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Adam Ant Makes NYC Triumphant Return at Webster Hall In Celebration of ‘Kings of the Wild Frontier’ (SHOW REVIEW)

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Adam Ant made his triumphant return to New York City on Wednesday night (2/22 )for the final date on his current North American tour.  An anniversary celebration of the iconic album Kings of the Wild Frontier, Adam and his band played the album in its entirety along with a well-stocked setlist of other Ant classics.  It must be noted that the songs from Kings of the Wild Frontier were first given mass exposure when MTV was in its infancy.  The infectious grooves and trademark Adam Ant flair for fashion were ingrained into the psyche of the MTV generation.  Ant’s charm and good looks never did anything but increase his affability and add to the popularity of his music.  But the music.  The iconic cover artwork.  The album, Kings of the Wild Frontier, is one of the all-time classics.  Hence, an anniversary tour celebrating the UK’s #1 selling album of 1981.

Originally scheduled for Jan. 27, the Webster Hall date had been postponed due to the untimely death of Tom Edwards, the band’s guitarist and musical director.  The loss of Edwards was a shock that forced the band and crew to cancel shows in both Philadelphia and NYC, a mere two dates into the tour.  Tom Edwards had been a relevant fixture on the UK music scene and had a working relationship with Adam Ant for many years.   Since the “show must go on”, the band secured a replacement guitarist in Will Crewdson, a fixture of the London rock scene and regular collaborator with Adam Ant.  Crewdson was an easy fit with the band and already familiar with the material, thus the tour resumed on schedule and the cancelled gigs were quickly rescheduled at the end of the tour.  A well-polished machine, the Adam Ant band closed out their tour in high fashion to a sold out, hungry NYC crowd.

The evening’s festivities kicked off promptly at 8pm with Los Angeles based, all female rockers Glam Skanks.  Like the improbable love child of Marc Bolan and Divine, the Skanks lived up to their moniker with pomp and flair, lipstick and sequins.  Songs like “Tube Tops” and “Bad Bitch” established the band’s enthusiasm for fashion and establishment of new era grrl power.  Flashy and trashy, the Glam Skanks delivered their edgy power pop songs in a tight, 30-minute set.  An excellent choice for support, the gals from LA set the party tone for the evening and successfully whetted the appetites of the NYC audience.

The house lights finally went out shortly after 9pm and the Ant faithful, the self-proclaimed “Ant warriors”, let out a resounding roar.  Finally.  Having the originally scheduled show canceled, there were a countless number of ticket holders who were unable to attend the new date, while the rest of us were left to anxiously await the show weeks later.  FINALLY.  The musicians swiftly took their positions on the stage and with no time left to draw a breath, that familiar Burundi beat began its slow, driving build, with momentum ever increasing until the lights came on and Adam Ant was center stage in full dandy regalia.  The sound and vision collided and the Kings of the Wild Frontier album sequence began with “Dog Eat Dog.”  Adam commanded the stage with authority and belted out the lyrics with the audience singing along in unison, “You may not like the things we say, what’s the difference anyway?”  The applause following the opening number was so overwhelming that it almost drowned out the synchronized drumsticks intro to the next song, “Antmusic.”  The band took small pauses between songs, presenting the KOTWF album in its original U.K. sequence.

The title song, which is the first song of the album’s second side, was perhaps the catalyst of the evening.  The floor of the venue, already vibrating from another show in the space below, began to shake with fervor from the audience’s tribal stomping.  The song “Kings of the Wild Frontier” is undoubtedly the battle cry of the Ant Nation.  The song that unites a fan base.  “A new royal family, a wild nobility, WE ARE THE FAMILY!”  The music was reaching new peaks and the lyrics continued to encourage the solidarity of its listeners, “Antpeople are the warriors… Yeah!  Antmusic is the banner!”  Fists pumping in unison with the battle cries of the song’s message had Webster Hall shaking like a teepee housing a heated Pow Wow.

Twelve perfect songs concluded the album performance and were duly given an enormous ovation.  The audience seemed grateful just to have witnessed a live presentation of such a magnificent work of art, like a special visit from an old friend.  Adam acknowledged the completion of KOTWF and thanked the NYC crowd.  The audience was then treated to a set list of Ant classics, starting with the fever-paced “Beat My Guest.”  There were several other standout moments of the show including performances of such songs as “Stand and Deliver”, “Goody Two Shoes” and “Prince Charming.”  Adam took a moment a few songs before the end of the main set to introduce the band.  Andy Woodard and an eclectic beauty that simply goes by the name of Jola were the two responsible for holding down the drumming duties.  The pair has been a part of the Ant posse for many years and countless tours and provide the powerful rhythm that is easily attributed to Antmusic.  Joe Holweger, also an Ant posse mainstay, executed his bass duties with the usual flair expected of an Ant warrior.  Will Crewdson, lead guitarist, more than amply handled his responsibilities with added nuance and his own aggressive style.

The encore slot of the show featured a trio of songs which wonderfully capped a magical musical adventure.  “Red Scab” was the first, an epic early Ants B-side, driven by the grinding guitar distortion of both Crewdson and Adam himself.  The second encore was “Get It On (Bang A Gong)”, the T. Rex hit, and the only cover song in the entire set.  The final song, as always, was the deeply sexual “Physical (You’re So).  One of the highlights of the entire Ant repertoire, the song was featured on the U.S. version of the Kings of the Wild Frontier album.  Musically, the song ebbs and flows, opening sonic windows through which Will Crewdson was able to crawl through with distorted abandon.

The NYC crowd was left used and abused and drenched with the sweat and love that almost 40 years worth of Antmusic provides.  Adam Ant, at 62 years of age, provided a sexually charged performance that was so overly and physically demanding it would exhaust a man half his age.  Proof in the pudding that the faithful that were in attendance were rewarded with a performance they’d not soon forget.  The Kings of the Wild Frontier tour was not originally scheduled to end its run in New York City but it just happened that way.  Fate decided that England’s greatest pop star should complete the celebration of his greatest album in the greatest city on Earth.

The post Adam Ant Makes NYC Triumphant Return at Webster Hall In Celebration of ‘Kings of the Wild Frontier’ (SHOW REVIEW) appeared first on Glide Magazine.


ALBUM PREMIERE: Nothing Is Off Limits With DEDSA’s ‘Salmon Velocity’

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Nashville’s DEDSA wields psych-rock like a flaming sword to illuminate sci-fi tales of love and medieval debauchery. The band’s debut full length, Salmon Velocity, melds electronic music, psychedelia, metal and shoegaze into a powerful musical elixir. The project is an unholy pact between drummer Grant Bramlett, bassist/keyboardist Ben Carreon, guitarist/vocalist Stephen DeWitt, and keyboardist Robbie Ward.

“Nothing is off limits if it sounds like fun,” says the band, “we’ll try anything once in a song.” That mentality arises throughout the album as the listener delves into vintage Japanese electronic music, Mellotron tones, harpsichords, swerving guitar effects and more.

