This past October and ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to the network for an all-new comedy special. Live in London was taped before a live audience at the Eventim Apollo and features the Conchords performing new songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.”
The Live in London album features 7 new songs including the “Iain and Deanna,” “Father and Son,” “Summer of 1353,” “Stana,” “Seagull,” “Back on the Road,” and “Bus Driver.” The album also features performances of fan favorites “Carol Brown,” “Inner City Pressure,” “Bowie,” “Foux du Fafa,” “Mutha’uckas - Hurt Feelings,” “Robots,” and “The Most Beautiful Girl (In The Room)’ (the latter two bonus tracks edited out of the broadcast due to time constraints).
Pictured: Live in London Loser Edition LP (U.S. Version) on “Dragon Tears*” vinyl.
LP purchases of Live in London in North America through megamart.subpop.com and select independent retailers will receive the limited Loser edition on clear w/blue and yellow high melt vinyl (while supplies last). Additionally, LP purchases of Live in London in Europe and the UK from select independent retailers will receive the limited Loser edition on clear vinyl (also while supplies last).
[Photo Credit: Colin Hutton/HBO]
NPR Music says of Live in London, “Deeply fun and endearing, Live in London provides a showcase for Flight of the Conchords at its members’ most irreverent — a couple of guys content to crack jokes, jam out and share the results with the masses.” Exclaim, in its 8/10 review, offered this, “With hits old and new, and plenty of the charming banter that have endeared Clement and McKenzie to audiences across the world for decades, Live in London is the definitive audio version of the Flight of the Conchords experience.”
*Not dragons were harmed in the procurement of aforementioned dragon tears.
Album release show on May 25th at Babyland with Positive No & Bat Zuppel.
On May 31st, The Gotobeds - Cary, TFP, Eli and Gavin - return to the fray with their third full lengther, Debt Begins at 30. The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow. Debt Begins at 30 is an old-fashioned blast furnace and the liquid iron flows.
The album’s first single, “Calquer the Hound,” features guest performances by Kim Phuc singer Rob Henry, and Evan Richards of The City Buses. (The album has guests on all eleven tracks - see the track list below for the details.) The song has euphony, a sly bridge, plenty of trademark bash, and a spacey outro. It’s a sanguine album opener, more Al Oliver than Starling Marte, to put it in Pittsburgh Pirates terms. Tune in to “Calquer the Hound” here and here (see also Brooklyn Vegan March 6th).
[Photo Credit: Shawn Brackbill]
The band has confirmed an album release show in their hometown of Pittsburgh, PA on May 25th at Babyland. Positive No & Bat Zuppel will open. They will also be opening for Mudhoney Oct 17th at Mr. Smalls in Pittsburgh. More dates to be announced in the coming weeks.
Debt Begins at 30 is now available for preorder through Sub Pop Mega Mart. Preorders of the LP through megamart.subpop.com, select independent retailers in the U.S., and select European and UK retailers will receive the limited, orange-vinyl Loser Edition while supplies last.
Debt Begins at 30 Tracklisting:
1. Calquer the Hound (with Evan Richards of The City Buses and Rob Henry of Kim Phuc) 2. Twin Cities (with Tracy Wilson of Positive No) 3. Slang Words (with Joe Casey of Protomartyr) 4. 2:15 (with Matt Barnhart of Tre Orsi/Mint Mile) 5. Poor People Are Revolting (with Pittsburgh poet Jason Baldinger and Gerard Cosloy of Air Traffic Controllers/Homestead Records/12XU Records) 6 .Debt Begins at 30 (with Mike Seamans of Mind Cure Records) and Bob Weston of Shellac/Mission of Burma) 7. On Loan (with Greg Ahee of Protomartyr) 8. Dross (with Bob Nastanovich of Pavement/Silver Jews) 9. Parallel (with Tim Midyett of Mint Mile/Silkworm) 10. Bleached Midnight (with Pittsburgh poet Scott MacIntyre) 11. Debt Begins at 30 (Alt version) (with Victoria Ruiz of Downtown Boys)
About The Gotobeds Debt Begins at 30: Give me a minute or three to extol the virtues of The Gotobeds, the modern rock-and-roll sensation that has always sounded like they love to play. Never maligned by having the world’s weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - return to the fray with their third full lengther, Debt Begins at 30. The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow. Debt Begins at 30 is an old-fashioned blast furnace and the liquid iron flows. Debt Begins at 30 is not “pub sop” in any way or shape.
Though I never considered The Gotobeds a band that needed assistance from their peers, Debt Begins at 30 features outside contributors on every track. The album’s first single, “Calquer the Hound,” includes local buddy Evan Richards, and Rob Henry of Kim Phuc. “Calquer the Hound” has euphony, a sly bridge, plenty of trademark bash, and a spacey outro. It’s a sanguine album opener, more Al Oliver than Starling Marte.
