Wednesday, June 30, 2010

We Were Promised Jetpacks Post Daytrotter Session!


Daytrotter.com has posted a recent session of their daily live studio recording series (always available for FREE download) with We Were Promised Jetpacks! LISTEN AND DOWNLOAD HERE. Here's what Daytrotter had to say...

"The best thing about the name of the Scottish band, We Were Promised Jetpacks, is all of the disappointment that's bundled up in that mouthful of a phrase. That it can serve as an identity, and applied to all manner of setback - or the world turning out to be so much different than advertised - isn't surprising, but it is unconventional. What is could mean, in shorthand is, "We were lied too and this sucks." Where are all the hovercrafts and where are our sky-walking capabilities? They should have been here by now. Ray Bradbury's a bit to blame for this, but he's just one of thousands of dreamers who imagined better things than all that we're offered nowadays. It's only right that someone should shoulder the burden of all that was thought to be inevitable and thereby guaranteed to the masses via sheer luck and attrition. Part of the thought, tied into the name, even has to do with the thought that it's not just going to be let go. The promises were made and that still makes them promises. No one who made those promises are off the hook because they haven't delivered. Are the gods to blame and be held responsible? Are our foolish and gullible selves the ones we should be deriding and hounding about the failed future that we're living? We Were Promised Jetpacks' music sounds as if it's been bitten by those promises and it's not sure what to feel about it. There's a tone that crops up fairly often - as it does on the song "Roll Up Your Sleeves," of just sleeping it off. If one stays in bed long enough, the world outside the house has a better chance of being altered while you slumber off the numbness. Lead singer Adam Thompson sings, "Roll up your sleeves/We're heading for winter, I know/The nights will get colder/…We'll wake when we're older," and we're drawn into this idea of closing our eyes and making all of the drab and predictable present drift away into a different world where there are jetpacks, amongst other things. The band, which is completed with guitarist Michael Palmer, bassist Sean Smith and drummer Darren Lackie, makes its music feel as if there's nothing like a good catharsis, something to jar the system - as if the smelling salts had been brought out and, suddenly, things are different. There's nothing quite like getting those personal injustices off of a chest, just rearing back and letting loose with some pent up rustling, trying to push the moon further back in the sky by a couple hundred feet. It's an emotional stream of thought that Thompson taps into and his bandmates execute, bringing to life all of the feelings that were already feeling very lively within them, hurting them a bit as they simmered and grew into meaningful assignments of blame. There's a desire and a yearning on the group's last full-length, "These Four Walls," that want for just a little something more, any kind of replacement of the stagnancy for something that's charged, something that's a bit scary. It's a plea for youth again and it's a plea for such things that make us choke on our breaths again, anything that will get us worked up."

Deerhunter In Studio w/ Ben Allen


[pitchfork.com] Yesterday afternoon, the music industry consulting firm Milk Money posted the following on their Twitter: "Deerhunter here in Maze with Ben Allen mixing new LP. Everybody's excited about the sound."

The Ben Allen in question is the guy who engineered and mixed Animal Collective's Merriweather Post Pavilion and Fall Be Kind EP, helping that band reach new levels of bass-heavy blissout. He also worked on Gnarls Barkley's St. Elsewhere. (Maze is Allen's studio.) We don't have any further details yet, but that already seems like plenty of reason to get amped.

Jane's Addiction Announce Intimate Show Details


[blabbermouth.net] JANE'S ADDICTION — singer Perry Farrell, guitarist Dave Navarro, drummer Stephen Perkins and bassist Duff McKagan — has announced a Jane's "Fans' Addiction" concert presented by Bing for this Friday, July 2 on the Sunset Strip in Los Angeles at The Roxy Theatre, the venue where the band recorded their live self-titled indie debut album in 1987. The show begins at 10 p.m., with doors opening at 8 p.m.

This show is part of the Sunset Strip Summer Concert Series presented by Bing and "is being filmed for use at a later time so come dressed to have fun," said Navarro in an online posting. He added, "The Roxy has always held a special place in our hearts because it's where we recorded our first record. And as we said we want the majority of tickets to this show going to our fans so there will be a few ways to get them from us. Sign up for tickets on JanesAddiction.com starting tomorrow. Also look for tweets from Perry or myself this week to win tickets."

JANE'S ADDICTION has tapped Rich Costey as producer for the band's next album, tentatively due out in the winter of 2011 on Capitol.

Costey's extensive experience in the studio includes album production for such bands as MUSE and FRANZ FERDINAND as well as having studio credits for engineering, programming and mixing for WEEZER, RAGE AGAINST THE MACHINE, MY CHEMICAL ROMANCE, DOVES and JURASSIC 5, among others.

JANE'S ADDICTION — which wrote the rule book for alternative music and culture through a combination of genre-defying classic songs and a cinematic live experience — is now in Los Angeles working on the new CD, having returned from potent concerts overseas at the Gelredome in The Netherlands June 9 (with RAGE AGAINST THE MACHINE and GOGOL BORDELLO) and Rock In Rio in Madrid, Spain June 11 (with RAGE AGAINST THE MACHINE and CYPRESS HILL).

JANE'S ADDICTION debuted a brand new song, "Another Soulmate", during an intimate one-off Cinco de Mayo concert on May 5 at Bardot in Hollywood, California. The Corzo-sponsored event marked the official live debut of McKagan.

Exploding In Sound presents... 2010 Summer Showcase!!

Exploding In Sound is extremely proud to announce our official 2010 Summer Showcase featuring performances from The Dirty Dishes, Solar Powered Sun Destroyer, RIBS, and Grass Is Green!! The show will take place Sunday, August 8th at Boston's Church (located in the Fenway neighborhood - 69 Kilmarnock Street to be exact). The 21+ event's doors open at 7 PM, with music starting at 8!! Tickets are only $7, a small price to pay for such an excellent evening of rock from some of our favorite up-and-coming bands. We are unbelievably thrilled to present this line-up featuring some of Boston's best live bands in The Dirty Dishes, RIBS, and Grass Is Green, as well as Washington, DC's favorite space rockers, Solar Powered Sun Destroyer. This is sure to be a kick ass time, so bring your friends, and we hope to see you there! Not from Boston... well, who doesn't love a great summer trip?



The Dirty Dishes:

<a href="http://thedirtydishes.bandcamp.com/album/in-the-clouds-2">Deer in Headlights by The Dirty Dishes</a>

Solar Powered Sun Destroyer:

<a href="http://explodinginsound.bandcamp.com/track/solar-powered-sun-destroyer-ghost-light-demo">Solar Powered Sun Destroyer - Ghost Light (Demo) by Exploding In Sound presents...</a>

RIBS:

<a href="http://hear.ribstheband.com/album/british-brains">Even by RIBS</a>

Grass Is Green:

<a href="http://explodinginsound.bandcamp.com/track/grass-is-green-greenville">Grass Is Green - Greenville by Exploding In Sound presents...</a>

Postdata "Tobias Grey" Music Video

Postdata have posted the official video for their track "Tobias Grey," directed by Christopher Mills. The video from the self titled debut of Wintersleep's Paul Murphy is available to stream and download...