Salmon Velocity is a tome of dichotomy. It whips from cinematic grandeur to pure rock ‘n’ roll nonsense. Lyrics contrast utter hopelessness with complete elation. Those elements are captured visually in the band’s hand drawn and animated “Annihilation” video by keyboardist Robbie Ward. “Robbie aimed to create a dual feeling of dread/anticipation and a calm acceptance of fate or destiny,” says the band. ”The imagery strives to strike a balance between beauty and the grotesque.”

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Glide Magazine is proud to ‘Salmon Velocity’ in its entirety (below), a riveting ride that for provides the listener a complete listening experience with zero filler. Psych rock molding into thoughtful orchestrations that range the gamut of emotions is pure musical elation, combining the adventure with a mix of electronica and organic workmanship that rivals few.

“We wrote a lot of songs for the Salmon Velocity sessions, but about halfway through I felt a theme emerging that seemed to make sense with the album title, (which we’ve actually had picked out for years now) and I picked and steered the rest of the songs toward that direction,” says DeWitt. “It’s roughly about navigating troubling modern relationships, personal psychological roadblocks and the disillusionment central to the spectacle of the internet age. There is a narrative arc of crisis and self-discovery, ending with a tone of freedom, hope and actualization of one’s dreams. It was cathartic for me personally to make and I hope it inspires those facing their own trials to see them as an avenue to self-improvement and greater perspective on this crazy ride we call life. I’d also like to say working with such fine musicians and co-producers as my fellow members of DEDSA has been the pleasure of a lifetime. Enjoy!”

The post ALBUM PREMIERE: Nothing Is Off Limits With DEDSA’s ‘Salmon Velocity’ appeared first on Glide Magazine.

John Moreland Releasing Fourth Solo LP ‘Big Bad Luv’ May 5th

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John Moreland will release his fourth solo album Big Bad Luv on May 5th via 4AD.  Big Bad Luv marks a change in Moreland’s sound and outlook on life. With lyrics that are as intense and unfiltered as on his earlier work, Moreland delves into finding peace within. He also branches out sonically on the new album, which is injected with a heavier dose of rock ‘n’ roll in comparison to the tone of his previous recordings.

In early 2016, Moreland made his national television debut with an unprecedented booking on The Late Show with Stephen Colbert. Check below to watch Moreland’s compelling performance in which he received an enthusiastic and rare late-night standing ovation.

Moreland’s 2015 release High On Tulsa Heat was embraced by the press, receiving accolades from outlets including NPR MusicPitchforkRolling Stone Country and American Songwriter who wrote “Lines like that ought to make even the surliest barflies put down their drinks and listen. And if they don’t feel it, it’s time to call a cab. Or rehab.”  Moreland capped off his banner year with a nomination for Emerging Artist Of The Year from the Americana Music Association.

The beauty in John Moreland’s writing is his ability to make the listener feel, and according to Moreland, he’s used his songwriting as a way to exorcise negative feelings and move on.  His therapy is the listeners gain, as Big Bad Luv has an uplifting yet still emotionally dark tone. “Ain’t We Gold” speaks to reveling in your own little piece of happiness despite what’s going on in the outside world, and the contemplative “It Don’t Suit Me (Like Before)” embodies Moreland’s change in attitude.

Big Bad Luv was recorded at Fellowship Fall Sound in Little Rock, AR (a step up from his parent’s house) produced by Moreland and mixed by Tchad Blake (The Black Keys, Tom Waits, Sheryl Crow). The brutal honesty of John Moreland’s singing and songwriting has touched listeners across the country. He silences rooms from dive bars to more recently the historic Ryman Auditorium stage. The simple and eloquent way that he’s able to speak about life rings as true as ever.

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Film Bits: Academy Awards Night

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The Academy Gets it Right, Despite Initial Flub

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What an end to awards season. The slow and steady march through the critics and guild awards led us to this moment, commonly known as Hollywood’s Biggest Night, with all the cinematic achievements of last year being celebrated on stage. This year’s Academy Awards was momentous, full of heartbreak and celebration, joy and despair. For more reason than one, this is an Oscar night to remember.

The narrative all season was La La Land vs Moonlight, and it played out as expected in last night’s broadcast, with the films going head to head in several major categories. What was thought to be a potentially big night for Damien Chazelle’s musical throwback ended up being just a decent run of Oscars. La La Land won 6 of its nominated 14 awards, including Best Original Screenplay, Best Director, Best Actress, Best Song, and Best Score. Moonlight, meanwhile, took home Best Adapted Screenplay and Best Supporting Actor before the big showdown for Best Picture.

Thanks to a monumental mistake on the part of PricewaterhouseCoopers, Warren Beatty and Faye Dunaway accidentally announced the wrong winner for Best Picture. Producers for La La Land were midspeech before producer Jordan Horowitz announced that Moonlight had actually won the award, a moment that will no doubt go down as one of the most memorable live TV mistakes of all time.

As awkward as the moment was—and no doubt heartbreaking for the La La Land team—it’s hard to deny that the right movie got its due. Moonlight was one of the most emotional films in recent years, transcending cinema to become a work of art unlike anything we’ve ever seen at the movies. It may have been a stunning moment of television, but it was a historic moment for movies as the first LGBT themed film took home to top honors. Moonlight also has the distinction of being one of the few entirely black cast films ever made.

That aside, it was a more or less standard night at the Oscars, a few minor upsets aside. Casey Affleck won Best Actor for Manchester By the Sea, edging out Denzel Washington for Fences—an especially odd win considering the allegations of sexual harassment Affleck is currently facing and the raw power of Washington’s performance. Viola Davis is one step closer to an EGOT (Emmy, Grammy, Oscar, and Tony) with her Best Supporting Actress win for Fences; and host Jimmy Kimmel and Matt Damon continued their long standing friendly feud, with the host taking jab after jab at the actor throughout the night.

Kimmel did a fair job as host this year, though the show did rely a bit too much on cutesy bits when it could have benefited greatly from just speeding things along. (A quick thought for producers: you wouldn’t need cute bits like dropping snacks from the ceiling or ordering pizza if the show didn’t run so long thanks to cute bits like dropping snacks from the ceiling and ordering pizza.) An interlude where folks on a Hollywood tour were secretly brought into the theater for a front row tour of Hollywood turned awkward when Kimmel made fun of someone’s name, but who can forget Denzel “marrying” an engaged couple in front of Hollywood, America, and the world?

Like any broadcast, there were ups and downs. When it was all said and done, however, it was still a magical evening and wonderful celebration of 2016 cinema. For the full list of winners, see below.

