“J. Roddy Walston and the Business … comes off like a more polished White Stripes or an edgier My Morning Jacket” – Time Out New York
Best known for their live shows, we are thrilled to announce J. Roddy Walston & The Business’s upcoming string of tour dates, including a spring run with Foals and Cage the Elephant set to begin April 21st.
Melting all manner of stereotypes into an as-yet-unnamed breed of New American, each of J. Roddy Walston & The Business’s live performances finds hipsters hugging Teamsters and sweating till it hurts, and art-school cynics and metalheads screaming out every lyric in some gorgeously desperate attempt to connect. There seems to be a competition between the band and the crowd as to who will give more each night.
In addition to their epic performances, the band’s relentless rock single “Heavy Bells” has been charting at alternative radio for five months with a peak position of #12 this week. It has also spent five consecutive months on Billboard’s Heatseekers chart and is not letting up any time soon. For a peek into their recording habits, out this previously unreleased footage of the band in producer/engineer Mark Neill (The Black Keys) own Soil of the South Studios
2/1 – Brooklyn, NY – Barclays Center
4/11 – 4/13 Indio, CA – Coachella, Weekend 1
4/18 – 4/20 – Indio, CA – Coachella, Weekend 2
4/21 – Tuscon, AZ – Rialto Theater%
4/22 – Albuquerque, NM – Sunshine Theater%
4/24 – San Antonio, TX – White Rabbit%
4/25 – Houston, TX – House of Blues%
5/2 – Raleigh, NC – Red Hat Amphitheater*%
5/4 – Boston, MA – Orpheum Theatre*%
5/6 – New York, NY – Terminal 5*%
5/10 – Richmond, VA – The National*%
5/13 – Toronto, ON – Kool Haus*%
5/14 – Chicago, IL – Aragon Ballroom*%
5/15 – Saint Paul, MN – Myth Live Event Center*%
5/17 – Denver, CO – Ogden Theatre*%
5/18 – Salt Lake City, UT – The Complex*%
5/20 – Oakland, CA – Fox Theater*%
% with Cage the Elephant
* with Foals
Already regarded as one of today’s most progressive and innovative acts, Umphrey’s McGee released their ATO-debut Death By Stereo this Fall, an album that cements their status as one of rock’s most audacious forces in the studio.
Death By Stereo is a lethal musical gumbo stewed by the Chicago-based bands seemingly telepathic six members, who Entertainment Weekly calls “Consummate musical alchemists, deftly reconfiguring sounds from rock’s vast panoply of styles.”
Death By Stereo finds the groups’ feet firmly entrenched in hard-hitting rock while still exploring radical new territories: Sticky Fingers-era Rolling Stones romp on Wellwishers, Black Keys-style blues on Domino Theory, and horns-infused 70s funk on Booth Love. Conduit delivers the type of dual-guitar fireworks that Umphrey’s has become known for and Miami Virtue is an upbeat, kaleidoscopic blend of Phoenix and Pink Floyd.
“Going acoustic and dressing in black charro outfits is probably the punkest move they could have taken; El Bronx negotiate in exactly the same way as The Bronx – they don’t. They fear nothing, explore everything and create from the rawest of emotion, making imperfections the very best bits.”—NME
Punk rock. Mariachi. Two great tastes that go great together – er, right? Well, anyway, the two joined regardless one fateful August day in 2006, when The Bronx showed up to play on a television show. At the time, the Los Angeles-based punks were infamous for scabrous rifferama that suggested a return to L.A.’s golden age of hardcore (it’s not coincidence that the band portrayed Black Flag in the Darby Crash biopic What We Do Is Secret, or went on their first tour with the Circle Jerks). The show requested the band play an acoustic version of “Dirty Leaves” off the band’s second, self-titled album – a request that didn’t sit well. “Going ‘unplugged’ was a ‘90s fad that I had a knee-jerk reaction to dislike,” notes guitarist Joby J. Ford. “We wanted to do something a little bit different.” Indeed, The Bronx took it one irreverent step further, donning uncharacteristic sombreros and arranging the song as a mariachi lament. “We never wanted The Bronx to be a soft, quiet band,” says frontman Matt Caughthran, “but this freed up a whole new realm. Sometimes you don’t realize the barriers around yourself until you step outside them. It was a big moment in our career, breathing new life into the band.”
