Canadian band STARS has reached star-status with the release of their seventh studio album and a North American tour.
This week, STARS released their seventh LP, titled No One is Lost. The album comes two years after their last release, The North. For No One is Lost, the five-piece, composed of Torquil Campbell, Evan Cranley, Patrick McGee, Amy Millan, and Chris Seligman, pursued a more electronic approach. The album has also been pressed on neon pink vinyl, a process the band recorded and published on YouTube, which you can view below.
To promote the album, the indie-pop band is heading out on tour next month, playing shows across the U.S. and Canada. Want to see Stars on their upcoming North American tour? We’ve got a pair of tickets to the show of your choice to give away. And as a bonus, the winner will also receive an autographed copy of No One is Lost on pink vinyl.
Captain Planet’s long-awaited sophomore album has finally hit the shelves and we’re looking to send one your way! Released on October 7, Esperanto Slang takes you for a spin around the globe as this “transformative LP illuminates the ‘Gumbo Funk’ producer’s fluency in breaking boundaries between genres and bridging continents through rhythm.”
Best known for drawing from a wide range of musical styles, it’s no surprise Planet’s latest album seems to effortlessly combine everything from “NY hip-hop, UK bass and Turkish psychedelic, to Nigerian afrobeat and Amazonian funk.”
“Led by the smashing Latin-House single ‘Un Poquito Mas’ featuring Spanish lyrics from fellow international beats don Chico Mann (Soundway), the album also finds Captain Planet traveling South to join forces with esteemed Argentinian electronic chanteuse La Yegros (ZZK) on ‘Que Quiero Volver,’ as well as Brazilian artists Samira Winter and Nevilton on the Samba heater ‘Tudo de Bom.’
Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio and Bolton FM. You can also catch Shell’s broadcast right here at TVD, each and every Thursday.
“A fresh sound from Montreal hits the ground running as this week’s Record Of The Week—TOPS are a four piece that are equal parts girl and boy. Their new record Picture You Staring is a lush piece of woozy pop and I’ll be spinning three tracks from it on tonight’s show.
I’ve also got a hot fashion tip as this weeks #shellshock—”Mom Jeans” by Hey Rocco. Jam packed with fresh new music as always, it’s going to be all kinds of amazing…” —SZ
Released a quarter century ago by the Def Jam label, Brooklyn trio 3rd Bass’The Cactus Album stands as a hip-hop classic. Due to this stature one might assume the full story behind its creation has long resided in the historical record, but that’s not the case. To get the complete scoop on this and assorted other hip-hop achievements one needs seek out the books of Brian Coleman. Aptly subtitled “more liner notes for hip-hop junkies,” Check the TechniqueVol. 2 is freshly available from Wax Facts Press.
Anybody having spent hours inspecting the treasures in a jazz-centric record shop knows LPs in the multifaceted style regularly came adorned with notes (Hentoff! Williams! Jones!) on the back of the sleeve. And folks devoting time, energy and dollars to keeping up with deluxe reissues and box sets in multiple genres understand that extensive annotation of and commentary upon background specifics was/is an expected component in the retail price.
As a relatively young art form, hip-hop has suffered from experiencing its burgeoning stylistic era(s) in a business setting that wrongly assumed buyers of contemporary music (as opposed to those dropping cash on older material) cared about little more than the sounds, the labels mostly throwing context and packaging to the wayside.
This was an easy assumption to arrive at if one’s only concern was making money. But those spending it were reliably left at mysterious loose ends. Producer credits, thank you lists, and cleared samples were a start, and interviews and articles in Spin, Vibe and The Source brought a modicum of enlightenment, but the deep investigation, which often simply entails sincere interest and respect for the subject, becoming comfortable with the artists and then asking the right questions, was lacking for years.
PHOTOS: AMANDA DEERING| Austin, Texas is quite the city. Nowhere else in the world can you find people as eclectic, a climate as intense, a menu of Tex-Mex joints as large, or a music scene so ingrained in the very heartbeat of a city as it is in ATX. Nor can you find a festival quite like Austin City Limits—an event that each year fuses all the things we love most about the Lone Star State capital into one giant party.
This past weekend marked the second half of ACL’s two-weekend run at Austin’s Zilker Park. And while the skies, yet again, wreaked stormy havoc on the festival grounds early Saturday morning, ACL goers weren’t afraid to brave, heck embrace, the elements—blistering heat one day, chill winds and giant mud pits the next—to see some of the best acts in live music. Despite weather, artists and fans alike gave Mother Nature a run for her money, and through the mud, sweat and beers, ACL proved triumphant once more.
While the festival was host to many memorable performances, there were a few contenders that had us talking. Among the ACL class of 2014, here’s who’d we vote for:
PHOTOS: TAMEA AGLE | Breaking in America is a VERY big deal for British bands. I think it’s the imperialist spirit coming from a country that at one time conquered nearly 50% of the world which has given UK bands the work ethic to cram into and play tiny clubs in U.S., despite possibly being quite used to sold out arena crowds and private planes at home. Kasabian’s first album came out ten years ago and ten years of crushing live shows and excellent albums have earned them the coveted feather in the hat of being a Glastonbury headliner. So, what’s left to do after that? Whatever the F*&^k they want!