Quick Notes: Flaming Lips, Black Mountain, Tame Impala, + More

*[NME.com] The Flaming Lips' Wayne Coyne has described how Radiohead's 2003 headline set at Worthy Farm was "one of the greatest shows" he's ever seen. Although Coyne and The Flaming Lips played the Other Stage at this year's bash, the singer recalled Radiohead's headline set in 2003 as one of his happiest Glastonbury moments (The Flaming Lips had also played that year).

"After we got done playing we were able to stay onstage and watch Radiohead play," Coyne told NME in a video interview available to watch HERE. "I love Radiohead, and just seeing them embrace this huge mass of overflowing love and energy that was cascading down on them… it was amazing."

*For all who missed it last week, Black Mountain have posted the video for their track "Old Fangs" below. The song comes from the band's upcoming third LP Wilderness Heart, available from Jagjaguwar Records on September 14th...



*[filtermagazine.com] Australia's Tame Impala did an in-studio performance of "Alter Ego" at Viva Radio recently which had the group really stripping down the original version. Performing with acoustic guitars, a banjo, and some bongos, you can hear the smoothness of the Innerspeaker jam. "Alter Ego" is of their debut album Innerspeaker which is available now. Check out the intimate performance below.



*Good Old War's "World Cafe" Session is being featured for streaming on NPR.org. Here's what they had to say...

"Good Old War is native to WXPN's neighboring town — Langhorne, Penn. — but the trio has been turning heads on the national scene with its catchy and refined self-titled indie-folk release. The band's name combines all three members' last names: "Goodwin," "Arnold" and "Schwartz." Rising from the ashes of the rock group Days Away, Good Old War has created one of the summer's most upbeat records.

With host David Dye, the three discuss the writing and recording process for their debut, along with their daily vocal harmonizing. On their most recent album, Good Old War continues its run of exquisite harmonies, uptempo instrumentation and honest, youthful lyricism. As the band alternately brings to mind images of 1960s doo-wop, whimsical folk and indie rock, Good Old War deserves credit for making simply appealing music full of great hooks. For this World Cafe session, the trio crowds around a single microphone for an intimate studio performance."

*[FMQB.com] Neil Young has announced that the third U.S. leg of his Twisted Road solo tour will concentrate on areas of the country affected by the BP oil spill. The only date currently on the schedule is a September 23 show at Hard Rock Live in Hollywood, Florida, but the dates of August 24, October 23, November 21 and December 21 are highlighted on his website. "Other dates will be announced that are surrounding this show in Florida and on the Gulf Coast," Young posted. "I am looking forward to playing Florida and the Gulf Coast." A three-week tour of the western U.S. and Canada begins on July 11 in Oakland.

*Royal Bangs have posted a FREE DOWNLOAD of their remix of Lettercamp's "Fool For Long". Check it out HERE.

*Anthony Kapfer (formerly of Kung-Fu Grip) has posted his solo debut album A Series of Events on his new Bandcamp page. The album is available at a "Pay What You Want" rate with no minimum. Stream or download the entire album HERE.

<a href="http://music.anthonykapfer.com/album/a-series-of-events">I Don't Believe In Sane by Anthony Kapfer</a>

Sweet Apple, Stardeath & White Dwarfs, Sonic Youth + More Featured on Elijah Wood's Compilation


[pitchfork.com] Elijah Wood isn't just the little guy who played Frodo in the Lord of the Rings movies; he's also the little guy who signed the Apples in Stereo to his own Simian Records and stars in their latest video. And now Wood has also curated Elysium: A Benefit for The Art of Elysium, a new benefit compilation currently for sale at iTunes. The comp features tracks from folks like Sonic Youth, Sleigh Bells, Black Mountain, and the Kills. All proceeds go to the Art of Elysium, a nonprofit that brings musicians in to work with hospitalized kids. Below, we've got the album's tracklist...

01 Black Mountain: "Tyrants"

02 The Kills: "Tape Song"
03 Sleigh Bells: "Infinity Guitars"
04 Grass Widow: "Rattled Call"
05 Music Go Music: "Reach Out"
06 Jeremy Jay: "Beautiful Dreamer"
07 Sleepy Sun: "New Age"
08 Wolf People: "October Fires"
09 The Golden Dogs: "Permanent Record"
10 Oh No Ono: "Internet Warrior"
11 Sonic Youth: "No Way"
12 White Denim: "Yo-Yo"
13 Malachai: "Hear It Comes"
14 Cave: "Made in Malaysia"
15 Ty Segall: "Caesar"
16 Balaclavas: "Up the Newel"
17 Earthless: "Jull"
18 Sweet Apple: "Do You Remember"
19 The Soft Pack: "Answer to Yourself"
20 Stardeath & White Dwarfs: "New Heat"

STEREO IS A LIE Interviewed on The Deli Magazine


[austin.thedelimagazine.com] Deli writer Ellen Green recently tracked down our Year End Poll grand champions STEREO IS A LIE for a quick Q&A. SIAL plays the Ghost Room this Friday (3/5) along with an all-local lineup of New Roman Times, Sad Accordions, The Distant Seconds, and DJ Parklife. And here's what STEREO IS A LIE had to say...

EG: So, you have an album coming out. How was it working with Chris Cline?

SIAL: We've been tracking the album on and off for the past seven months, but we'll be completely wrapped up next week. It has taken a little longer than we thought it would, but we wanted to explore every possible avenue, leaving no stone unturned so to speak. We've used every mic imaginable, smashed guitars, plugged in as many amplifiers at one time as we possibly could, learned new instruments etc. Finally, what we're left with are ten songs that we feel, capture the band. Chris Cline (...Trail Of Dead, The Society Of Rockets, Explosions in the Sky, etc.) is going to mix the record, so that's really the next step. Chris is one of the few people outside of the band that we trust to put the same amount of love into the record that we have, so we're very excited to be working with him.

EG: When is the album due out?

SIAL: It'll definitely be this year, but we don't have an exact release date just yet. I'm sure it would just change anyway, so I don't want to tell you any fibs.

EG: What influenced the music (ie life, kids, other music, politics) for this album?

SIAL: Lyrically there's a lot of social commentary and the music certainly reflects that as well. It's hard to ignore the rate at which the world falls further into chaos everyday, but I mean why would you ignore that? I'd much rather make honest observations as opposed to churning out another distraction that helps anesthetize the masses.

EG: What is the live show about? Tour plans?

SIAL: Blood, sweat and beers. I guess maybe watching a SIAL show is a bit like taking a non-stop train journey. Although you may be familiar with your carriage's environment, the surroundings outside of that are constantly changing. We'll definitely do a bit of touring to support the release. Now that the recording part of our lives is nearly finished for this record, we can shift some focus toward more shows, festivals and tours.