And thus Mariachi El Bronx was born. Between tour stops, Caughthran, Ford and their bandmates – Jorma Vik (drums) Brad Magers (trumpet), Ken Horne (jarana/guitar), and Vincent Hidalgo (guitarrón) – relentlessly studied instructional videos on YouTube to master the various mariachi styles: norteno, jorocho, juasteka, bolero, and corridos. “Mariachi has rules,” Caughthran explains. “We learned everything we could out of respect, especially as we’re a bunch of white guys – well, except for Ken, who’s Japanese.” (Mariachi El Bronx would eventually come to include Ray Suen on violin, as well as satellite members Alfredo Ortiz – known for his percussion styles with the likes of Beastie Boys and Money Mark – and acclaimed guitarrón player Karla Tovar.) The sonic merger of the two cultures wasn’t so surprising considering the band’s evolution out of California’s ethnic melting pot. Caughthran grew up in Pico Riviera, on the outskirts of East L.A., where he was definitely in the gringo minority. “I know people are like, ‘Where the fuck does this come from?’, but growing up in Mexican neighborhoods, it feels automatic,” says Caughthran. “My two favorite bands were always Black Flag and Los Lobos, so it all makes sense. Black Flag was all about aggression, no rules, no dress code, while Los Lobos opened me up to Neil Young, the Carpenters, Dinosaur Jr., Sonic Youth. Through them, I discovered a rebellious spirit in many genres.” Caughthran was actually junior high schoolmates with Vincent Hidalgo, whose father David is a key member of both Los Lobos and the Latin Playboys. Vincent would eventually join Mariachi El Bronx in 2007, while el padre Hidalgo played accordion on “My Love” off of Mariachi El Bronx’s eponymous 2009 debut album. “For David to like something we did musically – it was our vindication,” Caughthran says.
Los Lobos’ nonconformist streak also proved inspiring. “We’ve definitely got our share of flack, but punk to me was not about playing fast and having a chain wallet,” Ford says. “It’s a way of life, not a sound.” As such, while Mariachi El Bronx’s culture clash initially seems exotic, in fact it follows in a grand punk tradition: The Pogues, for example, merged the traditional music of their Irish backgrounds with punk abandon, The Clash famously mixed raw garage guitars with Brixton reggae riddims, and Manu Chao continues to blend raw street anthems with Latin, folk, and African grooves. More currently, Mariachi El Bronx found kinship with the Gypsy punk of Gogol Bordello, with whom they toured Europe in 2010. “I would never have known there was a ‘world music’ category,” Caughthran claims. “I wasn’t thinking that big!” Hugeness ensued anyway: soon after the acclaimed release of the first Mariachi El Bronx album in 2009 – highlighted by the first single, “Cell Mates” – the band found itself moving from sweaty punk dives to playing Coachella and Glastonbury, and booking dates with the likes of The Flaming Lips, Foo Fighters (with whom MEB tours this fall) and The Killers (with whom they collaborated on a charity Christmas single, “Happy Birthday Guadalupe”). “We’re doing some weird-ass shows,” Caughthran laughs. “The experiment of El Bronx was a disguise to get us into parties where we didn’t belong, places we didn’t expect to go – and it worked!”
Mariachi El Bronx has always defied expectations: they were first revealed to the public via an unexpectedly stirring cover of Prince’s “I Would Die 4 U,” recorded for a SPIN tribute 25th anniversary of Purple Rain (find it on YouTube; it’s awesome, trust.). Likewise, the band’s latest album, Mariachi El Bronx (II), finds them exploring new ground – from collaborating with Grammy-nominated Mariachi Reyna de Los Angeles (the first all-female mariachi group in the U.S.) to an even greater emphasis on storytelling craft and emotion in the lyrics. “It still has the naïveté and blind excitement of the first record, but it’s more vulnerable,” Caughthran says. As such, songs like “48 Roses” paint picaresque portraits of men doomed with an insatiable appetite for love, while “Revolution Girls” details a border romance gone awkwardly astray. “A lot of people have gone down to Tijuana, fucked up and done something stupid – I certainly have,” Caughthran admits. “There’s a lot of regret and loneliness here. A lot of The Bronx stuff is in code, but in the tradition of the mariachi, El Bronx has become an outlet for songs about love, heartbreak, growing up and being a man.”
