The Brian Jonestown Massacre, The Raveonettes
Column: Gig Reviews |
Date Published: Tuesday, 12 June 12
| Author: Peter Krbavac
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| 5 days, 18 hours ago
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At ANU Bar, Friday May 18
It's always a relief to round the corner of the ANU Bar on a show night and see punters spilling out across the decking. Of course it is a Friday night so there really is no excuse, and thankfully Canberra has done itself proud for The Brian Jonestown Massacre's first visit.
We aren't too long inside before, at the very civil hour of a-quarter-to-nine, Danish duo The Raveonettes emerge, flanked by a touring drummer. With their flashy light show, the 'nettes leave their US tour-mates in their wake in the performance stakes. Sune Rose Wagner's searing guitar work is sharper than his bandmate Sharin Foo's fringe: fuzzed out; treble-heavy; loud enough to dislodge fillings; equal parts Mary Chain's William Reid and The Cramps' Poison Ivy. While the pair still share vocal duties, Foo takes the lead on most of the new songs and makes a commanding frontwoman.
As the crew prepares for The Brian Jonestown Massacre's entrance, the side stage area looks like a Vox showroom from the '60s with all kinds of bizarrely-shaped six and 12-string artefacts sitting about on racks. When the group do arrive, they file onstage and get straight down to it with Stairway To The Best Party In The Universe from their latest LP, Aufheben. From there the band go about their business with minimal fuss. Any rubberneckers who've come along in hope of something kicking off will have left disappointed. As anyone with a passing interest in the band would know, their infamously unwieldy days are long gone and The Brian Jonestown Massacre are now a reliable live proposition, more likely to break the venue curfew with a marathon set than any bystanding sitars. Granted, a piece about a band who troupe onstage, stand fairly still and flawlessly run through a wide-ranging selection of their best songs doesn't exactly make for the most gripping reading, but on the ground the band never sound any less than riveting.
Tonight, ordinarily chatty frontman Anton Newcombe seems content to let his songs do the talking, though early on in the piece he does pause to wryly remark, “Did they just throw Tony Abbott out?” when a more 'refreshed' member of the audience is ejected. Later on he mumbles a brief, somewhat indecipherable diatribe into the microphone which ties in both the Kardashians and the electoral process. As with the banter, the jamming is kept to a minimum and, by the night's end, the band have powered through 21 songs.
With founding member and contributing songwriter Matt Hollywood and magnetic tambourine player Joel Gion both back in the fold, this eight-man, four – on one song five – guitarist incarnation could well prove to be the band's definitive line-up. Certainly, rendered through that wall of guitars, tonight's versions of early tunes like That Girl Suicide and Vacuum Boots sound streets ahead of their studio counterparts.
The band do allow themselves to stretch out on closing number Straight Up And Down, jamming out the track until it slowly morphs into a hybrid of Sympathy For The Devil and Hey Jude. The members depart the stage one by one, leaving Newcombe behind on the keyboards, conjuring up an unholy noise coda to the near-two-hour set. For a brief moment it appears an encore is on the cards but neither the audience nor Newcombe seems to commit. Perhaps he knows, like we do, that it'd be a tough ask to top what had gone before.
tibo,reke and anton montpellier 2012
TONIGHT'S CONCERT:
thank you,that was fun.
‘In
de jaren zestig en zeventig werd pas goede muziek gemaakt’. Dat is wat
je vaak te horen krijgt van uitgerangeerde, oude bloemen tussen je oren
verruild voor geraniums, vaders en moeders die hun moraal en leven al
lang in steek hebben gelaten. Die zien we dus vanavond ook niet in Vera
in Groningen bij The Brian Jonestown Massacre. Een band
waar het psychedelische jaren zestig geluid als basis gebruikt wordt in
de muziek. Het is een spacende mengeling en experiment van shoegaze,
pop, country, elektronica. Soms toegankelijk, soms vliegt de noise je de
oren om.
