Life on the road isn’t all glamour and rock’n’roll excess and MOTÖRHEAD’s punishing tour schedule in 1981 took them all over the globe as they rode high on the success of Ace Of Spades. One integral part of the daily grind on the road is the sound check, although very little of it is ever seen or documented in the public domain. Fortunately during the Short Sharp Pain In The Neck tour of March 1981,
MOTÖRHEAD had a mobile recording studio in tow as they recorded their thunderous, number 1 live album, No Sleep ‘Til Hammersmith now celebrating its 40th year. This rare recording of them performing “Stay Clean” as they warmed up for the night at Newcastle on March 30 is accompanied by a video containing behind the scenes montages of the backbone of the MOTÖRHEAD live show; the legendary road crew!
King Gizzard & The Lizard Wizard announce that their North American tour is now rescheduled for Fall 2022. In October 2022, the band will play shows across the country, including marathon sets at Berkeley’s Greek Theatre and two performances at Red Rocks Amphitheatre, during which the band will play material from their vast discography across three hours. The tour will follow the release of their new album, Butterfly 3000, out now via the band’s own label KGLW.
Butterfly 3000 is King Gizzard’s 18th studio album. The band decided to play this one close to the vest, and refrained from sharing any advance singles, or the album artwork, which will be a cross-eyed autostereogram created by long-time collaborator Jason Galea. Butterfly 3000 might be their most fearless leap into the unknown yet; a suite of ten songs that all began life as arpeggiated loops composed on modular synthesisers, before being fashioned into addictive, optimistic and utterly seductive dream-pop by the six-piece. The album sounds simultaneously like nothing they’ve ever done before, and thoroughly, unmistakeably Gizz, down to its climactic neon psych-a-tronic flourish. This is undoubtedly the most accessible and jubilant album of their career.
King Gizzard & The Lizard Wizard Tour Dates Sun. Oct. 2 – Berkeley, CA @ Greek Theatre Tue. Oct. 4 – Portland, OR @ Roseland Theater Wed. Oct. 5 – Vancouver, BC @ PNE Forum Thu. Oct. 6 – Seattle, WA @ Moore Theatre Mon. Oct. 10 – Morrison, CO @ Red Rocks Amphitheatre Tue. Oct. 11 – Morrison, CO @ Red Rocks Amphitheatre Fri. Oct. 14 – St Paul, MN @ The Palace Theatre Sat. Oct. 15 – Chicago, IL @ RADIUS Sun. Oct. 16 – Detroit, MI @ Masonic Temple Tue. Oct. 18 – Toronto, ON @ TBA Wed. Oct. 19 – Montreal, QC @ L’Olympia Sat. Oct. 22 – Philadelphia, PA @ Franklin Music Hall Sun. Oct. 23 – Washington, DC @ The Anthem at The Wharf Mon. Oct. 24 – Asheville, NC @ Rabbit Rabbit Wed. Oct. 26 – Atlanta, GA @ The Eastern Mon. Oct 31 – Oklahoma City, OK @ The Criterion
Last month, London-based band Dry Cleaning released New Long Leg, their 4AD debut and one of 2021’s most praised albums thus far. The album was immediately met with much fanfare and glowing reviews from Pitchfork(Best New Music), The New York Times, NPR Music, Rolling Stone, Entertainment Weekly, Bandcamp, and more. Today, they announce a fall tour in support of New Long Leg. Dry Cleaning will play select shows across the states, performing for the first time ever in San Francisco, Portland, Seattle, and Chicago, plus return appearances in Los Angeles and Brooklyn. Following in early 2022, the band will tour Europe and the UK. Their live energy was previewed during their television debut on Later…with Jools Holland earlier this year, plus their 2021 KEXP session.
Dry Cleaning is Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard(bass) and Florence Shaw (vocals). Buoyed by the universal acclaim they received for 2019 EPs “Boundary Road SnacksandDrinks” and “Sweet Princess,” New Long Leg “arrives fully formed, ready to evacuate the contents of your brain and replace them with the odd images, bizarre obsessions, vivid sense memories, and banal judgements that live rent-free in the mind of another” (Pitchfork).
Las Vegas, Nevada’s Psycho music festival has revealed its updated lineup for 2021, and it still includes plenty of heavy-hitters in the metal world, psychedelic bands, shoegaze groups, and even bossa nova musicians.
Danzig, Emperor, and Down are the main headliners, but there’s plenty to keep you occupied if you want to avoid the headliners’ crowds. The Flaming Lips never disappoint live, and Thievery Corporation will be a delightful show of trip hop and makeout music. Ty Segall and Freedom Band will probably be a raucous set, and there’s no doubt that Osees will have a lot of pent-up energy to unleash after a year of not touring.
