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“Stay with us”: David Bowie weighs into Scottish independence debate

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“Stay with us”: David Bowie weighs into Scottish independence debate
David Bowie urged Scotland to "stay with us" and not vote for independence in his acceptance speech at last night's Brit Awards (February 19). The ceremony took place at London's O2 Arena earlier this evening, with Bowie winning Best International Male. However, the singer was not at the venue to ...

David Bowie urged Scotland to “stay with us” and not vote for independence in his acceptance speech at last night’s Brit Awards (February 19).

The ceremony took place at London’s O2 Arena earlier this evening, with Bowie winning Best International Male. However, the singer was not at the venue to pick up his award, and instead sent supermodel Kate Moss to pick up the prize on his behalf and read out his acceptance speech.

Moss, who was presented with the award by Noel Gallagher, told the crowd: “David has asked me to say this: In Japanese myth, the rabbits on my old costume that Kate’s wearing live on the moon. Kate comes from Venus, and I from Mars. I’m completely delighted to have a Brit for being the best male. I think it’s a great way to end the day. Thank you very much – and Scotland, stay with us.”

Ikea to discontinue vinyl-friendly shelving range

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Ikea to discontinue vinyl-friendly shelving range
IKEA have announced plans to discontinue their Expedit shelving range. The range has proved immensely popular with record collectors, as it's dimensions make it perfect for storing records. The news that the Expedit line is to be discontinued - at least in Germany, for the time being - has prompte...

IKEA have announced plans to discontinue their Expedit shelving range.

The range has proved immensely popular with record collectors, as it’s dimensions make it perfect for storing records.

The news that the Expedit line is to be discontinued – at least in Germany, for the time being – has prompted the formation of a Facebook page, which has received over 10,000 ‘likes’ so far.

IKEA have revealed that the Expedit line is to be replaced by a new line, Kallax. However, concerns about Kallax’ suitability among the record collecting community have been aired on the 35hz message board, who claim the dimensions of the Kallax range are thinner than its predecessor, and arguably less likely to satisfactorily support the weight of vinyl.

Exclusive! Hear Don Henley cover Jackson Browne’s “These Days”

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Exclusive! Hear Don Henley cover Jackson Browne’s “These Days”
Don Henley has covered Jackson Browne's "These Days" for a forthcoming 2-CD album, Looking Into You: A Tribute To Jackson Browne. The album features versions of Browne’s songs by artists including Bruce Springsteen and Patti Scialfa, Lyle Lovett, Lucinda Williams, Bonnie Raitt and JD Souther. â€...

Don Henley has covered Jackson Browne’s “These Days” for a forthcoming 2-CD album, Looking Into You: A Tribute To Jackson Browne.

The album features versions of Browne’s songs by artists including Bruce Springsteen and Patti Scialfa, Lyle Lovett, Lucinda Williams, Bonnie Raitt and JD Souther.

“It is astounding to think that Jackson wrote ‘These Days’ when he was only 16 years old,†Henley said. “But then, he was always a step ahead of the rest of us. I’ve learned a lot from him, over the years, and am honored to be part of this album.â€

Looking Into You: A Tribute To Jackson Browne is released on April 28 on Music Road Records.

The tracklisting is:

Disc One

1. “These Days,†Don Henley with Blind Pilot

2. “Everywhere I Go,†Bonnie Raitt and David Lindley

3. “Running on Empty,†Bob Schneider

4. “Fountain of Sorrow,†Indigo Girls

5. “Doctor My Eyes,†Paul Thorn

6. “For Everyman,†Jimmy LaFave

7. “Barricades of Heaven,†Griffin House

8. “Our Lady of the Well,†Lyle Lovett

9. “Jamaica Say You Will,†Ben Harper

10. “Before the Deluge,†Eliza Gilkyson

11. “For a Dancer,†Venice

12. “Looking Into You,†Kevin Welch

Disc Two

1. “Rock Me on the Water,†Keb’ Mo’

2. “The Pretender,†Lucinda Williams

3. “Rosie,†Lyle Lovett

4. “Something Fine,†Karla Bonoff

5. “Too Many Angels,†Marc Cohn feat. Joan As Police Woman

6. “Your Bright Baby Blues,†Sean and Sara Watkins

7. “Linda Paloma,†Bruce Springsteen and Patti Scialfa

8. “Call It a Loan,†Shawn Colvin

9. “I’m Alive,†Bruce Hornsby

10. “Late for the Sky,†Joan Osborne

11. “My Opening Farewell,†JD Souther

Small Faces – Here Comes The Nice

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Small Faces – Here Comes The Nice