“People were surprised that our embrace of mariachi wasn’t a joke,” Ford says. “Instead, being able to bounce back and forth between two musical styles we love and respect has proven the key to our longevity.” In fact, Mariachi El Bronx (II) finds The Bronx on the verge of celebrating their tenth anniversary – a landmark that most likely will lead to some unexpected path yet again. “If you had told me when we started this that I’d find be playing mariachi ten years later, I’d tell you to go fuck yourself,” says Caughthran. “The greatest thing about our band, and the most torturous, is that it’s unpredictable for us too! We don’t know where the chaos will take us, but that’s a good thing – it’s always exciting. Honesty, heart and the will to do things no one else is doing remain the driving force: I’m not saying we’re the best band on the planet, but we’re pretty fuckin’ good. When we put the charro suits on, we feel invincible.”
In addition, all pre-orders will automatically be entered-to-win a super deluxe grand prize suitcase loaded with the following items:
-Vintage 3’ x 2’ suitcase
-Double Gatefold packaging including photo collage and lyric insert
-CD version of album (sleeve without artwork)
-CD version of ‘Suitcase’ EP (sleeve with full-color artwork)
-Series of 5 (5×7) black and white lithograph prints in commemorative brown paper jacket sleeve with band logo
-12×12 black and white photo print autographed by Dawes
-Digital download of video series featuring interview, candid, recording, and live performance footage
-Digital delivery of 11-track album in its entirety on 6/7/11 in premium DRM-free 320 kbps MP3, Apple Lossless, or FLAC files
-Grado 225i Prestige Series headphones
-WILL Leather Goods Hopper Messenger Bag and Slim Billfold Wallet
-Leather notebook with lyrics signed by Taylor Goldsmith
-Black album artwork t-shirt
Fans can also pre-order Nothing Is Wrong online via the band’s website in the following formats and pricing configurations (visit www.dawestheband.com for details):
- Deluxe LP (Limited Edition) + Immediate Download of ‘Suitcase’ EP ($28.99/$40.99 w/ T-Shirt)
- Double LP + Immediate Download of ‘Suitcase’ EP ($18.99/$30.99 w/ T-Shirt)
- CD + Immediate Download of ‘Suitcase’ EP ($12.99/$24.99 w/ T-Shirt)
- Digital + Immediate Download of ‘Suitcase’ EP ($10.99/$22.99 w/ T-Shirt)
Dawes fans are in luck. The band has confirmed 17 more tour dates, this time supporting Alison Krauss & Union Station. These dates will begin on July 27th in Danbury, CT and run through August 27th.
And if 17 more tour dates doesn’t sound like enough, you can pre-order their highly anticipated album, Nothing Is Wrong, which is due out on June 7th at www.dawestheband.com and receive an immediate digital download of an exclusive three-song EP titled Suitcase, featuring “Time Spent In Los Angeles,” and two B-sides from the album sessions, “All My Failures” and “Strangers Getting Stranger.”
Check out the complete list of tour dates below!
