King Khan & The Shrines, the holiest of holies, is releasing a new album on their recently signed Merge Records, entitled Idle No More and it’s coming out on September 3!
“King Khan offered this statement on the release: It has been a lengthy hiatus, but we have finally finished our latest ‘masterpiece’ and named it after an incredible indigenous-rights movement that is happening right now called Idle No More. I was born and raised in Montreal and spent a lot of time on the Kahnawake Mohawk Indian reservation. Much of my juvenile delinquent training came from years of tripping out there with my best friends. I began the Shrines in 1999 with the blessings from my brothers in The Spaceshits, right after we disbanded. The dream was to make something reminiscent of Sun Ra, James Brown, and Otis Redding with a hint of The Velvet Underground, Love, The Monks and about a million other influences that riddled my LSD-soaked brain at the tender age of 22. The Shrines was my pirate ship and we sailed many a turbulent sea, spreading our music ‘like peanut butter’ all over the world. We celebrated our cult ‘underground’ status and became the kings we are through word of mouth and by making an ‘aural eyegasm’ that has often been called the ‘wildest show on earth.’ Idle No More is probably the most refined piece of music we have made to date. The songs are about the state of the world we live in today. It took a long time to make, but we are very proud and pleased to bring you this album. I hope that the future will brighten up every time it is played. Ultimately, John and Yoko were absolutely right: LOVE IS ALL YOU NEED! Peace and Love, King-Bama Lama Khan
Emperor of RnB” – Merge Records http://www.mergerecords.com/blog/2013/05/king-khan-the-shrines-announce-idle-no-more-for-september-release/
Idle No More track list:
1. Born to Die
2. Bite My Tongue
3. Thorn in Her Pride
4. Luckiest Man
5. Better Luck Next Time
6. Darkness
7. Pray for Lil
8. Bad Boy
9. So Wild
10. Yes I Can’t
11. I Got Made
12. Of Madness I Dream
What’s that? What’s that in the right hand corner? Why that’s KLYAM Records! KLYAM Records is an extension of Kids Like You & Me and we are proud to announce that our first release is one of our favorite records from one of our favorite bands: Fat Creeps
Fat Creeps self-titled debut EP is now available on COLORED 10″ VINYL [Coke Bottle Clear/White] and you can order it here: http://klyam.bigcartel.com/
Track List:
1) Secrets
2) Horoscope
3) Fooled
4) Leave Her Alone
5) Cherry
6) 700 Parts
Tour Dates:
Thu – June 20: Baltimore, MD Metro Gallery
Fri – June 21: Chapel Hill, NC Local 506
Sat – June 22: Atlanta, GA 529
Sun – June 23: Birmingham, AL Bottletree Cafe
Mon – June 24: Nashville, TN The High Watt
Wed – June 26: Chicago, IL The Empty Bottle
Thu – June 27: Ferndale, MI The Loving Touch
Fri – June 28: Toronto, ON The Drake Hotel
Sat – June 29: Montreal, QC il motore
Mon – July 1: Winooski, VT The Monkey House
Tue – July 2: Boston, MA Great Scott
Wed – July 3: New Haven, CT BAR 254 Crown St.
Fri – July 5: New York, NY Mercury Lounge
Bands: Colleen Green, Fat Creeps, Fedavees, Ronnie Nordac Date: Thursday, April 25, 2013 Venue: Radio (Somerville, MA)
Ronnie Nordac – The infamous Ronnie Nordac. I don’t know much about Ronnie, but I have seen his name appear in Boston Compasses for the last year and a half or so (give or take). He’s the dude that makes those rad drawings. Ronnie Nordac. His name sure sounds funny and it’s fun to say. Ronnie Nordac. Sounds like a comic book super hero. If a super hero looked and sound like Joey Ramone – tall, long black hair, black shades. Ronnie is hard to miss.
Ronnie Nordac sings and plays guitar and he usually plays solo, but tonight he is accompanied by a bassist, a drummer, and another singer named Kara. From what I hear, this is a recent development and apparently this the first time the band has played together, having only practiced for a week. Despite (or because of) their novice status, I admire practically every song they play. I hear teeny bits of outsider rock, particularly in Ronnie’s clanky, amateurish, but ever so sweet and hooky guitar riffs. It’s eccentric garage surf pop.