On “Twin Cities,” the lads tap Tracy Wilson, formerly of Dahlia Seed and currently of Positive NO!, to share the vox, and the result is an exuberant pop song proving The Gotobeds benefit from women ruling the scene. “Twin Cities” is more Dakota Staton than Don Caballero. “Debt Begins at 30,” the title trackular, includes the wizardry of Mike Seamans and legend Bob Weston. It’s a brooding romp with tribal beats and slash-and-burn guitar, more Rocky Bleier than Le’Veon Bell.
Unsurprisingly, The Gotobeds called partners-in-rock-crime Protomartyr a coupla times, with Joe Casey bolstering “Slang Words” and hook-fiend Greg Ahee shredding on “On Loan.” “Slang Words” is a savory wrecking ball with a crunching bite, more of a soft shell crab sandwich from Wholey’s Market than a 4am slop feast at Primanti Brothers. “On Loan” is an anthemic jangle-fest with high-arcing fret work, more Karl Hendricks (rest his soul) than “Weird Paul” Petroskey.
Silkworm guitarist Tim Midyett is tapped on “Parallel,” a grand song that enters a world of whimsy, melodic and uncomplicated, more Jaromir Jagr than Sidney Crosby. The likes of 12XU label boss Gerard Cosloy, Tre Orsi’s Matt Barnhart, the wonderful Victoria Ruiz of Downtown Boys, Pittsburgh wordsmiths Jason Baldinger and Scott MacIntyre, and yours truly strut stuff on other tracks. In my case, I just scream “dross” on “Dross” several times. Good judgment on the part of The Gotobeds to know that’s the best I can do, more Max Moroff than Andrew McCutchen.
Anyways, The Gotobeds have quickly reached the veteran stage, but, based upon Debt Begins at 30, their best days are ahead of them. It’s a pleasure to be associated with such an excellent band.
Knife Knights have delivered a new video for “My Dreams Never Sleep,” a standout from 1 Time Mirage, their Sub Pop debut. The slightly NSFW and psychedelic visual was directed by animator Joe Garber (illustrator for Foo Fighters The Making of Concrete and Gold) and is a meditation on love, loss and letting go both on a mortal plane and in the afterlife. Garber offers this on the video, “In a dream, she calls him onward, and in sleep, she calls him back.”
Knife Knights Tour Dates + Ticket Links
Knife Knights (Ishmael Butler, Erik Blood, and OCnotes) have also announced their first-ever North American tour in support of 1 Time Mirage, which begins April 25th in Tacoma at the Tacoma Elks Temple and currently ends May 24th in Oakland at The New Parish. On select dates along the tour, there will be special guest appearances from the 1 Time Mirage universe. And from May 1st through May 24th, the group will be joined by Mello Music Group recording artist Lando Chill as direct support.
Apr. 25 - Tacoma, WA - Tacoma Elks Temple Apr. 26 - Victoria, BC - Eventide Music Series at Centennial Square Apr. 27 - Vancouver, BC - Fortune Sound Club May 01- Milwaukee, WI - Colectivo Coffee Back Room * May 02 - Minneapolis, MN - Icehouse * May 03 - Chicago, IL - Sleeping Village * May 04 - Detroit, MI - The Lager House * May 05 - Bloomington, IN - The Bishop Bar * May 06 - Columbus, OH - Ace of Cups * May 07 - Lakewood, OH -Mahall’s 20 Lanes * May 09 - Providence, RI - Columbus Theatre (small room) * May 10 - Brooklyn, NY - Knitting Factory * May 11 - Washington, DC - The Pie Shop Bar at Dangerously Delicious Pies * May 13 - Atlanta, GA - Aisle 5 * May 14 - Tallahassee, FL - Club Downunder * May 15 - Oxford, MS - Proud Larry’s * May 17 - Austin, TX - Empire Control Room * May 18 - Dallas, TX - Ruins * May 21 - Tuscon, AZ - Club Congress * May 22 - Phoenix, AZ - Crescent Ballroom * May 23 - Los Angeles, CA - Bootleg Theatre * May 24 - Oakland, CA - The New Parish * * w/ Lando Chill
1 Time Mirage is out now on CD/LP/DL/CS worldwide from Sub Pop. The long-player features the highlights the aforementioned “My Dreams Never Sleep” along with “Give You Game,”“Seven Wheel Motion,”“Light Up Ahead (Time Mirage)” and “Low Key,” and was as produced by Ishmael Butler and Erik Blood at Protect and Exalt: A Black Space in Seattle. 1 Time Mirage includes guest appearances from labelmates Shabazz Palaces and Porter Ray, along with Stas THEE Boss, OCnotes, Thaddillac, El Mizell, Marquetta Miller, Gerald Turner, and Darrius Willrich.
