After announcing two January 2020 Southern Californian dates last week, Steve Gunn has announced a co-headlining North American tour alongside Mary Lattimore and William Tyler in March 2020. Tickets for those dates, leading into Big Ears Festival in Knoxville TN, are on sale this Friday at 11am EST.
Gunn begins Australian touring this weekend, following his first ever performance in Japan earlier this month and dates in New Zealand ending tonight in Hawkes Bay.
Augmenting their already lengthy trip around Europe scheduled for February and March 2020, Algiers have announced this morning an extra clutch of dates taking them back onto the continent in April & May.
The band will revisit Germany, and add stops in Sweden, Switzerland and Russia.
Venue information and ticket links available below, with new dates in bold
Following November’s visits to Japan and New Zealand, Steve Gunn returns to Australia for 7 shows – tickets go on sale at 10 am local time tomorrow (September 26). Watch this space for news about more post-‘The Unseen In Between’ material being made available very soon.
Yo La Tengo continue their (nearly) annual series of Hanukkah shows for selected charities this December at New York’s Bowery Ballroom, December 22-29, with tickets on sale this Friday (September 6) at noon eastern. No-fee tickets will also be available at the Mercury Lounge box office at noon ($50, cash only).
ALGIERS have released a collaborative audiovisual piece, “Can the Sub_Bass Speak?”, a new work from the band and production duo Randall Dunn and Ben Greenberg. The new piece pits charged language and free jazz collage by ALGIERS multi-instrumentalist Franklin James Fisher, saxophonics pioneer Skerik and drummer D’Vonne Lewis against a maelstrom of visuals by award-winning filmmaker Sam Campbell and typographer Farbod Kokabi.
Inspired by a chance encounter with artists Moor Mother and Harrga at Wysing Polyphonic in 2018, “Can the Sub_Bass Speak?” contorts ALGIERS’ post-punk deconstruction of racial and class sonic politics into new collaborative directions. “Can the Sub_Bass Speak?” is the centerpiece of a larger web installation thereisnoyear
The film recalls the ‘visual abstraction’ and political radicalism of Lis Rhodes and John Akomfrah, situating Fisher’s lyrical examination of structural racism within the disorienting resurgence of fascism across Europe and the United States.
Fisher writes :
“Who has the cultural authority to designate origin and authenticity? ’Can the Sub_Bass Speak?’ is a frustrated regurgitation; a re-contextualization; a re-appropriation; a shield and a mirror that projects back onto the world a lifetime of interpellating language rooted in weaponized ignorance and supremacist privilege. The improvised punctuation is provided by Skerik on the tenor saxophone and D’Vonne Lewis on drums and percussion. The underlying cacophony traces the evolution of African-American music, experience and identity. This is not for the mercenary architects: the Jacks and Queens of simulated experience. This is for anyone who has found themselves on the sharp end of insidious, rhetorical prying: ‘Where are you from?’ ‘What are you?’ This is for anyone who has had their identity assigned and determined by the agents of patriarchy. This is for the Subaltern.”
In addition, ALGIERS have announced UK & European headline tour dates for 2020, Kicking off in Brighton on February 3rd, the band headline London’s Village Underground on February 5th, before continuing to further stops in the UK and Europe. Tickets for the 2020 shows go on sale Friday, August 30th, at 10am. A full list of current and upcoming dates can be found below.
Two clips from Snail Mail’s recent performance at Pitchfork Music Festival have been posted on the publication’s YouTube channel, “Pristine” and “Speaking Terms,” both from the 2018 breakout Lush.
In case you missed it, Snail Mail’s debut EP Habit will be remastered and reissued with an additional track, the Lois Maffeo-penned “The 2nd Most Beautiful Girl In The World.” The EP is available for PRE-ORDER now, and available online and at your local record store on August 30th.
Snail Mail continues her endless world tour in the western half of the U.S. this week. Tickets for all dates listed below are available now.