Tijdens de tour supporten verschillende bands TBJM, vanavond The Third Sound met frontman Hákon Aoalsteinsson die ook in Singapore Sling en Hudson Wayne gezeten heeft. Als collectief weet de band niet ver van de psychedelische boom te liggen dan TBJM, hoewel de nummers van The Third Sound veel minder catchy zijn. Dat de groep start met spelen voor een nagenoeg lege zaal is niet erg gunstig voor de al wat houterige frontman. De gitarist, verantwoordelijk voor een heel groot deel van waar het ontoegankelijke van de band in gaat zitten, noise, hoop effecten, vat het wat minder persoonlijk op en geniet zichtbaar. The Third Sound mag je noteren in je tijdschriftje van bands: ‘Nog te checken’.
Ondanks
het livegeluid dat mede door de vier gitaren soms wat onmogelijk
klinkt, speelt de groep geweldig en is de scheidingslijn tussen ‘soms
onmogelijk’ en ‘vaak fenomenaal’ heel klein. Er heerst een discipline in
de band die zijn weerga niet kent en dit loont. Hoewel er nummers
ontbreken in de setlist, bijvoorbeeld de geweldige ballad ‘Open Heart
Surgery’, is de vraag: is de ideale setlist die TBJM moet schrijven, wil
het zijn bezoekers niet met de vraag ‘ik miste een nummer’ naar huis
sturen, niet een set van tien uur? Ja, The Brian Jonestown Massacre
overwon. De ongepolijst band, verdoemt en misschien maar goed ook, tot
het spelen van zaaltjes als Vera, Doornroosje en Bitterzoet, twee zalen
die ze deze tour nog aandoen op deze tour, doet iedere bezoeker met een
voldaan gevoel naar huis lopen. Op de weg naar huis passeren we eerst
nog de merchtafel, daar waar t=shirts en lp’s over de toonbank gaan voor
20 euro. Beschouw het maar als compensatie.
Tijdens de tour supporten verschillende bands TBJM, vanavond The Third Sound met frontman Hákon Aoalsteinsson die ook in Singapore Sling en Hudson Wayne gezeten heeft. Als collectief weet de band niet ver van de psychedelische boom te liggen dan TBJM, hoewel de nummers van The Third Sound veel minder catchy zijn. Dat de groep start met spelen voor een nagenoeg lege zaal is niet erg gunstig voor de al wat houterige frontman. De gitarist, verantwoordelijk voor een heel groot deel van waar het ontoegankelijke van de band in gaat zitten, noise, hoop effecten, vat het wat minder persoonlijk op en geniet zichtbaar. The Third Sound mag je noteren in je tijdschriftje van bands: ‘Nog te checken’.
The Third Sound
Wanneer
alle welgeteld acht leden (vier gitaristen, een toetsenist, een
bassist, een drummer en Joel fucking Gideon als tamboerijnspeler) van
The Brian Jonestown Massacre het podium betreden is Vera al aardig
gezellig. De mensen die komen voor de hype afkomstig van the hype van de
documantaire Dig! komen bedrogen uit, bandleider Anton is al
een tijd van de heroïne en alcohol af en maakt dan ook een hele
bescheiden indruk, de muziek staat voorop. Een setlist met nummers van
zowel oudere albums als Methodrone (‘Wisdom’ ‘That Girl Suicide’) en Give it Back! (‘Servo’ ‘Not If You Were The Last Dandy On Earth’) als nieuwe albums als het meeste recente Aufheben (‘Strairway to the best party’) worden gespeeld.
The Brian Jonestown Massacre
Het
nadeel van het hebben van vier, soms vijf(!), gitaristen is dat het
geheel heel rommelig overkomt. Vooral nummers waarin de vier gitaristen
verschillende taken hebben is het lastig om een leidraad te vinden in de
muziek. De gitaristen staan dan ook onder druk om het beste eruit te
halen wat er in zit. Hiervoor heeft bandführer Anton Newcombe natuurlijk
enkel de besten, qua spel én looks. Maar fouten maken is menselijk,
echter vergeeft Anton je niet wanneer je plots niet een uit technische
componenten samengestelde gitaar speelmachine blijkt te zijn. Wanneer
een van de gitaristen een foutje maakt, merkt Anton het op en zegt
geheel zoals we hem kennen: ‘Fuck. You have been in the band for fucking
five years and you don’t fucking know the song, geez’. Stilte heerst in
de band, ze hebben weten te leven met de persoonlijkheid van Anton
Newcombe. Wanneer ‘Straight Up And Down’ ingezet wordt, het laatste
nummer, heeft Anton nogmaals een argument met de tourmanager, het nummer
wordt stilgezet. Er worden een paar woorden gewisseld en Anton zet
nogmaals, als een kind die zijn zin wil hebben, weer in. De band volgt
hem en de tourmanager staat machteloos achter op het podium. Zo is het.
