The Line Of Best Fit Radio

Thursday, August 31, 2006

The Thursday 3

So this week we've got the latest videos from Death Cab For Cutie and Peter Bjorn & John. Plus an absolute belter from the new Bob Dylan - Modern Times bonus DVD. Its a performance of "Love Sick" he did at the '97 Grammy awards. Fantastic stuff.

Peter Bjorn & John - Young Folks

Death Cab For Cutie - I Will Follow You Into The Dark

Bob Dylan - Love Sick (live)

As an added treat this week heres an exclusive peek at Bob Dylans' new video "When The Deal Goes Down"starring the lovely Scarlett Johansson. Here.

Wednesday, August 30, 2006

The Black Keys Tour Dates

Just a quickie. Here are The Black Keys tour dates in support for their incredible new album Magic Potion, released on September 11th.

25 September - Music Centre - Dublin
26 September - ABC - Glasgow
27 September - Northumbria University - Newcastle
28 September - Cockpit - Leeds
30 September - Birmingham Academy 2 - Birmingham
1 October - Bristol University - Birmingham
2 October - Manchester University 2 - Manchester - SOLD OUT
4 October - Forum - London

Tickets on sale from the usual outlets.

Whoo! Alright-Yeah...Uh Huh

Indie discos of the world rejoice, the new album from NY disco punks The Rapture has arrived and it does not dissapoint. A huge step forward from Echoes, its a throbbing electro/indie mash up with a far more commercial edge to it than their previous efforts.

It gets it official release on September 12th in the States and September 18th in the UK. But, you lucky peeps can get your hands on it two weeks early. Enjoy.

The Rapture - Pieces Of The People We Love [here]

In support of the album the band are playing the following shows:

Sep 3 2006 4:00P
Electric Picnic Stradbally
Sep 4 2006 6:00P
HMV oxford circus (INSTORE) London
Sep 12 2006 8:00P
Apple Soho Store (INSTORE) New York, NY
Sep 20 2006 8:00P
Popkomm Berlin
Sep 21 2006 8:00P
Reeperbahn Festival Hamburg
Sep 23 2006 8:00P
NAME Festival Lille
Sep 24 2006 8:00P
Rolling Stone Red Milan
Sep 25 2006 8:00P
Mascotte Zurich
Sep 26 2006 8:00P
Bataclan Paris
Sep 28 2006 8:00P
Razzmatazz Barcelona
Sep 29 2006 8:00P
Marsatac Festival Marseille
Sep 30 2006 8:00P
Ososphere Festival Strasbourg
Oct 1 2006 8:00P
Magnitude Festival Reims
Oct 3 2006 8:00P
Muffathalle Munich
Oct 4 2006 8:00P
Stollwerk Cologne
Oct 5 2006 8:00P
Tivioli Utrecht
Oct 6 2006 8:00P
Botanique Orangie Brussels
Oct 8 2006 8:00P
Rescue Rooms Nottingham
Oct 9 2006 8:00P
Concorde Brighton
Oct 10 2006 8:00P
Waterfront Norwich
Oct 12 2006 8:00P
Liquid Room Edinburgh
Oct 13 2006 8:00P
University Belfast
Oct 14 2006 8:00P
Leadmill Sheffield
Oct 15 2006 8:00P
University MDH Manchester
Oct 17 2006 8:00P
Koko London
Oct 18 2006 8:00P
Melkweg Max Amsterdam
Nov 11 2006 8:00P
Be the Riottt! (Bill Graham Civic Auditorium) San Francisco, CA

Tuesday, August 29, 2006

Reading & Leeds Festival Coverage

I have to say - I was mightily impressed with the BBC's coverage of Reading and Leeds over the weekend. A thousand times better than E4's amateur attempt at capturing V's "Highlights" - the most frustrating TV I've ever been subjected too. Anyhoo, Some mighty fine performances were captured by the Beeb including The Spinto Band, Arctic Monkeys & Yeah Yeah Yeah's. For me, the best was saved until last for the Sunday headliners at Reading - Pearl Jam. They played a sterling set which made me dig out all my old PJ albums from the 90's.

