What's fruity, stinky and ridiculously cute? Millenial anti-folk duo The Moldy Peaches, of course! And now they are (sort of) back. After three years of pursuing various solo projects, Kimya Dawson and Adam Green reunited for a surprise set at LA's The Smell, and then a planned one at the premiere of indie-ish teen pregnancy flick Juno the next day. At said premiere, they fussed awkwardly with the mics before playing the Moldy Peaches classic "Anyone Else But You," which is featured prominently on the film's soundtrack. Someone even made a bootleg video:



Pitchfork is already speculating on the prospects of a more permanent reunion, but I think it's unlikely, all things considered. Kimya has been touring constantly with her current band, taking a break only to have the most adorable rock and roll baby in the world this past summer. And it wasn't even a very long break! I think it's safe to say she's pretty stoked on what she's doing right now. That makes sense, considering what she's doing is writing intimate, lo-fi songs about really personal stuff that everyone can relate to that are un-cheesily heartwarming enough to caress the soul of even the most cynical indie rockist.

As for Adam Green, he doesn't seem to have anything planned for the immediate future, but I'm sure he's, uh, got plans we don't even know about. I predict he will be busy wearing hats and perfecting that doe-eyed stare. Also in the equation: being a rad-tastic, solo singer-songwriter.

I should also mention that the Moldy Peaches and Kimya Dawson songs were chosen for the soundtrack by none other than Ellen Page, the young star of the movie and a cool, smart young lady from the looks of it. The soundtrack is simply brimming with great music (Belle and Sebastian! Cat Power! Sonic fucking Youth!), and I would see it for that fact alone. Nevermind the fact that I also wish to look at Michael Cera's cute little buns.

In conclusion: the Moldy Peaches were two people who came together and made good music at a certain moment in time, then parted ways when they'd exhausted that creative potential. Also, see Juno. Kimya says it's good.

Anyone who's ever been to a Dan Deacon show knows one irrefutable fact about him: the man loves everyone. Dripping with sweat (or as I like to call it, "friendship juice" from start to finish, his shows are some of the most cheerful, participatory, party-tastic love fests around. He even reacted pretty good naturedly when someone stole his beloved green skull. But this time, some assholes have gone too far, and he is pissed:

(Via Pitchfork)

Oh noz! I don't know much about the legal issues at play here, but I'm willing to venture a guess that it's illegal to use someone's name (printed on the backs of the cards) and image to sell something without written permission -- especially when said person hates your product and thinks you are a "dickless pig fucker" (the logistics of which, dear reader, are up to you to ponder.) A bulletin Dan posted earlier today on myspace tells us of his fiery, digital rage:

Ruh-roh! Let this be a lesson to all you corporations seeking to up your "cred" with the "hip", blue jeans-wearing, rock-and-roll-loving youth market of today: don't piss off their favorite musicians. It might also help to stop overselling said youths' time-slots when they are trying to visit their moms on Hannukah.*

OT but related: did you know that they have "secret" extra buses which they give to the groups of passengers most disgruntled over having to wait an extra hour to visit their moms on Hannukah? All you have to do is grumble this fact to the most crazy-eyed of your fellow passengers such that a riot seems imminent, and guess what? It turns out they made a mistake, and there's an extra bus ready to take you right fucking now. I'm not sayin'...I'm just sayin'.

It will be interesting to see how this plays out...Greyhound has more dough but the artists seem to have the law on their side. In the meantime, you may jump around gleefully to this video of Dan in happier days.



*True story.

My SG column turns 21 today and instead of the traditional coming of age, puking in the bathroom of the club from rohypnol-induced memory lapse morning after the night before foggy autopsy, I though we’d take a clear headed look back at some of the highlights of the first 20.

But, before we get into that I should remind any of you out on tour or simply driving around at this time of year to be careful out there. The West Coast is fucked, the East Coast is fucked and Tour:Smart tip #674 is be careful driving on I-70 in an ice storm while creating your 21st Suicide Girls Column.

Having just scanned the first 20 columns, I think I need to apologize for having some of the most retarded, indecipherable column titles that any advice column has ever had. Even though I’m driving down I-70 and perhaps not concentrating as hard as I should be, some of the titles are completely mystifying to yours truly. So, let’s take this opportunity to index the first set of columns:

Column #1:
Martin Atkins' Tour:Smart: A hello, introduction, and invitation to submit case studies and comments.

Column #2:
Choosing New Band Members: This is probably the most usefully titled column and is also a comment on the increased demand on anybody in the entertainment field. I think the column is most enjoyed for the gem of advice which encourages band members to punch their singers in the throat. If it isn’t already, this is destined to be a classic.

Column #3:
How To Be a Better Opening Band: After a bit of a ramble about China, this hits some high points and is true to its title.

Column #4:
Case Study #1 – Pegasus Unicorn: A look at a hard working band from Erie, PA with some great ideas. Video clip coming soon.

Column #5:
How to Give a Good Interview: Oh my god! The third informatively titled column which explains the importance of representing yourself well to the press.

Column #6:
Strategy for Him: Some good, general strategies immersed in an aftershave commercial.

Column #7:
Why it is Essential to Tour: More good shit and with Myspace drowning in itself this column feels increasingly relevant.

Column #8:
Obviously: This is Your Brain….This is Your Brain on Tour: A more philosophical piece about touring and state of mind where paradox magically becomes a pair of boots.

The obviosity level, especially in the time period leading up to a tour, is at a decreased rate due to hopes, the dismissal of fears (which are still there lurking), the increased testosterone level enabling the dismissal of girly fears and the lame ass ability to label realistic fears as girly. Sensible becomes a bad word (try mentioning sensible shoes to the singer!), good becomes BAD and sane becomes mad, up becomes down and you HAVE to get down to get up. The faint blinking flicker of the tiny candle of hope in the distant mists of the horizon becomes more real than the two-foot-high flames leaping from the engine and moving perilously close to the lead guitarist's girlfriend's tarot cards.

Anyone suggesting that the m.p.g. of a vehicle be checked, buying a map (or g.p.s.) or any of that shit becomes silly, lack luster, cowardly, boy-scout-ish and against the mood of bravado that will get you through. Paradoxically (or if we were in the footwear business - pair of Docs-i-cally) in some forms this stupidity is essential, it is the voodoo of self propaganda that will enable you to make it and walk over the burning coals or, massively, NOT.

Column #9:
Neither Snappy Answers Nor Stupid Questions: Case Study #2 – Hay Perro Part 1 (local shows, frequency, etc)

Column #10:
24-Hour Democratic Party People: A look at strategies used in politics and how they might benefit a touring band.

Column #11:
More Q and A-Holes: Case Study #2 – Hay Perro Part 2 (routing and other considerations)

Column #12:
First Things First: Points to consider as you record your album.

Column #13:
You've Got Questions, We've Got Answers: Case Study #2 – Hay Perro Part 3 with focus in marketing and promotion.

Column #14:
Elevator Music for Elevated Individuals: An A.D.D. rambling on disappearing recording studios.

Column #15:
The Tour: An informative list of annoying things that bands do from the Creepy Crawl in St. Louis. This is an interesting look into the mindset of one particular club.

