Black Rebel Motorcycle Club December tour dates. Black Rebel Motorcycle Club have announced that they will be returning to the UK for a December tour. Black Rebel Motorcycle Club are currently in the UK, mid way through a world tour. Unfortunately due to illness the band were forced to postpone their Nottingham Rockcity show on Saturday 24th April. The new date is December 3rd. and all existing tickets will be honored. The current UK tour continues in Liverpool tonight. Black Rebel Motorcycle Club — or B.R.M.C. for short — started in 1995, when Robert Turner and Peter Hayes met while attending high school in San Francisco. The two formed a solid friendship and camaraderie based on a mutual love of early-’90s U.K. bands like Ride, the Stone Roses, the Jesus and Mary Chain, and My Bloody Valentine. Despite such similar tastes, both joined different bands and spent several years working apart, although they occasionally kept in touch by attending each other’s gigs. In 1998, however, Turner and Hayes rejoined and added British drummer Nick Jago to the fold. The group began performing live in November 1998 as “the Elements,” a name they quickly ditched after discovering many other bands that shared the same title. They purloined their new moniker from the Marlon Brando-led biker gang that stormed into that dusty California hamlet in The Wild One. By 1999, B.R.M.C. had recorded a polished, 16-track demo CD and relocated to Los Angeles. The Santa Monica-based radio station KCRW jumped on the band’s demo first, giving them their initial airplay, but interest in the band eventually spread across the Atlantic, where BBC Sheffield named the demo their “Record of the Week.” Oasis’ Noel Gallagher even expressed interest in signing the band to his new Brother Records imprint, telling MOJO magazine that they were his favorite new group. After inking a lucrative Warner/Chappell publishing deal, however, Black Rebel Motorcycle Club began fielding offers from several labels, and they ultimtely chose to sign with Virgin Records in March 2000. Following a short U.S. tour with the Dandy Warhols, the band entered the recording studio and eventually emerged with a self-titled debut, B.R.M.C., which was released in March 2001. Two years later, the trio returned with a slicker edge and a new album, Take Them on, on Your Own, which peaked at number three on the U.K. charts. They severed ties with Virgin Records eight months later. A deal with RCA surfaced within months, and the acoustic, Americana-influenced Howl arrived in August 2005. The band moved back to the loud rock & roll approach favored on their first two albums with 2007′s Baby 81, and the resulting tour was documented by the band’s first concert DVD, LIVE, in 2009. Nick Jago left the band after Baby 81′s release, ostensibly to focus on his solo career. With the Raveonettes’ touring percussionist, Leah Shapiro, now handling drum duties, B.R.M.C. decided to change their direction once again, this time embracing electronica and ambient noise on The Effects of 333. Indepedently released via the band’s own label, The Effects of 333 failed to gain either commercial or critical acclaim, and B.R.M.C. chose to partner with Vagrant Records for the release of their next album, 2010′s Beat the Devil’s Tattoo.
December dates are as follows:
Fri 3rd Nottingham Rockcity
Sun 5th Manchester Academy
Mon 6th Glasgow O2 Academy
Tue 7th Birmingham O2 Academy
Thu 9th Norwich UEA
Fri 10th Bristol O2 Academy
Sat 11th London Brixton O2 Academy
Paul Weller releases his tenth studio solo album “Wake Up The Nation” on April 12th on Island Records. After an unparalleled career, characterised by constant musical experimentation, we should be used to Paul Weller’s relentless desire to chop and change his musical pack. But after the triumphant, Brit-bagging success of 22 Dreams (his third solo number one) Wake Up The Nation album sees rock’s most iconic songwriter come up trumps once more. Lean, mean and as uncompromisingly focused as it’s maker, Wake Up The Nation also brings Paul Weller full circle: twenty-eight years on from The Jam’s split, two tracks feature the former bassist Bruce Foxton. The album also sees contributions from My Bloody Valentine’s Kevin Shields, The Move’s Bev Bevan and legendary session drummer Clem Cattini. Passion, progression, and, as ever, spine-tingling rock’n'roll -Paul Weller has, yet again delivered the perfect soundtrack as we embark on a new decade.
Wake Up The Nation’s 16 tracks are:
WAKE UP THE NATION
NO TEARS TO CRY
FAST CAR / SLOW TRAFFIC
FIND THE TORCH, BURN THE PLANS
GRASP AND STILL CONNECT
7&3 IS THE STRIKERS NAME
UP THE DOSAGE
PIECES OF A DREAM
TWO FAT LADIES
A double A side single featuring ‘Wake Up The Nation’ and ‘No Tears To Cry’ will be released on April 5th. New tour and festival dates will be announced soon. In the interim, Paul plays 5 sold out nights at the Royal Albert Hall from 24 – 28th May.