11 – Tampa, FL – State Theatre
12 – St Augustine, FL – Cafe 11
13 – Atlanta, GA – Variety Playhouse
14 – Birmingham, AL – Secret Stages Music Festival (2PM)
14 – Nashville, TN – Cannery Ballroom
15 – Asheville, NC – Orange Peel
17 – Charlotte, NC – Visulite Theatre
18 – Carborro, NC – Cat’s Cradle
19 – Athens, GA – Melting Point
20 – Chattanooga, TN – Nightfall Series (Free Show)
23 – New Haven, CT – Toad’s
24 – Portland, ME – State Theatre
25 – Northampton, MA – Iron Horse
26 – Burlington, VT – Higher Ground
27 – Montreal, OC – Le National
28 – Toronto, ON – Opera House
29 – Detroit, MI – St. Andrew’s Hall
01 – Louisville, KY – Headliners
02 – Indianapolis, IN – The Vogue
03 – Chicago, IL – The Vic Theatre
05 – Hunter, NY – Mountain Jam (1:30PM Set)
06 – St. Louis, MO – The Pageant
07 – Louisville, KY – Iroquois Ampitheatrer
08 – Columbus, OH – LC Ampitheatre
09 – Pittsburgh, PA – Stage AE – Indoors
10 – Philadelphia, PA – Mann Center for Performing Arts
11 – Vienna, VA – Filene Center at Wolf Trap
13 – Vancouver, BC – Vogue Theatre
14 – Seattle, WA – Moore Theatre
15 – Portland, OR – Crystal Ballroom
16 – Bend, OR – Athletic Club of Bend
17 – Chico, CA – El Rey Theatre
18 – Los Angeles, CA – Orpheum Theatre
20– San Diego, CA – House of Blues
21 – Tucson, AZ – Rialto Theatre
22 – Phoenix, AZ – Marquee Theatre
23 – Las Vegas, NV – Silverton Casino
24 – Reno, NV – Knitting Factory
25 – Oakland, CA – Fox Theatre
26 – Atlantic City, NJ – Dave Matthews Band Caravan
02 – Quincy, CA – High Sierra Music Festival
07 – Winnipeg, MB – Winnipeg Folk Festival
08 – Winnipeg, MB – Winnipeg Folk Festival
09 – Ottawa, ON – Ottawa Bluesfest
11 – Quebec City, QC – Quebec City Summer Festival
27 – Danbury, CT – Ives Concert Park
28 – Boston, MA – Wang Center
29 – Chautauqua, NY – Institution Ampitheatre
30 – Charlottesville, VA – Charlottesville Pavillion
02 – New York, NY – The Beacon Theatre
05 – Gilford, NH – Meadowbrook Pavillion
06 – Mashantucket, CT – MGM Grand Theatre
09 – Bethlehem, PA – Musikfest
11 – Cary, NC – Koka Booth Ampitheatre
12 – Asheville, NC – The Biltmore
13 – Atlanta, GA – Fox Theatre
14 – East Hampton, NY – Music to Know Festival
19 – St. Augustine, FL – Augustine Ampitheatre
20 – Ft. Lauderdale, FL – AuRene Theatre
21 – Clearwater, FL – Ruth Eckerd Hall
26 – Nashville, TN – The Ryman
27 – Nashville, TN – The Ryman
Jon Foreman of Switchfoot and Sean Watkins of Nickel Creek have come together to create FICTION FAMILY.
The seemingly unlikely duo met a few years ago at a show featuring Wilco, R.E.M. Nickel Creek and Switchfoot. Over time, they began writing songs together, which quickly turned into a full-length album. As both Watkins and Foreman are vocalists and multi-instrumentalists, they often took turns singing lead vocals and they both play several instruments on each song, including guitar, bass, keyboards, percussion, baritone ukulele, piano, organ, mandolin, steel guitar, 12-string guitar. Fiddle player Sara Watkins is featured on a few songs as well. Foreman explains, “The album was recorded and written in parts. Because Nickel Creek and Switchfoot are both hard working touring acts, we were rarely home from tour at the same time. Consequently the tracks were passed back and forth between Sean and I. Whoever was home from tour would chip away at the songs with no real expectations at all, mainly just for ourselves and for the love of the song I suppose. We came up with a few cowboy rules for the project: No double tracking. No pussyfooting. No tuning of vocals. etc… With very few exceptions, every note was written, arranged, played and recorded by Sean and myself.”
My Morning Jacket preformed thier new title song Circuital on VH1 Storytellers which you can stream by Clicking Here. The New My Morning Jacket Album Circuital is being released on May 31st.