If you missed the coverage on BBC Three you can catch some of it here on the BBC website.
Who nows how long the link will be up for though...

(Pictured above - Karen O / Yeah Yeah Yeah's)

Blame Canada

Just one big happy family, eh?
How can you keep track of a band with no fixed line-up, scores of side projects, and whose founder is disappointed in himself? Laura Barton reports from Toronto on the soap opera that is Broken Social Scene

Friday August 25, 2006
The Guardian

Ableary-eyed Amy Millan is winding her way across Toronto in a desperate search for coffee. The traffic lights switch to green and she scans the streets with a face dogged by a hangover and startled by makeup. A pair of sparkly red ballet slippers sits in the passenger seat. We pull up outside Jet Fuel Coffee in Cabbagetown, where Millan used to work, and she is two steps on to the pavement when the heckling starts. "Hey Amy!" they holler. "Aren't you some big star now?"
Millan is indeed some big star here in Toronto. Poised to release her solo album, Honey From the Tombs, she notched up a fine reputation with the Montreal-based band Stars, flaunting a voice that is fine-spun, breathy and distinctive. But it was her role as a vocalist for Broken Social Scene that truly led her into the limelight; with Millan, as with so many Canadian artists today, all roads lead to Broken Social Scene.

BSS is a Canadian supergroup or artistic collective, call it what you will, that began in 1999 with Kevin Drew and Brendan Canning, and has been accumulating members ever since. Today some 20 musicians drift in and out, including solo performers Leslie Feist and Jason Collett, plus Emily Haines and James Shaw of Metric, as well as countess others. BSS has somehow succeeded in producing three albums: the mainly instrumental debut Feel Good Lost (2001), the exceptional and impressionistic You Forgot It in People (2002) and last year's Broken Social Scene. But it is live that they catch fire, as a kind of indie jam band. At times BSS on stage will accommodate five guitarists, horns, drums, strings, three female vocalists and a couple of male voices to create a whirling, diving, clamour of sound, in shows that can stretch to three hours.
Today the offices of the BSS's Toronto-based record label, Arts & Crafts, are crammed with boxes of merchandise, waiting to be shipped across to Olympic Island where tomorrow the group are curating a festival. The show will see 10,000 fans make the short ferry-hop from the mainland to bask in the sunshine and in performances by Raising the Fawn, J Mascis, Feist and Bloc Party, with a grand finale by BSS.

To Jeffrey Remedios of Arts & Crafts, the Olympic Island show is a celebration of four years of hard graft, during which all involved lived with a persistent fear "that we were going to fuck it up". Five years ago Remedios was working for Virgin, craving a little more independence, a tad more creativity. "At the same time what was happening in Toronto was this incredible burgeoning music community," he recalls. "All these bands were starting to really come together, all these clubs were full, everyone would be going out to see local bands, which was a relatively new thing for us. It sort of hit critical mass at a certain time."

Already a good friend and sometime roommate of Canning and Drew, he at first took a mild interest in their project. "But then they made You Forgot It in People, and they got me into the studio and said whaddyathink? And I said I'm in, I'm totally in." That meant leaving Virgin to found a record label, management company and music publisher with Drew, "that would just be like an arts collective, like the whole is bigger than the sum of its parts, that kind of theory".

Arts & Crafts started with one band, Broken Social Scene, and has grown steadily since. "Social Scene really are the band that are at the centre of this community," insists Remedios. "The true ethos of that band is a collection of people collaborating together from other projects. So they're in the core. In the beginning they would play shows at [Toronto venue] Ted's Wrecking Yard, and they'd play all new songs every show, and they'd play once a month. You Forgot It in People was birthed from that. So one week James and Emily from Metric would be there, the next month Feist, the next month Amy and Evan from Stars. And it just hit, it hit really fast."

