Watch Japandroids perform “The Nights of Wine and Roses” on Conan + 2013 Tour Dates


Japandroids returned to the boob tube last night with an appearance on Conan, where they mercilessly beat into the Celebration Rock cut, “The Nights of Wine and Roses”. Perhaps they’re still reeling off the excitement of being nominated for top Alternative Album at this year’s Juno Awards… or maybe they just have a good diet. Draw your own conclusions below.

If that’s not enough, catch them on tour — or at every North American festival. If you’re lucky, maybe you’ll see them alongside The Gaslight Anthem or Cloud Nothings.

Watch Japandroids performing @ Conan HERE

Japandroids 2013 Tour Dates:
03/08 – New Orleans, LA @ BUKU Music + Art Project
03/09 – Winter Park, CO @ Snowball Festival
03/15 – Mexico City, MX @ Vive Latino Festival
03/21 – Bristol, UK @ Bristol Academy *
03/22 – Bristol, UK @ Bristol Academy *
03/23 – Leeds, UK @ Leeds Academy *
03/24 – Glasgow, UK @ Glasgow Academy *
03/25 – Glasgow, UK @ Glasgow Academy *
03/27 – Manchester, UK @ Manchester Academy *
03/28 – Manchester, UK @ Manchester Academy *
03/29 – London, UK @ Troxy *
03/30 – London, UK @ Troxy *
04/01 – Dusseldorf, DE @ Mitsibishi Hall *
04/03 – Copenhagen, DK @ Store Vega *
04/04 – Oslo, NO @ Rockefeller *
04/05 – Stockholm, SE @ Berns *
04/06 – Gothenburg, SE @ Tragarn *
04/12 – Indio, CA @ Coachella Music Festival
04/15 – Santa Barbara, CA @ Velvet Jones ^
04/16 – Oakland, CA @ New Parish ^
04/17 – Oakland, CA @ New Parish ^
04/19 – Indio, CA @ Coachella Music Festival
04/22 – Pomono, CA @ Glasshouse ^
05/24 – George, WA @ Sasquatch! Music Festival
06/08 – New York, NY @ Governors Ball Music Festival
06/09 – Detroit, MI @ Orion Music + More
06/13 – Manchester, TN @ Bonnaroo Music Festival
06/22 – Dover, DE @ Firefly Festival

* = w/ The Gaslight Anthem
^ = w/ Cloud Nothings

Japandroids’ “The House That Heaven Built” is the new entrance music for the Vancouver Canucks

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Canada’s province of British Columbia has chosen Japandroids over Nickelback as the temporary entrance music for the NHL’s Vancouver Canucks. Great news!

As The Vancouver Sun reports, the garage duo’s song “The House That Heaven Built” will serve as the team’s entrance music for two home games in the near future after winning a fan vote by a “long shot” (note the hockey pun). Japandroids not only beat out Chad Kroeger & Co., but Guns N’ Roses, Volbeat, and the old standby of U2′s “Where The Streets Have No Name”, the latter of which the team previously used as its entrance music.

In light of the announcement, the team has put together a video simulating “The House That Heaven Built” used as the entrance music, which you can watch below.

Now, Canada, if you can get Nickelback into an actual hockey fight, we promise to never make another “aboot” joke ever again.

Japandroids is a Canadian rock duo from Vancouver, British Columbia. The group consists of Brian King (guitar, vocals) and David Prowse (drums, vocals). Formed in 2006, Japandroids rose to prominence in 2009 following the release of their debut album Post-Nothing. The group toured extensively throughout 2009–2010, earning praise for their energetic live performances.

Their sophomore album, Celebration Rock, was released on May 29, 2012 in Canada and June 5, 2012 internationally.

Published on Feb 19, 2013
We’re loooking at trying out some new intro songs for when the Vancouver Canucks hit the ice. The Japandroids are a BC band … Here’s what their tune “The House That Heaven Built” would look and sounds like!

