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The PIXIES – ” Classic Masher “

Posted: October 20, 2017 in ALBUMS, MUSIC
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The Pixies play the Boulder Theater and Fillmore Auditorium this week.

Joey Santiago, lead guitarist for alt-rock band the Pixies, was never into playing fast. He says it’s just too much work.

“There were enough people doing it,” Santiago says of the guitar shredders. “I wasn’t going to join that bandwagon at all. I couldn’t remember anything about it other than, ‘Wow, that’s fast!’ Really, that’s all you’re going to say about it. Yeah, it’s fast. But if you listen to the phrasing of George Harrison and other guitar players like that, it’s like, ‘That’s more my speed right there.’ I mean, I try to have a slower hand than [Eric] Clapton. I have a syrup hand. Maple, not corn syrup.”

Since Pixies formed just over three decades ago, Santiago’s angular, minimalist approach to the guitar has been an integral part of the outfit’s idiosyncratic sonic palate. Rather than cramming notes into the songs, Santiago leaves space between the notes, letting his riffs ring and breathe. He says it’s about being patient and not being in such a rush.

“That’s hard for me to do because I’m so manic,” Santiago says. “It’s like, ‘Okay, fucking slow down, goddamnit.’ And when you finally find that out, it’s hard. It’s hard to remember to do that. It works. You don’t have to talk all the time. It’s having a conversation.”

While Santiago has no problem conversing musically, he admits that outside the band, he’s still the worst communicator. “I just am,” he says. “I try not to be such a social misfit. When [people] meet me for the first time, they just go, ‘What the fuck is up with him?’”

That even goes back to his days as a high school quarterback in his home town of Longmeadow, Massachusetts. “I just didn’t talk at all,” he says. “The coach would try to have me talk to him, and it was like, ‘No, please. I already know what to do.’”

Santiago might not be the best communicator, but the same could have been said for the rest the band members earlier in their career. Santiago, frontman Black Francis (born Charles Thompson), drummer David Lovering and bassist Kim Deal released five studio albums from the time the band formed in 1986 through its breakup in 1993. Eleven years later, the band reunited, and some of the reunion tour was captured in the 2006 documentary loudQUIETloud, where Deal’s sister Kelley said, “You guys are the worst communicators ever.”

But since Kim Deal left the Pixies in 2013, during the recording of Indie Cindy, there’s been a different chemistry in the band with the arrival of bassist Paz Lenchantin, who came on board in 2014 as a touring member.

“She’s just brought in a new kind of energy,” Santiago says. “She’s just a very, very positive person. She belonged right away.”

Following Deal’s departure, he says, the musicians didn’t know if they were going to keep going as a band.

“It’s just a miracle that we did just keep going,” Santiago says. “This is what we know how to do best. We don’t know any…I don’t know what else to do. It’s what I’ve wanted to do since I was, I don’t know, eleven or something. It’s happened. Nothing is going to get in the way of it. Nothing. I’ve paid the dues. We were getting paid by pizzas and beer and gas money. We drove ourselves. And it’s like there’s no fucking way I’m going to… and then we went from tour buses to nice hotels. It’s like, nah, I don’t want to do anything else. Let’s just try to keep this going.”

They kept forging on, indeed. While Indie Cindy, the band’s first album of new material in two decades, was not one of the act’s stronger releases, they more than made up for it on last year’s Head Carrier, which includes tunes like “Bel Esprit,” “Might as Well be Gone,” “Classic Masher” and “Oona” that evoke classic Pixies songs.

“We’re so unique that why fight it?” Santiago says. “I’ve been trying to fight it for a while. When I give up, that’s when it comes naturally. When I just go, ‘Okay, you know what? You’re not that bad. Just do what you know how to do best and just go along with it.’”

While preparing to record Head Carrier, Santiago says, the process mirrored the making of the 1989 masterpiece Doolittle. All four bandmembers sat in a room and hashed out the songs and picked the ones to demo. They took the demoed songs to producer Tom Dalgety, whom the band met in 2015, and he chose the songs that he thought would be good for the album.