Ahead of The Violators’ forthcoming North American tour, including a night at Central Park Summerstage with Dinosaur Jr. and Cate Le Bon, Kurt Vile has announced three additional dates alongside Dinosaur Jr. slated for November of this year. A full list of Vile’s upcoming tour dates is below, new dates in bold are on sale at 10am local time this Friday July 12th.
‘Days of the Bagnold Summer’ began life as a 2012 award-winning graphic novel by Joff Winterhart, was turned into a feature film and the directorial debut of Simon Bird (“The Inbetweeners”, “Friday Night Dinner”), and is now a wonderful, rich, bittersweet, and warmly welcoming original soundtrack album by Belle and Sebastian, to be released September 13.
The announcement arrives with first single “Sister Buddha’” and its accompanying video (above).. The anthemic song is led by shards of melodic guitar and Stuart Murdoch’s compassionate lyrics and soaring vocals, telling of a protagonist in search of an escape from “the thrills, the pills, the circus ring” of daily life, brimming with a message of inner strength and solidarity.
‘Days Of The Bagnold Summer’ features eleven brand new Belle and Sebastian songs, as well as re-recorded versions of classics “Get Me Away From Here I’m Dying,” originally appearing on 1996’s If You’re Feeling Sinister, and “I Know Where The Summer Goes,” from 1998’s ‘This Is Just a Modern Rock Song’ EP.
‘Days Of The Bagnold Summer’ is set for release in 2020 and features Monica Dolan, Earl Cave, Rob Brydon, Alice Lowe, Tamsin Greig and Elliot Speller-Gillot. It’s a tender, touching and acutely observed coming-of-age story, which tells of a heavy-metal-loving teenager’s holiday plans falling through at the last minute, leading to him having to spend the summer with the person who annoys him most in the world: his mum. The film is set for release in 2020.
‘Days of the Bagnold Summer’ is the latest outside-the-box accomplishment from storied Glasgow 6-piece Belle and Sebastian, comprised of Stuart Murdoch, Stevie Jackson, Sarah Martin, Chris Geddes, Richard Colburn, Dave McGowan, and Bobby Kildea. The last two years have seen them go against conventional practice by releasing a trilogy of EPs to some of the best reviews of their career, and launch and curate their own four-day music festival at sea in The Boaty Weekender, continuing the individualist streak that has characterized them from day one.
Did Stuart Murdoch, Belle and Sebastian’s lead singer and songwriter, know the comic book before Bird, a longtime fan, approached the band to write the soundtrack? “No, I didn’t,” he admits. “But its style and its atmosphere set me off straight away. I read it on a Friday, and by Monday I pretty much had all my ideas lined up. What was great was that Simon hadn’t shot anything then.” He laughs. “You want to get in early, because that way you can start having late night conversations with the director about The Graduate, or whatever. We all have fantasies about those great movies of the Sixties and the Seventies. If you going to get involved with a project like this, you want to do it right.”
Interspersing some of their most casually gorgeous songs in recent memory with wildly transportal instrumentals, ‘Days of the Bagnold Summer’ is something of a scenic detour from the band’s recent work, largely exchanging the funk, soul and psych of the How To Solve Our Human Problems triptych for more pastoral and acoustic textures. Ones that make lyrical use of strings, French horn, banjo and the occasional trumpet.
Some inspiration may have stemmed from revisiting past plains: “‘Get Me Away From Here I’m Dying’ is a song from our second LP [the seminal If You’re Feeling Sinister from 1996],” says Murdoch. “Simon was adamant he wanted to use it. He’s a proper fan of the group.” The former was re-recorded for the soundtrack along with another B&S classic, “I Know Where The Summer Goes,” originally appearing on 1998 EP This Is Just A Modern Rock Song. Bird also went for a song called “Safety Valve,” (“I wrote a song to you/ I poured my soul in it/ now I’m feeling flat/ I want my soul back”), not knowing he’d stumbled upon Belle and Sebastian collector’s gold dust. “That one’s ancient,” says Murdoch. “It predates the band; it’s maybe 25 years old. The only time I can remember ever playing it was in a coffee shop with a friend of mine, and people scratching their heads. There was only a verse and a chorus, so I went back to it, and revised the words. It’s a simple song about being over-reliant on a particular person – probably my girlfriend at the time. But it seems to work okay here, too.”