xxxoxxx
Sei in: Il Fatto Quotidiano > Emilia Romagna > Brian Jonestown...
Bologna sarà psichedelica. Almeno per una serata, quella del 19 giugno, quando saliranno sul palco del Bolognetti on the rocks i Brian Jonestown Massacre. Un appuntamento da non mancare: sarà la loro unica data in Italia.Il gruppo cult della scena neopsichedelica, guidato da Anton Newcombe e formatosi a San Francisco all’inizio degli anni Novanta, proporrà al pubblico bolognese il suo quattordicesimo disco, Aufheben, uscito per l’etichetta indipendente A records il 7 maggio 2012.
Aufheben segue Who Killed Sgt. Pepper? (gennaio 2010), penultimo album della band. E se il riferimento al disco più lisergico dei Beatles richiama un preciso retroterra musicale, la scelta di un titolo in tedesco per l’ultimo lavoro dice qualcosa della storia attuale dei BJM.
Dopo che decine di musicisti sono transitati dal gruppo, oggi la formazione è composta da 4 elementi: oltre al guru Anton Newcombe ci sono Dean Taylor alla chitarra, Matt Hollywood al basso e l’organista Mara Regal. Si sono trovati a Berlino, i quattro, per dare forma al loro nuovo sound, intriso di psichedelia e ritmiche folk rock.
Newcombe si è trasferito all’ombra della Brandenburger tor nel 2007 e dalle session berlinesi è nato l’ultimo disco, il cui titolo “aufheben” (un verbo in tedesco) ha una valenza plurisemantica. Il filosofo Hegel lo usava per spiegare il processo dialettico di tesi-antitesi e significa elevare, custodire, ma anche sciogliere, sopprimere, distruggere. Per un album è un titolo ambizioso, che unisce dichiarazione di poetica e di intenti, nello sforzo di cercare una sintesi fra gli opposti, stemperando la malinconia nella durezza dei suoni più acidi e fondendo i canoni stilistici del rock con la spinta creativa, sperimentale, dei Brian Jonestown Massacre.
Il nome stesso della band è un gioco di sintesi che, nel perfetto stile ipercitazionista di Newcombe, mette assieme il chitarrista dei Rolling Stones, scomparso alla fine degli anni ’60, con il suicidio di massa avvenuto nel 1978, a Jonestown in Guyana, nella comunità spirituale del guru americano Jim Jones.
Costruire e distruggere per rinnovarsi. Bruciare e rinascere. I BJM, arabe fenici del rock, camaleonti della scena indipendente vengono in Italia con un nuovo album, nel quale si sentono impastate le esperienze di Newcombe e dei suoi musicisti. I viaggi in Oriente del leader apportano al disco quel suono esoticheggiante da psichedelia bhangra che, a tratti, ha la meglio sulla matrice rock; il soggiorno europeo dà i suoi frutti aprendo al gruppo le porte di una koinè musicale ibridata e viva.
Per dare un’idea della potenza suggestiva dell’album, Newcombe lo ha definito “simile alla colonna sonora di un film epico”. E non è difficile ravvisare un andamento cinematico nell’ascolto delle 11 tracce di Aufheben che spaziano dalle sonorità Sixties all’acid folk, a melodie pervase dal suono del sitar, senza tralasciare certi passaggi più distintamente pop. Oltre a essere un album Aufheben è un viaggio nel caleidoscopico universo della band.