Santiago says the new material fits flawlessly into the band’s live sets. ‘It’s part of the language,” he says. “It’s seamless. It’s just totally seamless. You know, we notice some of the kiddos out there singing along with it. It’s nice.”

On the current tour, the band has been drawing from some ninety songs that it’s rehearsed.

“It’s just the way it is,” he says. “I think at this point, a set list would just confuse us. Looking down and, ‘That’s next.’ How do you even know what’s next? You can’t even tell if it’s going to be appropriate for the next song. You don’t even know what our mood’s going to be like at the end of two minutes.”

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The band debuted their first release under the name Sasha Shevchuk in 2015 and now their back with a neo-Psychedelic banger that’s more focused than ever. Marianna’s voice is so powerful and with it being caressed by shimmering delays this album’s sound provokes the darker side of the Lofi Psychedelic genre, jointing hands with the likes of The Black Ryder, BJM and Tess parks but with distinct/unique tonality.

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thanks to The Psychedelic Underground.

Before we had RIYL algorithms and Spotify discovery playlists, we had Kurt Cobain. The Nirvana frontman wasn’t just one of the most commercially successful and critically acclaimed alt-rock artists of the early ‘90s, he was also its foremost tastemaker. Cobain’s conflicted relationship with fame has been well documented, but one benevolent side effect of his discomfort in the spotlight was that he used every opportunity to redirect it onto lesser-known artists, and not just ones from his immediate community. While the media was hyping the Seattle scene, Cobain was leading impressionable kids down underground pathways that extended from Scotland to Japan.

This was a guy who could get an obscure, out-of-print punk record reissued by a major label by name-dropping it an interview, or who could effectively play armchair A&R rep and score a deal for an unsung artist by just by wearing their t-shirt. Even if only a tiny fraction of the 10 million people who bought Nevermind were willing to check out a record based on his recommendation, it was enough to turn groups like Shonen Knife into international club headliners, and enough to transform The Wipers’ once-obscure early ‘80s releases into canonical punk classics for future generations to discover.

Since his 1994 suicide, Cobain’s life and work have been put under the microscope many times over, through numerous biographies, documentaries, and barrel-scraping box sets. But one of the most illuminating pieces of detritus can be found in the 2002 scrapbook Journals: a handwritten list of his 50 favorite albums of all time. It’s a document that illustrates how, behind all the disaffected cool, Cobain was just a list-making music nerd like the rest of us. And based on the most recent entry—PJ Harvey’s 1992 debut Dry—it was a practice he indulged in even after his face was all over Rolling Stone and MTV. (He even divided his entries with lines as if he were designing the flippable label cards in his own imaginary jukebox.)

Kurt’s list reveals a typical punk-rock initiation process: You’ve got the pioneers (The Stooges, the Sex Pistols), their more extreme hardcore spawn (Black Flag, Fear), the detouring post-punk experimentalists (Public Image Ltd., Gang of Four), and the mutant recombinant offspring who fuse and abuse all of the above (Flipper, Butthole Surfers). It’s the last iteration that had the most audible impact on Nirvana, particularly on bludgeoning Bleach-era tracks like “Paper Cuts” (which bears both the bone- and soul-crushing heft of ‘80s Swans), Incesticide oddities like “Hairspray Queen” (which finds Kurt squealing like a young Gibby Haynes), and In Utero crushers like “Milk It” and “Scentless Apprentice” (where Kurt chews on the tin foil spit out by Scratch Acid’s David Yow). And then there’s the only band to earn three slots on Kurt’s list: Portland underground demigods The Wipers, whose relentless momentum and hoarse-throat hooks set the fiery pace for Nirvana corkers like “Breed” and “Territorial Pissings.” (Funnily enough, after once admitting that The Clash’s Sandinista! disappointed him as a kid because it didn’t align with his perceptions of punk, Kurt includes the much more commercial follow-up, Combat Rock—perhaps as a commiserating reminder that he wasn’t the first punk who had to deal with becoming popular.)