Column #16:
The Tour: Part II: Ramblings from the road and a continuation of the uplifting, positive vibe from the Creepy Crawl’s list

Column #17:
How To Get A Better Live Sound: Straight from Lee Popa’s contribution to Tour:Smart. This advice is priceless.

Column #18:
New Yorkers Eat Their Young: A look at a piece of the New York scene from Chvad from Things Outside the Skin.

Column #19:
Los Angeles Hits... Not Bong Hits: Comments from the west coast and why the solution is not “Let’s move to LA.” Plus a few thoughts on Radiohead

Column #20:
Thanksgiving and Tequila: Case Study #3 – Tequila Ray Max

Comment and let me know if you'd rather have more straight forward advice or A.D.D rambling. I’m not going to take any notice, but my all means let me know.

More hilarious stories from the road next time and to tide you over, here’s a link to my explanation of the Five Pointed Star Inward Facing Crush Strategy

Peace, Love, Respect

MarteeeeeeeeeeeeeeN

Most of you indie aficionados already know that Sufjan Stevens is good at writing pretty songs about love, US states, and highways in Brooklyn. But did you know that in addition to being a songwriter, he is also a writer-writer? Stevens, who has an MFA in creative writing from The New School, is slated to participate in a panel discussion on literature in modern times alongside the likes of Rick Moody and John Wesley Harding:

(Via www.pen.org)

He is not slated to do any singing, but when he gets all hot and bothered over how literature, the arts, and all his favorite things intersect, well...one never knows how he might express himself.

In other Sufjan news, he is visiting some exotic (to Americans) locales in January, so Aussies and Japanese folks will have a chance to listen to his sweet, US state-inspired sounds in person.

He also auctioned off some stuff to help needy Chicago-area kids, so everyone who wanted to obtain a little piece of Sufjan to add to their shrine and help children get music lessons was hopefully able to do so. Speaking of which, Rock for Kids is quite a cool charity for anyone looking to donate some dough to a good cause. And for those of you who need a little holiday cheer to thaw out your hearts before you can even think about wanting to help poor children, might I remind you that Stevens made a Christmas album last year. Dust that sucker off and start a-giving!

In short: this guy is the indie rock world's answer to Leonardo DiVinci, but with totally cuter bone structure. I dare even the most jaded of hipsters to try not to like him at least a little bit.

Ours frontman Jimmy Gnecco once confided to me that there was this, from-the-hip, sexualized swagger that drove much of his songwriting. It was something he didn't talk much about then; something that, back in 2001, wasn't so evident in his performance style. In those days you were more likely to see the singer planted at his mic, eyes shy and closed shut, hands glued to his guitar. Today, not so much. Gone are the days of stolen glances at the audience and that withdrawn demeanor critics often mistook for misery. Now Gnecco embraces his frontman status with full force; he hammers his falsetto into the mic, lunges and waves his tambourine at the crowd, and, above all, uses that sexualized swagger for more than just the means to a great song, but also to craft a truly unforgettable performance.

Though Ours formed in the early '90s, it wasn't until the now defunct Dreamworks Records released Distorted Lullabies in 2001 that mainstream audiences took notice. The New Jersey-based band followed quickly with Precious in 2002 but, without proper label support, soon slipped out of the spotlight. After existing the past several years solely as a live band, Ours has finally readied its long awaited new album -- titled Mercy (Dancing for the Death of an Imaginary Enemy), due March 2008 on Rick Rubin's American Recordings -- and, from what I've heard, it's been well worth the wait.

The band -- completed by Pit, Race, Locke, and Static -- took the stage earlier this month at the historic Mayan Theater in downtown Los Angeles and gave the crowd a sample of what's to come, including the songs "Mercy," "Ran Away to tell the World," and "Murder."

Stay tuned in the New Year for an SG interview with the band and, in the mean time, enjoy the photos below from the Mayan...

According to an item posted Tuesday on Pitchfork, it is likely that prince of sadness/future husband of mine Conor Oberst is forming a new band with M Ward. This info comes from a few lines that appeared towards the bottom of a music news roundup in The Omaha City Weekly.

Though neither camp has yet confirmed the collaboration, it makes logical sense considering the pair's frequently documented musical canoodling:

(via Pitchfork)

Furthermore, sayeth the Fork, Oberst has scheduled some "solo" shows this coming December, in which he will discard the Bright Eyes moniker for the first time in years, appearing simply under his Christian name:

(via the Star Tribune).

Does "different backing band" mean "M Ward supergroup"? Many signs point to yes, and I am inclined to agree.

What does this mean for Bright Eyes? With so many great bands falling victim to the "indefinite hiatus" as of late, fans might worry another one of their all-time favs is going the way of Sleater-Kinney, a strange turn of events, especially considering how flexible the band has been over the years. While most bands identify very strongly as a group, with the switching of members being rather notable, Bright Eyes has remained fluid in its membership. As the only fixed member, Oberst could play with different musicians as his tastes and projects evolved. I guess M Ward is too big a name to merely be one of Oberst's band members (a distinction most musicians would probably kill for). Or maybe it's something out of left field...maybe the King of Bedhead wants to do something entirely different, emo-folk-rock be damned. A trance-pop/monster-core/faux-Japanese eighties prog-metal cover band, perhaps? And for this he must form a completely new unit with that virtuosic master of metal...M Ward? In your dreams! (Ok, maybe just in my twisted, sexy dreams.)

In any case, it will be interesting to see what these two lovebirds make together. You will now watch this video and try not to get too butthurt at Conor for cheating on trusty ol' Bright Eyes with that flashy young "alterna-folk" heathen.

Nirvana Unplugged was released on DVD for the first time this week. I always feel a little self-conscious around the apartment listening to Nirvana in front of my boyfriend or with the windows down in my car for others to hear. I'm afraid that people can read my thoughts when I'm listening to Nirvana albums because I go back in time in my mind and want to stay there. So, I was I excited that Nirvana/Courtney Love's Estate finally released Unplugged. I had an excuse yesterday to plop down on the couch and watch hours of never-before-seen-footage of Cobain and friends.

Sixteen years ago my parents went out of town for Thanksgiving and I was alone. I used my freedom to drive their Oldsmobile (without my license - badass!) and wait for "Smells Like Teen Spirit" to come on the radio. I remember being fully aware of the fact that I was a dorky, suburban kid listening to my little anthem. Eerily enough, almost two decades later another Bush is President and another war in Iraq rages on. I still have acne and am scrounging up $15 to buy some Nirvana product. At least for today I'm not going to let that embarrass me.

On to the review, I apologize for the mind-numbing nostalgia. (At least I didn’t go on my rant about how Kurt Cobain was one of the only huge rock stars in my lifetime that constantly tackled women's issues in public and challenged homophobia and what it is to be "a man.")

Seriously, I'm going to tell you all about Nirvana Unplugged. If I'm going to buy something like an Unplugged on DVD I'm hoping to see some previously un-televised between-song-banter and fiddling around. Nirvana Unplugged delivers on this with a full unedited version and even some rehearsal footage. It's great for the new Nirvana fan but extra satisfying for the former child of the '90s. With my new and improved adult understanding of psychodrama, I get to watch the dynamics of a band falling apart and a self-destructive front man.

