Video for "MmmHmm" comes from the album Cosmogramma.


By Blurt Staff


A second cut from his self-proclaimed "space opera" Cosmogramma, "MmmHmm" features renowned bassist Thundercat (Sa-Ra Collective, Erykah Badu, Suicidal Tendencies), who contributes vocals and bass to the track and stars in the video, Directed by Special Problems and produced by Warp Films. Watch it, below.



Meanwhile, Flying Lotus is also curating the Brainfeeder fest in London on August 14:

Flying Lotus presents BRAINFEEDER

@ Hearn St Car Park, 9-5am

Flying Lotus
Kutmah (first ever UK show)

Lorn

Actress (live)

Kode9

Teebs

Dr Strangeloop

+ special guests

This comes on the heels of two other London shows on August 16 and 17 having already sold out...

Smith and Hyde enlist a cast of "co-conspirators" for September release.

By Blurt Staff

Barking is the title of Underworld's first album in three years, their sixth studio album to date, and their first to be constructed with a cast of co-conspirators. All the tracks were written by the band in their Essex studio before being given to handpicked studio heads from across the whole spectrum of dance music to add some of their style and creativity to the band's raw material. The result is a pimped-up Underworld record and their finest collection of songs in over a decade. It's due out on September 13.

From the first undulating pulses of submariner bass, the first vocals - soft like a whisper in the ear - and the first fizz of hi-hats that force along the pace, the sound is unmistakably Underworld. Electronics wrapped effortlessly around songs; streams of consciousness lyrics that form indelible images; a perfectly balanced mix of melody and rhythm.

Tracklist:

Bird 1 (additional production by Dubfire)

Always Loved A Film (a/p Mark Knight & D. Ramirez)

Scribble (a/p High Contrast)

Hamburg Hotel (a/p Appleblim & Al Tourettes)

Grace (a/p Dubfire)

Between Stars (a/p Mark K & D. Ramirez)

Diamond Jigsaw (a/p Paul van Dyk)

Moon In Water (a/p High Contrast)

Louisiana

Backstory and Updates:

Underworld are Rick Smith and Karl Hyde. They have been working together in music for thirty years since meeting in Cardiff University in the late '70s. Following time working in various bands with luminaries like Conny Plank, Iggy Pop and Debbie Harry, Smith and Hyde (with help from DJ Darren Emerson) began experimenting with making club music in the early '90s, first as Lemon Interupt then reactivating one of their old band names - Underworld - releasing their first single proper, Mmm... Skyscraper, I Love You, in 1993. As well as becoming the first band from the nascent ‘dance' scene to grace the cover of a weekly music paper, they scored massive critical hits with each of their album releases (Dubnobasswithmyheadman, Second Toughest In The Infants,Beaucoup Fish, One Hundred Days Off and Oblivion With Bells).

In 2005, Underworld released the Riverrun series, a trio of downloadable mixes of new material and works-in-progress, making them one of the first acts of their scale to attempt to directly sell their own records. The band continue to release alternate versions and curios through www.underworldlive.com. 

Underworld's continuing relationship with director Danny Boyle has seen their music used in many of his movies. In 1996 a former B-side track, Born Slippy (Nuxx), soundtracked an entire summer, selling close to a million copies when released as a single. They recently scored Boyle's sci-fi movie Sunshine.

In the early '90s Smith and Hyde helped co-found the design company tomato. Karl has recently worked extensively with Brian Eno on the collaborative Pure Scenius project, playing largely improvised gigs at Sydney's Opera House and at the Brighton Festival.

Underworld remain one of the most innovative and dynamic live bands on the planet - after a series of already announced Australian dates this June, they will be touring the album extensively towards the end of the year.

"Scribble", the first new material from the new album to see the light of day, is available now from underworldlive.com and will be commercially released on June 28, including a remix by Hospital recording artist, Netsky. The band will also headline the iTunes Festival at London's Roundhouse on 17th July.

Prelude to extensive tour, including dates at MSG with former bandmates in Arcade Fire.

By Blurt Staff

Erstwhile Final Fantasy string man Owen Pallet has a new 12" EP titled Lewis Takes off His Shirt - it comprises the title track plus remixes courtesy Dan Deacon, Benoit Pioulard, and CFCF, as well as "Keep the Dog Quiet" (Simon Bookish remix) and "Midnight Directives" (Max Tundra remix). This serves as a lead-up to a tour as well as high profile shows with the National, Dirty Projectors and Arcade Fire (dates below).

