FIDLAR popped up at plenty of festivals while on the road last year, but the punk rockers had a relatively quiet 2017 on the new music front. They’re ripping right into 2018, however, as they’ve shared a cover of the Nirvana track “Frances Farmer Will Have Her Revenge On Seattle”.
Their version of the In Utero cut does a faithful job of recapturing the original’s rage in the confines of their own screeching style. Guitars are crunchier in the mix and the bridge adds spaced-out bends, but the Los Angeles outfit does Seattle proud with their rendition. Check it out via the YouTube player below — just beware of the NSFW images spliced in at blink-and-you’ll-miss-it intervals.
In a new interview with GQ, FIDLAR frontman Zac Carper revealed the band is in studio working on a follow-up to 2015’s Too. Meanwhile, the surviving members of Nirvana — Dave Grohl, Krist Novoselic, and Pat Smear — reunited last month at a Foo Fighters concert in Eugene, Oregon.
As Paramore wrapped up their evening set at Chicago’s Riot Fest on Sunday night, Jawbreaker was gearing up for its first headlining gig in 21 years across the park. And one can imagine Hayley Williams sprinted over to catch the legendary punk group, as she appears to be a fan.
Earlier in the weekend, Williams shared a cover of Jawbreaker’s “Accident Prone” from 1995’s Dear You on her Twitter account. It’s a lovely, simple thing, just her and a guitar and what looks like the back of a tour bus. Watch it below.
Jawbreaker dug it, too, tweeting out the cover and declaring, “i’m for it.”
The cover follows the songwriter’s recent renditions of Fleetwood Mac’s “Everywhere” and Drake’s “Passionfruit”. Williams and her band are currently on the road promoting this year’s After Laughter. As for Jawbreaker, who knows what’s next for them after their incredible comeback performance this past Sunday.
Norwegian pop punk outfit Sløtface are set to release their debut album, Try Not to Freak Out, on September 15th via Propeller Recordings. As they make the press rounds behind the release, the young foursome stopped by Aussie radio station triple j to take part in its Like a Version segment. Honing in on the “pop” side of their genre, the band took on Lorde’s “Supercut”.
The Melodramatrack is full of, well, melodrama, built on pulsing synths and snappy drums. In the hands of Sløtface, it gets cleaned up from the dance floor while forfeiting none of its emotional core. Reverberating guitar replaces the electronics of Lorde’s original as the band owns the song as if they’d written it themselves. They almost might as well have, as singer Haley Shea’s vocals feel like a babydoll version of Lorde’s own. Watch Sløtface perform the cover up above.
Origins is a recurring new music feature in which an artist charts the influence of their latest hit single.
Early this year, Refused frontman Dennis Lyxzen and his Swedish supergroup side project INVSN released their sophomore record, The Beautiful Stories. The album’s punk electronica hit hard at the existential strife of modern society, from the darkened political atmosphere to the humanistic struggles of the common individual. Which is why many might be a bit confounded by what the band did next: They covered Lana Del Rey.
The dream pop starlet is known more for her baroque representations of young romance than her biting social commentary. But perhaps it’s Lyxzen and INVSN’s perspective as foreigners that allow them to see something different buried beneath the surface of Del Rey’s songs. “Deciding to do a Lana Del Rey cover was easy,” the band tells Consequence of Sound. “Her interest in the American undercurrent/underclass mirrors our interest in the others, the misfits and the freaks, the revolutionaries, the dreamers and the broken. She is the Hegelian contradiction that is one of the most fascinating aspects of America.”
It’s that feeling which the band took to their take on the bass-heavy single “Love”. INVSN replaced the thumbing bass with storming drums, keeping the low-end as the song’s thrust but adding a crawling guitar line to bring the track closer to their bigger sound. Amazingly — but unsurprisingly considering the musicians’ supreme talents — the song retains much of its sprawling romanticism even as its scope is vastly expanded. Check it out below.
To further explain why they chose to tackle a Lana Del Rey track and how their understanding of her work impacted their version, INVSN have provided CoS with their very own Origins playlist. ”The outside gives for interesting perspective. Being a European makes you see American culture from a different angle, the economical and social aspects, religion and politics,” the band explains. “All the things that define the USA becomes filtered through art and literature and music and then passed on over the Atlantic… We tried to put together a list of things/music/art that has inspired the way we view the USA and specially the darker aspects of it.”