Watching Nirvana Unplugged is like watching a really slow, intense poker match full of slight moves and telling glances. Dave Grohl people-pleases from behind the drums, cracking jokes and playing silly beats when things get tense because Kurt is cranky. Krist Novoselic is semi-checked out and seems to be having a hilarious conversation with someone else in his head. Kurt lights up when he goofs around with Pat Smear who hasn’t been around the band long enough to start calling Kurt on his bullshit - just a guess.



I forgot how classically handsome Cobain was. He's like Brad Pitt with dirty hair and a Benson and Hedges Ultra Light 100 in his mouth. There are some great little conversations that were cut from the original MTV airing. Kurt laughs when he tells Krist that he was always scared of the TV show Davey and Goliath. Kurt muses that the show was evil and "not Christian at all." Sadly, you can see his heroin jaw in action, something I didn’t know to notice back in the good old days. The angry, overgrown baby inside of Cobain is evident as he starts the show with a furrowed brow and the declaration, "This song is off our first record. Most people don’t own it."

The in-studio audience might not have known about Bleach. I don’t know where they pulled these people in from; which brings me to my least favorite part of the disc; MTV NEWS: BARE WITNESS in the Extras section. The DVD box promises "Interviews from the band and the lucky ones who were there." There are no band interviews anywhere on this disc. There are interviews from the audience members who are confessing pre-show that they hope the surprise guest will be Eddie Vedder. There are annoying packaged interviews with various low-level network people who are talking about how nervous they were that Kurt wasn’t playing a lot of hits and bringing the likes of the Meat Puppets to the MTV audience.

Even though I think this disc is a little shoddy -- come on, they had 16 years to make it good -- overall it's a good buy if you get it on sale. It's kind of fun to watch it in hindsight. Kurt really does seem like he's orchestrated his perfect funeral and a few times his eyes seem to reveal, "I'm so outta here." Dave Grohl looks like he's about to jump out from behind the drum set and christen the Foo Fighters right then and there. It's an interesting snapshot in time of a band that appears to be trying to break new ground as well as just get the whole thing over with.

Happy Thanksgiving – to celebrate – give yourself a free t-shirt when you buy a copy of the book from our new superfast merchandise service Merch Squad and THANKS for all of the great reviews/blogs etc. Tour:Smart just got 5 STARS from Record Collector magazine, and it's 7th straight 5-star review from Amazon.com customers!

Heres something from Tequila Ray Max -

TRMax:
I just read your new post on Suicide Girls. It's great to see someone in your position willing to give advice.
In your opening paragraph, you talked about helping "bands that are doing something other than sitting around, complaining and waiting for a record deal to land in your lap". Although I'd put myself in that category, I have to admit that a lot of the time, I find myself guilty of "sitting around, complaining and waiting for a record deal to land in your lap". But it's not from want of trying. The deal is, I'm 100% prepared to work as hard as necessary to achieve my goals, which at this point are basically to be in a position to tour, record, release albums - basically exist as a functioning (and hopefully successful) band. My problem is not knowing what to do. I admit I'm pretty clueless.

MA:
OK, so get ready, get the pencils and your brain sharpened and generally do the walk that boxers do around the ring before a fight, kind of pumping yourdself up physically to try and counteract the ‘oh fuck oh fuck oh fuck’ mentally. EVERY step from now on needs to be super careful because it's SUPER important... you have already hoped that a great show will have a ripple effect across a certain part of the business or a certain part of a city/state/genre... take on board, swallow the pill that a bad show will (because of Murphys Law) do ten times the damage. SO – work accordingly.

TRMax:
For the most part, I've not been the one in the band making the phonecalls, but this time I am. And I'd like to do it all, and do it properly. If I know that doing something will work, I'll work at it all the time.
I've got a three-piece band that uses a drum machine after too many let-downs with human drummers. One of us works a full-time job (flexi-time), two of us are on benefits. The gigs we do are usually one-offs in "circuit venues" the likes of Barfly, The Garage, Clwb Ifor Bach (we're in Cardiff), and the occasional Valley's pub. I expect our experience is the same as countless others, but I want to take it up a level. I've considered getting a manager or agent, but not only has that proven difficult, I'm not even sure it's a good idea since everyone says they cause more problems than they're worth.

MA:
The way you are going to take it up a level is for YOU to carry on taking care of this stuff. Just to let you know – this isn’t any mysterious hyperbole, tougher than degree course shit – its just a fuck of a lot of small stuff all the time. Some of the stuff needs to be sorted out and prioritized – but, other than that and a bit of imagination – you are fucking GOLDEN. I’d take a hard working band with no agent/manager over a slacker band with agent and manager any fucking day of the week. As long as you pay attention, and don’t let yourself get side tracked by other people's bullshit – trying to side-track you and/or convince yourself that there is another way - you will get fiurther and further and further (and then have a set-back) but then keep on getting further.
No mystery, no shit. You can make a huge difference with no money down. (well a tiny tiny bit)

TRMax:
I don't expect you to give me an exhaustive step-by-step guide to doing everything in the world, as that would probably be impossible and also defeat the point of me learning how to do all this myself. But I do have questions:
Money - does anyone (at our level - unsigned) ever get paid for gigs?

MA:
NOPE – whatever they tell you

TRMax:
The circuit venues don't pay out. The best offer you get is a so-many-flyers-in-the-door system, but it's hard to generate enough crowd support on a regular basis to cash in, and next to impossible in a town you've never played where nobody knows you. Is this just a marketing problem?

MA:
Yes exactly – do not go to any city uinless you are SURE OF THE OUTCOME (thatnks Sun Tzu) get on the net – get with other bands – FIND OUT... don’t even think about taking any money – the $50 you’re not going to get doesn’t matter right now. Rather find other bands that will play for nothing and share equipt so the evening isn’t a total clusterfuck. (I think we’ve talkied this through with you guys before or in the comments)

TRMax:
Does a low crowd draw mean a band sucks?

MA:
It means you’re not paying attention to the marketing – this is HALF OF IT... its difficult to stand in the middle of an empty club and convince yourself that a band is amazing – well, why isn’t anyone there?????

TRMax:
Should bands be asking for money up front? If a promoter books you, shouldn't they be the ones doing the promoting, since they call themselves "a promoter" after all?

MA:
There is no such thing as a promoter, there is no such thing as a guarantee, EVERYTHING is YOUR RESPONSIBILITY………

TRMax:
Would doing gigs in unconventional venues where we take all the door, pay for the venue and PA Hire and do the advertising ourselves work better, given we'd be foregoing the prestige of saying we played at such-and-such a place?

MA:
Well, how much cooler to add ‘promoter’ to your resume – also I guarantee tee you you’ll learn some great lessons along the way and holy shit – maybe create a venue that feels better for you than other places you have played – or at THE VERY LEAST – a greater respect for the people who are doing it out there…

TRMax:
Does prestige and being able to say you played such-and-such a place even matter?