The Mod scamps best work, finally given due respect... In this boxset’s 72-page book, where tributes come from admirers as diverse as David Bowie and Paul Stanley, someone says of the Small Faces: “They deserve to be placed right up amongst their contemporaries the Stones and The Who.†The implication hangs in the air: deserve to be but aren’t. What happened? Was an injustice done? Impeccably dressed Mods with the talent to excel in R’n’B and psychedelia, the Small Faces had the songs and the singer to take on the world. But their master tapes were chucked in skips and their classic songs thrown away on cheap compilations. Years in the planning, Here Come The Nice has proved something of an archaeological and legal ordeal for its compilers, yet they persevered, as if doing right by McLagan and Jones – and by the memories of Marriott and Lane – has become the music industry’s last remaining moral imperative. Goodwill only gets you so far. The rest depends on how special you were in the first place. Here Come The Nice opens with a 20-track round-up of singles and EPs. Every Small Faces collector in captivity will already own them in 18 different sleeves, but that may not be the point. This disc is about explaining who the Small Faces were and what they did. A magnificent 54-minute sequence of hit singles, Hammond organs and high-water marks of ’60s pop, it establishes the context, the ground rules. We’re transported to a golden age and these four young men do indeed deserve to be placed right up amongst their contemporaries. Some of the B-sides – “I Feel Much Betterâ€, “Donkey Rides, A Penny A Glass†– are as magical as other groups’ A-sides. Boxsets have been dedicated to the Small Faces before, but this feels more intimate. A 4CD set (with some vinyl) of their 1967-8 sessions for Immediate, Here Come The Nice features two discs of unreleased material assembled from sessions at Olympic, IBC and Trident studios. Push open the door and we’re in, eavesdropping as they decide between a Marriott or a Lane vocal on “Green Circles†and attempt to nail an intro for “Tin Soldier†(working title: “Anythingâ€). As the discs unfold, they work up arrangements of “I Can’t Make It†(“Wit Art Yerâ€), “Wide Eyed Girl On The Wallâ€, “Wham Bam Thank You Mam†and others. By the end of CD3 they’re absorbed in sessions for an LP that will never come out, floating into an uncertain future with Marriott’s tender “Jenny’s Song†(“The Autumn Stoneâ€). Mindful of recent deluxe editions, Here Come The Nice avoids duplicating any album in full, though that wonderful first disc includes seven tracks from the 1967 Immediate LP (Small Faces) and five from Ogdens’ Nut Gone Flake (1968). Rather than aim to be an anthology of the whole career, it’s a dipping-into boxset for the fan who wants to get closer – as close as the Pet Sounds and Smile boxsets allowed Beach Boys fans to get to Brian Wilson. Aside from their glimpses of the Small Faces in their workplace, the second and third discs are a little window on their personalities. Marriott, small as life and twice as cheerful, is a constant energy in the room, putting on accents, calling everyone “manâ€, radiating warmth. Lane, seated here, and McLagan, over there, follow his direction. They’re a good-natured bunch. When a take breaks down, Jones quickly cues them in again. There’s less larking about than one might presume. Only on a session for “Mad Johnâ€, from Ogdens’ Nut Gone Flake, does Marriott sound terribly stoned. The fourth disc is an assortment of alternate mixes, rarities and live performances. It will delight anyone who wishes to hear Lane sing “Green Circles†in Italian – and many do – and it also boasts “(If You Think You’re) Groovyâ€, recorded with PP Arnold. But the live cuts are scarred by the teenage screamers who besieged the band, making it difficult for them to assert themselves as a serious group. In our modern age, of course, the currency of validity for serious groups has become the stylish, artfully constructed boxset. And so finally the Small Faces got there. Here Come The Nice really does sound lovely. David Cavanagh Q&A Ian McLagan You and Kenney have been involved in supervising this boxset. Is it everything you hoped it would be? It’s a beautiful job. Rob Caiger [producer] has worked very hard on it and I’m absolutely thrilled. I haven’t read all of the book yet, because it’s so big, but I’ve played some of the singles and listened to one of the CDs, and it all sounds so good. I’m looking forward to really getting into it. Listening to the tracking sessions, I was expecting to hear a fair amount of stoned giggling. But you sound like a band with a strong work ethic. Well, see, there was no time off. Time off was [spent] listening to records or playing. When we got to Olympic we didn’t waste time. Glyn Johns may offer a different opinion, haha. I remember he used to go home at 12. “That’s it. I’m off. You can stay here as long as you like.†And we did – ’til three or four am. We were just blessed to be in the studio. This box covers the second half of our career, when we learned to use the studio more creatively. What’s it like hearing Steve and Ronnie’s voices on those sessions? It’s like they’re still here. It brings a tear to my eye. As I look through the photos of us at Olympic, I can smell that place. I can see us, smoking cigarettes, passing a joint, having fun, getting on with it. The book has tributes from some surprising fans. Paul Stanley of Kiss, Chad Smith of the Red Hot Chili Peppers… I worked with Chad earlier this year. I’ve also met Flea. Flea could have been in the Small Faces. He’s the right height. INTERVIEW: DAVID CAVANAGH

The Mod scamps best work, finally given due respect…

In this boxset’s 72-page book, where tributes come from admirers as diverse as David Bowie and Paul Stanley, someone says of the Small Faces: “They deserve to be placed right up amongst their contemporaries the Stones and The Who.†The implication hangs in the air: deserve to be but aren’t. What happened? Was an injustice done?

Impeccably dressed Mods with the talent to excel in R’n’B and psychedelia, the Small Faces had the songs and the singer to take on the world. But their master tapes were chucked in skips and their classic songs thrown away on cheap compilations. Years in the planning, Here Come The Nice has proved something of an archaeological and legal ordeal for its compilers, yet they persevered, as if doing right by McLagan and Jones – and by the memories of Marriott and Lane – has become the music industry’s last remaining moral imperative.

Goodwill only gets you so far. The rest depends on how special you were in the first place. Here Come The Nice opens with a 20-track round-up of singles and EPs. Every Small Faces collector in captivity will already own them in 18 different sleeves, but that may not be the point. This disc is about explaining who the Small Faces were and what they did.

A magnificent 54-minute sequence of hit singles, Hammond organs and high-water marks of ’60s pop, it establishes the context, the ground rules. We’re transported to a golden age and these four young men do indeed deserve to be placed right up amongst their contemporaries. Some of the B-sides – “I Feel Much Betterâ€, “Donkey Rides, A Penny A Glass†– are as magical as other groups’ A-sides.

Boxsets have been dedicated to the Small Faces before, but this feels more intimate. A 4CD set (with some vinyl) of their 1967-8 sessions for Immediate, Here Come The Nice features two discs of unreleased material assembled from sessions at Olympic, IBC and Trident studios. Push open the door and we’re in, eavesdropping as they decide between a Marriott or a Lane vocal on “Green Circles†and attempt to nail an intro for “Tin Soldier†(working title: “Anythingâ€). As the discs unfold, they work up arrangements of “I Can’t Make It†(“Wit Art Yerâ€), “Wide Eyed Girl On The Wallâ€, “Wham Bam Thank You Mam†and others. By the end of CD3 they’re absorbed in sessions for an LP that will never come out, floating into an uncertain future with Marriott’s tender “Jenny’s Song†(“The Autumn Stoneâ€).

Mindful of recent deluxe editions, Here Come The Nice avoids duplicating any album in full, though that wonderful first disc includes seven tracks from the 1967 Immediate LP (Small Faces) and five from Ogdens’ Nut Gone Flake (1968). Rather than aim to be an anthology of the whole career, it’s a dipping-into boxset for the fan who wants to get closer – as close as the Pet Sounds and Smile boxsets allowed Beach Boys fans to get to Brian Wilson. Aside from their glimpses of the Small Faces in their workplace, the second and third discs are a little window on their personalities. Marriott, small as life and twice as cheerful, is a constant energy in the room, putting on accents, calling everyone “manâ€, radiating warmth. Lane, seated here, and McLagan, over there, follow his direction. They’re a good-natured bunch. When a take breaks down, Jones quickly cues them in again. There’s less larking about than one might presume. Only on a session for “Mad Johnâ€, from Ogdens’ Nut Gone Flake, does Marriott sound terribly stoned.

The fourth disc is an assortment of alternate mixes, rarities and live performances. It will delight anyone who wishes to hear Lane sing “Green Circles†in Italian – and many do – and it also boasts “(If You Think You’re) Groovyâ€, recorded with PP Arnold. But the live cuts are scarred by the teenage screamers who besieged the band, making it difficult for them to assert themselves as a serious group.

In our modern age, of course, the currency of validity for serious groups has become the stylish, artfully constructed boxset. And so finally the Small Faces got there. Here Come The Nice really does sound lovely.

David Cavanagh

Q&A

Ian McLagan

You and Kenney have been involved in supervising this boxset. Is it everything you hoped it would be?

It’s a beautiful job. Rob Caiger [producer] has worked very hard on it and I’m absolutely thrilled. I haven’t read all of the book yet, because it’s so big, but I’ve played some of the singles and listened to one of the CDs, and it all sounds so good. I’m looking forward to really getting into it.

Listening to the tracking sessions, I was expecting to hear a fair amount of stoned giggling. But you sound like a band with a strong work ethic.

