Drummer and songwriter played with the cream of the Austin blues musicians.

By Fred Mills

Austin rocker Doyle Bramhall Sr. passed away this weekend (Sept. 12) at his home in Alpine, TX, apparently following a recent bout with pneumonia, although the official cause of death has not been announced yet. The legendary drummer and songwriter was 62 and is survived by his wife, daughter, and son (Doyle Bramhall II, notable for his work with the Arc Angels and Eric Clapton).

Bramhall's most recent album was 2007's Grammy-nominated Is It News. Over the years the Austin mainstay had played with virtually every Texas roots musician there was, among them the big names of the Antone's scene: Stevie Ray Vaughan, Jimmie Vaughan, Lou Ann Barton, Angela Strehli, Marc Benno and Tommy Shanon. With Benno and Stevie Ray Vaughan he also formed The Nightcrawlers. Later, Vaughan would record several of Bramhall's compositions for his own solo releases. Bramhall continued to work up until the time of his death.

Watch the pink hair and black lipstick below, of course, then read our interview with Lovefoxxx.

By Blurt Staff

Fresh off their second US tour of the year, Brazil's CSS have released the video for "City Grrrl," the second single off their latest album, La Liberacion.  The eye-popping, colorful video shows frontwoman Lovefoxxx in all her pink hair'd glory - black lipstick, too.

 
She explains: "I revisited my teenage years while living in the suburbs of my hometown. I'd be on the floor of my bedroom making the most ridiculous clothes and glue fake colored hair or x-ray pictures on clothes. I'd be sporting goth make up at 8am and when I hit the streets people would curse me from their cars in the most aggressive way.  [Calling me] 'drag queen', 'whore.'" The song captures the sentiment of feeling like a true outsider and yearning to escape to a big city to find fellow outcasts.

 
 La Liberaciónis recently arrived via V2/Cooperative Music USA/Downtown Records. Read the BLURT interview with Lovefoxx elsewhere on our site.

At Mississippi Studios on Nov. 2 it was an indierock fest but still a mixed bag, featuring sets from Ganglians and England's Still Corners.

By Tim Hinely

The place looked empty when Ganglians played, but my friends and I were on the other side of the bar so we might as well have been standing outside. Ganglians trippy pop sound wasn't necessarily bad, but didn't pique my interest enough to head on in.

By the time U.K.'s Still Corners came on stage, the place was still fairly empty, but slowly started filling up. I had heard a few early singles that I really liked, but their debut full-length for Sub Pop, Creatures of an Hour, didn't hit me the way I wanted it to. Still, I was real anxious to see how and what they would deliver on stage.

They launched into their haunting , eerie, ethereal tunes with a backdrop of oddball videos playing behind them. Vocalist Tessa had a small Korg keyboard that she occasionally played while the bassist to her left did most of the keyboard-manning in between (or sometimes while) thumping out the bass. The guitarist did a fine job of coaxing out otherworldly riffs and the drummer kept a solid beat. They played several tunes off of said record including two of my favorites, "Cuckoo" and "Endless Summer" and saved their Springsteen cover of "I'm On Fire" for mid set.

The set ended without much fanfare and they played no encores; still, something struck me about their performance so much that I had a hard time taking the cd out of my player for the following week. Something had crept in there and I'm not sure what it was. Meanwhile, after the set my friends both said that while they didn't dislike it, they were depressed. When I asked why, they said they both had thought about Broadcast, the late UK band which ended last year when vocalist Trish Keenan passed away due to complications from pneumonia. Still Corners had reminded them so much of Broadcast's dark, brooding sound that it elicited feeling of depression in them. Once again, the unholy power of music works its mojo and then some. An odd evening, for sure.

Also releases new Music Tapes video. Watch it, below.

By Blurt Staff

Since the release of the 2008 instant holiday classic The Singing Saw at Christmastime, Julian Koster of the Music Tapes, along with his singing saws, have toured the country spreading holiday cheer to the over 450 homes to which they had been invited. Koster has just announced the dates and proposed route of his 6th Caroling excursion. Julian and his ambassadors will accept invitations to carol at homes along the east coast of the US and Canada from Nov. 28-Dec. 12.

Sharing his excitement that his caroling trips have now become a grand tradition, Julian said, "We'd surely like to thank everybody for the extraordinarily magical times and adventures, and wonderful welcomes, and to thank you all for making them happen! As well as our selfless volunteer Caroling Ambassadors!"