MA:
Not as much as being able to say you played the MaxFest on ther main stage... other bands and promoters will treat you a bit differently – other promoters might give you a break if they think they might need someone in your neck of the woods sometime?????

Ok – I’ll keep this sucka rolling………

Call me, e-mail me – I could be sitting at the table hogging your tofurkey tomorrow – sprouting out great advice in between courses…but, you gotta call me or e-mail me… i did a freebie consult to JAMESON out on the west coast there… and, BOY do I have a couple of GREAT pics from that AND finally saw the great Pegasus Unicorn in ERIE, PA – what a fucking great fucking place – THANKS to all who came out to the art gallery and the club and for being so understanding of my 18 second gap in between a couple of my DJ tracks there – is that too long???

Don't forget Chemlab is on tour in the US now - you can check out all of their tour dates at the Chemlab MySpace Page

And our calendar has been updated with new Tour:Smart band seminars, DJ nights, book store appearances and more, stay up to date at our Tour:Smart Event Calendar

Peace love respect and all of that from the UK……

MarteeeeeeeeeeeeeeeeeeN

After a crazy year of touring, releasing albums, wearing dresses, performing pretend fellatio on on each other, and generally rocking the fuck out, everyone's favorite Atlanta bizarro-psych-punk outfit,
Deerhunter, is finally tuckered out. According to a blog post written yesterday by front man Bradford Cox, the band is going on an indefinite hiatus:

But wait! What will I now listen to while crying/fucking/murdering/doing all of the above? Deerhunter was one of the most insanely creative, darkly energetic, psychotically colorful, punk-as-fuck bands around. Look how colorful!



(via Impose Magazine)

Never fear, good citizens of music appreciation land. "We all need some time to organize our lives" and "Deerhunter is sleeping now" do not equal "we hate this band and have therefore killed it dead." Though a little bird called logic tells me they will probably be canceling their ATP vs Pitchfork spot in May, I'm willing to bet this is not the last we will hear/see/smell of them. For your continuing fix of these nutty kids' brainmeats, you can check out Mr. Cox's haunting solo project Atlas Sound. Updates on other band members' projects will be posted on the erstwhile Deerhunter blog in due time. All is certainly not lost, so buck up, young chap.

Until that wondrous day when the band rises from the ashes of its own punk rock self-immolation and returns to smash up yet another stage, I leave you with this video.



God speed, oh ye of many balls!

"Enigmatic is a misnomer. Most likely a byproduct of my absence in the press. An assumption arrived at due to the lack of available information, accurate or otherwise. I don't do that many interviews. General because of my private life and my classified activities, but mostly because I'm not very good at them. The conversation in my head never matches the conversation that ends up in print." -- Maynard James Keenan

Meet Maynard James Keenan -- musician, winemaker, connoisseur, alchemist, undercover CIA operative, and (as most of you might know him) frontman for Tool, A Perfect Circle and, most recently, Puscifer. Keenan describes Puscifer as, "The space where my Id, Ego and Anima come together to exchange cookie recipes." Puscifer is more than just a band; for Keenan it's a multifaceted, multimedia, multi-artist, multi-personality project that takes shape in a variety of media such as film, music, digital video, clothing, feminine hygiene products, coffee, pet supplies, websites, blogs... you name it.

The week before Puscifer's full-length debut V is for Vagina hit stores on October 30, Keenan invited SuicideGirls down to his winery in Arizona (Caduceus Cellars/Merkin Vineyards) to chat about music and where his interest in alchemy began. Oh yeah, and he told us to bring a video camera.

Check out the following SGTV exclusive, shot on Flip Video, as we step into Keenan's world for an afternoon.




Check out the Puscifer store here to get your hands on V is for Vagina.

The second day of CMJ was far crazier than the first. I stumbled upon a day party put on by Indaba Music, which a web search reveals to be some sort of online "community of musicians," but after a few mediocre artists who were clearly trying a little too hard to get picked up by a show like "Gossip Girl," it became apparent what this place was really good for: "Indaba music loft" = "free beer loft." Not that I am knocking this at all; free booze is an important part of any music festival. Advertisers crowding various shows with expensively branded banners, keychains, and small plastic things to throw away, take note: people are more inclined to like your brand if you get them drunk.

Many say that the daytime and late night parties have eclipsed the actual showcases at CMJ, but I think this is truer of its Austin counterpart, SXSW. Maybe it's the size, temperature, or sheer stubbornness of New York City that makes it impossible to transform into a constant party/wonderland for a week, but for solid blocks of quality acts, nothing this year beat well-curated showcases like the one indie label Kill Rockstars put on Wednesday night.

Mika Miko

One of the only bands I saw that was close to being "punk" in the traditional sense. Kill Rock Stars has made some interesting choices in new signings lately, and though I commend them for that, it was nice to see a band so close in spirit to the label's original greats like Sleater-Kinney and Bikini Kill. Mika Miko play fast and catchy songs, often built around a single guitar riff, with vocals sung and/or screamed into a telephone receiver. All the girls in the band shout along on the choruses, and for a minute it felt like the fabled riot grrl scene of the early '90s had traveled into the present day just for us chicks who were too young to experience it then. But this is 2007, and as such, some songs displayed the type of bass-heavy post punk deconstruction (a la labelmate Erase Errata) that shows a band is doing more than just banging on things. Their noisy, distortion-filled, everyone-on-the-floor freakout was a fitting way to end their energetic short set, and by the length and intensity of all that fuzzy noise, I dare say they even channeled post punk godfather (mother?) Sonic Youth a little bit. Or maybe they were just wanking about (is there a difference?). In any case, it was heartening for me to see that bands like that still form, practice for a while, and then get signed to good labels.




You go, grrls!

Xiu Xiu

How do I describe the noises made by Xiu Xiu? To start off, there are a lot of them. They include pings, tinkles, electronic crashes, real-life crashes, xylophone, keyboard, guitar, and what appears to be a squeezebox/organ -- sometimes all at once! Even the most conventionally catchy choruses and/or quiet moments are not safe from jarring, noisy intrusion of one or many of these elements. This band is not for the easily startled or those who, like me, are both faint of heart and highly suggestible. Unless, like me, you don't mind feeling like you're going insane. A quiet chime-y interlude got blasted apart by a metallic racket that made me think of mechanical spiders scurrying across the floor of an evil toy shop. Seemingly random drum patterns had me biting my nails over when the next cacophony would foist itself upon my quivering ears. The lyrics offer little respite; they are as fucked up and disorienting as the music, though not without a glint of dark humor. Singer Jamie Stewart seemed to be hanging on by a thread as he delivered lines like these in his shaky, quiet, intense voice:

Sure there will, Jamie. Sure there will...

I don't want you to think the Xiu Xiu experience is unpleasant. Think of it as a roller coaster or a haunted house, except less predictable, and the ghosts that haunt it (sexual malaise, failure to grow and thrive, feeling uncomfortable in one's own skin, etc.) are quite real. I know a lot of people label music they don't much like but want to seem cool enough to appreciate as "interesting", but that's exactly what this music is. I know it seems unlikely given how much they freak me out, but I love the shit out of this band (whatever that says about me).







