Today, NYC rockers Yeah Yeah Yeahs’ beloved debut album, Fever to Tell, is being reissued in the form of a new deluxe edition. Included on the double-disc collection are fresh remasters by Stephen Marcussen, nine previously unreleased four-track demos, and eight B-sides and rarities, two of which have never before been heard. One, “Shake It”, was shared when the reissue was announced, followed soon by the four-track demo version of “Black Tongue”. You can stream the entire thing below via Apple Music.
Coming from Interscope/UMe, the box set features the remastered album pressed on 180-gram audiophile black vinyl for the first time in 10 years. The goodies don’t stop there, as the package — which awesomely comes wrapped in fishnet stockings and is limited to just 2,000 copies — also includes newspaper lyric posters with photos from guitarist Nick Zinner and folks like Spike Jonze and Lance Bangs; a 164-page hardbound photo book with Zinner’s personal photos; and tons of other bonuses. That includes a cassette featuring another three four-track demos plus a never-before-released demo called “Phone Jam”. Karen O and company really went all in, and it’s truly a “deluxe” deal befitting an album that’s become regarded as a modern classic.
YYYs are scheduled to make their live comeback at The Growlers Six music festival later this month and also have gigs at LA’s Fonda Theatre on October 25th and Brooklyn’s Kings Theatre on November 7th. For more, you can revisit the era of NYC rock that birthed Fever To Tell in Lizzy Goodman’s oral history of the period, Meet Me In The Bathroom. Also be sure to check out our list of the 50 records that shaped punk rock as well as our list of the 20 best major label debuts — both of which features Fever to Tell.
Fever To Tell Artwork Deluxe Reissue Artwork:
Fever to Tell Deluxe Reissue Tracklist: LP 1 — Remastered Original Album: 01. Rich 02. Date With The Night 03. Man 04. Tick 05. Black Tongue 06. Pin 07. Cold Light 08. No No No 09. Maps 10. Y Control 11. Modern Romance
LP 2 — Previously Unreleased Demos, plus B-sides and Rarities: 01. Date With The Night (Four Track Demo) 02. Black Tongue (Four Track Demo) 03. Pin (Four Track Demo) 04. Maps (Early Four Track Demo) 05. Poor Song (Four Track Demo) 06. Tick (Four Track Demo) 07. Shot Down (Four Track Demo) 08. Ooh Ooh Ooh (Four Track Demo) 09. Maps (Four Track Demo) 10. Shake It (Previously Unreleased) 11. Machine 12. Modern Things 13. Graveyard 14. Shot Down 15. Yeah! New York 16. Boogers (Previously Unreleased) 17. Countdown
Brooklyn-based post-punk band Bootblacks have been dazzling the world with their powerful live performances since their inception in 2010. They’re the perfect package- punchy records, compelling imagery, unstoppable live energy, and a delicious shroud of mystery surrounding their craft.
Their latest record Fragments is a meditation on life and loss, set to a darkwave backdrop. Over the course of eight tracks, the band expands on their already eclectic sonic territory, combining the dancefloor edge of Xymox with the anthemic power of early U2. Guitarist Alli Gorman channels the trademark delay techniques of The Edge and The Chameleons to cut through the heavy synth arpeggios, courtesy of newest member Barrett Hiatt (The Harrow, Automelodi). Roger Humanbeing’s drums thunder and crack, while Panther MacDonald’s vocals and lyrics are both biting and introspective.
Two singles have been premiered from the record thus far, including the club-ready “The Longest Night” and opening track “Hold & Dissolve,” which serves as the album’s statement of intent. Every track on Fragments is vital, especially the Pretty Hate Machine-esque “Memory Palace,” the reflective “For You (Lois),” and closing track “Gone,” which mixes the throb of early 90s electronica with the bleak, saxophone drenched vibes of David Bowie’s Berlin trilogy. Overall, the record is the band’s finest effort to date, pushing the boundaries of their influences to great heights.
Fragments was recorded by Hillary Johnson (The Prids, Second Still) and co-produced by Hiatt and MacDonald. The band will be embarking on a tour throughout Europe, which begins next week in Berlin. Fragments is out today on Manic Depression Records and is available as a free download via Bandcamp. Vinyl and CD copies are also available.