The Sword are a nice addition to the revised lineup, Health is powerful live, as is Zola Jesus‘ voice in any venue. TSOL will bring classic punk to the festival, Black Joe Lewis and the Honeybears will bring funk, Dengue Fever will bring Southeast Asian psych-disco grooves, Frankie and the Witch Fingers will supply psychedelic jams, Guantanmo Baywatch will serve up surf, and Claude Fontaine will sing bossa nova and dub tracks to make you melt.
There’s plenty of metal, to be sure. Warish will flatten any venue in which they play. High on Fire will shred everything, and Cannibal Corpse will burn whatever’s left to ashes. Flavor Crystals and Highlandswill add shoegaze to the mix, and there’s even a Queen cover band – Mother Mercury – to boot.
The “Psycho Swim” pre-party will also be worth your time. Death Valley Girlsare ruling right now, Blackwater Holylightare also equally creepy and enchanting, and Here Lies Manwill have everyone jamming in the pool.
Tickets are rapidly selling, so don’t wait to get some.
The Reverb Appreciation Society has announced the return of the Levitation Austin music festival this year, and it’s on Halloween weekend just to make it weirder.
The festival will take place at various downtown Austin venues (Stubb’s, Mowhawk, Empire Garage, Hotel Vegas, and more) and coming in early for the Thursday night shows is well worth your time and money. Lineup announcements and ticket sales will start this summer, so keep your eyes peeled, book your travel, and plan your Halloween costume.
Clutch has just announced a string of Winter 2021 headline tour dates celebrating 30 years of rock and roll starting on December 27th in Baltimore, MD. Supporting the tour will be STONER, the brand new band featuring Brant Bjork (Kyuss) and Nick Oliveri (Queens Of The Stone Age, Kyuss).
The run will also include Detroit natives and “thrash grass” pioneers, The Native Howl.
“We are incredibly excited to hit the road again” states Clutch. “We’ve missed the shows, the fans, the venues and the opportunity to watch the other bands we share the stage with. It’s going to feel like our first show all over again and we can’t wait! Come out and let’s make some Rock and Roll!.”
Tickets will go on sale to the general public Friday, May 21st at 10:00 am at www.ClutchOnTour.com.
CLUTCH Celebrating 30 Years of Rock N Roll Winter Tour Dates: Dec. 27 – Baltimore, MD – Rams Head Dec. 28 – Sayreville, NJ – Starland Ballroom Dec. 29 – Cleveland, OH – Agoura Theatre Dec. 30 – Detroit, MI – Filmore Theatre Dec. 31 – Cincinnati, OH – The Icon
The Pitchfork Music Festival will return to Chicago’s Union ParkFriday, September 10 through Sunday, September 12. Today, the Festival announces the full 2021 lineup, including headliners Erykah Badu,St. Vincent, and Phoebe Bridgers.
The Festival opens on Friday with Phoebe Bridgers, Big Thief, Animal Collective, Yaeji, The Fiery Furnaces (their first show in over a decade), black midi, Hop Along, Kelly Lee Owens, Ela Minus, DEHD,The Soft Pink Truth, DJ Nate, Dogleg, and Armand Hammer.
Saturday features St. Vincent, Angel Olsen, Kim Gordon, Ty Segall & Freedom Band, Waxahatchee, Jay Electronica, Jamila Woods, Georgia Anne Muldrow, Faye Webster, Amaarae, Maxo Kream, Divino Niño, Bartees Strange, and Horsegirl.
On Sunday, the Festival hosts Erykah Badu, Flying Lotus, Thundercat, Danny Brown, Cat Power, Andy Shauf, Caroline Polachek, Yves Tumor, The Weather Station, Mariah the Scientist, oso oso, KeiyaA, Special Interest, and Cassandra Jenkins.
For 15 years, the Pitchfork Music Festival has delivered an eclectic musical lineup, singular in its ability to place contemporary, cutting-edge acts alongside some of the most revered artists of our time. It’s this unique blend of discovery and tradition that makes the Pitchfork Music Festival stand out as one of the most celebrated weekends of the year.
“We are unbelievably excited to celebrate the return of live shows, our music community, and, most importantly, the artists and events crews who have made this year’s festival possible,” says editor in chief of Pitchfork, Puja Patel. “I know this will be a cathartic weekend for all of us, and that it lands right before the 25th anniversary of the publication makes it all the more special.”
Pitchfork Music Festival tickets are on sale now. Three-day passes are $195 and single-day passes are $90. The Pitchfork PLUS upgrade, including a range of exclusive amenities, is $385 for a three-day pass and $185 for a single-day pass. If the festival is postponed or rescheduled due to COVID-19, ticket buyers can keep their passes for the new dates or request a refund. More details are available here.