He's also offering the EP up for free download - follows this link and the instructions. Enjoy!

Tour dates:

7-31 Montreal, Quebec - Osheaga Festival
8-04 New York, NY - Madison Square Garden ^
8-05 New York, NY - Madison Square Garden ^
8-12 Oslo, Norway - Oya Festival
8-13 Saint-Malo, France - La Route du Rock
8-14 Helsinki, Finland - Flow Festival
9-07 Washington, DC - 9:30 Club *
9-08 Philadelphia, PA - Trocadero *
9-11 New York, NY - Terminal 5 *
9-13 Boston, MA - Wilbur *
9-24 Montclair, NJ - Wellmont Theater #
9-25 Munhall, PA - Carnegie Music Hall of Homestead #
9-27 Louisville, KY - W. L. Lyons Brown Theatre #
9-29 Kansas City, MO - Uptown Theatre #
9-30 St. Louis, MO - The Pageant #
10-02 Indianapolis, IN - Egyptian Room #
10-03 Nashville, TN - Ryman Auditorium #
10-04 Raleigh, NC - Raleigh Memorial Auditorium #
10-05 Atlanta, GA - Fox Theater #
10-06 Lake Buena Vista, FL - House of Blues #
10-08 Houston, TX - House of Blues #
10-09 Dallas, TX - House of Blues #
10-13 Tucson, AZ - Rialto Theatre #
10-14 Tempe, AZ - The Marquee #
10-16 Pomona, CA - Fox Theater #
10-18 Denver, CO - Fillmore Auditorium #

^ with Arcade Fire & Spoon
* with Dirty Projectors
# with the National

Grandaddy-Earlimart summit yields a combination of reverb and playful shoegaze alongside outright slapstick moments. I Heat California is out today on Aaron Espinoza's The Ship label. Check out the video, below.

By Annamarya Scaccia

Admiral Radley's story starts off like this: The mates in Earlimart and the now-defunct Grandaddy were friends for well over ten years. The two acts would tour together, hang out, visit each other's respected headquarters - all those things that close friends in bands do. And one day, some of members -  Jason Lytle & Aaron Burtch of Grandaddy and Aaron Espinoza & Ariana Murray of Earlimart, to be exact - decided to work on an Earlimart/Grandaddy album with various members of each band collaborating, writing and recording in a "loose, enjoyable atmosphere."

What came out of that is Admiral Radley's witty, jocular and warily poppy debut, I Heart California, which arrives via Espinoza's record label, The Ship. It's a droll and mesmeric assortment of quirky and wispy tracks that fluctuates between forlorn epistles ("Ending of Me," "Ghosts of Syllables"), maudlin thoughts ("The Thread"), sardonic exclamations ("I'm All Fucked On Beer"), curiously jokey ("Sunburn Kids") and the devotedly complicated (title track and opener "I Heart California"). But while I Heart California may sound like a light-hearted expedition (due in part to its more comical numbers, like "I'm All Fucked on Beer" and "Sunburn Kids"), it's only on the surface. Go past the fuzz, the reverb and the playful shoegaze and you'll find flawlessly executed moments of bittersweet fragility (like the tear-inducing "Lonesome Co." or the gracefully mournful "Chingas in the West," which opens with "Please take care of my little one / And I've been gone for far too long / She don't bother anyone / So please care for me little one.") Those are the tracks that make I Heart California truly standout as a first-time effort.

Unfortunately, though, it's those slapstick songs that hinder the California quartet's debut from being an absolutely perfect listen. Instead of breaking up the melancholy, they play out like random bouts of nervous laughter - unnecessary awkwardness that keeps the listener from feeling something that's very real.

European tour still on for next month. U.S. tour will start in May 2011 and previously issued tickets will still be good. Here ya go, kids...