They continue, “Maybe it is not the conventional ”rock-musicians list song they like,” but then again we are not those bands or those people. We are wildly European, radical in the notion of what music could/should represent, free in our references and inspiration.”
Film-maker, author, magician and actor. His book Hollywood Babylon set the templet for a celebrity culture of death and sex and drugs. His movies are amazing peaks into a world of occult symbolism, celebration of youth culture, fantastic girl-group music and biker and gay-culture. The first one to acknowledge most of these things in pop culture. A true Crowle-esque artist that has simultaneously challenged and elevated the religious and sexual structures of America.
Poetic and hypnotic. Terrence Malick’s solid deconstruction of violence and romance in America deals with the crux that is American existentialism. The crossroads between how the country came to be and under what circumstances and the self-image of pride and righteousness. A truly spectacular movie that shows the darkness that runs across the continent and the fascination with killers and with fame.
Nick Cave and The Bad Seeds:
Photo by Ben Kaye
As an Australian relocated to Europe, Nick Cave has embraced the darkness and violence of American culture like few other artists. Entire records were stepped in southern culture, blues, and murder. An important artist for anyone fascinated with the dark undercurrent of America and also an important inspiration for INVSN.
Nothing has shaped us more then American hardcore. The politics, the work-ethic, the do it yourself attitude, the music. It also shaped our idea of America, the clubs, the chaos, the cultural landscape, the endless highways. It taught us about being proud of being weirdos and it gave us the direction to be the people and the band that we are. Somehow it gave us the courage to record a Lana Del Ray cover years later!
Jean Baudrillard — America:
In 1986 french philosopher Baudrillard made a road trip across the USA. He wrote, “Where others spend their time in libraries, I spend mine in the desert or on the roads.” He wanted to define the astral America, of highways and speed, of emptiness and alienation. It’s a dense but fascinating read, but one well suited for us outsiders and bright trash and for anyone who wants to see America as the surreal, superficial and unreal projection that it is for most people not born there.
Emo stalwarts Dashboard Confessional and The All-American Rejects are currently on the road together making the teenaged hearts of older millennials burst on a North American tour. To celebrate the joint jaunt, the two projects have each covered a trademark song by their tourmate’s, which are both being shared today.
First up, DC took on one of AAR’s trademark songs, “Move Along”, from the 2005 album of the same name. Chris Carrabba’s group pulls back on the original’s relentless guitar thrust, perhaps incidentally giving birth to industrial emo at the same time. Even so, you’d never mistake the track for anything but an All-American remake.
“When covering a song we try to adhere as closely as we can to the most recognizable earmarks. Most importantly the melody,” Carrabba tells Consequence of Sound. “The fun comes in the choices the band can make around those earmarks. We had a blast making ‘Move Along’ ours. The song has so much color and power it was easy to feel inspired by it.” Take a listen:
On the other side of things is All-American Rejects’ take on a defining song of the early 2000 emo movement, Dashboard’s Confessional’s “Hands Down”. The band puts a harder electronic twist on the track than DC ever did, yet somehow keeps it close to its acoustic origins with moments of relative minimalism.
AAR’s Tyson Ritter explained the band’s approach to the cover: “’Hands Down’ is an open hearted story of young love. In the original recording, the vocal performance is something that carries you through that tale of pure discovery. Vocally, my immediate intention was to play the opposite. For the musical canvas, we wanted to take all the candy away from this song and feed it nothing but opiates, leaving you feeling as if the instrumentation itself was the nerves the lyrics were expressing.” Check it out below.
The bands will be on the road together through mid-August, and you can snag tickets here. Find Dashboard Confessional and The All-American Rejects’ joint schedule below.
