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A reunited Libertines to stumble into Reading and Leeds Festivals

Predictable? Maybe. Kind of awesome? Certainly. For the first time in six years, the Libertines are about to perform as a complete band. And where do they plan on gracing audiences? The UK’s Reading and Leeds Festivals, which are fine choices, really. Guns ‘n Roses, Arcade Fire, Weezer and Modest Mouse will also join the fray.

From The Independent:

The Libertines released two albums, 2002’s Up the Bracket and 2004’s The Libertines, before breaking up in 2004 due to disagreements between guitarist Pete Doherty and co-frontman Carl Barat. Last May, three of four group members performed together during a concert by Doherty’s band Babyshambles, suggesting that a reunion might be near.

Tickets are now on sale for both festivals, which take place simultaneously in the two UK cities and feature the same lineup. The capacity is about 80,000 at the Reading site and about 70,000 at Leeds.

The Libertines were one of those “in” bands I took a chance on a few years ago. They were getting so much publicity at the time that I couldn’t help but be discouraged. But the praise was nonstop, so I took the bait.

They blew me away. It’s a shame really, that they were/are lumped in the “garage band” genre. They offer so much more than the Strokes, Hives, Vines, whatever. The Libertines were just of the same time period, and leaps and bounds more interesting. The songs actually go places, and your body submits willingly, wrapped in the beat and all those slurring hooks. Listen to their self-titled album and you’ll know what I’m talking about. Try me: “Can’t Stand Me Now,” “Music When the Lights Go Out,” “What Became of the Likely Lads.”

The band just wanted to play rock music, in the vein of the The Who and the Rolling Stones more than anything. The Clash? Please. I dig the Clash, but they had a focus and agenda from their formation, despite the childish “punk” tag. With the Libertines, it never felt like they were going anywhere since they didn’t have interest in dealing with fame. Helplessly diverted by their self-destructive nature, coupled with their sheer talent, is what made them so enticing. How could a band be so obtrusively pretentious, yet inherently genuine and endearing? In a strange way, the Libertines were out to eliminate themselves and embarrass your tastes. Of course, this is in large part to Pete Doherty, who, despite his shortcomings as a human being, is more reminiscent of a classic (not classy) rock star than any other current musician. Now the band is getting back together to play some shows. There you go.

I know I strayed from the topic at hand, but none of us were going to make it to England, anyway.


Photo from fOTOGLIF

Codeine Velvet Club: Codeine Velvet Club


RIYL: The New Pornographers, Nancy Sinatra, John Barry

Here’s the awful truth about life as a musician: when they’re not recording, touring, shooting a video, or doing press – in other words, when they’re not acting like a musician – they get bored, really quickly. It only took Jon Fratelli, lead singer and guitarist from Scottish trio the Fratellis, a couple days of down time after a lengthy tour commitment to get the itch, and before he knew it, we was recording an entire album of ’60s-styled boy/girl pop with a friend of his wife.

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All people should be so productive at the brink of exhaustion; the resulting collaboration, Codeine Velvet Club, is a swinging collection of soundtrack music for an imaginary film. (Think Madonna’s I’m Breathless, only cooler, and ballsier.) Fratelli’s partner, chanteuse-in-the-making Lou Hickey, is like a poor man’s Neko Case, but the imperfections of her voice work in her favor more often than not. (Contrary to what the suits would have you believe, personality matters just as much as technique, if not more.) The vampy “Vanity Kills” slinks like a film noir femme fatale, and the charging “I Would Send You Roses” has an unforgettable, if breathless, chorus. Two showstopping ballads anchor the album’s middle, as “Nevada” and “Reste Avec Moi” could both pass for lost Bacharach compositions. The cheeky bastards even did a period-piece cover of the Stone Roses’ “I Am the Resurrection”; amazingly, that works, too.

Codeine Velvet Club is a most pleasant surprise, especially considering it comes hot on the heels of Fratelli’s underwhelming sophomore effort. There’s a statement in here somewhere about how it took a couple Scots to make a good old-fashioned American pop record, but we’re not really in the mood to point fingers – we’re just glad someone still remembers how it’s done. (Dangerbird 2010)

Codeine Celvet Club MySpace page
Click to buy Codeine Velvet Club from Amazon

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Glen Campbell to go out with bang of an album

Glen Campbell has been producing studio magic for decades, but he’s not ready to step away from the industry until recording one final album, which happens to include a slew of talented performers.