I'm in UR hed, stokin UR existential feerz!

Sam Champion

I figured no band I saw after Xiu Xiu could even come close to impressing me. Still in a strange state of mind, I wandered into the "Music Hall of Williamsburg" (a.k.a. yuppie Northsix, a.k.a. Bowery Ballroom Brooklyn) around midnight, mainly because it was on my way home and the underage friend I was with couldn't get in anywhere else. I caught the second half of a set by Sam Champion, purveyors of perfectly serviceable (if not very innovative) indie pop complete with Ben Kweller boyishness, a touch of Colin Meloy's nasal delivery, and a whole lot of ripping off Pavement. The main thing I remember, though, is a bunch of guys I know who work at Vice Magazine totally freaking out; shirts were removed, backs jumped upon, crowd-surfs attempted. This went a long way towards pulling me out of my Xiu Xiu induced funk, but I'd barely said, "Hi, dorks!" before the boys of Vice had run off into the night naked and howling like animals (or at least very sweaty). Rabble-rousers take note: if you want nerdy indie rockers to riot, play them anything remotely resembling the disaffected sounds of Pavement. Ironic? Or just funny-strange? Whatever, I'm too jaded from listening to Pavement to care enough to figure it out.

Steven who?

Easy, pardner.

FOALS!!! (emphasis added)

I'm unspeakably glad I stayed to hear Foals, as they beat out Mika Miko by a little for my number one band of the day. They've been described as a "math rock party band" and their MySpace page claims they are "anti-pop pop," a lofty assertion. But in their case, it's true. Their catchy dance beats and high, often yelping vocals will inevitably draw comparisons to fellow Brits Bloc Party and American dance rock outfits like The Rapture, but the fit* boys in Foals are doing something a bit different. Though their extreme danceability had me jumping up and down, camera and arms akimbo, they have a math rock element that has more in common with early
Q and not U than the aforementioned club hit machines. Most songs are built around a simple rhythm and pattern of notes, which is then drawn out into several different threads as each instrument performs all manner of intense mathematical acrobatics (or as one song is aptly titled, "Mathletics"), until the dramatic denouement wherein the pieces all come smashing back together. It's even better when the electronic tropes morph into Afro-beats and you get vertigo wondering what genre you're hearing. The songs on MySpace are their most accessible, but a live viewing proves they know how to jam out on an irregular time signature like nobody's business. Despite the waning critical relevance of dance punk, I predict they're going to be huge in these United States, loved by critics and coked up party-goers alike for two very different reasons. I just hope they don't eschew their herky-jerky triangulations for something more mass-marketable. There are already so few bands that nerds can/will dance to in any acceptable way.

*British for "cute." What's that? Why yes, Foals, I will go out with you.


I know my calculus...it says my ears want to make love to your brain.

Yes. Just yes.

They eat their young with a side of organic tofu and valet parking...

Sorry, that’s Valley Parking...

As I said somewhat belatedly to those present at my lectures at USC, Grossmont and various locations across California -- including the band Jameson's apartment (thanks for the pizza but you need to send me like ten bags of coffee!) -- and on Messy Stench’s radio show:

Moving to Los Angeles is NOT a strategy – unless you are a Lemming, no, not Lemming from Motorhead, LEMMING – it’s a small animal that is the main ingredient in Lemming Meringue Pie, or the Humboldt pie you will be eating if you move there – if you can afford it…

And, yeah, this is a West Coast edition ... so fuck you, you Georgia peach-peach tree-everything Atlanta based-person scratching your head and spell checking humble.

Remember last time when we talked about New York City? There are over 1,200 events per week there – great news if you want to do live sound but NOT if you are trying to break your band. Los Angeles is worse -- 1,700 events per week and, dude, NO ONE, NO ONE, NO ONE cares. They might, but -- just like the difference between MySpace friends and actual people that show up at your show -- it's like 1 in 10,000.

Anyone doing anything in LA is up against it – it’s a cut throat world and when everyone is struggling to stay afloat, stay in it, get ahead, it's tough to take out ANY time to go and support someone else's life dreams. Think about it – if you are in a band anywhere in LA – how much time do YOU spend going out and supporting anything else?? Eggbeatersactly!

So, I spent time with Jameson, in apartment #104… I think the reality was hard to grasp, that’s the tough part, things aren’t what they were, and that’s not me referring to the late '70s and PUNKFUCKINGROCK. I mean, last week, things aren’t what they were last week! Radiohead is giving its music away (it's actually free with my new book!!!!)

So, wherever you are, whatever you are doing, how are your strategies different now than they were, say, a year ago??? Chances are, you are still doing the same things that you thought you should be doing a few years ago, and that stuff is straight out of the Nirvana/Black Flag whatever insertbandnamehere tour book?

Might as well be something from the Bayeux Tapestry motherfucker! EVOLVE! RE-TOOL! RE-THINK!

OK, so, look out for SATURDAY – I’m doing a free seminar event in CHICAGO (rsvp to undergroundincpromotions@gmail.com if you would like to attend)

CHEMLAB are touring soon (dates here) I might be out and about on a few of those dates... and look out for me on the road, all of my dates are posted here, and you can also use the calendar to make a request for me to come and to an event in your town!



Thanks for making the book do so well… an e-version is coming soon and new music is here

See you on the road

MarteeeeeeeeeeeeeeeeeeeN

How do I start this?
At the outset of this year's CMJ (College Music Journal) music festival, I was as psyched as psyched could be. With upwards of 1,000 bands playing all over Manhattan and Brooklyn, this yearly "music marathon" is a proving ground for bands seeking attention from labels, distributors, and fans. The sheer number of showcases and parties was kind of overwhelming, but armed with a notebook, a camera, and a healthy amount of blog-leads, I dove knuckles-first into the crazy pig-pile of sound.

The first two days of the festival were amazing; I was at shows from 3 p.m. until well past midnight, some good, many so-so, furiously scribbling in my notebook so I wouldn't forget my impressions of each one. Then late Wednesday night/Thursday morning, something truly awful happened (see my journal). I've been struggling with how to properly write about that week in light of the loss of such an important person. My grief colored everything around it meaningless, and for a second I really didn't care if I ever heard another band or wrote another word.

But after a couple days when all I did was drink and mourn, I woke up with a headache and remembered some things. I still love music, and so did he. I love everything about it: listening, writing, freaking out at shows, introducing people to new bands so that they, too, will shake their asses/legs/fists with joy when they hear a perfectly weird riff, rhyme, electronic sound, or drum fill. So I decided to give it a shot and write about some bands you may or may not have heard of that I think you will like. I didn't make it to as many shows as I wanted to, but I did the best I could, and I hope you'll give some of these bands a listen.

