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Archive for March, 2014

Monday, March 31, 2014


At 9:02 PM on Saturday, March 30, 2014 Warner Brothers’ sent out a press release announcing a new digital only Flaming Lips album called Flaming Side of the Moon that aims to ”continue to explore the rich world of PINK FLOYD…as an immersive companion piece to the original 1973 album.” It goes on to explain, “listeners are encouraged to listen to the new LIPS album while listening to DARK SIDE at the same time” and that it “was also carefully crafted to sync up perfectly with the 1939 film, THE WIZARD OF OZ…Available now through all participating digital outlets.“

Hear it in all it’s glory!!!!! A sample of what to expect is below:


The Hold Steady- Teeth Dreams (Album Review)

Stereo matters on “Teeth Dreams,” the sixth studio album by the Hold Steady. The album starts with an insistent guitar line on the right and a snare drum socking along with it dead center, buttonholing a listener for five urgent seconds before a second guitar chimes in to fill the space on the left. It’s an announcement not only of the song’s first guitar hooks — with more to follow — but also of the way the Hold Steady has boldly rebuilt its music from within.

The band’s essence is still the voice and words of Craig Finn, an elliptical storyteller who sings (and talk-sings) with a robust grit that unabashedly echoes Bruce Springsteen and Elvis Costello. Mr. Finn has never left behind his formative years in Minneapolis, which supply the bruised and shady characters for his songs: Catholic-schooled, unstable, mixed-up, drugged, tenacious, yearning. “We scratch and we scrape/We’re scared then we’re brave,” he sums up in “Oaks,” the album’s stately finale.

“Teeth Dreams” expands Mr. Finn’s roster of misfits and uncertain strivers. There are women who have been through a lot and are braced for more, like the compulsive party girl in “Spinners” who decides, “Everything’s possible/There might be a fight, there might be a miracle.” And there are narrators whose violent past associations are catching up with them. In “On With the Business” — apparently not a legit business — Mr. Finn warns, “We should probably cruise” as he admits, “I said a couple of things that probably weren’t technically true.” Every adverb counts.

Over the past decade, the Hold Steady built itself a unanimous blare of a sound: brawny barroom riffs that spanned the keyboard-and-guitar solidarity of the E Street Band and the post-punk drive of Hüsker Dü. But in 2010, the Hold Steady’s keyboardist, Franz Nikolay, left the band and was replaced by a guitarist, Steve Selvidge, who now works in tandem with the Hold Steady’s founding lead guitarist, Tad Kubler, and Mr. Finn on rhythm guitar.

The shake-up — and a new producer, Nick Raskulinecz, who has worked with Foo Fighters and Rush — reconfigures the Hold Steady from single-impact riffing to riff architecture that exults in stereo. The new songs are constructed cleanly and strategically as they hurtle forward: guitars placed high and low, conversing back and forth, interlocking in syncopation or cooperating to push a song from both left and right. It’s a more intricate embrace of the 1970s guitar rock that the Hold Steady has always prized, but it’s also a leap forward. As the instruments grapple, talk back and realign, all of the characters’ mixed motives and dire circumstances are diagramed right into the music.

Thursday, March 27, 2014

Liars – Mess (Album Review)

For a band initially hyped up under the dance-punk moniker (a tag they always seemed uncomfortable with), Liars haven’t spent much time actually trying to make people move. Their first six albums covered psychotic breakdowns in LA, disintegrating relationships and backwoods ritual – but there’s been very little to actually make you want to get up and strut.

2012’s stellar sixth, ‘WIXIW’, was notably introverted, a primal electronic howl of anxiety that only let up during ‘Brats’, a brash, noisy ray of light which appears to have been the starting point for ‘Mess’.

Indeed, the opening slew of tracks here, from ‘Mask Maker’ through to first single ‘Mess On A Mission’ (below), are almost – almost – Liars go EDM. They’re loud and synthy and a whole lot of fun; the band’s sound weaponised for maximum impact. ‘Vox Tuned D.E.D.’ in particular, with its relentless beat and hoover synth, is as in-your-face as anything this trio has ever realised.

