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Orchestral Manoeuvres In The Dark Announce Greatest Hits North American Tour

Regarded as pioneers of electronic music, Orchestral Manoeuvres in the Dark are coming to North America! The post-punk and synth legends announced plans to celebrate their 40th anniversary with an ambitious Souvenir 2022 tour, playing 24 shows throughout the US and Canada in support of the release of their career-spanning Souvenir box set.

OMD hits the road in Orlando on 22 April, making additional stops along the east coast, dipping through the Heartland and wrapping things up 26 May on the west coast in Los Angeles. Canadian fans, you’re in luck: the band will also play Toronto and Vancouver.

Andy McCluskey and Paul Humphreys will also bestow their graces upon us with a webcast called You, Me & OMD, airing on 19 June.

OMD’s website has more details on the global Livestream, as well as ticket info on the North American tour. All proceeds from the Livestream will be split among members of the band’s touring crew, who have been unemployed since February 2020, because of the pandemic.

Here are the dates for the 2022 Souvenir Tour.

April 22: Plaza Live, Orlando, FL
April 23: Jannus Live, St. Petersburg, FL
April 24: Buckhead Theatre, Atlanta, GA
April 26: Lincoln Theatre, Washington D.C.
April 27: Keswick Theatre, Glenside, PA
April 29: Brooklyn Steel, Brooklyn, NY
April 30: Brooklyn Steel, Brooklyn, NY
May 1: House Of Blues, Boston, MA
May 3: History, Toronto, ON
May 4: Royal Oak Music Theatre, Royal Oak, MI
May 6: Riviera Theatre, Chicago, IL
May 7: The Fillmore, Minneapolis, MN
May 8: The Truman, Kansas City, MO
May 10: TBD, Dallas, TX
May 11: Bayou Music Center, Houston, TX
May 12: ACL Live @ The Moody Theater, Austin, TX
May 15: Paramount Theatre, Denver, CO
May 16: Union Events Center, Salt Lake City, UT
May 20: Malkin Bowl, Vancouver, BC
May 21:Moore Theater, Seattle, WA
May 22: Roseland Theater, Portland, OR
May 24: Fox Theater, Oakland, CA
May 25: Magnolia, El Cajon, CA
May 26: Greek Theatre, Los Angeles, CA

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The Jesus and Mary Chain Sue WMG Over Copyright Infringement of Psychocandy and More

Jim and William Reid of The Jesus and Mary Chain have filed a $2.55M suit against Warner Music Group today, seeking, among other relief, statutory damages for willful copyright infringement.

Under Article 203 of the Copyright Act, enacted in 1976 and commonly known as the “35-year law,” recording artists have the right to terminate old grants of rights to record labels thirty-five years after the release of those works. On the 7th of January, 2019, Jim and William Reid sent a notice of termination to WMG for various singles, EPs, and five albums—Psychocandy, Darklands, Barbed Wire Kisses, Automatic, and Honey’s Dead. Most of the material in question had termination dates in January 2021; the other material will terminate next year.

An attorney for WMG’s label Rhino specified that the Reids and their former bandmate Douglas Hart agreed that WEA was the first owner of the copyright when they signed in 1985. “As a result, you never owned any copyrights in the recordings which you could terminate,” the lawyer told the Reid brothers.

“Our copyright law provides recording artists and songwriters with a valuable, once-in-a-lifetime chance to terminate old deals and regain their creative works after 35 years,” contests Evan S. Cohen, the attorney for The Jesus and Mary Chain. “This ‘second chance’ has always been a part of our copyright law….the label has refused to acknowledge the validity of any of the Notices of Termination served by The Jesus and Mary Chain, and has completely disregarded band’s ownership rights. Despite the law returning the US rights to the band, Warner Music Group is continuing to exploit those recordings and thereby willfully infringing upon our clients’ copyrights. This behavior must stop. The legal issues in this suit are of paramount importance to the music industry.”

Rhino’s attorney responded in a December 2020 letter to the band: “WMG is the owner of the copyrights throughout the world in each of the sound recordings comprising the Noticed Works, and the Notice is not effective to terminate WMG’s U.S. rights.”

Congress intended that songwriters and recording artists must have a “second chance” to own the US rights in and to their works. This law has been utilized by many recording artists, and represents a major legal issue in the music industry, generating a substantial amount of litigation. At present, Warner Music Group refuses to allow Jesus and Mary Chain to terminate those grants, including their landmark 1985 release Psychocandy.