Day One

Jennifer O'Connor

While standing in one of many lines waiting for the CMJ folks to change the affiliation on my press badge from "MSNBC.com" to "SuicideGirls" (an easy mistake to make, but a true professional knows the subtle differences), I heard pleasant sounds coming from the big, weird, fluorescent lit room known as the day stage. It turned out said sounds were being emitted by one Jennifer O'Connor. I am normally lukewarm towards the artists I throw into the catch-all category of "quiet music," but I was nursing a hangover this particular afternoon, so it was welcome in my ear holes. O'Connor and her band make pretty country/folk-tinged music with thoughtful lyrics, sad, suspended chords, and a large amount of smoky heart in the vocals (if you're into that). Upon further examination, it also makes me happy that her marketing doesn't suck. Because she's not "hot" by conventional standards, her label did what I think labels should do more often: they took a few nice pictures of the lady, then let her get down to the important stuff, i.e. singin'. This is she:

Croon on, sweet-voiced lass.

Care Bears on Fire

This band would not have made my list of picks had I not succumbed to the general reaction most critics have to them: ZOMG KEWT A BAND OF TWELVE YR OLDS FROM BROOKLYN WHO LIKE THE RAMONES AND TOTALLY DON'T SUCK AAAAH! I feel a little dirty writing about them on this website, but whatever. Their songs are actually pretty good, if incredibly simple; the drummer had some nice fills, and lead singer/guitarist Sophie played a few solos that showed she practices her finger work. They're no
Smoosh in terms of songwriting, and they certainly don't come close to any of the grown-up bands I'm profiling, but I'm willing to estimate they were better than 80% of the bands at CMJ. It usually annoys me when kids try to sing in their flat/sharp/shaky undeveloped little voices, especially when some super-mom records it on her video-phone and plays it back for me like, "Isn't my child a prodigy?!" and I'm all, "How'd you get in my house?" But since they're trying to be a punk band, it actually works in their favor. How many great singers can't/couldn't really sing? Lou Reed, Kim Gordon, Mick Jagger, Nico, Bob Dylan...the list goes on. And judging from how good they are now, if they improve steadily they will be Ramones-level fantastic by the time they're legal to bang groupies. You hear that, kids? Keep practicing and all riches will be yours! Just don't stop being all humble and awkward about it and I will love you forever.

Note to pedophiles: the boy is mine. I mean, once he grows up and stuff...yeah.

The Most Serene Republic

My number one pick for the first day of CMJ. I was at the Brooklyn Vegan showcase just minding my own business, bopping along to some perfectly adequate but mildly generic indie pop (shocker!), when this band almost made me swallow my stomach. That's right, my motherfucking stomach, which I need for digestion and belly dancing and resting things on. The first five seconds of their set bitch-slapped the audience with an avalanche of violin, trumpet, measuring cups, tinkly noises (made with pots and cutlery), and whistling. I don't know about you, but I like me some well-placed whistling in my rock songs -- except "rock" is a pretty inadequate way of describing them. More like nutso-experimental-free jazz-psych pop-indie rock with touches of Bound Stems and The Arcade Fire for good measure. This band knows how to stretch out a melody to its full potential; with crescendos and decrescendos galore, they're up to their asses in intelligent dynamics. The long compositions meander, sure, but they don't get lost. Every now and then the cacophony would give way to an achingly sparse and simple catchy section, and unexpected combinations like a hand clap/piano thunder breakdown gave me the insane urge to punch the person next to me due to violently upwelling music appreciation. Singer Adrian Jewett makes for a compellingly excited front man; he was bursting with that awesome ultra-nerd energy that often comes out in creative and amusing ways since ultra-nerds can't actually dance. Jumping jacks, emphatic hand motions, and orgasmic facial expressions were just a few of the ways Mr. Jewett expressed his joy. But enough flowery description -- click on this link and listen.

The Most Serene Republic...of ear sex!

Stayed tuned for more shocking sonic discoveries from your intrepid musical spelunker.

If you like a little bloodshed with your hip hop, you're in luck. Definitive Jux rhyme sayer Aesop Rock's new music video "Coffee" has arrived just in time for Halloween. Directed by Ace Norton, the video features Aes, John Darnielle of the Mountain Goats, special appearances by other Def Jukies and a supporting cast of blood-thirsty zombies, werewolves and other creatures of the night. For those of you who missed SuicideGirls' recent interview with Aesop Rock, you can read it here. His latest record None Shall Pass is one of 2007's most compelling albums and is in stores now.

Now...feast your eyes on the new video that premiered on MTVU earlier today:

A crazy week for sure. I cannot start dishing out information without mentioning the passing of bassist, artist and my bandmate Paul Raven. He was a charming, driven pirate and, maaaaan, he is so very sadly missed. Thanks to the staff at the amazing Lancaster Arts Hotel in Lancaster PA for making a couple of unbearable days more bearable, for the good wishes from everyone that have left messages on various sites and to David in DC for hanging with me through a chunk of it. My thoughts are with the family and anyone touched by his bright bright light.



This week we are looking at the ‘pay to play’ scenario that is across much of the US right now. Its pretty horrible and designed by promoters to make sure that they can turn a profit and stay in business even if all of the shitty bands that play don’t have much of an audience. There is a very sad by-product of all of this – audiences show their support for band #4 by arriving just in time to see band #4 but by also leaving just before the start of band #5. I understand this – it makes sense BUT it robs these bands of the ability to play to each others audience, it robs the audience of being exposed to other bands that might surprise them (yeah I know not always in a good way) but it also robs the band members themselves of playing in front of their peers – that’s a pretty good adrenalin shot wasted... and, if you accept the idea that sometimes its easier to learn what NOT to do by watching a terrible horrible band, drummer whatever – then all of the above are robbed of a valuable experience. All of this is pretty easy (I think) to circumvent but, alas, it involves effort, thought, reaching across barriers and work work work... heres something from Chvad SB who plays in the Brooklyn based punk-industrial band THINGS OUTSIDE THE SKIN about the NYC experience...

So you're in a band and you think you're ready for NYC? Here's what you can expect. According to Martin's new book, "TOUR:SMART" there are anywhere from 741 to 1235 bands playing in New York City every week. As I'm writing this, on a Friday evening, there are 374 bands playing in NYC (according to http://www.going.com) and that isn't even tapping into the plethora of shows that didn't bother to post on the site. There's FIERCE competition in NYC and in response to that, a lot of promoters create nothing more than what I like to call "meat grinder events". Every club in NYC wants a party every night of the week and they want people buying drinks ALL NIGHT. BRING IN THE BANDS! When you come to play a show in NYC one of the first things to expect is no money. It's common practice in NYC for promoters to only pay you IF you bring in at least 10 to 15 paying customers that ask specifically for your band. Bring in 15 or more, you get half the door amount for those patrons. Bring in 14. NOTHING. Did I mention you're also playing with anywhere from 6 to 9 other acts on the same night? Now the promoter can call it a FESTIVAL and thus a PARTY. Great right? You're gonna have a TON of people there to see you rock the fuck out right? Wrong, wrong wrong. Here's how NYC rolls, Band #1 brings in 15 of their friends to see them play. Band #1 finishes. Band #1 leaves. Friends of Band #1 leave. Band #2? Rinse and Repeat. The people you bring are the ONLY people that will be there to see you play. Some people would like to accuse all the others acts on the bill for being total asses for not hanging out and supporting the other bands. Honestly, 75% of the time you'd probably be right but even if all the bands wanted to stay and party the whole fucking night with you THEY CAN'T. This is NYC and space is something you find between people ears but NOT in clubs. 10 bands worth of gear won't fit in most small clubs so when you're done playing, you need to get the fuck off the stage and out of the club. Most promoters won't even allow bands to load in more than an hour before they are supposed to be on stage. There's no room. The club and promoter make out great though. Every band brings in a few people, 8 out of the ten bands won't break 15 people because everyone they know is out at one of the other 374 shows going on in the city that night. Meanwhile the promoter keeps most of the door and the club gets all of the bar. You can make money with merchandise right? You can't sell merch because there isn't any room for merch and if there is room, it'll be in the part of the club that everyone avoids because it smells like shit and piss. Literally. Sounds pretty bad right? It can be. How can it all be avoided? COMMUNITY. Contact the bands on the bill that play directly before AND after you. Trade promotional materials and share your audience. Hang out a LITTLE longer before the next band arrives, share gear if possible and there's more room for everyone (the promoter can't kick out as quick either if that's your amp on the stage). 45 people drunk off their asses trying to dance through your set is a hell of a lot cooler than your 15 buddies from work (no offense to work buddies of the world). Hell, some of them might even like your stuff. Wanna survive in NYC? Know people! Make friends on message boards, call bands, whatever. just know this: If you don't know anyone in NYC when you play, stay the fuck out. New Yorkers eat their young.