Tour dates: Sep 19 Berlin @ Bei Ruth * Sep 20 Nuremberg @ Projekt 31 Sep 21 Bern @ Cafe Toujours Sep 22 Milan @ TNT Club Sep 23 Paris @ Le Klub # Sep 24 Lille @ TBA Sep 25 Hamburg @ Astra Stube Sep 28 Potsdam @ Fliese ^ Sep 29 Leipzig @ Gieszer16 ^
* w/ Otzi # w/ Holygram, Adam Usi ^ w/ Second Still
NYC Post-Punk revival act Interpol have announced another reissue—this time being their third studio album Our Love to Admire, which turns 10 this year.
The album was the final record to feature original bassist Carlos Dengler, and was released a step up from indie label Matador onto the major label Capital Records.
The reissue of the band’s first major label album will arrive in several remastered editions—one of which is a deluxe Double LP or Compact Disc edition with a bonus concert DVD. The DVD includes a concert film of Interpol’s 2007 performance at the London Astoria.
Alex Schulz knows exactly when he first felt inspired to start Germany’s Reeperbahn Festival: SXSW 2000. The first iteration of Reeperbahn wouldn’t arrive for over five years after that, but Schulz understood he had seen a festival he wanted to emulate: “The quality is the highest in the world, of course.”
Schulz fought an uphill battle to found a festival — which would eventually meld musical discovery with an impressive array of business-to-business (B2B) sessions — in Hamburg, Germany. At the outset, it was understandably a hard sell.
The dream centered on bringing in a globe-spanning roster of rising talent, 90 to 95 percent being relative unknowns by Schulz’s estimation. Venues questioned whether there was a market to present artists whom the average listener had never heard before.
After six years of securing funding and getting the support of local venues, Schulz’s dream finally became a reality with the first Reeperbahn Festival in 2006. And like in Austin, Hamburg proved the perfect setting to host a dispersed showcase festival. Reeperbahn takes its name from the city’s legendary street and entertainment district. (Its nickname is die sündigste Meile — “the most sinful mile.”)
“It’s the only place in Germany where you would find so many theatres and clubs in a row,” Schulz says.
One of the things that struck Schulz about SXSW was how the close proximity of venues made it possible to bounce among shows to find something that suited your tastes. And Reeperbahn has followed suit, growing steadily over the past decade in terms of venues participating, attendance, and events.
This year’s edition will feature over 800 events, including approximately 500 concerts. Nowadays, getting more venues to join in is the easy part, with clubs even outside the central Reeperbahn area asking to host their own shows. It’s refreshing that a local community has rallied so strongly to support new and rising talent.
In America, major companies like Live Nation and AEG are solidifying their strangleholds on the festival circuit, resulting in the homogenization of lineups and events losing their individuality. Schulz is quick to point out that an event like Reeperbahn is wholly different in terms of the type of artists who will perform and how these acts are chosen. For instance, this year’s partner country, Canada, provided approximately 60 lesser-known picks for their showcase, and the festival whittled down their selections to best suit Reeperbahn’s audience. But that’s not to say the Hamburg festival doesn’t have any famous alumni.
Schulz remembers Bon Iver playing back in 2008 when Justin Vernon & co. only had For Emma, Forever Ago to their names. He remembers Ed Sheeran playing to a crowd of less than 1,000 people in 2011. The fun part of the festival is taking in a ton of new music while trying to spot the next indie darling or pop superstar.
Reeperbahn’s NYC showcase perfectly exemplified these ideals during its seven-artist performance at Pianos. The genres of the artists showcased spanned everything from Leyya’s moody synth-pop to Olivier St. Louis’ vibrant funk to We Bless This Mess’ aching, punk-infused folk. Whether it was Carnival Youth’s warm harmonies or Lydmor’s hypnotic dance moves, it’s easy to see how these talented artists could capture the imagination of audiences who didn’t have too much familiarity with them. And it’s even easier to imagine them rocking a packed club or making a strong impression in the early afternoons on the festival circuits.
Even though Reeperbahn won Best Indoor Festival last year at the European Festival Awards, Schulz isn’t resting on his laurels. He still has big dreams for how the festival can grow. For instance, this year, he’d like to have artists use their platforms to encourage voting in a campaign called “Raise Your Voice”. (Germany’s federal elections take place the day after Reeperbahn’s 2017 edition concludes.) Schulz emphasizes that he doesn’t want artists to tell people who to support; he wants to inspire civic engagement.
