Across the globe in countless mythologies, the “wild god” concept occupies a unique niche, embodying the capricious spirit of untamed nature. Unlike their urbane counterparts, these deities, with their feral hearts, preside over the primordial chaos of forests, rivers, and beasts, eschewing the trappings of civilization. From the frolicsome Pan of Greek lore to the antlered Cernunnos of Celtic tradition, these figures serve as conduits to the wild, their narratives steeped in themes of transformation and the perennial dance of life and death. They underscore a profound truth: humanity’s dominion over nature is an illusion, and respect for its indomitable will is paramount.

Now, Nick Cave adds to the pantheon with his glorious new single Wild God, the titular song from his upcoming album with The Bad Seeds – and it is a hymn of profound spirituality. Keep your Kleenex handy, this song is incredibly moving. Cave’s voice is as commanding as ever as he unfurls this complex, uplifting tune – part Americana, part European folk, part gospel, and brimming with euphoria.

…But never lose sight of what the wild god stands for.

With Wild God, it’s clear The Bad Seeds have been revitalized. Their sound, while sometimes briefly recalling their storied legacy, mainly pushes the group into new areas, enhancing their unyielding forward momentum. Wild God shows a band unwilling to dwell on past achievements and propelled by innovation and exploration.

“I hope the album has the effect on listeners that it’s had on me,” says Cave. “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a master plan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” He adds, “Wild God… there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”

Be a wild god and give this a spin:

Nick Cave and the Bad Seeds are set to release Wild God on August 30th via Bad Seed/Play It Again Sam. The band—Cave, Ellis, Thomas Wydler, Martyn Casey, Jim Sclavunos, and George Vjestica—wrote and recorded Wild God at Miraval Studios in the French City of Provence and at Soundtree Studios in London.

Wild God marks Cave’s 18th collaboration with the Bad Seeds and follows the critically acclaimed Ghosteen from 2019. In addition,  Cave also worked on Carnage with Warren Ellis of the Bad Seeds in 2021. Wild God is a collaborative production effort between Nick Cave and Warren Ellis, with David Fridmann handling the mixing. The album features contributions from Radiohead’s Colin Greenwood on bass, with whom Cave toured last year, and Luis Almau on nylon string and acoustic guitar.

Pre-order ‘Wild God’ here.

NICK CAVE & THE BAD SEEDS – WILD GOD TRACKLIST
1. Song of the Lake
2. Wild God
3. Frogs
4. Joy
5. Final Rescue Attempt
6. Conversion
7. Cinnamon Horses
8. Long Dark Night
9. O Wow O Wow (How Wonderful She Is)
10. As the Waters Cover the Sea

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Kraftwerk’s lyrics intricately wove themes of post-war European urban life and technology, encapsulating experiences like car travels on the Autobahn, train journeys, and the use of home computers. Deeply influenced by the modernist Bauhaus aesthetic, they viewed art as fundamentally intertwined with daily life. Their lyrics, often minimalistic, skillfully balanced an innocent appreciation and a subtle caution regarding the modern world. This lyrical approach not only played a key role in the rhythm of their songs but also delved into the paradoxes of modern urban existence.

Kraftwerk’s songs frequently highlighted the simultaneous sense of alienation and the joy that modern technology brings, presenting a complex, multifaceted view of contemporary life. Their use of synthesizers and drum machines, in turn, revolutionized music. In 2019, Kraftwerk were nominated into the Rock and Roll Hall of Fame, and were finally inducted in 2021. Marking half a century of their sublime pioneering electronic soundscapes, the iconic German ensemble are set to electrify Los Angeles with a groundbreaking nine-show residency at the Walt Disney Concert Hall, the esteemed home of the LA Philharmonic. This monumental event at the end of May celebrates 50 years of Kraftwerk’s revolutionary presence.

Each of the first eight nights promises a deep dive into Kraftwerk’s influential discography, showcasing one of their seminal albums – a journey from the groundbreaking rhythms of 1974’s Autobahn to the pulsating beats of 2003’s Tour de France. It’s an unprecedented opportunity for fans to experience the evolution of electronic music, narrated live by its very pioneers.