Definitely memorable songs; sadly I cannot find them anywhere! One song I love is called “Rock ‘N’ Roll USA,” I especially love Kara’s vocals and her adorable dancing. Her vocals are my favorite part of the set. When she sings, it reminds me of The Pixies/Kim Deal. I can still hear it in my dreams.
Word around the campfire is that Ronnie is playing a show on August 1 at Club Bohemia (Cambridge) with rampant twat diddler Gangbang Gordon and Lowell superstar, Durt Dog the Band. That’s going to be a fine ass show, but hopefully I’ll see him and all of those dudes before then. http://ronnienordac.bandcamp.com/
Fedavees – I’ve seen these guys a couple times before and they didn’t blow my mind the way they have blown other people’s minds. They are a decent band, but this droney, laid back style of music just doesn’t do it for me. It’s like getting on a roller coaster that never takes off. I’m more of a Black Lips guy, listen to “MIA” and “Sea of Blasphemy,” and see what I mean. I won’t babble or rant anymore, because what’s the point of a “negative” review? If a positive review is to get people turned on to what’s turning you on, then is a negative review supposed to make people ignore the bands you don’t like. That is ridiculous. Don’t listen to any music blog swine, you heard it here from a music blog, no swine. Think for yourself and question authority. http://thefedavees.bandcamp.com/
Fat Creeps – Ohh dear, I have written about this band way more than I ever anticipated writing about any band, except for maybe the Black Lips. I’ve sucked so much Black Lips and Fat Creeps dick, I’m putting some serious sluts to shame. It must be kind of strange for the Fat Creeps, having some weird music nerd (and by weird I mean incredibly awesome) writing about nearly every one of their shows. As a fan it’s cool because I get to document one of my favorite bands and see how they change overtime. Around this same time last year, they were just starting to hone their craft with the arrival of drummer, Jim Leonard. Now, a year later, it’s hard to imagine the band without him (I never saw the trio pre-Jim anyway). Through writing about many of these shows, I’ve seen the group introduce several Creeps standards such as “Secrets,” “Daydreaming,” and “Going to the Party,” all of which are played tonight. Some of the more recent (though not brand spankin’ new) Creeps numbers include “Blue” and “I’ve Got.” I’m still getting into these new tunes, I can’t say I love them, but I have a feeling my opinion will change if they are fleshed out more. “700 Parts” is my favorite Fat Creeps song; it’s morbid and it doesn’t sound like any other band, which is pretty much what I look for in every artist I hear. Distinct, enticing songs. Watch “700 Parts” and all of the great Avi Paul Weistein videos from this show right here: http://www.youtube.com/watch?v=CLtjuBLOutc
Colleen Green – Colleen Green is the coolest to quote one Ronnie Nordac. Damn straight Ronnie. Like Mr. Nordac, Ms. Green rocks the black shades and she also rocks out on her happy birthday Jeff! guitar, but unlike the last time we saw her, she isn’t backed by a full band. This time, the Massachusetts native turned Cali garage punk brings back her beloved drum machine and a friend named Marissa, also rocking shades (and bass).
Tonight, Colleen and Marissa deliver a fun, mellow set featuring both old and new Colleen Green songs. The Ramonesian “I Wanna Be Degraded” and “Nice Boy (I Want A)” are among the older classics that I have come to love in the past couple years. I swear the latter was written for me ;) haha jk.
Colleen and Marissa also play a steady batch of hits from the latest Colleen Green record, Sock It To Me (Hardly Art). Check out that album, if you haven’t, for it may be the greatest 2013 has to offer. The audience at the Radio has the pleasure of hearing new songs such as “Only One,” “Darkest Eyes,” and “You’re So Cool.” I love hearing all of these new tunes and this performance is even better than the last time I saw Colleen, way back in September.
For some of the songs later in the set, Colleen plays solo and Marissa sits back, watching her friend play like everyone else. Then, for the encore, Marissa joins her pal again in a cover of The Queers “Number One.”