But if all that sounds like a terrible misstep, fear not. Liars remain glorious weirdoes. Something about Angus Andrew’s voice – here mostly booming and imperious, a world away from ‘WIXIW’, where he appeared to be channelling Thom Yorke – makes things instantly stranger. Like a magnetic field, it seems to warp the music around it out of shape – notably on ‘Can’t Hear Well’. ‘Mess’ has more in common with acts like Crystal Castles and Gatekeeper than it does Skrillex. Thank goodness.

The album’s second half takes a turn to the dark side, the rather knowingly titled ‘Darkslide’ telegraphing this transition, and it loses some of the earlier playfulness. ‘Boyzone’ has that familiar Liars sense of creeping dread, and a particularly enervated vocal from Andrew. The final tracks, meanwhile, both near the 10-minute mark, sound like a rave at the apocalypse. ‘Perpetual Village’ is the last hedonistic, terrifying bacchanal, and ‘Left Speaker Blown’ the desolate, windswept comedown.

It’s great, then. Obviously. Another ambitious statement from a band that has made a habit of reinventing themselves at every stage, while still, somehow, sounding uniquely like Liars. ‘Mess’ finds these men staring terror in the face – and deciding to dance.

Wednesday, March 26, 2014

Watch Butthole Surfers’ Gibby Haynes Discuss Book About City Gardens on “The Daily Show”

Several authors stop by “The Daily Show With Jon Stewart”, and last night was no exception. Other than the fact that the author, Amy Yates Wuelfing, brought along Butthole Surfers frontman Gibby Haynes.

Yates Wuelfing was there to discuss her book No Slam Dancing, No Stage Diving, No Spikes: An Oral History of the Legendary City Gardens. Stewart actually worked at the famous Jersey punk club as a bartender. Haynes called the venue “a place you could play between New York and Philadelphia.”

One of the first concerts Stewart saw there was Butthole Surfers and Dead Kennedys. He recalled that there were two areas in the club free of people punching each other: behind the bar and on the stage. Haynes said he got stabbed on stage one time.

Stewart showed a picture of a Butthole Surfers show featuring a topless woman and an active fire. Haynes told a story about getting “bitched at by a hormone-crazed soccer mom” after a show for his on-stage behavior. His retort: “What are you doing after the show?”

Haynes also had the word “GWAR” written in large letters on his wrist, and Stewart briefly acknowledged the passing of Oderus Urungus.

Download De La Soul’s ‘Smell the DA.I.S.Y’ mixtape (you can stream it too)

De La Soul’s Smell the DA.I.S.Y mixtape was released today as a free download. (They have been very generous lately.) It features the classic hip hop crew rapping some of their classic rhymes over unreleased J Dilla beats. It’s a combo that’s as natural as it gets and you can grab that here and stream it below.

Tuesday, March 25, 2014

Fucked Up – “Year Of The Dragon” (Single)

Fucked Up’s next full-length, Glass Boys, isn’t due until 6/3, but the band’s latest single could almost pass for a full-length. “Year Of The Dragon,” the newest entry in the Toronto hardcore powerhouse’s Zodiac singles series, is 18 minutes long. It does a lot with those minutes too, charging through various tempos and textures en route from gargantuan hardcore to airy psych fusion to churning prog-metal to a blitzkrieg of swirling noise. It’ll be released next month as a 12-inch single on white vinyl (packaged with a 7-inch containing a six-minute “Year Of The Dragon” edit), but you can hear it in all its fury below.

Report: Apple Considers Building An On-Demand Music Service To Take On Spotify

Apple already has iTunes Radio, but it’s hoping to go further in the direction of on-demand music, according to a report in Billboard that cites “three people familiar with the talks” between Apple and music labels.

To be clear, Billboard describes these as “exploratory talks,” so it doesn’t sound like anything is definite. Citing Nielsen SoundScan, the article also points to double-digit declines in iTunes music sales in the United States as big reason for these discussions.