Well, see, there was no time off. Time off was [spent] listening to records or playing. When we got to Olympic we didn’t waste time. Glyn Johns may offer a different opinion, haha. I remember he used to go home at 12. “That’s it. I’m off. You can stay here as long as you like.†And we did – ’til three or four am. We were just blessed to be in the studio. This box covers the second half of our career, when we learned to use the studio more creatively.

What’s it like hearing Steve and Ronnie’s voices on those sessions?

It’s like they’re still here. It brings a tear to my eye. As I look through the photos of us at Olympic, I can smell that place. I can see us, smoking cigarettes, passing a joint, having fun, getting on with it.

The book has tributes from some surprising fans. Paul Stanley of Kiss, Chad Smith of the Red Hot Chili Peppers…

I worked with Chad earlier this year. I’ve also met Flea. Flea could have been in the Small Faces. He’s the right height.

INTERVIEW: DAVID CAVANAGH

Flaming Lips, Wild Beasts, Mark Kozelek, John Grant, White Denim and more announced for End Of The Road Festival 2014

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Flaming Lips, Wild Beasts, Mark Kozelek, John Grant, White Denim and more announced for End Of The Road Festival 2014
The Flaming Lips and Wild Beasts have been announced as headliners for this year's End Of The Road Festival. The festival, which takes place on August 29 - 31 at Larmer Tree Gardens, Dorset, will also feature sets from Richard Thompson, Mark Kozelek, John Grant, Tinariwen, White Denim and Yo La Ten...

The Flaming Lips and Wild Beasts have been announced as headliners for this year’s End Of The Road Festival.

The festival, which takes place on August 29 – 31 at Larmer Tree Gardens, Dorset, will also feature sets from Richard Thompson, Mark Kozelek, John Grant, Tinariwen, White Denim and Yo La Tengo.

Says festival founder Simon Taffe: “I’m totally thrilled. Flaming Lips and Wild Beasts are two of the most epic, magical live acts in the world and seeing them out on the Woods Stage is going to be extraordinary. The range of artists we’re getting right across the board this year is fantastic.”

The full A-Z list of artists confirmed today is:

9 Bach

Adult Jazz

Alexis Taylor

All We Are

Andrew Combs

The Barr Brothers

Benjamin Clementine

Bird Courage

British Sea Power

Cate Le Bon

Cold Specks

Connan Mockasin

Deer Tick

Drenge

Eagulls

Ezra Furman

Flaming Lips

Gruff Rhys

Hookworms

Horse Thief

Houndstooth

John Cooper Clarke

John Grant

John Smith

Johnny Flynn

Juana Molina

Mark Kozelek

Marissa Nadler

The Melodic

Nick Waterhouse

Oliver Wilde

Perfume Genius

Peggy Sue

Pink Mountaintops

Radiophonic Workshop

Richard Thompson

Rosie Lowe

St Paul and the Broken Bones

Stealing Sheep

Sweet Baboo

Temples

The Horrors

Three Trapped Tigers

Tinariwen

Tiny Ruins

Unknown Mortal Orchestra

Wave Pictures

White Denim

Wild Beasts

Woods

Wytches

Yo La Tengo

More acts to be added in due course. You can find more information about the festival, including ticket details, here.

The Seventh Uncut Playlist Of 2014

John Mulvey
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The Seventh Uncut Playlist Of 2014

For a while this week, it looked like I might be able to post a playlist entirely consisting of new entries, at least until I got dragged back into playing the Ryley Walker. But hey, look at all this, not least the clip of Shirley Collins’ first live performance in 30 years, which just showed up. Let me know thoughts, anticipations etc in the comments box. We’ve just finished an issue, so I’ll be taking questions. Follow me on Twitter: www.twitter.com/JohnRMulvey 1 Chris Robinson Brotherhood – Phosphorescent Harvest (Silver Arrow) 2 The Spiritualized Mississippi Space Program – Always Forgetting With You (The Bridge Song) (Fat Possum) 3 Thee Oh Sees – Drop (Castleface) 4 A Winged Victory For The Sullen – Atomos VII (Erased Tapes) 5 Kelis – Food (Ninjatune) 6 Howlin Rain – Live Rain (Agitated) 7 The Brothers & Sisters – Dylan’s Gospel (Light In The Attic) 8 Matt Berry – Music For Insomniacs (Acid Jazz) 9 Hurray For The Riff-Raff – Small Town Heroes (ATO) 10 The Rails – Fair Warning (Island) 11 Headland – Sound/Track (Headland) 12 Ryley Walker – All Kinds Of You (Tompkins Square) 13 The People’s Temple – Musical Garden (Hozac) 14 Woo – When The Past Arrives (Drag City) 15 The Amazing Snakeheads – Amphetamine Ballads (Domino) 16 Karen Gwyer – New Roof EP (No Pain In Pop) 17 Sunn 0))) & Ulver – Terrestrials (Southern Lord) 18 Sharon Van Etten – Are We There? (Jagjaguwar) 19 Beck – Morning Phase (Capitol) 20 Sufjan Stevens, Son Lux & Serengeti Present Sisyphus – Sisyphus (Asthmatic Kitty) 21 Shirley Collins – All The Pretty Little Horses/Death & The Lady (Live At The Union Chapel, 2014) http://www.youtube.com/watch?v=V2rx9mmzLXA

For a while this week, it looked like I might be able to post a playlist entirely consisting of new entries, at least until I got dragged back into playing the Ryley Walker. But hey, look at all this, not least the clip of Shirley Collins’ first live performance in 30 years, which just showed up.

Let me know thoughts, anticipations etc in the comments box. We’ve just finished an issue, so I’ll be taking questions.

Follow me on Twitter: www.twitter.com/JohnRMulvey

1 Chris Robinson Brotherhood – Phosphorescent Harvest (Silver Arrow)

2 The Spiritualized Mississippi Space Program – Always Forgetting With You (The Bridge Song) (Fat Possum)

3 Thee Oh Sees – Drop (Castleface)

4 A Winged Victory For The Sullen – Atomos VII (Erased Tapes)

5 Kelis – Food (Ninjatune)

6 Howlin Rain – Live Rain (Agitated)

7 The Brothers & Sisters – Dylan’s Gospel (Light In The Attic)

8 Matt Berry – Music For Insomniacs (Acid Jazz)

9 Hurray For The Riff-Raff – Small Town Heroes (ATO)

10 The Rails – Fair Warning (Island)

11 Headland – Sound/Track (Headland)

12 Ryley Walker – All Kinds Of You (Tompkins Square)

13 The People’s Temple – Musical Garden (Hozac)

14 Woo – When The Past Arrives (Drag City)

15 The Amazing Snakeheads – Amphetamine Ballads (Domino)

16 Karen Gwyer – New Roof EP (No Pain In Pop)

17 Sunn 0))) & Ulver – Terrestrials (Southern Lord)

18 Sharon Van Etten – Are We There? (Jagjaguwar)

19 Beck – Morning Phase (Capitol)

20 Sufjan Stevens, Son Lux & Serengeti Present Sisyphus – Sisyphus (Asthmatic Kitty)

21 Shirley Collins – All The Pretty Little Horses/Death & The Lady (Live At The Union Chapel, 2014)

http://www.youtube.com/watch?v=V2rx9mmzLXA

Watch Afghan Whigs new video, “Algiers”

