When I was in second grade, “Rocket Ride” by Kiss was my hands-down, absolute most favorite song. It was released as a 45RPM single in 1977 on Casablanca Records, but I didn’t discover it until about 1982 when a neighbor gave it to me because I liked the Casablanca logo. I would listen to it on my record player every day after school, even taking it to school on Fridays because our teacher let us play records during lunch each week. I’m pretty sure my classmates quickly grew impatient with my stubbornly consistent choice, but I didn’t care. I couldn’t wait to hear Ace Frehley’s thinly veiled sexual innuendo blasting out over his flanged-out guitar, despite having no idea what it all meant at the time.
Murder By Death is hitting the road for the next few months. You don’t say? I don’t know how these guys have retained any semblance of sanity with as much touring as they’ve got under their belts. In addition to tour news, though, the band is starting a new 7″ series, whereby Murder by Death will cover other artists who will return the favor on the flip side. First up is a split 7″ with William Elliott Whitmore, who toured with the band back in 2005. A tour in support of a 7″? Damn. If MBD isn’t hitting your town this time, you can pre-order the 7″ beginning September 15th at murderbydeath.com (a limited pressing of which will feature artwork by Drew James, who designed the Who Will Survive cover art). [via brooklynvegan]
This is the second video from Stereolab’s new Chemical Chords album- the band’s first in four years. I have yet to pick it up, but the first two singles have me itching to do so. I never tire of LÃ¦titia Sadier’s voice or Tim Gane’s experimental droning lounge pop. It annoys me to death when people complain that all Stereolab albums sound the same. I couldn’t disagree more. Sure, there’s a common musical thread that runs throughout the band’s history, but Stereolab always pushes into something new, whether it be toying with the limits of the traditional pop construct, layering diverging and concurrent melodies, or incorporating incongruous styles into a seamless drone. I get lost every time.
So, this comeback single from the recently reunited Verve is slowly growing on me. I was never much of a fan of Richard Ashcroft and company’s psychedelic hippie soul music, but I did have a soft-spot for “Bittersweet Symphony” before its relentless ubiquity reached astronomical proportions over a decade hence. At first I thought this new single was garbage, but the more I hear it, the more it sort of grows on me. Ashcroft’s lyrics are still mind-numbingly dull and utterly generic, but the man’s got a knack for a melody. I probably like it because it reminds me of vintage Echo & the Bunnymen, minus the annoying samples. If I were 14 again, I’d be all about this.
The original line-up of …And You Will Know Us By The Trail Of Dead played at Santos Party House in NYC last night. Consisting only of principal songwriters Conrad Keely and Jason Reece, the down-sized duo ripped through classics like “Richter Scale Madness” off the band’s self-titled debut from 1998. The new Trail of Dead record is due in January of 2009 on Justice records, which marks the band’s return to an independent label after years of suffering at the hand of big bad Interscope. [via brooklynvegan]
Via the always entertaining About Today comes the question regarding Ra Ra Riot as the new Arcade Fire, Annuals, et al. Hell, the blogosphere is all ra ra ra about ra ra riot, but honestly, I just don’t get it. Then again, I never really got into The Annuals despite the dozens of recommendations from friends and blogs. I wasn’t really a big fan of the Arcade Fire’s follow up either, so perhaps it’s me that has the problem with this sort of “sound.” Derivative and dull, in my opinion. Meh.