1 Time Mirage orders through megamart.subpop.com, select independent retailers and Knife Knights shows will receive the limited Loser edition on blue vinyl (while supplies last). The album cover also features gorgeous artwork from Robert Beatty.
2019 International tour schedule includes North American headlining shows and appearances at Boston Calling, Governors Ball, and Bonnaroo (May 24th-June 13th)
After a landmark 12 months for Rolling Blackouts Coastal Fever, who released their debut album Hope Downs to worldwide critical acclaim in June 2018 – Sub Pop is excited to reveal new music from the Melbourne band in the form of single, “In the Capital.” The track (which is now live on all digital platforms) will also feature on a limited edition 7-inch alongside a B-side titled “Read My Mind.” The vinyl will be released on Friday, April 26th and is available to pre-order here from Sub Pop.
Rolling Blackouts C.F.’s Fran Keaney describes how “In the Capital” came together: “I first had the idea for the melody and some of the lyrics when I was swimming. It’s taken a while to finish the song, to make it feel like the initial feeling. I can’t neatly describe it, but something like connection despite distance. I was thinking about transience and water and death and big cities and fishing towns and moon river.”
In the Capital / Read My Mind Tracklisting: A. In The Capital B. Read My Mind
Rolling Blackouts Coastal Fever Tour Dates + Ticket Links
To celebrate the arrival of new music, Rolling Blackouts C.F. has extended their 2019 international tour schedule with newly added North American, UK, and European headlining shows and festival appearances.
Rolling Blackouts C.F’s North American shows begin May 24th in Boston for Boston Calling and end June 13th in Manchester, TN at Bonnaroo. The group’s European and the UK run begins July 3rd at in Roskilde, DK’s Roskilde Festival and ends July 27th in Thirsk, UK at the Deer Shed Festival. Additional international festival highlights for the May-July timeframe include Governors Ball (May 31st), Lattitude Festival (May 31st), Down the Rabbit Hole (July 5th), and Mad Cool Festival (July 12th).
Mar. 10 - Tasmania, AU - Panama Fest Mar. 16 - Adelaide, AU - Adelaide Fest Apr. 24 - Brisbane, AU - Triffid May 03 - Castlemaine, AU - Theatre Royal May 04 - Melbourne, AU - Croxton May 10 - Sydney, AU - Manning Bar May 24 - Boston, MA - Boston Calling May 25 - Boston, MA - Boston Calling May 26 - Boston, MA - Boston Calling May 28 - Philadelphia, PA - Underground Arts May 29 - Washington, DC - U Street Music Hall May 31 - New York, NY - Governors Ball Jun. 02 - Toronto, ON - The Mod Club Jun. 04 - Chicago, IL - Thalia Hall Jun. 06 - Seattle, WA - The Crocodile Jun. 07 - Vancouver, BC - Rickshaw Theatre Jun. 08 - Portland, OR - Doug Fir Lounge Jun. 10 - San Francisco, CA - Great American Music Hall Jun. 11 - Los Angeles, CA - The Lodge Room Jun. 13 - Manchester, TN - Bonnaroo Jul. 03 - Roskilde, DK - Roskilde Festival Jul. 05 - Ewijk, NL - Down the Rabbit Hole Festival Jul. 07 - Paris, FR - Le Point Ephémère Jul. 09 - Liverpool, UK - Invisible Wind Factory Jul. 11 - Dublin, IE - The Iveagh Gardens Jul. 12 - Madrid, ES - Mad Cool Festival Jul. 13 - Lisbon, PT - NOS Alive Jul. 15 - Glasgow, UK - St. Luke’s Jul. 16 - Sheffield, UK - The Leadmill Jul. 18 - Cardiff, UK - Clwb Ifor Bach Jul. 19 - Bedford, UK - Esquires Jul. 21 - Suffolk, UK - Latitude Festival Jul. 22 - Birmingham, UK - Mama Roux’s Jul. 23 - Reading, UK - Sub89 Jul. 27 - Thirsk, UK - Deer Shed Festival
[Photo Credit: Pooneh Ghana]
To say 2018 was a big year for Rolling Blackouts C.F. is an understatement. The release of the band’s lauded debut album Hope Downs– which featured singles “Mainland,” “Talking Straight,” “An Air Conditioned Man,” “Time In Common,” and “Sister’s Jeans” – was embraced by lovers of their early EPs, Talk Tight and The French Press, and new fans alike. The record quickly became one of the most internationally acclaimed Australian albums of the year, appearing in many sought after Best of 2018 lists, coming in at #5 on Rough Trade’s Albums of the Year list, #3 on MOJO’s Album of the Year List (+ was named MOJO’s “Debut Album of the Year”), #2 on UNCUT’s Albums of the Year & many more. The band kicked off 2019 by being shortlisted for the prestigious Australian Music Prize Award.
