuses Adult DVD’s love of hook laden indie, with pulsing groove, 90’s acid house
influence and an undeniable humour in their songwriting.”
2 singles so far, that indicate we can expect a fervent disco-punk fiesta.
GAVIN FRIDAY, former frontman of once-upon-a-time Irish new wave outsiders Virgin Prunes (1977-1986) released his splendid 5th solo LP Ecce Homo in 2024.
Friday announced a new project, a companion album to Ecce Homo,
titled DECADANCE. It’ll feature 6 reimagined tracks from the original
record as one continuous electronic work.
Created with longtime collaborator Michael Heffernan, ‘Decadance‘ draws on
industrial rhythms, analogue electronics, techno pulse and cinematic sound
design. Familiar melodies emerge from driving sequencers, fractured beats
and expansive atmospheres, revealing a darker, more hypnotic perspective
on the emotional world of ‘Ecce Homo‘.
.
Last Sunday, in blazing hot weather circumstances, Friday played
an entrancing set at Lokerse Feesten – Belgium. He and his band
sweat their butts off to entertain us and succeeded fantastically.
Hail hail.
A never before released album by iconic psycho-billy
eccentrics THE CRAMPS will be released on August 21st.
The album, named Gravest Gravy was produced by the late great Alex Chilton (1950-2010) and mixed by guitarist Poison Ivy (73 now)
and her late husband, freaky frontman Lux Interior (1946-2009).
Photo: David Godlis
Press info: “In the late 1980s, Lux and Ivy endeavored to release more recordings
from October 1977 sessions. It was to be titled Gravest Gravy. It was a record for the
fans, a journey back to Memphis, back to the first Cramps records, that, try as it might,
the world has been unable to heal from.
The couple mixed several tracks between June 14 and 30, 1989, at Present Time Recorders, in North Hollywood. Alex mixed a few tracks in Memphis. The album had a title, a cover by the great Stephanie Chernikowski, who passed away recently, but for reasons lost to time, Gravest Gravy was shelved.
The tracks on Gravest Gravy were contained on seven 1/4 inch reels. Six were generated by Lux and Ivy, one by Alex. Many of the songs had multiple mixes. Eventually, the last mix of each song was the keeper. Not only did the tracks sound to be at their fullest potential, it also made sense.”
MOJO says: “No matter how many Cramps records
you may already own, this one is indispensable.”
Press info: The follow-up to 2024’s acclaimed ‘I’m totally fine with it 👍 don’t give a fuck anymore 👍‘, this new record is rich with the duo’s trademark wit and dark humour, whilst creating moments from quiet brooding to a self-described “disco-metal incantation that might make you dance”. The album was recorded with long-time collaborator Paul Savage (Mogwai, Belle and Sebastian, Franz Ferdinand).
TUTV: Thus far we got 3 hopped-up disco-enraptured titillations.
After nearly three decades, the Scots are up to something bright-eyed
and bushy-tailed to overcrowd dancefloors with.
Cincinnati‘s rock bigshots THE AFGHAN WHIGS fronted by generalGreg Dulli, celebrate their 40th anniversary as a band. They’ll share the milestone with their fans on the road (1st leg already done) and with a new album, their 10th.
It’s named SOFT CONTROL, and it’ll hit the streets on August 21th. Pre-order info here.
Press info: “The new album is testament to the old David Bowie quote, where he describes aging as “an extraordinary process where you become the person you always
should have been.”
By now, the volatile years of band leader Greg Dulli’s youth have been substituted with a wry and self-aware satori. The edge and sensitive temperament remain but the unchecked infernos of ego and rage no longer threaten personal immolation. And Dulli’s vocals are simultaneously the strongest and most delicate that they’ve ever been.”
Album artwork
The album captures The Afghan Whigs’ unique ability to conflagrate stab you in your
nose bone guitars and cubist refractions of soul and R&B. There is a reconciliation of
loud volume and somber reflections, living life with joy and purpose while keeping
one eye on the clock and remaining aware of the absurdity. ”
Greg Dulli: “I’ve worked hard on my inner peace. I was an angry young man, and it fueled
my art, ambition and my drive. I wouldn’t change anything because I can’t. But as I got into photography and other art forms, I realized that I’m not in competition with anyone, including myself. Now, I know what I’m doing and there’s a quiet confidence that comes with being able
to back it up.”
Ahead of the LP’s launch, we get have 4 singles, thus far.
– HOUSE OF I –
As Dulli describes the track as
‘an uptempo banger’. It is.
– MY LOVER –
Galvanic power ballad.
– DUVATEEN –
Dulli: “I’m at a precipice in life where I can look behind and clearly see the forest of my youth, but I can also see the path to the other side. And it’s going to inform what I do for the rest of my days.”
A new compilation of DAVID BOWIE‘s 1965 recordings with famed American
producer Shel Talmy (1937-2014), who worked with several big UK bands at
the time such as The Kinks and The Who, will land on September 18th.
The now 56-year-old songsmith BECK has announced the upcoming birth of his
15th full-length. It’s named RIDE LONESOME and will show up on September 18th.
Pre-order info here.
Press info: “His first album of all-new material since the Grammy-winning ‘Hyperspace‘. Harkening back to the rich, atmospheric sounds of ‘Morning Phase‘ and ‘Sea Change‘, the album reunites Beck with musicians from those acclaimed releases. Produced by himself and mixed by Nigel Godrich, Ride Lonesome marks a compelling return to the intimate, cinematic style that defines some of his most celebrated work.”
Album artwork
Before this album news came in, we already got, a few
weeks ago, the gentle title track with Ride Lonesome.
And here’s a 2nd appetizer named IN THE NIGHT.
Just like the title track, it’s an intimate, mellow reverie.
Some JOY DIVISION live music
came out back in 1980 and 1981.
First, the registration of a concert in Preston, UK. You can stream it here.
The recording took place a few weeks before Ian Curtis‘s death (18 May 1980).
A year later saw the release of a double album called Still. It consisted of previously released and unreleased studio material and a live recording of Joy Division‘s last
concert, performed at Birmingham University, 2 May 1980.
Now Warner Bros Music just announced a new, expansive JD project.
A live boxset featuring no less than 14 CDs and 2 DVDs, titled ETERNAL.
The collection reveals audio from 16 live performances, meticulously sourced
from audience recorded cassettes, soundboard tapes and broadcast recordings,
all mastered at Abbey Road Studios.
The two DVDs show over 2hrs 30mins of live shows, including the previously
unseen Plan K, Brussels concert and the Apollo Theatre, Manchester gig. Both
have only been partially released on VHS, in 1982, and get a brand new edit
here for the box.
Release date: September 30th.
Offical JD store HERE
Along with the news we get a preview of of an emotional live version of their
sublime stand-alone single Transmission from a 1979 concert in Paris.
On August 10th, they will unleash their long-awaited debut
full-length, called Cannonball. Tracklist and order info here
Press info: “Grand and exuberant, rich with unconventional structures and world-beating choruses, the long-awaited record makes good on the band’s years of hard touring while unearthing new dimensions and unlikely facets in their songwriting; It is a sharp, smart first record, one which presents Man/Woman/Chainsaw exactly as they are right now.”
NME: “Their debut album is an exploratory, widescreen record that significantly levels
up the south London six-piece’s early material, expanding the runaway art-rock chaos that landed them in last year’s NME 100 into something no less intriguing but significantly more pop.”