Free Kitten Return!
Supergroup features Kim Gordon, Yoshimi, Julie Cafritz

It's been quite a while since we've thought about Free Kitten, the only-badasses-need-apply supergroup featuring Sonic Youth's Kim Gordon, Pussy Galore's Julie Cafritz, Yoshimi P-We of Boredoms, and, at one point, Pavement bassist Mark Ibold. It's been more than a decade since their last record, Sentimental Education, and since then, all parties involved have made some pretty kickass music outside of the realm of feline gratis.

But we'll do a whole lot more thinking about Free Kitten between now and May 20, when Ecstatic Peace issues Inherit, the group's third proper LP. Though they're minus an Ibold this time out (he must be busy with that Pavement reunion PSYCH), the disc sports a little guest axe-work from Mr. J Mascis. Fair trade?

By the by, that photo up there ain't just two ladies dressed up like guitar-slingin' wizards. It's two ladies (Gordon and Cafritz) dressed up like guitar-slingin' wizards at the video shoot for the exceptionally titled "Free Kitten on the Mountain", which you'll want to keep an eye peeled for.

And, if you're in New York City between now and April 9, you'll want to stop into the K.S. Art gallery, where an exhibition of Kim Gordon's abstract watercolors is gracing the walls. The show will also include a sound work created by Gordon in collaboration with that Thurston guy she hangs out with from time to time. [MORE...]

Bjork's Tibet Boost Angers Chinese Authorities
Serbia's EXIT Festival extends "open invitation" to singer

Photo by Kathryn Yu

You have to hand it to Björk. At the moment, it feels like she's got the whole world in a tizzy, and all for uttering two words.

The first, of course, was "Kosovo!", shouted during a late February concert in Tokyo in the context of incendiary Volta tune "Declare Independence". That particular utterance led to the cancellation of a proposed appearance at the 2008 EXIT Festival in Novi Sad, Serbia, as confirmed last week.

The second, as previously mentioned, was "Tibet!", which the Icelandic iconoclast shouted during a March 2 performance of "Declare Independence" in Shanghai, China. Not surprisingly, China, which has exercised a controversial rule over Tibet for 58 years, took offense to Björk's remarks.

According to an Associated Press report, the Chinese Ministry of Culture released a statement late last week claiming Björk's Tibet shout-out "broke Chinese law and hurt Chinese people's feelings." The report suggests China-- where even a Dirty Three show can result in a riot-- intends to "be stricter on foreign performers" following the Björk incident.

Björk already commented on the matter in a statement she released last week. Here are those words again:

"I have been asked by many for a statement after dedicating my song 'Declare Independence' to both Kosovo and Tibet on different occasions. I would like to put importance on that I am not a politician, I am first and last a musician and as such I feel my duty to try to express the whole range of human emotions. The urge for declaring independence is just one of them but an important one we all feel at some times in our lives. This song was written more with the personal in mind but the fact that it has translated to its broadest meaning, the struggle of a suppressed nation, gives me much pleasure. I would like to wish all individuals and nations good luck in their battle for independence. Justice!"

Meanwhile, EXIT Festival's Bojan Boskovic released a statement to NME.com this past Friday in response to the controversy surrounding Björk's nixed EXIT appearance. Björk's management recently shared an email from Boskovic in which the EXIT Festival co-founder threatened to cancel Björk's performance if the Kosovo matter was not swept under the rug. NME reports that Boskovic claimed the email in question "was not an official EXIT statement," but was instead sent to show "my great concern about what is going on."

Boskovic continued, "Two weeks later I have a different opinion about it. We do want to see [Björk] at EXIT. We're trying to see with management now if this is the best time to have her. There is an open invitation as far as EXIT is concerned."

While you ponder all that, have another look at these Björk tour dates. [MORE...]

Four Tet Goes Techno on New Mini-Album

Four new tunes from the dude who calls himself Four Tet? Sign me up, Domino.

Yep, Kieran "Four Tet" Hebden will issue Ringer, a 32-minute, four song mini-LP due April 21 in the UK and May 6 in the U.S. on CD, digital download, and a pair of 12"s. The set is described as "techno with an Afrobeat/Krautrock sensibility." Timely!

As is often the case, Mr. Hebden's been keeping that datebook busy lately, as he recently joined jazz drummer (and frequent collaborator) Steve Reid on Daxaar, joined with Hot Chip's Alexis Taylor to produce the Letter G, remixed Thom Yorke's solo stuff, and is hooking up with upstarts Foals on a singles series. A Born Ruffians remix is also in the works.

He's got a few gigs lined up over the next few months, including a set at the Explosions in the Sky-curated ATP in May. [MORE...]