-Chvad SB plays in the Brooklyn based punk-industrial band THINGS OUTSIDE THE SKIN (www.outside-the-skin.com) and runs the dark music community http://www.darksonus.com.

Upcoming Dates for TOUR:SMART Book Tour:

Sunday, October 28th, @ Melody Inn (Indianapolis, IN)
Free Tour:Smart Band Seminar - 5:30pm
2-Hour seminar and info session, Also will be doing some DJ sets during the show at Melody Inn that night that begins at 9:00pm.

Monday, November 5th @ Gelato Vero Café (San Diego, CA)
Free Tour:Smart Band Seminar - 6:00pm

Monday, November 12th @ Canopy Club (Champaign, IL)
Free Tour:Smart Band Seminar - 6:00pm

Thursday, November 15th @ Eide's Records (Pittsburgh, PA)
Free Tour:Smart Band Seminar - 4:00pm

Friday, November 16th @ Erie Art Museum Annex (Erie, PA)
Free Tour:Smart Band Seminar - 7:00pm

Friday, November 16th @ The Beer Mug (Erie, PA)
DJ Set at the Pegasus Unicorn show - 11:30pm
(Check out one of the first Tour:Smart columns for the Pegasus Unicorn case study!)

Saturday, November 17th @ Harris Institute (Toronto, ON)
Tour:Smart band seminar - advance tickets are $4 - 12:00pm

Saturday, November 17th @ Velvet Underground (Toronto, ON)
Tour:Smart Band Seminar - 5:00pm
Advance tickets $4 through www.ticketweb.ca, or at Rotate This, and Circus Books & Music
Also providing DJ sets beginning at 11pm - admission covers entire event including DJ night.

I had the privilege of meeting Morrissey at a record signing in the mid-nineties when I was a scrawny, flat-chested, zitty teenager with dyed-black hair and a choppy Supercuts haircut. I went up to Moz and said, "Thank you. You were my best friend in high school." (As if the one year that I'd had out of high school was miles and miles behind me.) He looked at me and smirked, "I suppose now I'm your worst enemy?" He gave me a huge, engulfing hug, the nicest hug I've ever gotten from anyone including people I've dated and also relatives.

Now, I'm a grown woman. I'm in therapy. I don’t wear all black on hot summer days anymore. I haven’t slept alone in years and I enjoy smiling. But I'm still completely obsessed with Morrissey. (Even though he has let me down on a few of his solo albums; I've blocked out Vauxhall and I from my memory except to recall it to write it down here. Now, I'm going to go back to forgetting it exists.)

I was terrified to buy his latest album Ringleader of the Tormentors. Would his vow of celibacy and wishes for death sound convincing at his age? Would I have to accept that Morrissey was just a phase like my mother had told me? (She also told me that Morrissey isn’t God and I shouldn’t worship him. Sorry God, but there's no way you understand me quite like Morrissey does.)

The album, which I know has been out for over year, did not disappoint. Morrissey sings (finally) about spreading a man's legs on "Dear God Please Help Me" and later in the album on "At Last I Am Born" declares, "I once thought that time accentuates despair but now I don’t actually care because I am born, born, born." Totally. I feel the same way. Okay, sure there is also a song called "Life is a Pigsty" but I don’t think he's sad about that. It's sort of just fact, like there are seven days in a week.

I could not afford to attend every night of Morrissey's recent eight-night residency in Los Angeles at the Hollywood Palladium and I opted to go on the last night. Before the concert the impatient crowd was treated to some of Morrissey's favorite video clips on a giant screen, an old New York Dolls video and James Dean's screen test for the role of Cal in the movie East of Eden. I was pissed at all the kids who were arriving late and lining up to buy beer, their backs to the screen, completely missing the fact that our icon Morrissey was sharing with us his icons. He was honoring the cycle. Morrissey romanticizes James Dean and David Johansen and we romanticize him and I further romanticize that I'm the only person who truly understands this pre-show symbolism.

When Moz finally took the stage I got nostalgic about the growing up we two have done since last we saw one another. We've both finally had sex with men and gotten over our Catholic guilt. We're both still vegetarians but have managed to gain about ten pounds and we're both going gray.

I felt badly that I couldn’t be right up front, where I belonged. I mean, I could have but I didn’t want to get crushed by all the crowd surfers. That's the sucky part about not having a death wish anymore, you can't see shit at concerts.

I'll forever be jealous of the genius who thought to bring Morrissey an Elvis record. He seemed to really like that gift. He held the record in his arms and sang "How Soon is Now" inserting Elvis's name into it…"I am human and I need to be loved, Elvis."

Moz and the boys played "Stretch Out and Wait", possibly the loveliest Smiths song ever. One of the lyrics is, "Is there any point ever having children?" And when Morrissey sang that line, both he and the audience shouted, "No!" I felt justified in my decision to not have kids and I wished everyone that has ever criticized me for that choice could have been there. See, you guys? Morrissey says there is no point!

And then it happened. Morrissey sang "Death of a Disco Dancer" and aging Smiths fans, wanna-be goths, and chubby Mexican teenagers all joined hands and swayed and sang,
" Love, peace and harmony ?
Love, peace and harmony ?
Oh, very nice
Very nice
Very nice
Very nice
Very nice
...But maybe in the next world"

And then Morrissey took off his shirt and threw it into the crowd and not wanting us to see his love-handles for any prolonged period of time skipped offstage and got ready for his encore.



Photo Credits: April Richardson

As you probably already know, Radiohead has made their new album available for however much each consumer wishes to pay. This news caused quite a stir in the internet-o-sphere; Pitchfork thought it was a decent idea, while record industry bigwigs were less than pleased. I myself am now the proud owner of the excellent new album, and I didn't even have to sift through Soulseex to get it. But there's still one burning question on everyone's mind about this matter: what does Washington think of it? That question has remained unanswered...until now.