The single “Sister Buddha” serves as a loose ‘theme’, appearing at the beginning and towards the end of the album. While not originally written for the film, it struck a chord with Bird: “It just came from my present interest in Buddhism. Simon picked up on it, wanting to have something uplifting at the end of movie, and we were happy for him to have it”.
Another new track, written by Murdoch specifically for the film this time, is “Did The Day Go Just Like You Wanted?” (“Did the day go just like you wanted?/ Or did you hold on with your fingernails?”). “That came out so quickly. It’s based on the relationship between the mum and the son. I guess I used my own experience a bit, feeling it: the situation they are in.”
The brief and spacious “Another Day, Another Night” (“Another day, another night/ I spend my life not-thinking about you”) was written by Sarah Martin. “In the screenplay, the mum is a richer character than in the book, and I was taken by that,” she says. “This is really her song: she doesn’t have much of a facade; she’s not robust. There’s a point when she thinks about an old boyfriend, and her whole past, with all its regrets, suddenly opens up before her. I love her character.”
“Jill Pole,” an instrumental waltz of windswept harmonica and violin, contributes an almost prairie-like expanse and melancholy, while the baroque-tinged “We Were Never Glorious” draws down the curtain with wistful clarinet and snippets of dialogue from the film.
Is releasing a soundtrack a different prospect from releasing a regular album? Would a Belle and Sebastian fan notice the difference if they didn’t know? “Everything we do that becomes an album is a big deal for us,” says Murdoch. “We’re quietly pleased with how the collaboration went, but the truth is that you don’t know what’s going to happen when it goes out into the world, and people hear it.” Martin thinks it is slightly different from other records they’ve put out. “It’s more consistent, probably, than most of our albums. Soundtracks are a deeper cut. They’re not a big pop statement.” But is making music for film that different than making it for a listener? “The whole thing with music is to make a good moment better,” Murdoch says. “Deeper, more thrilling, more heartfelt.” – Rachel Cooke
Belle and Sebastian on tour :
Tuesday, July 2 The Leadmill, Sheffield UK (SOLD OUT)
Wednesday, July 3 Albert Hall, Manchester UK (SOLD OUT)
Thursday, July 4 O2 Academy, Oxford UK (SOLD OUT)/
For Yo La Tengo, doing something big to distract from an August 4 Condo Fucks show with 75 Dollar Bill is a considerable challenge, but we long ago learned to doubt the band at our own peril. Along with a plethora of other global dates, Yo La Tengo have confirmed 6 new shows on the West Coast (and, uh, Idaho) with tickets on sale this Friday at 10am local time.
Belle and Sebastian have added a NYC show to their summer mini-tour with a Wednesday July 10 date at Brooklyn Steel. There’s a presale tomorrow (Wednesday, June 5) at 10am (code :BELLE2019) and the general sale starts Friday at 10am eastern time.
This morning Steve Gunn has confirmed a new August/September European tour in support of the critically acclaimed ‘The Unseen In Between’, accompanied by Anton Coene’s footage of the album’s standout “Morning Is Mended”, filmed in the former monestary, Caermersklooster.
More August dates have been added to Snail Mail’s August US schedule (shows in bold below) including a second NYC show at the newly reopened Webster Hall on August 1 and a headlining appearance at LA’s Wiltern Theatre on August 22. Pre-sale tickets are available on each venue’s site beginning tomorrow at 10am local time by entering the code LUSH19.
In other Snail Mail news, Lindsey Jordan has been selected to be a Fender Next Artist representing the diverse state of music globally. Her partnership with Fender as a featured artist in their new Player Series campaign is celebrated in the above new video clip as she shares her story and creative journey as a world-class guitarist.