Back in Cabbagetown, Millan, propped up by latte, is attempting to explain the complex, intertwining histories of the members of BSS. She first met Kevin Drew at summer camp. "And of course Emily I met on the first day at school. She came up and asked where the music class was. We walked in and we were late, and there was what felt like 200 kids all facing us. But it was better because we had each other, and that sort of bonded us as a force. We were very, very good friends for a very, very long time. Emily was already writing absolutely amazing songs and I started singing with her and ..." She has barely begun her story when another fan wanders over. "Amy! Hey Amy!"

While its shape-shifting enormity has been part of BSS's attraction, it has also provided its own complications, particularly for Canning and Drew. "The family is constantly expanding," nods Canning. "But we let ourselves get pulled in a lot of different ways, and you can kinda forget we're the founding members of this group. It just feels like this abstract thing." And the difficulties have not just been musical. "Over the years there's been such emotional tumult. It must be the same with every band, but then when you throw men and women together and start playing music together, it's like being at summer camp."

It's easy to imagine that Canning and Drew might grow a little irked by the constant to-ing and fro-ing of their band members, but Drew insists not. "It would annoy me if their bands were bad. But they're not. Bands like Stars and Metric need to be there, and we've been very grateful for the time they've devoted to us." Besides, he argues, they enjoy a kind of symbiotic relationship. "They will burn out on their own shit and come back to us and say, 'Can I just not think about stuff for a month?' And they take that energy and they use it really well in their own bands."

Two BSS members currently pursuing another project in earnest are Emily Haines and James Shaw, singer and guitarist in the more straightforward, punky Metric. "James and I write with BSS pretty regularly," she explains, "but it's a very different kind of role, especially for me. I really enjoy playing the supporting part. Social Scene is about donating yourself. And the thing is, we don't see each other that often. It's a way to romanticise your friendships, because you don't have to put up with the day-to-day."

Though Metric formed in New York, the band members have since returned home to Toronto, making them more available, presumably, for further collaborations. "It just felt like the right time," says Haines. "[Canada's] a pretty utopian place at the moment, there's a lot happening. I guess what keeps me going is my interest in other people. Everyone I know, that seems to be their desire: to collaborate. They need to connect."

Drew, however, isn't feeling the connections so profoundly these days. "None of us has any time any more in this band," he says over dinner the night before the Olympic Island festival, spearing his pasta. "There's lots of families and personal stuff, other bands going on, so Social Scene has become ... it's lost a bit of its love outside of when we're together, but when we're together it's there." Does the loss of love concern him? "It disappoints me a bit because I feel that if we all gave it 170% then we would be doing a lot better than we are. We were always a music band that loved music. And we've now gone into a format of playing the same songs all the time. It's great because we have rotating members so you always have different magic, and personality-wise it's difficult to always be on the road so it's nice to have different conversations. But we've been touring non-stop for the last four years now, so it's just at a point where we've got to find something new about it."

He is quick to point out that he has thoroughly enjoyed the past few years. "But it's also been some of the most stereotypical narcissistic times in our lives," he says. "I think you hit a point where you're disappointed in yourself maybe, and that point for me was when I kind of took it for granted. And it's also very difficult to make music when you're talking about it all the time, you're always planning your future and where you're going to go and all that, and it does suck the life out of why you wanted to do it."

What would he rather talk about? "I'd rather learn," he replies earnestly. "I'd rather use conversation as an education platform, instead of talking about booze and how fucking hard it is to cope as a group or a family or a band. We were always an experiment in intimacy. That's something Jason Collett said to me once, and I liked that. I liked the idea that people were into us because it never was supposed to work with this many people, and financially we were supposed to be ruined and internally we were supposed to be ruined. There's be a lot of fucked up things that have happened over the last couple of years, but we're still here and there's still love for each other."