Dashboard Confessional and The All-American Rejects 2017 Tour Dates: 07/17 – Boise, ID @ Outlaw Field at the Idaho Botanical Garden 07/17 – Sandy, UT @ Sandy Amphitheater 07/21 – Maplewood, MN @ Myth 07/22 – Council Bluffs, IA @ Harrah’s Casino 07/23 – Saint Louis, MO @ The Pageant 07/25 – Columbus, OH @ Express Live 07/26 – Detroit, MI @Fillmore Detroit 07/29 – Big Flats, NY @ Tags 07/30 – Bethlehem, PA @ Sands Bethlehem Event Center 08/03 – New York, NY @ Central Park SummerStage 08/04 – Mashantucket, CT @ The Grande Theater at Foxwood Resort Casino 08/05 – Gilford, NH @ Bank of New Hampshire Pavilion at Meadowbrook 08/06 – Boston, MA @ Blue Hills Bank Pavilion 08/08 – Pittsburgh, PA @ Stage AE 08/09 – Philadelphia, PA @ Festival Pier 08/10 – Vienna, VA @ Wolf Trap 08/12 – Nashville, TN @ Ascend Amphitheater 08/13 – Charlotte, NC @ Charlotte Metro Credit Union Amphitheatre 08/15 – Highland Park, IL @ Ravinia 08/16 – Indianapolis, IN @ Indiana State Fair
Earlier this year, Cage the Elephant took their “Live & Unpeeled” tour to select cities across the US. The band brought along a string section and new arrangements of their songs, presenting fans with a rare stripped-down experience from the noted rockers. Those shows were also recording sessions, however, and now the sound of Cage unplugged is coming home as the band’s latest album, Unpeeled.
Due July 28th from RCA Records, the 21-track collection was captured during the series of intimate concerts in cities like Los Angeles, Knoxville, and Washington, DC. 18 of the songs are reworkings of the band’s own material, while the other three are covers, including The Stranglers’ “Golden Brown” and Daft Punk’s “Instant Crush”. The third remake is of the classic “Whole Wide World” by Wreckless Eric, the video for which the band is premiering today.
Cage the Elephant recorded their Unpeeled version of the 1977 tune at the Ryman Auditorium in their hometown of Nashville. In the video below, you can see how the stripped-down setting did little to stifle the band’s singular energy, especially with Matt Shultz at the helm.
“Many times you’re adding sonic layers looking for something to hide behind,” Shultz tells Consequence of Sound about the rendition, “and what you don’t realize is that that vulnerability and that nakedness might be the most compelling and interesting thing about the song.”
Check it out:
Pre-orders for Unpeeled are available via iTunes. The complete track listing and album art are below.
Unpeeled Album Artwork:
Unpeeled Tracklist: 01. Cry Baby 02. Whole Wide World 03. Sweetie Little Jean 04. Spiderhead 05. Take It Or Leave It 06. Too Late To Say Goodbye 07. Punchin’ Bag 08. Shake Me Down 09. Telescope 10. Instant Crush 11. Trouble 12. Ain’t No Rest For The Wicked 13. Rubber Ball 14. Aberdeen 15. Golden Brown 16. Cold Cold Cold 17. How Are You True 18. Come A Little Closer 19. Back Against The Wall 20. Cigarette Daydreams 21. Right Before My Eyes
Cage the Elephant have a number of tour dates coming up, most of which are festival appearances. However, they do have one more special “Live & Unpeeled” gig at London’s Union Chapel, where they’ll be accompanied by a string quartet. Find their complete itinerary below
Former Bomb the Music Industry! frontman Jeff Rosenstock released his first solo album, the excellent WORRY., last year. Now, the punk rocker has returned with a new pay-what-you-want split 7-inch with South Korean band SKASUCKS, fittingly entitled Split with SKASUCKS.
The release includes two new songs from Rosenstock, including a cover of Patsy Cline’s “She Got You” and “NEVERGONNAGETITBACKAGAIN!!!”, a breakneck track (mostly) written in total isolation in a double wide trailer in the Catskill mountains. SKASUCKS’ side features three songs of their own.
Originally, Split with SKASUCKS was available as a limited edition 7-inch vinyl, but unfortunately, all the copies have sold out. However, the digital album is still available here at name your price until June 28th. The suggested donation is $5, and you can also listen below.