Innerpartysystem have put their own unique spin on a new Beastie Boys track, available for streaming at www.myspace.com/innerpartysystem. Their bootleg was enabled by a much sought-after Beastie Boys vinyl, only 500 of which were made. Somehow, Innerpartysystem managed to get their hands on one of the vinyls which were inserted into random packages for the ‘Check Your Head’ reissue that was released recently. The tracklisting for this strictly limited vinyl was. The Innerpartysystem remix is of an a capella titled BBoys in the Cut. IPS just released their Heart of Fire EP in the UK and have recently returned to their native US after a series of packed-out headline shows plus stunning performances at Camden Crawl and Give It A Name. The four members of innerpartysystem hail from the small towns that surround Reading, Pennsylvania. The rural, stark nature of the landscape has certainly had an effect on the band’s sound which incorporates throbbing electronic beats with the aesthetic of a rock band whom, like Nine Inch Nails, Pendulum and Prodigy, aren’t afraid to mix styles and mess with the formula. Innerpartysystem worked with a stellar line-up of producers and engineers on their self-titled debut album, released last year – Stuart Price (Madonna, Missy Elliott, The Killers, Gwen Stefani), Alan Moulder (Depeche Mode, Smashing Pumpkins, My Bloody Valentine) and Mark ‘Spike’ Stent (Marilyn Manson, Linkin Park, Goldfrapp).
After a strong start, a few hiccups, and a somewhat listless finale, the Grammy-nominated new mom declared at the end of her hour-long set in the desert that “next time I’m back in the tent.” “I want to be in the sweat,” she said. M.I.A. had performed twice in smaller tents at the music festival, in its tenth year and one of the nation’s most prestigious. She noted earlier, “I really don’t know how to bring it on the main stage.” And her live show staples — climbing on speakers, dancing body-to-body with the crowd — didn’t quite fit the new digs. When she tried to bring some of the audience onstage Saturday night, security guards thwarted most fans. M.I.A. ended up on a platform above the crowd performing “Bird Flu,” and asked when it was over: “Can we get some order in the place? My baby’s waiting.” She gave birth to a son in February, a few days after the Grammys. The Killers took the main stage to close the evening. The Las Vegas-based group, who began with their most recent single “Human,” appeared far more comfortable in the setting. Wearing a black No Limit Records T-shirt, sneakers and jeans with Day-Glo green lining, M.I.A. performed songs from her two most recent albums and gave up the spotlight to Baltimore-based protege Rye Rye for a song. While she moved alongside Day-Glo-clad dancers for a lively opening number, she stood stiffly at other times behind a podium adorned with microphones as if at a news conference. Roaming into the audience with help of a piggyback ride, she finished with crowd favorite “Paper Planes,” lifted to hit status by appearances in “Pineapple Express” and “Slumdog Millionaire.” But the British-born, Sri-Lankan-bred rapper pushed back against Hollywood. She slyly referenced her status as Coachella replacement for Amy Winehouse, who canceled due to visa trouble, by singing “They tried to make me do the Oscars. I said no, no, no.” And, she noted, “I want to let you know that just ‘cuz I did the Grammys, it doesn’t mean I’ve gone all sold out.” Though she wasn’t embracing Hollywood, some of its regulars certainly wanted to be around for her. Zac Efron was seen ducking out of the fest’s VIP area in the afternoon Saturday, and Paris Hilton posed for pictures with her new boyfriend during Thievery Corporation’s popular main stage set just before M.I.A. Also performing Saturday were Joss Stone, TV On The Radio, Fleet Foxes — who apologized to fans after suffering repeated technical problems — and Travis Barker and DJ AM, who had the dance tent crowd roaring at their drum-assisted remixes of pop hits. Exact figures weren’t released but crowds at the three-day festival appear to have more than doubled the approximate 75,000 population of this community southeast of Palm Springs. Police reported 17 arrests Saturday and fire officials said two people had been taken to hospitals. Temperatures, climbing throughout the fest, were expected to hit the high 90s on Sunday, which features the Yeah Yeah Yeahs, Public Enemy, My Bloody Valentine and the Cure.