It is 12.59pm on Olympic Island, and there is a still patch of calm before the gates open. The sun shines slow and steady, beers sit cooling in big icy barrels. You hear the squeals first, then the thunderous approach of the first stampede of hipsters charging across the grass to secure their territory at the front of the stage. By the time Broken Social Scene take to the stage shortly before 9pm, the crowd is itchy with anticipation. It is an outstanding, unexpectedly moving performance, the already preposterous number of band members on stage bolstered by the friends and family that seem to spill from the wings. The night concludes in a final, stunning triumvirate of Ibi Dreams of Pavement, It's All Gonna Break, and KC Accidental. And, for a glorious while, Broken Social Scene, in all its fragmented, dissonant, weary parts, seem again united.

Five essential records from the Canadian scene

Broken Social Scene - You Forgot It in People
Back in 2002, cramming umpteen musicians on to an album seemed an outlandish concept. Yet You Forgot It in People bloomed with a mesmerising creativity, best illustrated by the breathless, otherworldly Anthems for a 17-Year-Old Girl.

Metric - Live It Out
One of this year's best albums so far, this is the second offering from Metric, and marks out Haines as one of the brightest stars in music right now. Politically charged and with a stoked-up fire in its belly, Live It Out is also disturbingly danceable.

Feist - Let It Die
The solo project of BSS's Leslie Feist. Unabashedly romantic, Let It Die is steeped in cocktail jazz and bossa nova; it's her most sumptuous offering yet.

Stars - Set Yourself on Fire
Stars are made up of Chris Seligman and Pat McGee, along with BSS members Amy Millan, Torquil Campbell and Evan Cranley. Their piece de resistance is this album from 2005: a cathartic confection of strings, horns, colliding female-male vocals and Casio keyboards.

Jason Collett - Idols of Exile
Collett is a part of BSS's wall-of-guitar sound, but here he drifts back to his folkier roots to bring us a delightful album, full of summery, wistful tracks such as Hangover Days.

Sub Pop Singles Club Downloads

The Sub Pop Singles Club was a legendary mail delivery service that provided the subscriber with one 7" single per month by one of the most talented and physically attractive bands of the day.

The madness began in November 1988 with the now mythic Nirvana 'Love Buzz' single and continued through five years of unadulterated bliss, finally reaching its end with Lou Barlow's 'I Am Not Mocking You'. Beginning in April 1998, Sub Pop Records unhesitatingly re-launched the Singles Club and once again provided a reason to live for the countless morbidly lonesome shut-ins of this generation. Since then, we have, without pause, released one magically delicious single per month to divert, delight and enjoy.

For a good indication of the caliber of music you will be receiving just take a look at some of the bands that participated in the first incarnation: Smashing Pumpkins, Fugazi, The Flaming Lips, Sonic Youth, Rapeman, Unrest, Rocket From the Crypt, Jon Spencer, Ween, Soundgarden, Afghan Whigs, Poster Children, The Muffs, Reverend Horton Heat and lots more. Subscribers to the re-launched club in April 1998 have received singles from the likes of Luna, Modest Mouse, The Jesus & Mary Chain, Team Dresch/Longstocking, Creeper Lagoon, The Get Up Kids, Beachwood Sparks, Dot Allison, Bonny Prince Billy, Pedro The Lion, Crooked Fingers, Mudhoney, Dead C, Death Cab For Cutie, To Rococco Rot, The Yo-Yo's, The Creatures, Trumans Water & Zeke among others, with many more yet-to-be announced sonic delights.

To download, in mp3 format the singles from '98 - '02 follow this link.

Thursday, August 24, 2006

Details on The Shins Third


Indie rock kingpins the Shins stretch out on their third album, "Wincing the Night Away," due in January via Sub Pop. Save for a handful of backing vocals, the set is completely finished and will be mixed in the coming weeks in Portland, Ore. Frontman James Mercer tells the album will likely feature 10 songs and one short introduction.