Rolling Blackouts C.F. also enjoyed tremendous support from the likes of KCRW, KCSN, KEXP, WXPN, Sirius XMU, The Current, WFPK, WNRN, KJAC, OpenAir, triple j, Double J, FBi Radio, PBS, Triple R,Pitchfork, The Guardian, PASTE,NME, Rolling Stone,BBC 6 Music, Stereogum, DIY, and countless others.
Meanwhile, the band’s renowned live show led to selling-out their mammoth Hope Downs Australian tour, as well as sold-out performances in London, San Diego, San Francisco, Denver, Chicago, Toronto, Vancouver, Philadelphia, New York City and more. The huge touring schedule also included shows at the world’s biggest music festivals, from Coachella, The Great Escape, Primavera, and Shaky Knees to Lowlands, Pukklepop, Green Man and Splendour in the Grass.
Sub Pop has signed Trupa Trupa from Gdańsk, Poland for a worldwide deal, and will release new music from the group in 2019. While we await details of that release, the band have delivered an official video for “Dream About” a new song that features a honeyed falsetto that totters over a menacing bassline, and the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline.
Director Benjamin Finger had this to say of the “Dream About” visual: “The video was shot on Super 8, a format I am strongly connected to, and I think it fits the music of Trupa Trupa. There is something poetic about the music, and I think it matches the images in a good way. The “Dream About” video is also about seeing the world through the eyes of the child. The video features footage shot on location in Vancouver, Paris and Buenos Aires.”
Trupa Trupa will tour the world in 2019, beginning with appearances at SXSW in Austin, Texas (March 14th-16th), and Slovakia and Poland (April 25th-27th). Additional shows will be announced soon.
Mar. 14 - Austin, TX - SXSW / Hotel Vegas / LEVITATION SXSW presented by CREEM Magazine (12:20 am) Mar. 15 - Austin, TX - SXSW / Austin Convention Center / Flatstock Stage (3:30 pm) Mar. 16 - Austin, TX - SXSW / Venue TBC Apr. 25 - Gdańsk, PL - Ziemia Apr. 26 - Poznań, PL - Spring Break Festival Apr. 27 - Bratislava, SK - Sharpe Festival
MICHAL SZLAGA
About Trupa Trupa:
The music that Polish quartet Trupa Trupa creates lands like anthems, with barbed hooks driven deep by an italicized rhythm section or turned into a fantasy by crisscrossing harmonies. During “Dream About,” honeyed falsetto totters over a menacing bassline, the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline. Their music is an embarrassment of riches, a string of hits in Trupa Trupa’s idiosyncratic, self-made universe.
But just beneath the surface of Trupa Trupa’s bright and indelible songs, there is a world teeming with nihilistic considerations, slyly dark humor, and survivalist self-assurances, all subtly nestled into these refrains and reflected back by secretly complex textures.
The setting of Gdańsk is a crucial philosophical and aesthetic touchstone for Trupa Trupa. A city with a convoluted history of German and Polish rule and self-sovereignty, it is itself a living testament to the turnover of human toil. It’s also the homeland of Arthur Schopenhauer, a philosopher whose system of metaphysical will inspired Nietzsche and, in turn, Trupa Trupa. Klaus Kinski was born nearby, too; Kwiatkowski considers his Werner Herzog-directed film, Fitzcarraldo, one of the best movies ever made. Kinski tries in vain to amass a fortune by piloting a steamship over a mountain into the rubber bonanza of the Amazon. It is a portrait of great effort and pathetic failure, of strain sublimating into nothing. Along with the notions of Beckett, hints of the Beatles, and the knotty complications of Radiohead, these emotions ripple through Trupa Trupa’s music.
Trupa Trupa is the second Polish band to sign to Sub Pop this year, following the February release of Perfect Son’s debut, Cast. As with Perfect Son, Sub Pop co-founder Jonathan Poneman, who has long taken a personal interest in the culture and history of Poland, has been following Trupa Trupa for years. In a 2013 interview with Pitchfork, he even mistook their second album, ++, for a set of demos when explaining that he was trying to decide whether or not he liked it. Apparently, he did.
But Trupa Trupa has grown inordinately in both confidence and execution during the last half-decade. Spurred on by a democratic process, where no one is the real leader and all ideas and influences are funneled into the same rich sound, Trupa Trupa channel a multiverse of feelings into its captivating music. They stare into the dark and summon a light of their own, making all our tedium and toil feel not just tolerable but deceptively triumphant.
