Category Archives: INDIE MUSIC NEWS

Peter Murphy Postpones Residency Due to Vocal Cords Issue

Peter Murphy‘s residency at The Chapel in San Francisco has been postponed due to “a serious issue to his vocal cords,” according to a statement. Originally scheduled for June and July, the rescheduled run will take place next year in January and February.

Doctors discovered nodules on Murphy’s vocal cords, according to a statement. The former Bauhaus frontman will undergo treatment and recovery time before he can use his voice again. In a video posted to YouTube, Murphy turned pages to avoid speaking to convey his current situation.

“As you can see, I am not allowed to sing or speak for a while. Doctors orders,” Murphy wrote on pages he flipped in the video. “I must rest my vocal cords.” He then wrote “See you soon” above the already-written words “when this over.”

During the residency, Murphy will perform a retrospective of his solo albums in their entirety, including his 1986 solo debut Should the World Fail to Fall Apart, 1988’s Love Hysteria, 1989’s Deep, 1992’s Holy Smoke, 1995’s Cascade, 2002’s Dust and 2011’s Ninth. A “Stripped” date will be similar to his recent world tour.

Additional dates have been added to the residency. Two “Mr. Moonlight” shows, which will feature Bauhaus classics will take place on February 14th and 15th. Tickets go on sale on Friday via the Chapel website.

Peter Murphy Rescheduled Chapel Residency Dates

January 23 – Should the World Fail to Fall Apart
January 24 – Should the World Fail to Fall Apart
January 26 – Love Hysteria
January 27 ­– Love Hysteria
January 28 – Love Hysteria
January 31 – Deep
February 2 – Deep
February 3 – Deep
February 4 – Holy Smoke
February 7 – Cascade
February 9 – Dust
February 10 – Ninth
February 11 – “Stripped”
February 14 – “Mr. Moonlight (Bauhaus Classics)”
February 15 – “Mr. Moonlight (Bauhaus Classics)”

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Bruce Springsteen on Jonathan Demme: 'He Was an Inspiration for Me'

Bruce Springsteen has penned a touching tribute to filmmaker Jonathan Demme, who died on Wednesday of complications from esophageal cancer.

“Over here on E Street, we’re deeply saddened to hear about the passing of Jonathan Demme,” Springsteen wrote on his official website. “He was an inspiration for me, a beautiful filmmaker and a great spirit. Always smiling, always involved with the world and always pushing you to go for your best. He’ll be deeply missed.”

Springsteen won an Academy Award for Best Original Song for “Streets of Philadelphia,” which was featured in the Demme-directed film Philadelphia that stars Tom Hanks. Demme also directed the music video for the song.

Fellow E Street Band member Steven Van Zandt also honored the director. “Oh no. Jonathan Demme. One of our great filmmakers, one of the most beautiful souls on the planet,” he tweeted. “Another magical irreplaceable friend gone.”

In 1987, Demme was nominated for a Best Music Video, Long Form Grammy for his work on “Sun City: Artists Against Apartheid.” Van Zandt co-founded the Artists United Against Apartheid with Arthur Baker and they produced the anti-apartheid song “Sun City” and the album of the same name.

“His contribution to ‘Sun City’ was pivotal in getting Nelson Mandela released and ending the South African apartheid,” Van Zandt added. “He was a saint.”

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See Replacements Fan Tim Kaine Jam With Tommy Stinson

Virginia Senator and Hillary Clinton’s former VP running mate Tim Kaine jammed with a co-founding member of one of his favorite bands over the weekend, as Consequence of Sound notes, via Pitchfork. The Replacements‘ original bassist Tommy Stinson and Senator Kaine’s private gathering took place in Richmond, VA, where they performed bluegrass staple “My Dear Old Southern Home.”

“The first album of theirs I heard was [1983’s] Hootenanny, and I got every album after that,” Kaine told Rolling Stone while discussing the Replacements, one of his Top 5 favorite artists. “I love the combination of really good songwriting and their endearing, amateurish quality to the way they did stuff.”