From Billboard.com:

Glen Campbell is collaborating with Jakob Dylan, Chris Isaak, Paul Westerberg, Bob Pollard and others on “Ghost on the Canvas,” which is slated to be the veteran artist’s farewell album.

Producer Julian Raymond tells Billboard.com that the album’s basic tracks have been recorded in Los Angeles, with orchestra sessions slated for April 2. Campbell is currently negotiating with several major labels to release the album, which will be supported with a farewell tour. “It’s not your mother’s Glen Campbell,” Raymond says of the project. “He’s playing guitar better than ever, singing and writing better than ever. It’s really going to be a great final statement from him.”

Campbell is still looking for an album deal, so why don’t you crack open that piggy bank and do the guy a favor.

SXSW 2010 Quick Hits, Day 4: Pretty Lights

After Dengue Fever’s hot set at Emo’s, I was down to my final showcase of the festival as I pedaled over to La Zona Rosa on West 4th Street for a 12:45 AM set from Pretty Lights that I figured would close out the festival in maximum party style. The Colorado rock-tronica duo have been blowing up over the past year, winning raves while opening for Sound Tribe Sector 9 at Red Rocks last summer and becoming the hot new flavor in the livetronica scene.

The club was already hopping when I arrived, with the Crystal Method wrapping up what had clearly been a hot set of their own. Pretty Lights soon hit the stage and owned the crowd from the start, as DJ/synth master Derek Vincent Smith and drummer Cory Eberhard threw down one smoking hot groove after another with a spectacularly psychedelic light show behind them.

“Sunday School” was a scintillating jam, featuring a sampled vocal of “Fuck ’em, I didn’t want to go to heaven anyway” over a big trippy groove that had the whole room moving and grooving. It was a 75-minute dance party of block-rocking beats whose energy never waned as the set went right up until 2:00 AM. Some of the songs tended to sound kind of the same due to similar beats and tempos, perhaps suggesting Pretty Lights could go even higher by adding a guitarist. But there’s no doubt that this duo knows how keep a psychedelic dance party rocking.

“Finally Moving” closed out the festivities with a fresh bite on “All Along the Watchtower,” showing that there’s always another way to use the same three chords. Pretty Lights transformed the three-chord progression into a psychedelic down-tempo dance groove tricked out with all kinds of sonic bells and whistles for a dynamic 21st century remake of the classic groove. It was an elated crowd that wandered out into the night afterward. SXSW 2010 had just gone by in a flash, but it was hard to imagine a better ending.

Pretty Lights
Photo by Tobin Voggesser

SXSW 2010 Quick Hits, Day 4: Dengue Fever

Los Angeles’ Dengue Fever hit the stage at Emo’s main outdoor stage at 11:00 PM, with charismatic Cambodian singer Chhom Nimol battling the chilly conditions in a hoodie and skullcap. The first song seemed like kind of a warm-up, but song number two turned up the groovy funk factor to get the party started and the crowd dancing. The horns from David Ralicke provided an extra festive flavor which fit the mood perfectly with SXSW in the homestretch.

“Sober Driver” featured a duet between Nimol and guitarist/bandleader Zac Holtzman, who looks like a rabbi but rocks out with great skill. The song has a smooth groove with a mystical flavor enhanced by the saxophone and trippy keyboards from Holztman’s brother Ethan. Another funky jam had the crowd grooving again as the band was definitely heating things up – Nimol soon removed her hoodie and skullcap to appear in just a pretty blue dress.

Bassist Senon Williams toasted the crowd “to a great SXSW” and “to all the fallen soldiers that can’t be here tonight.” The band started into a slow bluesy intro, with Nimol emoting almost like a shaman before some funky riffs and psychedelic keys kicked in to get the dance party going again. With at least seven showcases, Dengue Fever may well have been the hardest working band at SXSW and this final performance definitely capped off their week in winning style.

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