Like many kids born in the late ‘60s, Kurt’s first musical obsession was The Beatles. Their melodic sensibility formed a crucial strain of his musical DNA that withstood his eventual conversion to punk, leading to breakthrough moments like “About a Girl.” (Tellingly, Kurt’s favorite Fab Four record isn’t a typical muso pick like Revolver or the White Album, but the band’s winsome U.S. debut, Meet the Beatles, whose brevity and simplicity are more compatible with his passion for DIY indie rock.) Meanwhile, his adolescent affinity for mid-‘70s Aerosmith was entrenched enough that he would (partially) name a song after them, and while David Bowie was a less obvious influence on Nirvana, the band’s reverential cover of “The Man Who Sold the World” forged their spiritual connection with rock’s original iconoclast. But Kurt was also willing to own up to inspiration from less-respected hit-makers—listen to the verses of The Knack’s “Good Girls Don’t,” and you’ll hear the sort of slack, sardonic delivery he brought to Nirvana songs like “On a Plain.” His list also betrays a growing fascination with ’40s folk pioneer Lead Belly that would ultimately yield one of Cobain’s most chilling performances.

Nirvana’s explosive success couldn’t have happened without the fuse-igniting efforts of their immediate alt-rock antecedents—both close to home and beyond. “Negative Creep” is essentially Mudhoney’s “Sweet Young Thing Ain’t Sweet No More” flipped from 33 rpm to 45. The crash/burn/rebuild structure of Sonic Youth’s “Silver Rocket” would reappear in smoothed-out form on the alternately rousing and brooding “Drain You.” The whisper-to-scream hysterics of the Pixies, can of course, be heard on any number of Nirvana songs, but bassist Kim Deal’s Breeders offshoot was an equally profound influence, with the nocturnal, string-scraped atmosphere of Pod filtering down to In Utero respites like “Dumb” and “Penny Royal Tea.” And though the radiant, paisley-patterned jangle of R.E.M.’s Green may not be as perceptible, the wry, self-reflexive quality of “Pop Song 89” feels like a spiritual successor to Nirvana’s own meta-rock commentaries, like “In Bloom.”

Embarrassed somewhat by Nevermind’s big-budget studio polish (which he infamously compared to a Mötley Crüe record), not to mention the increasingly slick nature of alternative rock, Kurt used his pop-star pulpit to champion the virtues of amateurism. In the collapsible sing-alongs of ‘60s outcasts The Shaggs, he heard something stranger and more radical than anything you could find on 120 Minutes. Through his beloved Vaselines, he learned how to balance playful melodies atop rickety punk-rock foundations. And in the solitary serenades of Daniel Johnston and the giddy garage-rock of Shonen Knife, he heard the purest manifestation of the childlike emotions he tried to access on songs like “Sliver.” But while his fondness for ramshackle post-punk and lo-fi indie pop brought out Nirvana’s more playful side (best heard on Incesticide’s odds ‘n’ sods and the more whimsical moments of the MTV Unplugged set), for Kurt, that music was also represented an effective weapon for dismantling rock’s patriarchal power structure. Nirvana may not bear the direct musical influence of minimalist, female-fronted bands like The Raincoats, Young Marble Giants, and Kleenex, nor is there anything in their catalog resembling the homoerotic joke-folk hijinks of The Frogs, but they undoubtedly inspired him to become the preeminent male-feminist and pro-gay rock star of his generation, one who was willing to write indictments of rape (“Polly”) and machismo (“Mr. Moustache”), and who happily used his liner notes to tell the racist and homophobic jocks in his audience to fuck off. (Though one can’t help but wonder if, he were around today to make a similar Top 50 list in this post-poptimist age, he might include more than one hip-hop record.)

SAVAGE

Thawing Dawn, the first solo record from A. Savage, released on Dull Tools.

The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage’s mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn’t land with any of Savage’s other groups, and instead are presented now as a distinct collection. Reflecting back, Savage says, “Once I realized I had a small body of work that didn’t fit anywhere else, I started to examine the commonalities: What’s the common denominator of all this and how I can expand on it?”