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Watch Afghan Whigs new video, “Algiers”

The reunited Afghan Whigs have released a video ahead of their first new album in 16 years. Scroll down to watch the video for the track "Algiers". It's taken from Do To The Beast, the band's first album since their last album, 1965, which was released in 1998. Do To The Beast will be released on Sub Pop on April 14. Do To The Beast features core members Greg Dulli and bassist John Curley, but it is the first Whigs album that doesn't feature the band's original lead guitarist Rick McCollum. The band reunited briefly in 2012 for a series of festival dates. The Afghan Whigs will play live at Coachella around the release, performing at the Californian festival on April 11 and 18. Speaking about his decision to reform the band with Spin in 2012, Greg Dulli revealed: "I did this acoustic tour about a year and a half ago and John Curley did six of the shows with me, and we had a great time. We hadn’t spent any time on the road together since the band. In the spring, I spent a couple days in Minneapolis with Rick McCollum, and that was also a great time. Plus, I had nothing really pressing this summer, so it gives me something to do. " http://www.youtube.com/watch?v=ovhzeqIaggY

The reunited Afghan Whigs have released a video ahead of their first new album in 16 years.

Scroll down to watch the video for the track “Algiers“.

It’s taken from Do To The Beast, the band’s first album since their last album, 1965, which was released in 1998. Do To The Beast will be released on Sub Pop on April 14.

Do To The Beast features core members Greg Dulli and bassist John Curley, but it is the first Whigs album that doesn’t feature the band’s original lead guitarist Rick McCollum.

The band reunited briefly in 2012 for a series of festival dates.

The Afghan Whigs will play live at Coachella around the release, performing at the Californian festival on April 11 and 18.

Speaking about his decision to reform the band with Spin in 2012, Greg Dulli revealed: “I did this acoustic tour about a year and a half ago and John Curley did six of the shows with me, and we had a great time. We hadn’t spent any time on the road together since the band. In the spring, I spent a couple days in Minneapolis with Rick McCollum, and that was also a great time. Plus, I had nothing really pressing this summer, so it gives me something to do. ”

Jonny Greenwood says modern guitar bands play their “grandparents’ instruments”

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Jonny Greenwood says modern guitar bands play their “grandparents’ instruments”
Jonny Greenwood has accused modern guitar bands of playing their "grandparents instruments". Speaking to NME in a new interview, which you can read in full by clicking here, Greenwood was asked about the challenges facing guitars players in 2014. "Guitar bands forming now are often playing the inst...

Jonny Greenwood has accused modern guitar bands of playing their “grandparents instruments”.

Speaking to NME in a new interview, which you can read in full by clicking here, Greenwood was asked about the challenges facing guitars players in 2014. “Guitar bands forming now are often playing the instruments of their grandparents’ generation – and often in the same style,” he commented. “The Beatles didn’t pick up banjos when they started, after all…”.

Greenwood, who plays Wapping Hydraulic Power Station this Sunday (February 23) with London Contemporary Orchestra soloists, added: “I guess, looked at in the right way, things like 808 drum machines are now very old, but still ubiquitous. So maybe it’s better to think of all these things as being as current – or as retro – as anything else. I enjoy there being lots of technology to play with, however old it is.”

Speaking about his plans for this weekend’s show, he said he’ll be playing new material, including “A few short pieces – hopefully one with guitar and strings, if it’s sounding OK in rehearsals.” He will also be performing his soundtrack material from There Will Be Blood, Norwegian Wood and The Master.

It was recently revealed that Greenwood will score the soundtrack to the new Thomas Anderson film, Inherent Vice. The guitarist worked on the music for the director’s last two films – There Will Be Blood and The Master – and has now signed up to write the score for the upcoming crime movie, with London’s Royal Philharmonic Orchestra.

Next month (March 3), Greenwood will release a split album of orchestral compositions with The National‘s Bryce Dessner. The LP, entitled St. Carolyn By The Sea/Suite From There Will Be Blood will feature Dessner’s 2011 work St. Carolyn By The Sea – on which Dessner’s brother, The National’s Aaron Dessner plays electric guitar – 2012’s Lachrimae and 2007’s Raphael alongside Greenwood’s There Will Be Blood score.

Billy Corgan plans eight hour ambient jam inspired by Hermann Hesse’s novel, Siddhartha

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Billy Corgan plans eight hour ambient jam inspired by Hermann Hesse’s novel, Siddhartha

Smashing Pumpkins frontman Billy Corgan is set to play an eight hour long gig based on author Hermann Hesse's 1922 novel, Siddhartha. The free show will take place on February 28 at Corgan's own Madame ZuZu's Teahouse in Highland Park, Chicago. Writing about the performance on Facebook, Corgan said the performance will last 8-9 hours. "Performance will be centered around an ambient/musical interpretation of Hermann Hesse's Siddhartha; built by modular synthesis, on the fly," he said. "Readings of the text to go hand in hand with whatever is created; + the first @Hexistential poster, and event t-shirts too. Hope to see you there." In March 2013, Corgan said that Smashing Pumpkins had officially started writing their new album. "Excited to announce today's our 1st official day of writing for new SP album. Wish us luck!," he tweeted. On February 5 of this year, he also posted a picture of himself with a guitar with the caption "Writing new SP songs". Smashing Pumpkins released their last album, Oceania, in 2012. It was their eighth studio LP.

Smashing Pumpkins frontman Billy Corgan is set to play an eight hour long gig based on author Hermann Hesse’s 1922 novel, Siddhartha.

The free show will take place on February 28 at Corgan’s own Madame ZuZu’s Teahouse in Highland Park, Chicago. Writing about the performance on Facebook, Corgan said the performance will last 8-9 hours. “Performance will be centered around an ambient/musical interpretation of Hermann Hesse’s Siddhartha; built by modular synthesis, on the fly,” he said. “Readings of the text to go hand in hand with whatever is created; + the first @Hexistential poster, and event t-shirts too. Hope to see you there.”

In March 2013, Corgan said that Smashing Pumpkins had officially started writing their new album. “Excited to announce today’s our 1st official day of writing for new SP album. Wish us luck!,” he tweeted. On February 5 of this year, he also posted a picture of himself with a guitar with the caption “Writing new SP songs”.

Smashing Pumpkins released their last album, Oceania, in 2012. It was their eighth studio LP.