EG: What is your Saturday night album? Sunday morning album?

SIAL: I don't know, there isn't really an album I go for when I'm putting my lipstick on, doing my hair and getting ready to hit the town on a Saturday night. Hit shuffle and go I say! Sunday mornings are for sleeping, but if I have to listen to anything then it had better be sensitive to my hangover.

EG: First concert you ever saw?? Best concert?

SIAL: The first concert I saw was The Mission at Newcastle City Hall, I think they were touring the Carved In Sand album. The best? That's way too tough to answer, there are just so many to choose from... Radiohead, Dubstar, Constantines, Suede, TVOTR, Longpigs, The Raveonettes, Suzanne Vega, BRMC, Ladytron, These Animal Men... the list goes on.

EG: What are your/the band's musical influences?

SIAL: There are countless influences, but definitely nothing we really lean towards, instead we prefer to subconsciously absorb everything and see what our brains spit out. We take from everything, be it a Renaissance piece by John Dunstable or Phil Collins 'In The Air' tonight. Nothing is out of bounds and nobody is safe.

-Ellen Green

<a href="http://explodinginsound.bandcamp.com/track/stereo-is-a-lie-what-we-do">STEREO IS A LIE - What We Do by Exploding In Sound presents...</a>

Deftones Announce More Summer Tour Dates


[theprp.com] The Deftones have added another leg of dates to their upcoming U.S. headlining run, including stops in Little Rock, AR, Knoxville, TN, Pittsburgh, PA and more. Here’s how the revised schedule for the trek shapes up:

With Circa Survive:

August 06th Ventura, CA – Ventura Theatre
August 07th Fresno, CA – Woodward Park
August 08th Sacramento, CA – Memorial Auditorium
August 10th Reno, NV – Knitting Factory

With Baroness:

August 12th Spokane, WA – Knitting Factory
August 13th Medford, OR – Medford Armory
August 14th Salt Lake City, UT – Rail Event Center
August 18th Lubbock, TX – Lonestar Pavilion
August 19th Tulsa, OK – Brady Theatre
August 20th Little Rock, AR – Robinson Center Music Hall
August 21st San Antonio, TX – AT&T Center
August 22nd New Orleans, LA – House of Blues
August 25th Miami Beach, FL – Fillmore Miami Beach
August 27th Orlando, FL – House of Blues
August 29th Myrtle Beach, SC – House of Blues
August 30th Fayetteville, NC – Rock Shop Music Hall
August 31st Richmond, VA – National
September 02nd Norfolk, VA – Norva
September 03rd Charlotte, NC – Fillmore

Deftones only:

September 05th Goose Creek, SC – USN Dive Pavilion
September 07th Knoxville, TN – Valarium
September 08th Cincinnati, OH – Bogarts
September 10th Columbus, OH – Newport Music Hall
September 11th Niagara Falls, NY – Rapids Theater
September 13th Pittsburgh, PA – Club Zoo
September 14th Cleveland, OH – House of Blues

The Sword Reveal "Warp Riders" Tracklisting


[theprp.com] The Sword have set the track listing to their new album “Warp Riders“, here’s how the effort will run:

01 – “Acheron/Unearthing The Orb”
02 – “Tres Brujas”
03 – “Arrows In The Dark”
04 – “The Chronomancer I: Hubris”
05 – “Lawless Lands”
06 – “Astraea’s Dream”
07 – “The Warp Riders”
08 – “Night City”
09 – “The Chronomancer II: Nemesis”
10 – “(The Night The Sky Cried) Tears Of Fire”

The album will see an August 24th release date through Kemado. As previously reported, the group are preparing a hexagon shaped 12″ single for their track “(The Night Sky Cried) Tears Of Fire” and will also be releasing an official live bootleg of their upcoming July 03rd performance at the “iTunes Roundhouse Festival” in London, England later next month.

Oceansize Announce Extended Fall Dates


[theprp.com] Oceansize have firmed up their fall UK touring plans, here’s how they now run:

September 18th Newcastle, UK – O2 Academy
September 19th Glasgow, UK – Oran Mor
September 20th Aberdeen, UK – Cafe Drummonds
September 23rd Leeds, UK – Cockpit
September 24th Liverpool, UK – O2 Academy 2
September 25th Cambridge, UK – ARU
September 26th Nottingham, UK – Rescue Rooms
September 28th Birmingham, UK – O2 Academy 2
September 29th Cardiff, UK – Millennium Music Hall
September 30th Stoke, UK – Sugarmill
October 01st London, UK – Koko
October 02nd Oxford, UK – Academy 2
October 04th Bristol, UK – Fleece
October 05th Portsmouth, UK – Wedgewood Rooms
October 06th Brighton, UK – Concorde 2

Oceansize are set to release their new album “Self Preserved While The Bodies Float Up” in North America through Superball Music on September 14th.

Tuesday, June 29, 2010

Escaping The Ordinary: Volume 1 Compilation Preview!


Our good friends at EscapingTheOrdinary.net (formerly TyGriffin.net) are getting ready to launch their brand new website in the next few days. They will be kicking things off with their very own compilation available exclusively though their site for FREE DOWNLOAD! The compilation will feature new music from Arcane Roots, (Damn) This Desert Air, Junius, Dead Twins, Soft Words Traverse, Magnet School, and many many more great bands. The complete tracklisting can be found below, and an extended audio sample of the entire compilation can be heard HERE!!

For more samples of the upcoming release, head over to the sites official Bandcamp page.

1. (Damn) This Desert Air - Ghost I Own
2. junius – Birth Rites By Torchlight
3. Fair to Midland - Musical Chairs [Demo]
4. Arcane Roots – You Are
5. Nothing More - Fell In Love With A Ghost
6. Elea – The Space Cadet
7. The Better Death - Message To Your Rival
8. The House Harkonnen - A Blade to Take the World
9. Descender - Gunpowder Drums
10. Exeter - Everyday Parade
11. Dead Twins - Darker Than Night
12. Magnet School – XX
13. Goodnight Goddess - Lollipops and Suicides
14. Here Holy Spain - This Tension
15. The Spirits of Music - Roadtrip
16. SaintKarla - Sing
17. The Commotion - Conspiratus [Demo]
18. Soft Words Traverse - Sprawling Certainty
19. Watching Cars - Last Words

<a href="http://escapingtheordinary.bandcamp.com/album/volume-1">(Damn) This Desert Air - Ghost I Own by Escaping The Ordinary</a>

Hum Tribute Adds Constants, Open Hand, & Solar Powered Sun Destroyer to Line-Up


SONGS OF FARWELL AND DEPARTURE: A Tribute To HUM Welcomes Constants, Open Hand, and Solar Powered Sun Destroyer to Line-Up.