By Blurt Staff

8-06 Turin, Italy - Stadio Olimpico !
8-10 Frankfurt, Germany - Commerzbank Arena !
8-12 Hanover, Germany - AWD Stadium !
8-15 Horsens, Denmark - Casa Arena $
8-16 Horsens, Denmark - Casa Arena $
8-20 Helsinki, Finland - Olympic Stadium %
8-21 Helsinki, Finland - Olympic Stadium %
8-25 Moscow, Russia - Luzhniki $
8-30 Vienna, Austria - Ernst Happel Stadium &
9-03 Athens, Greece - Olympic Stadium $
9-06 Istanbul, Turkey - Ataturk Olympic Stadium $
9-11 Zurich, Switzerland - Letzigrund Stadium &
9-12 Zurich, Switzerland - Letzigrund Stadium &
9-15 Munich, Germany - Olympic Stadium *
9-18 Paris, France - Stade de France *
9-22 Brussels, Belgium - Stade Roi Boudoin *
9-23 Brussels, Belgium - Stade Roi Boudoin *
9-26 San Sebastian, Spain - Anoeta Stadium *
9-29 Seville, Spain - Olympic Stadium *
10-02 Coimbra, Portugal - Estadio Cidade Coimbra *
10-03 Coimbra, Portugal - Estadio Cidade Coimbra *
10-08 Rome, Italy - Olympic Stadium *
5-21 Denver, CO - Invesco Field
5-24 Salt Lake City, UT - Rice Eccles Stadium
6-01 Edmonton, Alberta - Commonwealth Stadium
6-04 Seattle, WA - Qwest Field
6-07 Oakland, CA - McAfee Coliseum
6-17 &18 Anaheim, CA - Angels Stadium
6-26 East Lansing, MI - Spartan Stadium at MSU
6-29 Miami, FL - Sun Life Stadium
7-05 Chicago, IL - Soldier Field
7-08-09 Montreal, Quebec - Hippodrome
7-11 Toronto, Ontario - Rogers Centre
7-14 Philadelphia, PA - Lincoln Financial Field
7-20 East Rutherford, NJ - New Meadowlands Stadium
7-23 Minneapolis, MN - TCF Bank Stadium

! with Kasabian
$ with Snow Patrol
% with Razorlight
& with One Republic
* with Interpol

Swedish actress Ewa Aulin, when she's not appearing in movies with Ringo Starr and leaving record collectors all a-drool, reads Blurt!

By Blurt Staff

You like? Better check out our resident crate digger Carl Hanni's blog "Sonic Reducer" elsewhere on this site. He'll let you know about the "Candy" he recently unearthed....

Next album Warp Riders arrives in August. Check link below for free MP3 of new single.

By Blurt Staff

With merely six weeks away from the release of their third full-length, Warp Riders (August 24^th; Kemado), The Sword are finally ready to give a taste of their eagerly awaited new material. 

Click HERE to hear the album's first single "Tres Brujas" for free (all you'll have to do is enter an email address).

The scorching, groove-heavy number is proof that the band has successfully expanded into new territory while maintaining their cherished heaviness.  As the second track on the album, and the first with lyrics, "Tres Brujas" is also the first chapter in the epic sci-fi narrative that spans Warp Riders. The song encapsulates the "space opera meets post-apocalyptic western" tableau of the record, where dualistic themes such as "light vs dark" and "organic vs artificial" are explored.  The metal stalwarts will reveal the plot in more detail through a three-part video saga beginning with the "Tres Brujas" video, followed by clips for "Lawless Lands" and "Night City."

The mighty Wire has announced a flurry of activity. First up is a remake/remodel of 2002's 'Send'. Details and many links below.

By Blurt Staff

WIRE - SEND Ultimate (PF60)  (2 CD) JULY 2010

‘Send' was Wire's first new album for 13 years and on release basked in an aura of phenomenal critical acclaim and healthy retail action. However, the album itself was a distillation of a series of releases that preceded it, and with 'Send' having been out of stock for over a year (and its predecessors being out of print for even longer), it was felt that a re-appraisal was due. Consequently, 'Send: Ultimate' was born:

Send Ultimate is an archaeology of Wire in the studio between 2000 and 2003, as the band worked on new music for the first time in a decade. This retooled edition of Send gives fresh insight into an exciting chapter for Wire, by expanding the frame around the album and providing a larger context with rare and previously unheard material.

This includes both sides of the "12 Times U" vinyl-only collectors' item (the "12XU" remixes that catalysed Wire's Send-era burst of creativity); unreleased curiosities such as "DJ Fuckoff," an exercise in hyperkinetic dancefloor lunacy; alternate versions of numbers originating in this period that subsequently appeared on 2007's Read & Burn 03; and the tracks from the first two (out-of-print) Read & Burn EP's that were omitted from the original Send.

The double album features a booklet of sleeve notes by Pink Flag author (and BLURT contributor) Wilson Neate and a track-by-track commentary by all the main participants.

