Dinosaur Pile-Up Announce Biggest UK Headline Show To Date And New Bassist

Dinosaur Pile Up @ Leeds Festival 2013

Dinosaur

Band will hit London’s Scala on February 18 with new recruit Jim Cratchley! PLUS as it’s Christmas get involved in RADVENT, 25 days of AWESOME.

Straight off the back of their US tour with You Me At Six, Dinosaur Pile-Up have announced their biggest UK headline show to date, at London’s Scala. Taking place on February 18 2014, this momentous one-off gig will showcase why they are renound as one of the best live bands in the UK. Tickets are available now over at this link.

Dinosaur Pile-Up have also revealed Jim Cratchley, formerly of Camden rockers, Tribes as their brand new bass player. Jim will take over on four string and backing vocals.

PLUS throughout December, the trio will be bringing fans the ground-breaking RADVENT CALENDAR. Full of exclusive videos, downloads, competitions, interviews and band related merriment, the radvent calendar is a way for fans to get up close and personal to Matt, Mike and Jim, with a new feature every single day throughout December. Take full advantage of Radvent now here!.

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MGMT Band Concert at Barclays Center, Brooklyn, NY Fri, Dec 13, 2013 08:00 PM

Tickets are not available at the box office during the first day of public on sale

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MGMT

Barclays Center

Brooklyn, NY

Fri, Dec 13, 2013 08:00 PM

FIND TICKETS

MGMT Band
  • MGMT is an American psychedelic rock band founded by Benjamin Goldwasser and Andrew VanWyngarden. After the release of their first album, the members of their live band, Matthew Asti, James Richardson and Will Berman, joined the core band in the studio.
    The Brooklyn experimental rockers released their self-titled third album in 2013 while continuing to play headlining concert dates and festivals all over the world. Fans scooped up tickets to hear songs like “Kids,” “Electric Feel,” and “Congratulations.” The band’s singular style of psychedelic rock, which integrates plenty of electronica elements, was forged beginning in 2002 by founders Ben Goldwasser and Andrew VanWyngarden when they were freshmen at Wesleyan University in Connecticut. Their debut album, Oracular Spectacular, was released in 2006, and MGMT started gaining fans with the help of their opening sets for trend-setting acts like Of Montreal, Radiohead, and Beck. By 2009, MGMT could count Paul McCartney among their growing stable of fans, and they landed a spot opening for the ex-Beatle at Boston’s Fenway Park. On tour, the five-piece group has been known to augment the flower-power vibe of their music by projecting repeated colorful, kaleidoscopic images and other random visuals on a backdrop behind the stage.
  • Lead singer: Andrew VanWyngarden (2002–)
  • Members: Andrew VanWyngarden, Benjamin Goldwasser, Matt Asti, Will Berman, Hank Sullivant, James Richardson
Origin: Brooklyn, NY, Middletown, CT

Arcade Fire to perform in Brooklyn Oct 18 and 19

Arcade Fire

Arcade Fire

Arcade Fire will return to New York next weekend in support of their LP, Reflektor. As Arcade Fire Tube points out, posters advertising a pair of Brooklyn shows for The Reflektors have sprung up in the borough. The Reflektors was the name Arcade Fire went by for their trio of Montreal shows last month, and similar to the Montreal shows, the Brooklyn shows will require formal attire or costume for entrance. According to Arcade Fire Tube, it’s unclear where exactly the shows will take place “due to permit logistics,” so stay tuned.

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Below watch the band’s short film Here Comes the Night Time:

Upcoming Concert: The Gaslight Anthem with Bouncing Souls [NYC]

gaslight rams head

Concert:
Fri, Jul 26 – 5:00 PM
Hudson River Park’s Pier 25
New York City

The Gaslight Anthem is an American rock band from New Brunswick, New Jersey, formed in 2006. The band consists of Brian Fallon (lead vocals, guitar), Alex Rosamilia (guitar, backing vocals), Alex Levine (bass guitar, backing vocals) and Benny Horowitz (drums, percussion).

The band released their debut album, Sink or Swim, on XOXO Records in May 2007, and their second album, The ’59 Sound, on SideOneDummy Records in August 2008. The band’s third album, American Slang, was released on June 15, 2010. Their fourth album, Handwritten, was released on July 24, 2012, on Mercury Records.

