Jason Pierce’s Spiritualized, officially revived with last year’s Songs in A & E, will perform landmark 1997 album Ladies and Gentlemen We Are Floating in Space live in its entirety as part of ATP Concerts’ Don’t Look Back series.
“Things have been rather quiet round the Voxtrot camp these last two years,” writes Voxtrot’s Ramesh Srivastava on the band’s website, and indeed, the silence from the Austin quartet has been rather ominous. After a handful of acclaimed EPs that had them poised as the “next big thing” in indie-pop, the band’s self-titled 2007 debut was met with responses from fans and critics that ranged from muted to outright hostile. Was the experience discouraging enough to mean the end of Voxtrot? Thankfully, no. Though no new album (or EP, even) has been announced, the band has debuted a new single, “Trepanation Party” to coincide with a pair of shows on the occasion of the South By Southwest festival taking place in the band’s hometown. It’s a longer, slower kind of Voxtrot song, filled with dramatic keyboard flourishes and Beatles quotes, but it is still a new Voxtrot song, and coming from the lone fan of the band’s much-maligned debut, that can only be a good thing.
Ten years ago this week, Blur released 13, an album like 1997’s Blur that moved them resolutely away from the Britpop that made them stars in the UK. Below are the album’s three singles with their official videos as well as a few live treats from the record.
Blur - “Tender” (single released February 22, 1999)
Blur - “Coffee and TV” (single released June 28, 1999)
Blur - “No Distance Left to Run” (single released November 15, 1999)
Blur - “Tender” (live on Jools Holland)
Blur - “Bugman” (live on Jools Holland)
Blur - “Mellow Song” and “Trailerpark” (live in Spain)
Tennessee power pop band Superdrag has a new album, Industry Giants out this week. Here’s the new video for the single “Aspartame” as well as some upcoming tour dates.
APR 03 WASHINGTON, D.C. 9:30 CLUB
APR 04 PHILADELPHIA, PA JOHNNY BRENDA’S
APR 09 NEW YORK, NY BOWERY BALLROOM
APR 10 BROOKLYN, NY MUSIC HALL OF WILLIAMSBURG
APR 11 BOSTON, MA PARADISE
APR 24 ROCK ISLAND, IL DAYTROTTER SESSION
APR 25 CHICAGO, IL METRO
Havoc's Hidden Files is a bit uneven but occasionally taps into Mobb Deep's dark soundscapes and street narratives.
As Mobb Deep, Prodigy and Havoc can claim two nearly unrivaled classics in The Infamous and Hell on Earth. Sidetracked in recent years by Jay-Z beefs, the G-Unit imbroglio, and Prodigy’s incarceration, the duo’s future is unclear.
Prodigy’s solo work, most notably on Return of the Mac, has expanded on his early promise as a grim lyricist with a unique perspective. Havoc has always been prolific with production but not as successful a rapper as his counterpart. So Hidden Files follows much in the same manner as his solo debut Kush. Neither album will be remembered for its lyrical content or flow, but Havoc’s terse, foreboding sonic atmospheres cannot be denied.
The first half of the album aims for a hodgepodge of modern production styles, with nods to boom bap, reheated G-funk and the cinematic pomp of Young Jeezy. The exception is rock bid “Watch Me (ft Ricky Blaze)”, which is a simple curiosity but packs more of a punch than rock forays by Diddy or Lil Wayne. But Hidden Files really hits its stride with a four-song arc that includes “The Hustler”, “The Millennium”, “Walk Wit Me”, and “On a Mission (ft Prodigy)”. These songs hint at the dark soundscapes and cold, specific street narratives that were the signatures of Mobb Deep.
So not every track here is a keeper, but Hidden Files is worth checking out as it makes use of the lean, menacing qualities that form the bedrock of Mobb Deep’s classic output. This set is a serviceable stopgap that will hold listeners over until Havoc and Prodigy once again combine their strengths on an LP.