TRACK LISTING

DISC 1 (the original "Send") - 1. In The Art Of Stopping // 2. Mr Marx's Table // 3. Being Watched // 4. Comet // 5. The Agfers Of Kodack // 6. Nice Streets Above // 7. Spent // 8. Read & Burn // 9. You Can't Leave Now // 10. Half Eaten //11. 99.9

DISC 2 - 1. I Don't Understand // 2. Trash/Treasure //3. Raft Ants // 4. Germ Ship //5. 1st Fast //6. Artificial Gravity //7. DJ Fuckoff //8. 12 Times U //
9. Our Time (minimal mix) //10. Desert Diving (alt mix) //11. 12 Times X

For more information, go to http://www.pinkflag.com/sendultimate/ (On that page, you can also find information about a special deal to get a digital copy of WIRE - 14 Sept 2002 Metro, Chicago (pfb 002), the live album that came with original mail order sales of 'Send.'.)

***

And on to the Legal Bootleg Series! Over the years, many Wire concerts have been recorded, circulated and traded by ardent fans. But with the unexpected success of the 1979 Rockpalast concert (released as Wire: On The Box 1979), and subsequent requests from Wire fans for the band to release more from the archives, Pinkflag has been hard at work on a project to make available live material, from the highest possible quality source material, remastered and sympathetically presented...

Hence, the The Wire Legal Bootleg series. Curated by long-time Wire fan Mark Bursa, the series aims to make available the very best Wire gigs, for an affordable price, and with both new fans and avid collectors in mind.

The series is available by subscription at http://pinkflag.greedbag.com/buy/the-wire-legal-bootleg-series-su/  

It is also possible to buy the albums ‘batches' of three (the first of which is now on sale) or as individual gigs, but the better value lies in the series subscription which exclusively contains a DVD of Wire's second gig of the 1980s, 21 Jul 1985 Bloomsbury Theatre (pfb 802)

The first three releases are:

WIRE - 25 October 1978 Bradford University (pfb 701)

Chairs Missing meets proto-154. Raw versions of familiar songs

Indirect Enquiries //Men 2nd //Lowdown //On Returning// Being Sucked In // I Feel Mysterious Today // The Other Window //A Mutual Friend//
Former Airline //Mercy //Stepping Off Too Quick //Strange //Another The Letter //Sand In My Joints //French Film Blurred //I Should Have Known Better//
Practice Makes Perfect //Reuters //106 Beats That

WIRE - 21 July 1988 Astoria, London (pfb 801)

Wire in full 80s pomp!

The Queen Of Ur //In Vivo //Kidney Bingos //The Finest Drops //Silk Skin Paws //German Shepherds //A Public Place //It's A Boy //The Offer//
Eardrum Buzz //Boiling Boy //Drill //Ahead //Over Theirs

WIRE - 08 Dec 2000 Queen's Hall, Edinburgh (pfb 001)

The crucial 00s gig, with the first airing of new material and re-workings of old classics

Zoom //Heartbeat //Ally In Exile //Germ Ship //Boiling Boy //He Knows //Advantage In Height //Lowdown //Another The Letter //12XU// Pink Flag //Drill

For more information, visit http://www.pinkflag.com/legalbootleg/

***

A message from Wire:

This year, Wire has been hard at work on a set of recorded material that will become the band's 12th studio album. The band is aiming to release the (as yet unnamed) album in January 2011, with the digital version perhaps appearing slightly earlier. The work has gone through various stages which have included taking some of it on the road in a series of dates during May and June this year, and so some people may already be familiar with titles such as "Spuds", "Up From Above" and "Moreover" through the shows themselves and also through the live streaming of the set from this year's Primavera Festival in Barcelona. Some will also know that Wire have bid a fond farewell to Margaret Fiedler-McGinnis as their live ‘extra' guitarist and are now augmented by Matt Simms who will stay with the band for the duration of this cycle.

There seems to be a general opinion that we have already built up a head of steam with this line-up and set; however, in spite of the fact that we will have some exciting announcements to make about dates later this year and into 2011, the focus of creative attention this summer will remain with the album.

Sorry purists, and Industry Of Cool merchants, but it's called rock ‘n' roll populism, and beating the odds. And with high-profile, indie-approved fans like Billy Corgan, Trent Reznor and Jack Black squarely in their camp, the Canadian legends, on a 2-DVD documentary reveal themselves to be as down to earth and accessible as a prog-rock version of Tom Petty & The Heartbreakers.

By John Dworkin

Sure... Rush has often been accused of having pretentious lyrics. Drummer Neil Peart has weathered that criticism so often throughout the years that he refers to it as the "P" word. But there's no other rock band whose members are less pretentious as people than Rush - "The world's most popular cult band." With four decades of success and obvious musical talents, they easily could've been otherwise.