E il miracolo è che tutto tiene, sembra non esservi nulla di troppo. La scommessa del melting pot sonoro funziona. D’altronde i BJM vengono dalla west coast americana, una terra che ha saputo far sua la british invasion, già al tempo in cui Londra era la swinging London e dettava legge in termini di influenze musicali e stile. A calcare le scene allora c’erano tra gli altri Rolling Stone e Kinks, gruppi che certamente sono entrati nell’immaginario sonoro di Newcombe, ma passati al vaglio della tradizione folk-rock a stelle e strisce. Le sonorità britanniche dei Sessanta sono state filtrate, a Los Angeles e a ‘Frisco’, dal revival rock psichedelico del movimento Paisley Underground, un genere di rock alternativo sviluppatosi tra gli anni Ottanta e Novanta.
Dietro a una canzone dei Brian Jonestown Massacre c’è tutto questo, eppure non sono diventati una band per il grande pubblico. O meglio sarebbe dire, proprio per questa ragione non lo sono potuti essere. Il loro stile è troppo difficile da incanalare, troppo incline alla ricerca e all’evoluzione, nonostante alcuni critici abbiano speso i nomi dei sottogeneri madcester e shoegaze. I BJM sono sempre altro, perché Newcombe alle luci della ribalta preferisce una più modesta penombra.
Buona parte della discografia dei Brian Jonestown Massacre è reperibile gratuitamente in internet, a segnalare un voluto distacco del gruppo dalle politiche distributive delle major discografiche.
Anton Newcombe, complice anche il film documentario Dig, che ha vinto il Sundance festival nel 2004, è stato definito un perdente (loser), un tossico destinato a finire male come altri grandi del rock, ma il frontman dei BJM, cappellaio matto della psichedelia, ha ancora tanti suoni da estrarre dal suo cilindro. Aufheben ne è la prova.
XXXXOXXXX
Sune Wagner anbefaler Brian Jonestown Massacre
Raveonettes-frontmanden opfordrer på det kraftigste til, at man ser den amerikanske gruppe, når den gæster Danmark
Den psykedeliske amerikanske gruppe Brian Jonestown Massacre gæster Voxhall i Aarhus den 22. juni og Amager Bio i København den 23. juni. The Raveonettes har lige turneret med dem i Australien i maj, og frontmand Sune Wagner vil på det kraftigste anbefale, at man går ind og ser Brian Jonestown Massacre, når de gæster Danmark.
GAFFA har talt med Sune Wagner om hans forhold til Brian Jonestown Massacre.
Hvor mødte du Brian Jonestown Massacre?
– Vi (Raveonettes, red.) lærte forsangeren Anton (Newcombe, red.) at kende på South By Southwest-festivalen (i Austin, Texas, red.) for mange år siden. Vi har en del fælles venner. Jeg husker, han var meget imponeret over, hvor meget vi kunne drikke. Anton flyttede senere til New York, hvor jeg i et års tid var sammen med ham ustandseligt. Vi drak, tog stoffer, hørte musik og spillede musik for hinanden.
Og du har også spillet med Brian Jonestown Massacre?
– Jeg har spillet to koncerter med dem på bas. Et meget kaotisk show på Bowery Ballrom i New York og et endnu mere kaotisk show hos deres daværende pladeselskab. De stod og manglede en bassist til de to shows, da deres bassist lige var skredet fra bandet efter en kaotisk tour, som jeg kan forstå på det hele.
Har du et favoritalbum med Brian Jonestown Massacre?
– Jeg har ikke en decideret favoritplade, som jeg foretrækker, de er alle gode. Men nummeret "Nevertheless" (fra 2001-albummet "Bravery, Repetition And Noise", red.) betyder rigtig meget for mig. Det var et nummer, Anton spillede meget for mig på guitaren, når vi tilbragte tid sammen år tilbage.
Hvad er det ved Brian Jonestown Massacre, du så godt kan lide?
– Jeg holder utrolig meget af Anton som ven. Jeg elsker deres stil, så enkelt er det!
Se videoen til "Nevertheless"
Køb billetter til koncerterne via GAFFA Live.