Lou Reed Blogs About Boxing, Tours the World
" 3rd row in - first round and a lot of dancing going on - no real damage! Sitting here beside Vince McMahon and WWE stars"

We knew Lou Reed was into Tai Chi, but didja know Lou is a big fan of boxing, too? Us either! Apparently, that cool cat snapping pictures and furiously poking at his Blackberry ringside at last month's Sultan Ibragimov/Wladimir Klitschko fight at Madison Square Garden didn't just look like Lou: it was Lou!

Turns out our hero was live-blogging the fight for MSG's Game On! Here's a little sample: "Klitschko needs to throw punches, giving Sultant [sic] too many chances and he's 1 foot shorter." He's also probably the first person in history to have hung out with John Zorn and Vince McMahon in the same night.

Good thing he's got that day job to fall back on.

Speaking of which, Lou's got a mess of stuff on the docket over the next several months, with a two-fer down there at South by Southwest and an intercontinental tour in the spring and summer. Let's discuss.

As you may have heard, there's a big to-do in Austin next week. Lou, as promised, will handle this year's SXSW keynote address March 13 at the Austin Convention Center, because, well, he's Lou Reed, and that just makes good sense.

The previous afternoon, March 12, the Paramount Theatre will host a screening of Julian Schnabel's documentary Lou Reed's Berlin, filmed at a series of December 2006 shows at Brooklyn's St. Ann's Warehouse. The flick explores Reed's live exploration of his 1973 solo LP Berlin, with special guests Antony, Sharon Jones, and others.

Not heading to Austin? Perhaps you'll find Lou heading your way this spring and summer as he embarks on a brief U.S. tour to be followed by a lengthier, Berlin-centric European jaunt in the summer. The European tour will include a 30-piece band, a children's choir, and a set designed by Julian Schnabel. More dates on either side of the pond are promised on Lou's very confusing website, so look out for that, Aspirin in hand. He'll also perform at the previously reported SPEAK UP!: A Benefit Concert for Peace in Iraq & Justice at Home, which takes place March 18 at St. Ann's Warehouse in Brooklyn, the same spot where those original Berlin shows took place.

Also, Lou Reed will induct Leonard Cohen into the Rock and Roll Hall of Fame today. Then they will compete to see who can be sadder. [MORE...]

My Morning Jacket Reveal Evil Tracklist

Photo by Kathryn Yu

My Morning Jacket have unveiled the tracklist of Z follow-up Evil Urges. And if the album's 14-song length is any indication of its sound, we may be in for grandiosity of the lengthier It Still Moves variety rather than the tighter attack we got on Z. Either way, we're psyched.

ATO releases Evil Urges on June 10, and MMJ have a handful of shows in the months before. [MORE...]

Xiu Xiu Launch Women as Lovers Tour Tonight
It's up to you to make this picture a reality, Xiu Xiu fans

Pandapple-- "a boy panda who absolutely loves apples"-- is just about as precious as it sounds. The blushing mash-up of cute and cuter comes courtesy of Sanrio Co., Ltd., the Japanese company also responsible for such trinket fodder as Hello Kitty, Keroppi, and Chococat (links NSFW). Pandapple has many fans the world over, but perhaps none as fervent-- or unlikely-- as the folks of Xiu Xiu.

In a recent posting on the band's website, Xiu Xiu implore fans to bring them any Pandapple objects they can find at any and all stops on Xiu Xiu's imminent tour, which kicks off tonight in Portland, Oregon, and heads into Europe in May. Those who do will be rewarded with a "Xiu Xiu oriented party surprise." Who woulda thunk one of the more charming tidbits to grace these pages in months would come from friggin' Xiu Xiu?

What's more, Xiu Xiu documentarian David Horvitz has put together another Xiu Xiu Polaroid Project, albeit on a smaller scale. Attendees at the March 23 Xiu Xiu gig at Music Hall of Williamsburg in Brooklyn can bring Polaroid film and receive some nice conversation pieces in return. Not a bad deal! Read up on the details here.

In other Xiu Xiu news, they've got a fine new record out called Women As Lovers, and they'd like you to sing over one of their tunes if you get a minute. But seeing as neither of those things have to do with Pandapple, uh, here. [MORE...]

Club 8 Back Catalog Gets Expanded Reissue Treatment

Perhaps recent offering The Boy Who Couldn't Stop Dreaming served as your entry point to the wonderful, winsome indie pop world of Club 8. Or perhaps you've worn down your copies of the duo's numerous releases with play after loving play. Either way, great news for you! A hefty portion of the Club 8 back catalog saw reissue this week, bolstered by bonus tracks galore.