A longtime harmonica player, Kaine played the instrument during his acoustic session with Stinson, which included musicians Chip Roberts and Cary Street Ramblers’ Tripp and Jenny Johnson.

In addition to Kaine sharing his love of music on the presidential campaign trail, he also teamed with Pusha T for a conversation about education and police reform.

Stinson recently reassembled his post-Replacements band Bash & Pop and unveiled “Never Wanted to Know” from their new album, Anything Could Happen. The LP, which was released in January, is Bash & Pop’s first since their 1993 debut, Friday Night is Killing Me.

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Haim, Katy Perry Plot 'SNL' Musical Performances

Haim and Katy Perry will serve as musical guests on Saturday Night Live‘s ongoing 42nd season. The Haim sisters will perform on the May 13th episode hosted by Melissa McCarthy, and Perry will follow on the May 20th episode with Dwayne “The Rock” Johnson.

Saturday Night Live announced the bookings Wednesday with a Twitter photo featuring the show’s line-up on a cork board. The image also confirms the May 6th episode, featuring LCD Soundsystem (in their SNL debut) alongside host Chris Pine.

Though they’ve yet to confirm a release date, Haim have cryptically promoted a follow-up to their 2013 debut LP, Days Are Gone, throughout April. Earlier this week, the indie-pop trio teased the album with the second of two trailer clips – including a snippet of Danielle Haim playing unaccompanied drums; pictures of the band were recently featured on billboards throughout London, Berlin, L.A. and Sydney, Pitchfork reports.

Haim recorded their new album at Days Are Gone producer Ariel Rechtshaid’s Silver Lake studio, where they continued to “[combine] organic and non-organic sounds.”

“On the first record, we were really obsessed with mixing the two in a way where you couldn’t tell if a snare was real or a sample,” Danielle told Rolling Stone. “We still love that, but this time we came at it from a more organic, rock standpoint. Because when we play live, we realize that ultimately, we’re a rock band.” 

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Snoop Dogg, Rae Sremmurd, DJ Snake Headline Hard Summer Music Fest

Snoop Dogg will perform his iconic debut LP, 1993’s Doggystyle, at the 2017 Hard Summer Music Festival. The event’s 10-year anniversary edition – scheduled for Saturday August 5th and Sunday, August 6th – will also feature Rae Sremmurd, DJ Snake, Justice, Zeds Dead, Bassnectar, Migos, Ty Dolla $ign, Skepta and Charli XCX.

Hit producer Mike Will Made It will make his debut festival appearance at the EDM/hip-hop event, which takes place at the Auto Club Speedway in Fontana, California. Other performers include Mobb Deep, JME, Yehme2, Doctor P, Anna Lunoe, Kayzo, Brodinski, Jaiwolf and Snakehips. Tickets go on sale Friday, April 28th via the Hard Summer website.

Since its inaugural New Years Eve event in 2007, Hard Summer has hosted a diverse group of artists, including Pharrell, Giorgio Moroder, Die Antwoord, the Chemical Brothers, 2 Live Crew, Steve Aoki, Ice Cube, the Weeknd and A$AP Mob. 

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Watch Afghan Whigs' Disturbing, NSFW 'Oriole' Video

The Afghan Whigs invite fans into a nightmarish, sexually charged witch coven with their “Oriole” video. Director Amy Hood stars in the clip, arriving at a massive house filled with hallucinogenic scenes.

Upon entering, the protagonist is swarmed by women dressed in white and hypnotized by the kiss of their leader, wearing black. Hood weaves in nude fire dances, human sacrifice and haunted flashbacks, presented like a vintage horror B-movie, as Whigs singer Greg Dulli matches the eerie mood with occult-like imagery (“Light the candle, lock the door too/ Draw the circle”).

In a statement about the video, Hood said Dulli reached out about the project after discovering her work – including 2016 book Cult Classic – and realizing she could grasp the song’s dark themes. “It was the perfect collaborative opportunity to expand exploration within the cult realm, and to give a sexy narrative to the song,” she told The Fader.

