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The Brian Jonestown Massacre
Aufheben A. 

the berlin era of San Francisco’s Brian Jonestown Massacre kicks into high gear with the 13th full-length
from Anton Newcombe and company. Named after a German term for transcendence, Aufheben lives up to
its title. With a lineup consisting of returning founding member Matt Hollywood and principals of such acclaimed experimental acts as Spacemen 3, Dead Skeletons, Singapore Sling and High Dependency Unit, songs like “I Want to Hold Your Other Hand” and “blue Order/New Monday” showcase a new mood for the Massacre—as if the nihilistic Newcombe found inner peace in his latest combo’s Motorik-laced fusion of Eastern rhythms, Paisley psychedelia and Factory Records groove. Hopefully, he keeps this incarnation intact for a while because they just blessed him with the best bJM LP since Strung
out in heaven. Ron Hart 

.

next concert: berlin,de

Music Reviews

 

The Brian Jonestown Massacre Aufheben

(A Records) Buy it from Insound  

 If there’s an obligatory mention regarding The Brian Jonestown Massacre more tired than references to the increasingly time-capsuled documentary Dig!, it’s the assertion that Anton Newcombe makes music to do drugs to. The very straightforwardness of such a comment screams like an English as Second Language translation, not to mention a backhanded compliment to records as stand-alone impressive as Give It Back! and Bravery, Repetition and Noise. Newcombe may exude an addict’s smoky snarl when surfacing over the mesmerizingly lethargic Gaz Hilarant but he’s actually been sober for over two years, which all but highlights my main beef with “music to do drugs to”: namely, what music can’t you do drugs to? An album that’s too sedate? Or bands whose performances are too high-strung? Or are we really talking about personal preferences, whatever music you just don’t like?
By that understanding, if Aufheben – a German word meaning “to lift up” as well as “to abolish” – warrants the “drug music” flair on its digi-pack sleeve, it’s because these eleven songs, under any influence or none, prove very likeable. Better integrating the world-music interests boasted on 2010’s Who Killed Sgt. Pepper? to BJM’s classic retro-futurist rock tendencies, Newcombe has constructed his most level-headed and consistently engaging record since …And This Is Our Music back in 2003. Of the methodical percussion, subtle 60s bass breakdowns and dreamy vibes floating overtop, I Want to Hold Your Other Hand validates Newcombe as a still convincing prodigy on days he’s disinterested in chaos and destruction. Disciplined songwriting echoes that good behaviour during other mid-tempo head-grooves like The Clouds Are Lies and Stairway To the Best Party In the Universe, the latter deserving a place in the batter’s box of any forthcoming BJM hits collection.
Don’t mistake Newcombe’s good behaviour for playing it safe though, as Aufheben teases these mellow, Krautrock tunes between scores of exotic string-arrangements and left-field instrumentals. Not terribly unlike Sgt. Pepper’s opener Tempo 116.7, Panic In Babylon sets the tone with an urgent drum-beat, Eastern horns and a palpable sense of good old-fashioned, old-world dread. Alternately Face Down On the Moon opts for a more meditative slice of lead flute and sitar harmonics. Match these instrumentals with Viholliseni Maalla, a potent dream-pop collaboration with vocalist Eliza Karmasalo, and Aufheben balances well the alien and expected poles of one stunning vista.
Perhaps more importantly, the tumultuous outfit’s thirteenth full-length makes a persuasive bid to those still clamoring over Dig! highlights, insisting that The Brian Jonestown Massacre have survived their own implosion. Having concreted a new core of top-notch musicians who can handle his personality (Spaceman 3’s Will Carruthers and BJM veteran Matt Hollywood), Newcombe’s forging ahead with Aufheben, making “out there” music reliant on no fan’s opinions, no record company’s advances and no instant magic from a ziplock bag. In other words, a brave new world.