And the biggest project Schulz has his eye on is the festival’s ANCHOR Award, “an award that recognises promising, international talents on the music scene.” The award is judged by an expert panel, which this year includes Metric’s Emily Haines, Garbage’s Shirley Manson, and David Bowie producer Tony Visconti.
Last year represented the inaugural edition of the award, with soulful singer Albin Lee Meldau taking home the prize. Meldau helped anchor the lineup at the NYC showcase at Pianos and seemed to have the most anticipated set of the evening. Whether it was the wistful “Lou Lou” or “Let Me Go”, the crowd sang and bounced along to singer’s resonant voice.
Schulz hopes that one day the ANCHOR Award will be as prestigious an honor as Cannes Film Festival’s Palm d’Or, with gaining a nomination being analogous to a film being selected by the Toronto International Film Festival or Berlinale. Schulz says there’s something to be said for a human jury endorsing new music, as opposed to an algorithm.
“If you look into radio, it’s getting less and less human-recommended artists,” Schulz says. “We are convinced that music business and music culture needs these people who make up their minds and have very personal opinions on music.”
When I spoke with Reeperbahn Festival founder Alex Schulz, he said that the festival captures its lineup with 90-95 percent of artists who are relatively unknown, but have the potential to make it big. At the Hamburg festival’s NYC showcase at Pianos, as part of A2IM Indie Week, its seven-artist bill definitely highlighted talent who could be gems for early afternoon festival sets in the near future.
Carnival Youth perfectly exemplified this, with their breezy, summer-ready sound. In the main room, the Latvian rockers conjured up good vibes with the piano-driven “Never Have Enough”. With three members who alternated vocals (guitarist Edgar Kaupers, drummer Emīls Kaupers, and keyboardist Roberts Vanags), Carnival Youth were able to vary their sound and harmonize, like on the soaring “Octopus” and rollicking closer “Surf”.
After Carnival Youth bid farewell, attention shifted upstairs to the second stage in the lounge. With a two-stage setup, the music literally never stopped from start to finish at Pianos – a blessing for those who grow impatient while waiting between sets. Armed with just an acoustic guitar and his voice, We Bless This Mess took the stage there. But the nearby bar proved to be quite distracting for the singer-songwriter’s set. The Portuguese musician tried to brush it off, diving into “Silence” (which, contrary to its name, was quite the spirited number). His gripes were fair with such a minimalist setup, since it was easy to get drowned out by the surrounding chatter. We Bless This Mess tore through punk-infused folk ballads like “Joy” and “June”. Eventually, his frustrations boiled over, though, with the singer asking, “Can we fucking stop talking? Is that alright?” before closer “Darling”. Despite some angsty songs earlier in the set, the final track ended up being an optimistic stunner, with the singer crooning about hope and the preciousness of living in the moment.
Next up, synth-pop outfit Leyya took the stage in the main space. The cascading sitar intro of “Zoo”, their defiant recent single, entranced the audience from the get-go. Vocalist Sophie Lindinger bounced through pulsing cuts like “I Want You” and “Worthy”. The dreamy Austrian outfit had a bit more of a hard rock edge live, with guitarist Marco Kleebauer delivering a punchy riff as the sturdy backbone for final track “Butter”.
The music then made its way upstairs again for Lydmor’s dazzling set. The Danish singer-producer proved to be one of the boldest, most fearless performers of the evening. Surrounding herself with four slender neon columns, Lydmor prepared a minimalist, low-light rig. Behind her console, the singer unleashed hypnotic dance moves in a style reminiscent of Grimes or Lorde. Impressively, Lydmor proceeded to break down the boundaries of the stage, sauntering through the crowd and crooning literally inches away from the enraptured audience. Whether it was singing underneath a pulsing blacklight – revealing intricate body paint – or dancing atop tables, the vocalist enchanted the audience with throbbing cuts like “Drugs in My Pocket” and “New Cars and Babies”.
Back in the main room, Albin Lee Meldau took the stage for what seemed to be the most anticipated set of the evening, with fans cheering the Swedish outfit on from the very beginning. Meldau, who took home the 2016 Anchor Award at Reeperbahn (“an award that recognizes promising, international talents on the music scene”), proved why he’s such a show-stopping singer right from opener “Let Me Go”. Whether it was “Lou Lou” or “Lovers”, Meldau’s rich, sonorous voice carried through the packed room.
Upstairs, Megan Bonnell emerged in the lounge. The Canadian singer-songwriter effortlessly shifted between piano and acoustic guitar on her gently bubbling tracks. The Toronto vocalist sang through beautiful songs from album Magnolia, like “Can’t Have You” and “The Wind”, highlighted by her effervescent voice.