“Oriole” appears on the Afghan Whigs’ upcoming “spooky” eighth LP, In Spades out May 5th. The indie-rock band released a surreal clip for lead single “Demon in Profile” last month.

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Can Drake Break Grime in America?

Not to say that Drake has moved to rarified level of fame, but the streaming numbers for “One Dance” alone look more like the GDP of a small country. With scale comes power – his co-signs are already partially responsible for breaking the Weeknd, Migos and PartyNextDoor, among others – and he’s certainly utilizing it in 2017. His recent project, More Life, is not an album or a mixtape, but a 22-track “playlist” optimized for the streaming service generation. He debuted it on his Beats 1 OVO Sound show and overnight made massive new fan bases for the U.K. acts who guest on the project: Skepta, Giggs, Jorja Smith and Sampha. Drake’s love of U.K. underground music is long-standing, and every time he spreads the love it’s huge for the MCs he namechecks. But will America finally sit up and take grime – arguably Britain’s most vital and experimental form of black music – to its heart.

As his fame has continued to snowball, Drake has consistently helped, featured, referenced, Instagram’d, Tweeted, playlisted, performed with and generally gave props to a litany of U.K. grime & underground hip-hop acts, including Skepta, Wiley, Giggs, Sneakbo and Section Boyz. And with every “@” mention, tattoo or Spotify link, the impact on the artists thrown into the mainstream spotlight is vast. As but one example, in March, thanks to More Life, south London’s Giggs saw a nearly 150 percent increase in U.S. listeners. 

On the surface, this isn’t really the most seismic shift: Big act references smaller acts in age of unprecedented instant, on-demand access; smaller act feels the effect. However, there’s more context than meets the Instagram filter.

For decades, black British musicians have been in a fertile, triangular musical dialogue with Jamaica and America. You can follow many threads, but just to pick a few: ska developed in 1960s Jamaica as a response in part to American rhythm & blues. Reggae and Jamaican dancehall, with its hyped lyrical intensity, was part of the cultural upbringing of early grime pioneers. Garage, the soulful cousin of American house music, was adopted in the mid Nineties in London and then was mutated by black Londoners to form a rougher, ruder U.K. variant. Hip-hop too, left its New York roots and left a mark on London as early as the Eighties. Combine all three scenes – Jamaican dancehall, U.K. garage, American hip hop – in the early ’00s, and you have the foundations for the grime Drake is celebrating today.

But the important detail is that the music always moves to the United Kingdom, never from the United Kingdom. It’s not that the U.K.’s black music can’t impact America: see the chilly R&B in the wake of Sade or the dance explosion on the pop charts after Soul II Soul. But within a lyrical hip-hop and grime frame, it has been nearly impossible for U.K. acts to make any kind of dent in the U.S. market. In 2002, U.K. garage vocalist Craig David experienced unexpected racial frictions, as The Guardian reported: “Black executives at urban radio networks in America have advised him that the presence of a white guitarist will hamper his potential for a bigger fanbase. David says he was told an all-black support band would maximize sales among an African-American audience.”

It was symptomatic of a wider issue: The American market had established ideas of identity and U.K. garage/grime MCs with funny accents and white guitarist didn’t fit into it. Thusly, the U.K. major labels had very little ability to sell their local acts. Dizzee Rascal won the U.K.’s prominent Mercury Music Prize in 2003 and had multiple singles crack the U.K. Top 20, but when first went to perform in the U.S. he played hipster/industry shows, like SXSW. Skepta first played NYC in 2006 with Jammer and Plastician to a niche, experimental music crowd, quite different from either U.S. hip-hop’s urban heartland and or the edgy raves like the U.K.’s Sidewinder that had incubated the grime sound. Lady Sovereign ended up going the traditional route of signing to Def Jam, but mainstream success did not emerge there either.

