Posts Tagged ‘Dinosaur Jnr’

J Mascis tickets

Alt-rock icon and Dinosaur Jr. mastermind J Mascis performed on Late Night with Seth Meyers, where he performed a pair of songs.Joined by the show’s bandleader Fred Armisen on bass, Mascis powered through his “Every Morning” single, as well as his cover of Mazzy Star’s “Fade into You.”

Mascis performed “Every Morning” Fred Armisen on bass, Mark Mulcahy on keys, Graham Clise on guitar, and Kyle Spence on drums.

Touring in support of 2018’s acclaimed Elastic Days, Mascis’ solo career sees him set aside the ultra-volume Dinosaur Jr are famed for to create what Pitchfork describe as “perfectly refined folk-rock”.

Reminiscent of the bittersweet melodicism of Neil Young and Tom Petty and the hypnotic guitar motifs of Kurt Vile, Elastic Days is predominately acoustic, giving ample space to J’s voice and songwriting skills. 
With a long-standing reputation as one of the greatest guitarists of his generation, the up and close and personal gigs see Mascis performing entirely solo, showcasing his recent work along with a smattering of classic Dinosaur Jr cuts.

With #ronasheton ‘s #fender #ronashetonbirthdaybash

J Mascis of Dinosaur Jr. fame graced our ears with his new single, “See You At The Movies.” Check out this vibrantly raw new track down below. The song is the first to be released from his forthcoming album Elastic Days, his third full-length solo album for Sub Pop Records. The album will be Mascis’s first solo release since 2014’s Tied to a Star.

Like his earlier solo work, Elastic Days was recorded at J’Mascis’ s own studio with all his own flair. Showing off his artistry, Mascis does almost all the music-making, with Ken (who also appeared on Tied to a Star) on the keyboard and a few guest vocalists, including Pall Jenkins (Black Heart Procession), Mark Mulcahy (Miracle Legion) and Zoë Randell (Luluc), among others.

“The biggest difference with this record might have to do with the drums,” explains J Mascis, when asked what fans can expect to be divergent from his previous solo albums. “I’d just got a new drum set I was really excited about. I don’t have too many drum outlets at the moment, so I played a lot more drums than I’d originally planned. I just kept playing.” But Elastic Days promises to have more than a good rhythm: We’re looking forward to unexpected hooks and guitar slides that straddle a broad range of genres.

We’ll have to wait until November. 9th for the releases of the album, but before its release, To hype up his audiences, J Mascis will embark on a North American tour with Sub Pop labelmates Luluc as support.

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By 1997, Dinosaur Jnr had drastically altered from the band’s original incarnation. Bassist Lou Barlow had been fired before the group had been signed to a major label in 1990. Drummer Emmett “Murph” Murphy had departed after a lackluster stint on the ’93 Lollapalooza tour. Singer-guitarist J.Mascis was the last man standing.

Newly signed to Sire Records, J.Mascis released a torrent of music in the early ’90s and put out three Dinosaur Jr. albums in the space of four years. At the height of alternative rock’s popularity, Dinosaur Jr. got played on the radio, the albums hit the charts and MTV even embraced the band . In crafting his group’s seventh album, J.Mascis took a little more time. On some of Dinosaur Jr.’s ’90s recordings, J. Mascis  was the only person featured. But it’s tough to play concerts as a power trio if you’re only one guy. Eventually, he replaced the trio’s founding members with Mike Johnson on bass and George Berz on drums. Mascis continued to have a stranglehold on the band creatively, so Dinosaur Jr.’s sound – loud, distorted with disaffected vocals from its frontman .

Also along the way, he brought in Kevin Shields Of My Bloody Valentine as an “honorary member” during the sessions for “Hand It Over”. J.Mascis and Shields had been tour mates and friends for years, so it seemed like a natural pairing, sonically.

“I remember he’d plug in different pedals and I’d play until I liked the sound, and then we’d try something with that sound,” Mascis has said, “His studio in England wasn’t too easy to work in at the time. It was weird, like a haunted house.”

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Although the Dinosaur Jr. frontman thought the experience was strange, he did like the results. Mascis would later recall that he felt he was finding new ways to be excited about his band, his songs and his music.

“I definitely felt psyched again,” he has  said . “I really liked the album, but then that was the point where the major label gave up on it and didn’t even tell anyone it came out. We went on tour and people didn’t even know it had been released. It was kind of depressing. But I really liked the album. It was just hard to tour because they basically didn’t do anything to promote it.”

J.Mascis recalls the troubles with Sire Records beginning when he handed over Hand It Over, on which he had written, sung, played a whole lot of instruments, produced and even created the cover art. He was clearly attached to this album, but the label executives were not impressed.