Like the Velvet Underground, Sonic Youth, and the Jesus & Mary Chain before them, My Bloody Valentine redefined what noise meant within the context of pop songwriting. Led by guitarist Kevin Shields, the group released several EPs in the mid-’80s before recording the era-defining Isn’t Anything in 1988, a record that merged lilting, ethereal melodies of the Cocteau Twins with crushingly loud, shimmering distortion. Though My Bloody Valentine rejected rock & roll conventions, it didn’t subscribe to the precious tendencies of anti-rock art-pop bands. Instead, it rode crashing waves of white noise to unpredictable conclusions, particularly since their noise wasn’t paralyzing like the typical avant-garde noise-rock band: It was translucent, glimmering, and beautiful. Shields was a perfectionist, especially when it came to recording, as much of My Bloody Valentine’s sound was conceived within the studio itself. Nevertheless, the band was known as a formidible live act, even though they rarely moved, or even looked at the audience, while they were on-stage. Their notorious lack of movement was branded “shoegazing” by the British music press, and soon there were legions of other shoegazers — Ride, Lush, the Boo Radleys, Chapterhouse, Slowdive — that, along with the rolling dance-influenced Madchester scene, dominated British indie-rock of the late ’80s and early ’90s. As shoegazing reached its peak in 1991, My Bloody Valentine released Loveless, which broke new sonic ground and was hailed as a masterpiece. Though the band was poised for a popular breakthrough, they disappeared into the studio and didn’t emerge over the next five years, leaving behind a legacy that proved profoundly influential in the direction of ’90s alternative rock. Born in Queens, New York, Kevin Shields’ family moved to Dubin, Ireland when he was six years old. In his teens, he became obsessed with pop music, eventually playing in Complex with his childhood friend Colm O’Ciosoig. In 1984, Shields and O’Ciosoig formed My Bloody Valentine with vocalist Dave Conway and keyboardist Tina, taking their name from a slasher horror film. The group relocated to Berlin, where they released the Birthday Party-influenced EP This Is Your Bloody Valentine on the Tycoon label in 1985 to little notice. The following year, the band moved to London, where they added bassist Debbie Googe. By the summer, they had signed to Fever and had released the EP Geek!, which again was ignored. Later that year, the group moved to Kaledoscope Sound, releasing The New Record By My Bloody Valentine EP, which illustrated a Jesus & Mary Chain influence. The following year, the band moved to the Primitives’ Lazy Records, releasing Sunny Sundae Smile early in the year. That EP was the first My Bloody Valentine record to mesh airy melodies with grinding guitars, but the two EPs that followed in 1987 — Strawberry Wine and Ecstasy — were more focused and acclaimed. Conway left the band by the end of the year and was replaced by vocalist/guitarist Bilinda Butcher, whose breathy vocals fit the group’s evolving sound more appropriately.
My Bloody Valentine’s new sound coalesced with the group’s first full-fledged album, 1988′s Isn’t Anything. Released on Creation Records, Isn’t Anything was greeted with enthusiastic reviews in the UK music press and the band’s following increased dramatically by the end of the year; in fact, their repuation had become large enough to attract the attention of Sire/Warner Bros. in the US, who became the group’s American label. Two other EPs, Feed Me With Your Kiss and You Made Me Realise, were also quite popular, and by the beginning of 1989, bands that based their sound on My Bloody Valentine’s droning swirl began to appear. The group retreated to the studio in 1989 to record their followup, which meant that only one EP, Glider, was released during that year. By the spring of 1990, it was becoming clear that the followup to Isn’t Anything wouldn’t be appearing anytime soon, and reports about Shields’ growing perfectionism began to circulate in the UK weekly music press. Soon, it became apparent that the band’s lengthy recording sessions were crippling Creation Records, but the group’s audience was still passionate, despite the inactivity: The Tremolo EP was released at the end of 1990 to considerable acclaim, and managed to climb into the UK Top 40.
When My Bloody Valentine’s second album, Loveless, finally appeared in late 1991, it was greeted with uniformly excellent reviews and it became a hit within the UK, reaching number 24 on the charts. In America, the group made significant inroads, particularly by supporting Dinosaur Jr. Despite the band’s acclaim and growing audience, Loveless didn’t sell in numbers to recoup its reported $500,000 recording cost and Creation dropped the band from their label; Creation wouldn’t fully recover until 1994, when they signed Oasis. My Bloody Valentine signed with Island and entered the studio at the end of 1992 to record a new album. In 1993, the group contributed a James Bond cover to a charity compilation.
And then … nothing happened.
Shields built a home studio with his Island advance and reportedly completed two separate albums, but scrapped them both. Often, the studio ran into technological problems. Between 1993 and 1997, both Googe and O’Ciosoig left the band, leaving only Shields and Butcher; after driving a cab for about a year, Googe formed Snowpony in 1996. There were signs that My Bloody Valentine were emerging from hiding in 1996, when the group contributed to the Wire tribute album Whore and Shields played on Experimental Audio Research’s Beyond the Pale. Still, no new My Bloody Valentine material appeared.