Devo’s Bob Casale dies aged 61

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Devo’s Bob Casale dies aged 61

Devo's guitarist Bob Casale has died, reports Variety. Devo founder Gerald Casale broke the news on the band's Facebook page “As an original member of Devo, Bob Casale was there in the trenches with me from the beginning," wrote Gerald Casale. "He was my level-headed brother, a solid performer and talented audio engineer, always giving more than he got. He was excited about the possibility of Mark Mothersbaugh allowing Devo to play shows again. His sudden death from conditions that lead to heart failure came as a total shock to us all.†Former Devo drummer Alan Myers, who played with the band from 1976 to 1985, died from cancer in June 2013.

Devo’s guitarist Bob Casale has died, reports Variety.

Devo founder Gerald Casale broke the news on the band’s Facebook page

“As an original member of Devo, Bob Casale was there in the trenches with me from the beginning,” wrote Gerald Casale. “He was my level-headed brother, a solid performer and talented audio engineer, always giving more than he got. He was excited about the possibility of Mark Mothersbaugh allowing Devo to play shows again. His sudden death from conditions that lead to heart failure came as a total shock to us all.â€

Former Devo drummer Alan Myers, who played with the band from 1976 to 1985, died from cancer in June 2013.

David Crosby undergoes heart surgery

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David Crosby undergoes heart surgery
David Crosby has confirmed he underwent heart surgery on Friday, February 14. According to a statement on his website, "At the urging of his doctor, on Friday, February 14, David Crosby underwent a cardiac catheterization and angiogram, based on the results of a routine cardiac stress test. The lef...

David Crosby has confirmed he underwent heart surgery on Friday, February 14.

According to a statement on his website, “At the urging of his doctor, on Friday, February 14, David Crosby underwent a cardiac catheterization and angiogram, based on the results of a routine cardiac stress test. The left anterior coronary artery was found to be 90% blocked, and two stents were placed to provide blood flow to his heart muscle. David is expected to have a full recovery. He did not have a heart attack, though it is certain that had he chosen to ignore his doctor’s urgent recommendation, it would have led to one.”

The statement continued: “‘I am very glad that I listened to my doctors and my family. It seems I am once again a very lucky man,’ says David Crosby. ‘I’m sorry to have to move the dates, but I promise the music will be good when we do play them.'”

Crosby, who is 72, has also rescheduled a clutch of solo dates.

The statement says, “Because he has been instructed to rest before resuming normal activities, the two (2) sold out shows scheduled for the Great American Music Hall in San Francisco on Feb. 20 and 21 have been postponed to April 20 and 21. Please contact the box office at the Great American Music Hall for details. The five (5) sold out shows at the Troubadour in Los Angeles, CA previously scheduled for Feb. 23, 24, 25, 27, 28 will also be postponed to April. The exact dates will be announced very shortly.

“All Crosby, Stills & Nash shows will continue as scheduled. The first show of CSN’s 2014 tour kicks off in Richmond, VA on March 4th.”

Bob Dylan, Led Zeppelin, Neil Young, Bruce Springsteen, The Beatles, David Bowie. . .a hard rain and all that

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Bob Dylan, Led Zeppelin, Neil Young, Bruce Springsteen, The Beatles, David Bowie. . .a hard rain and all that

What sounded like the roof coming off the house sometime in the early hours of last Sunday morning during what you can only hope was the last of the winter’s great storms woke me with a start, stirring me from a hugely disturbing dream in which I was on Mastermind answering questions in my specialist round on The Vicar of Dibley, Seasons 1-3 (1994-2007). I was perhaps understandably so unnerved by this weird reverie I couldn’t even think about reclaiming the sleep from which I’d been so rudely jolted, so instead made this playlist of songs inspired, if that’s the right word, by the wretched recent weather. If nothing else, it’s an excuse to include one of my favourite Bob Dylan performances, a version of “A Hard Rain’s A-Gonna Fall†from The Great Music Experience festival in Nara, Japan, from May 1994, when Bob was backed by the 90-strong New Tokyo Philharmonic orchestra, conducted by Michael Kamen. That’s the great Jim Keltner on drums, by the way. BOB DYLAN A Hard Rain’s A-Gonna Fall http://www.youtube.com/watch?v=wCGoOPM2_x0 THE BEATLES Rain http://www.youtube.com/watch?v=0aOJGJD-SQc NEIL YOUNG & CRAZY HORSE Like A Hurricane http://www.youtube.com/watch?v=-yxiu1o63CA LED ZEPPELIN WITH NEIL YOUNG When The Levee Breaks http://www.youtube.com/watch?v=_wCvUynhYRY DAVID BOWIE Wild Is The Wind http://www.youtube.com/watch?v=AeQKUIZXDzc CREEDENCE CLEARWATER REVIVAL Who’ll Stop The Rain? http://www.youtube.com/watch?v=kmrwAW5-5rU ARCTIC MONKEYS She’s Thunderstorms) http://www.youtube.com/watch?v=8WgFX0d7hDs BRUCE SPRINGSTEEN Thunder Road http://www.youtube.com/watch?v=iNNcIhZbH-0 CREEDENCE CLEARWATER REVIVAL Have You Ever Seen The Rain? http://www.youtube.com/watch?v=ixmvEtQyzvs BOB DYLAN High Water (For Charley Patton)) http://www.youtube.com/watch?v=48jd7a0PEMM REM So Central Rain/Have You Ever Seen The Rain? http://www.youtube.com/watch?v=XdtHk_aGY3s BRYAN FERRY A Hard Rain's A-Gonna Fall http://www.youtube.com/watch?v=DUR5uu8tOh8 THE FOLKSMEN A Mighty Wind Is Blowin’ http://www.youtube.com/watch?v=mVh0Iq_85aw Bob Dylan pic: FRED TANNEAU/AFP/Getty Images _

What sounded like the roof coming off the house sometime in the early hours of last Sunday morning during what you can only hope was the last of the winter’s great storms woke me with a start, stirring me from a hugely disturbing dream in which I was on Mastermind answering questions in my specialist round on The Vicar of Dibley, Seasons 1-3 (1994-2007).

I was perhaps understandably so unnerved by this weird reverie I couldn’t even think about reclaiming the sleep from which I’d been so rudely jolted, so instead made this playlist of songs inspired, if that’s the right word, by the wretched recent weather.

If nothing else, it’s an excuse to include one of my favourite Bob Dylan performances, a version of “A Hard Rain’s A-Gonna Fall†from The Great Music Experience festival in Nara, Japan, from May 1994, when Bob was backed by the 90-strong New Tokyo Philharmonic orchestra, conducted by Michael Kamen. That’s the great Jim Keltner on drums, by the way.

BOB DYLAN

A Hard Rain’s A-Gonna Fall

THE BEATLES

Rain

http://www.youtube.com/watch?v=0aOJGJD-SQc

NEIL YOUNG & CRAZY HORSE

Like A Hurricane

LED ZEPPELIN WITH NEIL YOUNG

When The Levee Breaks

DAVID BOWIE

Wild Is The Wind

CREEDENCE CLEARWATER REVIVAL

Who’ll Stop The Rain?