Pop Up Records and the entire Hum Tribute Team are extremely excited to announce the addition of Constants [Mylene Sheath Records], Open Hand [Anodyne Records], and Solar Powered Sun Destroyer to our tribute album to Hum, joining the previously announced (Damn) This Desert Air, Funeral For A Friend, The Esoteric, and Anakin. There is no doubt on the influence of Hum on each of these bands, and we are thrilled to have their involvement in the project.

After setting the world ablaze with their critically acclaimed full length debut The Foundation, The Machine, The Ascension, and tireless touring schedule, Boston’s Constants headed back to the studio to record their next offering, If Tomorrow The War. The record was produced by Justin K. Broadrick of Jesu/Godflesh fame, and is certainly one of the most anticipated releases of the year.

Open Hand have triumphantly returned from a long absence since their last record You And Me in 2005. Five years later, the Los Angeles natives have overhauled their line-up, their sound, and their record label with Honey, their impressive Anodyne Records debut. As on their previous record, Open Hand has continued to work with Hum’s Matt Talbott as a frequent collaborator, with tremendous results all around.

Washington, DC’s Solar Powered Sun Destroyer may be a new name to some, but won’t be for long. Gearing up to release their J. Robbins (Jawbox/Burning Airlines) produced full length debut Sender//Receiver before the year’s end, SPSD are more than ready to start building their own space rock legacy. The quintet’s three guitar assault blasts layers of sonic bliss that is sure to resonate with Hum fans worldwide.

The open casting call has been a great success so far in finding bands interested in the tribute. We have had an overwhelming response, and appreciate all those who have contacted us. Submissions are still open if your band is interested; please send your information, music, and a brief message about why you’d like to be involved to humtribute@popuprecords.com

For more news and info…
www.myspace.com/humtribute
www.facebook.com/humtribute
www.twitter.com/humtribute

Brought to you by the Hum Tribute Team:

*Pop Up Records
*Decoy Music
*Exploding In Sound [and we're happy to be involved!]
*Escaping The Ordinary
*Housewithoutwalls Design
*Chancellor Design

Download FREE tracks from Constants, Open Hand, Solar Powered Sun Destroyer, (Damn) This Desert Air, Anakin, and more at www.explodinginsound.bandcamp.com

Good Old War Announce Fall Tour


Philadelphia indie folk-rock three-piece GOOD OLD WAR will hit the road in support Brandi Carlile beginning July 25th in Kent, OH, followed by a tour with Xavier Rudd (from August 25th in New York City). The support slots come on the heels of a successful USA headline tour, which saw them playing to devout crowds in sold out rooms. The band will also make a hometown performance on August 25, playing a set at Philadelphia Folk Fest with Jeff Tweedy and Richard Thompson.

The band's latest album "Good Old War," which was released June 1st on Sargent House, has been receiving critical raves from both national and local press. The Aquarian Weekly said that GOOD OLD WAR "seems to master the art of adorable folk music with their three-part harmonies and amorous tracks... the band has managed to create an album of folksy pop music riddled with vocals that melt together like butter." The Star-Ledger congratulated the album's "angelic multi-part harmonies over finger-picked six-string weaves and brisk country rhythms" and called the trio "imaginative" and "superb."

The album, which is the band's second, debuted at #2 on the Billboard Heatseeker chart and #1 on iTunes' singer/songwriter chart.

Additionally, the band's recently-recorded World Café Live session will be broadcast today on NPR affiliate station across the country.

Tour dates for GOOD OLD WAR:

July 25 Kent, OH Kent Stage w/ Brandi Carlile
July 28 Rutland, VT Paramount Theatre w/ Brandi Carlile
July 29 Morristown, NJ Community Theatre w/ Brandi Carlile
July 30 Hampton Beach, NH Hampton Beach Casino Ballroom
August 1 Westhampton Beach, NY Westhampton Beach PAC

August 19 Schwenksville, PA Philadelphia Folk Festival
August 25 New York, NY Irving Plaza w/ Xavier Rudd
August 26 Philadelphia, PA Theatre of Living Arts w/ Xavier Rudd
August 27 Cleveland, OH House of Blues w/ Xavier Rudd
August 28 Royal Oak, MI Royal Oak Music Theatre w/ Xavier Rudd
August 30 Nashville, TN Exit/In w/ Xavier Rudd
August 31 Atlanta, GA Variety Playhouse w/ Xavier Rudd
September 1 Isle of Palms, SC The Windjammer w/ Xavier Rudd
September 3 Orlando, FL House of Blues w/ Xavier Rudd
September 4 Ft. Lauderdale, FL Culture Room w/ Xavier Rudd
September 5 St. Petersburg, FL State Theatre w/ Xavier Rudd
September 7 Asheville, NC Orange Peel w/ Xavier Rudd
September 8 Louisville, KY Headliners w/ Xavier Rudd
September 9 Madison, WI Barrymore Theatre w/ Xavier Rudd
September 10 Clarks Grove, MN Harvestfest w/ Xavier Rudd
September 11 Chicago, IL Vic Theatre w/ Xavier Rudd
September 13 Burlington, VT Higher Ground w/ Xavier Rudd
September 14 Boston, MA Wilbur Theatre w/ Xavier Rudd

<a href="http://digital.goodoldwar.com/album/good-old-war">Good by Good Old War</a>

Dinosaur Pile-Up Featured on Sloucher.org / Free Download


Sloucher has reviewed Dinosaur Pile-Up's debut, The Most Powerful EP in The Universe. The band are currently getting ready to release their full length debut Growing Pains. We here at Exploding In Sound are incredibly excited for the release from one of our favorite up-and-coming bands. Now if only they would appear on one of the compilations...

[Sloucher.org] The skinny: Some fuckin’ excellent grunge from Leeds.

The review proper: Who cares if grunge seems to be extinct? We’re due for a revival! And hopefully part of this attack of the Seattle flannel ‘n’ sardonic voice combo will include Dinosaur Pile-Up (no relation to Jim Yoshii Pile-Up), a band from Leeds who laid this short and sweet EP unto the unsuspecting public.

Starting out the proceedings is the catchy ‘Summer hit single’, sometimes a bit punkish, but all the time being completely fun. ‘Opposites attract’ brings back good memories of the 90s (Tripping Daisy! Tripping Daisy!!), with the laconic vocal delivery and the distortion cranked up to a NHS-approved level of daily dose (?).

‘Cat attack!!’ (which you can download very legal and very freely HERE) is a little manic, but it goes with the job. Giving you a bit of a breather is ‘Melanin’, a mellow (ish) moment of peace until getting to the choice cut of the album, the magnificent rocky and feedback-laden ‘Beach bug’. The culmination of all that is good with this band is stuffed on this corker and with the good news that an album is coming our way, here’s hoping it’s as good as this 5 song EP.

Violent Soho "Muscle Junkie" Video Preview

Here's a preview of Violent Soho's video for "Muscle Junkie," off their self titled debut album...

