Here’s a nice little Nuggets-ready nugget. Courtesy of Millionaire Magician and former Spider Virus frontman Jerry Campbell’s Tue Mommies, it’s the band’s brand-new video for the track “Jan & Elsie,” and it’s a propulsive, laconic, tambourine-jangle-laden, shimmering psych-pop scorcher. The clip was shot by former Bubblegum Complex bro Andy Snider with help from former Coldcock rocker Josh Lagersen. Peep it!
At the ultra-hip corner where rock 'n' roll fashion intersects with rock 'n' roll music, you'll find this new mini-doc created by British clothing retailers AllSaints — it's called New Music City, and as you can see above, it profiles Nashville's music scene and Kings of Leon's label, Serpents and Snakes Records.
The 10-minute clip opens with S&S general manager Seth Riddle vowing that he's "never seen anything like Nashville" — it's "cheap as fuck" with a venue on every corner and 10 studios on every block. From there, we see: Rick of Dino's calling our town a "melting pot"; footage of JEFF the Brotherhood's gigantic Freakin' Weekend show at Exit/In back in March; Kings of Leon's Caleb, Nathan and Jared Followill talking about the "new Nashville sound" and their mission statement with Serpents and Snakes (i.e., to expose rock bands that weren't getting enough attention); The Features explaining that the Followills have "brought a lot to this city"; Turbo Fruits, The Weeks and Snowden further noting that Caleb & Co. are Music City's great rock 'n' roll benefactors; imports Clear Plastic Masks exclaiming that they love New York, "but Nashville is our town"; and footage from Serpents and Snakes' AllSaints-sponsored SXSW 2013 showcase, which we of course mentioned in our SXSW recap. The mini-doc closes with Caleb Followill saying, "Hopefully our label will be the label that really spawns a lot of great bands." Well, of course, you can certainly make the case that Spongebath, Infinity Cat and several others already did a lot of that, but I won't argue that he doesn't have some serious quality on that roster.
AllSaints also posted performance videos from The Kingston Springs, Promised Land, The Weeks and Snowden, and you can see all of those after the jump.
Is there anyway to make a reference to a popular Ice Cube movie without coming across like a complete cornball? Maybe a Trespass reference? Would anybody else even get a Trespass joke? And the fact that Ice Cube is playing Marathon Music Works kills that whole "... you ain't got shit to do" gag. Doesn't matter either way, because we're not talking about internationally famous, family-friendly film actor Ice Cube — we're talking about Ice-to-the-mother-fucking-Cube. The Predator. AmeriKKKa's Most Wanted. Fuck that Are We There Yet? shit — we're talking about a founding father of gangster rap making a hella rare appearance on a Nashville stage. I'm just gonna cross my fingers and hope he goes so deep into his catalog that he starts busting out Lench Mob cuts.
Tickets are $28-$30 and you can purchase them here.
For those unfamiliar, each 33 ⅓ book provides in-depth analysis of a single album of popular music (so far, from 1960 onward), a kind of Classic Albums documentary in book form. In our age of instantaneous content consumption, the series offers a chance for critical reflection on a smorgasbord music, ranging from Dusty Springfield to Public Enemy to Elliott Smith, which inspires strong feelings in a wide variety of authors, including music journalists, novelists and musicians (The Decemberists’ Colin Meloy, Scud Mountain Boys’/Pernice Brothers’ Joe Pernice, and Mountain Goats’ John Darnielle have all contributed). The books are physically small — about half the size of an ordinary paperback — and fall (in most cases) at just the right length to give readers a deeper perspective on a record without bogging down in minutiae.
In the spirit of summertime adventures, I decided to school myself on titles in the series that I hadn’t read yet. Sadly, this meant skipping the volumes on Murmur, Bee Thousand, Low and others I’d already enjoyed (MTSU professor John Dougan deserves a shout-out for his excellent work on The Who Sell Out; also see Sean Maloney’s review of his more recent book on The Prisonaires), but with 86 titles and counting after 10 years in the business, there were bound to be some treasures waiting to be uncovered.
