All for Naught: Lennon and McCartney’s Last Recording Session

An excellent, well-researched delve into the mysterious evening when John Lennon and Paul McCartney entered a studio together for the first and only time five years after The Beatles had come to an acrimonious end.

It had been nearly five years since Lennon and McCartney appeared in a recording studio together. The last time around, they were at Abbey Road Studios in London with Harrison and Starr, working on the Abbey Road track “I Want You (She’s So Heavy).” Given all that had transpired since then, those five years might have felt like 25.

VIDEO: Arctic Monkeys “Brick by Brick”

The first taste of Arctic Monkeys’ fourth LP has surfaced. With the album not due out until summer, the band seems to be getting a head start here. This first single, “Brick by Brick,” is yet another departure for the Sheffield quartet. After throwing fans for a loop on Humbug, their Josh Homme-produced exploration of psychedelic hard rock back in 2009, the boys have opted here for a much more melodic track. The verse starts out with a bit of a penchant for glam but quickly resolves into a Beatles-esque set of harmonies, which honestly kind of recall Definitely Maybe-era Oasis.

Kanye West Is Out of His Mind

As amusing as Kanye West can be sometimes… just… no:

“I honestly think Coldplay are on the same level as The Beatles. In 30 years, when Coldplay are old men, people will look back and say, ‘These guys were more talented than The Beatles.'”

Um, no they won’t. I can’t even get into how wrong this is. On every level. Man, he’s going to get so much shit for saying this.

VIDEO: Plastiscines “Barcelona”

Despite having knicked their name from a trippy Beatles song, these four French girls have little else in common with the fab four. Plastiscines formed after meeting at a Libertines concert in 2004 and definitely lean towards that rough and tumble side of garage pop, though their sound isn’t so easily pigeonholed. I’m not completely convinced this isn’t some sort of “handled” band because – from the backstory to the image – everything seems questionably and conveniently perfect. But the songs are short and relatively catchy. I’m mostly intrigued by the fact that someone as bizarre as Patrick Wolf has asked these ladies to open up for his tour this summer.

http://www.plastiscines-music.com/

Tour Dates:

Seattle, WA El Corazon (June 5)
Vancouver, BC Richard’s on Richards (6)
San Francisco, CA Slim’s (8)
West Hollywood, CA The Roxy (9)
Denver, CO Oriental Theater (12)
Minneapolis, MN Fine Line Music Café (14)
Chicago, IL The Bottom Lounge (15)
Toronto, ON Mod Club (17)
Buffalo, NY Tralf Music Hall (19)
Philadelphia, PA North Star Bar (20)
Boston, MA Middle East Downstairs (21)
New York, NY Highline Ballroom (23)
Washington, DC Rock & Roll Hotel (24)
Carrboro, NC Cat’s Cradle (26)
Atlanta, GA The Loft at Center Stage Atlanta (27)
Dallas, TX Granada Theatre (30)
Austin, TX Antone’s Nightclub (July 1)

RETRO: Danielle Dax “Tomorrow Never Knows” video

The Guradian’s Dave Simpson ponders why 80’s British art pop icon Danielle Dax remains so obscure to this day, while Bat for Lashes is garnering so much praise as the freak du jour. Simpson concludes it’s because Dax was ahead of her time. By twenty years or so:

I’ve absolutely no idea how many people have even heard of her, but Dax was doing a similar thing in the 80s to what Natasha Khan is doing now. She fused electronics with guitars, rock and dance beats. She looked like a slightly more gothic Stevie Nicks crossed with a catwoman, and, like Ms Bat, had a natty line in headscarves. Those who liked her absolutely loved her – like Bat For Lashes gigs, Dax concerts were stuffed with girls dressing up the same. But she spent most of her career as a fringe presence, doing things that were perhaps too radical and visually/aurally unusual for the general public.

I had a brief musical dalliance with Dax in high scool. Vanderbilt’s student-run station, WRVU in Nashville, played the hell out of her. I only owned a cassette version of 1990’s Blast the Human Flower, which, fittingly, featured a trippy, eastern-tinged cover of The Beatles’ “Tomorrow Never Knows.” I lost track of her shortly thereafter. She went on to release a retrospective that gave a not-so-subtle nod to her failure to hit the big time entitled Comatose Non Reaction: The Thwarted Pop Career, and I hadn’t much thought of her until I came across this Guardian blog. Brings back odd memories of my finds during my Saturday morning record store rituals.