7 June, 2012 - 12:09 — Ryan Pratt

vinyl  

 PART ONE (X)

 

BRIAN JONESTOWN MASSACRE WITH RAVEONTES AUSTRALIA MAY 2012 ≪LIVE REPORT VOL.2≫

• 2012-06-06
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BRIAN JONESTOWN MASSACRE WITH RAVEONETTES AUSTRALIA MAY 2012 ≪LIVE REPORT VOL.2≫

お待たせしました。BJM & RAVEONETTESオーストラリアツアー・ライヴレポートその②です！
vol.1はコチラ

ラストには以前から告知していました、BJMメンバーからのメッセージもありますので是非ご覧になって下さい。

ブライン・ジョーンズタウン・マサカーは現在、アントン(VO&G)、 マット(VO&G)、ジョエル(TAMBOURINE & MARACAS)、リッキー(G)、フランキー(G)、ロブ(KEY & SYNTH & MELLOTRON & G)、コリン(B)、ダン(Dr)の８人編成。

ここ日本でもバンド名だけが独り歩きするきっかけとなった、2004年に公開された映画｢DIG!｣でもあったように、度重なるメンバーチェンジが続くも のの、2000年以降は(若干の入れ替わりはあるが）このメンバーで落ち着き始め、2009年にはオリジナルメンバーのマットが復帰し、ライヴのバリエー ションも幅広いものに。



さて、肝心のライヴですが、22時を軽く過ぎたところでBJMメンバーがパラパラと登場、観客も一斉に前方へと押し寄せぎゅうぎゅう状態。他のメンバーが出きったところで、最後にアントンがお馴染みVox Cheetahを担いて遂に登場。
早くも歓声に混じる謎のブーイングや煽りにも適当に｢ハーイ｣と答え、客席には目もくれず各々チューニングを済ますとアントンがギターでカウントを取り始める。



一曲目は怪しいグルーヴ感溢れるファズ・サイケな新曲｢Stairway To The Best Party In The Universe｣。
前作、｢Who Kiled Sgt.Pepper?｣のリリースにあたってのワールドツアーでは、ほぼ新曲は演らず、マットが再加入したことでBJMクラシックを幅広く演奏していたので久々の新曲ライヴ披露。
新アルバムで感じられたエキゾチックな雰囲気はライヴではどう再現されるのだろう？と思っていたらそこはロブのメロトロンが絶妙な演出！これは生で聴かないと拾えない雰囲気。
ただ爆音なだけではない4人のギターによる掛け合いも絶妙で、ベテランならでの風格も合わさり、今までにない大所帯の"BJM"というバンドとしてのオリジナリティを強く感じさせられました。
(また、ステージ前列におじさんが5人も並ぶとこんな迫力になるのかとこちらの方面でも圧倒。)

アルバムではフィンランドのエリザ・カーマサロによる浮遊感溢れるヴォーカルが印象的だったクラウト・ロックなナンバー｢Viholliseni Maalla｣は、D-Fの２コード進行で、なんとマットが英語ヴァージョンでマイクを取っていたのが驚き！
 今回のツアーではソニック・ブームのシグネスチャーモデルの｢ACID FUZZ｣というエフェクターがいち早くバンドに導入されており、アントンとリッキーのソロが交錯していくパートではディレイがかけられたそのサウンドが 本当にクールでアルバムとはまた違ったアレンジがとても印象的でした。
(｢ACID FUZZ｣についてライヴが終わった後にマットに聞いたら、｢UKのメーカーなんだけどアントン、リッキー、ロブが使用していているよ。かなり強烈なクレ イジーファズで、ヒプノティックな音も出せる。裏面には僕達のバンドロゴも入っているんだ。｣とのこと。欲しい。)

新曲と｢This is why you love me｣｢Jeniffer｣や｢Anemone｣｢Prozac vs heroin｣等、板に乗ったクラシックを交互に演奏していき、会場も完全に出来あがってきたところで、ムーグ音とフィードバックノイズによりメディテー ションな空間が作られ、マットがハンド・パーカッションに、アントンがポール・ウェラーのサイン入りのティアドロップ型の12弦に持ち替えたなら、ライヴ 全体のハイライトのひとつともなった｢Super Sonic｣。
BJMの中でも特に強烈なサイケナンバーであるこの曲、終盤はワンストロークごとにアントンが神経質にアンプのバランスを変え、ディープなトレモロ、ギター・ドローン、メロトロン、ムーグといった様々な飛び交う音の波に飲み込まれていくかの様な感覚で深く酩酊。

そして人気曲にして、元ネタは60年代のGARAGE～ソフト・コーラス・サイケ・バンド"Cryan' Shames"の67年にコロムビアからリリースされた7インチ｢Up on the Roof｣のB面に収録されている｢The Sailing Ship｣である｢Sailor｣は本当にライヴで冴えます。ロブのメロトロンも涙腺を刺激し、大胆なストロークが特徴的な同曲を4人のギターが鳴らすの ではあればドラマチックな展開はさらに感動的に。