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Best Picture: Moonlight

Actor: Casey Affleck, Manchester by the Sea

Actress: Emma Stone, La La Land

Supporting Actor: Mahershala Ali, Moonlight

Supporting Actress: Viola Davis, Fences

Animated Feature: Zootopia

Cinematography: La La Land

Costume Design: Fantastic Beasts and Where to Find Them

Direction: Damien Chazelle, La La Land

Documentary Feature: O.J.: Made in America

Documentary Short: The White Helmets

Film Editing: Hacksaw Ridge

Foreign Language Film: The Salesman

Makeup and Hairstyling: Suicide Squad

Score: La La Land

Song: “City of Stars” from La La Land

Production Design: La La Land

Animated Short: Piper

Live Action Short: Sing

Sound Editing: Arrival

Sound Mixing: Hacksaw Ridge

Visual Effects: The Jungle Book

Adapted Screenplay: Moonlight

Original Screenplay: Manchester by the Sea

‘Get Out’ Gets Audiences In

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Jordan Peel’s directorial debut won the box office this weekend with a cool $30 million take, dominating the competition and knocking The Lego Batman Movie down to second place with $19 million. John Wick Chapter 2, meanwhile, rose to third place with $9 million. The Great Wall failed to impress audiences once more, but still retained a seat in the top five with $8.7 million, while Fifty Shades Darker rounded out the top of the list by coming in fifth with $7.7 million. See below for the full top ten.

  1. Get Out-$30 million
  2. The Lego Batman Movie-$19 million
  3. John Wick: Chapter Two-$9 million
  4. The Great Wall-$8.7 million
  5. Fifty Shades Darker-$7.7 million
  6. Fist Fight-$6.3 million
  7. Hidden Figures-$5.8 million
  8. La La Land-$4.6 million
  9. Split-$4.1 million
  10. Lion-$3.8 million

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‘The Walking Dead’ Finally Gives Us The Eugene Episode No One Asked For

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“Hostiles and Calamities”

Last fall, after the dreary, nihilistic premiere of The Walking Dead’s seventh season, the overly-indulgent fictional episode was followed by an overly-indulgent talk show (better known as Talking Dead) paraded the cast on stage to expound at lengths that the deaths of Glenn (Steven Yeun) and Abraham (Michael Cudlitz) would leave a meteoric impact on the future of the show for seasons to come. Since then, outside of a throwaway scene where Maggie (Lauren Cohan) and Sasha (Sonequa Martin) tend to their graves at the Hilltop, there’s been little mention of either character, their respective deaths, or (most importantly), what these deaths have driven the remaining characters to do.

While last night’s episode, “Hostiles and Calamties” was a marginal improvement over what’s been offered up this season, it certainly doesn’t buck the trend of continuing to shrug off major character deaths.

The focus this week is Eugene (Josh McDermitt), a character whose utter uselessness was only recently ended by the revelation that he’s able to make bullets — which he does. Almost.

That is to say: so far he’s made exactly one bullet, a request he was bullied into by Rosita (Christian Serratos), who did so while reminding him of said uselessness. A mullet-sporting, cargo shorts-wearing gamer whose skills have almost no discernible use for life in the apocalypse, save for his ability to lie, a skill that has allowed him to survive thus far and, as of last night, looks like it’ll be keeping him around a little while longer.

When Rosita’s petulant assassination attempt against Negan (Jeffrey Dean Morgan) fails — because, again, one bullet — Eugene finds himself a captive of The Saviors. Although unlike Daryl (Norman Reedus), Eugene is welcomed like one of the family, and develops an immediate case of Stockholm Syndrome. He gets to hang out in his room, play Yar’s Revenge, (okay, so it’s not all bad) and explain the intricacies of the plot to Negan’s harem, who also happen to be perpetually clad in cocktail dresses.

Throughout all this, Eugene does manage to put some perspective on things, mentioning Glenn and Abraham only in passing before going on about the 30 or so Saviors that the Ricktatorship wiped out last season. What’s striking though is how quick Eugene is to write off any emotional impact of their death, particularly given how Abraham was central to him being alive at all.

It could be another ploy on Eugene’s part, something akin to his fable about needing to travel to Washington DC to complete his work and end the zombie apocalypse. It could also be that Eugene, who’s weak-minded to the point he has to be condescending about his intelligence, would rather be on the side that’s inflicting the violence rather than receiving it. Perhaps life with The Saviors will afford him the kind of comfortable withdrawal from his reality, letting him reframe the end of the world with the same kind of comfort he derives from video games.

Of course, the episode also mercifully breaks away from the Eugene story for a bit so we can learn more about Dwight (Austin Amelio), Negan’s one-time most loyal henchman who’s been coming under fire lately for questionable decisions and the sudden absence of both Daryl and his ex-wife, now part of the Negan harem.

The scenes with him were brief, but poignant, and it showed a broken down glimpse into what the apocalypse has done to one couple’s once-happy life together. It’s still one of The Walking Dead’s most unique narrative tools, and showed some real insight into Dwight’s character, even packing a bit of an emotional reaction to boot.

It was almost enough to forgive the egregious use of a They Might Be Giants song during the end segment (just… why?), but not quite.

The post ‘The Walking Dead’ Finally Gives Us The Eugene Episode No One Asked For appeared first on Glide Magazine.

Ween Hitting East Coast and Pacific Northwest For 2017 Summer Tour

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Following a previously announced date at Red Rocks on July 12th and at the High Sierra Music Festival the weekend of June 29-July 2, Ween has announced ten new shows this summer. Things kick off with a night Royal Oak, Michigan at the Royal Oak Music Theater on June 2nd, head to the east coast then out to the Pacific Northwest including a rare stop in Missoule, MT. Although Deen Ween released a stellar new studio album in late 2016, there is no new work yet on when Gean and Dean will return to the studio. A full list of the new tour dates are below..

A pre-sale for tickets begin Tuesday, February 28 at 10 a.m. local venue time [Password: mollusk]. Regular tickets on sale begins this Friday, March 3 at 10 a.m. local venue time. Check out Ween  a couple weeks ago in Vegas the Brooklyn Bowl (below)…..

New Tour Dates

Fri. 6/2 Royal Oak, MI Royal Oak Music Theater
Sun. 6/4 Baltimore, MD Pier Six Pavilion
Tue. 6/6 Brooklyn, NY Brooklyn Steel
Wed. 6/7 Brooklyn, NY Brooklyn Steel
Fri. 6/9 Cooperstown, NY Ommegang Brewery
Sat. 6/10 Portland, ME Thompson’s Point
Sun. 6/11 Boston, MA Blue Hills Bank Pavilion
Sat. 7/1 Bend, OR Les Schwab Amphitheater
Sun. 7/2 Seattle, WA Marymoor Park
Sun. 7/16 Missoula, MT Kettlehouse Field

The post Ween Hitting East Coast and Pacific Northwest For 2017 Summer Tour appeared first on Glide Magazine.

Dead Winter Carpenters and Cosmic Twang Keep The Jams Going and Spirits High in Portland (SHOW REVIEW/PHOTOS)

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Portland’s intimate Doug Fir Lounge was the site of a good-natured showdown between two hugely talented acts on Saturday night. Beloved local picker Scott Law brought his Cosmic Twang project to the stage and split the bill with California Americana group the Dead Winter Carpenters. Both acts played full sets, keeping the sold out audience dancing for three solid hours.

