Midge Ure Announces 2013 Dates for First US Solo Tour in Over 10 Years + Autobiography Coming in 2013

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November 26th, 2012—New York, NY: Grammy Winner Midge Ure has announced plans for a solo US tour in January 2013 which will be the first time he performs in the US in a decade. The tour kicks off in Long Island New York on the 8th of January with the only acoustic show on the trek and winds up on the west coast in LA on January 26th. The last tour Midge did across the US was all acoustic in 2001—this will also be the first tour with a full band since 1985. Right The Stars will be opening the shows and will also provide backing for Midge Ure.

Midge Ure has an impressive back catalogue of his own fronting the groundbreaking electrorock band Ultravox as well as being a member of such noteable bands as Visage and Thin Lizzy in addition to Band Aid where he produced and co wrote the smash charity single Do They Know Its Christmas. He was also one of the principle creators of Live Aid and Live 8 along with Bob Geldof. Ure has spent most of his career touring the globe most recently with Ultravox who reformed in 2009 as well as some solo shows and the notable role of MD for the Princes Trust at the Royal Albert Hall with a cast of the usual suspects including Eric Clapton, Phil Collins and Mark King.

Besides preparing for a US tour, Midge has been keeping very busy with the recent release of Ultravox's album entitled Brilliant (their first since 1986), as well as an ebook release of his highly acclaimed Autobiography If I Was due out 2013. Fans can expect Ure's solo material, perhaps a few Ultravox tunes as well as a few surprises Midhe is also working on his next solo album.

Midge Ure 2013 Tour Dates

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01/08   01/09 01/10 01/11 01/12 01/13 01/14 01/15 01/16 01/17 01/18 01/19 01/20 01/23 01/24   01/25 01/26

Oyster Bay, Long Island   New York, NY Philadelphia, PA Stafford Spring, CT Woodstock, NY Rochester, NY Toronto, Ontario Toronto, Ontario Cleveland, OH Detroit, MI Milwaukee, WI Chicago, IL Minneapolis, MN San Francisco, CA San Juan Capistrano, CA   San Diego, CA Los Angeles, CA

Sagamore Yacht Club only US acoustic show Iridium World Cafe Palace Theatre Bearsville Theatre Water Street Club Hughs Room Hughs Room Beachland Ballroom Magic Bag Shank Hall Mayne Stage New Skyway Lounge Red Devil Lounge Coach House Co-Headline w/ Bow Wow wow Brick By Brick El Rey Theater w/ Bow Wow Wow & Gene Loves Jezebel

Introducing Brooklyn Duo Pearl Necklace, Debut Album Soft Opening Out January 2013

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Introducing Brooklyn Duo—Pearl Necklace
Debut Album Soft Opening Out January 29^th

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Listen to Did You Feel It?

We are pleased to introduce the world to Brooklyn duo Pearl Necklace. Pearl Necklace is Bryce Hackford and Frank Lyon. Soft Opening is their debut release, and it drops on January 29^th via Smalltown Supersound. Like their name, a mischievous double-entendre certain to conjure a sly grin, the music of Pearl Necklace is similarly coded. Nothing is quite what it seems. Hackford & Lyon share a fascination with text—with language, sound, meaning, and with forms of communication. Soft Opening is a subtle but distinct dissemination of all of that, wherein all we think we know is revealed to be, in fact, quite alien.

Building on their predecessors fascination with Sound as Text—from Pierre Henry to early Cabaret Voltaire to Christian Marclay to Matmos—Pearl Necklace define their SoundWorld by an open-minded approach to sampling, using source material of various fidelities—field recordings, Library records, dusted disco cuts, et cetera—and live, primarily synth-based instrumentation, plus definitive use of an MPC1000 sampler.

Derived from improvisations, Soft Opening was recorded in a relaxed pace over the course of a year in Hackford's studio in Williamsburg. While they wrote, a few guests popped by the studio to lay down some ideas: Alexis Georgopoulos, better known as Arp—who sensed a kinship between Pearl Necklace and Smalltown Supersound and subsequently introduced band to label—and Andrew VanWyngarden, better known as the singer of MGMT. The result is a minimal techno full of auditory surprises and rewards. Pitchfork premiered album track Did You Feel It?, which features Arp, this morning. They called it a “percolator, which uses its seven-minute running time to build a hill of squishy, warm techno textures.”