去年にリリースされた｢Iluminomi｣の10インチのB面とシングルベストに収録(CDで聴けるのは今のところこのベストだけ)されているカート・ ベッチャーやストーンズ関連で知られるシンガー"Bobby Jameson"のブルース・ハードなカヴァー曲｢There's War Going On｣ではジョエルがヴォーカルを担当。
歪みきったファズギターのストロークとアントンのハーモニカがクールに絡み合う演奏に、音負けしないジョエルの歌声。アウトロではリッキーのワウ・ギター も強烈に炸裂されるこの曲を聴いて理解が出来たのが、アントンの思考の変化や、彼が言っていたバンドコンディションの良好化、またはまったく異なるバンド に今はなっているという意味合い。
"バンド"としてメンバーそれぞれが機能していることが非常に嬉しかったし、これからもこのベストなメンバーでの演奏を続けてくれるなと実感。

また新アルバムの中で、個人的にお気に入りな胡散臭い哀愁漂う出だしからグルーヴィーな流れに展開していく曲、｢Waking Up To Hand Grenades｣がライヴでもとにかく最高。
ダンの体全体から吐き出されるかのようなもの凄い圧力のドラムと、やはりロブのメロトロン(ロブは本当に凄いミュージシャンなんですよ。デッド・メドウや モーニング・アウター・ガール、最近再結成したビーチウッド・スパークスのプロデュースも手掛け、SeedsとByrdsを融合しかのような60'Sロッ クサウンドな自身のバンド｢Quarter After｣これが本当にかっこいいんです。)の全体への味付け、
アントンから指示が出るまで続く尺長なアレンジで、今後のライヴでもプレイされ続けるんじゃないかと思われる名曲。

こんな流れからまだまだ持っているBJMのクラシック名曲群から｢That Girl Suicide｣や｢Not If You Were The Last Dandy On Earth｣が演奏されれば、イントロが聴こえた瞬間から会場全体が狂喜乱舞。
私、ライヴをじっくり見入ってしまうタイプなので、周りの雰囲気にも圧倒される板挟み状態で○asisに負けないくらい(伏字になっていない)の大合唱にやはり世界中で愛されいるんだなぁとまたひとりしみじみ。



2時間以上ほぼぶっ続けの演奏も時計が0時15分頃を過ぎたあたりでとうとうクライマックス。香ばしいこのギターのストロークは"Take It From The Man!"より｢Straght Up Down｣！(アルバムで最後に収録されているロングバージョンの方です。)
この曲、音源の場合は低音と高音どちらもアントンのヴォーカルで構成されているんですけど、ライヴはやはりマットとの掛け合いなんですよね。
マットが作る曲って直球でちょっぴしセンチメンタルなとこも覗かせる、シンプルで聴きやすいガレージ・ソングが多いんだけど(映画でアントンみたいな才能はないし、カリスマ性もないなんてTVTの人にバッサリ言われていたけど)、何が良いって本当に声が良い！
マットがバンドに帰ってきてくれたことってファンにとってもこの上なく嬉しいことであったし、また喧嘩別れしたアントンと二人で歌ってる姿を見てるだけでも泣けてきます。
そんな二人のコーラスからのラストは10分以上に及ぶ壮絶なジャム、お馴染み"フゥッフー"の会場全体のコーラスとアントンが会場に向かって"Hey Jude"のコーラスを織り交ぜればこの日最高の盛り上がりに。
尚も続くフィードバックジャムにアントンが区切りをつけ、各々が｢また会おう～｣と退場していく中、アントンは一人メロトロンを奏でてから退場、約2時間30分も続いたライヴは幕と閉じました。

最高のコンディションで、最高のパフォーマンスを披露してくれたメンバーに心から感謝し、彼らの音楽がもっと日本に浸透すればなと強く感じました。

では、大変お待たせして申し訳ありませんでしたが、日本のファンへBJMメンバーからの直筆メッセージです！


Anton Newcombe
"KEEP the FAITH"


Matt Hollywood & Frankie Emerson
"Konichiwa Japan! We Love You!"


Ricky Maymi
"Hello Japan! We love you and hope to see you soon!"


Joel Gion
"Keep The Faith, Baby"


Collin Hegna
"Brian Jonestown Massacre has great love for all Japanese people Thank you so much!"


Daniel Allaire
"Hello Everyone, Thanks for the sushi! All the best."


Rob Campanella
"Dear Japan, Please bring us to your country so we can play music for you! love."