Savage is best known as the frontman for Parquet Court’s, a duty split with fellow Texan Austin Brown. Their last record, Human Performance, delved into the emotional wreckage of a broken heart, to critical acclaim. But with Thawing Dawn, it’s clear that Savage has matured. While assembling the record, he fell in love. Now, for the first time, we hear songs about being on the inside of love. Rather than lamenting the end of a relationship, we hear a voice trying, in the moment, to make sense of love’s mysteries. “Part of this maturity,” he says, “is reflecting on something when it’s happening, not just when it’s gone.”

Thawing Dawn gives us honesty: We see the artist at home in bed, more singer-songwriter portrait than esoteric statement. Throughout his discography Savage has long abbreviated his first name as a kind of writerly gesture. He says, of the move, “I am an uncivilized member of modern civilization–I’m just a savage.” Like Duchamp’s R. Mutt signature on a urinal, the shortening embodies a mischievous directness, enabling this savage to introduce his slanted honesty into the universe.

“I always like it when records are good representations of communities,” Savage says, and this one succeeds in this regard. These ten songs were recorded between December 2016 and June 2017 by a cast of friends in Jarvis Taveniere’s Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, and Psychic TV all lend their talents. Savage’s voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. A strain of rural inquiry tinges the soundscape, an ongoing trope in Savage’s writing most powerfully felt on Parkay Quart’s ballad “Uncast Shadow of a Southern Myth.” On this record it is stronger, with a healthy helping of pedal steel guitar, a chorus of female back-up vocals, four familiar chords, and maybe the truth, all layered throughout these songs. Their titles also steer us this way, but don’t fully convey the hidden intricacies. “Buffalo Calf Road Woman” opens the record in a burst of C&W energy. The staccato pop piano of “Eyeballs” lays crisply beneath a refrain of heartbreak. “Wild Wild Horses” finds him confessing inside a Talk Talk bubble of guitar static and organ. The build-up of “What Do I Do” yields a guitar freak out that Parquet Courts fans will recognize. You could two-step to the swing of “Phantom Limbo.” “Ladies from Houston” is a Leonard Cohen-like ramble through a party scene. Finally, the title track is a suite of three interwoven songs that closes the record in a beautifully cinematic style.

Throughout, A. Savage delivers one-off lines of razor-sharp observation that will stick in your brain, only to surface when you’re least prepared to handle their insights. When you put your copy of Thawing Dawn on your turntable and drop the needle, you’ll learn what A. Savage has to say about romance in our modern world. Keep your ears open–it’s worth hearing.

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Though the release of his debut solo album, Thawing Dawn, is imminent, Parquet Courts co-frontman Andrew Savage is already focused on his next project: an art show in Brooklyn at the end of October. In between sessions finishing work on those paintings, he’ll be mailing out ordered copies of Thawing Dawn himself. After that? Just a measly, everyday East Coast solo tour for about half of November.

This small glimpse into Savage’s day-to-day flurry perhaps explains why some of his best performances in Parquet Courts sound like a man desperately trying to keep up with the constant chug of the modern world. “Do my thoughts belong to me? Or just some slogan I ingested to save time?” he pondered in the galloping “Content Nausea,” the title track to one of the five albums Parquet Courts released in the last five years.

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Thawing Dawn, out October 13th on Savage’s Dull Tools label, trades the musician’s normal clenched-fist intensity for sparse, arresting moments of introspection. With his main band’s breakneck pace and caterwauling guitar removed, Savage’s penchant for literary wordplay takes center stage throughout ten of the most revealing tunes he’s ever recorded.

Becca Mancari first popped up on my radar due to her being involved with Brittany Howard’s side-project, Bermuda Triangle. Soon thereafter I caught wind of the lead track off of her debut LP and I was hooked. On her debut, the Nashville based artist does a fantastic job of adding some indie pop flourishes to her Americana sound. It really made me stand up and take up notice.

The second track, Waiting So Long, is a real winner. It has some tasty guitar, including some unconventional use of pedal steel. The track centers around Mancari asking how she can get her interest reciprocated. Golden is a beautiful break-up track where both sides still seem be able to find the beauty in each other despite the dysfunction. The penultimate track, Kitchen Dancing, is another beauty; using subtle pedal steel to create atmosphere.