Upcoming festivals featuring Japandroids:

Buku Music + Art Project 2013
New Orleans, Louisiana
Mar 08, 2013

Snowball Festival 2013
Winter Park, Colorado
Mar 08, 2013

Coachella Valley Music and Arts Festival 2013 Indio, California (Empire Polo Grounds)
Apr 12, 2013

Sasquatch! Music Festival 2013
George, Washington (Gorge Ampitheatre)
May 24, 2013

Free Press Summer Fest 2013
Houston, Texas (Eleanor Tinsley Park)
June 01, 2013

Governors Ball Music Festival 2013
New York, New York (Randall’s Island Park)
June 07, 2013

Orion Music + More 2013
Detroit, Michigan (Belle Isle)
June 08, 2013

Bonnaroo Music and Arts Festival 2013
Manchester, Tennessee (Great Stage Park)
June 13, 2013

Firefly Music Festival 2013
Dover, Delaware (Dover International Speedway)
June 21, 2013

Optimus Alive! Festival 2013
July 12, 2013

Atoms For Peace – AMOK + Radiohead documentary 10/10

Thom Yorke by Jeremy Cowart

Thom Yorke by Jeremy Cowart

New Yorker

Thom Yorke is one of the most popular worriers in popular music. In the documentary “Meeting People Is Easy,” made while Radiohead toured for its landmark album, “OK Computer,” and released in 1998, Yorke appears as a young man full of trepidation about becoming famous. His anxiety has since mostly abated, but his sense of displacement has not: his musical worries are now more like chess moves than like agonized referendums on his life.

While Radiohead continues to be a commercially successful group, Yorke’s newest project is an experimental rock and dance band called Atoms for Peace, which centers on him and his longtime collaborator the producer and musician Nigel Godrich. “Amok” is the group’s first full album.

Yorke’s voice is an unrelentingly beautiful thing that sometimes bothers him for precisely that quality. He sings in a strong and aspirate voice, and favors legato phrasing. His pitch is sufficiently accurate so that he uses vibrato only when he needs to—as an effect that can be drawn on for any number of aesthetic reasons. His singing is so pretty that Radiohead can sometimes lack the aggression that is a crucial aspect of much rock music, especially the average kind. The farther Radiohead has moved away from the traditional guitar-rock moves of its first two albums, “Pablo Honey” and “The Bends,” the more satisfying and comfortable the band has become. This is largely because Yorke’s voice works well in all melodic and harmonic styles. On his one solo album—“The Eraser,” from 2006—Yorke seemed happy mostly to replicate Radiohead’s choices. But “Amok” resists, amicably, the reassuring quality of his singing. As Yorke’s voice becomes more plangent, his backing tracks are increasingly fractured. While Jonny Greenwood, his most visible bandmate in Radiohead, has continued to score films (notably Paul Thomas Anderson’s “There Will Be Blood”) and expand on his wide harmonic gift, Yorke seems to be going in the opposite direction, searching for the simplest pairing of beat and melody that can successfully undergird a song. Yorke has characterized “Amok” as “a sort of dance-music record,” and though it likely won’t be filed as such, owing to its clear vocal lines, it is gloriously rhythmic.

The first time that Yorke made dance music for public consumption was in 2000, with the song “Idioteque,” from Radiohead’s “Kid A.” That track is syncopated, its rhythms audibly small and clicky, and those attributes still show up in Yorke’s work. And, while he has a reputation as a physically awkward stage presence, in the 2011 video for Radiohead’s “Lotus Flower” he abandons restraint. The clip shows Yorke in a bowler hat, a white shirt, and black pants, dancing in a focussed but intent ecstasy that recalls both Ian Curtis, from Joy Division, and Prince. The dancing represented a public shift. Radiohead fans may have been hankering for big rock anthems like “Airbag” and “Street Spirit,” but Yorke had turned away from large musical gestures and gone deep into finely articulated rhythm and texture.

Yorke’s involvement in the dance community is not shallow. He has collaborated with artists he admires, like the California producer Flying Lotus and the virtuosic Berlin production duo Modeselektor.

Last September, Yorke, Godrich, and the drummer Joey Waronker, all of Atoms for Peace, made a visit to New York. On a Friday night, Yorke played a d.j. set at the Wooly, a bar in lower Manhattan; the next day, Godrich and Yorke performed Atoms for Peace material at MOMA PS1, in Queens. At the Wooly, a modified speakeasy with antique upholstered couches and wall sconces, Yorke wore a gray T-shirt and stared at a laptop on a stand. His selections generally avoided melody, blending stretches of condensed, grainy rhythm with stomping drum-and-bass tunes from the mid-nineties. The studied cool of the crowd of models and musicians relaxed long enough for dancing to break out.