At the risk of stating the obvious, iTunes Radio allows users to listen to a range of Internet radio stations (similar to Pandora), while an on-demand service would allow you to listen to the songs you choose when you choose (similar to Spotify). Apple has been reportedly been developing new mobile ad technology with a focus on iTunes Radio, so a new music service could also be a way to create new ad inventory (though presumably there would be paid component, too).

Monday, March 24, 2014

Black Keys To Release Single ‘Fever’ today

The Black Keys released a new single, “Fever,” Monday at 3:30 EST reports Revolt, their first single since their last album El Camino in 2011.

The single will end the longest break for The Black Keys since their initial album The Big Come Up. The Akron, Ohio duo have been busy, however.

Guitarist Dan Auerbach has been busy producing music with JEFF the Brotherhood, Ray LaMontagne, and Lana Del Ray, winning the Grammy for Producer of the Year (Non-Classical) in 2013.

Drummer Patrick Carney has been producing a record for Canadian rockers The Sheepdogs and another for Denver indie-pop group Tennis. He had a high-profile wedding in 2012 with girlfriend Emily Ward, after which professional snowboarder Shaun White was arrested for vandalism and public intoxication.

In 2013, Carney had an internet feud with pop star Justin Beiber in which he changed his Twitter handle to “Justin Beiber” and began reaching out to fans as Beiber.

No details on a new Black Keys album are available, but more info will be released Monday.

You can check out the Black Keys at the Hangout Music Festival in Alabama this May, or in Europe this summer.

The Black Keys won three Grammys in 2013, including Best Rock Album for El Camino, Best Rock Performance for “Lonely Boy,” and Best Rock Song for the song.

Pixies confirm release of Indie Cindy, their first studio album in two decades

The Pixies have confirmed details of their first studio album since 1991’s Trompe le Monde. Released in late April (23 April in Japan, 28 April in UK/Europe and 29 April in North America), Indie Cindy will be made available via the band’s own independent label, Pixiesmusic.

With co-founder Kim Deal having left the band last year, the new album was created by Black Francis, Joey Santiago and David Lovering, with help from long-time producer Gil Norton, who worked on Doolittle, Bossanova and Trompe le Monde. Artwork for the LP will be provided by graphic artist Vaughan Oliver who created the artwork for the band’s previous records.

The album was recorded in October 2012 at Rockfield Studios in Wales and includes the band’s comeback single Bagboy, and material from EP-1 and EP-2, as well as three new songs from EP-3, which will be available from the band’s website at 4.30pm today.

It has been a turbulent year for the Pixies. After original bassist Kim Deal left the group six days into the recording of the new material, the band hired Kim Shattuck of the Muffs to replace her temporarily. However, her time with the Pixies was cut short. The band are now touring with bassist Paz Lenchantin, a bassist who has played with Zwan, A Perfect Circle and the Entrance Band.

“We started seriously talking about recording new music about four years ago,” Pixies drummer David Lovering explained. “New music seemed like something we just had to do, we just couldn’t continue to go out and tour without anything new. So the talk evolved into writing and recording, and we’re all very happy with the way everything worked out.”

Indie Cindy will be available in a number of different formats from the end of April, including a standard 12-track single-CD; a two-disc, gatefold album pressed on 180-gram vinyl; and an expanded digital download available exclusively through iTunes that includes a bonus 13-track set recorded during the band’s recent North American tour. Indie Cindy also gets a Record Store Day release in the form of a limited edition two-disc, deluxe gatefold release on 19 April.

Visit for more details.

Track listing:

What Goes Boom
Greens and Blues
Indie Cindy
Magdalena 318
Silver Snail
Blue Eyed Hexe
Ring the Bell
Another Toe in the Ocean
Andro Queen
Jaime Bravo
Track listing for Live in the USA (feat Lenchantin on bass):

Bone Machine
Magdalena 318
Indie Cindy
I’ve Been Tired
Head On
The Sad Punk
Distance Equals Rate Times Time
Something Against You
Isla de Encanta
Planet of Sound

Friday, March 21, 2014

The Black Keys Announce New Album Turn Blue Via Mike Tyson’s Twitter Watch the creepy, kitschy teaser video

The Black Keys will release their new album Turn Blue on May 13. How do we know this? They have released a creepy, kitschy teaser video (watch it below). And how do we know about this video? Well… because Mike Tyson Tweeted about it. Yes, Mike Tyson.