ARCTIC MONKEYS

She’s Thunderstorms)

BRUCE SPRINGSTEEN

Thunder Road

CREEDENCE CLEARWATER REVIVAL

Have You Ever Seen The Rain?

BOB DYLAN

High Water (For Charley Patton))

REM

So Central Rain/Have You Ever Seen The Rain?

BRYAN FERRY

A Hard Rain’s A-Gonna Fall

THE FOLKSMEN

A Mighty Wind Is Blowin’

Bob Dylan pic: FRED TANNEAU/AFP/Getty Images

_

Watch Bruce Springsteen and Eddie Vedder cover AC/DC

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Watch Bruce Springsteen and Eddie Vedder cover AC/DC
Bruce Springsteen was joined on stage by Eddie Vedder over the weekend. Springsteen and the E Street Band were performing at AAMI Park in Melbourne, Australia on Saturday (February 15). They opened their set with a cover of AC/DC's "Highway To Hell", with Vedder joining in on vocals. http://www.y...

Bruce Springsteen was joined on stage by Eddie Vedder over the weekend.

Springsteen and the E Street Band were performing at AAMI Park in Melbourne, Australia on Saturday (February 15).

They opened their set with a cover of AC/DC’s “Highway To Hell“, with Vedder joining in on vocals.

Vedder also performed “Darkness On The Edge of Town“, the second song of the set, with the band.

Bruce Springsteen had previously opened his set at the Perth Arena in Australia with a cover of AC/DC’s 1979 hit ‘Highway To Hell’ on February 6. The late AC/DC singer Bon Scott grew up near Perth.

The Specials announce autumn tour

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The Specials announce autumn tour
The Specials have announced plans for an 11-date tour of the UK and Ireland this coming November. The tour starts at Dublin Olympia on November 3, with dates in Belfast, Glasgow, Newcastle, Manchester and more to follow, including two dates at London's Roundhouse on November 13 and 14. Tickets go o...

The Specials have announced plans for an 11-date tour of the UK and Ireland this coming November.

The tour starts at Dublin Olympia on November 3, with dates in Belfast, Glasgow, Newcastle, Manchester and more to follow, including two dates at London’s Roundhouse on November 13 and 14. Tickets go on sale at 9am on February 21.

Ahead of the tour, Specials frontman Terry Hall will be DJing at The Wolf House in London’s Islington, on March 6, April 3 and May 1.

The Specials will play:

Dublin Olympia (November 3)

Belfast Ulster Hall (4)

Glasgow Barrowland (6)

Newcastle O2 Academy (9)

Manchester O2 Apollo (11)

London Roundhouse (13, 14)

Brighton Dome (17)

Bournemouth O2 Academy (18)

Wolverhampton Civic (20)

Nottingham Rock City (22)

Echo And The Bunnymen finishing up new album

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Echo And The Bunnymen finishing up new album
Echo And The Bunnymen have almost finished their new album. Writing on their Facebook page, the band revealed their new studio LP is "nearing completion", adding that a European tour in support of the record has already been booked. They wrote: We are very excited to announce that the brand new s...

Echo And The Bunnymen have almost finished their new album.

Writing on their Facebook page, the band revealed their new studio LP is “nearing completion”, adding that a European tour in support of the record has already been booked. They wrote:

We are very excited to announce that the brand new studio album produced by Youth (The Verve, Embrace etc) is nearing completion and that a title and artwork are decided plus a full European tour already booked. US dates to follow. Ian feels it’s the bands best work for a very long time.

The album is the band’s first since 2009’s ‘The Fountain’. In 2012 frontman Ian McCulloch released the solo album ‘Pro Patria Mori’, which came with ‘Holy Ghosts’, an album of orchestral versions of Echo And The Bunnymen songs.

The idea for the album came about after a show McCulloch played at the Union Chapel in London. Producer Youth re-recorded the tracks, including The Bunnymen’s ‘Lips Like Sugar’, ‘Rescue’, ‘Nothing Lasts Forever’ and ‘The Killing Moon’.

Photo credit: Joe Dilworth

Prince covers The Waterboys at Ronnie Scott’s show

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Prince covers The Waterboys at Ronnie Scott’s show
Prince played the smallest so far of his London 'Hit and Run' gigs yesterday [February 17], performing at the 250 capacity Ronnie Scott's venue. The set included a surprise cover version of The Waterboys' "The Whole Of The Moon". The song – originally released in 1985 – is long rumoured to hav...

Prince played the smallest so far of his London ‘Hit and Run’ gigs yesterday [February 17], performing at the 250 capacity Ronnie Scott’s venue.

The set included a surprise cover version of The Waterboys‘ “The Whole Of The Moon”. The song – originally released in 1985 – is long rumoured to have been written about Prince. The band have denied this but singer Mike Scott told Uncut that the sound was inspired by Prince.

Scott said: “The sound of ‘…Moon’, its synths, which crop up almost nowhere else in Waterboys music, was me copping sonic ideas from Prince, which Karl [Wallinger, keyboards], also a big Prince fan, was able to translate. I’d turned him onto Prince, played him ‘Purple Rain’ in the summer of ’84.”

Prince’s setlist, as reported by Gigwise, was:

‘Liathach’

‘Shade Of Umber’

‘I Could Never Take The Place Of Your Man’

‘Beautiful Strange’

‘Who Is He And What Is He 2 U?’

‘Sex Machine’

‘Take Me With You’

‘Cool’

‘Do Me Baby’

‘The Most Beautiful Girl In The World’

‘Diamonds And Pearls’

‘The Beautiful Ones’

‘Something In The Water’

‘The Whole Of The Moon’

Broken Bells – After The Disco

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Broken Bells – After The Disco