Many of grime’s acts figured the only route to sustained domestic commercial success was watering down their sound with familiar festival- and radio-friendly hooks, spawning pop-leaning singles by Dizzee Rascal (“Bonkers”), Wiley (“Wearing My Rolex”), Tinchy Stryder (“Something About Your Smile”), Lethal Bizzle (“Keys to the Bentley”) and more. Still, save a one-hit fluke for Tinie Tempah (“Written in the Stars”), for the most part, the U.S. still wasn’t interested,

Wiley – arguably grime’s godfather and most influential innovator – told Time Out last year, “I’ll be honest with you – I don’t think Americans like grime. Azealia Banks said what she really thought the other day. I’m not talking about the racist stuff, I mean her saying that ‘grime is garbage’: That’s how they all think. They like grime as a form of entertainment like boxing or the Olympics. But when they hear an English accent MCing, they can’t accept it on the same level they can accept hip-hop.

“[Drake] seems to understand,” he continued. “But every other North American, they appreciate it, but they can’t put our accent before their own. It’s sad and it’s brutal and no one wants to hear me say it, but after all the years I’ve been doing it I’ve finally realized it.”

So on one hand, a seemingly insurmountable hill to climb for Wiley and the rest of grime. On the other, at the pinnacle of said peak, is Drake, surprisingly well-informed about emerging U.K. underground acts and more than happy to share his enthusiasm with his vast, mainstream fanbase. Perhaps, sometime soon, they will meet in the middle; perhaps even Middle America. 

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Watch Warpaint Perform Seductive New Song 'Whiteout' on 'Ellen'

Indie rock band Warpaint added a seductive darkness to the Ellen stage on Tuesday, performing recent single “Whiteout.”

The quartet recreated the song’s vivid art rock groove, highlighted by Stella Mozgawa’s intricate drumming and Theresa Wayman’s atmospheric guitar solo. Ellen DeGeneres offered the band a warm introduction – including a nod to a celebrity game she plays on her show: “When I heard that this rock band named their latest album Heads Up, I knew I loved them even more than I already did.”

Warpaint recently kicked off a headlining tour with their pair of spots at Coachella, the latter of which Rolling Stone included on our list of 15 Best Things from the festival’s second weekend. The band will perform next at Atlanta’s Shaky Knees Festival on May 14th.

After wrapping their solo trek this summer, the band will support Depeche Mode on a run of North American dates launching August 23rd in Salt Lake City, Utah. 

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Melvins Plot Three-Month Tour of North America

The Melvins announced a 12-week summer tour of North America on Wednesday. The tour kicks off in San Diego July 5th and wraps up October 3rd in Flagstaff, AZ. Tickets go on sale Friday, April 28th at 10 a.m. local time.

The band’s live dates coincide with the release of a new double album, A Walk With Love and Death, the follow-up to last year’s Basses Loaded. Half of the project is a score to a short film directed by Jesse Nieminen, while the other is a traditional LP. “This was a huge undertaking,” guitarist Buzz Osborne said in a statement earlier this month. “All three things – the album, the soundtrack and the film – are benchmarks for us.”

A Walk With Love and Death is one giant, dark, moody, psychotic head trip!” added drummer Dale Crover. “Not for the faint of heart. You’ll sleep with the lights on after listening.”

Joey Santiago from Pixies and Anna Waronker from That Dog both contributed to A Walk With Love and Death. Engineer Toshi Kosai helped the Melvins produce the album, which is due out July 7th. 

Melvins Tour Dates:

July 5 – San Diego, CA @ Casbah
July 6 – Santa Ana, CA @ The Observatory
July 7 – Los Angeles, CA @ The Troubadour
July 8 – Fresno, CA @ Strummer’s
July 9 – Sacramento, CA @ Goldfield Trading Post
July 10 – San Francisco, CA @ Great American Music Hall
July 12 – Portland, OR @ Hawthorne Theatre
July 14 – Vancouver, BC @ Venue Nightclub
July 17 – Edmonton, AB @ Union Hall
July 18 – Calgary, AB @ The Marquee
July 20 – Winnipeg, MB @ Pyramid Cabaret
July 21 – Fargo, ND @ The Aquarium
July 22 – Minneapolis, MN @ Grumpy’s Bash
July 24 – Milwaukee, WI @ Turner Hall Ballroom
July 25 – Chicago, IL @ The Metro
July 26 – Grand Rapids, MI @ The Pyramid Scheme
July 27 – Detroit, MI @ El Club
July 28 – Cleveland, OH @ Grog Shop
July 29 – Columbus, OH @ A&R Music Bar
July 31 – Pittsburgh, PA @ Rex Theater
August 1 – Syracuse, NY @ The Westcott Theater
August 2 – Boston, MA @ Paradise Rock Club
August 3 – New York, NY @ Irving Plaza
August 4 – Philadelphia, PA @ Union Transfer
August 5 – Asbury Park, NJ @ The Stone Pony
August 6 – Baltimore, MD @ Ottobar
August 8 – Richmond, VA @ The Broadberry
August 9 – Carrboro, NC @ Cat’s Cradle
August 10 – Knoxville, TN @ The Concourse
August 11 – Louisville, KY @ Headliner’s Music Hall
August 12 – St. Louis, MO @ The Ready Room
August 13 – Lawrence, KS @ The Bottleneck
August 15 – Englewood, CO @ Gothic Theatre
August 17 – Salt Lake City, UT @ Urban Lounge
August 18 – Las Vegas, NV @ Psycho Fest
August 20 – San Jose, CA @ The Ritz
August 21 – Santa Cruz, CA @ The Catalyst
August 22 – Los Angeles, CA @ The Echo
September 5 – Phoenix, AZ @ Crescent Ballroom
September 6 – Tucson, AX @ 191 Toole
September 8 – Austin, TX @ The Mohawk
September 9 – Dallas, TX @ Tree’s
September 10 – San Antonio, TX @ Paper Tiger
September 11 – Houston, TX @ Warehouse Live (Studio)
September 13 – New Orleans, LA @ One Eyed Jack’s
September 14 – Pensacola, FL @ Vinyl Music Hall
September 15 – Jacksonville, FL @ Jack Rabbit’s
September 16 – Tampa, FL @ The Orpheum
September 17 – Ft. Lauderdale, FL @ The Culture Room
September 18 – Orlando, FL @ The Social
September 20 – Athens, GA @ 40 Watt Club
September 21 – Atlanta, GA @ The Masquerade (Hell Stage)
September 22 – Nashville, TN @ 3rd & Lindsley
September 23 – Memphis, TN @ Hi-Tone
September 25 – Madison, WI @ High Noon Saloon
September 26 – Rock Island, IL @ Rock Island Brewing Co.
September 27 – Des Moines, IA @ Wooly’s
September 28 – Omaha, NE @ The Waiting Room
September 30 – Ft. Collins, CO @ Aggie Theatre
October 2 – Albuquerque, NM @ The Launchpad
October 3 – Flagstaff, AZ @ The Green Room

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Hear Chuck Berry's Rollicking Song 'Wonderful Woman' From Final Album

Chuck Berry fuses boogie woogie and classic blues on “Wonderful Woman,” the lead track from Chuck, an upcoming collection of songs recorded between 1991 and 2014. Chuck marks the first Berry album to be released since the rock and roll icon’s death in March at age 90 and his first LP of new studio material since 1979.

Berry built “Wonderful Woman” using the formula he perfected in the late 1950s. A single, propulsive guitar line and a rhythm section give the song an irresistible drive. Other instruments add satisfying embellishments – lead guitar, harmonica and jolts of pounding piano – while Berry sings about romantic whiplash. “It done blew my mind when she smiled and said hello/ Well it broke my heart when she told me it’s time to go.”

Berry recorded “Wonderful Woman” with help from his son, Charles Jr., his grandson, Charles III, and the blues guitarist Gary Clark Jr. “When his manager called me up and asked me to play on the Chuck album, I was really honored,” Clark Jr. told Rolling Stone. “… He was playing incredible still and singing amazing. I’m looking forward to this record.”

“Wonderful Woman” is the second song to be released from Chuck following “Big Boys.” When Berry announced the album in 2016, he dedicated it to his wife, Themetta “Toddy” Berry. “My darlin’, I’m growing old!” the singer wrote in a statement. “I’ve worked on this record for a long time. Now I can hang up my shoes!”

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