• Silent Disco at Glastonbury

    For those old-timers who chanted "Disco Sucks" ad nauseam at the dawn of the '80s, technology has finally granted your wish. England's Glastonbury Festival has announced a revolution in club land--the silent disco. The honchos behind the festival have been battling with local noise restrictions, so they decided to give ravers headphones as not to disturb the surrounding residents. The new technology was pioneered by the Dutch and allows partiers to set the volume of their headsets to their preferred level of groove. The Glastonbury Festival runs from June 24--26.

  • Chicago Women's Liberation Rock Band

    Featuring the Chicago Women's Liberation Rock Band The New Haven Women's Liberation Rock Band Le Tigre In the liner notes to the first Chicago Women's Liberation Band release, 1972's Mountain Moving Day, the sisters in the band state, "We wanted to make music that would embody the radical, feminist, humanitarian vision we shared." Much like the Chicago Women's Liberation Movement--a collective of women with utopian, socially progressive, feminist aims--the recently released compilation Papa, Don't Lay That Shit On Me has lofty liberal goals which it achieves, but musical goals which fall slightly short. Papa Don't Lay That Shit On Me is a pastiche of female outrage in several genres, including tracks from folk and blues outfits like the original Chicago Women's Liberation Band, its sister-in-crime the New Haven Women's Liberation Band, electronic neo-feminist mainstays Le Tigre, and sp

  • Paul Westerberg Rises Again and the House is Less Crowded

    Paul Westerberg High A new generation of misanthropes can learn what it's like to be depressed, drunk, and freezing one's ass off in Minneapolis--Paul Westerberg of the Replacements is coming out with a greatest hits compilation May 17th. For those consummate Replacements obsessives who think Westerberg was never very good on his own, don't fear: Rykodisc is reissuing the first four Replacements releases from the Twin/Tone label this fall, including the amazingly titled Sorry Ma, Forgot to Take out the Trash. Get your cigarettes and disaffection ready for another rocking onslaught from Westerberg in all his incarnations. House is Empty Crowded House drummer Paul Hester was found dead of an apparent suicide in Melbourne this weekend.

  • The Source:1; Eminem: 0.

    The Source:1; Eminem: 0. In a victory for free speech over corporate media control, Eminem's record company, Shady Records, withdrew the lawsuit against The Source that was launched when the music mag posted snippets from early Eminem songs on its website. The notorious songs, in which Em calls black people "porch monkeys," and "spear chuckers," caused an uproar when they were released two years ago. The lawsuit was withdrawn right before Eminem was supposed to take the stand in the highly publicized case. David Mays, the co-founder and C.E.O. of The Source says, ""It appears that Eminem's 'copyright infringement' lawsuit was nothing more than a strong-arm attempt to silence The Source's constitutional right to freedom of the press."

  • Weezer Tired of Having Sex

    Long awaited new material from Rivers Cuomo and company is debuting this spring, but these waify sensitive types are in for a change of image courtesy of Hugh Hefner. According to VH1.com, Weezer's new video for the song "Beverly Hills," off their forthcoming album Make Believe, was shot at the mecca of meaningless sex: The Playboy Mansion. Apparently the band was less than comfortable with their new surroundings, and Cuomo asks playmates with a sour expression (as he does on 1996's Pinkerton), "Oh why can't I be making love?"

  • Dandys Resurrected

    The Dandy Warhols would have become another mid-'90s flash in the pan were it not for last year's riveting documentary Dig, chronicling the fraught relationship between the Dandy Warhols' frontman Courtney Taylor and the mercurial, drug-addled lead singer of the Brian Jonestown Massacre, Anton Newcombe. Riding on the notoriety from that well-received film, the Dandys are releasing their first new album in three years, titled Odditorium or the Warlords of Mars, sometime this summer. Let's hope some of the frenetic charisma of Newcombe has worn off on Taylor--the Dandys need an infusion of inspiration.

  • Belle & Sebastian Open Old Wounds

    Before Franz Ferdinand defined the Scottish scene, there was a twee chamber-pop band called Belle & Sebastian that rocked the United Kingdom. Ten years after B & S began strumming in Glasgow, the band is releasing a double album of singles and EPs, called Push Barman to Open Old Wounds. The two-disc set, slated for a May 23rd release, includes such favorites as "Dog on Wheels" and "Judy is a Dickslap."

  • Neon

    Hometown: Broken Hill, New South Wales, Australia Discography: 2003, A Man EP (Transcopic) 2005, Hit Me Again (V2) Oz's own Neon will take you on a magic tambourine ride: The three-piece sounds like the Dandy Warhols snorting sand dunes in southeastern Australia. Singer Josh Bitmead, drummer Jamie Gurney, and bassist Britt Spooner craft psychedelic revival rock laced with '70s and '80s power pop.

  • United State of Electronica

    Sounds Like: A gerbil (or some other high energy rodent) trapped inside the arcade game "Dance Dance Revolution" (or some other Japanese dance-off). It follows then that the first single of the United State of Electronica's new self-titled full-length, "It Is ON!, is a hit in the land of the rising sun. U.S.E.'s unabashed love for cheesy synth loops is commendable for its earnestness if nothing else. Each song on U.S.E. is unbearably catchy but the edgy female vocals of back-up singers / official dancers Amanda Okonek and Carly Jean Nicklaus add a nice kick to U.S.E.'s otherwise saccharine arrangements. Fun Facts: The United State of Electronica began as a joke on the muddy banks of Seattle. One fateful night in 2002, a handful of the current members got on stage at a local nightspot, pretending to be a made-up house band from the home of odd electronic music--Germany. U.S.E.

  • Interpol Live at Radio City Music Hall

    Heroically leaping from eastside bars to midtown theaters in a matter of months, Interpol is a band caught in transition. A quartet of suit-clad New Yorkers, whose recent Matador release has turned the group into the poster children of east village indie rock, Interpol's current live show is a snapshot of its ascent through the ranks of New York City's venues. Spreading their instruments thinly across a stage designed for musical revues, Interpol is still a club act at heart, still not quite sure how to use their more spacious setting to their advantage. And while the group's sonic textures filled Radio City's cathedral-high ceiling with ease, Interpol still play by the 500-person Bowery Ballroom's rules, hiding behind dim, pub-style lights and keeping concert narration to a minimum. In certain respects, Interpol's set list decision was striking.

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