Longtime fans and new converts alike now have cause to snatch up expanded editions of 1998's The Friend I Once Had, 2001's Club 8, 2002's Spring Came, Rain Fell, and 2003's Strangely Beautiful, available now via Labrador (and distributed by Darla in the U.S.). No fewer than 18 bonus tracks in all populate the extended tracklists, available for eager eyes below.

What's more, Club 8 have several live dates lined up, with the next happening right about now in Barcelona.

Meanwhile, Labrador-- run by Club 8's male half, Johan Angergård-- has kept plenty busy in 2008. Most recently the label signed another Swedish duo, the Sound of Arrows, who will unleash the nine-track EP Danger! this May. A Sound of Arrows full-length will follow in the fall, and 2008 should also hold new Labrador releases from the Radio Dept. and Suburban Kids With Biblical Names. That's enough to keep our twee hearts a-pitter-patterin' straight on till winter! [MORE...]

Subtle to Hit the Road in May

Once May rolls around, Adam "Doseone" Drucker and the rest of his Subtle crew will take to both ExitingARM and entering clubs all over North America. The bizarre and frequently brilliant assemblage will take to the road in support of Lex Records' May 13 release of their third proper LP. Along for the ride in various opening band slots are Black Moth Super Rainbow, Efterklang, Slaraffenland, Fog, and Pit Er Pat.

One can expect more North American dates through June to emerge, and a trek to Europe is in the works. In the meantime, the band are hunkering down with Big Gulps, furiously coding that as-yet-unveiled ExitingARM website of theirs, and, of course, going about their business with more than a modicum of reserve. [MORE...]

Lil Wayne, Condom Spokesperson
"No vaseline" doesn't mean "no protection"

UPDATE: Image removed, sorry

Chronological thoughts upon seeing Lil Wayne's ad for Strapped Condoms [above]:

1) Anything promoting safe sex is commendable, right?

2) Something something obvious homoerotic implications something something.

3) Wait, why are we associating wrapping it up with criminal behavior??

We're just...stunned. Also, we'd be remiss not to point out the Strapped Condoms MySpace blog post titled "STRAPPED CONDOM LARGE ORDERS". Act now!

(Via XXL / Nah Right)

Lil Wayne has some tour dates too, but, like, whatever. [MORE...]

Earlimart to Issue Hymn and Her in July
Playing in Austin a lot next week for some reason

Earlimart are known for a few things-- palling around with the late Elliott Smith, a deft wit in the title department, being pretty good-- but they're not exactly renowned for their prolificacy. In fact, in their decade or so of existence, they've averaged about one album every two years, and the space between 2004's Treble & Tremble and last year's Mentor Tormentor was-- as you math majors have already worked out-- three years.

But that may well be changing. Having pared their lineup down to a two-piece for their last LP, Aaron Espinoza and Ariana Murray crafted its follow up, Hymn and Her, "rather quickly," and expect to have it out July 1on the Shout! Factory subsidiary Majordomo. What's more, the pair have made a vow to "release at least one record every fiscal year for the next 10 years. Or, unless Aaron and Ari decide that they don't want to," according to a press release. Cheeky.

Still, this fiscal year, we'll get Hymn and Her, recorded at the band's very own Ship Studio in Eagle Rock, CA. Due perhaps to its more spontaneous creation, the disc is described as the band's most "organic and diverse" set yet. Oh, sure, that's what you'll be telling us about the follow-up come tax time next year.

You'll have plenty of chances to sneak a peek at Hymn and Her at next week's SXSW. Beyond that, there's nothing in the way of tour plans, though between Austin and the album's release, "Ari will be busy writing her first musical 'Hop Sing'......some sorta kung fu/bob fosse thing............i'll be busy with volunteer work at the gas station......and working on my moustache............," according to a MySpace post from Espinoza. [MORE...]

Low Add Dates, Subtract Bassist
Related: Retribution Gospel Choir Add Dates, Subtract Bassist

Photo by Tim Soter

Their music may be slowcore, but their bass player situation is pure heavy metal. After just a few years handling the low-end of Low, bassist Matt Livingston-- himself the successor to Tool-touting, comics-crafting Zak Sally-- has left both Low and Alan Sparhawk's side project that goes to 11, Retribution Gospel Choir.

For the latest on this development, we take you to the official statement from Low:

"Low has lost another bass player. Mimi [Parker] and Alan [Sparhawk] are beginning to wonder if maybe THEY are the problem. Matt Livingston is no longer in Low and Retribution Gospel Choir. He is going through some personal situations right now that have made it impossible to remain with the band. Steve Garrington will be playing bass for both bands on tours coming up this year."