The Willowz "Everyone" Video

The Willowz have posted their video for the track "Everyone" off the album of the same name. The video was directed by Kaylie Schiff...

The Year Million Offer FREE Download of Debut Album


The Year Million (formerly Spectator) are offering up a FREE DOWNLOAD of their entire self titled full length debut. The album rocks, and there is absolutely no excuse not to download this record while it's available for FREE!!

Track List & Info:

1. Weight 03:19
2. Something Like A War 04:02
3. Lucky Ones 03:42
4. Ode To The Stars 03:23
5. The Seed 00:26
6. The Salt 02:51
7. Release 04:07
8. Be Honest 03:46
9. Losing Air 02:45
10. The One 03:26
11. Outside 04:51

Credits:

Released 15 June 2010
Scott House: vocals
Jason Calieri: guitar, synth
John Salogiannis: bass
Joey Korenman: drums

All songs written and produced by The Year Million. Engineered by Ethan Dussault at New Alliance. Mastered by Nick Zampiello at New Alliance East.

<a href="http://music.theyearmillion.com/album/the-year-million">Weight by The Year Million</a>

Good Old War Featured in Boston Herald


[news.bostonherald.com] If you knew nothing but the name of the band - Good Old War - you might have entered the packed Middle East upstairs room Sunday afternoon expecting hardcore punk or metal. That’s usually the case for all-ages, daytime shows.

But this trio from Philadelphia is not that at all. Good Old War is a folk-rock group, its members 27 to 30 years old, enamored of uplifting, multi-part vocal harmonies that could take you back to Crosby, Stills & Nash or Simon & Garfunkel.

Their hour long show started with “My Own Sinking Ship,” a sweet, buoyant and blameless breakup song. It was a nice table-setter for the 14 or so songs that followed. Soon came “Making My Life,” where they sang about the joy brought by togetherness.

Good Old War deals with romantic ups and downs with equally cheerful melodies. Drummer/accordionist Tim Arnold gave the new “(Restless Love) Just Another Day” a galloping kick, jerking a tale of heartbreak away from despair, a little bit like Violent Femmes.

Keyboardist/guitarist Keith Goodwin nominally handled lead vocals, often with guitarist Dan Schwartz and Arnold joining him. (Opening act Audra Mae and the band’s producer Jason Cupp joined at various points, too.) The implication: This is a group thing, no stars and egos here.

GOW, drawing from their 2008 debut CD “Only Way to Be Alone” and their latest eponymous disc, managed the hard trick of sounding sincere and hopeful without falling into the clutches of cloying. Their glorious two- and three-part harmonies carried the day.

There were traces of melancholy, too, in “I Should Go/Thinking of You.” But Good Old War is not one to linger in dark shadows. They ended the regular set with their best-known song, the zippy “Coney Island” and then the rave-up of “Window.”

For the encore, they waded out in the crowd. Mae and the other band on the bill, Yukon Blonde, joined them. Virtually everyone - musicians and fans - sang “That’s What’s Wrong” and “I’m Not For You.”

After the show, Schwartz sat on the lip of the stage, signing CDs. One young man told him Good Old War’s music made him feel good when he was down.

“That’s the entire idea,” Schwartz said. “Bring people up, or add to your joy. How you spend your day is how you spend your life.”

<a href="http://digital.goodoldwar.com/album/good-old-war">Good by Good Old War</a>

Helmet Announce European Tour


[theprp.com] Helmet will be heading overseas later this year for a European run in support of their upcoming new album “Seeing Eye Dog” (due out September 07th.) Dates for the trek run as follows:

November 17th Arnhem, NET – Luxor
November 18th Den Bosch, NET – W2
November 19th Bielefeld, GER – Forum
November 20th Hamburg, GER – Knust
November 22nd Aarhus, DEN – Voxhall
November 23rd Copenhagen, DEN – Vega Jr.
November 24th Berlin, GER – So36
November 26th Munich, GER – Feierwerk
November 27th Vienna, AUT – Szene
November 29th Basel, SWI – Sommercasino
November 30th Zurich, SWI – Abart
December 01st Amalgame, SWI – Yverdon
December 03rd Ravenna, ITA – Bronson
December 04th Turin, ITA – Spazio
December 05th Le Brise Glace, FRA – Annecy
December 06th Strasbourg, FRA – La Laiterie
December 08th Stuttgart, GER – Roehre
December 09th Cologne, GER – Werkstatt
December 10th Paris, FRA – Elysee Montmarte
December 11th Orleans, FRA – Astro Lab
December 12th Tourcoing, FRA – Le Grand Mix
December 14th Ghent, BEL – Vooruit
December 15th London, UK – Las Scala

ISIS Discuss Band's Break-Up

[theprp.com] Isis recently further elaborated on their decision to disband to Artisan News Service, you can find the footage below:

Trances Arc Offer "Boom City" For FREE Download


Atlanta, GA quartet Trances Arc have released their new single "BOOM CITY" from their upcoming album TA, out July 20th, for FREE DOWNLOAD!

DONWLOAD: Trances Arc - Boom City (right click, save as)


With the help of Kickstarter.com, Trances Arc will release TA on their own label, Slush Fund Records. An album that lets loose with a fervor and familiarity, TA is a memorable and compelling collection of confident rock songs laced with bold vocals, infectious guitar interplay and fist-pumping anthems.

"With its twin-guitar attack, the Atlanta quartet recalls the glory days of Georgia indie-rock, then slips into a slithery T Rex. groove." - USA Today

"Most of the cool guitar work from the '60s to the '90s with none of the lame stuff, which adds up to a rocking, tuneful, toneful batch of songs ... heavy on vibe, heavy on melody and heavy on tone. Nicely done." - Guitar Player Magazine

"Trances Arc takes the earnestness of '90s alternative rock and gives it a fresh, modern spin." - The Atlanta Journal Constitution

Monday, June 28, 2010

Dead Confederate Offer FREE Download From "Sugar" / Making Of Video


As previously announced, Dead Confederate will return with their sophomore album, Sugar, on August 24th via TAO Recordings/Old Flame. Sugar was recorded by John Agnello (The Hold Steady, Sonic Youth, Dinosaur Jr.) and as Dead Confederate's Hardy Morris (guitar/lead vocals) explains, "We're a loud, big-sounding band, and wanted the album to be fun and creative - instead of just recording the songs. It's not like we decided we couldn't have anything grungy or heavy; that's just not all that we're interested in. You can listen to the record a bunch of different ways. What we were doing felt right."

There has been tons of excitement bubbling around the new album, which makes us even happier to share some in-studio footage and brand new music!



Dead Confederate is also sharing new music in exchange for an email address. Click below to download the appropriately titled track, "Giving It All Away" (featuring J. Mascis of Dinosaur Jr.)











In support of Sugar's release, Dead Confederate will be hitting the road, including dates with Deer Tick and a Bumbershoot after party with Surfer Blood. More Fall dates to be announced very soon!