They will choose a path visiting as many of the places possible along the east coast of the US and Canada between November 28 and December 12 from which come the warmest invitations. The final list of dates and path of the Caroling will be announced just prior to the commencement of the tour.

For more information about sending an invitation to host an evening of carols, games, stories and other holiday magic, email musictapescaroling2011@gmail.com.

It's set to the song "Nantasket" from the EP Purim's Shadows (The Dark Tours the World). The video showcases the Paragon Carousel as well as Julian's whimsical drawings and footage of people having fun.

The Music Tapes - Nantasket from Merge Records on Vimeo.

Proceeds from double-disc go to Isle of Wight Youth Trust in England.

By Blurt Staff

Sunday Best Recordings has set December 6th for the release of The Cure: Bestival Live 2011, a live recording from this year's Bestival. The double album is made up of thirty-two Cure classics, including "The Lovecats," "The Caterpillar," "Close To Me," "Friday I'm In Love," "Lullaby," "The Hungry Ghost," "The End Of The World," "Just Like Heaven," "Grinding Halt," "Jumping Someone Else's Train" and "Boys Don't Cry."
 

Of the live album, Robert Smith of The Cure said, in a statement,"We had such a great time in the Isle of Wight at Bestival that we wanted to release this show as a way of thanking fans and islanders alike. Bestival is the best!"
 

All profits from the sale of this album will go to the Isle of Wight Youth Trust (Reg Charity No: 1087163). The Isle of Wight Youth Trust is a charitable, independent and professional organization offering counseling, advice, information and support services to young people aged 25 and under on the Isle of Wight (the home of Bestival) and, in some cases, their parents or carers. The Youth Trust has been working on the Isle of Wight for 27 years and has made a positive input to the wellbeing of people locally. www.iowyouthtrust.co.uk
 

Eileen Monks, Director of The Isle of Wight Youth Trust, added, "What wonderful news that The Cure should choose us, an Island charity of 27 years, to benefit in this way. This came completely out of the blue and at a time when it is becoming extra hard to raise funds to support our work with children and young people on the Island, further cementing our association with young people in their many interests and aspects of their lives. We would like to thank Rob da Bank for his continuing support."

 
Rob da Bank, founder of Bestival, noted,  "Since I was 15 and backcombing my hair, donning my sisters eyeliner and singing the lyrics to "A Forest" into my hairbrush I've had an unhealthy fascination with The Cure. To say it reached its peak at Bestival 2011 is an understatement, as after seven years of pestering I not only landed The Cure to headline Bestival, but now appear to be putting out one of their live records on my own record label. How strange! For any of the 50,000 who were at Bestival and saw all or some of the two and a half hour set, this live album will transport you back. For fans of The Cure who didn't make it I know this will be a legendary addition to your Cure collection!"

As part of our Moogfest 2012 wrapup, we present a hefty gallery of images from the event. Please see elsewhere on the BLURT site for our staffers' reports, and we'll see you at the 2012 Moogfest. (All photos courtesy Moogfest.) - The Editors

(attendees)

Adrian Belew

Amon Tobin

Anika

Antlers

Atlas Sound

Austra

Battles

Beak>

Beats Antique

Chromeo

(attendees)

Dan Deacon

Drums

Brian Eno (lecture)

Brian Eno (art installation)

Flying Lotus

Ford & Lopatin

Ghostland Observatory

Holy Fuck

(attendees)

 John Maus

Flaming Lips

Lunzproject (Roedelius & Tim Story)

Roedelius (solo)

Mayer Hawthorne

Moby

Neon Indian

Special Disco Version (James Murphy & Pat Mahoney)

Saint Vincent

Suicide

Tangerine Dream

(attendees)

Terry Riley

TV On The Radio

Warm Ghost

Zomby

(Moogfest panels)

Happy Halloween!

At the Doug Fir Lounge on November 6, the New Jersey buzzband scratched indie-rockers' collective itch. Opening chores: Big Troubles.

By Tim Hinely

Terrific double bill on this Sunday night.  I had missed Slumberland's recent signings form New Jersey, Big Troubles, a month or so ago when they came through with Pains of Being Pure at Heart so I was glad they did the victory lap and they put on a fine, fine set. The two guitarists switch off singing while the rhythm section was rock solid and their tuneful noise pop on sophomore effort Romantic Comedy has really caught my ear. It must be said, however, that the bassist did the most between-song noodling I have ever seen (that's in 30 years of gig going kids). I was ready to say something but hey, he had me by a few inches (he could be a small forward for the Blazers). He/they redeemed themselves by offering up killer versions of tunes like "Misery", "She Smiles for Pictures", "Sad Girls", "Minor Keys" and plenty more.