Brian Fallon was in a number of bands prior to The Gaslight Anthem, most lately This Charming Man. The band went through a number of line-up changes, to the point where the band consisted of Fallon, Mike Volpe, Benny Horowitz and Alex Levine. At this stage, the band renamed themselves to The Gaslight Anthem, due to a change in direction. After this, Volpe left and Alex Rosamilia joined, and the current line-up of The Gaslight Anthem was formed.

Marina Diamandis has a new alter ego to go with her new musical direction. Unfortunately, it’s a rather déjà vu

The title of Marina’s latest album, Electra Heart, evokes images of a Cinderella-type character throwing her glass slippers to the wind and crying mascara tears, unable to cope with the possibility of a happily never after.

Last August, Marina Diamandis gave a confusing interview to the website Popjustice. She explained her change of direction, from the self-consciously arty singer-songwriterisms of her 2010 debut The Family Jewels – with its similarities to Sparks and Lene Lovich – to the more straightforward pop approach of Electra Heart, an album assembled by a selection of writers and producers for hire who have previously turned out hits for Ronan Keating, Dido, Katy Perry and Britney Spears.

But the real problem is that since that interview, another female singer-songwriter has emerged playing a character that portrays the corrupting, tragic side of the American dream with a distinct Mulholland Drive/Paris, Texas vibe – sleazy motels, insouciant smoking, pastel-shaded 50s clothes and bad-boy boyfriend all included. It would appear any similarity to the former Lizzie Grant is purely coincidental – certainly Electra Heart sounds nothing like Born to Die – so it’s hard not to feel a bit sorry for Diamandis, who now finds herself promoting her new direction while apparently dressed as Lana del Ray.

On Fear and Loathing and Teen Idle, they strip back most of that album’s excesses to let the melodies breathe and focus attention on Diamandis’s singing: coolly enunciated and slightly folky, her voice is much more appealing than you might have realised, overshadowed as it was on The Family Jewels by her apparently unquenchable desire to shriek, deploy a horrible vibrato and do animal impersonations. The former is a ballad that seems to address the artistic confusion arising from her debut album’s relative failure; it does that in a more straightforward, affecting way than opener Bubblegum Bitch, a heavy-handed attempt at the kind of self-fulfilling I-will-be-huge prophecy that filled The Fame by Lady Gaga. Teen Idle, meanwhile, twists the cynicism of the whole Electra Heart concept into an intriguingly nasty lyric that subverts the message of a million Hollywood teen films by apparently suggesting adolescents would be better off trying to curry favor with the vacuous social elite in their school than expressing their individuality.

Enter Electra Heart, a bubblegum pop concept album that most music critics haven’t been able to analyze it without drawing ham-fisted comparisons to Del Rey’s Born to Die. True, both performers are women performing highly stylized pop songs about relationships, but the comparisons end there.

Her alter-ego’s second album is “a vehicle to portray part of the American dream, with elements of Greek tragedy”. Accordingly, Marina/Electra wears a sparkling, full-skirted prom dress, and carries a toy poodle of the sort found in handbags, yet she never actually tells us about the archetype she’s sending up, or why a girl from Abergavenny is so fascinated with the US. There’s a bronchial rasp to her voice that calls to mind Courtney Love, another enthusiastic American-dream satirist. It’s just one more vocal tic on top of the familiar yodels and whoops that give an amdram aspect to every song. No criticism intended: there may be a large helping of frustrated actor in Marina, but that makes her a sight more interesting than the Rihannas of the world.

The new tunes are steeped in melodrama, of course. On the mannered electropopper Homewrecker, she claims: “They call me homewrecker/ I broke a million hearts just for fun.” Starring Role, which pairs melancholy minor chords and a trundling bassline, contains the vow “I’ll never set you free”. If these delve into the dark side of the American dream, they’re about as “deep” as the perky hit Hollywood, which closes the set to the memorable sight of Marina pogoing. Yet pop is a better place for her presence.

One wonders what might have happened if Diamandis had just got on with making a second album herself, not worrying too much about commerciality or alter-egos or becoming everything she isn’t. If only someone would tell Diamandis it’s not all about fame and success. The key? Stop being such a Primadonna and focus on being yourself.