07.09.10 - Louisville, KY - Forecastle Festival
07.10.10 - Chattanooga, TN - Rhythm & Brews
07.23.10 - Augusta, GA - Sky City
07.24.10 - Savannah, GA - The Jinx
07.25.10 - Charlotte, NC - Visulite Theatre %
07.27.10 - Orlando, FL - The Social %
07.29.10 - Tampa, FL - Crowbar %
07.30.10 - Tallahassee, FL - Engine Room %
07.31.10 - Atlanta, GA - Buckhead Theater %
08.01.10 - Nashville, TN - Exit/In %
08.03.10 - Oxford, MS - Proud Larry's %
08.04.10 - Memphis, TN - Hi-Tone Cafe %
08.05.10 - St. Louis, MO - Off Broadway %
08.28.10 - Austin, TX - The Mohawk - KUT's Red River on the Rocks Festival
09.05.10 - Seattle, WA - Bumbershoot After Party at Hard Rock $
09.17.10 - Telluride, CO - Telluride Brews & Brews Festival

% - with Deer Tick
$ - with Surfer Blood

Black Mountain's "Wilderness Heart" Available For Pre-Order


Wilderness Heart, the upcoming album by Black Mountain, is now available for pre-order.

What does one receive when one pre-orders Wilderness Heart from Jagjaguwar?

1. A digital download code for the entire album that will become active on August 31st, two weeks before the official US release date (September 14th).

2. A poster featuring the Wilderness Heart artwork that Pitchfork called "maybe the most badass cover art of the year."

3. A lovingly packaged copy of Wilderness Heart, the new album from Black Mountain, out September 14th in North America.

Click HERE to Pre-Order Wilderness Heart

Maps & Atlases Featured on Our Stage


[ourstage.com] Maps & Atlases is, in a word, eclectic. Citing influences from Ornette Coleman to Jethro Tull to David Bowie and coming together from all corners of the country, the quartet’s mutual love for classic rock and layered guitars converged while attending school at Columbia College in Chicago. They generated quite the buzz after their debut EP Tree, Swallows, Houses and eventually signed with Sargent House. After re-releasing their debut, they released their follow-up EP You and Me and the Mountain. National tours with the likes of Frightened Rabbit and Ra Ra Riot followed, which eventually led them to be signed by Barsuk Records (Death Cab for Cutie, Rilo Kiley, Ra Ra Riot etc.)

Since Maps & Atlases’ 2006 debut, their songs have slowly progressed from a type of experimental “math rock” (as the pros like to call it) to pop sensible songs with a flair for technicality—pop songs at the core disguised by layered instruments and mixed meters.

Lead singer and songwriter Dave Davison is one busy guy. He is at once writing and touring nationally with Maps & Atlases while working on his side projects Cast Spells and Hey! Tonal, and still finds the time to maintain his crazy awesome beard. In between Maps & Atlases’ tour with Frightened Rabbit and their upcoming summer tour in support of their new record Perch Patchwork out June 29th, Dave found some time to talk with us about past tours and who they’re ideal tour-mates are. Check it out!

MD: When did you guys start touring?
DD: We began playing shows in fall of 2004, but since we were still in school we weren’t able to tour until our spring break in 2006.

MD: How often do you tour?
DD: We have been touring more regularly in the past two years, at least a few weeks every month or two, but we still like to make sure that we keep it fun and don’t over do it.

MD: What are some of your favorite venues or regions to play in?
DD: There are specific spots in almost every city and region of the country that we’ve played that make us excited to come back. We really try to seek out local places to eat and hang out in every city in order to get a better feel for each place.

MD: A lot of bands say that writing music and touring are two separate entities. Do you ever write on the road? If so, do you think writing while on tour is easier or harder than writing at home?
DD: I have definitely written some songs on the road, but don’t necessarily know that it is easier or more difficult than writing while at home. I think that any place has potential to be inspiring and interesting, and we have had a lot of strange experiences that I have tried documenting in songs.

MD: How do you guys occupy yourselves while driving from city to city?
DD: We listen to a lot of books on tape, comedy albums and podcasts to pass the time. One of the benefit of listening to books on tape is that it really feels like you are making progress on long drives.

MD: Who are some of your favorite bands that you’ve toured with?
DD: We just finished touring with Frightened Rabbit which was really fantastic. Touring with Ra Ra Riot last fall was a great experience as well as touring with Foals in the US and UK.

MD: If you could choose one artist or band to go on tour with, who would it be?
DD: There are so many bands that we would love to tour with. We have played a couple of shows with Deerhoof, a band that we have all collectively enjoyed for years, and we would love the opportunity to do more shows with them.

MD: What can fans expect from your live show from the upcoming US dates? Will you be playing songs off of your upcoming LP Perch Patchwork?
DD: We will be playing old songs and the whole new album and we are very excited about it!

Bonus: Check out this awesome video of Dave playing “The Ongoing Horrible” way back in ‘06. Pure talent.

Sunday, June 27, 2010

Suede Brothers Post New Song / Ready New Album


Cleveland's Suede Brothers have posted their brand new track "Coos Bay Boogie" on their Myspace page, located HERE!! The track comes from the band's upcoming third full legnth, The Night.

Queens of The Stone Age Featured on Letters From a Tapehead


[letters-from-a-tapehead.blogspot.com] "I Think I Lost My Headache" may be one of the most hypnotic rock songs I've ever heard. With news of a 2-disc reissue of Rated R, the second album (and first major label release) from Queens of the Stone Age, my mind goes directly to this song, its steel drums shuffling behind cymbal crashed rhythm, the stringy guitar phrases an eerie and magnetic introduction to sonic dismay and then that trumpeted outro that goes on forever. It's one of those moments that make Rated R as monumental as it is, a rock album that derided the so-called "garage revival" before it had really even begun to take shape while acting as a blueprint for their breakthrough album. Consider it QOTSA's Revolver, a drug-induced headtrip of excited neo-psychedelia, quick-chord retro punk and experimental proto-punk that wasn't quite refined enough for mass consumption, but perfect for anyone that knew what they were listening to.

With follow-up Songs For The Deaf, QOTSA took the music a step further, crafting a full-on rock experience for the millennium that took as many chances but laced every song in aggression. I don't want to say that it was more radio-friendly than Rated R, but Songs For The Deaf grabbed a lot of attention and it only helped that Dave Grohl was there to add some star power to the release.

Rated R is being expanded into a 2-disc version for its 10 year anniversary, and will be out on August 3rd. All the frills aside, offer this album your undivided attention. Rated R is an unfolding and developmental portrait of the band and its progression into a signature sound, and it offers more than just a glimpse of exactly how important they are and were to become.

Check out this link for details.

Helmet Delay New Album Til September


[theprp.com] Helmet’s forthcoming new album “Seeing Eye Dog” has been bumped back to a September 07th North American release date through Work Song. The ten track outing will feature the songs “Welcome To Algiers“, “White City“, “Morphing” and a cover of The Beatles‘ “And Your Bird Can Sing“.