I was just saying to myself, what Peach Kelli Pop video do I want to share with all of my fascistbook friends to articulate how happy I feel about the world around me? Whereupon I stumbled on this recent vid of Peach Kelli and friends performing some hit songs for KBeach. Watch “Dreamphone,” here’s some more:
Let’s lighten things up with a funny Nobunny interview. Watch as Nobunny discusses his preference to stay pantless, a shitty show at the Cake Shop, and knowing when you’ve touched too much aka “crossed the line.”
Check out this Heartland interview with Smith Westerns. It covers a lot of band history, if you’re into that sort of thang. Keep your eyes peeled for their upcoming album, Soft Will out on Mom + Pop (6/11). And if you’re a Boston fellow, catch them at the Sinclair (Cambridge) on Saturday, July 27!
Everyone’s favorite band on Die Slaughterhaus (except for Black Lips, of course), Deerhunter is heading on tour again and if you’ve been paying attention then you know that they just dropped their sixth album, Monomania on 4AD. The new LP shows off the band’s ever growing niche for writing strong pop/rock ‘n’ roll songs, while still maintaining the raw, garage edge they created back in their Die Slaughterhaus days.
Deerhunter is playing at the Royale in Boston on Monday, September 16. Check out the full tour dates below.
18th May – Ekko Le Guess Who Festival, Urecht
20th May – Vera, 9711 NV Groningen
21st May – AB Club, Brussels
22nd May – La Trianon, Paris
23rd May – Primavera, Barcelona
30th May – Optimus Primavera Sound (Porto), Porto
7th June – Governor’s Ball (7-9th June), Randall’s Island, New York
21st June – ATP Festival curated by Deerhunter 21-23rd June, Camber Sands, Camber
23rd August – Crescent Ballroom, Phoenix
27th August – Harlow’s, Sacramento
30th August – Rickshaw Theatre, Vancouver
31st August – Bumbershoot Festival, Seattle
3rd September – Music Fest NW, Portland
6th September – Urban Lounge, Salt Lake City
7th September – Bluebird Theater, Denver
9th September – Fineline, Minneapolis
10th September – Metro (Chicago), Chicago
11th September – Beachland Ballroom, Cleveland
12th September – Phoenix Concert Theatre, Toronto
13th September – Skully’s, Columbus 16th September – Royale Night Club, Boston
20th September – Union Transfer, Philadelphia
21st September – 9:30 Club, Washington DC
22nd September – Cat’s Cradle, Carrboro
1st December – Hostess Club Weekender, Tokyo http://4ad.com/artists/deerhunter/live
Band: The Reatards Label: Goner Year: 1998 (original release), 2011 (reissue with Fuck Elvis We’re The Reatards)
On January 13, 2010 rock and roll lost one of its most prolific practitioners, Jimmy Lee Lindsey Jr. aka Jay Reatard. Jay was only 29, but in his short time on this planet he had built up an intimidating discography comprising of at least 75 vinyl releases, all of which he recorded by himself, typically in his living room, giving Jay’s recordings a raw, intimate, lo-fi aesthetic. I have always been a fervent admirer of his solo work, but it wasn’t until recently that I truly appreciated his first band, The Reatards and their debut LP Teenage Hate released in 1998 when Jay was only seventeen years old. It is now being re-released by Memphis garage label, Goner – the same label that initially released it in 1998 – to celebrate the short life of its creator.
Teenage Hate is honestly unlike anything else I have ever heard. There’s an authenticity to it that is almost unreal. In eighteen songs, seventeen year old Jay creates a soundtrack for youth rebellion. Jay sings about the very issues that affect him on a daily basis. In opener, “I’m So Gone,” Jay laments, “I’m so gone, I got no home.” It’s songs such as this where the teenage hate in the title comes through. Having dropped out of school after 8th grade and moved out of his parent’s house soon after, Jay lived in some of the tiniest, cheapest houses Memphis had to offer; hardly a place to call home.