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Robert Smith Hints The Cure’s Next Album Will Be the Last

Though it has been said before, The Cure’s Robert Smith has indicated that the band’s next album will be its last, due to the intensity of songwriting process, and the resulting emotional exhaustion.

It has taken thirteen years for The Cure to follow up on their last album, 4:13 Dream. Since then, the band has released live albums, compilations, and films. Robert Smith has conceded that songwriting woes and his own high lyrical standards have contributed to the long hiatus. The eccentric frontman has no interest in resting upon his laurels nor does he wish to repeat himself. He admits to being his own harshest critic, and nearly threw in the towel a few times during the process.

 “How many things are there to write about? Seven stories or something?”, he pondered during an interview with The Sunday Times. “You try to find different words for something and it steps out of your normal use of language and sounds terrible. I want to sing as I speak and my vocabulary is reasonably OK, so I thought, ‘I’ll put “undulating” in a song.’ That is one I tried. Then I think, ‘You’re not singing fucking “undulating”!’”

Smith’s confession is not a new revelation, however; nor is it unusual for most recording artists to arrive at this particular crossroads in their career, particularly when pressure from record labels is out of the picture. Smith has the freedom to do what he pleases, and has complete artistic control. This can be a difficult position for perfectionists, however.  In 2019, Smith told NME “I think that every album we do is the last Cure album. It may well be, but if there’s another bunch of good songs then there’s no reason not to follow it up. What do we do if we’ve got seven good songs leftover? Wherever it ends up, it will be an honest decision. There’s no record company involvement. It’s just us doing it. No one is pulling the strings.”

The pandemic proved to be the balm Smith needed to get back in the songwriting process and finish up the album, but the toll it’s taken on him is palpable. Making a whole gallon of lemonade from the lemons of COVID quarantine, Robert Smith found a rare opportunity in the prospect of a year trapped inside: no distractions. With his usual touring demands evaporated, Smith was able to complete a number of projects, including guest spots on a new Gorillaz track, Strange Timez, and most recently on How Not To Drown by CHVRCHES.

Smith promoted How Not To Drown during an interview with Zane Lowe on Apple Music 1, speaking about the status of The Cure and his own solo work.

“Probably in about six weeks time, I’ll be able to say when everything’s coming out and what we’re doing next year and everything …We were doing two albums and one of them’s very, very doom and gloom and the other one isn’t. And they’re both very close to being done. I just have to decide who’s going to mix them. That’s really all I’ve got left to do.”

As the onslaught of cicadas reappears in the trees, The Cure frontman follows suit with the culmination of his own cycle. (It’s also worth noting that Smith has been talking about his debut solo album since 2001, (or decades before that). One thing is for certain, Robert Smith cares enough to get his work right, and that’s something to be thankful for.

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Nouvelle Vague Covers Blur’s Classic Brit-Pop Anthem “Girls and Boys”

Girls who want boys
Who like boys to be girls
Who do boys like they’re girls
Who do girls like they’re boys
Always should be someone you really love

In 1994, Britpop titans Blur released the monster hit Girls and Boys, a wry observation of sexual roles, the freedom of sexual preference, and the state of chaos that ensues. Damon Albarn’s inspiration for the disco-flavoured, G-minor anthem came to him when vacationing in Spain and observing the tourist scene’s penchant for casual hookups. Graham Coxon explained to NME that the track was “a song that you find funny and which audiences respond to. Mainly because there’s nothing too complicated about it and it’s got a chanty sort of chorus and it has these strange sexual connotations. It’s a disco beat with lyrics about holidays and sex. It’s a total laugh.”

Nearly thirty years later, Nouvelle Vague (comprised of Olivier Libaux and Marc Collin), with longtime collaborator and vocalist Mélanie Pain, has taken the old oi-oi jokiness out of the song and transformed it into a glistening, nostalgic dreamscape of the beauty and growing pains associated with the expression of gender fluidity.

Singer Mélanie Pain has covered the song live for years, and this collaboration with Nouvelle Vague is magnificently subdued and gentle, taking the song from a raucous romp to the tender moments of blossoming friendship and the blurring of gender roles. She and Marc Thirouin directed the delightfully wholesome accompanying video. The clip narrates a tale of unbridled, youthful spirits finding each other on the streets as they proceed to frolic about in mischievous joy and androgynous clothing. This interpretation meshes the divine masculine and feminine, reintroducing the interplay between guys, gals, and nonbinary pals. When all is said and done, life comes down to being with “someone you really love,” a beautiful lesson from the karmic wheel.