No shortage of action going on this evening, friends, no shortage at all. Most of it, however, seems to be country- and/or Americana-tinted, from Juliet and the Lonesome Romeos' appearance at Mercy Lounge's weekly Billy Block Show to the Jerry Reed tribute/MusiCares benefit at 3rd & Lindsley and Mutts brandishing their Tom Waits-flavored blues offerings at Derek Hoke's Two-Dollar Tuesday at The 5 Spot. But how's about some punk-leaning rock 'n' roll? Chapel Hill's Last Year's Men will appear at The Stone Fox with locals Cheap Time, and contributor Emily Bartlett Hines did the Critic's Pick thing for us. She even quoted me! Or, ahem, I should say, she quoted The Spin, who happened to catch LYM at The End back in December 2011. Take it away, EBH:
Musicians might not deserve extra credit for being child prodigies — after all, talent is talent, whether you suffer from detention and braces or credit card debt and back pain. But a band that can perform rock ’n’ roll with the unjaded enthusiasm of youth is always something to treasure. That’s the case with Last Year’s Men, a Chapel Hill four-piece who recorded their first LP while some of them were still in high school. Their music is garage rock in the vein of Jacuzzi Boys, Black Lips, Strange Boys and Reigning Sound (for whom they frequently open). Their songwriting bristles with ’60s pop hooks and savage guitar licks; the songs on Sunny Down Snuff range from aggressive garage-punk to slide-guitar-tinged slow dances. According to a Scene Spin column from December 2011, their last Nashville show ended with “a display that can only be described as ‘utterly apeshit’ — they ripped apart the drum kit, hurling cymbals across the stage and into the audience before tearing through the crowd [and] rolling around a bit on the floor.” Don’t miss it. —EMILY BARTLETT HINES
Just after that rolling-around-on-the-floor stuff, says The Spin, Last Year's Men "bade us farewell with a comically antithetical wave and 'thank you.'" Good times. Tonight's show costs $5 and kicks off at 9 p.m.
Got Halloween plans? Well, how do you feel about creamy, dreamy, British electronic-pop balladry? If your answer to that question is "I definitely feel good about it; I mean, at least good enough to spend $25 on it," then we may have your All Hallow's Eve plans sorted out for you. Mercury Prize-nominated youngster James Blake will appear at Marathon Music Works on Oct. 31. Tickets for that go on sale at 10 a.m. Friday, May 31, via this link.
Watch Blake performing "Retrograde" from this year's Overgrown above, and see the official video after the jump.
* You may know that Taylor Swift practically annihilated last night's Billboard Music Awards, taking home eight of the 11 trophies for which she was nominated and telling fans, "You are the longest and best relationship I've had." Aww. Well, Babygirl Tay-Tay also happened to catch a glimpse of Justin "I Should Be Taken Seriously" Bieber getting his kissy-face on with Spring Breakers star and on-again-off-again boo Selena Gomez. The moment was immortalized in GIF form, and you can see that over there on the left. Hardly worth mentioning, but here we are!
* Locals Diarrhea Planet just debuted their song "Separations" via Pitchfork. It's a brief, breezy and guitarmony-laden punk-pop number that sounds to me reminiscent of DP cohorts Fucked Up — smitten P4k writer Jayson Greene notes that "three of [the guitarists] seem to be playing the same power chords while the fourth finger-taps 'Muppet Babies' versions of Van Halen solos." "Separations" will be featured on DP's forthcoming LP I'm Rich Beyond Your Wildest Dreams.
* Plastic Visions just debuted their brand-new eponymous EP via Consequence of Sound. The Visions of course dropped their "Kamikaze" video on Friday, and I called the tune "a snotty, blown-out, three-minute fuzz-pop burner that lands somewhere in the vicinity of Flaming Lips' psychedelic art rock" for the second time. The rest of the EP follows suit, redlining and buzzing through punky arrangements and bratty lyrics.
* Logue's Black Raven Emporium is the East Side haunt known for hosting screenings in its Cult Fiction Underground movie theater, not to mention hosting occasional rock 'n' roll shows. Well, they want to build a patio in time for their "Charles Bukowski vs. Hunter S. Thompson Beer Bash," and they're doing the Indiegogo thing (who needs Kickstarter?). If you're feeling benevolent, get your donation on. There are incentives.
* Oh, and Jann Wenner's kid runs RollingStone.com now.
That's everything on the Internet today.
While much of the band's gear was stolen, the drums were salvaged thanks to one good Samaritan. It's all detailed in the story, but follow me after the jump to read an excerpt. (Ignore the bit in which Wilson says it's improbable for a melodic electronic pop band to be from Nashville. You know, considering our diversity.)
For their part, Jasmin Kaset and Makenzie Green lobbed their classic spitballs about adventures in arrested development, as well as newer numbers with a more aggressive edge. Their marquee tune “Saving Myself for Jesus” is an X-rated crowd-pleaser for sure, but rises above a novelty song designation through its oblique criticism on a controversial topic: intimate activities for you and your partner that, despite their potential gross and/or demeaning nature, are A-OK with certain socially conservative Christians. Other audience favorites in their catalog have been more party-oriented, but the claws are starting to come out more frequently. Their new homecoming anthem hollers proudly “I’m from here,” poking fun at a potential flood of wannabes attracted by Nashville’s recent acquisition of “it,” while a song about being “confused as a Christian Bob Dylan” put a different light on tangled, potentially abusive relationships.
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