To ensure the health and safety of guests, artists, and staff, the Pitchfork Music Festival will adhere to the city of Chicago’s COVID-19 protocol, and will keep attendees updated as federal, state, and local regulations evolve. For the latest safety guidelines, visit Pitchfork Music Festival’s FAQ page, and follow @PitchforkFest on Instagram and Twitter.
COVID-19 regulations currently include:
● Attendees aged 12 and older will be required to provide proof of a COVID vaccination or a negative PCR test within the past 24 hours, each day of the festival. Visit the city of Chicago’s website for a list of local COVID-19 test providers (here), and vaccination providers (here). ● In accordance with current IDPH and CDPH guidelines, masks will be required throughout festival grounds. Masks may be removed when eating and drinking. Pitchfork is working closely with local health officials and will continue to update this policy as local guidelines become available.
FRIDAY Phoebe Bridgers Big Thief Animal Collective The Fiery Furnaces Yaeji black midi Hop Along Kelly Lee Owens Ela Minus DEHD The Soft Pink Truth DJ Nate Dogleg Armand Hammer
SATURDAY St. Vincent Angel Olsen Kim Gordon Ty Segall & Freedom Band Waxahatchee Jay Electronica Jamila Woods Georgia Anne Muldrow Faye Webster Amaarae Maxo Kream Divino Niño Bartees Strange Horsegirl
SUNDAY Erykah Badu Flying Lotus Thundercat Danny Brown Cat Power Andy Shauf Caroline Polachek Yves Tumor The Weather Station Mariah the Scientist oso oso KeiyaA Special Interest Cassandra Jenkins
Never ones to rest on their laurels, or seemingly to rest at all, Osees put together another live-streamed show, Levitation SessionsII, and wowed everyone again with a great set of deep cuts and obscure cover tunes.
The show, recorded in an empty factory that front man John Dwyer describes as like “a fight scene set from Point Blank or the John Wick trilogy,” starts with the rockin’, swingin’ fan-favorite “Tidal Wave.” It’s hard to choose which part you like best. Dwyer’s fun guitar riffs? Dan Rincon and Paul Quattrone‘s double-drumming? Tim Hellman‘s rock solid bass line? Tom Dolas‘ sneaky synths? Dolas’ synths take the forefront on the weird, wonky “Grown in a Graveyard” – a tune that keeps you guessing for its entire length. Then, once you kind of, sort of figure it out, they unleash a raucous version of “The Dream” – which might cause you to trash whatever room you’re in when you hear it, or stomp the gas pedal if you’re driving at the time…until it drifts into psychedelic bliss around the five-minute mark and give you a chance to breathe (but only for a moment). Dwyer absolutely shreds for the last two minutes of it.
“Stinking Cloud” is a jolly tune about death and heavy on synths from Dolas and Dwyer. The garage rock swing of “Enemy Destruct” is outstanding. “Poisoned Stones” sounds as gritty and grungy as you hope it will. “Spider Cider” is silly and fun (with Dolas putting his big synth rig aside to play rhythm guitar, no less). Hellman’s bass seems to hit extra heavy (without overwhelming his bandmates) on “It Killed Mom.”
Another deep cut treat is “Meat Step Lively,” which could almost fit onto an episode of Shindig with its groovy swing. “Snickersnee” is trippy bliss, which Rincon and Quattrone in perfect step as Dwyer stabs at ghosts with his guitar. “Destroyed Fortress Reappears” drifts into heavy synth psychedelia by Dolas and Dwyer and the entire rhythm section produces a hypnotizing beat.
“Web” is another great cut that builds up to a wicked beat and doesn’t let go of you. Hellman’s bass groove is outstanding on it. “Encrypted Bounce” is the longest song on the album, coming in at almost nine minutes, and it’s full of wild garage rock guitar from Dwyer and great fills from both drummers. “Beat Quest” adds heavy 1980s, and then 1970s, synths to the mix.
The encore was a set of Chrome covers: “Chromosome Damage > T.V. As Eyes,” “ST37,” “Looking for Your Door,” and “SS CYGNI.” The first is a fun, upbeat splash of driving beats and warping synths that melts into a lava lamp haze. “ST37” could almost be a Devo track with it’s goofy guitar and weird lyrics. Hellman’s bass takes on a sexy panther tone in “Looking for Your Door.” The final track is a hypnotic repetition of beats and riffs that slowly backs out of the room and drifts away.
Levitation Sessions II does a great job of making you want to see Osees live again as soon as possible. They’re starting to announce tour dates for the fall, so don’t miss out if they’re near you.