XXXXOXXXX
15 juin 2012
Brian Jonestown ne fait plus de massacre
Mais mercredi, à l’Etage de Rennes, Anton Newcombe semble bien calmé et on ressent désormais une vraie harmonie de groupe. Est-ce les bénéfices de l’installation du Californien de 44 ans à Berlin ?
Cheveux tombant sur la figure, Anton choisit même carrément la discrétion. Il reste sur le côté gauche de la scène, le micro tourné vers ses musiciens . Et comme ils sont trois à chanter, certains se demandent lequel est Newcombe.
Non, ce n’est pas le gars au centre, Joel Gion, lunettes noires, bonnet et pull de laine ( !) qui joue du tambourin et des maracas , avec son faux air de Jack Nicholson (enfin, vu de loin, le « couloir » de l’Etage est bondé).
Ils sont huit sur scène, quatre guitares, une basse, un batteur, un clavier et le tambourine man. Le set privilégie les morceaux psychédéliques mid tempo. Un peu mou, pensent certains. Au contraire, je me laisse gentiment hypnotiser et porter par cette vague de son, traversée de carillonnements, qui peut d’un coup s’enfler démesurément. Les voix sont juste bien placées en avant (enfin, parfois un peu fausses mais ça fait le charme). Celle d’Anton est la plus changeante (de haut en bas du spectre), celle de Matt Hollywood et de Joel Gion plus medium.
Même si le groupe pioche des morceaux dans toute son abondante discographie (12 albums, 5 compils depuis 1993), l’esprit est celui du dernier, magnifique album plus apaisé Aufheben (mais enregistré avec, majoritairement, d’autres musiciens que le groupe de scène)
Un ou deux abrutis tentent de provoquer Anton, mais il ne s’énerve pas, et répond avec un peu de mépris aux olibrius. Non, il ne se mettra plus en rage. Le concert perd en folklore ce qu’il gagne en qualité musicale
En clôture, un morceau qui rend à la fois hommage aux Stones et aux Beatles. Le groupe quitte la scène, un très très long drone-larsen texturé est modelé par l’ingénieur du son, laissant espérer un rappel, qui ne se fera pas.
Les Cd, et surtout les vinyls, partent comme des petits pains au stand de merchandising...A vrai dire, j'achète aussi un T shirt et un vynil (double) de My Bloody Underground (2008)...
read on....
Rennes. Brian Jonestown en concert ce soir à l'Etage
Musique mercredi 13 juin 2012
-
Brian Jonestown Massacre.DR
En 2004, l'excellent documentaire Dig ! plaçait dos à dos le Brian Jonestown Massacre d'Anton Newcombe et les Dandy Warhols de Courtney Taylor- Taylor, filmés pendant sept ans.
Le
groupe de San Francisco était décrit comme intransigeant, s'accommodant
peu de contingences commerciales. Le quartet de Portland était dépeint
comme opportuniste. D'ailleurs, il avait signé sur une grande maison de
disques! Le film a boosté la reconnaissance jusque là confidentielle de
Brian Jonestown et n'a pas fait de bien aux Dandy Warhols.
Malgré ses défauts (le moindre n'étant pas de terroriser ses musiciens), Anton Newcombe était le héros de Dig ! Pourtant, on pouvait autant apprécier l'approche pop des Warhols que la trajectoire azimutée de Brian Jonestown.
Les
deux groupes sortent un nouvel album, et apparaissent plus proches que
jamais. Anton Newcombe, qui habite désormais à Berlin revient avec un
album beaucoup plus accessible. À ses côtés, un seul membre originel
(Will Carruthers), deux Allemands, une chanteuse finlandaise. Hymnes
hallucinatoires, aux douces mélodies divaguantes, harmonies prenantes et
références à des morceaux phare du rock (Stairway to the Best Party).
Revenus
sur un label indépendant, les Dandy Warhols sont toujours plus toniques
que leurs camarades. La production est moins claquante que pendant
leurs années de (relative) gloire. Si la pop est toujours là, elle est
plus étrange. Autre point de convergence, le goût pour l'humour,
illustré ici par les accidents sonores d'Alternative to the People ou la
reprise du classique country 16 Tons.