There are plenty of great moments for Rush fans (and rock music fans in general) to walk away with from the documentary Rush - Beyond The Lighted Stage (Zoe). But the most lasting impression, and perhaps the most fulfilling, is of how good-natured, straight forward, egoless, and approachable these three rock stars are. As blown up as they can be on stage or in a fan's mind while listening, they each come off as a seemingly contradictory Rockstar Everyman. But it seems they've always been that way, and they're that way today. They'd fit in with any group of friends - so long as those friends aren't a stuffy bunch. In that way they're like the Tom Petty & The Heartbreakers of the progressive rock world. Lighted Stage shows the band as they are: three hard working guys who were talented from the start, fortunate early on, and smart enough to follow that fortune while never looking back.

 
Rush gets the talking head treatment from, among many, the likes of Jack Black, Les Claypool, Kirk Hammett (Metallica), Billy Corgan (Smashing Pumpkins), Tim Commerford (Rage Against The Machine), Gene Simmons (Kiss), and Trent Reznor (Nine Inch Nails). Within the rock genre, that's quite a stylistically diverse group which speaks to the relative depth of Rush's musicality and range of influence. Corgan is particularly well spoken and illuminating in his praise of the band. In one excerpt he tells a poignant story of his relationship with a song from Permanent Waves - "Entre Nous" - and how he used it to bond with his mother (handing her the lyrics while they listened) because he had difficulty as a kid relating through other means. This real-life event mirrors Cameron Crowe's fictional exchange between Frances McDormand and Zooey Deschanel's mother/daughter characters in his classic Almost Famous:

 
Daughter: "I want to play you a song that explains why I'm leaving, and try to listen."
Mother: "We can't talk? We have to listen to rock music?"

Rock music: The Great Communicator?!

And Jack Black is great to have commenting on the band because, of course, he's funny as hell. But that being the case works on two levels here because it's also a reflection of one of the major revelations of the film: Vocalist/Bassist Geddy Lee and Guitarist Alex Lifeson are hilarious! They're naturally funny guys who come off as innately and comfortably self-deprecating. To wit: Lee referring to the band's early kimono wearing stint as "the period of the absurdly prophetic robes." Or Simmons relating a story of touring in the early days when, back at the hotel post-concert, the guys from Kiss would be partying and getting busy working the readily available groupies to get laid while the Rush guys would already be in their rooms watching TV and getting ready for bed. Or, relatedly, when a present day Lifeson is asked by the filmmakers about what's kept them moving forward through the decades, he ironically jokes "chicks."

 
Aside from the hijinx, there's plenty of chronological, blow-by-blow information about the band's history and development, their not-so-chummy relationships with the press and record labels, and the tragedies befallen Peart's family. Particularly revelatory is footage of the band (pre-Peart) playing while still in high school. Stories of their childhood in Canada and how they were already quite driven in their musical pursuits while still in their mid-to-late teens is accompanied by amazing home-movies of Lifeson playing guitar (wildly!) or hanging with his family around the dinner table. In an amazingly private piece of film to have shared, "2010 Lifeson" watches "high school Lifeson" argue with his parents over whether he needs to finish high school before pursuing his music career. It's a fascinatingly post-modern, voyeuristic moment: audience watching film of rockstar watching home-movie of himself. But, typically, Lifeson brings it all right back down to earth in humble deference by saying of his parents, "They were right." That's a nice thing for him to say, considering he obviously did not need to finish.

 
While a million miles away stylistically, Rush seems to generally have much more in common with the iconoclastic The Grateful Dead than any other rock band that sounds even remotely like them. Like The Dead: they've stuck it out with the same band members for nearly four decades (close enough for The Dead) - they've stayed true to themselves as artists the whole way - they have more of an "everyman" or "music geek" image than any Prog-Rock or Led Zeppelin type hard rock band - their lyrics regularly deal with ideas well beyond the typical rock band's sex 'n drugs topics - regular attention (forget praise) from the mainstream rock press during their "long, strange trip" was generally lacking - they tour to a rabid fan base - fine musicianship and songwriting are trademarks - and stylistically they're mainly rather idiosyncratic, virtually comparable to no one.