The residency’s finale, on the ninth night, is poised to be a spectacular ode to Kraftwerk’s enduring legacy. Attendees can expect a curated selection spanning the band’s illustrious career. Complementing the full album performances, each concert will also feature a secondary setlist, offering a broader exploration of Kraftwerk’s rich catalogue.

Tickets go on sale Thursday, January 11 at 10 AM Pacific. Presales start Wednesday at 10 AM Pacific. For all ticket info, visit here.

Here is the full schedule:

• Tuesday, May 21, 2024, at 8PM – Autobahn
• Wednesday, May 22, 2024, at 8PM – Radio-Activity
• Thursday, May 23, 2024, at 8PM – Trans Europe Express
• Friday, May 24, 2024, at 8PM – The Man-Machine
• Saturday, May 25, 2024, at 8PM – Computer World
• Sunday, May 26, 2024, at 7PM – Techno Pop
• Tuesday, May 28, 2024, at 8PM – The Mix
• Wednesday, May 29, 2024, at 8PM – Tour de France
• Thursday, May 30, 2024, at 8PM – Finale with compositions from the entire catalogue
  

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Despite their hiatus, Corpus Delicti’s popularity burgeoned steadily, ultimately leading to a momentous reunion two decades later. They joined forces with Cleopatra, poised to reintroduce their oeuvre to the world. (Regrettably, Roma’s health constraints rendered her unable to participate, prompting the inclusion of Laurent Tamagno from M83 to assume the drumming duties.)

Nearly three decades after the release of their last album, Corpus Delicti are back with a vengeance, unleashing an intense new single, Chaos.

The song’s poignant lyrics bemoan a life devoid of purpose and connection. The absence of vision, friends, and genuine emotions leaves them smiling on the surface – but internally in mourning. The future, with its tantalizing possibilities, is juxtaposed with a haunting past. The struggle to confront chaos and deceit is underscored, emphasizing the futility of concealing one’s true self.

The video, directed by Stéphane Lionardo, showcases the band juxtaposed with nightmarish visions in a curious liminal dimension – representing the demons of humanity? Our own shortcomings and fears? Our secret shame? Take your pick.

Watch the video for “Chaos” below:

Produced in the United States under the stewardship of William Faith (Faith And The Muse, March Violets), and meticulously mastered by Grazz at The Exchange in London, this quartet demonstrates unwavering vigour in their latest track. Their dynamic blend of rock and melodic finesse remains unscathed, setting the stage for an impending global tour.

As the calendar turns to 2024, promising prospects loom large. An eagerly awaited UK tour, featuring a captivating performance at the Manchester Cathedral, beckons. Meanwhile, their return to American shores is eagerly anticipated, followed by a captivating autumn journey through Latin America, culminating in a headline performance at a festival in Mexico City.

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The reason for the reunion is none other than the 40th anniversary of the iconic concert film “Stop Making Sense.” The film has been restored to its former glory and will be showcased in IMAX at Cineplex’s Scotiabank IMAX Theatre. This cinematic concert-film masterpiece is the highlight of the Toronto International Film Festival and will be screened on September 11th.

Following the screening, the band will participate in a Q&A session moderated by acclaimed film director Spike Lee. Lee hosting this exciting event is likely the product of the recent collaboration between Byrne and Lee on the film adaptation of the musical “American Utopia,” as Stop Making Sense’s director Johnathan Demme passed away in 2017. For those unable to attend the Toronto event, the reunion, and Q&A will be broadcast live in theaters worldwide, with A24 releasing the refreshed “Stop Making Sense” on September 22nd for fans around the globe.

Jonathan Demme’s “Stop Making Sense” isn’t just a concert film—it’s a piece of history. Capturing the band in their prime during their December 1983 gigs at LA’s Pantages Theater, it earned its spot in the Library of Congress’ National Film Registry in 2021.