On aime toujours autant les deux groupes.
Philippe RICHARD
Brian Jonestown Massacre : Aufheben (A Records/Differ-Ant). 51 mn, 11 titres.
The Dandy Warhols : This Machine (End/Naïve). 43 mn, 11 titres.
Ce mercredi à 20 h à l'Etage (Liberté). 21,80 €.
me,joel and slash hanging out in spain 2012
Les californiens de
Brian Jonestown Massacre seront de passage sur la scène du Bikini de
Toulouse le jeudi 14 juin. Toulouseblog vous offre des places pour
assister à leur concert !
Originaire de San Francisco, Brian Jonestown Massacre tire son nom de l'admiration indéfectible portée à Brian Jones, ancien guitariste et harmoniciste des Rolling Stones. Depuis sa création en 1990, le groupe a vu passer une quarantaine de musiciens au sein de sa formation qui gravite autour du fascinant Anton Newcombe, au chant et à la guitare.
Librement inspirée du travail de Brian Jones, sa musique fait figure d'ovni dans le paysage musical. Bien qu'à dominante rock garage, le groupe cultive son originalité en y intégrant un style psychédélique teinté d'apports orientaux.
Sorti en mai, le nouveau et 9e album "Aufheben" permet à Brian Jonestown Massacre de partir en tournée européenne. Une tournée qui passe par la France et les festivals de l'été pour le plus grand bonheur de ses fans.
The Brian Jonestown Massacre, psychedelic indie rock revolutionaries around since the ’90s, referred to as both cult and band as documented in the 2004 film DIG! are playing at The Barby in Tel Aviv, July 11th.
Anton Newcombe has been playing shows with new musicians under the moniker BJM, but the original lineup of BJM including Matt Hollywood, bassist Will Carruthers (formerly of Spaceman 3 and Spiritualized), guitarists Jon Saemunder Audarson and Henrik Baldvin Bjornsson and drummer Constantine Karlis are back and on a world tour promoting their new album Aufheben, meaning both “to lift up” and “to abolish” in German. In an interview with the Jerusalem Post, Newcombe explained:
The July 11th Tel Aviv show kicks off the 3rd European leg of the tour. They just finished the West Coast of the USA and Australia and have a show in Berlin July 12th. They’ll be back for the East coast on August 25th at Webster Hall in NYC.
BJM world tour dates are up on their site:
Aufheben, the album is currently available for streaming on Soundcloud.
Details on the Tel Aviv show:
The Barby
July 11th 9:30 PM
Tickets: 200 Shekel, About $50 US available here.
Brian Jonestown Massacre au Bikini : Gagnez vos places !
Toulouse - Posté le 01/06/2012
Les californiens de
Brian Jonestown Massacre seront de passage sur la scène du Bikini de
Toulouse le jeudi 14 juin. Toulouseblog vous offre des places pour
assister à leur concert !Originaire de San Francisco, Brian Jonestown Massacre tire son nom de l'admiration indéfectible portée à Brian Jones, ancien guitariste et harmoniciste des Rolling Stones. Depuis sa création en 1990, le groupe a vu passer une quarantaine de musiciens au sein de sa formation qui gravite autour du fascinant Anton Newcombe, au chant et à la guitare.
Librement inspirée du travail de Brian Jones, sa musique fait figure d'ovni dans le paysage musical. Bien qu'à dominante rock garage, le groupe cultive son originalité en y intégrant un style psychédélique teinté d'apports orientaux.
Sorti en mai, le nouveau et 9e album "Aufheben" permet à Brian Jonestown Massacre de partir en tournée européenne. Une tournée qui passe par la France et les festivals de l'été pour le plus grand bonheur de ses fans.