“Good Woman” is a great debut by someone who clearly has a great future ahead of her.

Wilco will reissue their first two albums, A.Mand Being There, on December 1st via Rhino. The new editions will feature an array of bonus tracks, including alternate takes, unreleased songs and live recordings. A live rendition of the band’s gritty and lonesome A.M. track, “Passenger Side,” recorded in Los Angeles in 1996

The deluxe editions of both albums will be released on CD and double LP, while Being There will be released as a five-CD collection or a four LP set. Digital versions of both albums will be available, while limited-edition color vinyl copies can be purchased on the Wilco website.

Following the dissolution of their previous band, Uncle Tupelo, Jeff Tweedy, bassist John Stirratt and drummer Ken Coomer helped form Wilco and released their debut album, A.M. in 1995. The new reissue will feature eight unreleased bonus tracks, including an early version of “Outtasite (Outta Mind),” and Uncle Tupelo’s last studio recording, “When You Find Trouble.”

Stirratt wrote new liner notes for the reissue as well, and in them, he says of A.M., “Listening back to records 15 to 20 years later, I’m always taken with the confident but guileless quality of bands in their 20s, that strange mixture of innocence and conviction, and this is one of those records – we were barely a band at that point, just trying to make some noise.”

Wilco released Being There, a double album, in 1996. The expanded edition of that record includes a full disc of outtakes, alternate versions and demos, plus a 20-song live set recorded at the Troubadour in Los Angeles November 12th, 1996, and a four-song set recorded the following day at the Santa Monica radio station KCRW.

A.M. includes original album + 8 previously unreleased outtakes and liner notes by John Stirratt.

Being There includes original double album + 15 previously unreleased songs and demos plus a live performance at KCRW (11/13/96). CD/Digital version also includes Wilco live gig from The Troubadour (11/12/96).

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A third 40th anniversary deluxe edition is coming from the Ramones and Rhino Records, featuring the band’s third album, “Rocket To Russia”.

With punk rock reaching a fever pitch in the summer of 1977, the Queens quartet and Leave Home’s producer and engineer, Tony Bongiovi and Ed Stasium, again came together to record another hard-hitting album of urgent but melodic tunes. Drawing from surf rock influences (and featuring a significantly bigger budget than their previous two records), Rocket To Russia was praised by critics for its humor and pop-friendly sensibilities, with tracks like “Teenage Lobotomy,” “Sheena Is a Punk Rocker” (released in an alternate single version that spring) and “Rockaway Beach” becoming punk classics. The album also marked the end of an era; after Rocket To Russia, drummer Tommy Ramone stopped performing with the band, but continued as an intermittent writer/producer for the group.

Like the deluxe editions of Ramones and Leave Home, Rocket To Russia features 3 CDs, an LP and a photo-filled book within its 12″ x 12″ box packaging. A total of 63 bonus tracks (only two of which have been made available before) will be included in this set. Alongside the original album, Stasium has created a back-to-basics “tracking mix” of the original album, featuring some alternate takes and songs that were unused on the original album. A bonus disc of rough mixes from Mediasound and The Power Station studios, plus alternates, B-sides and even an original radio promo with frontman Joey Ramone, is also included, as is a previously unreleased 1977 concert recorded in Glasgow. The package is rounded out with an LP of the tracking mix.

This rocket takes off November 24th. Rocket To Russia: 40th Anniversary Edition (Sire/Rhino, 2017)

When Alicia Bognanno came forth with her debut album Feels Like under the pseudonym Bully in 2015, it was relatively easy to compare her lucid, diary-entry songwriting and throaty head-screams to dozens of 90s’ indie powerhouses.

These comparisons were appropriate at the time – Feels Like was 31 restless minutes of explosive indie guitar-rock, with a timeless appeal boasting 90s’ nostalgia and emotional self-revelations. But as time passed, Feels Like aged adequately, and each listen felt more refreshing than the last. Minute production details that were once unnoticed began to show – courtesy of Bognanno’s tenure at Steve Albini’s Electrical Audio studios in Chicago – and Feels Like became a vital document for heady 90s’ indie-rock revivalists.

