I was giddy as a schoolkid this morning when I saw news of The Replacements rehearsing “Alex Chilton” off the band’s fifth LP, Pleased to Meet Me. No word yet on who’s playing guitar or drums with Paul Westerberg and Tommy Stinson at their upcoming Riot Fest appearances in August and September. Word is they didn’t even bother asking Chris Mars to play drums because they knew he’d say no. Oh well. Who cares? This sounds great. As long as Tommy and Paul are on board, it sounds like The Replacements to me. They were such a barely strung together ramshackle anyway. The haphazardness of all of this suits.

I feared something fishy was up when the Pixies announced Kim Deal’s departure so … politely. It’s been common knowledge that they wanted to record a new record and Deal was the sole hold-out. I actually don’t care whether this new song is good or not. (And for the record, it’s ok). It just seems silly to try to continue without an integral part of what made the Pixies so beloved. Kim Deal’s simple but memorable bass lines helped define the Pixies’ sound. And her vocal integration with Black Francis’ insanity sent chills down my spine more often than not. So, for the Pixies to continue without Kim is more than just a bummer. It’s a disappointment.

Stereogum just posted a great interview with Kim Gordon, where she opens up about life post-Sonic Youth:

Also when you’ve been in a relationship for a really long time and that comes to an end … you know, so my identity was so tied up with Sonic Youth and my relationship and my marriage and so now it’s also like, who am I? It’s a little bit of, like, going back to the beginning. I mean, I basically feel like I’ve been the same person since I was little, but you know, it does make you really kind of search for who you really are.

Gordon has just completed an album with Bill Nace for a project called Body/Head. Matador Records will release the experimental guitar album on September 10th. Gordon is also at work on her memoirs.

It’s mind-boggling to me that The Dismemberment Plan‘s final album, Change, came out 12 years ago. I used to be able to mark years by what music came out. I lost that talent about a decade ago. Records don’t represent years anymore. Maybe that’s just what happens as you get older. But I still associate Change with 2001. The D-Plan started back in 1993 in Washington DC and broke up ten years later. Reunion shows for charity and the re-release of its masterpiece Emergency & I sparked not only renewed interest in the band but also actual excitement. The band obviously sensed it too and is moving forward with a new album. Uncanney Valley will be released in September on Partison records. Pitchfork revealed the track list today:

Uncanney Valley:

01 No One’s Saying Nothing
02 Waiting
03 Invisible
04 White Collar White Trash
05 Living in Song
06 Lookin’
07 Daddy Was a Real Good Dancer
08 Mexico City Christmas
09 Go and Get It
10 Let’s Just Go to the Dogs Tonight

The guys debuted a few new songs that will be on the record last summer, one of which is captured here:

DEVO – Booji Boy / “Jocko Homo” (SNL, October 14th 1978) from Isak Borg on Vimeo.

Alan Myers, Devo’s “human metronome,” has died of cancer. Myers played with Devo for ten years from 1976 to 1986, leaving after the band’s Shout album over creative differences. Slicing Up Eyeballs has the details. Former Devo band mate Gerald V. Casale has paid tribute on Twitter.

Though not as aggressive as the clanging, reverb-drenched racket of its debut, Gauntlet Hair returns with more cryptic post-goth. The duo’s sophomore LP, entitled Stills, is out July 16 via Dead Oceans. Despite being produced by Jacobo Portrait from Unknown Mortal Orchestra, it actually doesn’t sound like shit. [via Stereogum]

This band has been beaten into my brain via Sirius XMU, and it’s a good thing I like it because I’d have been forced to find a new station by now. Despite the overexposure, this song is still catchy as hell. CHVRCHES debut LP The Bones of What You Believe will be out in September on Glassnote. Lauren Mayberry’s voice sounds just as adorably infectious live as it does on record.