“I went to a meeting and heard the classic thing I never thought I’d hear, that I thought was just the silliest, stupid thing you used to hear if you go to a record company: ‘I don’t hear a single,’” Mascis said. “I couldn’t believe I’d actually heard that coming out of somebody’s mouth. I knew that was the end for sure – like, are you seriously saying that right now? It’s just such a cliché.”

Mascis stuck to his creative guns and he claimed the label punished Dinosaur Jr. with a lack of support for the record. Hand It Over came out on March 25th, 1997 to little fanfare. The record got some positive reviews, The band toured to promote Hand It Over, but to middling results. A strange occurrence allowed this version of Dinosaur Jr. to play one of its final gigs on The Jenny Jones Show (on a show titled “Grow Up! You’re Too Old to Party with Your Daughter”). J.Mascis put an end to the band by the end of 1997.

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Through an online contest, six fans were selected to film Dinosaur Jr. performing their classic album “Bug” in its entirety at the 9.30 Club in Washington DC, June 2011. Experience the fans’ joy as they witness a classic performance and meet their heroes face to face in an exclusive interview with the band. Under the direction of Dave Markey (The Year Punk Broke), In the Hands of the Fans brings the fans closer to the band and the music closer to you. Includes bonus footage of Henry Rollins speaking candidly to Markey about the the band, and interviewing them on stage before the show.

Bug is the third and final pearl in the string of albums released by the original formation of Dinosaur Jr. The music here shows the band moving into ever more orderly realms of composition and structure, even as evidence suggests that the band were coming apart at their physical seams.

After the release of Bug, Dinosaur changed their name to Dinosaur Jr, due to the protests of a band of San Francisco ballroom-era leftovers. This seemed incredibly stupid at the time, but now it is possible to see as both a remark that the band was starting to become known, as well as one by the band that they didn’t give a fuck. It was in this time that people truly began to appreciate the power of the songs that had always lurked inside the band’s sonic cataclysm. Live shows of the period were incredible. They harnessed a very special kind of aggression like no other band but the emotional turmoil inside the band frequently erupted into something cathartic J Mascis had moved to New York City, and there was a new sense of disconnection within the band. Lou was doing his own recordings for Homestead, Murph was playing more aggressively than ever, and J was kinda doing his own thing. Without any songwriting input from Barlow, the material for Bug was scripted entirely by J. Mascis, and when it was time to record the stuff, J had very specific ideas about how everyone’s part should be played. If the band prior to this had been operating in at least a democratic way, that pretense was now finaly over.  It was, it seemed now J’s band. And this knowledge (both within and without the group) loaded some of their live shows with a particularly furious edge.

There might be true havoc on stage, now and then, as J and Lou’s antipathy towards each other increased, but more often this negative gush was channeled into an orgy of magnificent meat music. The trio’s roar – one that had initially seemed impossible to contain or control began to assume a comprehendible shape in front of an audience that was familiar with the material (from the records) and attuned to its details. Not all their live shows were perfect, but there were lots of great ones, and their first trip to Europe in late ’87, brought them before a group of people who were both delighted and mystified by their utterly American combination of explosions and mopery. The British press fawned over them , but Dinosaur Jr’s true impact was on the audiences, who were absolutely ready for the stylistic shift into post-core non-ironic-rock that the band’s music suggested. Indeed, it is postulated that a whole generation of British “shoegazer” bands sprang up as a reaction to that first visit.

Their songs were complex in a way that seemed both simple and intuitive, their lyrics were sad and reflective without appearing obnoxiously introspective.  The band’s profile on the American scene was growing exponentially at the same time. This had been something in the making for a while, but their popularity was blown wide open by Bug, and its accompanying single, “Freak Scene” — a classic .

“The band’s whole approach reminded me of something our band was doing a little later, because they were burying strong melodies inside of this total sonic attack. There was almost something sinister underlying everything, but it was beautiful, too. There was always something hidden inside their songs. When I thought my lyrics were corny, we would use tape hiss to cover up the sentiments and fuck things up. It seemed like they were trying to fuck up their music by the craziness of their attack,

“And each of their albums just got better and better. They really are one of the few bands that, to this day, I get out all of their early catalogue and listen to them all in a row, all the way through. I still do that every so often. The amazing thing about their songs is that even though they were all sonically heavy, almost every one of them has the ability to give me a chill. The first songs on their albums were always great. Like ‘Forget the Swan.’ That may be my favorite. But they had so many great ones – ‘Little Fury Things, ‘Budge’ – they’re all great.

Well, one thing that could have been better, one presumed, was morale inside the band. They didn’t last all that long after the completion of Bug and the tours to support it. Dinosaur Jr continued in name for a good while, and they released some great records. But there is something totally organic and beautiful about the first three albums. They represent a creative arc that begins with teenage hardcore sput and ends with the dream of guitar heroism. Bug is the third album by American alternative rock band Dinosaur Jr., released in October 1988 through SST RecordsIt was the last Dinosaur Jr. album with original bassist Lou Barlow until Beyond in 2007.