Deluxe CD Box-Set and Special 40th Anniversary Editions of No Sleep‘ Til Hammersmith to be Released on June 25th 2021 Watch a New Video for a Previously Unreleased, Live Version of “The Hammer” Plus Preorders & Exclusive March Bundles Here – https://motorhead.lnk.to/nosleep40PR
Back in the Summer of 1981, MOTÖRHEAD got louder, dirtier and more universal, and you’re getting an invitation to relive this most glorious of achievements once again…
Following on from 2020’s year-long celebration of MOTÖRHEAD’s iconic Ace Of Spades album comes the live album to end all live albums, the undisputed definitive live record of all time: No Sleep ‘Til Hammersmith. To celebrate the 40th anniversary of this number one album, it is being presented in new deluxe editions. There will be hardback book-packs in two CD and triple LP formats, featuring a new venue demolishing remaster of the original album, bonus tracks and the previously unreleased – in its entirety – concert from Newcastle City Hall, March 30, 1981, the story of the album and many previously unseen photos. Also, the album will be released as a four CD box set of all three concerts recorded for the album released here in their entirety for the very first time and primed to gleefully shatter what’s left of your grateful eardrums.
Upon that original June 27th ’81 release, Lemmy is quoted as saying of No Sleep ‘Til Hammersmith after it crashed into number one in the UK charts, “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.”No Sleep ‘Til Hammersmith was MOTÖRHEAD’s first and only number one record in the UK and is still the most necessary live album of all time.
The No Sleep ‘Til Hammersmith CD box set contains:
The No Sleep ‘Til Hammersmith album, remastered from the original master tapes, featuring extra bonus tracks and newly unearthed, previously unreleased sound check recordings.
The three full recordings of the concerts that made up No Sleep, never before released in their entirety.
The story of No Sleep ‘Til Hammersmith told through previously unpublished and new interviews with the people that were on the road at the time.
Never before seen photos and rare memorabilia.
Double sided, A3 concert posters from 1981.
Reproduction USA ’81 tour pass.
MOTÖRHEAD ‘England’ plectrum.
1981 European tour badge.
Reproduction Newcastle City Hall ticket.
Port Vale gig flyer post card.
MOTÖRHEAD in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut.
Recorded on December 05, 2012 in front of an audience of about 12,000 fans, Mötorhead‘s Louder Than Noise…Live in Berlin is a good record of the band’s power and ferocity. The trio of Phil Campbell (guitar), Mikkey Dee (drums), and Ian “Lemmy” Kilmister (bass and vocals) was the longest-running Mötorhead lineup, and their locked-in energy is palpable throughout the show.
The show begins with Kilmister yelling, “Guten abend! How you doin’? All right? We are Mötorhead…Phillip, if you would be so kind?” in his signature bourbon-and-cigarettes-laced voice before they rip into the snarky “I Know How to Die.” “Damage Case” swings with a bluesy groove that is made dangerous by Kilmister’s growls and Campbell’s rock riffs. It rolls right into “Stay Clean” thanks to Dee’s relentless yet effortless drum fills.
They give the crowd and the listener a brief break before rolling out “Metropolis,” which starts like a stoner metal track and then two sharp snare cracks from Dee turn it into a fuzzy rocker. Kilmister dedicates “Over the Top” to Campbell, probably because Campbell shreds for almost three minutes straight on it. “Doctor Rock” is just as fun and fast and furious as you hope it will be. Campbell plays a nice two-minute solo (“String Theory”) and then his bandmates join him in the classic “The Chase Is Better Than the Catch.”
“Rock It” comes after the band takes a quick drink of…something, and then it rolls into the wicked, dark blues cut “You Better Run,” which I’m sure had the mosh pit amped up even more than it was at the start of the show. “The One to Sing the Blues” has some of Dee’s most ferocious drumming, including a tremendous solo. The whole track sounds like Mötorhead are daring any challengers to their throne of skulls.
“Now, then, this is a rock and roll song,” Kilmister says before they launch into the swinging, blazing “Going to Brazil” (as if all the other songs aren’t). “Killed by Death” brings plenty of fuzz and power to warm you up (if you’re not already sweating) for, of course, “Ace of Spades” to close the main set. “Remember? We’re deaf!” Kilmister yells to the audience after the song ends. I’m sure the whole audience was, too. “Overkill” is the crazy, wild finale, with Dee going for broke and Campbell and Kilmister doing their best to blow the back of the joint.
It’s a fun recording, and I wish I could’ve seen them live before Kilmister left for the giant after-party in the sky. This is a good substitute, however.
Keep your mind open.
[Why not go over to the subscription box while you’re here?]