Also hailing from my native NJ were headliners Real Estate who I have been wanting to check out since their terrific s/t debut record hit my pop box in 2009. Well, they have a new record out, Days, and it's even better. 

Their laid-back, jangly pop sound has evidently caught on with some folks as the near sell-out crowd was cheering in between songs and singing lyrics as well.  Vocalist/guitarist Martin Courtney's breezy vocals are hard not to like (same with his guitar playing) while other guitarist, Matt Mondanile, has a similar style (plus he resembles Lou Barlow, so that's cool). Days opener, "Easy" sounded absolutely gorgeous as did pop nuggets like "Green Aisles",  "Municipality", "Wonder Years" and even the few they played off the debut ("Suburban Dogs", Atlantic City", etc.). 

For folks like me who miss those ‘80s years of New Zealand's Flying Nun label or bands like Galaxie 500, Real Estate will scratch that itch that hasn't been scratched in a long while and scratch it but good.

Seminal NYC slowcore group gets a second chance.

By Blurt Staff

May 8^th, 2012, is a long way away, but that doesn't mean you can't start saving up your grass-mowing and lemonade stand money - that's when archival specialists the Numero Group will issue NYC combo Codeine's three Sub Pop albums with a plethora of bonus tracks. The question immediately comes to mind, why isn't Sub Pop reissuing them? But no matter - the Chicago label is among the most well-positioned on the planet to do justice to a vault project.

These reissues mark Numero's first foray into the world of what the label deems "the post-songwriting era." Codeine released 1990's Frigid Stars LP, 1992's Barely Real, and 1994's The White Birch, receiving much critical praise upon release, but the group dissolved before being able to fully exploit the burgeoning slowcore movement.

All three albums will be subjected to Numero's notoriously elaborate packaging and detailed liner notes, and will be accompanied by period appropriate singles, demos, Peel Sessions, and live tracks. Each album will be packaged as a double LP with a CD of the same material. Additionally, an ultra deluxe box set of all three albums will be available in a limited edition of 1000 copies.

In support of this great undertaking, Codeine's original line up of Stephen Immerwahr, John Engle, and Chris Brokaw will be reuniting for a handful of dates in the US and Europe. The first of these dates will take place on the weekend of May 25-27 when All Tomorrow's Parties takes over the Alexandra Palace in London.

Tracklistings:

Frigid Stars LP

1. D

2. Gravel Bed

3. Pickup Song

4. 3 Angels

5. New Year's

6. Second Chance

7. Cave-In

8. Cigarette Machine

9. Old Things

10. Pea

Bonus material:

11. Castle (Afternoon Delight compilation)

12. Three Angels (Previously unreleased)

13. Skeletons (Previously unreleased)

14. Corner Store (Previously unreleased)

15. Squid (Previously unreleased)

16. Summer Dresses (Previously unreleased)

17. Pickup Song (Demo, Previously unreleased)

18. Pea (Alternate)

19. Second Chance (B-side of D 7")

20. D (Live, Yo Yo A Go Go compilation)

21. A L'Ombre De Nous (Split 7" with Bastro)

Barely Real

1. Realize

2. Jr

3. Barely Real

4. Hard To Find

5. W.

6. Promise Of Love

Bonus material:

7. Media (Peel Session, Previously unreleased)

8. We're dead (Peel Session, Previously unreleased)

9. Realize (Live, Previously unreleased)

10. Hydroplane (Live Unrest cover, Previously unreleased)

11. I Wonder (Previously unreleased)

12. Cracked In Two (Revolution compilation)

13. Jr (Instrumental, Previously unreleased)

14. Broken-Hearted Wine (B-side of Realize 7")

The White Birch

1. Sea

2. Loss Leader

3. Vacancy

4. Kitchen Light

5. Washed Up

6. Tom

7. Ides

8. Wird

9. Smoking Room

Bonus material:

10. Ides (Alternate version, Working Holiday compilation)

11. Smoking Room (Demo, Previously unreleased)

12. Atmosphere (Joy Division cover, A Means To An End compilation)

13. 2 Faced Man (Suicide cover, Your Invitation To Suicide compilation)

14. Loss Leader (Peel Session, Previously unreleased)

15. Something New (B-side to Tom 7")

16. Wird (Demo, Previously unreleased)

February release will be accompanied by a tour that month with Sharon Van Etten.