Perfume Genius has announced a collaborative dance and music performance with Kate Wallich + The YC titled The Sun Still Burns Here. The evening-long piece, set to debut later this year, is co-directed by Perfume Genius and Wallich and stars Perfume Genius’s Mike Hadreas alongside the dance troupe the YC.
Ahead of the official premiere events in Seattle and NYC this Fall, Mass MoCA in North Adams MA and Mark Morris Dance Theater in New York City will host work-in-process showings and workshops with the ensemble. Info for all related events is below.
Work In Process Showing
Saturday, June 8th Mass MoCA, North Adams MA
Workshop with The YC
June 21st and 22nd Mark Morris Dance Center, New York NY
October 4th & 5th Moore Theatre, Seattle WA
East Coast Premiere
November 13th – 17th The Joyce Theater, New York NY
Earlier this month, Interpol announced they will join Morrissey on the road in North America surrounding the one-year anniversary of Marauder. Today, the band has extended their routing to include headlining dates in additional cities throughout The United States. General on sale for the newly announced shows is this Friday, April 26th at 10am local time.
Austin City Limits is thrilled to welcome two remarkable artists under the age of 25-years-old. Lauded singer/songwriter phenoms Julien Baker and Lucy Dacus join us for the first time on July 30 for a taping highlight—a one-of-a-kind co-headline evening with these two accomplished solo artists.
Memphis native Julien Baker’s chilling solo debut, ‘Sprained Ankle’, was one of the most widely acclaimed works of 2015. The album, recorded by a then 18-year-old and her friend in only a few days, was a bleak yet hopeful, intimate document of staggering experiences and grace, centered entirely around Baker’s voice, guitar, and unblinking honesty. Sprained Ankle appeared on year-end lists everywhere from NPR Music to The AV Club to New York Magazine’s Vulture. With 2017’s ‘Turn Out The Lights’, Baker claimed a much bigger stage, but with the same core of breathtaking vulnerability and resilience. From its opening moments — when her chiming, evocative melody is accompanied by swells of strings — Turn Out The Lights throws open the doors to the world without sacrificing the intimacy that has become a hallmark of her songs. The album explores how people live and come to terms with their internal conflict, and the alternately shattering and redemptive ways these struggles play out in relationships. “Turn Out The Lights is beautifully crafted throughout,” noted Spin, “full of the kinds of songs that linger long after they’ve ended.” Under the Radar declared, “Baker is writing faultless songs that will always have a home in our hearts because finding comfort in even the saddest moments means we’re still feeling. And if we’re feeling, there’s hope for us yet.”
2018 was a milestone year for Richmond, VA’s Lucy Dacus. Her widely celebrated sophomore record, Historian, was met by a cavalcade of critical elation, with NPR, Rolling Stone, Pitchfork, NBC News, Slate, The Atlantic, Billboard, Paste, Stereogum, and more choosing it as one of the year’s best albums. Dacus’ remarkable sense of melody and composition are the driving force throughout, giving Historian the immersive feel of an album made by an artist in full command of her powers. “This is the album I needed to make,” says Dacus, who views ‘Historian’ as her definitive statement as a songwriter and musician. “Everything after this is a bonus.” She played revelatory sold-out shows at clubs and festivals alike, along with multiple high profile television appearances. A glance at her worldwide touring schedule in 2019 shows little sign that Dacus is slowing down, and in fact, she will release a series of songs titled 2019 to celebrate. Recorded in here-and-there studio spurts over the last two years, 2019 will be released later this year as a physical EP on Matador Records, and will be made up of originals and cover songs tied to specific holidays, each of which will drop around their respective date: Valentine’s Day, Mother’s Day (and Taurus season!), Independence Day, Springsteen’s Birthday, Halloween, Christmas, and New Year’s.
Want to be part of the audience? We will post information on how to get free passes a week before the taping. Follow Austin City Limits on Facebook and Twitter for notice of postings. The broadcast episode will air on PBS later this year as part of ACL’s upcoming milestone Season 45.