At PS1, the audience was delighted to see the band, and there was less feigned nonchalance. A little before sunset, Godrich and Yorke appeared. Godrich, who has short dark hair and wore a red Lacoste track jacket over a dark-gray T-shirt, looked a bit like a rugby player. He stood in front of a laptop, and Yorke moved out in front of him, to dance and sing, separated from the crowd by railings and several security guards. Yorke’s brown hair, gathered into a short ponytail, is flecked with gray. He wore black jeans, sneakers without socks, and a vest over a white T-shirt. Godrich began “Amok” ’s opening track, “Before Your Very Eyes,” and the crowd cheered at Yorke’s guitar line, a scratchy two-part figure that flutters down quickly, sounding both strummed and picked. Holding the mike with his right hand, Yorke raised his left hand and began to shimmy, dipping his shoulders back and forth. He sang smoothly, at the very top of his falsetto range, over the music, which turned into a series of synth chords over a scuffling beat.

For the next track, “Ingenue,” Yorke stepped back and stood next to Godrich, singing some of the lyrics from a small black Moleskine notebook. The song is built from a weepy, descending bass line that is answered by a high figure, which plays a clump of small, hard sounds that are like both live instruments and computer-generated signals. Much of “Amok” goes along these basic lines: a synthetic keyboard runs down the middle, flanked by a series of crackling drum sounds and minimal bass or guitar patterns. Very little of the record is cloudy or vague; Yorke does not lean heavily on multi-tracking his voice. “Amok” is stripped down, all points and lines. Often, it sounds like a dance remix of a Thom Yorke song.

John Frusciante "Flea"

John Frusciante “Flea”

The album is an odd beast, born of marathon jam sessions at which several musicians (including the bassist Flea, from the Red Hot Chili Peppers) contributed; the earliest was more than two years ago. But it is Yorke’s project, directed by him and Godrich, and constructed in such a way that some songs sound as if there were no live musicians involved. “Default,” one of the album’s best tracks, is a mesh of keyboard pulses and rattling wooden noises. Sounds ripple and echo around the tonal material, but there is nothing as traditional as a buildup or a breakdown—most of “Amok” simply kicks in and goes. Yorke sings in the same full voice he uses in Radiohead, though occasionally he drifts to that thinner falsetto which hangs high above all the electronics.

Live performance is central to Radiohead’s career, and when I next saw Yorke, in London a few months later, the band had recently ended a nine-month tour begun after its previous release, “The King of Limbs,” in 2011. Yorke, who is forty-four, seemed considerably more tired than he had in New York, and was wearing a leather jacket and a thick woollen sweater against an unseasonably cold English winter. He wore several chunky silver rings on each hand and rubbed his eyes repeatedly.

“I haven’t really had a break,” he said, sounding a little bit like the younger man of 1998, who had the weight of the world on his shoulders. Apart from the drain of being on tour, Yorke has reasons for fatigue. Last June, roughly in the middle of Radiohead’s tour, a metal canopy collapsed before a show in Toronto, killing one of the band’s crew members. The event seems to haunt Yorke. Because he is a member of Atoms for Peace, the group received offers to headline festivals. But he was equivocal, and seems most excited about bringing out the laptops again for a brief, three-city tour. “If we get it right, it would be different every time we do it,” he told me. “We’d add things and strip things off it. It’s something I’ve been wanting to do for ages.”

Documentary:  Radiohead – Meeting People Is Easy  10/10



Related posts:
MoMA’s PS1 Warm Up Says Goodbye to Summer – Pictures
Watch Atoms for Peace Perform “Judge Jury and Executioner” – Thom Yorke

Best Concerts in NYC This Week – feb 25 – 4 mar 2013



Desaparecidos + Joyce Manor + States and Kingdoms
Webster Hall
Wednesday, 7pm, $25
It may have taken Bright Eyes’ Conor Oberst a decade, but by last year, he had witnessed enough injustice to re-form his activist-minded, raw-sounding post-hardcore group Desaparecidos. That group, whose name translates to “disappeared ones” and references 30,000 Argentinians whom the country’s military dictatorship seemingly erased from existence in the ’70s and ’80s, only released one album in its first run, 2002’s Read Music/Speak Spanish. But then they found inspiration for a new song in the anti-immigration screeds of Arizona sheriff Joe Arpaio, who works in that state’s Maricopa County. Last year, they released the song “MariKKKopa” about Arpaio, as one face of a double-A-sided single. Now, they’re returning, full of ire, with the single “Anonymous,” this time praising the Occupy movement with the declaration, “You can’t stop us/We are anonymous.” Them’s fightin’ words. — By Kory Grow