By Blurt Staff

On February 14  Shearwater will release their Sub Pop debut Animal Joy. The band will embark on a 13 date North American tour opening for Sharon Van Etten beginning on February 2^nd. (See below for a full list of dates.)

Animal Joy was produced and recorded by Danny Reisch in Austin, Texas, and mixed by Peter Katis (The National, Interpol, Jonsi, Frightened Rabbit) in Bridgeport, Connecticut; sessions took place through most of 2011. Principal players were Jonathan Meiburg (vocals, guitar, and piano), Kimberly Burke (upright and electric bass) and Thor Harris (drums) - all members of Shearwater since 1999 - along with guest performers Andy Stack (of Wye Oak) on guitar, keyboard, and saxophone, Scott Brackett on keyboards, Cully Symington on additional drums, Sam Lipman on clarinet, and Elaine Barber on harp. The label advises us: "No strings or glockenspiels were touched during the making of this album."

The band's previous album was 2010's  acclaimed The Golden Archipelago (reviewed here). Meanwhile, in 2008 we featured an interview with mainman Meiburg, who talked about the band's then-current release Rook, his theories on songwriting, bouts with stage fright, and more. Read the full story here.

Animal Joy:

01 Animal Life
02 Breaking the Yearlings
03 Dread Sovereign
04 You as You Were
05 Insolence
06 Immaculate
07 Open Your Houses
08 Run the Banner Down
09 Pushing the River
10 Believing Makes It Easy
11 Star of the Age

 
Shearwater Tour Dates with Sharon Van Etten:

2/10/2012           Philadelphia PA                Johnny Brenda's
2/11/2012            Washington DC                 Black Cat
2/12/2012            Carrboro NC                      Cat's Cradle
2/14/2012            Columbus OH                   Wexner Center
2/15/2012            Newport KY                       The Southgate House
2/16/2012            Chicago IL                          Lincoln Hall
2/17/2012            Chicago IL                          Lincoln Hall
2/18/2012            Minneapolis MN               Cedar Cultural Centre
2/21/2012            Toronto ON                        Lee's Palace
2/22/2012            Montreal QC                      Il Motore
2/23/2012            Boston MA                         Paradise
2/24/2012            Brooklyn NY                      Music Hall of Williamsburg
2/25/2012            New York NY                     Bowery Ballroom
 
 

Interviews and Encounters, published by Chicago Review Press and edited by Paul Maher Jr., duplicates portions of a previous anthology, but on balance does make a fine addition to your Waitsian bookshelf.

By Fred Mills

For a long time Tom Waits fans were ill-served by book publishers, with Patrick Humphries' slim 1989 bio, Small Change, pretty much their only option. But in the wake of Waits' post-Bone Machine early ‘90s renaissance the presses gradually roared to life, and since then we've seen a number of Waits-related tomes including those by Jay S. Jacobs (Wild Years) and Barney Hoskyns (the near-definitive Lowside of the Road) plus Humphries' own vastly expanded treatment, Many Lives of Tom Waits.

There was also a 2005 anthology of critical writings, Innocent When You Dream: The Tom Waits Reader, featuring interviews, essays and reviews spanning Waits' career up to 2004. It's still in print, which is why the publication of Interviews and Encounters may seem curious. Not only is the essential structure similar to IWYD, with both books broken up into sections corresponding with Waits' early, middle and recent years, there are several duplications-among them, a 1974 Waits-penned press release for The Heart of Saturday Night, a classic early profile from '75 by Todd Everett and not one but two interviews (1999, 2004) by Magnet's Jonathan Valania (nice payday, eh Jon?).

Still, Waits is Waits, which is to say an endlessly entertaining musical personality whose ability to shadow-box with journalists never fails to provide great copy. Interviews and Encounters has plenty of unique material, of course, with editor Paul Maher Jr.'s selections both juicy and judicious including radio interviews, a transcription of a rare 1983 Island Records Swordfishtrombones promo LP featuring Waits' song-by-song commentary, and several free-wheeling Q&As originally published circa 2006's Orphans.

Maher also stitches together the sections of his book with connective narrative, filling in details not mentioned in the reprinted stories and thereby supplying a fuller context than the earlier volume attempted; a 10-page index is helpful, too. On balance, then, you could do far worse than to add this to your Waits bookshelf-let's have an expanded version circa 2021.