Jay shrieks and curses with the fervor and unabashed vulgarity of scum punk legends GG Allin and Darby Crash. Teenage Hate’s sound is as brutal as the lead singer himself. The record’s rackety, lo-fi production is simply dirty and will turn off most listeners, but charm those of us that love gritty garage. Sonically and musically, The Reatards owe a large debt to fellow Memphis garage punkers, The Oblivians, who served as mentors for the young Jay. Like The Oblivians, The Reatards create simple, sloppy and straight to the point punk rock songs, taking heavy influence from the blues, 60s garage and its imitators, as well as Memphis’s own Sun Records (Elvis Presley, Johnny Cash, and Roy Orbison) The Reatards, however, put a much deeper emphasis on immediate pop hooks.
Most songs have clear hooks and lyrics that are easy to sing along to. “When I Get Mad” could be an anthem for drunk, incoherent, pissed off boys across America: “When I get mad I don’t think/said I don’t give a shit about anything/when I get mad I’ll break anything/cause I don’t give a fuck about anything.” It’s not poetry, but that’s what is great about it. A poet would add metaphors and other pretty things to articulate the frustration of being seventeen. But, Jay is a real teenage punk in the midst of all the bedlam a poverty stricken, teenage, rock ‘n’ roll musician must endure. On this track, Jay sounds like Elvis on robitussin singing out of a garbage can. Truly beneath the noise, his vocals have a touch of traditional country, blues, and 50s- early 60s rock ‘n’ roll. Jay is simply telling his story with these songs.
Songs like “When I Get Mad” highlight the authenticity I spoke of earlier. Jay didn’t bullshit. When he said he’ll break anything, he meant it, as it was not uncommon for Reatards shows to culminate in broken beer bottles and blood. Often singers are far removed from the words that come out of their mouths, but with Jay everything is very direct and painfully real.
Jay’s presence on this record is undeniable, but his bandmates also play a big role in Teenage Hate’s overall sound quality. Steve Albundy Reatard plays the bass and Elvis Wong Reatard bashes away on the drums, both serving as the driving force behind these songs. Jay is the main songwriter and he created the hooks, but the songs wouldn’t sound nearly as catchy without the other Reatards. All three together are a juggernaut, like a burnt out 97’ Buick going 110 mph, they are relentless. Each song is extremely fast, averaging about a minute and half. In fact, they fly by so quickly that you have to listen to them at least a few times to truly appreciate the songwriting and pick up on some of the subtle influences.
As much as I love The Reatards, I will say that eighteen songs can be a handful. Eighteen songs of grimy guitars, muttered vocals, and lyrics about “teenage whores” can wear you down after a while. I wouldn’t say that by the end of the record, The Reatards are a one trick pony, but you feel like you get the idea long before it has reached its conclusion. The strongest songs are at the beginning, “I’m So Gone,” “Stacye,” “When I Get Mad,” “Outta Of My Head, Into My Bed,” but there are solid tunes throughout the whole album. I feel like some of the later tracks would stand out to me more if I heard them on their own, somewhere else, but after hearing so many other, somewhat similar songs they just feel weaker. The album’s closer “I Can Live Without You,” (the longest track at a whopping 3:06) lacks the excitement of an earlier song like “Stacye,” (misspelled for whatever reason) which is much more immediate with its Bay City Rollers styled chants “S T A C Y E.”
At its heart, Teenage Hate is a collection of classic themed pop songs buried beneath a slimy ramshackle production. It’s harsh, it’s filthy, it’s honest, but above all it’s fun. As visceral and volatile as this record is, it’s ultimately a fun rock ‘n’ roll record in the traditions of Chuck Berry, The Rolling Stones, and The Ramones. This record is just the beginning of Jay’s career, foreshadowing what he would later master in his synth punk band the Lost Sounds and with even wider success as a solo artist, earning him a place on Matador Records. Alas, Jay’s life and career ended shortly, but this re-release is a testament to Jay’s legacy, with it now garnering far more attention than it ever received in its initial run. Web sites such as Pitchfork now seem to be writing about every new posthumous Jay release, helping to popularize not only his garage music, but the often ignored punk sub-genre as a whole. Garage rock and Jay Reatard are like the anti-indie hero, the anti-Conor Oberst, if you will. This music isn’t a joke in any way, but it’s all about having fun and not taking yourself too seriously. Just look at the band’s name.
Kids Like You & Me (KLYAM) 