Supple mood music tailored for a rainy Sunday afternoon... Broken Bells’ second full-length album, which arrives 10 years after Brian Burton, aka Danger Mouse, first made his mark on pop culture with the cut-and-paste tour de force, The Grey Album, neatly bookends the wide-ranging first decade of this audacious auteur. Like Gnarls Barkley before it, Broken Bells presents the producer/one-man-band with ample opportunity to combine his studio wizardry with a singular voice, this one belonging to The Shins’ James Mercer. Still, there are more levels to this collaboration than the obvious one of producer and singer. Although he’s put his sonic stamp on every Danger Mouse production, from Gorillaz’s Demon Days (2005) and Beck’s Modern Guilt (2008) to The Black Keys’ El Camino (2011) and Norah Jones’ Little Broken Hearts (2012), there Burton is essentially serving the needs of a client; here he’s a fully-fledged band member. Likewise, Mercer, a singer-songwriter who has disguised himself as a bandleader with The Shins since 2001’s Oh, Inverted World, gets another chance to mix it up with a kindred spirit. If the duo’s self-titled 2010 debut album made it apparent that Burton and Mercer had found a fruitful common ground in their cerebral approaches to making music, the rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership; its 11 tracks are the result of a balanced back-and-forth in the writing, arranging and playing. The album’s opening triptych forms an extended ode to the shimmering sounds of the new wave era, as Burton, 36, and Mercer, 42, appropriate and apply the music of their ’80s childhoods to the rarefied chemistry they create together, with rapturous results. The three tracks are elegantly contoured pieces of aural architecture. “Perfect World†is a pocket symphony for analogue synths with two distinct movements. “After The Disco†bounces along on a springy old-school groove of the order of Daft Punk’s “Get Luckyâ€. And first single “Holding On For Life†showcases Mercer’s chromium falsetto as his chorus vocals form a reverent homage to the Bee Gees circa Saturday Night Fever, set off by a surging middle-eight in the manner of Tears For Fears’ “Pale Shelterâ€. This soulful and scintillating track is the most delectable pop confection Burton has come up with since Gnarls Barkley’s “Crazyâ€, while also displaying the feint-and-parry dynamic of Shins classics like “New Slang†or “Sea Legsâ€. Following this super-saturated opening segment, the album turns sepia-toned, starting with the hushed, dusky “Leave It Aloneâ€. Five of the remaining eight tracks are burnished by string arrangements from Daniele Lippi, Burton’s partner in Rome, their lush and atmospheric paean to the Italian film music of the 1960s, their presence deepening the nostalgic feel of the album. But even as the atmosphere darkens, the partners keep the quantised midtempo grooves percolating and the analog synths chirping. “The Changing Lights†juxtaposes an undulating Smiths-like verse melody and a subtle nod to Morrissey in Mercer’s vocal with a full-on soul-gospel chorale in the choruses. The chugging but languid “Medicine†could be a newly discovered Scritti Politti rarity, while the following “No Matter What You’re Told†is an unlikely amalgam of The Clash and the Swingle Singers. From there, the mood deepens to blue noir with the languid, lovely ballad “The Angel And The Foolâ€, giving way to the elegiac introspection of the closing “The Remains Of Rock & Rollâ€, which functions as an end-title theme for this New Wave spaghetti western. It will be fascinating to see how much of the Danger Mouse signature sound finds its way into Burton’s upcoming productions of Frank Ocean and U2 (his fingerprints are all over “Ordinary Loveâ€, their contribution to the soundtrack to Mandela: Long Walk To Freedom). There’s also the follow-up to El Camino to look forward to, as well as Mercer’s next Shins opus. But no matter what delectations Burton and Mercer offer up later this year, they’ve begun 2014 with a flourish – at the tops of their games, totally in sync with one another. Bud Scoppa Q&A James Mercer Was the falsetto chorus of “Holding On for Life†consciously based on the Bee Gees? That was a coincidence. I was singing over the verse trying to come up with a new melody. Brian picked that melody out and said it should be the chorus. We put together some lyrics, then I sang them in a falsetto to get it to a certain energy level, and it just sounded like me doing a falsetto. Then he had me do layers of it, and when he played that back, I laughed out loud. It was like the Gibbs were singing to me. I like that thing where you’re almost, “Is this too much?†I seem to always find myself in that situation, so I just embrace it. “The Remains Of Rock & Rollâ€, what’s it all about? We both have careers that happen to be poised on this downward slope of where music fits into pop culture. It used to be such a big deal, but the ones that are hugely successful now are just sort of… silly. Not that we’re cynical about it. Did you listen to particular records when prepping for the album? We listened to Kraftwerk to get an inspiration about beats and sounds. We wondered how they were able to get such powerful moments out of so little. We also listened to some pretty banal ’80s music. What’s the common ground between you two? We both have a love for hooks and melancholy pop music. We just share that affinity for sadness – and also a good beat, strangely. Nowadays, you don’t really see melody and beats and rhythm given this balanced approach. INTERVIEW: BUD SCOPPA

Supple mood music tailored for a rainy Sunday afternoon…

Broken Bells’ second full-length album, which arrives 10 years after Brian Burton, aka Danger Mouse, first made his mark on pop culture with the cut-and-paste tour de force, The Grey Album, neatly bookends the wide-ranging first decade of this audacious auteur. Like Gnarls Barkley before it, Broken Bells presents the producer/one-man-band with ample opportunity to combine his studio wizardry with a singular voice, this one belonging to The Shins’ James Mercer.

Still, there are more levels to this collaboration than the obvious one of producer and singer. Although he’s put his sonic stamp on every Danger Mouse production, from Gorillaz’s Demon Days (2005) and Beck’s Modern Guilt (2008) to The Black Keys’ El Camino (2011) and Norah Jones’ Little Broken Hearts (2012), there Burton is essentially serving the needs of a client; here he’s a fully-fledged band member. Likewise, Mercer, a singer-songwriter who has disguised himself as a bandleader with The Shins since 2001’s Oh, Inverted World, gets another chance to mix it up with a kindred spirit. If the duo’s self-titled 2010 debut album made it apparent that Burton and Mercer had found a fruitful common ground in their cerebral approaches to making music, the rhythmic, melodic and thoughtful After The Disco stands as impressive proof of the strength of their partnership; its 11 tracks are the result of a balanced back-and-forth in the writing, arranging and playing.

The album’s opening triptych forms an extended ode to the shimmering sounds of the new wave era, as Burton, 36, and Mercer, 42, appropriate and apply the music of their ’80s childhoods to the rarefied chemistry they create together, with rapturous results. The three tracks are elegantly contoured pieces of aural architecture. “Perfect World†is a pocket symphony for analogue synths with two distinct movements. “After The Disco†bounces along on a springy old-school groove of the order of Daft Punk’s “Get Luckyâ€. And first single “Holding On For Life†showcases Mercer’s chromium falsetto as his chorus vocals form a reverent homage to the Bee Gees circa Saturday Night Fever, set off by a surging middle-eight in the manner of Tears For Fears’ “Pale Shelterâ€. This soulful and scintillating track is the most delectable pop confection Burton has come up with since Gnarls Barkley’s “Crazyâ€, while also displaying the feint-and-parry dynamic of Shins classics like “New Slang†or “Sea Legsâ€.

Following this super-saturated opening segment, the album turns sepia-toned, starting with the hushed, dusky “Leave It Aloneâ€. Five of the remaining eight tracks are burnished by string arrangements from Daniele Lippi, Burton’s partner in Rome, their lush and atmospheric paean to the Italian film music of the 1960s, their presence deepening the nostalgic feel of the album. But even as the atmosphere darkens, the partners keep the quantised midtempo grooves percolating and the analog synths chirping. “The Changing Lights†juxtaposes an undulating Smiths-like verse melody and a subtle nod to Morrissey in Mercer’s vocal with a full-on soul-gospel chorale in the choruses.

The chugging but languid “Medicine†could be a newly discovered Scritti Politti rarity, while the following “No Matter What You’re Told†is an unlikely amalgam of The Clash and the Swingle Singers. From there, the mood deepens to blue noir with the languid, lovely ballad “The Angel And The Foolâ€, giving way to the elegiac introspection of the closing “The Remains Of Rock & Rollâ€, which functions as an end-title theme for this New Wave spaghetti western.