ありがとう！BJM！また日本に来てくれる日を待っています！





■■ 帯ライナー付　国内限定仕様盤 絶賛発売中！■■

BRIAN JONESTOWN MASSACRE アウフヘーベン DIFFUSE ECHO / JPN / CD / DE050 / AW120416-01 / 2,100円(税込)

■■ 輸入盤 ■■

BRIAN JONESTOWN MASSACRE AUFHEBEN (LP) A RECORDS / UK / LP / AUK023LP / AW120409-112 / 2,500円(税込)

BRIAN JONESTOWN MASSACRE AUFHEBEN A RECORDINGS / UK / CD / AUK023CD / AW120409-111 / 1,350円(税込)

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Review - The Brian Jonestown Massacre "Aufheben"

Album: The Brian Jonestown Massacre, "Aufheben" (A Records)

inShare2

Story by Tjames Madison

SoundSpike Contributor

Published May 7, 2012 07:08 AM

It's been years since anything approached "normal" for The Brian Jonestown Massacre, a band that has always excelled at taking upside down and making it look rightside up; the opposite is also exactly true.
After 2003's apprehensive feint toward modern sounds (electronica, the theoretical proliferation of glowsticks, dancing on designer chemicals, the whole nine yards) on "...And This Is Our Music," bandleader Anton Newcombe seemed to retreat into a hole filled with disconnected bits and pieces of contemporary pop trivia -- "My Bloody Underground" sounded like it was recorded on the other side of a flimsy motel wall, and the album that followed that two years later, 2010's "Who Killed Sgt. Pepper?", improved on that scenario by sounding like it was recorded on the other side of a battlefield. Inside the weird snowglobe that is the BJM, flecks of recognition appeared and glimmered, briefly, then vanished, subsumed on the whole by a massive wave of counter-feedback and unpleasant electronic skritch from somewhere deep and unwholesome inside Newcombe's soul.
For a band that started out prolifically popping out masterful re-enactments of long-gone musical movements -- "Take It From the Man!" is precisely the 1966 that the Rolling Stones were never able to get back to after Altamont, for one thing, but Newcombe seemed to own a map -- this recent malaise has been rather alarming. Perhaps age and his well-documented battles with drugs and insanity had finally worn him down to a nub. It certainly seemed possible, maybe even likely.

That said, it should come as a mild surprise that the band's latest set, "Aufheben," is compelling and lovely from the outset; Newcombe's recent relocation to Berlin, along with his reunion with former BJM founding member Matt Hollywood, has rekindled his imagination, or at least his groove jones. The set kicks off with five minutes of getting-to-know-you-again wordless (not counting monkey and rooster noises) psychedelia, heavily colored with Middle Eastern swag. While it's a standard issue BJM trope, the Stereolab-like "Viholliseni Maala" (featuring an icy cool lead vocal sung entirely in Finnish by Eliza Karmasalo) opens the door down a new hallway -- if it's not Krautrock, it's acceptably close, and you can hear the ends of wires sizzling and machines sparking and humming under the gorgeous paintbrush textures. Newcombe himself doesn't deign to come in until the album's third cut, the laid back "Gaz Hilarant," which in essence borrows the playbook from the band's archetypical 1995-ish "Anenome" era with a slightly worse for the wear Anton Newcombe moaning and mumbling, clutching a bannister, slipping down the stairs no matter how hard he tries to stand up straight.
"I Want to Hold Your Other Hand" continues the image of a man stumbling and grasping for words -- "i am having a really hard time coming up with lyrics to finish the album and the stress is sort of getting to me" he admitted in YouTube comments to a pre-release 2010 version of the song -- but the music is bracing, firm and honest, as if something primal has finally burnt clean inside of Anton Newcombe. He steps forward more forcefully and articulately on the album's second half, but the set begins to rely perhaps a bit too strongly on repetition and an explicit call to its own past -- "The Clouds Are Lies" could literally have been lifted from 1998's "Strung Out in Heaven." Did anyone check just to make sure? Likewise, "Stairway to the Best Party in the Universe" takes things back to the druggy den of the "Their Satanic Majesties' Second Request." It's still a great party, even though you've been to it before: there are people having a happening in here and you don't know where you left your shoes and you think you just met Jack Nicholson.
One strains to hear Newcombe define even one variety of the "Seven Kinds of Wonderful," but his murky vocals are buried neck-deep in the busy mix. There's a song here itching to get out, but it's not clear which wall it's clawing at. "Walking Up to Hand Grenades" is not entirely sure what it wants to be either, early swagger met at the gates of expectation by hordes of confusion. They shake hands and agree to go their separate ways, and the song continues apace for several uneventful minutes (way, way, way back in the mix, you can just make out Hollywood scratching out his definitive slithery guitar lines, which makes the trip -- barely -- worthwhile.)
Closing with a song that reminds everyone of two albums that not many people wanted to hear might not have been the best strategy, but "Blue Order/New Monday" is it, a tough slog even under optimal conditions, but deflating in this context. It's seven minutes of mid-tempo arm-whirling with swirly synthesizer noises thrown in at no extra charge. And as lifeless as it is, it's not enough to derail the mostly exceptional "Aufheben," an album titled after a German word that can mean both destroy and preserve; it is a pretty fair bet Anton did not pick this title randomly out of a hat.