Scott Law stays involved in a seemingly constant stream of projects and sit-ins with other bands. At the core of all this is his considerable skill as a guitarist, and the guitar is definitely the center of his Cosmic Twang project with fellow axman Ross James. Onstage it was clear these two share a sort of guitar bro-mance, and a deep love of the Grateful Dead, whose songs made up much of their set. The quartet kicked off their set with a haze of tuning before jumping into a choogling take on “Sittin’ On Top of the World”. There was plenty of jamming to be savored, but as the name suggests, there is a distinctive country element to Cosmic Twang. “New Minglewood Blues” found the band giving the song an outlaw country sound while James sang in a gravelly and remarkably on-point Bob Weir voice.

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The group kept the groove chugging along for the entire ninety-minute set, and even when Law and James drifted into space, the train never derailed. Their colorful take on Merle Haggard’s “Living With the Shades Pulled Down” included a “Rocky Top” tease and at other points Law transformed the band into his own psychedelic gang of Buckaroos. Two of the highlights came towards the end of the set, the first being when drummer Alex Koford led the band through a monstrous take on Traffic’s “Light Up or Leave Me Alone”, which saw Law and James topping one another with epic solos. By the time the group sliced into the always appropriate “The Music Never Stopped”, the venue erupted into an all-out dance party.

The party would continue the rambunctious hoedown of the Dead Winter Carpenters’ set. Their heady brew of Americana, bluegrass, country, and California roots rock give the Carpenters a sound that is completely their own. The fact that four out of the five members are talented singers and all of them damn fine players meant that there was never a dull moment. Fiddle player Jenni Charles held a warm presence and played strong despite having sliced her finger earlier in the day. The upright bass playing of Dave Lockhart kept things upbeat and bouncy, while guitarist Nick Swimley injected the perfect amount of twang into each tune. At times the group’s sound brought to mind the fiery progressive bluegrass of Cornmeal while at others they leaned more towards the alt-country stylings of the Jayhawks. Much of the set focused on the group’s new album Washoe, and those songs went over well. Of course, the biggest response came from covers, like playing the “Shakedown Street” intro and segueing into a rambling country tune, and a rocking take on the White Stripes’ “Dead Leaves and the Dirty Ground”.

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The show reached a climactic end when the members of Cosmic Twang joined the Carpenters for an impromptu group hoot that saw everyone on stage taking impressive solos during their cover of the Grateful Dead’s “Goin’ Down the Road Feeling Bad”. Seeing the kinship and chemistry between all of these talented musicians only spurred the crowd to dance and smile more, bringing the night to a blissful conclusion.

 

Photos by Greg Homolka.

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Old 97′s Deliver Rowdy Rock On ‘Graveyard Whistling’ (ALBUM REVIEW)

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old97sgraveyardOld 97s are returning to their roots…sort of. Their new record Graveyard Whistling was recorded in the same studio in West Texas as their now 20-year old release Too Far to Care. And though they’ve come a long way since, they’re one of the most consistent bands of the last two decades. 2014’s Most Messed Up was proof that they haven’t lost their gusto and that frontman Rhett Miller still has plenty to say as a songwriter. It was a rowdy retrospective of the ups and downs of being a touring band that’s been around forever and has a bottomless well of history. Graveyard Whistling is the unpretentious, deep breath follow-up that is anything but a relaxing, post-tour coast. It’s rambunctious, loud rock and roll and it is just what the doctor ordered.

There are few songwriters who can pen a drinking song like Rhett Miller, and there are a handful on Graveyard Whistling to which you can toast. “Irish Whiskey Pretty Girls” may be a bit clichéd, but it’s a joyous hoe-down of a party song about the real weaker sex – men. “Thank God for Irish whiskey/Thank the devil for pretty girls,” Miller growls in the opening lines alongside some hearty fiddle playing. It might not be the band’s most profound tune, but it’s a bunch of easy fun and it will no doubt garner many a sing-a-long at their live shows. “Drinkin’ Song” is a heavy head-banger about soothing thyself after a shitty day with a drink. It finds the band throwing a little punk rock into their usual alt-country cocktail, and it has the album’s most head spinning guitar.

Graveyard Whistling isn’t all about imbibing, though. Miller mines deeper territory with “I Don’t Wanna Die in This Town”, a frantic plea to get the hell out of a stifling place, and “All Who Wander” is a steel guitar-spiked swoon about losing yourself and, again, trying to find a way out. But the true gem of  is the album’s finale “Those Were the Days”. A nostalgic look at being young and carefree, it feels signature Old 97s, with vivid storytelling and humor. It is why we will always come back to them, even for another 20 years.

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Run The Jewels Get All Fierce & Political In Boston (SHOW REVIEW/PHOTOS)

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Run The Jewels’ sold out set at Boston’s House of Blues was an hour long battle cry against The Orange Menace occupying 1600 Pennsylvania Avenue and laid clear their bona fides as the most important Rap Duo of 2017. El-P and Killer Mike released RTJ3 weeks after the election and they brought its sense of foreboding and anxiety into the live setting while simultaneously giving their fans a dose of hope.

The political themes in their music aren’t forced down their audiences throat but when EL-P rhymes, “Do you think baby Jesus killed Hitler just so I’d whisper?” it’s almost impossible to ignore their position on the ethnic violence inherent in our nation’s history and the paradox we face when factoring in a founding document that places the freedom of expression above all others.

A big part of RTJ’s appeal is their ability to juggle a fierce political message with the party vibes that come from rapping about smoking weed and getting laid. Killer Mike won some serious brownie points when he told his crowd, “Y’all whooped our ass in the Super Bowl, but y’all ain’t never been to an Atlanta Strip Club, that’s how you should be celebrating your championship.” Mike commented a few times that he was high out of his mind and that the weed we have in the Bay State was top shelf. “This must be what Tom Brady was smoking during the second half,” Mike joked.

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While their music is sexually graphic, it’s not misogynistic and has a politically progressive bent. EL-P reminded his audience to give the women in the crowd their space (not the easiest request in a venue crammed full of 2,600 folks) and to remain respectful at all times (a request that should always come naturally).

The content of their between-song banter certainly played a part in the vibe they established but more than anything, the backbone of an RTJ set comes from the seamless chemistry between Killer Mike and EL-P that was constantly on display. Although they took turns on verses, there was an old school showmanship inherent in their stage chemistry that projects an aura of telepathy that gives the act a linguistic fluidity championed by old school hip hop crews like De La Soul but has been lacking from a modern rap game where art tends to takes a back seat to ego.