Finally, Olivier St. Louis were tasked with bringing the evening to a close. Just as the energy level of the night seemed to be winding down, the engaging quartet busted through with a rousing mix of funk and soul. “Ain’t Cool” got the crowd moving early, and the funky outfit even covered Thundercat’s “Them Changes” with his bassist rocking a six-string. The highlight of the set came during a call-and-response of the band’s penultimate jam.
“New York, this is the part where I ask if I should do it again,” St. Louis teased. “Do it again!” the audience roared. The band reared back, bouncing around the stage and repeating their prior section. “Do it again!” the audience shouted once more. St. Louis gave a big grin, with the band launching into a skewed slow jam of the previous bit, which even morphed into the sludgy closing riff of Soundgarden’s “Black Hole Sun”. As the set concluded, the audience begged, “Do it again!” to no avail. After four hours of non-stop music, the audience left hungry for more.
The beautifully shot and edited video was Directed by the venezuelan artist photographer, director and activist Jennifer Medina who is now living in Brooklyn NY, together with RA singer and drummer Simon Minó. The video features among a colourful cast of individuals—including the avant-garde artist and cyborg activist Neil Harbisson who is also based in New York City. He is best known for being the first person in the world with an antenna actually being implanted into his skull—and for also being officially recognized as a cyborg by a government.
Then I Woke Up In Paradise RA’s first release since their debut album Scandinavia, and is out now via a collaboration between Adrian Recordings (S), Premium Abundance (DK) & Third Coming Records (FR).
Happy Holidays! NYC post-punk heroes Bootblacks have shared with us a free download of their track Perfect Fiction by former Light Asylumsynth-master Bruno Coviello. The track originally appeared on Bootblacks 2013 album Narrowed.
In mid April of 1980, The Cure embarked on a 6 date North East US tour—this was our “Cult Heroes” first trip ever to the states—supporting their second album Seventeen Seconds and the new single A Forest. Robert, Lol, Simon, and Matthieu begun their tour in Cherry Hill New Jersey (this is right outside Philadelphia, PA), and remarkably, audio from the entire tour had been captured thanks to journalist Van Gosse who was covering the show for Melody Maker.
Three of the gigs were in NYC at the Hurrah’s nightclub—where Chris Stein and Debbie Harry turned up to meet them, with pictures of the reluctant encounter captured by photographer Ebet Roberts(whose shots in this article you can see atThe Morrison Hotel Gallery in NYC), and video footage by Charles Libin & Paul Cameron.
Photo by Ebet Roberts
Not much information is available on the shows in Washington DC, and Philadelphia proper—the Boston gig however, that occurred on Robert Smith’s Birthday is well documented, and youo can watch artistically shot video footage by Jan Cocker and Benjamin Bergery, who also filmed Mission of Burma, who shared the bill with The Cure for that April 21st gig, whose aftermath would lead to Robert’s sore thumb literally sticking out on The Top of the Pops upon the boys return to the UK.
Robert: “We’d obtained cult status out there but we only played New York, Philly, Washington and Boston. We played three nights – 15, 16 and 17th – at Hurrah in New York and it was packed.”
Simon: “It was done on a shoestring budget but it was lots of fun. Instead of having cans of beer backstage, we’d have shots of Southern Comfort!”
Robert: “It was like a holiday. Even at this point, everything we did, we didn’t think we’d be doing again so we used to go to bed at about five in the morning and get up again at eight just to go out and see New York.”
On his return, Robert told Record Mirror how America meant “being bombarded by people who all ask the same questions and all want to shake your hand . . . you just find yourself getting sucked into the whole rock ‘n’ roll trip which we’re trying so hard to get away from” while Sounds’ Phil Sutcliffe, who’d accompanied the band to New York. told, in an article “Somebody Get Me A Doctor,” how Robert had done his utmost to avoid having his picture taken with Debbie Harry.