(via The Washington Times)

Pitchfork pointed out that Ms. Perino was 21 when Pablo Honey came out, which retroactively makes her one of those creepy old-people-in-young-person-skin, like this girl I knew in college who wore suits to class and wouldn't smoke up with her roommates because she wanted to be on the Supreme Court someday (for serious!) I'd also like to know how much Tony Fratto pays for it; as a "big fan," and an employed individual, he really should shell out for the collector's edition.

So here's a poll for the SG community:

1) Have you heard of Radiohead the band?

2) Do you have a job?

3) How much did you pay for their new album?

Let's see how we stack up to Washington.

Year Zero was an awesome album, partly because of the insanely cool marketing plan it had, and partly because Trent didn't open up his diary for inspiration. Oh, and the music was killer too.

Well now it's about to get even more awesome. Because on Nov. 20th, Interscope Records will release Y34RZ3R0R3MIX3D (for those of you not 1337 enough, that says YEARZEROREMIXED). And it looks like we can choose from three different formats.

From nin.com:

Personally, I can't wait to hear the Ladytron remix of "The Beginning of the End" and the Morris + Gilbert (of New Order fame) remix of "Zero Sum," which might be the best song on the album. Notice on the 3rd format, the CD/DVD ROM, that there are multitracks available for each song, for those budding DJs to remix their own way, as Trent is pretty cool that way. And TR seems pretty psyched for the album as well:

In other NIN news, they joined Radiohead in the Free Agent Boat. That's right, Nine Inch Nails no longer has a label. Trent's really fucking stoked about this.

From nin.com:

Fuck you, record label! Trent's keeping really busy too: he's already planning the sequel to Year Zero.

And yet another reason why Trent Reznor > all of us:

You clicked on the title thinking there would be some naughty drug pictures in here, didn't you? Well I've got something even better for you: the cutest, catchiest, most sigh-inducing one-woman show this side of...anywhere. This is kind of a big deal for me, because I tend to dislike the current trend of cutesy, sentimental indie music and films (I'm looking at you, Miranda July), and I also prefer rock music that's on the louder side of things. But there's something about Khaela Maricich, aka The Blow, that comes across as so genuine that you can't fault her for writing embarrassingly sincere, offbeat songs about love and desire.

I wasn't disappointed last weekend when I saw Khaela perform (mainly) songs off of her latest release, Paper Television. Laptop pop genius Jona Bechtolt (aka YACHT) collaborated with her to make an album that is full of hooky electronic goodness. Sometimes the music is a minimal backing track for Khaela's sweet, wounded-but-hopeful voice, but more often than not it expands into a full blown dance party, borrowing more than a little from hip hop along the way.

The gutsy, eclectic music has a yin-yang relationship with the lyrical content of the songs, but they work together somehow. Who says you can't dance around while discussing that "oh shit" moment you have when you realize the boy you like doesn't like you back? Or even better, the mind fuck that ensues when you think about how infinitesimally small you and your lover are in the face of all that universe around you. What's even better is Khaela avoids cliches in favor of remarkable metaphors for love like the supermarket, things floating in the ocean, animals eating each other, and even the Louvre. Check out the lyrics to "Babay (eat a critter, feel its wrath)":

Pretty gross, but also pretty amazing. And to think some people claim that every metaphor for love has been explored already.

Khaela is also an adorably awkward dancer. It's hard to capture on film just how perfectly spazzy she looks when jerking around the stage, but these photos might give you some idea:









Additionally, she's way nice. Just look at her taking the time out to pose for a picture with these nerdy fucking fangrrls:



They also made a dorktastic video featuring MAGIC: the Gathering.



Yeah what!

I know sometimes I can just go off on an ADD tangent – so, here is maybe some of the more important stuff that you’d look to this column to provide. But, before we go there – there were some horrifying stories this week about a band on the road losing errrrr, EVERYTHING, I mean, fucking everything!!!… HD cameras, laptops, the van, the trailer… after some horrifying road shit. (Read about it here) SO, pay attention! Be careful out there!

Speaking of out there – I am back out on the road for the next few weeks come and say hi... eBay Band Consultation

This is a great section of the book, (Tour:Smart) how fucking AMAZING to have Lee Popa give you advice about getting a better live sound – but, before we get to his golden nuggets…
Here’s a brilliant idea from me – get a fucking map!
Already have GPS? Still get a map for when the GPS goes out… you know when right??? When you are late for the most important show of your career (of course) just get there on time (and, as Lee says, “early is on time, on time is late!”)… get there on time and you will have TIME to get a decent sound check and implement some of this great advice.
OR, too difficult, then, dontbeafuckingassholetothesoundman… also works pretty well.
OR
Don’t complain about the quality of the sound system or the soundman OVER THE PA?? Are you shitting me??

Anyway, here’s some tips for you to print out, write some important phone numbers on, crumple into a ball then leave at a coffee shop.

*********************************************************************

A Good sound starts with Good Gear
Lee Popa
(Front of House sound: Ministry, Killing Joke, KMFDM, Living Colour, Macy Gray, Pigface, Bad Brains, RHCP, 24-7SPYZ, Beyonce, Outkast)

Get your sound before the show:
• Balance all of your sounds at your practice place.
• If your drummer is playing and you can’t hear him or her, your amp is too loud!
• If all you hear is drums, you’re not loud enough!
• Is your solo volume too loud? Does your clean sound match your dirty sound?


The vocal mic is the most important mic on the stage: Treat it as such. Sorry, no matter how good your amps and drums sound, if you drown out the singer you have ruined the show.
Stage feedback means it’s too loud: If the stage monitors feedback: you are too loud for the system.
The clearer you hear the vocal, the better the sound of everything.

Play a sound check like it’s the show: If the drummer lays back at sound check (plays quietly) then pounds at the show, you would be better off not sound checking. Don’t lay back. Jump around and go for it so the settings you save at sound check mean something!

In tune in time: Tune up often and together. Pick places in the set to tune up. In the set, everybody needs to tune up at the same time. Two guitars slightly out of tune aren’t as bad to the ear as one in tune and one out of tune.

Practice at home with a click (metronome) and you won’t rush during the live set. Your drummer will play better.

Softer will make you sound louder: If the soundperson can’t hear you, they will put more of you in the P.A. The smaller the sound on stage, the louder the band is because the sound system is doing the work.

Mark your setting down: Get some tape and mark your settings. Don’t fool around with your knobs during the show. If you do, chances are you will be turned down because your sound becomes erratic.

Good help is hard to find: Respect the people that are helping you out. Learn the names of the people and thank them after the show even if you think they did a bad job. They did the best they could. Never yell at someone you don’t pay!

Start at the source with a good sound and it will be easy to get a good sound in the P.A.

Shit in = Shit out

Early is on time - on time is late.

*********************************************************************

Thanks Lee!

OK – got it???

Cool – and, keep those comments coming on last week’s column – its all GREAT information

Peace love and respect… go bid on that auction – all the $ is going to the Rock For Kids charity and it’ll be fun to be at your practice space, on your horrible couch. eBay Band Consultation

marteeeeeeeeeeeN