Rosenstock explained how the split came together via Facebook:
“In 2014 I got to go to Asia for the first time playing in The Bruce Lee Band,” he stated. “We arrived in South Korea very jetlagged and confused, but our buddies Jiwon, Jeff, Trash and Jinsuk took care of us and we very quickly became friends. Jiwon and Jinsuk play in a sick ska band called Skasucks, Jeff & Trash have a record label, so we decided that if one of our bands ever goes to the other country we’d do a split. Three years later, Skasucks is touring the west coast so we’re like YEAHHHHH LET’S DO THIS SPLIT.”
Split with SKASUCKS Album Art:
Split with SKASUCKS Tracklist: Jeff Rosenstock side: 1. NEVERGONNAGETITBACKAGAIN!!! 2. She’s Got You (Patsy Cline cover)
SKASUCKS side: 1. Attitude 2. Midnight Cowboy 3. Suicide City
Rosenstock is touring North America throughout July and early August in support of WORRY., including an appearance at Pitchfork Music Festival. Find the full schedule below.
Jeff Rosenstock 2017 Tour Dates: 07/05 – Brooklyn, NY @ The Silent Barn 07/06 – Cambridge, MA @ The Sinclair 07/07 – Burlington, VT @ ArtsRiot 07/08 – Montreal, QC @ L’Escogriffe 07/09 – Ottawa, ON @ Zaphod Beeblebrox 07/11 – Toronto, ON @ The Hard Luck 07/12 – London, ON @ Call The Office 07/13 – Grand Rapids, MI @ The Pyramid Scheme 07/15 – Chicago, IL @ Pitchfork Music Festival 07/16 – Chicago, IL @ Beat Kitchen 07/17 – Waterloo, IA @ The Wedge 07/18 – Burnsville, MN @ The Garage 07/19 – Fargo, ND @ The Aquarium 07/21 – Missoula, MT @ Zootown Arts Community Center 07/22 – Seattle, WA @ Crocodile 07/23 – Portland, OR @ Holocene 07/25 – Reno, NV @ Holland Project 07/26 – San Francisco, CA @ Bottom of the Hill 07/27 – West Hollywood, CA @ Troubadour 07/28 – Tijuana, MX @ Mod’s Club 07/29 – Phoenix, AZ @ The Rebel Lounge 07/30 – Las Vegas, NV @ 11th Street Records 07/31 – Salt Lake City, UT @ Kilby Court 08/02 – Denver, CO @ Marquis Theatre 08/03 – Omaha, NE @ Lookout Lounge 08/04 – Saint Louis, MO @ Blueberry Hill Duck Room 08/05 – Bloomington, IN @ The Void 08/06 – Millvale, PA @ The Funhouse At Mr. Smalls 08/08 – Baltimore, MD @ Ottobar 08/09 – Jersey City, NJ @ Monty Hall
The A-side track is “I Got Cut”, a roaring pop punk number littered with chunky power chords and led by frontman Mac McCaughan’s fiery yelp. For its B-side, Superchunk channel that same spunky energy to cover “Up Against the Wall”, the 1978 punk single from Britain’s Tom Robinson Band. Hear both songs below.
Read McCaughan’s remarks on the release:
“All people should have access to reproductive health care. All people should have control over their own bodies. ‘I Got Cut’ was inspired by images like the photograph of our current president surrounded by a bunch of other ancient white guys, all smiling as they took away access to reproductive health care for women all over the world. The first line in the song, “All these old men won’t die too soon,” is a reference to them and anyone like them attacking women’s health care. On the positive side, the song is also inspired by shows of unity like the Women’s March on Washington in January. It’s about freedom of choice. It’s about healing psychic and physical wounds and staying free. It’s about getting out of the way to make room for people younger and more enlightened than ourselves.
Though it was originally written and recorded by the Tom Robinson Band in 1978, the B-side ‘Up Against the Wall’ is an appropriate song for these times. Jon [Wurster] suggested covering this great song years ago and we never got around to it, but it made perfect sense to do so now. Tom Robinson himself was kind enough to waive his publishing royalties in order to better serve the fundraising cause of the single.
I felt like making a record in the punk rock tradition we grew up with, including the collage I created for the sleeve. Likewise, when we presented the concept to the artists involved, we proposed that the art be the size of an unfolded 7-inch sleeve, mirroring the style of all the singles we put out when we first started Merge over 25 years ago. As they were in 1989, the sleeves were printed by Barefoot Press in Raleigh (and they donated these to help the cause). We also put these together by hand like we did then.