"Wincing the Night Away" was initially expected this summer, then bumped to October and finally into early 2007, but Mercer says the extra time paid huge dividends for the band.

"It would have been great to have released this a year ago, but the benefits [of waiting] are big," he said backstage before the Shins' performance last night (Aug. 23) at Brooklyn's McCarren Park Pool. "I'm constantly reminded of how much better the project gets as new discoveries are made. That only happens through taking your time and being able to approach it with some new perspective."

Mercer is particularly enthused about the song "Phantom Limb," which he says was inspired from a production standpoint by early Jesus & Mary Chain albums. "The song is a hypothetical, fictional account of a young, lesbian couple in high school dealing with the sh*tty small town they live in," he says.

Elsewhere, "Red Rabbits" is what Mercer describes as "a strange, psychedelic piano number with this really tweaked out sound," while "Sea Legs" employs a hip-hop beat reminiscent of the Beta Band. "Spelling Lessons," "Spilled Needles" and "A Comet Appears" will also make the final cut.

"I was just talking to some of the people at Sub Pop who were listening to the rough mixes, and they agree with me that we've stretched," Mercer says. "We're trying some different styles."

"Wincing the Night Away" is the follow-up to 2003's "Chutes Too Narrow," which has sold more than 393,000 copies in the United States, according to Nielsen SoundScan. It's also the band's final album under contract for Sub Pop, and although the Shins have not ruled out re-signing with the label, they are also entertaining other offers.

"We really like the more creative sort of ways people have been putting out their records lately," Mercer says. "People are owning their own masters and having distribution deals. That's real attractive. It's an expensive business. It's probably more expensive for the artists than anyone else."

A smattering of live shows are on tap in the next few weeks, as well as a Nov. 2 appearance at Sub Pop's showcase during the CMJ Music Marathon, but the Shins will hold off on extensive touring until the release of "Wincing the Night Away."

The Shins - New Slang
Live Video:

The Crane Wife

Well, The Decemberists new album is being released October 3rd and as with pretty much every release nowadays its leaked a couple of months early. Its been getting some serious love from me for a couple of weeks now and I'm sure will be considered their strongest release to date. As with the bands previous album Picaresque, the album was co-produced by Chris Walla of Death Cab For Cutie and also features Ben Gibbard on guest vocals for the closing track Sons & Daughters.

The Decemberists - The Crane Wife is available to download here.

For Your Entertainment

So, every week I'm going to post 2-3 music videos for your viewing pleasure. To kick things off this week we've got videos from Midlake, Band Of Horses and a classic from The Postal Service.

There is nothing I can really say about Midlake & Band Of Horses that hasn't alreadly been said on a thousand blogs and reviews sites except for these bands are outstanding. Along with The Decemberists new album they are certainly my personal highlights of 2006.

Enjoy the videos....

Midlake - Young Bride

Band Of Horses - The Funeral

Postal Service - We Will Become Bilhouettes
Apparently there is a new Postal Service album in the works. There are no release dates at present but it has been confirmed that both Ben Gibbard and Jimmy Tamberello are both working on tracks. Jenny Lewis of Rilo Kiley has apparently penned a couple of tracks for the record too.
Very exciting stuff.

Albert Hammond Jnr. Set To Go Solo

Interesting news for Strokes fans. Guitarist Albert Hammond Jnr. is releasing a solo album through Rough Trade on 9th October, as reported by CD Times. There are some tracks from the album streaming over on his myspace site. They sound pretty good, especially Everyone Gets A Star - which turns out is going to be the lead single from the album.

The full tracklisting is as follows:

Cartoon Music for Superheroes (Goodnight)
In Transit
Everyone Gets a Star
Bright Young Thing
Blue Skies
Back To The 101
Call An Ambulance
Hard to Live (in the City)

Some helping hands come in the shape of Julian Casablancas, Jody Porter (Fountains of Wayne), Ben Kweller, Sean Lennon and Strokes manager Ryan Gentles.