Buke & Gase Share Title Track Off General Dome, Reveal Cover Art, & Announce 2013 Tour Dates

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New Album from Buke & Gase Out January 29^th
Listen to General Dome | Listen to Hiccup

Buke and Gase have this vague sense of unease. Like someone, somewhere is always watching. Do a Google image search for the band's new album title, General Dome, and you'll come across images that instill ideas of paranoia and surveillance such as security cameras and rockets being launched. In times like these, when governments can freely survey the citizenry's every action and our lives become increasingly less private, people are often drawn to code. Take a look at Buke and Gase's album cover above. Its minimalist design could mean nothing at all. Perhaps this would be the case, if this were any other band than Buke and Gase.

Inspired by a recent Sol LeWitt exhibition at the Dia Beacon museum in Beacon, NY, Arone Dyer and Aron Sanchez started brainstorming about coded imagery. They decided to build a system of images that would dictate the direction of the artwork, which lead them to creating a new alphabet they could write with, not totally different from the way they create their music. They built a graphical alphabet that the artwork is made of, the code of which will be available on their website once it's released. There are more coded images like this throughout the packaging.

On Wednesday, the band shared their heavy, raw nerve of a title track via Pitchfork. General Dome is out January 29th via Brassland.

Also, the band is announcing their record release show and subsequent tour. If you'd like an idea of what to expect, check out a video of their whole performance at NPR Music's CMJ party earlier this year on the NPR website.

Buke and Gase Tour Dates:

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12/07/12 12/08/12 12/09/12 01/30/13 01/31/13 02/01/13 02/02/13 02/04/13 02/05/13 02/06/13 02/07/13 02/08/13 02/09/13 02/11/13 02/12/13 02/14/13 02/15/13 02/16/13 02/18/13 02/19/13 02/20/13

Minehead, UK Minehead, UK Minehead, UK New York, NY Boston, MA Philadelphia, PA Washington, DC Montreal, QC Toronto, ON Detroit, MI Cleveland, OH Chicago, IL Minneapolis, MN Denver, CO Salt Lake City, UT Vancouver, BC Seattle, WA Portland, OR San Francisco, CA Los Angeles San Diego, CA

All Tomorrow's Parties All Tomorrow's Parties All Tomorrow's Parties Bowery Ballroom Brighton Music Hall Johnny Brenda's DC 9 Il Motore The Drake Pike Room Beachland Tavern Lincoln Hall 7th Street Entry Walnet Room Kilby Court Media Club Barboza Doug Fir Lounge Café Du Nord The Echo The Casbah

Listen to & Purchase the Function Falls EP

Watch the video for Misshaping Introduction

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Black Moth Super Rainbow Tracks & Tour!
Listen to & Share Like a Sunday

Listen up, freaks! You've had the main course and now the dessert! Black Moth Super Rainbow is spiking your sugar high with Cobra Juicy track Like A Sundae, which was named Today's Top Tune by KCRW. Get your masks on because the partying and mischief making continues next month on the East Coast. A full list of tour dates is below.

Black Moth Super Rainbow Tour Dates:

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12/03/12 12/05/12 12/06/12 12/07/12 12/08/12 03/10/13

Boston, MA New York, NY Brooklyn, NY Philadelphia, PA Washington, DC Denton, TX

Paradise Bowery Ballroom Music Hall of Williamsburg Union Transfer U Street Music Hall 35 Denton

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“What's unique about Black Moth Super Rainbow is the balance achieved between the grotesque and the beautiful. This is not as easy as it sounds.”

—Pitchfork

“…Cobra Juicy drips with the group's trademark heady synthesizers, as well as infectious hooks and punchy electronica to craft their most melodic and accessible record to date.”

—FILTER

“Black Moth Super Rainbow have over the course of several albums set themselves a consistent task, with heady results: discovering what a psychedelic soundtrack for the 21st century sounds like. Their latest effort, Cobra Juicy...nails that trademark pastoral-yet-greasy groove.”

—BlackBook

“It's the Black Moth Super Rainbow recording we've been waiting for…”

—Under The Radar

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Listen to Gangs in the Garden

Listen to and Watch the Video for Windshield Smasher

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Listen to Tracks from Black Moth Super Rainbow:

Don't Look Now (1973)

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The film which is set in Venice, Italy is about a couple who recently lost their daughter who tragically drown. It is in Venice that John and Laura Baxter begin to experience mysterious occurrences whilst John is working for commission on a Church in the city. The film adds to the stereotypical viewing of Venice as a dark and disengaged place, the couple who are mourning their daughter meet a ‘psychic’ women in a restaurant that claims to be able to communicate with their daughter.The couple are then submit to various unexplainable events such as visions of their daughter, this leads them to stay in contact with the psychic and try and keep in contact their lost child. 