Not to knock my current hometown of Los Angeles but it has been notorious for relatively un-energetic live music crowds—but this crowd was full of fans, Americans, and some rowdy British ex-pats.
Kasabian did not mess around or think about scaling down their arena sized set for the Wiltern Theatre. They kicked off an all out aural assault launching into “Bumblebee” from the recently released 48:13. Outside of their natural habitat (of playing huge shows in Europe and Australia) they did have to work a little bit harder to earn the energy of the audience—and here’s the thing with artists this seasoned—they know and have perfected the art of working a crowd. Vocalist Tom Meighan and guitarist Sergio Pizzorno effortlessly traded off to get the crowd going.
Nancy Viégas and Tadeu Mascarenhas, producers of a new Brazilian TV series called Routes & Roots, are chronicling iconic people and places, sounds, history, and traditions along well-known routes. They will be in New Orleans this week to film the pilot episode called, “Where is Route 66?”
Viégas and Mascarenhas are also the leaders and producers of Radiola, a highly regarded and critically acclaimed band from Salvador, Bahia, Brazil. Performances are scheduled for October 15 and 16, 2014 at Chickie Wah Wah. On Wednesday, Tom McDermott will play a set, followed by a set by Nancy Viégas and Tadeu Mascarenhas. McDermott will also perform with the Brazilian musicians. On Thursday, Viégas and Mascarenhas will perform with Jimmy Robinson. Other local musicians are expected to perform as well including Helen Gillet.
Routes & Roots features tips on interesting places to visit and stay, local and regional food specialties, cultural and community events, and musical influences as well as musicians and artisans at every stop along the way.
I’m not a dance guy. You can ask anyone. And they’ll tell you my dancing brings to mind a man in bare feet leaping about on hot coals while being attacked by a swarm of apoplectic hornets. But I do like me some good industrial/dance/noise music on occasion. So I recently checked out the defunct Düsseldorf band Deutsch Amerikanische Freundschaft (“German American Friendship”), and boy, was I glad I did.
Not only did they release scads of great electropunk dance noise, but they actually wrote a song about dancing with Adolf Hitler! That’s right, they were Germans with an actual sense of humor! And not only that, but the brutal Thump! Thump! Thump! of their drums evoked the sound of 88-millimeter shells falling on Stalingrad. What’s more, vocalist Gabriel “Gabi” Delgado-López kinda sounded like what I imagine Josef Goebbels might have sounded like had he forgone the whole loser Nazi propaganda shtick and gone the club music route instead. In short, they made WWII rock!
D.A.F., as Deutsch Amerikanische Freundschaft are more popularly known, were formed as a five piece in 1978, but attrition soon whittled the band down to a duo consisting of vocalist Delgado-López and Robert Görl on drums, percussion, and electronic instruments. D.A.F. released seven LPs over the course of its career, and said LPs run the gamut from quite listenable to dead-raising cacophonies. My fave is 1981’s Alles Ist Gut (or “Everything’s Cool”). And not just because the “Deutsche Phono-Akademie,” whoever they are, awarded Alles Ist Gut the coveted “Schallplattenpreis” Award, whatever that is.
You could say that England has bred some of the most iconic figures in rock n’ roll history: The Beatles, The Rolling Stones, The Who, The Kinks. More than being united in their taste for nomenclature, these Brits all became legends notorious for shaking the world up, for developing devout followings that still rage on today, and helping shape the face of modern music. The list goes on: The Smiths, The Clash, The Cure. And now, in true British fashion, The Crookes.
Named after a suburb in Sheffield, South Yorkshire, where the group found its roots, The Crookes are leading the decade’s new wave of Brit pop rock and following in the footsteps of their famous kinfolk—not necessarily in sound, but in style. And, God save the Queen, they’re coming to Dallas this weekend for a must-see show.
Since forming in 2008, The Crookes have become known for their cool, intelligent brand of pop rock—dance-worthy and insanely catchy, yes, but not lacking in quality lyrics and musicianship. Though at times sonically reminiscent of The Smiths (clearly an influence on their sound), and stylistically comparable to contemporary indie rockers like Vampire Weekend, The Crookes are talented enough to carve out a niche all their own. Namely, lead vocalist George Waite has a voice that can charm your fucking pants off. His beautifully boyish face is no less charming, I might add. Just sayin’.
“Although there was a small collection of vinyl in my house growing up, it never really played a part in my musical education. It was more of a novelty to occasionally rifle through, and even more occasionally actually listen to. There were some pearls in there, don’t get me wrong, but the good ones would be taped onto cassette and the records left alone.”
“It was later on that I discovered the delights of buying vinyl. I started off buying 7” singles from the HMV in Liverpool, and was drawn to them by the gimmicks of coloured discs, limited editions, and picture discs.
I found a self-loading turntable complete with speakers at a jumble sale for 50p, and my collection started to grow. Mainly mid-nineties indie and Britpop (I still have most of them; the bright orange 7” of Sixty Foot Dolls’ “Talk to Me,” the ice white 7” of “Milk” by Garbage with the fold out sleeve etc.) From here I started to venture into second-hand record shops and charity shops, and digging through crates, and this is where the love of it really started.