Run The Jewels was introduced at Coachella by Bernie Sanders while he was still in the midst of a primary battle with Hillary Clinton and the role Killer Mike has played as an unofficial ambassador of the Black Lives Matter movement further establishes Run The Jewels as the preferred rap group of the political left. Given the progressive makeup of their fanbase, it’s more than fair to suggest they’re touring behind a new record during a dark and demoralizing moment in American history where uncertainty is the only institutional norm. RTJ brought their faithful together for a night of joyful catharsis that isn’t going to reverse any court orders but reinforced the power in numbers and the hope which that power provides.

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VIDEO PREMIERE: Sallie Ford Creates Colorful Retro Palette On “Get Out”

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Portland, OR based Sallie Ford released her second solo LP Soul Sick on February 10th, which is comprised of doo-wop harmonies, slippery British invasion keyboards, and crunchy, fuzzed-out guitars that back her distinctive howl and surround her at once intimate and confrontational musings on love, depression, and fear. According to Sallie, “This is a ‘confessional’ album.  It’s about struggling with my issues – some that I’ve overcome and some that I still carry around. I felt confused, down about life and unsure of myself,” says Ford on her forthcoming full-length release. “On these new songs, it felt good to write on one theme and from one place.  All in all, Soul Sick has taught me a lot about myself and helped me to heal.”

Ford has already earned steady accolades for Soul Sick which showcases her skills as a versatile songwriter that effortlessly conquers genres from decades past including garage rock, grunge, and folk. Where Courtney Barnett recently captured our attention with colorful lyrics, 90′s guitar and hummable harmonies; Ford takes it up a step and combines soulful organ, frantic backbeats, surf guitars and psychedelic flourishes.

Glide Magazine is thrilled to premiere the video for “Get Out” (below) which captures Ford in vintage essence rocking out in a colorful collage of plastic cups, musician puppets and of course her agile vocals and guitar: think Booker T and the M.G.’s meets Angel Olsen.

“I asked my friends Matthew Morgan and Arturo Martinini to make a music video involving puppets! They already had puppets known as “The Mitten People” who they hired to be my back up band in the video, “says Ford. “Also involved in the making was amazing artist Catherine Lazar Odell (who made props and background images) and cinematographer Kevin Freeny. “What came out of the collaboration was a mashup inspired by Sesame Street’s “Teeny Little Super Guy” and cheesy 60′s psychedelic music videos.”

North American Tour Dates
4/6/17 Minneapolis, MN 7th St Entry
4/7/17 Chicago, IL Schubas
4/8/17 Ferndale, MI The Loving Touch
4/9/17 Toronto, ON Horseshoe Tavern
4/11/17 Allston, MA Great Scott
4/12/17 Brooklyn, NY The Bell House
4/13/17 Philadelphia, PA Johnny Brenda’s
4/14/17 Washington, DC DC9
4/15/17 Charlottesville, VA The Southern
4/17/17 Carrboro, NC Cat’s Cradle – Backroom
4/18/17 Atlanta, GA Vinyl
4/19/17 Nashville, TN The Basement
4/21/17 Houston, TX White Oak Music Hall
4/22/17 Dallas, TX Three Link
4/23/17 Austin, TX Stubb’s (indoor)
4/25/17 Albuquerque, NM Low Spirits
4/26/17 Phoenix, AZ Valley Bar
4/28/17 San Diego, CA The Casbah
4/29/17 Los Angeles, CA Bootleg Theater
4/30/17 Oakland, CA Starline Social Club
6/1/17-6/4/17 Nelsonville, OH Nelsonville Music Festival

European Tour Dates
3/1/17 Copenhagen, DE HUSET KBH
3/2/17 Hamburg, Germany Salon
3/3/17 Dresden, Germany Beatpol
3/4/17 Berlin, Germany Badehaus
3/5/17 Munich, Germany Sunny Red
3/9/17 Tourcoing, France Le Grand Mix
3/10/17 Marcoussis, France Festival Elfondurock
3/11/17 Creil, France La Grange a’ Musique
3/12/17 Utrecht, NL EKKO
3/13/17 Tilburg, NL EXTASE
3/14/17 Paris, France Point Ephémère
3/16/17 Saint Nazaire, France LE VIP
3/17/17 Parthenay, France Le Diff’Art
3/18/17 Bordeaux, France lboat
3/19/17 Toulouse, France Connexion Live
3/24/17 Marseille, France Molotov
3/25/17 Macon, France La Cave à Musique

The post VIDEO PREMIERE: Sallie Ford Creates Colorful Retro Palette On “Get Out” appeared first on Glide Magazine.

Film Bits: Netflix Releases Two Stunning Trailers with ‘Five Came Back’ and ‘Bright’

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‘Five Came Back’ Trailer Showcases Sacrifices of Hollywood Legends

five came back

Netflix continues its slow and steady coup against Hollywood with the first trailer for Five Came Back. Based on the book Five Came Back: A Story of Hollywood and the Second World War by Mark Harris, the three part documentary series explores the stories of five filmmakers—William Wyler, George Stevens, John Ford, Frank Capra, and John Houston—who left their lives to serve their country and who came back to tell the story through film. The series is narrated by Meryl Streep and features interviews with some of the top filmmakers of today, including Steven Spielberg, Guillermo del Toro, Francis Ford Coppola, and Lawrence Kasdan. Additionally, the documentaries discussed in the series will also be made available on the streaming service. Five Came Back premieres March 31 on Netflix.

(Netflix)

First ‘Bright’ Teaser Shows Proof of Concept

bright

Netflix also dropped the first teaser trailer for David Ayer’s (Suicide Squad, Fury) next film, Bright. Starring Will Smith (Concussion), Noomi Rapace (Prometheus), and Joel Edgerton (Loving), the film combines elements of high fantasy and urban realism to tell a tale of heroes and magic like you’ve never seen it. Smith plays a human cop forced to work with an orc to find a sword with a mystical power. Coming from the mind of screenwriter Max Landis, this has all the makings of being an interesting genre deconstruction. The trailer doesn’t reveal much but as a proof of concept, it works. I’m sure we’ll see more between now and it’s December release, so stay tuned for that.

(Neflix)

‘Godzilla: King of Monsters’ Adds to Cast

godzilla

It’s full speed ahead of Legendary’s monster universe. Kong: Skull Island is slated for release in just a few weeks and already plans are in the works for the next monster entry, Godzilla: King of Monsters. A sequel to 2014’s Godzilla from director Gareth Edwards (Rogue One), the latest film will be overseen by director Michael Dougherty (Krampus) who also co-wrote the script with Zach Shields. Millie Bobbie Brown (Stranger Things) and Kyle Chandler (Bloodline) had previously been cast in the film, and they’re now joined by Vera Farmiga (Bates Motel). The three will reported play a family, though little else is known. As of now, the only star likely to appear from the original film is Ken Watanabe. Slated for release on March 22, 2019, the hope is bring Kong and Godzilla together in an epic cinematic battle sometime on May 29, 2020.