In support of their new album My Morining Jacket will be kicking off their summer tour in Louisville, KY at the Palace Theatre on May 31st. That show will have a live stream for all the MMJ fans who are unable to attend. You can find out more information about the live stream by clicking here.
Buster Voodoo from RodGab’s latest album, “11:11″ is now available on Rock Band for XBox 360! Click the banner below to purchase the track. Dig it.
Danny has been invited to perform as part of the legendary etown series, syndicated on hundreds of NPR, AAA, and non-comm stations nationally. Tickets are on sale now for this special performance at the Boulder Theater in Boulder, CO on Sunday, March 28th at the Boulder Theater. Hosted by Nick Forster, etown is taped in front of a live audience and features two musical guests who perform their own sets, and then collaborate on the show finale together with the etones. The other musical guest will be Jakob Dylan and Three Legs featuring Neko Case and Kelly Hogan. Click HERE<http://click.email.topspin.net/?qs=2c85b09f3010fbbd2de38827df950343985b187f764df2a22b640ac40ed70c3e> to purchase tickets. This show will sell out!
Keep it simple.
It’s easy to forget sometimes. Like when you are looking out across a riot of 35,000 smiles at the Hollywood Bowl, with a 40 piece orchestra exploding behind you.
Like when someone asks you, very politely, if you could just do that 16 second piece of score for the animated cat; again please?
Or even when you’re melting in humid Havana, translating an alien musical language with some cool Cuban compadres.
Keep it simple. Strip it back. Remember where you came from.
These words kept coming back to Rodrigo Sanchez and Gabriela Quintero, from their humble roots busking in Dublin, playing Metallica bossa nova style in hotel bars for their own amusement; before they became one of the biggest selling acoustic instrumental acts in the world.
After finishing the successful “Area 52” album in Cuba, and taking it on the road with Cuban musicians, Rodrigo y Gabriela decided to downsize. After all, it’s a short step from tour to entourage, so go back to basics, rediscover the joy of playing face to face, guitar versus guitar, rhythm and melody.
Gabriela: “My idea was to record it as if we were to playing a live gig in your living room”.
First and foremost, Rodrigo y Gabriela’s new album “9 Dead Alive” is a FEEL record. It’s closest relative in the RyG canon would be 2006′s self-titled break-out album. The playing is intuitive, the sound is intimate, the results are spectacular: bursting with melodic energy and rhythmic invention.
Recorded at their Pacific Coast hideaway in late summer, the album captures the warmth and spontaneity of two great musicians riffing and jamming together; perfectly distilled into 9 new songs teeming with desire, elegance and gusto.
Where does the inspiration for this luminous, unadulterated music come from? Remember where you come from, remember your gifts are slender compared to the sacrifices of others. Each of the songs on the album is a personal celebration of individuals who have passed on, but through their deeds and words still resonate in the 21st century.
Going as far back as Eleanor of Acquitaine (1122 – 1204) to Viktor Frankl (1905 – 1997), and including a tribute to one of Rod & Gab’s enduring touchstones – animals and nature. The nonet celebrated in this diverse and fascinating list will strike a chord with anyone familiar with the duo’s passion for human rights, literature, history and philosophy.
Rodrigo y Gabriela left Mexico at the end of the millennium. Since then they have played for presidents, toured the world many times over, written soundtracks for Hollywood block-busters, and sold over 1.5 million albums. “9 Dead Alive” sees them bring their timeless music all the way back home.
- The Soundmaker (Antonio de Torres Jurado: 1817 – 1892)
- Torito (animals and nature)
- Sunday Neurosis (Viktor Frankl: 1905 – 1997)
- Misty Moses (Harriet Tubman: 1820 – 1913)
- Somnium (Sor Juana Ines de la Cruz: 1651 – 1695)
- Fram (Fridtjof Nansen: 1861 – 1930)
- Megalopolis (Gabriela Mistral: 1889 – 1957)
- The Russian Messenger (Fyodor Dostoyevsky: 1821 – 1881)
- La Salle Des Pas Perdus (Eleanor of Acquitane: 11-22 – 1204)