The psychic warns John to leave Venice as he is in danger, and it is at this point when Laura leaves the city to visit their son who has fallen ill in England that John begins to experience strange visions and premonitions. John searches Venice for his wife believing that he has witnessed her and that she has been kidnapped or hurt by the ‘psychic’. 


It is in this point that John is put into danger, and is ultimately killed by a crazy dwarf like character who is running around the streets of Venice one late night, after pursuing the character who appears much like John’s daughter in an iconic red coat, the character turns around and cuts John’s throat. The final scene of the film is John’s funeral with Laura and the psychic lady on board and it is this image that John had ‘seen’ in his ‘premonition’ causing his initial distress about his wives where abouts but ironically he should have been more concerned for his own. 


The film carries many of the stereotypical values that are often attached to Venice in media representations, portraying Venice as a dark and sinister city, although depicting a strong bond of love in the relationship between the characters of John and Laura which again reinforces the notion of Venice being a city of Love. 


The people that John and Laura meet are all quite strange and this creates a sense of being alone and isolated. The way in which the city is captured on film is quite one dimensional in the sense that it is mostly filmed during the night so the city streets appear daunting and scary, the Church that John is working on has much connotative values and the imagery of the stain glass windows is used through the film, captured from an angle which make the building appear threatening. 


Though out the film their are clear connotations to the Church and the death of  the daughter the link is established in the montage of shots whilst the daughter is dying to the images that John is processing of the Church in Venice and it is almost a warning not to go buythis is only apparent to the viewers. Although their is a link between the Church and the Death it is not clear or extensive.

Guitars Gone Wild on 60th Live From Daryl's House as Legendary Axeman Joe Walsh Drops by for Nov. 15 Episode

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NEW YORK, Nov. 13 2012—Life begins at 60 for Live from Daryl’s House as the critically acclaimed, award-winning web-to-cable series celebrates its latest milestone with a visit from legendary Eagles and James Gang guitarist Joe Walsh, who combines with Daryl Hall for a mighty rave-up that also includes learning how to combine 42 ingredients into a tasty chicken mole. For the 60th and latest edition of the show, now available on over-the-air syndication, Daryl and Joe trade guitar licks and verses on the latest episode, which premieres Nov. 15 simultaneously at www.lfdh.com and Viacom’s high-definition music channel Palladia.