Wednesday, August 23, 2006

"I hate you guys"

The new Kasabian album is released on August 28th.

I for one won't be buying it. It seems I'm not the only one....

Article taken from Stylus Magazine

An open letter to the uninitiated by Nick Southall.

I hate Kasabian for many reasons. Firstly, I hate the etymology of their name. Linda Kasabian is the name of Charles Manson’s getaway driver, or something. She was certainly a member of the “Manson Family”. Some might write that off as tasteless in the extreme, but tasteless has never bothered me particularly – I’m a Chris Morris fan. It’s rather the fact that this deliberate self-association with infamous murderers and the darker aspects of pop culture smacks of “keeping it real” in the most affected and unreal way possible (people DIED, that’s SO REAL); it’s not designed to shock in the sense that shock = realigning peoples perception of everyday life enabling them to better live that life. It’s about looking cool because your parents might take offence, which is never good.

I hate the way they dress with that faux rock aristocracy conceit, all scarves, choppy, highlighted feather cuts and vintage jackets from designer second-hand shops. I hate their shitty, over-considered facial hair. I hate their professional lad personas, the fact that they’re from Leicester and like football and drinking and swearing, the fact that they veil their song titles in vaguely drug-centric acronyms because, presumably, they think that doing so is cool. It’s the same with The Libertines and all the crack-chic that follows them around, the heroin-mystique; I thought thinking drugs were cool had become passé years ago.

But most of all I hate their fucking awful music. I hate their shitty beats and shouty choruses, their Beatles-aping, rockist-pleasing backwards fills, the whole fucking shitty lads-down-the-disco aesthetic. I hate the fact that they called a song “Processed Beats” when it doesn’t sound very processed and barely has a beat. I hate the fact that critics praise them by using phrases like “They’re a classic indie disco band”, as if that a; had any meaning or b; was a good thing in the slightest. I hate the fact that they were nominated for Brit Awards in the same year that the dance category was disbanded. Dizzee Rascal, Talvin Singh and Roni Size have both won the Mercury Prize in recent years. Dance music is not a scary, radical, leftfield concern anymore. It does not need watering down for the proles.

People keep saying they sound like Primal Scream, but I have never heard Primal Scream do anything as clunky and boring and lager-lout obnoxious as “LSF” or “Cut Off”. Is this the legacy of Screamadelica? Lest we forget, that album didn’t embrace dance culture by sticking a clumsy hip hop beat and some widdly effects over a three-chord indie strum+shout. Perhaps people mean latter-day Primal Scream, but I don’t know where they’d get that from. Vanishing Point is a dub record, XTRMNTR a discopunkwhitenoise leviathan which spawned The Rapture and LCD Soundsystem, Evil Heat is basically electroclash-meets-krautrock. Perhaps they mean the much maligned Give Out But Don’t Give Up, a clumsy blues-funk album. Kasabian are closer to “Rocks” or “Jailbird” than anything else Primal Scream have done.

People keep saying Kasabian sound like The Stone Roses – which songs in The Stone Roses catalogue sound ANYTHING like Kasabian’s snarling masculinity? “Fools Gold”? With its intricate groove (the 10-beat kick-drum loop on that song is more intricate and inspired than anything I’ve heard from Kasabian), its bassline cribbed from Can, it’s ten-minute lope that still sounds strange and alien today? Or maybe “Begging You”? No, it’s still a hundred times more furious and exciting than anything Kasabian could come up with, the sequencing more radical, the beats less predictable, the lyrics more intriguing.