Bob Mould + Bear in Heaven
Bowery Ballroom
Wednesday, 9pm, $25
Shortly after entering his own silver age (or maybe just the age of silver hair), 52 year-old Hüsker Düde Bob Mould returned to his hard-edged alt-rock rööts last year with the soaring, guitar-driven Silver Age. After years of albums that dabbled with electronics and (more surprising) Auto-Tune, the singer is applying his acidic vocals to an appropriate setting. Better yet, his concerts–including this one, find him singing not just songs from Silver Age, but also dipping back into his Hüsker Dü and Sugar catalogs. — By Kory Grow

Mostly Other People Do the Killing
Cornelia Street Cafe
Thursday, 8:30pm, $10
There’s no less frenzy in the puckish jazz band’s new Slippery Rock, but there is more melody, and therefore more coherence. From Jon Irabagon’s circular squawk to Kevin Shea’s post-Bennink bash, refinements have been made, and they make the music a tad more entertaining. On stage, well, frenzy is the coin of the realm for the fourtet’s fans, and these guys have plenty of pennies in their pocket. — By Jim Macnie

Man Man + Murder by Death
Music Hall of Williamsburg
Thursday, 8:30pm, $20/$22
Philly-bred experimental rockers Man Man are more than reckless percussion, face paint, and piano-pounding. Using every idiosyncratic instrument possible, from a Rhodes to a Danelectro, they produce all kinds of orchestral arrangements boosted by growling bass lines and lead man Honus Honus’s rabid vocals. Although their albums often involve cartoon voices and kazoos, there is a compelling emotional realism that packs its own punch. 2011’s Life Fantastic continues to demonstrate this lyrical and melodic sophistication, but don’t worry–the fewer wacky moments don’t mean Man Man can’t put on the raucous show they’re known for. — By Sarah Madges

Burnt Sugar Cinefhonic Strike Force
The Stone
Thursday, 8pm, $10
Greg “Ironman” Tate perpetuates the late Bruce Morris’s conduction techniques in Burnt Sugar‘s score for African-American filmmaker Oscar Michaeaux’s 1925 silent film Body and Soul, wherein Paul Robeson plays the double role of a sham preacher and his inventor brother. Sugar’s little big band of a lineup blends voices (Carl Hancock Rux, Abby Dobson), electronics, guitar, and horns. Tate debuts his new song project Rebellum during at 10 p.m. — By Richard Gehr

Unknown Mortal Orchestra + Foxygen + Wampire
Bowery Ballroom
Thursday, 9pm, $15
The formerly anonymous UMO turned out to be the ingenious studio invention of Ruban Nielson, who now leads a trio. The Portlandia-based New Zealander’s distinctive finger-style manner with an electric guitar elevates his androgynous voice and downbeat pop songs nearly into XTC territory, although the Flying Nun stable, which he joined as a former member of the Mint Chicks, is certainly a bigger influence. — By Richard Gehr

Bang on a Can
Museum of Modern Art (MoMA)
Tuesday, 6pm, $10
Impressionism canoodles with minimalism when the always inventive local new music organization presents “Consonant Abstraction: Claude Debussy and Steve Reich” in conjunction with the current MOMA exhibition “Inventing Abstraction, 1910-1925.” Teachers and students from Bang on a Can’s Massachusetts MOCA summer program will perform a chamber version of Claude Debussy’s Prelude to the Afternoon of a Faun followed by Steve Reich’s modern classics, Electric Counterpoint and Different Trains. — By Richard Gehr

Webster Hall
Monday, 9pm, $25
Though I share Solange’s enthusiasm for Craig David and Groove Theory, her recent tweets requesting the hiring of more “writers who truly understand” the “culture of R&B”, probably aren’t about me. I’m stuck in a historical materialist understanding of R&B as a function of black middle class expansion and corporate neo-colonialism. And I understand Solange as the fly femme flâneur of this Brooklyn moment, where we’re still dancing to Whitney in the shadow of the Barclays Center. — By Rajiv Jaswa

Tom Wopat
54 Below
Monday, 7pm, $20-$34
Wopat has left Hazzard far behind but become even more hazardous in his recordings. With his subtle macho, he gets the most from the material included on his moody new I’ve Got Your Number CD. Aside from two obviously autobiographical songs–“Summer Dress” and “I Still Feel That Way”–the duke explores nifties by Paul Simon, Bruce Springsteen, and Bruce Hornsby with somber aplomb. — By David Finkle