The Talking Heads’ journey has been a rollercoaster of highs, lows, and radio silences. Their shared history is magnetic, pulling them back together for moments like the film’s 15th anniversary in 1999 and that unforgettable 2002 Rock Hall of Fame performance. The reunion whispers often circled Byrne, but the current mood suggests a thawing of past tensions. Meanwhile, Byrne’s been making Broadway waves, teaming up with Fatboy Slim on the musical, Here Lies Love. Whether this reunion is a fleeting moment or a sign of things to come, one thing’s for sure: the Talking Heads’ legacy is here to stay.

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Upon the band’s dissolution in the mid-90s, frontman Greg Ackell had firmly believed his journey in music creation had reached its end. They had enjoyed a remarkable run, sharing the spotlight with industry giants like Radiohead, Hole, Blur, PJ Harvey, and Smashing Pumpkins. The band had grown from Boston teens to mature artists in their mid-twenties, boasting a catalogue of MTV videos, a pair of BBC sessions, and a raft of festival performances. Thus, when Drop Nineteens came to an end, Ackell felt a sense of fulfillment. An entire life lay ahead for him to explore fresh pursuits. The music chapter was closed…or so he thought.

Almost three decades later, Ackell felt a sudden and profound urge to reconnect with the guitar. In the wake of this rekindled passion, he promptly reached out to Steve Zimmerman, the band’s bassist and co-guitarist, and they dived headlong into the creative process. For Ackell, the process seemed seamless, as if his musical creativity had merely been hibernating. The first step towards the creation of ‘Hard Light‘ involved reassembling the original band members – Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin.

The impetus to reunify the band was provided by their acquaintance, Cleveland-based musician Craig Rich. Over the span of a year, they pieced together the album, recording in a variety of studios scattered across the nation – Boston, San Francisco, Los Angeles. The band found the process of music-making to be organic, flowing, and invigorating. What emerged was a Drop Nineteens record with a distinctive contemporary feel, utterly unique in its sound and vision. With their 2023 release, Drop Nineteens have breathed new life into the genre they helped forge, providing a cool, clear perspective. It is a snapshot of a band, thirty years on, still brimming with talent and dedication.

The freshly unveiled video for “Scapa Flow” takes the form of a silent film, presenting a sequence of submerged vessels being reclaimed from the depths – a potent metaphor for the band’s own reemergence from their long hiatus.

Watch the video below:

The album bears the creative stamp of the original quintet – Greg Ackell, Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin, who initially collaborated for their 1992 debut, Delaware. Alongside the announcement of their album, they have also revealed a concise itinerary of fall tour dates, with supporting acts from Horse Jumper of Love, Greg Mendez, and Winter.

Hard Light will stand as the band’s third LP, the first since their 1993 release, National Coma.

Pre-Order Here

Tour Dates:

• 10-10 Washington, DC – The Atlantis * 
• 10-11 Philadelphia, PA – Union Transfer  %
• 10-12 Boston, MA – The Paradise *
• 10-13 Brooklyn, NY – Warsaw  *
• 10-19 Los Angeles, CA – The Belasco ^
• 10-22 Oakland, CA – The New Parish ^* with Greg Mendez
  % with Horse Jumper of Love
  ^ with Winter

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We’re heavy hearts and broken dreams

Symmetry isn’t everything

After nearly three decades of silence, acclaimed American indie/alt-rock act, The Julies, have announced their return with a brand new single, “Symmetry.” This musical venture marks their first bout of fresh material since their acclaimed 1996 EP, “Lovelife.“

In “Symmetry,” The Julies deftly weave a sonically rich tapestry, echoing the hues of ’80s post-punk, new wave, blending seamlessly with undertones of ’90s shoegaze, indie rock, and Britpop. Listeners might discern hints of the Eels, Elbow, and the Maccabees embedded within the layers of their music. The track unfolds as a luxuriously sprawling journey, radiating an unabashed warmth – its core message resting on the notion that perfection is found not in the pursuit of flawlessness, but in the acceptance and celebration of our individual quirks and idiosyncrasies.