With a thirteen year history that takes in five studio albums, ten million album sales, breakdowns, clean ups and the dizzy swell of global success, Placebo are set to return with their first new album since the release of ‘Meds’ in 2006. Released on June 8th, the new album, titled ‘Battle For The Sun’, is preceded by its first WORLDWIDE EXCLUSIVE PLAY of the title track from the new album by BBC Radio One DJ, Zane Lowe, from 7pm on March 17th.
Recorded over three months by producer Dave Bottrill (chosen by the band largely because of his work with Tool) in his Toronto studio and mixed in London by My Bloody Valentine, Smashing Pumpkins and Nine Inch Nails supremo Alan Moulder, Placebo’s sixth album is a startling, alive, vital and boundary-vaulting record that marks a whole new era for a band that were in need of a change.
Upon completion of the ‘Meds’ tour that took in stadium appearances in Chile, Mexico, Brazil, France and Germany, personal relationships within the band had become strained leading to an emotional split with Steve Hewitt, their drummer since 1996. Having made four albums that have sold over a million copies each (1998’s ‘Without You I’m Nothing’, 2000’s ‘Black Market Music’, 2003’s ‘Sleeping With Ghosts’ and ‘Meds’ in 2006) and circled the globe together countless times, it was understandably an emotional split. Hewitt was replaced by 22-year old Californian Steve Forrest, who the band first spotted playing with one of their US support bands Evaline in 2006. ‘We were looking for somebody whose enthusiasm could rub off on us,’ explains Brian. ‘Someone who would experience all of these things that we’d already experienced for the first time and for their excitement to raise us up out of our jadedness and make us into kids again.’
Musically refreshed by their new line-up, the band also set about changing their business surroundings. When their contract with Virgin Records expired, Placebo were reluctant to throw themselves back into the major label machine. They grasped the opportunity of complete artistic freedom by self-funding the recording of ‘Battle for The Sun’. They then took the brave and uncompromising step to secure licensing and distribution agreements for the record with a number of smaller labels in each territory – beginning with a distribution deal with PIAS for Europe – so as to own the record themselves.
‘We’ve made a record about choosing life, about choosing to live, about stepping out of the darkness and into the light,’ explains Brian. ‘Not necessarily turning your back on the darkness because it’s there, it’s essential; it’s a part of who you are, but more about the choice of standing in the sunlight instead.’
‘I’m very optimistic about the future,’ concludes Brian. ‘I’m in a positive frame of mind and a good head space. It’s very exciting. There’s a lot of life in the old dog just yet.’
Let the great debates begin – the full official line-up for this year’s Coachella has finally been announced. The three day heat stroke of music will find Paul McCartney headlining the opening night in his first ever U.S. festival appearance, The Killers topping Saturday, and The Cure closing out the festival on Sunday night.
Also confirmed were Morrissey, My Bloody Valentine, Leonard Cohen, Franz Ferdinand, TV on the Radio, Fleet Foxes, Yeah Yeah Yeahs, Conor Oberst, Band of Horses, Beirut, The Black Keys, MSTRKRFT, Amy Winehouse, Thievery Corporation, Girl Talk, Peter Bjorn and John, X, Okkervil River, No Age, Lykki Li, Glasvegas, Dr. Dog, Los Campesions!, M. Ward, Jenny Lewis, Public Enemy, The Presets, Silversun Pickups, Hercules and Love Affair, Blitzen Trapper, and Paul Weller just to name a quick few.
Tickets go on sale January 30 at 9am via Ticketmaster. Three day passes will cost $269, with single day tickets going for $99. Check out more details here.
FIB Heineken 2009, taking place at the Benicassim Festival Venue over the weekend of the 16th, 17th, 18th and 19th July, has today released a limited number of earlybird tickets via online ticketing giants seetickets and lastminute. These exclusive tickets will only be available to buy until January 15th 2009 for the special one-off launch price of £140 for all 4 days, including free camping between the 13th and 21st July.
2009 will be an extra special year for FIB Heineken as it is the 15th anniversary of this most popular of festivals. Promising a stellar line-up packed with the biggest bands, artists and DJs from across the globe and a plethora of new and exciting on-site events and activities, the organisers are pulling out all the stops to make this one of the best years yet in the long and exciting history of FIB Heineken.
A phenomenal 150,000 people enjoyed FIB Heineken 2008, making it one of the best festivals of the summer with some of the best, most exclusive gigs to have graced the Spanish mainland in recent times, including sets from internationally acclaimed artists such as; Leonard Cohen, Morrissey, My Bloody Valentine, The Raconteurs, Babyshambles and The Ting Tings.