(Variety)

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Angélique Kidjo Takes On Talking Heads ‘Remain In Light’

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Angélique Kidjo has announced plans for an unprecedented full-length live performance of Talking Heads’ Remain In Light, set for May 5th at New York City’s historic Carnegie Hall/Isaac Stern Hall. The three-time GRAMMY® Award-winning singer-songwriter and her band will present her thrilling new vision of the landmark album, complete with powerful new arrangements and a series of special surprise guests. Tickets for “Angélique Kidjo’s Remain In Light” are on sale now via carnegiehall.org.

The Carnegie Hall world premiere of “Angélique Kidjo’s Remain In Light” will be followed by further performances at concert halls, theatres, and festivals around the globe, including Manchester, TN’s Bonnaroo Music & Arts Festival, slated for June 8th – 11th. Kidjo’s full-length reimagining of Remain In Light will be released at a later date to be announced. For updates, please see www.kidjo.com.

Released October 8th, 1980, Talking Heads’ Remain in Light was a revolution of pop music innovation, pushing sonic boundaries with sampled and looped grooves inspired by legendary Nigerian Afrobeat pioneer Fela Kuti. Songs like “Crosseyed and Painless”, “Once in a Lifetime,” and “Born Under Punches (The Heat Goes On)” saw Talking Heads and producer Brian Eno experimented with African polyrhythms while simultaneously drawing lyrical inspiration from African academic literature. Certified gold by the RIAA and consistently ranked among the most important and influential albums of all time, Remain In Light remains an eternal milestone, its brave vision and extraordinary power still as daring and innovative as ever before.

“The first time I came to New York to sing,” Kidjo says, “at SOBs on October 2nd 1992, David Byrne came to the show – the first American artist to do so – and we met afterwards. Not long before, Talking Heads had recorded an album with some of my African musician friends in Paris. I discovered their music at that time and fell in love with Remain In Light. Later on, I learned the album was influenced by John Miller Chernoff’s book, African Rhythm and African Sensibility. Talking Heads and Brian Eno understood the magical power of African music but instead of trying to clone it, they created their own style based on the hypnotic rhythm patterns of Fela’s Afrobeat. The cryptic lyrics also resonated with me. Somehow I felt I was hearing, in a strange way, social commentaries on the state of my continent.

“Many years later when I moved to New York, I would have the chance to cross paths and sing with David Byrne as well as work with the late Bernie Worrell, who collaborated with Talking Heads on their amazing Stop Making Sense concert. I have always loved recreating songs that have influenced me, like Gershwin’s ‘Summertime’ or Ravel’s ‘Bolero.’ As Remain In Light was influenced by the music of my continent, I want to pay back the homage and create my own African take on Talking Heads songs. We all know that rock music came from the blues and thus from Africa. Now is the time to bring rock back to Africa, connect our minds and bring all our sounds to a new level of sharing and understanding.”

 

 

 

The post Angélique Kidjo Takes On Talking Heads ‘Remain In Light’ appeared first on Glide Magazine.

The Last Waltz 40 Tour Continues With Dr. John Aboard

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Due to overwhelming demand on the first leg of The Last Waltz 40 Tour: A Celebration of the 40th Anniversary of The Last Waltz, Blackbird Presents is proud to announce additional tour dates beginning on March 30, 2017 at the Verizon Theatre in Dallas, Texas and running across multiple U.S. cities throughout the month of April. A full list of tour dates and venues is listed below. Tickets for all shows go on sale March 3, 2017 at 10:00 A.M. EST at http://lastwaltz40tour.com

The Last Waltz 40 Tour, created by Keith Wortman and led by GRAMMY® Award-winning guitar legend and vocalist Warren Haynes and GRAMMY® Award-winning producer/musician Don Was, has been met with critical praise and warm reception from audiences across the country who have been thrilled night after night by the amazing music of The Band showcased in a unique light.  The additional dates will also include Rock & Roll Hall of Fame inductee and GRAMMY® Award-winner Dr. John, Jamey Johnson, Terence Higgins, Danny Louis, an all-star horn section led by Mark Mullins featuring the original horn arrangements of Allen Toussaint, and very special guests Cyril Neville, Dave Malone, and Bob Margolin. Other very special guests to be announced.

“You soon knew that [The Band’s] legacy would be well feted. Earplugs were required — for the crowd, not the band,” wrote the Huffington Post in its review of the show at the Orpheum in Boston, Massachusetts. “The roar from the audience, which remained standing throughout the show, eclipsed even the occasional eerily screeching synth segments, and the unworldly bleats often coming out of the horns.”

“Whenever you’re doing someone else’s music, you’re paying respect and bringing the deepest parts of your own personality to bear. And you hope for surprises,” says Haynes in an article published by the Philadelphia Inquirer. “These songs – so deeply ingrained in the zeitgeist of who we are in this country – hearing them now is like finding a rare jewel.”

“People love these songs and they’ve become a part of the emotional zeitgeist of country. And unlike the Rolling Stones, the Beatles, Bob Dylan, the Beach Boys or Pink Floyd songs, there’s nobody that’s playing this stuff for folks. You can’t really go to a concert and hear anyone playing The Band’s songs,” says Don Was.

The Last Waltz 40 Tour Dates

Thursday, March 30, 2017     Dallas, Texas             Verizon Theatre At Grand Prairie
Friday, March 31, 2017        Houston, Texas            Revention Music Center
Saturday, April 1, 2017        Austin, Texas                Bass Concert Hall
Sunday, April 2, 2017        San Antonio, Texas         The Tobin Center For The Performing Arts
Friday, April 7, 2017        Detroit, Michigan                Fox Theatre
Saturday, April 8, 2017        Louisville, Kentucky       The Louisville Palace
Sunday, April 9, 2017        Chicago, Illinois               Chicago Theater
Thursday, April 13, 2017        Los Angeles, CA         Orpheum Theatre
Friday, April 14, 2017          Valley Center, CA            Harrah’s Resort Southern California
Saturday, April 15, 2017        San Francisco, CA       The Masonic

About Blackbird Presents

The post The Last Waltz 40 Tour Continues With Dr. John Aboard appeared first on Glide Magazine.

Japandroids & Craig Finn Converge at Terminal 5 (SHOW REVIEW)

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On a February night that shockingly felt like springtime in New York City on February 23rd,  two rock and roll acts pulled into the west side of Manhattan. With their recent release Near To The Wild Heart Of Life the Japandroids booked their largest venue to date in New York and while Terminal 5 was not sold out, it was buzzing early.

Part of that could have been the opening act as Craig Finn took the stage with his backing band The Uptown Controllers. The Brooklyn-based Finn thanked the crowd for joining them to open the evening and they did so with “Apollo Bay” featuring a noise rock ending that melted into a huge drum intro for “Maggie I’ve Been Searching For Our Son”. Finn will be releasing a new album in a month titled We All Want The Same Thing and from it he played “Preludes”, which had an 80’s new wave vibe, as well as “Be Honest” which is a perfect vehicle for Finn’s amazing lyrical work.

