Monday, August 29, 2011

Endless Now by Male Bonding out today, Aug 29

Endless Now by Male Bonding out today, Aug 29
Additional North American Shows Announced
Male Bonding are a noise-pop trio from London. The band’s debut record, Nothing Hurts, was described by Pitchfork as, “…the sound of a fast, fuzzy rock band racing from hook to hook, plowing happily through breakdowns and guitar blasts, springing through scrappy melodies with style. It’s one of the happiest surprises of the year so far.” Today, August 29th, their second effort, Endless Now, is officially available for your purchasing pleasure. Click here to stream the bands new record in its entirety. If you purchase Endless Now, via you will receive a limited edition Male Bonding designed patch. Head over to, and purchase this ripper.

Due to Hurricane Irene, Male Bonding had to cancel their Philadelphia show on Sunday August 28 and moved/reschedule their Brooklyn gig for tomorrow, Tuesday Aug 30, which is now at the Cameo Gallery (previously at Glasslands.) Those of you who reside on the West Coast will be happy to know that the band has announced additional shows on your side of this great nation. See below for a full list of dates. For more information on Male Bonding please visit:

MP3- Bones
MP3- Tame the Sun
Video-Tame the Sun

Video- Bones

Video-Before It’s Gone

Video- What’s That Scene?

Video- Can’t Dream

Male Bonding Tour Dates: 

Aug 29 Mercury Lounge, New York NY 

Aug 30 Cameo Gallery, Brooklyn NY
Aug 31 Brighton Music Hall, Boston MA 

Sep 01 lI Motore, Montreal, QE 

Sep 02 Horseshoe Tavern, Toronto, ON 

Sep 03 Magic Stick Lounge, Detroit, MI 

Sep 08 Subtereanean, Chicago, IL 

Sep10 Red Palace, Washington, DC

Oct 21 Media Club, Vancouver, Canada 

Oct 22 Chop Suey, Seattle, WA 

Oct 23 Bunk Bar, Portland, OR

Oct 25 Rickshaw Stop, San Francisco, CA 

Oct 29 Satellite (CA), Los Angeles, CA 

St Vincent on The Late Show With David Letterman tonight.

A note from Annie:

Hey Everybody -

I wanted to let you know that I'm going to be performing "Cruel" on the Late Show tonight.

Late Show with David Letterman
Monday, August 29th
11:35PM/10:35PM Central

Be sure to tune in!

X ac.

Tina Tyrell - Photos

Thursday, August 18, 2011



We are pleased to announce that the prolific Cass McCombs is to release his second album this year, Humor Risk, on November 8, 2011.

You can listen to and download the album track, “The Same Thing,” here:

Humor Risk was recorded in various homes and studios in California, New York, New Jersey and Chicago, and was produced by Cass McCombs and Ariel Rechtshaid, with whom he created WIT’S END, and before that, CATACOMBS.

Humor Risk is an attempt at laughter instead of confusion, chaos instead of morality, or, as fellow Northern Californian Jack London said, “I would rather be ashes than dust!”. Musically, it is more rhythm-based, tempos swifter to nearly rocking, than the sparse WIT’S END. Infectious melodies are outlined by a wry lyricism that expresses the stories of characters from McCombs’ native land. Rather than fulfilling the stereotype of the confessional singer-songwriter, he describes the lifestyles and feelings of those that surround him, with more love than judgment: drugs, Scientology, Western America, and so on, in allegorical form. Humor Risk portrays yet another fa├žade of this versatile, incredibly talented and much underrated artist.

Humor Risk will be available on CD, LP and digitally.

To pre-order the album, click here:

The tracklisting for Humor Risk is as follows:

1. Love Thine Enemy

2. The Living Word

3. The Same Thing

4. To Every Man His Chimera

5. Robin Egg Blue

6. Mystery Mail

7. Meet Me At the Mannequin Gallery

8. Mariah (sketch)

What’s been said about WIT’S END:

“what might be his best LP yet . . . a gorgeous album of despair, the most believable evidence yet that McCombs is living up to his own legend” -- Pitchfork [Best New Music]


“Songs so unassuming they sneak up and slay you” -- SPIN


“’Buried Alive,’ and parts of ‘Saturday Song’ and ‘Memory’s Stain’ — creepy-lovely processionals held together with major-minor movement — could go up against anything in pop so far this year.” – The New York Times


“On Wit’s End, he places both himself and the entire singer-songwriter tradition on trial, his personal salvation dependent solely on the purity of personal expression. Clearly, as an artist, he is not making any compromises. He’s not coming home any time soon. But McCombs is making music as if his soul depended on it.” – Tiny Mix Tapes

Monday, August 8, 2011

Sufjan Stevens plays Prospect Park

Sufjan Stevens, Live at the Prospect Park Bandshell, August 2nd 2011

By Dylan Hume

Sufjans Stevens and his band played to a sold-out crowd at the Prospect Park Bandshell Tuesday night. The show, one of the few ticketed events at the bandshell this summer, was a fundraiser for BRIC Arts, the organization that runs the Celebrate Brooklyn! Performing Arts Festival, now in it's 33rd summer season.

The Brooklyn vibe was palpable, to say the least. At one point during his set, Sufjan gestured vaguely eastward, saying, "I live right over there." He wasn't the only one, and the hometown energy of the crowd fed the band as they progressed through their set.

Stevens is known for his lush orchestrations, and last night they were on full display, but the band was impressive in its economy. The ensemble was not too big, and filled out by a complement of two trombonists, two flautists, and two drummers, along with a few other instrumentalists, backup singers, and Sufjan, of course, on guitar and synth. That a band of that (relativiely) moderate size could make such a big sound was remarkable, as was their dynamic range and unfailing precision.

Even more remarkable was the visual aspect of the show. Stevens is a dedicated artist, taking painstaking steps to make sure that every part of his performance is in line with his concepts. The lighting and the artwork displayed on the stage were incredible in scope and meticulous in execution.

Most of songs on Tuesday were from Stevens' 2010 album, "The Age of Adz," which was partly inspired by the work of visual artist Royal Robertson. Stevens gave an homage to Robertson before proceeding with a tremendous visual display of beautiful and haunting projections during "Get Real Get Right." As the show came to its climax during the epic closing number, "Impossible Soul," Stevens appeared on stage wearing suit made primarily from balloons as dozens of enormous, translucent beach balls flooded the audience and four tall, brightly-colored flailing-arm inflatable tube men popped up from nowhere. It might have been overwhelming, if it wasn't so captivating.

And therein lies the one problem with the show as a whole: a tendency toward the schizoid. Stevens clearly wants to do everything all of the time, and is largely successful, but much like the album version of "Impossible Soul," it felt as though he was cramming too many ideas in to a medium that can only take the weight of so many distinct concepts.

Still, the show was one of the most impressive productions I've seen at a live rock concert in a long time. The Celebrate Brooklyn! season should be praised for its diverse lineup of considerable talents, but Tuesday's show was most definitely one of the highlights of the summer.