These 7-inches are more expensive than a regular single because we are raising money for Planned Parenthood, an organization that works tirelessly to provide something that should be a right, not a privilege: health care. It’s easy to get discouraged when suddenly those in charge seem intent on ruining everything that is good about our country. We’re trying to channel the rage we share with you in a productive direction. Thanks for listening.”
Superchunk’s last full-length came in 2013 with I Hate Music.
With Planned Parenthood coming under increasing fire during the current administration, musicians far and wide have banded together to support the organization in any way possible. The latest effort is Cover Your Ass Vol. 1, the first installment in a series of charitable compilation cover albums From Lionfish Music. Out May 26th to comp features contributions from artists including Hinds, Cass McCombs Band, Porches, TEEN, Palehound, The Lemon Twigs, Deerhoof, Daddy Issues, (Sandy) Alex G, and Luke Temple.
To preview the compilation, Lionfish has shared Speedy Ortiz’s interpretation of the 2003 TV on the Radio song “Young Liars”. Recorded in 2015 with the band’s friend Jesse Weiss (Palehound, Grass is Green) at his practice space, the cover brings an extra bite to the original thanks to fuzzy guitars and frontwoman Sadie Dupuis’s more aggressive approach to the lyrics.
As the band explains to Consequence of Sound, the over decade-old song has new relevance now that 45 is in office:
“‘Young Liars’ is poetic and lovely, but also rife with the American shame and sneering political skepticism that marked the best of W. Bush-era post-punk. So the song has a renewed resonance considering the fearful dystopian anticipation our current administration’s ‘marked down freedom’ has generated in so many of us.”
Lionfish has pledged to donate 100% of profits from Cover Your Ass Vol. 1 to Planned Parenthood. Pre-order the compilation here, and find the full details below.
Cover Your Ass Vol. 1 Album Art:
Cover Your Ass Vol. 1 Tracklist: 01. Deerhoof – Fight the Power (Public Enemy Cover) 02. Hinds – When It Comes to You (Dead Ghosts Cover) 03. Cut Worms – Truly Julie’s Blues (Bob Lind Cover) 04. The Lemon Twigs – White Flag (Dido Cover) 05. Daddy Issues – Boys of Summer (Don Henley Cover) 06. Speedy Ortiz – Young Liars (TV on the Radio Cover) 07. Palehound – Miss Independent (Kelly Clarkson Cover) 08. The Quilz – Girl U Want (Devo Cover) 09. Cass McCombs Band – Yes We Can Can (Pointer Sisters Cover) 10. Porches – Morpha Too (Big Star Cover) 11. (Sandy) Alex G – Druglord Landlord (Cold Foamers Cover) 12. TEEN – Boys Keep Swinging (David Bowie Cover) 13. Luke Temple – Duchess (Scott Walker Cover)
On his smash hit “Starboy”, Abel Tesfaye weighs out pros and cons of his success as The Weeknd. Indeed, beneath Daft Punk’s slick, polished production, the swaggering and indelibly catchy track — like much of Tesfaye’s work — houses something much darker, a snapshot of a human battling demons both internal and external.
The melancholy of the song’s core isn’t exactly obvious, especially if it’s just Top 40 background noise on your morning commute, but it’s something artists who’ve covered the single have found ways to highlight. Case in point: the Vitamin String Quartet have today given us an especially poignant interpretation of Tesfaye’s ambivalence to fame. Taken from their upcoming Weeknd covers album, the Los Angeles collective’s version of “Starboy” finds strings sighing with heavy emotional weight, revealing the real urgency behind the track.
“We had a feeling that the sensuous, edgy quality of The Weeknd’s music would bring something special out of the strings. But even we were surprised by how effortless the interpretations felt,” Leo Flynn, VSQ Brand Manager Producer, tells Consequence of Sound. “Jim McMillen was able to cut past many of the original production elements and just focus on melody. That cleared the way for the players to create these sweeping, hypnotic performances.”
Stream it down below.
VSQ, who’ve reworked the likes of David Bowie, Lady Gaga, Bruce Springsteen, and Adele, will release VSQ Performs The Weeknd on February 24th.