“Newmyer’s Roof” was dedicated to all the fans who have been in this town for the last sixteen years while the forty minute opening set ended with “Trapper Avenue” as backing vocals substituted for horns. While it was disappointing that no Hold Steady songs popped up, the solo show focus of Finn was a great start to the night.

The duo from Vancouver, CA were up next and the two piece started off soaring with the title track of their newest release. The riffs from Brian King and the powerhouse drums of David Prowse filled up the venue as the opening run of songs “Adrenaline Nightshift” and “Fire’s Highway” cooked. The band’s newer tunes like “North South East West” and “No Known Drink or Drug” were warmly received but fans were there for the numbers they have lived with and loved over the last eight plus years that the band has been on the scene.

For a headlining live-set the group has an interesting dilemma as all three of their albums are short eight-song bursts of raucous rock tunes that don’t lend well to the ebbs and flows of an hour and a half run.

The older songs such as “I Quit Girls” and “Wet Hair” acted as pauses in the action while the Tom Petty pumping of “Evil Sway” the energetic “Younger Us” and the slamming “The Nights of Wine and Roses” managed to work the crowd into a pumping frenzy causing mini pits and crowd surfing galore. The band’s best tune “The House That Heaven Built” seemed to end their set as the sweat poured off the duo, but they still had some energy left to bring out Finn for a punk rock cover of The Saints “(I’m) Stranded” which ended the whole shebang on a scorching high note for all parties involved.

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SONG PREMIERE: The Cuckoos Channel Fuzzy 60′s Psych With “Get It On”

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Imagine The Doors, Joy Division, and Rick James writing songs with Tame Impala and you start to get an idea of the rock and roll magic being conjured by Austin group The Cuckoos. Though their influences are unmistakeable and they are a young band, the band are also carving their own path, hungry to become more than the sum total of the music that has inspired them. The Cuckoos’ rowdy, infectious rock and roll is on full display on their forthcoming self-titled debut EP. On the EP the group channels sounds of psychedelic rock from the 1960s, and recently they’ve started exploring elements of electronics, funk, jazz and blues to create a totally nostalgic and retro vibe, while remaining incredibly fresh and new.

Today Glide Magazine is excited to premiere the new single from The Cuckoos, “Get It On”. Charismatic lead singer Kenneth Frost definitely brings to mind Jim Morrison, but even with the presence of an organ there is a more modern dance groove happening that makes you want to gyrate.

Says Kenneth Frost of the track, “Around the time we wrote this song, we were listening to a lot of 1965-67 era psychedelic albums, like Rubber Soul by The Beatles and The Doors’ debut record. Dave plays a nice fuzz bass over my keybass in the track and also does some really gnarly slide guitar playing. I had my organ hooked to a phaser pedal, and layered my synth over it to make it warble a little more.”

LISTEN:

 

Website: www.thecuckoosaustin.com
Facebook: www.facebook.com/thecuckoosaustin
Twitter: www.twitter.com/TheCuckoosATX
Instagram: www.instagram.com/thecuckoos
Soundcloud: www.soundcloud.com/the-cuckoos

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Devildriver Unleash Set Of Crushing Modern Metal On Austin (SHOW REVIEW)

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Come and Take It Productions continued their fantastic run of booking on Sunday night at Austin’s Grizzly Hall with a hell of a metal lineup spanning generations and genres. Devildriver headlined the affair, but their openers were basically headliners in their own right in the power packed evening.

Winds of Plague’s music, especially on their stellar debut Decimate the Weak, has always been a strange mish mash of deathcore, symphonic metal, straight up thrash, and even hip-hop influences. That set them apart in a set heavy on material from their debut, making them stand out against the backdrop of more traditional metal acts. Their mosh heavy approach showed a band revitalized after a number of years away from the game. Despite having not released a new record since 2013’s Resistance, Winds of Plague still felt vital.

Death Angel, who were strangely second billed despite their status as legends in the thrash metal community, also ripped it up on stage. In a time where contemporaries like Metallica and Megadeth have struggled to rediscover their own roots, Death Angel have stayed true since their formation in 1982. Their performance was so fast and heavy, you’d be hard pressed to guess they’ve been at this about 20 years longer than any other band that performed that night. In particular, lead singer Mark Osegueda didn’t miss a beat on his high notes and screams, when so many of his peers have lost their voices after years of touring.

Devildriver finally rounded out the night with some crushing modern metal. While each band on the bill represented a distinct form of metal and a time period in metal history, each showed why their variety was still important in 2017. Devildriver in particular, born from the ashes of nu metal in a dark period for the genre, showcased why they were hailed as saviors of true metal in the first place. As their setlist jumped around between new and old material, it displayed the band’s personal growth as well as their continued relevance as metal has grown and evolved over the past 15 years since their explosion onto the scene.

Each song felt just as impactful as the next, and made every dramatic mosh section all the more lively. While it’s no mistake that most songs performed came from their self-titled debut and its follow up The Fury of Our Maker’s Hand, the set flowed perfectly into new songs like “Daybreak” from last year’s Trust No One and even a cover of AWOLnation’s club hit “Sail,” reimagined in metal form.

Despite the differences in eras, it’s clear why each band fit on this bill. Each one set out with something to prove about their own continued impact and succeeded with flying colors. These kinds of mixed shows, featuring varieties of metal bands that don’t usually go on tour together, can either fall flat on their face or unite metalheads across generations with each of their unique approaches. This one achieved the latter in perfect fashion.

 

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SONG PREMIERE: Cinema Cinema Unload Sharp-Toothed Punk On “Taxi Driver”

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Cinema Cinema first met Martin Bisi in 2012 amid the aftermath of Hurricane Sandy. Bisi, whose BC Studio was located just a few blocks away from the band’s rehearsal studio, was walking through the streets overwhelmed by the destruction he encountered when he came upon guitarist/vocalist Ev Gold and drummer Paul Claro clearing ruined instruments and amps from the remains of their annihilated practice space. The three immediately struck up a friendship and kept in touch thereafter.

Within days of the disaster, the band experienced an amazing outpouring of support from their friends, fans and fellow musicians who donated money and equipment, bought records and merchandise. This allowed Cinema Cinema to refurbish and replace gear, and — with a few borrowed pieces – start playing live again within two weeks. In 2013, the duo would rebound to perform some 75 shows, including a handful of dates opening for Black Flag, as well as their first European tour, opening for Bisi. Martin had kept in contact post-hurricane and the groups (Bisi has an experimental post-rock band) shared a few bills in Brooklyn which led to the European touring and ultimately to Martin’s producing the band’s 2014 full length, A Night at the Fights.

Cinema Cinema takes its name from a scene contained in the 1992 Belgian film: “C’est Arrive Pres De Chez Vous” aka “Man Bites Dog”. After years of explaining that detail, the duo felt compelled to further affix it to their story by naming the new album after the film. 2016 was spent putting the finishing touches on the LP, returning to the EU for a summer tour of festivals and a playing a handful of East Coast dates in the USA. Ev and Paul will look to couple this release with their customary relentless touring in 2017 to bring MAN BITES DOG all over the world.