Watch the video below:

The song is out now through Kwaidan Records.

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Bauhaus Announces Concert at Kings Theatre in Brooklyn

Children of the night, steady yourselves…and your credit cards! Bauhaus is making an appearance at the stupendous Kings Theatre in Brooklyn on, fittingly, the Day 0f the Dead, or All Souls Day, November, 2nd, 2021.

After Covid thwarted their reunion tour schedule, Bauhaus is all set for a new lease on life in the coming year,  rescheduling their appearances around the world, including an appearance at the Cruel World Festival in Spring 2022 as well as the previously announced Mexico City and London dates.

Previously, Guitarist Daniel Ash confirmed that the Bauhaus reunion tour, initially scheduled to occur in 2020, was still in the works. “There’s definitely plans when all this lifts, ” Ash said.

The band’s other rescheduled shows in both London and Mexico City come just in time for Halloween, with Soriah and Automatic as supporting acts.

Tickets go on sale this Friday, June 18 at 10 am EST. Purchase them here.


  • Oct 23 & 24, 2021 – Fronton – Mexico City
  • Oct 30, 2021 – Alexandra Palace, London
  • Nov 2, 2021 – Kings Theatre, Brooklyn
  • May 14, 2022 – Cruel World Fest, Los Angeles

This show is not to be missed.

Peter Murphy has also been releasing his solo work through Beggars Archive, and he recently came out with a brand new lyric video for Indigo Eyes, as well as a special new vinyl or rarities.

Photo credit: Jolene Siana

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Post-Punk Podcast Episode 5 with Wayne Hussey of The Mission

On the fifth episode of the Post-Punk Podcast, our Editor-in-Chief Alex Baker spoke to Wayne Hussey of The Mission, a band that formed in wake of The Sisters of Mercy’s debut album First and Last and Always, and its aborted follow-up that ended the original incarnation of the band.

During the interview, Wayne talks about his work with several other bands, including Pauline Murray and the Invisible Girls and Dead or Alive. Wayne also spoke on what the original Goth scene featured at Planet X in Liverpool was like, as well as his visit to Danceteria in New York, and the origins of some of the iconic Goth fashions of the 80s, including the famous Goth cowboy hat.

Wayne discussed all of this and more, including the origins of some iconic songs from both TSOM and The Mission, with more in-depth details on these stories to be found in part one of his autobiography Salad Daze.

Wayne also launched The Remission International Charity collaboration, where various artists from the Post-Punk and Gothic Rock scenes came together in support of front-line workers during the COVID-19 Pandemic. You can find more info about the “Tower of Strength 2020” aka “TOS2020” here.

Be sure to check out Wayne’s Lynchian duet of ‘The Delicate Balance of All Things” with his wife Cinthya for Michael Ciravolo’s Beauty in Chaos, a collaborative track that heralds more to come between Mr. and Mrs. Hussey.

If you have enjoyed this, please support the Post-Punk Podcast through our Patreon Page, or directly via our Contact Form here. And don’t forget to leave a review on the podcast platform of your choice.

Thank you to Jason Corbett from Actors for creating our intro music, Korine for creating our outro, and our Editors Frank Deserto and Andi Harriman.

Listen below:

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Morrissey Announces New Album “Bonfire of Teenagers”

All the ingredients are there: completed album of eleven tracks, check. Artwork by Liam Lynch, check. A statement announcing the completion of said album, check. Now all Morrissey needs is a label to release his latest opus, Bonfire of Teenagers.

As it stands, there is no release date for Bonfire of Teenagers, nor does Morrissey seem interested in self-releasing it. In a burst of optimism, he announced the following on his website:

“Morrissey is unsigned. The album is available to the highest (or lowest) bidder.”

In a statement posted Monday to the Morrissey Central website, Moz went on to state: “The worst year of my life concludes with the best album of my life.” (Hyperbole, check.)

The last year has indeed been a dusty road of strife for the former Smiths singer. Morrissey released his most recent album in March 2020 through BMI, I Am Not A Dog On A Chain, but as BMI’s management personnel shifted last autumn, the label dropped Moz. The Simpsons spoofed The Mancunian ex-pat in an April 2021 episode, entitled Panic On The Streets of Springfield, wreaking havoc with his PR and instigating a flurry of fights.

This ain’t Morrissey’s first label search rodeo, either. In 2014 Capitol/Harvest let him go; in recent years he has been polarizing many fans and supporters with a bigmouth that seems to perpetually strike again and again.