Nostalgia will likely figure into most viewers' experience of Lighted Stage for sure. And that's only natural. But even for those who stopped listening to Rush regularly many years ago (this writer included), if you went through any kind of earlier Rush "period," Lighted Stage is magic. It's an emotional and often hilarious tour of the band's spectacular career at beating the odds. But more than that, it ends up being a portrait of three friends who never succumbed to the music scene's "Industry of Cool" (to quote Crowe's Almost Famous again). This documentary should be considered a long overdue "glittering prize" for, in part, Rush's utter lack of "endless compromises." Their integrity is no illusion.

Special Features:

Full-length, never-before-seen performances of:
-Working Man and Best I Can with original drummer John Rutsey from 1974
-La Villa Strangiato from the 1979 Pinkpop Festival in Holland
-Between the Sun and Moon from the band's first show back after hiatus in Hartford, CT in 2002
Live performances of Far Cry and Entre Nous from the Snakes and Arrows tour & Bravado and YYZ from the R30 tour
Pre-gig warmup
Reflections from the band on Hemispheres
Dinner with the band at a hunting lodge

Erstwhile Thee Hypnotics/Black Moses frontman sets out on a latterday British invasion to plunder America's rock ‘n' roll past with his band's self-titled debut, out tomorrow on the aptly named Punk Rock Blues label.

By Fred Mills

Putting the "puh" back into "punk" and the "raw" back into "rawk" is Monsieur Jim Jones, a reprobate par excellence who proved his mettle ages ago with the late, great Thee Hypnotics. Anyone who experienced those Stooges/MC5-worshiping Brits during their early ‘90s heyday - in the U.S. they released records on both Sub Pop and Beggars Banquet - knows what a footstomping wildman Jones could be. His subsequent stint fronting the hard-rocking, R&B-tinged Black Moses was no less energized, although compared to the notoriously drug- and booze-fueled Hypnotics, the latter trio operated in relatively under-the-radar fashion.

More recently, though, the singer resurfaced with the Jim Jones Revue, a quintet that incorporates elements of Jones' prior outfits but distills things down to the most primal basics and inhabits a parallel a universe where Little Richard and Jerry Lee Lewis never got old but rather just kept at it until the New York Dolls and the Ramones came along to join the party. The front sleeve of The Jim Jones Revue, in fact, depicts an upright piano that looks like it's either been through a hurricane and flood or suffered extended abuse at the hands of both Mr. Penniman and The Killer. The sonic damage inflicted by the actual tunes isn't too far removed from that notion, either. Point of fact, after kicking things off with the ivories-pounding, "Good Golly Miss Molly"-worshiping  whomp of "Princess & The Frog," the band catapults full tilt into a positively crazed version Little Richard's "Hey Hey Hey Hey," effortlessly collapsing the distance between London and Macon, Ga., in just 2:02. So much for cultural appropriation; these boys know their fish from their chips.

From there it's a rock ‘n' roll travelogue that you just ain't gonna get from any of the indie-rock grovelers currently enjoying blog-buzz status. "Rock n Roll Psychosis" is a synapse-poppin' riot of manic piano and distorto-guitar sizzle, with Jones barking and shrieking like Iggy commanding a full legion of the grandchildren of the damn - "we don't monkey around!" he gurgles at one point, and you goddam sure believe him. The Revue subsequently exhumes the fetid, twitching hips of Elvis ("Fish 2 Fry," which revs up "Baby, Let's Play House" until things achieve takeoff, Sonic Youth style); figures out yet an altogether new way to walk the friggin' dog ("Another Daze," coming to a New Orleans-centric film soon if there's any justice... Treme camp, are ya listening?); and serves up the most twisted brand of R&B this side of Screamin' Jay Hawkins ("Cement Mixer," which is as heavy and dense as the title telegraphs and, with its stripper-grind rhythm, chain-gang chorus and altogether filthy vibe, will leave you needing to take a shower after is spins. (You're in luck: it's the last cut.)

The Jim Jones Revue was actually cut a couple of years ago and has been available in England for a good while; in 2009 a mini-album, the aptly-titled Here To Save Your Soul, was released containing a couple of album cuts plus the band's subsequent singles (see our review here). Meanwhile the band has also completed a new record, produced by Jim Sclavunos of Bad Seeds/Grinderman fame and will have that in the bins before the year is out, so nobody involved is planning on wasting any time getting' on with the gettin' on.

As the saying goes, get behind the Revue before the Revue gets past YOU. Amen.

The Jim Jones Revue plays NYC, Hoboken and Brooklyn next week, July 22-24. Details, song samples and more at their MySpace page.