It will be fascinating to see how much of the Danger Mouse signature sound finds its way into Burton’s upcoming productions of Frank Ocean and U2 (his fingerprints are all over “Ordinary Loveâ€, their contribution to the soundtrack to Mandela: Long Walk To Freedom). There’s also the follow-up to El Camino to look forward to, as well as Mercer’s next Shins opus. But no matter what delectations Burton and Mercer offer up later this year, they’ve begun 2014 with a flourish – at the tops of their games, totally in sync with one another.

Bud Scoppa

Q&A

James Mercer

Was the falsetto chorus of “Holding On for Life†consciously based on the Bee Gees?

That was a coincidence. I was singing over the verse trying to come up with a new melody. Brian picked that melody out and said it should be the chorus. We put together some lyrics, then I sang them in a falsetto to get it to a certain energy level, and it just sounded like me doing a falsetto. Then he had me do layers of it, and when he played that back, I laughed out loud. It was like the Gibbs were singing to me. I like that thing where you’re almost, “Is this too much?†I seem to always find myself in that situation, so I just embrace it.

“The Remains Of Rock & Rollâ€, what’s it all about?

We both have careers that happen to be poised on this downward slope of where music fits into pop culture. It used to be such a big deal, but the ones that are hugely successful now are just sort of… silly. Not that we’re cynical about it.

Did you listen to particular records when prepping for the album?

We listened to Kraftwerk to get an inspiration about beats and sounds. We wondered how they were able to get such powerful moments out of so little. We also listened to some pretty banal ’80s music.

What’s the common ground between you two?

We both have a love for hooks and melancholy pop music. We just share that affinity for sadness – and also a good beat, strangely. Nowadays, you don’t really see melody and beats and rhythm given this balanced approach.

INTERVIEW: BUD SCOPPA

Detroit chef designs 10 course meal inspired by Radiohead’s Kid A

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Detroit chef designs 10 course meal inspired by Radiohead’s Kid A

A Detroit chef has designed a 10 course meal inspired by Radiohead's Kid A album, reports The Huffington Post. Kyle Hanley, a chef at the Detroit Golf Club, has created a menu designed to pair a course up with each track on the 2000 record, while Joseph Allerton, a food and beverage director, chooses the complementing wine and cocktails by considering the music rather than the food it will be consumed with. Hanley told the publication he studied music before becoming a chef and hears "textures and colours" when he listens to an album. "Especially Radiohead, they are very textural. They are a very visceral band," he said. Of the idea to create a menu inspired by an album, Hanley explained: "Most people put out CDs, and this is an actual album. One song flows into the next, and we kind of want to do the same thing with the courses." The 10 course meal begins with "Everything In Its Right Place", which translates to a dish of pan-seared diver scallop, yuzu fluid gel, fried cellophane noodle, lemongrass ponzu, chili oil, with Pfalz Riesling. It concludes with "Motion Picture Soundtrack" - a mousse dou with blackberry pâte de fruit Niepoort LBV port. The full menu is available to view here. Currently, the meal is only planned to be served at Detroit's Elizabeth Theatre on February 19 but Hanley and his business partner Bill Keros are considering turning the event into a monthly series with different albums inspiring each dinner.

A Detroit chef has designed a 10 course meal inspired by Radiohead’s Kid A album, reports The Huffington Post.

Kyle Hanley, a chef at the Detroit Golf Club, has created a menu designed to pair a course up with each track on the 2000 record, while Joseph Allerton, a food and beverage director, chooses the complementing wine and cocktails by considering the music rather than the food it will be consumed with.

Hanley told the publication he studied music before becoming a chef and hears “textures and colours” when he listens to an album. “Especially Radiohead, they are very textural. They are a very visceral band,” he said.

Of the idea to create a menu inspired by an album, Hanley explained: “Most people put out CDs, and this is an actual album. One song flows into the next, and we kind of want to do the same thing with the courses.” The 10 course meal begins with “Everything In Its Right Place“, which translates to a dish of pan-seared diver scallop, yuzu fluid gel, fried cellophane noodle, lemongrass ponzu, chili oil, with Pfalz Riesling. It concludes with “Motion Picture Soundtrack” – a mousse dou with blackberry pâte de fruit Niepoort LBV port. The full menu is available to view here.

Currently, the meal is only planned to be served at Detroit’s Elizabeth Theatre on February 19 but Hanley and his business partner Bill Keros are considering turning the event into a monthly series with different albums inspiring each dinner.

Hear Beck’s new album Morning Phase ahead of official release

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Hear Beck’s new album Morning Phase ahead of official release
Beck is streaming his new album Morning Phase ahead of its official release. The Los Angeles singer-songwriter is letting fans listen to the record a week early via NPR. Click here to listen to the album before its release on February 24. Beck recently revealed that some high profile collaborati...

Beck is streaming his new album Morning Phase ahead of its official release.

The Los Angeles singer-songwriter is letting fans listen to the record a week early via NPR. Click here to listen to the album before its release on February 24.

Beck recently revealed that some high profile collaborations could be made available later in the year. He told Billboard he set the tracks aside to focus on his new record but they could see the light of day before the end of 2014, “time willing”.

Speaking about Morning Phase in Uncut‘s 2014 Album Preview, Beck said: “I set out to make a gritty king of record, along the lines of those early ’70s singer-songwriter records. But the songs ended up having another quality to them. There are harmonies there: Simon & Garfunkel, Crosby, Stills & Nash, The Everly Brothers, The Stanley Brothers. The Mamas & The Papas, even.”

AC/DC plan new album and 40th anniversary tour

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AC/DC plan new album and 40th anniversary tour
AC/DC have revealed plans to enter the studio later this year in order to record their first new album since 2008's Brendan O'Brien produced Black Ice. The band will also be heading out on a 40th anniversary tour, which, says Brian Johnson, will comprise 40 special gigs. Speaking to Florida radio s...

AC/DC have revealed plans to enter the studio later this year in order to record their first new album since 2008’s Brendan O’Brien produced Black Ice.

The band will also be heading out on a 40th anniversary tour, which, says Brian Johnson, will comprise 40 special gigs. Speaking to Florida radio station Gater 98.7 – via Rolling Stone – Johnson said the band would be heading to a Vancouver studio in May to record their 16th studio album. Of a proposed anniversary tour, he added:

“Its been 40 years of the band’s existence. So I think we’re gonna try to do 40 gigs, 40 shows, to thank the fans for their undying loyalty. I mean, honestly, our fans are just the best in the world, and we appreciate every one of them. So, like I said, we’ll have to go out, even though we’re getting a bit long in the tooth. You know what? It’s been four years, and I’m really looking forward to it.”

Bruce Springsteen opened his set at the Perth Arena in Australia on February 6 with a cover of AC/DC’s 1979 hit “Highway To Hell”. Click here to watch it.

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