Seeing Eye Dog” was produced by band frontman/guitarist Page Hamilton with additional production by Toshi Kasai and vocal production done by Mark Renk. Hamilton was joined by drummer Kyle Stevenson, guitarist Dan Beeman and bassist Chris Traynor for the recording sessions. Dave Case will serve as the bands live bassist.

Speaking on “Seeing Eye Dog” Hamilton had the following to offer:

“The Helmet musical vocabulary is well established at this point, but I continue to work on a variety of musical projects that inevitably influence the Helmet songs. I’ve been working on movies with Elliott Goldenthal and co. for 17 years now and had never really experimented with incorporating these soundscapes (or shit sculpting as I prefer to call it) into Helmet songs. We had a much better recording situation in which I felt much less time pressure and was working with an engineer who was patient and very creative (Toshi Kasai) so away we went. I started layering upper parts of the chords and was digging the sound so I went with it.

It’s so important to have great musicians in this band as we track the music with my guitar and the drummer and then overdub the 2nd guitar and bass. I can’t stand the sound and anti-human feel of edited rock music. People have always commented that we sound like our albums live. This has a lot to do with it. Humans playing music will always be better than chop shop rock so one has to find the right players.”

Furthermore, “Seeing Eye Dog” will be issued in the following variety of formats:

- Digital Version – “Seeing Eye Dog” along with a bonus live effort recorded at a 2006 performance in San Francisco, CA.

- Two Disc Physical Version – “Seeing Eye Dog” along with a bonus live effort recorded at a 2006 performance in San Francisco, CA.

- Limited Edition Double 180g Vinyl Version – “Seeing Eye Dog” along with a bonus live effort recorded at a 2006 performance in San Francisco, CA.

- Limited Edition Deluxe – “Seeing Eye Dog” and 2006 live album 2-CD set/digital/180g vinyl, signed packaging, custom Helmet USB key featuring four additional live albums.

- Super Deluxe – “Seeing Eye Dog” and 2006 live album 2-CD set/digital/180g vinyl, signed packaging, custom Helmet USB key featuring four additional live albums. Gold Laminate/tour access component

Meanwhile, Hamilton also spoke out on the bands recent decision to digitally reissue their 1994 effort “Betty“, here’s what he had to say:

“It was written on the heels of the “Meantime” tour after a Grammy nomination and gold record which were strange and totally unexpected for a Lower East Side band. The whole thing threw me for a bit of a loop; my life was in total upheaval after a split with my then-fiance now ex-wife. It was a fuck-you to the music biz/mainstream that had discovered our indie world of Amphetamine Reptile, Sub Pop, Touch and Go, Discord, SST etc…etc… I never considered myself indier than thou but I never embraced the crap that grew out of Helmet or Nirvana or Fugazi or The Jesus Lizard or Melvins etc… Anyway, it was a weird time but the album holds up musically so it’s being re-issued.”

Saturday, June 26, 2010

The Unwinding Hours' (ex-Aereogramme) Craig B: An EIS Artist to Artist Interview

Exploding In Sound is proud to present the first in what will hopefully become a reoccurring series we're calling "An EIS Artist to Artist Interview". The new feature will allow for band members of some of our favorite artists to interview some of the musicians that have inspired them a long the way. For the first installment we have a "meeting of the Craigs," as (Damn) This Desert Air/The World Concave's Craig Cirinelli has delivered a fantastic interview with one of his idols, Craig B. of Glasgow's The Unwinding Hours and formerly of the highly influential Aereogramme. So without further ado...


Craig Cirinelli: I'd been over to Scotland years ago on a European trip and as with most artists one invests considerable listening time with, I've placed a mental snapshot of your home country upon the listening experience in the years to come (For better or worse you may think?). Do you guess over time, yours and Iain Cook's sound has been absorbent of some natural reverberations of your surroundings? As in mood, tonality, lyrical settings? You do realize if you say "no" I'll have to surmise a new way to interpret my listening experience in the years to come [laughs].

Craig B: I never really think about how Scottish culture and landscape has effected me over the years but yes, I'm sure it has had a huge influence. I think Scottish people have a certain sense of melancholia about them as well as a pretty dark sense of humour and this might have a lot to do with our weather and social surroundings. You don't really get the same type of music from say, Spain where the weather and cultural climate is remarkably different. There is a wonderful lack of pretentiousness about Scottish musicians as well but I think that has something to do with wanting to be as far removed from the London music scene and it's sense of self importance. If you act like a dick in Glasgow, someone will point that out to you pretty quickly.

CC: I can recall being immediately drawn to the "extra" detail that always seemed to flourish around the meat & bones of Aereogramme's music. This has bridged over into The Unwinding Hours music, as there's often extra instrumentation supporting an already fine melody at the song's core. In thinking of the continued collaboration between you and Iain, who's idea or desire was this early on to not just stick with the basic band round-up (bass, drums, guitars, vox) and to enhance a recording for all you see fit? Do you find it something you both always think of regularly nowadays, when coming up with the ideas?

CB: I originally knew Iain before anyone in Aereogramme but I started that band up with Campbell McNeil. I remember recording Aereogramme's first album and having the conversation with Campbell about not wanting to record anything we couldn't recreate live. Campbell thought the complete opposite. He didn't want to limit any ideas we had for the songs and I think he was absolutely right in the end. We then asked Iain to join Aereogramme for the purpose of helping us with string arrangements and programming and this way of writing has continued in The Unwinding Hours. I find it extremely liberating now to be able to write rough arrangements on the computer for new songs and it's also liberating to be able to include anything you feel the songs needs without worrying if it can be done live or not. There is also still an equally important need for restraint when you have so much freedom as well.



CC: Having seen Aereogramme on your final visit to the USA, at Luna Lounge in New York City, there was an obvious impact to the music despite the layering as heard on studio tracks, which is nothing unusual. Money, strategy, available players dictate this often. Personally, I've felt inclined in bands to use the studio as a tool for all it can be, and the stage as somewhat of a different tool entirely. In my opinion, what we in bands offer live, is and should be, a more instinctual delivery of our songs 'in the moment' to those who've come to share in it. Do you feel this is true?


CB: Absolutely. That's why I can't stand live recordings of my own music because it never fully captures what it was like to be there. That's the beauty of the live setting. The lights, the sound of the room, the alcohol, the idiot standing behind you talking over your favourite song about what bus he is getting home. It all adds to the experience and is completely different from the recorded experience. We use a laptop in the live setting though so we do like to have a lot of the sounds we create in the studio as part of the live setting as well. There is a balance to be found I think.

CC: Not that I wouldn't love the addition of a live cellist, organ player, etc... to join the band live down the line if we're so fortunate in time and resources to do so. How does The Unwinding Hours operate in this light, having not had the chance to see a live gig stateside yet? What other musicians are the live accompaniment to the group... and any plans to tour the USA in the works?