See setlists, video, and pictures from each date below:
April 10th, 1980 Cherry Hill – Emerald City (USA) Seventeen Seconds, Play For Today, Three Imaginary Boys, Fire In Cairo, Grinding Halt, In Your House, Subway Song, M, 10.15 Saturday Night, Accuracy, At Night, Boys Don’t Cry, Jumping Someone Else’s Train, Another Journey By Train, A Forest, E1: Secrets, Killing An Arab
Journalist Van Gosse who recorded the audio from the concent, and was covering the show on behalf of Melody Maker writes
“Way back, when I started writing about music (thanks to Davitt Sigerson), I interviewed lots of people and occasionally taped shows, so I could listen to them again. So….in April 1980, Melody Maker gave me a big assignment to trail The Cure on their first US tour, and write about them. Their publicist, Rhonda, took me to their US debut, at Emerald City in Cherry Hill, NJ, and I taped the attached. Pretty great stuff! They were releasing ‘A Forest,’ but still played all the original stuff, including ‘Killing an Arab’ as the encore. The MM went on strike and my piece never ran, but it was a good time. I remember what a hard case was Robert Smith, very determined, nothing sentimental or artsy about him. Below are my two pieces that did run, in the Voice and a short live review in the MM. And the show itself, thanks to SFJ for compressing and cleaning up.”
Below, you can stream the two sides of the tape and listen to the entire concert.
April 14th, 1980 Washington – The Bayou (USA/DC) setlist unknown
April 15th, 16th, and 17th – New York – Hurrah
April 15th Setlist Seventeen Seconds, Play For Today, Three Imaginary Boys, Fire In Cairo, Grinding Halt, In Your House, Subway Song, M, 10.15 Saturday Night, Accuracy, At Night, Boys Don’t Cry, Jumping Someone Else’s Train, Another Journey By Train, A Forest, E1: Secrets, Killing An Arab, E2: Plastic Passion, Seventeen Seconds
Concert Footage filmed over the three nights:
Debbie Harry and Chris
19.04.1980 Philadelphia – Hot Club setlist unknown
20.04.1980 Boston – The Underground Seventeen Seconds, Play For Today, Three Imaginary Boys, Fire In Cairo, Grinding Halt, In Your House, Subway Song, M, 10.15 Saturday Night, Accuracy, At Night, Boys Don’t Cry, Jumping Someone Else’s Train, Another Journey By Train, A Forest, E1: Plastic Passion, Killing An Arab, E2: Secrets, Seventeen Seconds
The Cure hanging out at the wood-paneled Boston, where only Robert is looking into the Camera, Massachusetts club ‘The Underground,’ April 20th, 1980.
Grinding Halt’ live on April 20th, 1980 at ‘The Underground’ in Allston, Massachusetts.
‘Subway Song’ and ‘Accuracy.’
Parts of this show were shot by local Boston art students including Jan Cocker, you can watch more of his videos shot along Benjamin Bergery here. Whether or not Jan Cocker is the one driving the Beetle that led ultimately to the Top of the Pops thumb injury has not been confirmed.
Robert: “My 21st birthday happened in Boston and, after the gig, Bill and the four of us got taken to some art media event by this guy who was making a video of us. We had some drugs. I remember a TV and a set of homemade videos and we got bored and insisted this bloke drove us back to our hotel so he took us in his Beetle – the five of us and his girlfriend!
It was a little cramped so I got out and sat on the bonnet—it was about five in the morning so we thought we’d take the risk. Bill then decided to drive and went the wrong way round a roundabout without thinking. When he realised it, of course, he just kept on going round, laughing insanely and then he got hysterical, got a flat, slewed across the road and I fell off the bonnet.
I tried to change the wheel – I don’t know why I was doing it – but I couldn’t understand why the hub-cap wouldn’t go back on so I started kicking it, and it was only a few seconds later, when the pain suddenly reached my brain, that I realised the reason the hub cap wouldn’t go back on was because my thumb was trapped underneath it. I’d just reduced it to pulp! After that we drove to New York overnight but ended up in Cape Cod because Bill had taken a wrong turn! We eventually arrived at the airport just in time to catch the plane to get back to London for Top Of The Pops.”
21st Century PUNX Deconstructors, Trouble Making Agitators, DIY noise insurgents & Manufacturers of Dissident Political Wear.
PUNX.UK was formed by a Manchester anarcho punk collective in 2013 as a webzine sharing info on local gigs and bands.
Originally focusing on creating a DIY gig guide for our city we then expanded to cover the whole of the UK scene in 2014.
Since then we've faithfully tried to promote all the events, blogs, websites and sounds of resistance throughout the country and beyond.
In 2016 we partnered with Sabcat Workers Cooperative to produce dissident political wear providing financial support to the activist causes, benefits, unions, bands, and community groups that we work with.