Brooklyn electro pop trio Au Revoir Simone took to their website to post some news!
The girls have recently performed on the weekly music radio show eTown. This really special show will be broadcast on more than 200 stations across the United States, and will also be available as a free podcast starting June 10th.
In other good news, Annie, Heather and Erika are currently working on the follow-up of last year’s The Bird Of Music. “We’ve been hard at work here in Brooklyn writing new songs for our next record. After being on the road, it’s really nice to get together and write music. We enjoyed a picnic in the park last week and got to practice some of the new songs in the open air. We’re looking forward to sharing them with you when we come out of the studio later this year.”
Joan as Police Woman’s much anticipated sophomore album, To Survive, is available now in an exclusive one week pre-release on iTunes via Cheap Lullaby Records. Already a critic’s darling following the success of her debut release Real Life, Joan Wasser’s second solo album further entrenches her into the ranks of the well respected artists she earned her chops alongside – namely Lou Reed, Antony and the Johnsons, and Rufus Wainwright – before striking out on a solo career of her own.
Indeed, To Survive has received glowing reviews from sources as varied as Q Magazine, Black Book, New York Daily News, and Venus Zine. “Each song comes packed with little moments of unpredictability that bear out her self-declared “punk rock R&B” intentions,” Q writes. Black Book describes the album as “recalling the more rueful sides of Feist, Roberta Flack, and a smidgen of Cat Power,” and Venus Zine draws comparisons to both 80’s hard rock band Heart’s “Dreamboat Annie” and legendary jazz singer Nina Simone.
Wasser appeared on New York’s WNYC “Soundcheck” program this week to give an exclusive live performance of both lead single “To Be Loved” and title track “To Survive” and to discuss the creative process behind To Survive. A process yielding songs that, as New York Daily News writes, “can be beautiful or eerie, harsh or ethereal, but it’s always deeply serious.”
Forget ScarJo’s covers record (and I’m not even as much of an outspoken critic of it as most); if you’re a fan of Tom Waits’ brand of f*ed up blues-y grit and you’ve never heard of Mugison, it’s time to check him out. Mugiboogie is the third full-length from the eccentric Icelandic singer/songwriter whose influences stretch from Waits to James Brown, yet combine to create his own breed of crack-soul with some metal and folk ditties thrown in.While this may sound like it would make for a schizophrenic record, Mugison manages to create enough of a sexy-blues vibe on the album (three years in the making) that it comes together as a great tour de force for 2008. The Sun calls Mugison “a towering talent…Bjork with a headache,” and David Fricke of Rolling Stone has referred to him as “a country-blues Led Zeppelin, armed with a muscular backing band.” His last record (which may very well be our favorite album title of 2005), Mugimama! Is This Monkey Music? won Album of the Year in Iceland, as well as four other Icelandic Music Awards.
Having already sold 10,000 copies of Mugiboogie at home, Mugison is gearing up for its North American release June 24th on Mike Patton’s Ipecac Recordings.The folks at Paper Thin Walls are already buzzing about it, having recently spoken to him about the track “Jesus Is A Good Name To Moan.” Download and share lead-off track “Mugiboogie” right here:
What’s that ridiculous racket rising over your Wednesday morning? Well, we’re betting it’s the sound of the world turning up their shitty computer speakers and pumping the first track from the forthcoming Melvins record, Nude With Boots. This morning, the folks over at Pitchfork wrote up the title-gem, patting it on the bottom and offering it up to the world. Here’s what they had to say:
“The newest record’s title track is a prime example: Streamlined and strengthened, the Melvins sound a little like Cheap Trick with bigger forearms and taller stacks. Double drums lead in, gradually accelerating, like a car winding up to speed down the open road. Guitars jangle (no joke) around a tambourine-augmented (no joke) beat. Half of the track is instrumental, but– by the time its not-quite-four minutes expire– it sticks like a pure pop anthem. Again, no joke.”