CB: We have three session guys who are good friends playing with us live so there are five of us in total. We have never used string players because there was never any budget for that and we found a laptop was much cheaper, less hassle and didn't drink your beer rider. There are no plans to tour the states for financial reasons. I'd love to play there. Some of my fondest memories of being on tour are from America but there just isn't enough demand to justify the expense.

CC: If I may ask a personal insight into a track off my favorite Aereogramme release Seclusion, knowing that it is awkward sometimes to expand upon the thought process/past sentiments of certain songs. I'll fully accept a "pass" on this one by the way. My curiosity is on the track "I Don't Need Your Love." A track I'd often repeat multiple passes of at a time... just wanting to hang onto the nakedness of the words and impact of the delicate music surrounding. If that song was a vinyl single, I'd have bought 3.


CB: Sorry mate. I'm not a fan of explaining songs. I love the idea that a song I write means something very specific to me but that it can mean something completely different to someone else. That's just as valid in my opinion. I really don't think my original intention is somehow "right" . Explaining the idea behind the song can sometimes spoil the idea someone else had so I prefer to remain silent.



CC: Your final Aereogramme album My Heart Has a Wish That You Would Not Go is stunning. I think many aspects of Aereogramme's best work was filtered into this release, yet sadly it became your last. Did you feel any greater sense of artistry/craftsmanship within the band at the time? Or from your perspective, was the band foreshadowing a possible end? This infiltrating/steering as a final "let's give it our all" type effort...

CB: It's lovely to hear you think that of the album. I think the experience of the previous albums had led us naturally to a point where we knew we didn't want to create the same type of album over again so we laid off the distortion pedals and I knew I didn't want to scream any more so we had to approach our love of dynamics and intensity in a different way. We knew that if the album didn't help us make that much needed step up in sales and profile that we would split up. I think we knew that we could never compromise what we loved doing to just sell more records so we knew at the back of our minds this probably would be the last album. "My heart has a wish that you would not go" was taken from the Exorcist but the future meaning wasn't lost on us.


CC: If I may gush some more about The Unwinding Hours self-titled debut, maybe I'm just way too partial, but it was EXACTLY the kind of album I was hoping for after hearing about the new project taking shape the year preceding. With you and Iain steering the ship, I suppose it could've been expected, that this beautiful orchestral rock record take shape. When I think overall, I suppose I may view it as "lighter" than Aereogramme, yet to be honest, this could have been a successor album. Was the change in moniker due more to a "fresh start" approach, or to parting ways with other members, or anything else more direct?

CB: I would say it feels like a natural progression from Aereogramme. All the songs I had written before were usually about being angry, frustrated, even disappointed with the world and the music industry. It was only when I grew up a little and realized that the world doesn't owe me anything and the type of music I loved and loved to make fitted into too niche a market to ever make a living out of. I feel far more relaxed and confident about my place in the world and I guess the music industry and I'm sure that was reflected in the new songs. We also never set out with any goals whatsoever. We never intended to start another band. We were just writing music for the sake of writing music, for the sheer enjoyment of it.

CC: Might I ask who you are speaking about in the track "Little One" from the new record? A childhood memory perhaps? Someone or something you wish for a different outcome from? This might be left for the imagination, and again you can "pass". Not thinking I'd be here writing you to ask, figured I'd give it a go. You see, I always give you an "opt out" loop hole in answering [laughs].

CB: See my answer above! All I will say is that "Little One" was the song that I first wrote after Aereogramme split up and it took me nearly a year to start writing. It was the catalyst for me starting to write again.



CC: I've come across gigs you have played in the solo-acoustic environment. Is this mainly back home when off tour, and to keep busy? Do you feel it fills a different space in your identity than band collaborations do? The origins of many songs seem to come by way of intimate finger-picked moments, so I'm assuming it's not too difficult when you adapt your band's songs into this solitary environment. Ever add any cover songs into your set, if so, care to name a few?

CB: I love the idea of playing acoustic gigs but I'm not very good at them. The songs can be very sparse when the are originally written and so they aren't always appropriate to playing live. I need a silent room to play in or else I feel like a bit of a dick singing these intensely personal songs to what I assume is a room full of people not listening. It's a confidence issue really, but I much prefer playing with the band.


CC: I forget where I heard this phrase I'll loosely quote... "You'll know you've *made it* when you've been bootlegged so many times it's out of your control." How do you feel about this, assuming you're aware Aereogramme has been bootlegged quite a bit. I'm not sure which are official or not official actually. Is this something you condone or wish there was more of a filter put on?

CB: I don't see any point of trying to put a filter on it because you always come across as a massive control freak. If there is a demand for people to listen to anything we do, then I'm happy they are seeking it out. Even if deep down I wish certain performances where I'm singing like a dying cat could be deleted.

CC: I see you've stuck with the folks at Chemikal Underground as your label of choice. You might agree that it's important in the independent world to work with people you trust. I find more of a mutual, honest relationship between band and labels usually fare better, and talking-the-talk unrealistically just leads to disappointment for both sides. Anything you'd like to say about the personnel there at Chemikal Underground after all of these years?

CB: I have nothing but the utmost respect for Chemikal Underground. We understand that they don't have the budget to give us tour support or pay for any marketing campaign but they have always left us to do exactly what we want and that amount of creative freedom is very important. It's also extremely useful to know where you stand with them and to be able to pick up the phone or go for a pint with whenever you want. At the end of the day, they are good friends and I respect them very much for the hours of hard work they put into keeping the label going.


CC: Lastly, I'd like to mention your In The Fishtank collaboration with Isis, in order to bring this collaboration to light to any new readers who might be unaware of this gem. Though a great body of work through and through, I'd like to notate specifically, the pulsating transition in "Low Tide" (2:28) is a personal highlight. Such an intriguing passage of music. This project is stated to have been brought upon by the Konkurrent record label issuing the release and without prior preconception? Is this correct, were their no demos passed back and forth prior to?

CB: The Fishtank session was an incredible experience. The idea is for the two bands to write, record and mix as many songs as you can in three days. Konkurrent knew the two bands were on tour together so asked us to participate. We had thrown a few ideas around through email but nothing concrete. Isis brought in one idea they had worked on for us to add to, we brought a song for them to add to and then we collaborated on another on the day. It was tough work but considering we really only had two days to write and record, I think we managed something that stands very well up to the experiment it actually was! It was an honour to work with Isis and I am sad to hear they have called it a day. Also the engineer that day, Zlaya [Hadzic], was a great inspiration to us. A great producer.



EIS: From here at Exploding In Sound, we would like to thank both Craig B. and Craig Cirinelli for the interview. For more information on either of these artists, please check out...

www.theunwindinghours.co.uk
www.myspace.com/aereogrammeofficial
www.damnthisdesertair.com
www.theworldconcave.com