To that point, the song is intentionally invitational. “It’s kind of our ‘calling all misfits’ song,” says vocalist Chris Newkirk. “We grew up on bands that embodied the outsider persona, and as fans we always found community in our shared wonder of their work. It just felt important to celebrate that motivation to make and share music right out of the reunion gate.”

Complementing the release, The Julies have curated their maiden lyric video, masterfully shot and edited by visual maestro, Joey Joseph. The accompanying visuals present an ethereal montage of blurred floral imagery, adding a tactile layer to the rich auditory experience. Dive into this glorious revival by watching the video for “Symmetry” below:

Propelled by the distinct reverberations of their ’90s guitars, a poignant echo of their shared history, “Symmetry” presents to enduring supporters a glimpse into the once disrupted journey, while concurrently welcoming a new generation into the distinctive sound world of The Julies. Consistently fusing the gritty undertones of ’80s post-punk and new wave with the enveloping resonance of ’90s shoegaze and indie rock, The Julies persist in composing a soundscape that is truly distinct and unmistakably theirs.

Though not a full-scale reunion, The Julies’ revival showcases three of the original quintet – crucially, guitarists Alex Yost and Pat Zbyszewski, whose deft guitar craftsmanship effortlessly creates harmonious synchronicities. In “Symmetry,” it becomes evident that the guitars bear not only the responsibility of defining the band’s signature soundscape but also, now, of leading the narrative of their songs. It’s the intriguing paradox of the familiar yet evolved sequel – an irresistible proposition that always manages to captivate the listeners.

“Symmetry” is streaming now, check out and purchase the single here:

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The surprise reunion, which marked the kickoff of this year’s Eurovision Song Contest, took place during the Big Eurovision Welcome show outside the majestic St George’s Hall. Sharing the stage with fellow Liverpudlian sensations Atomic Kitten, The Real Thing, and The Lightning Seeds, the band treated fans to a night they’ll never forget.

Hailing from the vibrant 1980s Liverpool music scene, Frankie Goes to Hollywood became a global phenomenon with hits like “Relax,” “Two Tribes,” and “The Power of Love.” Though they disbanded in 1987, a few partial reunions in the 2000s kept fans hopeful for a full-scale comeback.

The reunion announcement was initially made on the BBC One Twitter account and later confirmed by Holly Johnson via Instagram, although the brevity of the performance, which excluded their biggest hits “Relax” and “Two Tribes,” did prove somewhat disappointing. As the band left the stage, the audience responded with “muted cheers and disbelieving murmurs,” fueling speculation about whether the reunion will continue.

The road to this historic reunion has been a rollercoaster ride. In 2004, founding members Rutherford, Gill, and O’Toole staged a charity concert at Wembley Arena in support of The Prince’s Trust. Frontman Holly Johnson, however, declined to participate, leaving the band to hold open auditions in London and select Ryan Malloy as their new vocalist.

Now, with Johnson back in the fold, excitement builds for the Eurovision Song Contest taking place on Tuesday, May 9th, and Thursday, May 11th, and the grand finale airing live on Saturday, May 13th. Is it the beginning of a new chapter for Frankie?

While the future remains uncertain, their brief but powerful performance has reminded us all of the incredible impact and legacy they’ve left on the music scene.

Watch the performance of “Welcome to The Pleasuredome” below:

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EXCLUSIVE ANNOUNCEMENT

It’s what we’ve been waiting for… @AJOdudu has #Eurovision2023 news! For the first time in 36 years, Frankie Goes To Hollywood will reunite #TheOneShow https://t.co/GdKwGTPXMc pic.twitter.com/VppIrlNGKV

— BBC The One Show (@BBCTheOneShow) April 24, 2023

Hailing from the thriving Liverpool music scene of the 1980s, Frankie Goes to Hollywood enraptured audiences with their timeless hits “Relax, “Two Tribes,” and “The Power of Love.” On Sunday, May 7, they’ll join fellow Liverpudlian sensations Atomic Kitten, The Real Thing, and The Lightning Seeds for a scintillating performance outside the majestic St George’s Hall.

