After a year of sweating and bleeding over the record it's finally finished, so we wanted to get some music out there as soon as we could. It's about lust, it's about the chase, it's about the endless carnal game of love. It was possibly the hardest we've ever made but certainly the most satisfying.
It's ten furious songs, for me, have reclaimed from ourselves what Suede was always about; drama, melody and noise.” said the band's front-man and founding member Brett Anderson about 'Bloodsports', their first studio album release since 2002.
Better 40 years later than never: The follow-up to the first record ever to bear the Iggy and the Stooges logo--the immortal proto-punk masterpiece Raw Power--will finally be out April 30, when Fat Possum Records releases the all-new Iggy and the Stooges studio album, Ready To Die.
Ready To Die finds Iggy Pop, guitarist James Williamson and drummer Scott "Rock Action" Asheton reunited for a full album of all-new material for the first time since the legendary Raw Power sessions, with Mike Watt filling in for the late Ron Asheton on bass. The results are the closest thing to a time capsule to 1973--or at least to Iggy's subsequent efforts with Williamson, including 1977's Kill City and 1979's New Values--that rock 'n' roll is likely to proffer in this millennium. The new album's opening one-two of "Burn" and "Sex & Money" pair sublimely blunt and self-explanatory subject matter with back alley razor-blade guitars and a troglodytic rhythmic stomp as intensely single-minded as Iggy's lyrical statements of intent. Elsewhere on the album, anthems abound in the form of the most dead-on rallying cry for the lower-working-class dispossessed to date--the succinctly and aptly titled "Job"--as well as a title track that mixes a signature Iggy Pop mission statement of angry desperation with guitar pyrotechnics that recall those halcyon opening salvos of "Search & Destroy."
Just as Iggy exhumed the original Stooges name when he reunited in 2003 with the Asheton brothers, the revival of the Iggy and the Stooges moniker that first appeared on the cover of Raw Power heralded the return of guitarist James Williamson to the fold in 2009, or as Iggy put it then "although 'the Stooges' died with Ron Asheton, there is still 'Iggy and the Stooges'." As far as the decision to record and release a new Iggy and the Stooges album for the first time since 1973, Iggy recently commented: "My motivation in making any record with the group at this point is no longer personal. It's just a pig-headed fucking thing I have that a real fucking group when they're an older group they also make fucking records. They don't just go and twiddle around on stage to make a bunch of fucking money..."
03/23/13........West Coast, Australia............. Blues’n’Roots Festival
03/25/13........Adelaide, Australia.......................Thebarton Theatre
03/27/13........ Melbourne, Australia...............................Festival Hall
03/30/13........ Byron Bay, Australia................... Byron Bay Bluesfest
04/02/13........ Sydney, Australia..............................Hordern Pavilion
06/08/13........ Long Beach, CA..............................Ink-N-Iron Festival
06/24/13........ Zagreb, Croatia..................................INmusic Festival
06/26/13........Goteborg, Sweden............. Stora Scenen pa Liseberg
06/28/13........ Borlänge, Sweden................ Peace And Love Festival
06/30/13........ Marmande, France.......................... Garorock Festival
07/04/13........ Rome, Italy...............................................Rock in Roma
07/09/13........Argelès-Sur-Mer, France.......................Parc de Valmy
07/11/13......... Milan, Italy................................................... City Sound
"My motivation in making any record with the group at this point is no longer personal. It's just a pig-headed fucking thing I have that a real fucking group when they're an older group they also make fucking records. They don't just go and twiddle around on stage to make a bunch of fucking money..."
The Legendary Pink Dots are back with their highly anticipated new album. Chemical Playschool is a concept in which more then ever an indulgence in extended ballads and psychedelic improvisations allows Edward Ka-Spel’s voice to engage us with his unique brand of storytelling, and the use of synthesizers brings to mind vintage space rock adapted for the modern age.
The album opens with the beautifully epic “Immaculate Conception” where Ka-Spel transports us into a world of stars and planets surrounded by voices and distant echos. In “The Opium Den Parts 1-3″ we find a melancholy piece with classic LPD folk essence, arriving then at the ritual tribal ballad “Ranting and Raving”.
Chemical Playschool is able to surpass all of our expectations for a band always able to surprise as they lead us through their peculiar dream world. A truly inspired release representing one of the most beautiful concepts created by this eclectic and mythic band.
Historically, released in 2007, 'four' was the ep interlacing the last two albums Ordo Rosarius Equilibrio put out on cold meat industry, and an augury of the popularity the band would subsequently achieve with their quality blend of neofolk, martial industrial and melodic compositions - and the first time tomas pettersson would use his distinct voice to sing rather than recite.
'four' constituted the first output on the raubbau label, and upon its release the original vinyl picture disc edition almost instantly sold out. so it comes as no surprise that there has been a high demand to make these tracks available again to ordo rosarius equilibrio's ever-growing following, and raubbau now gives in to public interest and presents a fully remastered and largely expanded cd version of 'four' incl. remixes by Mikael Stastrand, Empusae, Arcana, Thirteenth Exile, Fredrik Leijstrm, Tarmvred, Geneviève Pasquier, Xotox and Spiral69!
'three times four' sets a fine example of what a rerelease/remix album should be about, adding surprising new aspects to the basic material. the approaches applied by the remixers are quite diverse, nevertheless there is a constant level of quality and originality that ensures a coherent, satisfactory listening. see, there are really more than just four shades of darkness
While the earlier Lustmord album 'Heresy' gave birth to the dark ambient genre, it is 'The Place Where The Black Stars Hang' that defines it. It's a work regularly cited by critics, audiences and musicians as being amongst the very best and most influential albums of its decade. Lustmord's sound investigations are exquisitely crafted manifestations of horror that balance sublime sound references with the body's natural queasiness about ultra-low frequencies.
His seamless treatments of acoustic phenomena encased in digitally expanded bass rumbles have the darkly ambient quality of nightmares that take you to the blackest of abysses. 'Black Stars' was perfectly remastered in 2006 and it is that version that is represented here.
The differences are subtle yet powerful, giving the album a more nuanced feeling of space and detail than ever before. Oft imitated, but never equaled, Lustmord: the power of sound.
Packaged in a heavy gatefold card sleeve with silver foil lettering.