Now two years wiser, Bognanno has returned with the follow up, and her Sub Pop debut, Losing – an album even more focused and emphatic than its predecessor.

US trio Bully like to mimic their live performance on record; a sound that’s frenetic, raw, vulnerable, and pulses with tension from start to finish. For frontwoman Alicia Bognanno, this year feels like the perfect time for the band’s return, with their sophomore record, Losing – the band’s first release with legendary label Sub Pop Records (Nirvana, Soundgarden, Sleater Kinney).

The same raw intensity that made fans fall under Bognanno’s spell in 2015 is still very much present, but this time around Bognanno sounds more self-assured. Whether it’s the muscular bass riffs on “Running,” the despairing chorus of “Feel the Same,” or the repetitive drum-rolls and cries on “Not the Way,” Bognanno is her finest and purest self on Losing.

Per usual, Bognanno’s perennial hooks and screams are felt with a stubborn sense of irritability and angst, ripping off old emotional band-aids in attempts to decipher the complexities of aging. Suffice to say, Alicia Bognanno is in her prime as a musician, songwriter, and producer, and somehow comes out of Losing better than before, proving herself as one of the most consistent and impressive artists of the decade.

‘Losing’ (Release Date: October 20, 2017) LP version of ‘Losing’ from the Sub Pop Records.

Warner Records will issue a four-disc deluxe edition of The Smiths‘ 1986 album “The Queen Is Dead” this week.
The album is generally considered to be the band’s best work (although “Strangeways, Here We Come” gives it a good run for its money) and the album features the classic “There Is A Light That Never Goes Out” (only a single in France at the time, fact fans). This reissue represents the first time that The Smiths’ back catalogue has been revisited in such a way. The album features several of the band’s finest moments including the title track and ‘There Is A Light That Never Goes Out’, as well as the iconic singles ‘The Boy With The Thorn In His Side’ and ‘Bigmouth Strikes Again’.

There are three physical formats for this release – which as you will note has updated artwork – a 3CD+DVD deluxe includes the remastered album, a bonus CD of demos, alternates and b-sides, a further CD: Live In Boston (recorded at the Great Woods Center For The Performing Arts on August 5th, 1986) and a DVD featuring the 2017 master of the album in 96kHz / 24-bit PCM stereo. The DVD also includes The Queen Is Dead – A Film By Derek Jarman.

A five-LP box set includes all the audio listed above, and a two-CD edition pairs the remaster with the bonus disc of demos etc.

LIMITED EDITION BOXSET WITH ADDITIONAL LIVE RECORDINGS! Widely considered to be both The Smiths‘ finest work and one of the greatest albums ever made, The Queen Is Dead has cast a significant influence over subsequent generations since it was first released in the summer of 1986. This five LP boxset contains a newly mastered and expanded version of the album, including the “Live In Boston” recording. “You cannot continue to record and simply hope that your audience will approve, or that average critics will approve, or that radio will approve,” says Morrissey. “You progress only when you wonder if an abnormally scientific genius would approve – and this is the leap The Smiths took with The Queen Is Dead.” Johnny Marr adds, “The Queen Is Dead was epic to make and epic to live.”

All formats of this The Queen Is Dead reissue will be released on 20th October 2017.

French artist Colleen is fearless in her willingness to explore new sounds and new ways of creating music as a solo performer. On her new album A flame My love, A Frequency she introduces the most drastic change to her music since she began singing on her fourth album. A chance encounter with a Critter and Guitari synthesizer at King Britt’s Philadelphia studio on the Captain of None album tour cracked the compositional model wide open. Colleen bought a Critter and Guitari Pocket Piano with the aim to use it through a newly-acquired Moog filter pedal to create new and interesting rhythms to accompany her voice and viola da gamba. But it turned out the sounds of this viola and rhythm combination was not what she was looking for, so in typical Colleen fashion, she set the viola da gamba aside altogether and picked up an additional Critter and Guitari synth, the Septavox, dug out her her trusted Moog delay and dove right in.

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