And here is a bit more weirdness..

(via pfmedia)

Thursday, March 20, 2014

Black Lips- Underneath the Rainbow (Album Review)

For a band that burst on to the live circuit with such a wild reputation that it resulted in a fair few venue bans, it comes as a surprise to hear Atlanta’s Black Lips‘ plans for both the release of seventh studio album Underneath The Rainbow and the subsequent tour.

A ‘scented’ cassette version (yes, they still exist) is due for release and the band would appear to have been ‘scent’ crazy, with fans due to have their nasal senses as well as their auditory nerves massaged, as throughout the shows a number of smellies will be released upon the audience. These are due to include whiffs of denim, cedar and, erm, semen (“after eating many, many plums”, apparently).

Formed in 1999, the quartet have most recently been busy since 2011’s comparatively polished Arabia Mountain extensively touring the world, with the Middle East being the most unlikely of places for an American band to travel amongst the destinations. Indeed, the band believe that they are the first US group since The Grateful Dead in 1978 to have toured Egypt, for example.

With The Black Keys’ drummer Patrick Carney on production duties for a number of tracks, Underneath The Rainbow has been recorded at various places from Nashville to New York as the band meld their usual abrasive garage punk rock with a touch of bluesy Southern rock. Opener Drive By Buddy is a perfect example of this, sounding something like a bunch of drunken hillbillies playing The Monkees’ Last Train To Clarksville, accompanied at one point by a most annoying alarm clock.

This isn’t the only track that sounds like the band have been replaced by an unusual group of individuals, with Make You Mine sounding like asylum escapees attempting to play 1950s rock ‘n’ roll and the same musical era also influences Smiling, with the singing drawing on the sloppy vocal style of The Libertines.

Dorner Party is a high tempo, fuzzy bass backed effort with a rather annoying chorus whilst Justice After All returns to a more familiar, garage punk sound with clanking guitars. Funny starts with clapping percussion and rolling guitars – imagine Ramones playing a Big Audio Dynamite track – but juvenile lyrics like “come suck some milk from my titties” somewhat spoil the music.

The best tracks all come in the second half of the album. The far slower and moodier blues effort Boys In The Wood is intoxicating, and with elements of The Clash’s quieter moments peppering Waiting, another highlight reveals itself through its strong, punchy melody.

Dandelion Dust is built around a solid 1970s inspired rocky riff whilst an older song is given a makeover in the shape of Dog Years, its simple chorus preceded by an intro and verses akin to The Velvet Underground meeting The Stooges. With Do The Vibrate – the sound of mental mayhem with woefully out of tune vocals – and the buzzing and whistling of I Don’t Wanna Go Home, the album is complete.

Underneath The Rainbow is more of an assault on the ears than anything else, although that’s mostly in a good way, as the band never lose sight of the style that first brought them success. Quite how the fragrances they plan to utilise at the gigs will work in tandem with the music is mystifying, but the intrigue of this plan, along with the quality of much of this latest offering, should be enough to fill out those upcoming shows in no time.

Wednesday, March 19, 2014

Tame Impala to release live EP for Record Store Day, stream version of “Be Above It”

Tame Impala are set to release a Live EP on Record Store Day (April 19th) via Modular. Simply titled Live Versions, the eight-track effort features records from their 2013 concert in Chicago

According to a press release (via Pitchfork), Tame Impala’s Kevin Parker selected the songs “based on how different the live versions are from the album versions. His goal was to give fans something they won’t already have; something they’ve only previously experienced at a Tame Impala show.”

As a preview, the band has shared an extended, jam-heavy live version of Lonerism opener “Be Above It”. Clocking in at a whopping seven and a half minutes, the song expands and tweaks the original’s arrangement by adding in spacey blasts of synth and swirling psychedelic flourishes towards the end. Listen in below and check out the tracklist.