Daryl and Walsh hit it off right away, with roaring versions of the latter’s “Rocky Mountain Way,” cranking out his famed talk box, and “Life’s Been Good” that featured the two feverishly trading verses and guitar licks.  The two perform a pair of Hall solo numbers in “Somebody Like You,” the VH1 Behind the Music update of “Someone Like You,” from his 1986 solo album, Three Hearts in the Happy Ending Machine” and a take on “Wrong Side of History,” from his recent Verve Music Group solo album, Laughing Down Crying. Walsh also played “Wrecking Ball,” a track from the recently released Analog Man, his first solo album in two decades, and “Funk 49/50,” a gem from his early days in the James Gang.  In between, everyone dined on a delicious chicken mole, cooked up by Julieta Ballesteros, the chef at New York Mexican restaurant Crema.
“I was a kid in the Temptones back in Philly when I first heard ‘Funk 49,’” recalls Daryl. “Joe was one of the first to take that blues-rock groove and really funk it out. He’s one of the great guitar legends, an amazing musician. I couldn’t wait to play with him.”
Joe, who clearly enjoyed the experience, was equally enthused to play with Daryl. “He’s been a favorite of mine for a long time,” he said. “And I finally wound up on the East Coast with enough time to get up to Daryl's and represent. It was great to finally play some music with him. The band's great, the production crew's great, and I totally support the home-grown concept. Hope everybody enjoys the show as much as I did.”
Walsh took time during the show to tell of getting his first guitar, a $40 Sears & Roebuck Silvertone model after originally playing trombone and clarinet growing up. “I stumbled across the guitar, because I needed something I could play that wasn’t in my mouth, and that I could write music on,” he laughs. “I was never going to get any girls playing clarinet. Not that I got any playing guitar, but it was a lot more fun.”
Taking a cue from the title of his latest album, Analog Man, Walsh criticizes the “digital recipe” of most pop music today, explaining, “It’s all about the magic of a human performance.”
And there’s no better example of that than the interaction between Walsh and his host on the latest edition of Live from Daryl’s House, which turns Hall’s living room into a garage, with a slam-bang version of “Wrecking Ball” ending in what Daryl dubs, “a Neil Young moment.” There were more than several of those over the course of the episode.
The past five years have marked a steady stream of superlatives and recognition for Live from Daryl’s House, with Hall receiving a Webby Award for Best Variety series from more than 10,000 entries at the 14th annual ceremony at N.Y.’s Cipriani Wall Street before garnering an O Music Award from MTV last year. 
Along with airing every Thursday night at 11 p.m. (ET/PT) on Viacom’s high-definition music channel Palladia, Live from Daryl’s House is syndicated nationally by Good Cop Bad Cop Productions. Executive producers for the show include Hall along with his manager Jonathan Wolfson.
The 59 previous episodes of Live From Daryl’s House have featured a mix of well-known performers like Jason Mraz, The Voice’s Cee Lo Green, Booker T and the MGs, Blind Boys of Alabama, Rob Thomas, Train, Smokey Robinson, The Doors’ Robby Krieger and Ray Manzarek, Toots Hibbert, Nick Lowe, K.T. Tunstall, Todd Rundgren, Keb Mo, Dave Stewart, Goo Goo Dolls’ John Rzeznik and Fall Out Boy’s Patrick Stump along with newcomers such as Nick Waterhouse, Rumer, Chiddy Bang, Allen Stone, Nikki Jean, The Dirty Heads, Grace Potter & the Nocturnals, Mayer Hawthorne, Eric Hutchinson, Chromeo, Matt Nathanson, Parachute, Plain White T’s, soul diva Sharon Jones, Diane Birch, L.A. neo-R&B party band Fitz & the Tantrums, hot new alternative band Neon Trees and veteran alternative mainstays Guster.

Dawn McCarthy and Bonnie “Prince” Billy - Christmas Eve Can Kill You Video Premiere on The Warhol Museum's Website

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In anticipation of their forthcoming holiday single Christmas Eve Can Kill You, old friends and collaborators Dawn McCarthy and Will Oldham present you with a gift: a video shot by Lara Miranda during the track's Nashville recording sessions  produced by David Ferguson at Butcher Shop Studio, as well as footage depicting the spirit of the project from McCreary County, KY. From the Seeger Sisters to Mariah Carey, Elvis to Sinatra, from Johnny Cash to Merle Haggard; there is a remarkably strong tradition of fa-la-la-ing in popular music--to say nothing of the rich tradition of the holiday music video. Yet this is definitely not what one expects to see in a holiday music video--there's no snow, no presents, no sacrificial goose or other consumable indulgences; but rather the tenets of what a pre-capitalist Christmas looks like. The elements at the core of why people celebrate holidays to begin with-- friendship, collaboration, warmth, rejuvenation, and joy.
  Christmas Eve Can Kill You also offers a foreshadowing glimpse at Oldham and McCarthy’s forthcoming full-length record of songs they learned from Everly Brothers records; a project inspired by the songstress’ young daughters' love of the rhythm and blues duo. In true Everly style, the video showcases harmony as a medium--which is eminently worthy of attention (and even adulation). Given the depth and dynamism of Will and Dawn’s natural harmonic ability, this video is sure to awaken the inner holiday spirit (and beasts!) like no other one this season.
Christmas Eve Can Kill You is a collective effort by: Dawn McCarthy, Bonny Billy, Emmett Kelly, Dave Roe, Kenny Malone, Billy Contreras, David Ferguson and Matt Sweeney. Recorded by David Ferguson and Mastered by Paul Oldham.


Pre-Order the 7" Single Now Dawn McCarthy and Bonnie “Prince” Billy- Christmas Eve Can Kill You b/w Walking the Dog 7” comes out 11/20/12 on Drag City.
   Upcoming Tour Dates 1/26/2013 -- Andy Warhol Museum - Pittsburgh, PA1/27/2013 -- Live taping for NPR Mountain Stage - Culture Center Theater- Charleston, WV2/07/2013 -- Lincoln Center's American Songbook - Lincoln Center for the Performing Arts, NYC