With former members of Elevator Action and Columbia, South Carolina’s sadly defunct Orgone Accumulator, Brooklyn’s Telltale showcases an intriguing mix of experimental no-wave, minimalist post-punk, and dark shoegaze. The result is akin to pre-Bad Moon Rising Sonic Youth, as Eric Gilstrap’s voice recalls Thurston Moore’s youthful, angst-ridden inflection when he punches up the tension. The music churns in a slow burn, awash in effects, but there’s an aggression lurking just beneath the surface that maintains an uneasy atmosphere. There’s also a healthy dose of reverb to help wash down all the gauzy noise. The Deli magazine has just listed Telltale at #28 out of 300 NYC bands creating “web buzz.” Pretty impressive. The trio is hitting the road this spring to spread the good word, hitting a handful of east coast cities. Dates and details on the poster below, but more information can be found on the band’s MySpace page.
You can stream the band’s killer Fad Gadget cover here: Telltale – Back to Nature.mp3.
Kim Gordon’s Mirror Dash clothing line is now available exclusively at Urban Outfitters. The Sonic Youth bassist/singer has ventured into fashion before with the X-Girl brand, which began back in the mid-1990’s and is now pretty much-Japan-only. Mirror Dash seems to pick up where X-Girl left off, as X-Girl kind of hit a ceiling in terms of age-appropriate colors and styles. Mirror Dash is clearly aimed at a slightly more refined/advanced demographic, which has but a whiff of rock n’ roll to it. But at least Gordon has never been a stickler for a purist’s aesthetic. Urban Outfitters has posted an interview with Gordon and her Mirror Dash partners to celebrate the launch.
Meanwhile, Sonic Youth is set to release its 16th album, The Eternal, via Matador this June 9th. Pavement bassist Mark Ibold has joined the band since the release of Rather Ripped in 2007. It will be Sonic Youth’s first full-boar non-major label outing since 1988’s Daydream Nation.
Damon Albarn and Graham Coxon made a surprise appearance at the NME Shockwaves Awards, taking the stage after almost a decade to play a low-key version of its classic “This Is A Low” from the Parklife album, of course. Unfortunately, no videos of the performance have leaked yet (that I can find), but this post-show interview is available, wherein Damon and Graham discuss the last minute decision to play and how rehearsals for the coming summer’s full-fledged Blur shows are going. Albarn admits he’s the one who needs the most practice, as everyone else in the band knows their respective bits, especially Graham who “can play everything.”
Having already been sold on Marnie Stern, I needed little to no convincing to want to go see her live, but a friend of mine has it on good authority that her live show is incredible, which just adds fuel to my fire. She’s touring the US in March to show off her fretboard magic and presumably, to support her excellent Kill Rock Stars release, This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That. Fingers crossed she plays that bad ass Journey cover.
Mar 5 – New York- NYU
Mar 10 – Philadelphia – Kung Fu Necktie
Mar 11 – DC – DC9
Mar 12 – Baltimore – Sonar
Mar 13 – Charlotte, NC – Snug Harbor
Mar 14 – Atlanta – 529
Mar 17 Dallas – Lounge on Elm Street
Mar 18 – Austin – KRS Showcase
Mar 21 – Tucson – Plush
Mar 24 – Phoenix – Rhythm Room
Mar 25 Los Angeles – The Echo
Mar 26 Visalia, Ca – The Cellar Door
Mar 27 San Francisco – Bottom Of The Hill
Part 3 of Filter’s interview with Peter Hook focuses on Joy Division’s enduring legacy. Hook seems remarkably grounded, especially considering his former band’s utter ubiquity as of late. I suppose he’s had 30 years to reconcile that whole experience, which must seem surreal now that’s it’s been immortalized on film.
Hook on how Ian Curtis’ death informed his life:
“I think I’ve been incredibly lucky to still be making music. Those songs that we wrote in 1978 and lasting as long as they have and still give you the ability to do what you do. It’s a testament to the chemistry of Joy Division and New Order. It is amazing to pull it off in Joy Division, but being able to pull it together again in New Order is amazing. We have the credit crunch very bad in England, and we’re hearing about people becoming unemployed. The best thing about being a musician is that no one can fire you. People will always listen to you, maybe not as much as in 1985, but you don’t lose your job. I’m a very lucky boy.”
[via Daily Swarm]