If this tickles your fancy, here is the tracklisting for Bonfire of Teenagers. Mr. Liam Lynch did a nice, no-nonsense album cover!

  1. I Am Veronica
  2. Rebels Without Applause
  3. Kerouac Crack
  4. Ha Ha Harlem
  5. I Live In Oblivion
  6. Bonfire of Teenagers
  7. My Funeral
  8. Diana Dors
  9. I Ex-Love You
  10. Sure Enough, The Telephone Rings
  11. Saint In A Stained Glass Window

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Punk meets Rebetiko in Greco-Parisian Artist Katerina Fotinaki’s Cover of Violent Femmes’ “Kiss Off”

When the Violent Femmes come up in conversation, one doesn’t immediately think about 1920s Greek folk music about cocaine, but bona-fide sorceress Katerina Fotinaki did. The classic Violent Femmes anthem of angst, Kiss Off, has been blessed with an unholy-yet-perfect mashup with Panos Toundas’ 1929 heartbreaker, The Cocaïne Drinker. Gordon Gano’s trademark wails are replaced with Fotinaki’s plaintive whisper, taking the emotions from “desperate, testosterone-fueled teen” to “woman who’s been burnt too many times.”

In a similar move to the way Nouvelle Vague has reimagined The Cure, Dead Kennedys and Tuxedomoon, Fotinaki has infused her own Grecian stamp on the art of the radical cover. The “punk meets Rebetiko” twist for Kiss Off is part of the French-Greek musician’s upcoming CD, MIXOLOGY. Traversing genres, styles, and regions of Earth, the theme of “cocktail” is taken literally with these mad genius combinations. With MIXOLOGY, Fotinaki is simultaneously embracing her own heritage, embracing the sounds of other cultures…and taking the piss out of expectations from her adopted country.

Photo: Jean-Charles Léon

“Because of being Greek in Paris, my music has been classified as “world music,” which many times led to embarrassing occasions, like being invited to festivals and having people actually waiting to hear some bouzouki and Zorba kind of music,” says Fotinaki.  “I was there to play my songs, composed (with) poetry of Odysseus Elytis or Dionyssios Solomos. When I started composing (with) poetry of foreign languages, like William Blake and Edna St. Vincent Millay in English, or Louise Labé in French, and being inspired by diverse periods and styles of music – medieval, contemporary, blues, jazz, punk – I then realised that it was completely useless to try to answer this question any longer…I therefore understand this question and the reasons behind it. That’s why I have decided to invite people that listen to my music, to consider it as an experience relevant to that of tasting a cocktail. A margarita is a margarita, nobody has to know if it is made of tequila or brandy, if it contains lemon or lime. A mojito is a mojito, no one would order ‘rum with shaved ice, brown sugar, mint and sparkling water.’”

Katerina Fotinaki, who arranged the piece and added her voice, guitar, tzouras, bass, and percussion, was joined by Evi Filippou on drums and marimba and Orestis Plakidis, who produced and mastered the track and album.

Listen to Kiss Off below:

Stream Kiss Off on Spotify below or your preferred service here

You can order the album from Klarthe Records here.

Listen to the original 1929 version of The Cocaine Drinker here:

Follow Katerina Fotinaki here:

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The The Announces “Comeback Special” Live Album Plus Tim Pope Concert Film—Watch “Sweet Bird of Truth”

English post-punk legends The The have announced the release of a multiformat live album and accompanying concert film directed by Tim Pope: The Comeback Special: Live at the Royal Albert Hall. For the project, Matt Johnson’s Cinéola label teamed up with German rock and pop label, earMUSIC, for a series of exciting, exclusive releases.

The news is a happy twist to the tumultuous year Matt Johnson has had. The singer barely survived a life-threatening throat infection last June during the throes of Covid, and underwent a successful emergency surgery. We hope he has made a full recovery and lockdown has allowed his magnificent voice to heal.

This live set, filmed in London on 5 June 2018, documents the band’s comeback tour after a sixteen-year hiatus.

With this offer, The The promises an audio/video set, featuring exclusive products, through the band’s official online store. The goodies include a 136-page art book with exclusive photos, audio content, and the documentary film.

Watch Pope’s beautifully filmed clip of Sweet Bird of Truth from the documentary. Matt Johnson is in fine form in this brilliant performance, promising a real treat for The The fans who would love to experience the band in a live capacity.