People keep saying Kasabian sound like Happy Mondays. I saw the video for “Wrote For Luck” for the first time in ages the other day. Kasabian sound nothing like that. New Order. !!!. Lo Fidelity Allstars. Daft Punk. Prodigy. LCD Soundsystem. Basment Jaxx. Even Black Grape, for heaven’s sake. All have mixed dance beats and textures and aesthetics with rock structures and sounds. Kasabian sound nothing like them. They’re derivative but not of an idea or a sound; they’re derivative of a poor description of an idea or a sound. “Indie music with dance beats.” Good fucking god it was tired fourteen years ago and it’s tired now. After 20 years of rhythmic evolution and invention in dance music, after house, drum n bass, UK garage, Asian underground, trance, dubstep and countless others, to hear someone do the same “funky drummer” fill that the fucking Mock Turtles used in 1991, and for people to praise that and think it’s something new or clever, is depressing and backwards. I cannot fathom people who would choose to listen to a bad, misremembered refraction of dance music, especially when those same people are generally also the types most likely dismiss actual dance music itself out of hand.

Forever. The Singles Tour.

Good news for all Charlatans fans...
After the bands triumphant sets at the V festival at the weekend the band announced a November/December tour. Not only will it be the second tour of the UK this year it will coincide with the release of "Forever" - a greatest hits CD/DVD package.

The release will feature an 18 track CD compilation and limited edition DVD box set with rare and unseen footage from the past 16 years, archive material, demos and other rarities.

The tour dates are as follows:

23 - Halifax Victoria Hall
24 - Leicester De Montfort Hall
25 - Cardiff Uni Great Hall
26 - Reading Hexagon
28 - Lincoln Engine Shed
29 - Birmingham Academy
30 - Portsmouth Guildhall

02 - Middlesborough Town Hall
03 - Sheffield Octagon
04 - Glasgow Academy
05 - Newcastle Academy
07 - Hull City Hall
08 - London Brixton Academy
09 - Blackpool Empress Ballroom
10 - Llandudno Cymru Hall

Support comes from Manchester band The Longcut.

Tickets cost £22.50, except London £25.00, plus booking fees. Tickets go on general sale from 9am on Wednesday 23rd August through and (Glasgow only).

I'll see you down the front at Brixton.....

Throw Shapes

Ipswich has never really been a hotbed for live music. Unless, you count Busted and Lemar playing the Regent Theatre (but we wont talk about that)... However, last year, as part of an NME tour taking in towns & cities that were out of the live music radar The Duke Spirit came to town and played an excellent set at the Cock & Pye. Soon after a fortnightly night started out called UPROCK, and over the past year has seen such bands as ¡Forward, Russia!, Bromheads Jacket, New Rhodes, Good Shoes, This Aint Vegas, Redjetson, Charlie Brown, We Start Fires, Love Ends Disaster!, The Fold, Misty's Big Adventure, Louie, Rosalita, Shut Your Eyes And You'll Burst Into Flames, Black Wire, The Pigeon Detectives and Jamie T.
You can keep an eye out for whos playing on UPROCKS very own myspace page.

Tuesday, August 22, 2006

Fair Warning

What better way to kick this thing off than to mention a band who are very close to my heart.

Saltflat have just released their second full length album "Cold Morning Light" on Bonedry records.

Its been about 18 months in the making, and their first release since 2003's Asphalt Good and it doesn't dissapoint - this release is a huge step forward in terms of frontman Neal Cooks (ex-Wildflowers) songwriting. A sense of distance and longing echoes throughout the nine tracks, from the Neil Young apeing "Coming Home" to the barnstorming "MAP" .

Fans of Wilco, The Replacements, Ryan Adams and Richmond Fontaine should take note.

The band will be playing the following dates over the next couple of months:

August 27th
, September 19th & October 7th
Wolverhampton Little Civic

Tickets are available from the boxoffice on 01902 552121 or you can book online here

October 28th
Jug Of Ale, Birmingham

To preview tracks from the album visit their myspace site. Or, for any other info or to buy the album visit the official site here.