Gary Peacock, Marc Copland, & Joey Baron
Friday, 8:30pm & 11:00pm, $30-$40
A piano trio that thrives on the wisdom of agility, this band moves from rumination to rumble as the evening unfolds. The idea isn’t to keep audience off balance, it’s to offer a range of hues. Copland is a pianist who values mood as much as rhythm, and he’s often willing to let the music float a bit. That’s why his cohorts are aptly chosen: Both Baron’s feathery snare rolls and Peacock’s rich plunks are expert at observing the value of pure sound. — By Jim Macnie

Krautrock: The Obscure Genre That Changed the Sound of Rock

Uploaded on Mar 18, 2011
BBC Four
Documentary which looks at how a radical generation of musicians created a new German musical identity out of the cultural ruins of war. Between 1968 and 1977 bands like Neu!, Can, Faust and Kraftwerk would look beyond western rock and roll to create some of the most original and uncompromising music ever heard. They shared one common goal – a forward-looking desire to transcend Germany’s gruesome past – but that didn’t stop the music press in war-obsessed Britain from calling them Krautrock.

Music played
1. Popol Vuh — Aguirre I L’acrime de Rey
2. Jimi Hendrix — All Along the Watchtower
3. Richard Wagner — Siegfried’s Funeral Music
4. Amon Düül II — Kannan
5. Amon Düül II — Luzifer’s Ghilom
6. Popol Vuh — Wehe Khorazin
7. Popol Vuh — Aguirre II
8. Tangerine Dream — Phaedra
9. Cluster — Fur Die Katz
10. Tangerine Dream — Fly and collision of Cosmo Sola
11. CAN — Mother Sky
12. CAN — Vitamin C
13. Kraftwerk — Autobahn
14. Neu! — Hallogallo
15. Faust — Krautrock
16. Kraftwerk — Showroom Dummies
17. Kraftwerk — Geiger Counter
18. Kraftwerk — Radioactivity
19. Harmonia — Watussi
20. David Bowie — A New Career in a New Town

Krautrock: The Obscure Genre That Changed the Sound of Rock
By Zane Van Dusen

Available in PDF format FREE here:
Krautrock: The Obscure Genre That Changed the Sound of Rock

In 1968, a new genre of music appeared in Germany. This music, which had elements of 1960’s rock and experimental music, received the patronizing nickname ‘Krautrock,’ from the British press. Due to the relatively small size of this musical movement and the somewhat offensive moniker, Krautrock was all but forgotten in the 1980s and 1990s. Music critics and historians placed the bands from this movement (like Faust, Neu!, Kraftwerk, Tangerine Dream) in broad genres like “progressive rock” and “psychedelic rock,” and the “press would [not] give such bands more than a jokey note in the ‘Where are they now’ columns.”

More here: Krautrock: The Obscure Genre That Changed the Sound of Rock

Krautrock - Music for Your Brain [Box set]  available @ Amazon - 1 box in stock

Krautrock – Music for Your Brain [Box set] available @ Amazon – 1 box in stock

Gojira’s North America Tour (Canada & U.S.) A Huge Success


The North America Tour (Canada and the U.S.) 2013 of the death metal band Gojira was a huge success, with packed venues and sold-out shows from the beginning of the tour — and outstanding performances by the band!  Gojira, based in the French Basque Country, ended the North America Tour with a message to their fans:

“We would like to thank each and every one of you for coming out to our shows over the past 6 weeks… This tour was absolutely incredible! We promise to come back and tour North America again this year.  See you soon!!! ”

Related posts:
Gojira’s North America Tour 2013 in Pictures

Walking Dead Producer Loves Tom Waits, Bob Dylan


Last night’s episode of The Walking Dead featured the return of Emily Kinney’s striking singing voice. While sitting in the prison, her character Beth temporarily lifts everyone’s incredibly dark mood by singing a gripping, a cappella version of Tom Waits’ “Hold On.” Which means that before the zombie apocalypse, Beth must have owned a copy of 1999′s Mule Variations. The episode concludes with Waits’ recorded version of the song.

In an interview with EW, executive producer Robert Kirkman revealed the peculiar listening habits of Walking Dead producer Glen Mazarra. It turns out Rob Zombie is not on his playlist.

Who’s the Tom Waits fan?
I think everyone in the production is a Tom Waits fan. But I would say the biggest fan among us is probably Glen Mazzara. That guy only listens to Bob Dylan and Tom Waits.