The album is included in the book 1001 Albums You Must Hear Before You Die.

dinosaurjnrgreen mind

On this day in 1991, Dinosaur Jr released its fourth album, ‘Green Mind,’ featuring the single “The Wagon”

Despite the ongoing lineup turmoil, Dinosaur Jr. signed with Sire Records in 1990. They made their major-label debut Green Mind in 1991. The new record was virtually a J. Mascis solo album, with Murph playing drums on only a few songs, as well as minimal contributions from Fleming and Spiegel, who were out of the band by the time the album was released. Mascis, whose first instrument was a drum kit, recorded many of the drum parts by himself, layering the various instrumental parts through overdubbing. While Mascis’ guitar, voice and songwriting ensured that the album had its share of the band’s old sound, it was much quieter and more layered, with more use of keyboards and acoustic guitar, and with a noticeable lack of the power-trio roar for which the original lineup had been known.

For touring purposes, J Mascis first added Van Conner, and then Mike Johnson to handle the bass parts and embarked on several tours to support “Green Mind”, with support acts that included Nirvana. In 1991, Sire Records released an EP titled Whatever’s Cool with Me that featured old B-sides coupled with one new track. In 1992, the band was part of the Rollercoaster Tour, a package tour based on the successful Lollapolooza festival, which featured The Jesus and Mary Chain, My Bloody Valentine and Blur.

The band found their live shows well received in the changing musical climate of the early ’90s, and decided to record new material with the new lineup. This time, the recording sessions were with full participation from Murph and Johnson, with the former playing most of the drums and the latter playing all of the bass parts, singing harmony vocals and even contributing a few guitar solos. This material represented the peak of the band’s commercial success, with the single “Start Choppin'” reaching the top 20 in the UK, and the album that followed, Where You Been, reaching the UK top 10 and the US top 50. The opening track, “Out There”, had an accompanying video and was aired on MTV for a short time, as the show 120 Minutes was still popular as a late-night “alternative” video show. Although the new material was more accessible than the band’s 1980s albums, in terms of playing it represented a partial return to the more unrestrained power-trio sound of the original lineup.

J Mascis from Dinosaur Jnr dropped by the Guitar Center Hollywood Vintage Room to play and talk about the genesis of his musical career.

When J Mascis isn’t performing excellent Mazzy Star covers like the song ” Fade Into You”   or the Cure covers
The Dinosaur Jr. guitarist recently chatted with Nic Harcourt in Los Angeles about his early days as a frustrated guitar player and the meaning behind the classic Dinosaur Jr. song “Get Me.” Mascis also crunched his way through an excellent stripped-down solo version of said track for At the Guitar Centerwhich, despite the absence of Barlow and Murph, still amplified the studio up to 11.
About the track (originally off of Dino’s 1993 LP “Where You Been” Mascis dug deep into the annals of his memory and casually stated that it’s about “voicing some disappointment, with some relationship, or something…”

The loudest guy in the world came to the Tiny Desk to perform some of his quietest music.

Dinosaur Jr.‘s J Mascis, for years a guy who’s turned my ears red, showed up armed with just an acoustic guitar. I even had an amp for that guitar all lined up, but he decided to not plug in.

So we get a rare treat: a low-key J Mascis, performing emotional songs from his new album “Tied To A Star”, as well as Dinosaur Jr.‘s classic “Little Fury Things.” If you think Mascis draws all his power from sheer volume, this ought to convince you otherwise.

Set List

  • “Stumble”
  • “Little Fury Things”
  • “Drifter/Heal The Star”



The loudest guy in the world came to the Tiny Desk to perform some of his acoustic tracks  music. Dinosaur Jr.‘s  J Mascis, armed with just an acoustic guitar. I even had an amp for that guitar all lined up, but he decided to not plug in. A low-key J Mascis, performing emotional songs from his new album “Tied To A Star”, as well as Dinosaur Jr.’s classic “Little Fury Things.” If you think Mascis draws all his power from sheer volume, this ought to convince you otherwise.

Set List

  • “Stumble” .”Little Fury Things”. “Drifter/Heal The Star

J Mascis born Joseph Donald Mascis, Jr. on December 10, 1965 is an American musician, best known as the singer, guitarist and songwriter for Dinosaur Jr. He was ranked number 86 in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time”, and in 2012, Mascis released a mostly acoustic album in March 2011 titled Several Shades of Why on Sub Pop Records. He was joined in the studio by several guest musicians, including Kurt Vile and Sophie Trudeau. Mascis toured the US with Vile as support act to promote the album. Mascis’s electric guitar work is featured on the 2014 Strand of Oaks album ‘Heal”. J Mascis will be performing at the Bodega Social in Nottingham 2015


Dinosaur Jnr frontman J Mascis, has a new solo album available “Tied To a Star” world weariness vocals featuring backing vocals from Cat Power.