Brian Jonestown Massacre Set to Rock Tel Aviv, Follows Israeli Berlin Art Scene
by on Jun 11, 2012 • 10:15 am No Comments
Anton Newcombe has been playing shows with new musicians under the moniker BJM, but the original lineup of BJM including Matt Hollywood, bassist Will Carruthers (formerly of Spaceman 3 and Spiritualized), guitarists Jon Saemunder Audarson and Henrik Baldvin Bjornsson and drummer Constantine Karlis are back and on a world tour promoting their new album Aufheben, meaning both “to lift up” and “to abolish” in German. In an interview with the Jerusalem Post, Newcombe explained:
It’s a word with… to destroy and to preserve. If you think about German culture and relate it to the history of the last century, society had to destroy it to save and rebuild, as a way to preserve.Newcombe now resides in Berlin, home to many Israeli expats. He has become familiar with Israeli culture and friendly with many Israelis through the Berlin art scene.
I follow the Israeli arts scene because, you know, to me it’s just the ‘arts scene,’ he said. “I think it’s great to be a part of any forward-thinking culture, and very important for the Jewish community to define itself in Berlin and Germany.This line up of the original BJM also recently provided the theme song to the hit show Boardwalk Empire, Straight Up and Down off the 1996 album Take It From the Man. Nothing like television to bring people back together. DIG! the documentary has also been in rotation on Israeli cable for years.
The July 11th Tel Aviv show kicks off the 3rd European leg of the tour. They just finished the West Coast of the USA and Australia and have a show in Berlin July 12th. They’ll be back for the East coast on August 25th at Webster Hall in NYC.
BJM world tour dates are up on their site:
Aufheben, the album is currently available for streaming on Soundcloud.
Details on the Tel Aviv show:
The Barby
July 11th 9:30 PM
Tickets: 200 Shekel, About $50 US available here.
Brian Jonestown Massacre
Aufheben
A Records
The American-based indie group Brian Jonestown Massacre have
been spitting out a range of psychedelic-alternative sounding records
since their formation in the early ’90s. Perhaps it is leader Anton
Newcombe’s ability to play 90 different instruments or his eclectic
writing style but whatever the case may be, the band has shown that they
still have an ear for experimentation. Their new record, Aufheben, which was released on May 1, portrays the energy and passion that they have always had.
The first track, “Panic In Babylon,” is an instrumental song with flutes from the Middle East and an upbeat drum section that leaves a feeling of walking through a desert in Egypt. There is another instrumental piece on the album, “Face Down On The Moon,” which begins with a mystical sitar and progresses into what sounds like an ancient Mayan flute influenced jam. These two tracks speak the most out of the album in that they cover cultural boundaries in music which demonstrates what the band is all about—diversity. The other songs all have a common theme. Each one begins with a riff that is ’70s influenced and moves into a modern sound that deviates from the typical genre today. Their compositions show the groups contemporary aspect of a clash between music both past and present.
In its entirety, the record can potentially resonate in the hearts of any fan of today’s British trip hop genre with its powerful yet crisp backbeats. The consistency of sound and lack of solos among instruments is what makes Aufheben a very soothing and pleasurable listen. Bands such as the Brian Jonestown Massacre are an asset to both the music industry and the common spiritual living person for their providing of a feeling that is both retro and diverse.
The first track, “Panic In Babylon,” is an instrumental song with flutes from the Middle East and an upbeat drum section that leaves a feeling of walking through a desert in Egypt. There is another instrumental piece on the album, “Face Down On The Moon,” which begins with a mystical sitar and progresses into what sounds like an ancient Mayan flute influenced jam. These two tracks speak the most out of the album in that they cover cultural boundaries in music which demonstrates what the band is all about—diversity. The other songs all have a common theme. Each one begins with a riff that is ’70s influenced and moves into a modern sound that deviates from the typical genre today. Their compositions show the groups contemporary aspect of a clash between music both past and present.
In its entirety, the record can potentially resonate in the hearts of any fan of today’s British trip hop genre with its powerful yet crisp backbeats. The consistency of sound and lack of solos among instruments is what makes Aufheben a very soothing and pleasurable listen. Bands such as the Brian Jonestown Massacre are an asset to both the music industry and the common spiritual living person for their providing of a feeling that is both retro and diverse.
In A Word: Unique
—by Jonny Cohn, June 4, 2012
freebird
hey anton
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