Monday, May 7, 2012

Review - The Brian Jonestown Massacre "Aufheben"

Aufheben is a German word meaning both "destroy" and "preserve". Anton Newcombe has said he loves the idea of artistic creation that involves destroying something to preserve it, like a sculptor might take a clay creation apart to invent something new.

Now sober for the past 2 years, Newcombe is utilizing aufheben to reinvent the Brian Jonestown Massacre. It's been nearly a decade since the documentary film DIG! captured BJM in all their decadent dysfunction, a truly gifted rock band out of control. But that image persisted, reinforced by many years of touring where people came out seemingly to watch Newcombe melt down, taunting and egging him on, and not infrequently getting their wish. At times brilliant, at times sad spectacle, and often in the same night, what got overlooked about the Brian Jonestown Massacre was the music. This was unfortunate because more often than not over 13 full length releases and now 20 years, this band has been remarkably good.

But give this band credit - they've kept what was great, cleaned up the mess, and moved forward both personally and artistically.  They have managed to sober up and not only still get down but do their thing even better.


Aufheben is a bold step for the band, a highly cinematic work, with many international influences, no doubt inspired by the band's frequent touring around the world, and Newcombe now residing in Germany. Newcombe says he was going for something that sounded like a movie soundtrack.


Aufheben has transcendental elements, some instrumental songs, and it sounds particularly good played loud on a long highway drive. And those who love Newcombe's frequent play on words on new song titles with well known musical touchpoints will not be disappointed here with "Blue Order/New Monday" and "I Wanna Hold Your Other Hand".

You can listen to the entire CD here: http://music.aol.com/new-releases-full-cds/spinner#/4

Here's a terrific track "Stairway to the Best Party in the Universe":

One more, "The Clouds are Lies":

This CD also marks the return of guitarist and songwriter Matt Hollywood to the Brian Jonestown Massacre. The band did much of its best work with Hollywood. His more straight ahead garage/pop rock was always a perfect compliment to Newcombe's more echoey and out there psychedelia.  The band also recruited Will Caruthers (Spacemen 3).

I was inspired to review this record seeing them live in Portland last Friday. The show was spectacular - focused, professional, well paced, and all out rockin', the newer material highly effectively introduced around all the old hits. And 5 guitar players! Newcombe has gone through a very high number of personnel through the years, but has assembled a highly skilled and complimentary collective now.

I highly recommend catching this tour:
May Tue 8th - Denver CO- Bluebird Theater
May Wed 9th - Salt Lake City UT- Urban Lounge
May Fri 11th - San Francisco CA- The Fillmore
May Sat 12th - Los Angeles CA- The Wiltern
Thursday 17th May Metro Theatre, Sydney
Friday- 18th May ANU Refectory, Canberra
Saturday-19th May Forum Theatre, Melbourne - SOLD OUT
Sunday-20th May- The Gov, Adelaide
Tuesday-22nd May Astor Theatre, Perth
Thursday-24th May Hi-Fi, Brisbane
Friday- 25th May Level One-Newcastle Leagues Club, Newcastle
11 June 12 Berlin - Lido
12 June 12 Groningen - Vera
13 June 12 Rennes - L'Etage
14 June 12 Toulouse - Le Bikini
16 June 12 Spain - Azkena Rock Festival
17 June 12 Montpellier - Le Rockstore
18 June 12 Zurich - Abart
19 June 12 Bologna - Bolognetti on the rocks
20 June 12 Dudingen - Bad Bonn
22 June 12 Aarhus - Vox Hall
23 June 12 Copenhagen - Amager Bio
24 June 12 Oslo - Rockerfeller
25 June 12 Helsinki - Tavastia
26 June 12 Stockholm - Strand
27 June12 Malmo - Debaser
28 June 12 Amsterdam Bitterzoet
29 June 12 Nijmegen - Doornroosje
30 June 12 France - Le Rock Dans Tous Ses Etats
01 July 12 France - Eurockennes
03 July 12 Clermont - Ferrand, La Coopérative de Mai
04 July 12 Paris - Le Trianon
06 July 12 Scotland - T in the Park
07 July 12 London - Shepherds Bush Empire
08 July 12 Manchester - Ritz Ballroom
09 July 12 Birmingham - Academy 2
11 July 12 Tel Aviv - Barby
Thu Aug 16th Minneapolis MN @ First Avenue
Fri Aug 17th Milwaukee MS @ Turner Hall
Sat Aug 18th Chicago IL @ The Metro
Mon Aug 20th Atlanta GA @ Variety Playhouse
Tue Aug 21st Carrboro NC @ Cats Cradle
Wed Aug 22nd Washington DC @ 9.30Club
Thu Aug 23rd Philadelphia PA @ Union Transfer
Fri Aug 24th Boston MA @ Royale
Sat Aug 25th NY NY @ Webster Hall