The Grammy-nominated group initially disbanded in 1987 but continued to appease their fans with a string of compilation albums over the years. Roughly two decades ago, Frankie Goes to Hollywood was featured in a VH1 show called Bands Reunited, which chronicled the journey to reunite Frankie, which was unsuccessful at the time, as frontman Holly Johnson declined to perform with the band again at the time.

In 2004, founding members Paul Rutherford, Peter ‘Ped’ Gill, and Mark O’Toole reunited for a charity concert at Wembley Arena, in support of The Prince’s Trust. Vocalist Holly Johnson, however, privately expressed his hesitance to participate in the performance. As excitement built, the band conducted open auditions in London to find a new vocalist capable of filling Holly Johnson’s enigmatic role, ultimately selecting 28-year-old Ryan Malloy for the esteemed position.

Now, for the first time since 1987, the band, helmed by the charismatic Mr. Holly Johnson, has finally reunited.

The first Eurovision semi-final is on Tuesday, the 9th of May, followed by the second semi-final on Thursday, the 11 of May. The grand finale airs live on Saturday, the 13th of May.

 

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A post shared by Holly Johnson (@mrhollyjohnson)

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Cranes are set to ignite the stage once again in a long-awaited reunion concert featuring Alison Shaw, Jim Shaw, Mark Francombe, and Matt Cope. This marks the first time the quartet has performed together since 1995, promising to be a monumental event for die-hard fans and newcomers alike.

At the heart of the reunion lies Forever, a timeless masterpiece that captured the band’s ethereal style: shoegaze and dream-pop fused with gothic rock elements. The album, released in 1993, received widespread critical acclaim and has since attracted a cult following. Notably, Robert Smith from The Cure is a fan. He even remixed the single “Jewel” from Forever after inviting Cranes to join him on the 1992 Wish tour.

Now, as we approach its 30th anniversary, the Cranes faithful fans will witness the band’s signature sound come to life on stage once again.

This is a once-in-a-lifetime opportunity to relive the magic of Cranes’ original line-up. Expect to be transported back in time: EartH Theatre, a beautifully restored 1930’s former cinema located in the heart of Hackney, provides the perfect setting for this momentous occasion. With its Art Deco-inspired architecture and intimate atmosphere, the venue will transport fans back to the golden era of Cranes’ music.

Listen to Forever below to get in the mood:

Tickets for this once-in-a-lifetime event are on sale now and available here.

Given the rarity of this reunion and the significance of the ‘Forever’ album, tickets are expected to sell out quickly. Fans are advised to act fast to secure their spots fast.

Additionally, Cranes recently announced the release of a new video release of the track Da Da 331 from the band’s upcoming Peel Sessions LP, which should now be available on all your favourite streaming platforms.

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We’re in it together, stay strong forever.

Though the possibility of The Smiths reuniting is left out in the cold,  bassist Andy Rourke and guitarist Johnny Marr have once again joined forces following a performance at Madison Square Garden playing “How Soon Is Now?” and “There Is a Light That Never Goes Out.”

Now the more amiable half of The Smiths have recorded their first song together in 35 years: “Strong Forever,” a new track by Rourke’s group with former Happy Mondays guitarist Kav Blaggers, Blitz Vega. Marr is featured on guitar; the album was co-produced with DJ Z-Trip. Marr and Rourke, who have known each other since middle school, feel their friendship gets stronger as time passes – and this collaboration shows there is still magic in their creative forces.

“I wanted exactly what Johnny does,” says Rourke. “He has a very distinctive sound, and that’s what he did. We love what he brought to the track.”

While it’s more Happy Mondays-flavoured than Smiths in its sound (Blaggers is on vocals), Marr’s signature jangling guitar takes centre stage. It’s an expansive, feel-good anthem – a cheerful, welcome balm to the gloomy days of mid-November.

Listen below:

Rourke and Blaggers had been working on the track since before lockdown. “We were originally recording this song for a UN/U.K. football anti-discrimination/anti-bullying campaign,” Rourke says. “We approached a few people to guest on the track, and I asked Johnny, who very kindly recorded some guitars and sent them over.”

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