Here is the track listing:

1. Global Eyes
2. Sweet Bird Of Truth
3. Flesh & Bones
4. Heartland
5. The Beat(en) Generation
6. Armageddon Days (Are Here Again)
7. A Long Hard Lazy Apprenticeship
8. We Can’t Stop What’s Coming
9. Phantom Walls
10. Love Is Stronger Than Death
11. Dogs Of Lust
12. Helpline Operator
13. This Is The Night
14. This Is The Day
15. Soul Catcher
16. Bugle Boy
17. “Beyond Love”
18. “Slow Emotion Replay”
19. “(Like a) Sun Rising Thru My Garden”
20. “Infected”
21. “I’ve Been Waiting For Tomorrow (All of My Life)”
22. “True Happiness (This Way Lies)”
23. “Uncertain Smile”
24. “Lonely Planet”

Preorder the release for The Comeback Special: Live at the Royal Albert Hall

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Cindytalk to Reissue Wappinschaw & The Wind is Strong on Dais Records

“So-called experimental can only remain so if you keep challenging yourself.” – Cinder

The mercurial Scottish artist Cinder thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. At long last, her long-awaited back catalog is resurfacing, alongside multiple new works.

Initially exploding on the UK punk scene in the early 1980s as The Freeze, a move to London shifted her exploration into the worlds of industrial and post-punk. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, Hong Kong and Japan, expanding her musical horizons in each continent and cultivating a fruitful partnership with Viennese experimental institution, Editions Mego.

“All sound is music,” says Cinder, who employed tape hiss, ticking clocks, flicking flames, and distant whispers in the sonic tapestry of her third album, The Wind Is Strong. Although Cinder included the subtitle “A Cindytalk diversion” in the sleeve notes, The Wind Is Strong… is crucial to the project’s canon, demonstrating the versatility of her unique ear and intuition. The cinematic album: a mix of musique concréte, haunted reverie, and desolate beauty, remains one of the most ambitious – and elusive -in the Cindytalk discography. Originating as a soundtrack to a film by Ivan Unwin entitled Eclipse (The Amateur Enthusiast’s Guide To Virus Deployment), the album was inspired heavily by Alan Splet’s eerie sound design for David Lynch’s Eraserhead. Long out of print, the fifteen tracks flow between field recordings, piano vignettes, and metallic haze – a hybrid palette Cinder deemed “ambi-dustrial.”

The film was originally slated for release by Factory Records’ video division, Ikon. Unfortunately, Ikon collapsed on the eve of the project’s completion, so the film was never distributed. Their label at the time, Midnight Music, repackaged Cindytalk’s score as an LP in 1990 under the name The Wind Is Strong – A Sparrow Dances, Piercing Holes in Our Sky.

The ambitious fourth album, Wappinschaw, was inspired by Scotland and its struggle for independence. At the time of its recording, Cinder was attempting to leave London. But as much as “ideas of homecoming were percolating,” there remained old ghosts to exorcise, culminating in Wappinschaw’s heady, harrowing voyage: “An invocation of spirits of resistance – as much a declaration of war as a declaration of love.”

The title refers to an archaic Scottish battle inspection, during which clan chieftains surveyed their group’s weapons to ensure they were ready for combat. Opening with an aching vocal rendition of British folk standard The First Time Ever (I Saw Your Face), the album surges into A Song Of Changes. The mood fragments into feverish dirge, pensive spirituals, noir abstraction, spoken word, bagpipe drone, and apocalyptic post-punk. Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel, a situation compounded by the impending dissolution of Midnight Music.

Listen below:

Wappinschaw and The Wind Is Strong are both out 30 July through Dais Records.

Cindytalk – Wappinschaw
Cindytalk – The Wind Is Strong

Wappinschaw Track Listing

1. The First Time Ever
2. A Song Of Changes
3. Empty Hand
4. Return To Pain
5. Wheesht
6. Snowkisss
7. Secrets And Falling
8. Disappear
9. Träumlose Nachte
10. And Now In Sunshine
11. Prince Of Lies
12. Hush
13. Muster

CD & Digital Bonus Tracks
The Moon Above Me
In Sunshine
Old Jack Must Die

The Wind Is Strong… Track Listing
1. Landing
2. Firstsight
3. To The Room
4. Waiting
5. Through Flowers
6. Secondsight
7. Through The Forest
8. Arrival
9. Is There A Room For Hire
10. Choked I
11. Choked II
12. Dream Ritual
13. Morning Bell
14. On Snowmoor
15. Angel Wings

*Photo courtesy of Steve Gullick

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