Live Versions Tracklist:
01. Endors Toi
02. Why Won’t You Make Up Your Mind
03. Sestri Levante
04. Mind Mischief
05. Desire Be Desire Go
06. Half Full Glass
07. Be Above It
08. Feels Like We Only Go Backwards

Tuesday, March 18, 2014

Black Lips – “Justice After All” Video

Black Lips’ woodsy, Patrick-Carney-assisted Underneath The Rainbow is out today, and the garage rockers have marked the occasion by releasing a video for album track “Justice After All.” Directors Andy Capper and Danilo Parra filmed the band in concert and roaming the streets in their hometown of Atlanta and interspersed those images with clips from classic movies. The song, meanwhile, is a bouncy bit of twang-inflected rock that just might make you want to check out the LP. Watch below.

Nirvana’s Bleach Drummer Chad Channing Won’t Be Inducted Into Rock Hall of Fame, Finds Out Via Text Message

Nirvana will be inducted into the Rock and Roll Hall of Fame next month. Their best known lineup will be inducted: Kurt Cobain, Krist Novoselic, Dave Grohl. This week, rumors circulated that Chad Channing, the band’s Bleach-era drummer until 1990, would also be included.

As it turns out, Channing will not be inducted, as confirms. He found out via text message: “Can you tell whoever looks after Chad Channing that he isn’t being inducted… It is just Dave, Krist and Kurt,” the Rock Hall wrote to Nirvana’s manager. conducted an interview with Channing before he got the news. “I’ll be there at the table ready to walk up,” he said. “When I told my daughter about the induction, she was super excited for me! So much of my excitement about it is for her!”

To qualify for induction into the Rock and Roll Hall of Fame, there must be a passing of 25 years since the band’s first release. Nirvana’s first release, the Love Buzz 7″, featured Channing and not Grohl. The Hall of Fame induction ceremony is April 10 at Brooklyn’s Barclays Center.

Watch footage from the New York City stop on Nirvana’s 1989 Bleach tour:

Sunday, March 16, 2014

Scott Asheton RIP (Stooges Drummer)

Stooges drummer Scott Asheton, aka “Rock Action” Asheton, has died at the age of 64.

A seminal punk band of the 1970s, the Stooges formed in Ann Arbor, Michigan, in 1967. Scott Asheton joined James Osterberg, aka Iggy Pop (who formed the band after witnessing a Doors concert at the University of Michigan) as the band’s drummer while his brother Ron played guitar and Dave Alexander played bass. The band released their eponymous debut, The Stooges, in 1969.

The Stooges would release two more albums– 1970’s Fun House and 1973’s Raw Power– before the group disbanded in 1974. Beginning in 1971, the Stooges moved through a roulette of bassists and guitar players (Alexander was replaced by Zeke Zettner, Bill Cheatham was added as an additional guitar player, James Williamson took over guitar, and Ron Asheton switched to bass,) but Asheton remained the only drummer until the band’s breakup.

By the late 1970s, Asheton was playing drums in Sonic’s Rendezvous, who went on hiatus when frontman and former MC5 guitarist Fred “Sonic” Smith married Patti Smith in 1980. In later life, Asheton continued to play drums as a member of Scot’s Pirates, Sonny Vincent’s Rat Race Choir, and his own band Rock Action. Asheton also made great appearances on Iggy Pop’s VH1: Behind The Music tv episode, shedding light not only on the band’s frontman but on his own contribution to the Stooges’ legacy.

The power and hard-hitting minimalism of his playing style inspired countless punk and indie bands who continue to cite his influence today.

In a statement regarding Asheton’s death, Iggy Pop said of the drummer:

My dear friend Scott Asheton passed away last night.

Scott was a great artist, I have never heard anyone play the drums with more meaning than Scott Asheton. He was like my brother. He and Ron have left a huge legacy to the world. The Asheton’s have always been and continue to be a second family to me.

My thoughts are with his sister Kathy, his wife Liz and his daughter Leanna, who was the light of his life.

Iggy Pop