The album is out on April 28th and today we are excited to premiere the song “Taxi Driver” right here on Glide Magazine. The song is hard-edged and off the wall with the right amount of intensity to speak to these turbulent times we find ourselves in. 

Guitarist and vocalist Ev Gold:

“When we were invited to open Black Flag’s tour in 2014, it was proposed that we were being considered to also act as the band’s rhythm section, pending other options. Rigorous preparation for that possibility commenced, studying and learning the BF material. Ultimately, it did not come to fruition and we were happily reserved to opening act, the overall experience leaving us with a pool of fresh inspiration to be tapped. ‘Taxi Driver’ was one of the first ideas to spring forth from the influence of that process.”

LISTEN:

Cinema Cinema release Man Bites Dog on April 28th. For more music and info visit cinemacinemaband.com.

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SONG/VIDEO PREMIERE: Hammydown Charms With Ragged & Wry On “People You May Know”

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Hammydown has made your salad and scooped the foam onto your cappuccino. She’s scrubbed your splattered walls and vacuumed the dust from beneath your bed on her hands and knees. She’s delivered your pizza. A boss will say time and time again that it doesn’t cost anything extra to give service with a smile. With her quirky, lyric driven garage pop, Hammydown (aka Abbie Morin) digs at the true price that she and so many people like her have to pay. Gritty guitar, and wry humor capture the plight of the millennial slacker – those who button up and drag their way through the work week, try to pursue creative passions, but still just feel like losers. Based in Northampton, Mass, Hammydown is due to release the debut EP Pizzaface in the spring of 2017.

Glide is thrilled to premiere both the video and song for “People You May Know” (below). With top tone minimalist guitar rock that rides the line between smirky and art punk, Hammydown carries a bravado rarely heard from young bands. There is an explosive urgency ringing from the amps as Hammydown makes each second count, making for a musical Sriracha that never dulls.

 ”‘People You May Know’ is about my agitation with the quality vs. quantity of friendship on social media” says Morin about the track. “People are defaulted into each other’s lives with an algorithm – it takes no effort or words to see how or what that person is doing. I miss having to ask. I’ve bought into the convenience as much as anyone else.”

 

Links:
hammydownmusic.com
hammydown.bandcamp.com
facebook.com/hammydownmusic
instagram.com/hammydown__
twitter.com/hammydownmusic

The post SONG/VIDEO PREMIERE: Hammydown Charms With Ragged & Wry On “People You May Know” appeared first on Glide Magazine.

Pokey LaFarge’s “Manic Revelations” out May 19, Shares First Single “Riot In The Streets”

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Pokey LaFarge’s anticipated new full-length album, Manic Revelations, will be released May 19 on Rounder Records. In advance of the release, the album’s lead track, “Riot In The Streets” recently premiered at KCMP’s The Current and can be heard below.

Of his inspiration behind the song, LaFarge shares:

It is a tough thing to write about, but as a citizen of St. Louis and as an artist, I had to say something. Hopefully this song does more good than bad and, ultimately, gets the dialogue started. Although it’s also important to not forget the peaceful protests and those that spread the message of love in the pursuit of justice and equality, this particular song is about people being marginalized and brought to the brink. It was only a matter of time before they fight back. I hope you feel that tension in the song—even from the first bass click.

Recorded in LaFarge’s hometown of St. Louis, Manic Revelations features 10 new original songs and was produced by the Southside Collective—LaFarge, Joey Glynn (bass), Ryan Koenig (harmonica, guitjo, electric guitar), Adam Hoskins (electric guitar), Matt Meyer (drums, percussion), Luc Klein (trumpet, euphonium, piano, glockenspiel), Alec Spiegelman (saxophone, piano, tubax, organ, clarinet, flute), David Beeman (tambourine, stylophone, guitar, organ)—along with additional production by Tony Hoffer.

“The manic revelation is the state where artists create,” says LaFarge. “I got to the point in writing these songs where I felt like a house on fire that just kept burning.” He continues, “This album is about confronting yourself. It’s about confronting your city, its relation with the world, and all its people.”

The post Pokey LaFarge’s “Manic Revelations” out May 19, Shares First Single “Riot In The Streets” appeared first on Glide Magazine.

Film Bits: ‘Alien: Covenant’ Looks Scary As Hell

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‘Alien: Covenant’ May Just Right ‘Prometheus’ Wrongs

alien covenant

After the disappointing effort of Prometheus, Ridley Scott returns once more to the world of Alien for Alien: Covenant. The second in a planned trilogy of prequel films, Covenant follows a group of colonizers alone on a new planet who discover…well, you’ve seen the originals. From the looks of things, this movie furthers the bridge between Prometheus and the original Alien, and hopefully will expand upon some of the more metaphysical ruminations that made its predecessor so baffling. It would be nice if we got some more explanation, but it’s also nice to see the return of face huggers and xenomorphs as we properly understand them. It’s hard not to get hopes up, but it’s also hard to forget how good Prometheus looked, too. We’ll find out on May 19.

(20th Century Fox)

Final ‘Guardians of the Galaxy vol. 2′ Trailer Released

Baby Groot Guardians of the Galaxy vol 2

The final trailer for Guardians of the Galaxy vol 2 dropped last night on Jimmy Kimmel Live, giving us one final glimpse at the return of Marvel’s most entertaining squad of heroes before its premiere in May. At this point, you already know if you’re in or you’re out, and there’s probably not much here that will convince you either way. Still, there are a few tasty tidbits to be found, including more Baby Groot and our first glimpse at Kurt Russell as Chris Pratt’s long lost father. That should give you plenty to digest before the main course is delivered on May 5.

(Marvel Studios, Jimmy Kimmel Live)

Brad Pitt Leads New Netflix Original

war machine

Netflix lined up some serious talent for their new movie, War Machine. Based on the book, The Operators, by Michael Hastings, War Machine takes a satirical look at the Afghanistan war with a focus on the people running things behind the scenes. Brad Pitt (World War Z) and Tilda Swinton (Doctor Strange) lead the cast of the new film, which was written and directed by David Michod. The teaser is brief but gives us a glimpse at the kind of humor being presented by the film, which joins the ranks of Dr. Strangelove and Three Kings as war satire. War Machine premieres on May 26 via Netflix.

(Netflix)

David Fincher Goes Inside the Mind of Madness

mindhunter

David Fincher had massive success with Netflix’s House of Cards, and now they reteam again for a new series, Mindhunter. The series follows a group of FBI profilers as they hunt serial killers and rapists, which is well-trod territory for television, but the addition of Netflix opens the door wide in terms of possibility. Fincher being in the mix certainly doesn’t hurt, either. The brief teaser doesn’t give much away, but it certainly tells us a lot about the dark tone of the series. Given their success with their other original series, this is definitely a show to look for. Mindhunter premieres in October.

(Netflix)

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