Greet Garrington and wish him luck on a whole mess of upcoming dates for both acts. Since our last report, Low have bookended their European jaunt with a few U.S. dates, while RGC have lined up an assortment of gigs on both sides of the Atlantic reaching into July.

Thanks to reader Jeremy Marshall for the tip.

Finally, don't forget the amped-up and rather awesome Retribution Gospel Choir arrives March 18 on Caldo Verde. [MORE...]

Report: Plug Awards [New York, NY; 03/06/08]

Text by Matt LeMay, photos by William Kirk. Above: Nick Cave

Last night, music fans young ("Indie rock? I love that!") and old ("Hey, cheap Nick Cave show!") packed New York City's Terminal 5 for the third annual Plug Awards ceremony. As an indie rock awards show with extensive corporate backing, the event was predictably awkward and weird; a cordoned-off counter set aside for "bloggers" bordered on self-parody, and the inescapable presence of the event's numerous sponsors made the awards' name seem oddly apt.

The presentation of the actual awards was almost hilariously anti-climactic-- big wins by the Arcade Fire (Album of the Year, Live Act of the Year) and Radiohead (Artist of the Year) were met with what could only be described as deafening "meh"s, and only a handful of winners were actually on hand to give brief and inadequately amplified acceptance speeches.

But host Patton Oswalt was gracious and good-natured throughout, tacitly acknowledging the hurried weirdness of the night but never appearing frustrated or bitter. Intermittent mixtape-themed videos provided by Michael Showalter may very well have been funny, but it was almost impossible to hear them over the crowd. Indeed, sound problems plagued the night; the volume of the show often fell just below the not-so-ambient noise of the crowd, with the exception of Nick Cave and the Bad Seeds' excellent, if too-loud, performance.

White Denim's set started the night on an appropriately haphazard note-- noise emanated from behind the curtain while Oswalt was still trying to make a handful of announcements. As the curtain rose, the band's drummer was flanked by a small group of clapping and shouting cronies; they plowed through two quick songs to a crowd that already seemed antsy fifteen minutes into the night. It wasn't clear whether their parting statement of "thanks for the exposure" was a tongue-in-cheek fuck you to a generally unresponsive and chatty audience, or an attempt at genuine gratitude somehow lost to the night's strange mood.

St. Vincent offered one of the more memorable sets of the night, performing three songs with remarkable confidence and charisma. I hadn't seen Annie Clark since back when she performed under her given name, and I was amazed at how well her music and stage presence worked at a venue as large as Terminal 5. Clark and her band worked seamlessly and forcefully in unison, mirroring the ebbs and flows of her music and keeping between-song delays to a minimum. She was rewarded with a win in the Female Artist of the Year category.

The Forms, who followed St. Vincent, did not fare so well, unfortunately. A short set at a large club with bad sound was definitely not the right environment for them, and cast their songs as generic rock band satire. (Their generic "The ____s" name and status as relative unknowns didn't seem to win them many points with the crowd, either).

Dizzee Rascal suffered almost the opposite problem. While the Forms dutifully performed their songs without engaging the audience, Dizzee's attempts to get the crowd enthused largely fell flat. Even a rousing rendition of "Fix Up, Look Sharp" was met mostly with blank stares and chatter.

José González played a lovely and very short set, but amidst the noisy crowd it was difficult to focus on his performance. By the latter part of the night, the rushed feel of the ceremony itself was beginning to get to everybody; I would be hard pressed to think of a worse environment for taking in González's subtle, attention-rewarding songs.

Ultimately, the night belonged to Nick Cave and the Bad Seeds, whose 50-minute, nine song set quickly laid waste to the stifled strangeness that had preceded it. It wasn't until Cave took the stage that the odd demographics of the awards show began to make sense. The second Cave appeared on stage, the bald spots dotting the crowd began bobbing up and down excitedly. Even Cave seemed to have just a bit of trouble settling into the night, but by his third song it was clear that we were in the presence of a master. In fact, the formal dress and unerring professionalism of Cave and his band put to shame the night's half-assed hipster approximation of awards show flair.

As the crowd shuffled out of Terminal 5, Cave's performance was clearly the favored topic of conversation, even among relative newcomers to Cave's work (myself, admittedly, included). Sure, the "indie rock trade show" atmosphere of the night was bizarre and a little upsetting, but if that's what it takes to put on a $10 Nick Cave show, maybe it isn't so bad after all.

P.S. Thanks a lot to everybody who voted for Pitchfork for the Music Website of the Year Plug Award. We're very happy to have won for the third year in a row!

More photos below, including a few from Bat for Lashes' pre-party set. [MORE...]

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