Well, it's finally here. The Coachella 2009 lineup has been revealed and despite speculation, there will be bands again this year. Three day passes ar $269 plus, plus and single day passes are $99 plus, plus. Additonal fees are a $3 charity fee, a $4 facility fee and a $14 (in)convenience charge. So basically a single day pass will run you $120 when alls said and done. In consideration of a tanked economy, tey are also offering a layaway plan where you pay 50% down and the balance on April 1st. Check Coachella website for all details.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at music discovered in the last seven days, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Deerhunter, TV on the Radio, M. Ward, Deerhoof, Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
Released on January 27 on Soft Abuse
Report Card: B+
In regards to sanity, Carey Mercer could go either way. The prophetic declarations of times past that mark much of his work have established his position as heir to the throne of Scott Walker and Current 93’s David Tibet—like those men, he breaks many of the unwritten rules about how to be a successful vocalist, while also lending a healthy push to the question of whether the guy in charge is a genius or merely a madman. And while Mercer seems a little reined in by the full band nature of his primary project, Frog Eyes, and even more tempered by Swan Lake (the super group à la eccentric of Mercer, Spencer Krug of Sunset Rubdown and Wolf Parade, and Dan Bejar of Destroyer and The New Pornographers), his Blackout Beach project gives him the opportunity to go, without checks and balances, absolutely apeshit.
Little Radio Austin 2009 - Unofficial SXSW Day Party
For the 5th year we return to Red Eyed Fly for 3 days of music and mayhem March 18, 19, 20. As always, the party is FREE/Open to the public, no list, requires NO wristbands/badges and will feature some of the best new and known bands in Austin for the festival. We will also have our free bloody marys and beer for you starting at noon. Check back for the 3 day lineup next week! Here's some pics from the last 4 years....
It’s Wednesday, and that means it’s time for Nick Courtright’s
weekly first glance at music discovered in the last seven days, whether
it be just-released, just-leaked, or some long-lost gem that has
remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as
Deerhunter, TV on the Radio, M. Ward, Deerhoof, Juana Molina, Crystal
Stilts, White Denim, and Grizzly Bear.
released on disc January 20 on Domino
Report Card: F (no, just kidding. It’s an A)
Over
the past couple weeks it’s become increasingly more difficult to
discuss with any semblance of sense the latest release from Animal
Collective. After all, an album this grossly anticipated doesn’t come
along very often, and with such praise upon its arrival (influential
music blog Stereogum had this as a headline: “Is Merriweather Post Pavilion the Best Album of 2009”—and they ran that headline with 360 days
remaining in the year. Secondly, manytime stick-in-the-mud Pitchfork
Media proclaimed the album a 9.6 on a 10 point scale). Taking all that
into account, plus the innate complexity of Animal Collective’s kitchen
sink musical approach, the album seemed destined to receive little more
than exaltations of brilliance and accusations of blasphemy against the
few who dared to naysay. And while not enough time has passed to truly
put the work into perspective—I’d suggest it has a ways to go before we
put it up against the likes of In the Aeroplane Over the Sea in
a bracket for greatest indie album of the last quarter-century—enough
time has passed for the initial sheen to wear off, thus leaving Merriweather Post Pavilion ready for the type of constructive criticism it seemed incapable of
receiving when most everyone was busy tripping over themselves to
proclaim the album far more important than peace in the middle east.
Courtesy of Dipdive.
Music video for Cattle Decapitation's "To Serve Man" off the record To Serve Man, released in 2002 by Metal Blade Records.
Cattle Decapitation play Red 7 on Thursday, January 29. Get your tickets here.
As you've heard, Indie 103 is dead. You remember them. They're the station that threatened to sue Little Radio because we owned indie103.com. Oh yea, and because we had a logo with similar design to theirs before realizing that Shepard Fairey designed both. Yea, them.
Tune in today from 10a-12p where Music Director Mark Shovel will give us the straight dope. So if you're tired of the same 5 songs and that lame ass "non-corporate", corporate message, TUNE IN!
From The Mind Of Adi #18: Chris Rose's Firsts
Firsts: Sh*te that happened before other sh*te happened.
Today: Car Stereo (Wars)'s Firsts! I hope you enjoyed my personal Firsts and James Petralli from White Denim's Firsts. This time, we examine what inspired Car Stereo (Wars) (a.k.a. mash-up guru Chris Rose) through the years. Car Stereo (Wars) spins the beats at Beauty Bar this Saturday the 17th.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at music discovered in the last seven days, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Deerhunter, TV on the Radio, Deerhoof, Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
to be released February 17 on Merge
Report Card: A-
M. Ward has put himself through quite a bit these past few years, what with going from being an under-the-radar fave of way-back nostalgics (sparse as those fans may have been), to the increasingly broad appeal of the excellently dust-covered Post War, to touring with everyone’s mom’s favorite artist, Norah Jones (a move that perhaps undeservedly alienated some of his long-time appreciators), to his teaming up with concert-shy actress Zooey Deschanel for the well-liked but unspectacular She & Him project. And while that trajectory culminated in a back seat position behind Deschanel’s recognizable face for much of the past year, Hold Time sees Ward again taking the front of the stage, and one listen to the album demonstrates that while all the hullabaloo may have changed others’ impression of him, his approach remains comfortably much the same. And in terms of his career, that means Hold Time is a pretty solid listen.
Hold Time leans in large part toward the rock side of Ward’s aesthetic, and he shows increasing willingness here to back up his immediately-identifiable voice with more of itself, as well as corral big name supporters to build up his tracks, not to mention his press releases—Zooey herself makes a not-so-unexpected appearance here (on the excellent “Never Had Nobody Like You”), as does the nearly universally praised Lucinda Williams and the Decemberists’ Rachel Blumberg. The collaborations, as well as what can be assumed to be Ward’s rediscovered sense of artistic liberty, have resulted in an energetic thirteen track adventure reestablishing Ward’s dynamic and singular musical vision—if there’s a complaint to make here, it’s that the album sounds too much like M. Ward. True, the breakthroughs are few, and while that may be a bit worrisome to those worn out on Ward’s gravelly and lo-fi-in-disguise approach, one only has to listen a couple times to the molasses slowness of the title track to realize that while Ward’s stayed true to his yesteryear vision, that doesn’t mean the man can’t come up with a bunch of well-produced throwbacks. Because when it comes to that, there are few, if any, who are better.
Listen to Hold Time in its entirety here at NPR.
Tonight is the Downtown Artwalk and here's a very good reaason why to drop in and visit us at the Regent Theater on Main Street. Art, Music, Drinks.
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