 

 REVIEWS: BRIAN JONESTOWN MASSACRE - [ALBUM]

ARTIST: Brian Jonestown Massacre - [Album]
DATE: 04-22-12

REVIEW BY: Bill Adams
ALBUM: Aufheben
LABEL: A. Records

Now Playing: 'Gaz Hilarant' from Aufheben by Brian Jonestown Massacre
At a certain age, a band must put down childish things and make a choice: they must decide if they're making music for their fans to enjoy or for their own personal creative fulfillment. This choice has been known to be the death of some bands, but making it one way or the other shouldn't necessarily cast positive or negative tones on the band; it really is just something they need to do in order to start making the music which best defines them and leaves that mark on history books. While they've certainly had a good time getting there (making good music, bizarre music, eerie music, drug-addled music, picking fights with The Dandy Warhols, moving to Europe), the fact is that Brian Jonestown Massacre reached that point in 2010; at that point, singer Anton Newcombe had moved to Europe and begun every culture he touched – and the resulting album (Who Killed Sgt. Pepper), reflected that larger view. The album was un-apologenically adventurous and, while it might have frightened off some fans, it left many waiting anxiously to see where the band would be headed next and what resolution they might offer for the new sounds they were toying with. The answer comes now in the form of Aufheben – an album which clearly seeks to resolve Anton Newcombe's musical wanderlust as it takes listeners onto all-new maps to discover all-new artistic thrills.

While Aufheben does recall some of the dronier aspects of BJM's early work (Methodrone – for example), the album exhibits growth too as it mixes those early sounds with a far more urbane, mature and worldly component similar to that articulated sense of style which figured heavily into Frank Zappa's later work. In effect, what listeners get is a perfectly accessible and enjoyable instrumental (for the most part – vocals don't play a significant role in Aufheben at all and, when they do appear, they're almost never in English) rock record; remarkably anthemic, but with no contrived poses struck. Some might say that such a record would be difficult to enjoy (if rock n' roll is supposed to be rebellious, instrumental rock offers no overt statement and so epitomizes the image of a rebel without a clue), but it proves to be very easy to get into here; the warm and scruffy guitars supplied by Newcombe and Matt Hollywood lay out panoramic expanses which will titillate listeners endlessly in songs like “I Want To Hold Your Other Hand,” “Face Down On The Moon,” “Stairway To The Best Party,” “Seven Kinds Of Wonderful” and “Blue Order New Monday” in spite of the fact that there are exactly no conventional pop hooks in any of them. Each of those songs is nothing but color and scenery, but they still make for a great ride. The only argument any listener could make against the quality of the record is that each of Aufheben's eleven songs is able to slide through too easily; the airy production and the absence of any burrs in the songs to catch listeners on make the songs as easy to forget as they are to listen to.

In saying that, the answer to the question of which choice Brian Jonestown Massacre has made is obvious: Aufheben is an album made by Brian Jonestown Massacre for the band's own creative satisfaction – not really for fans. That isn't to say fans can't enjoy it – there is plenty here to enjoy – but such an occasion is only a pleasant coincidence; not the primary goal.

Artist:
www.brianjonestownmassacre.com/
www.myspace.com/brianjonestownmassacre
www.facebook.com/pages/Brian-Jonestown-Massacre/
www.twitter.com/#!/bjm_band

Album:
Aufheben will be released on May 1, 2012 via A. Records. Pre-order it here on Amazon . 

order from cargo direct ( maybe you like vinyl )