Dead Man’s Bones Set to Give Chills this October

They cite Disneyland’s Haunted Mansion, ‘60s girl groups and doo-wop as their main influences (yum!) and, on October 6th, L.A.’s winsome Dead Man’s Bones will release their debut album and hit the road. The band has three Canadian dates scheduled, but Calgary is not listed on their itinerary thus far (wince). Take a listen to the incredibly charming LP teasers on their MySpace page — from “My Body’s a Zombie for You” to “Name in Stone,” it sounds like this band is worth making the trip to Vancouver to see, friends. Their live performance is tailor made for each city and promises to be a ghastly and heartwarming good time. Plus, vocalist Ryan Gosling (yes, that Ryan Gosling) has a promising case of the Nick Cave-itis.

From their press release:

Dead Man’s Bones’ self-titled debut album will be in stores October 6th. Zach Shields and Ryan Gosling will then bring their ghastly show on the road, playing select cities in the U.S. and Canada. The album, which was originally the soundtrack to a stage play about ghosts, zombies and werewolves, was completed with the help of a children’s chorus. The band (Zach, Ryan, plus three other musicians) will be re-creating the songs with a local choir in every city. The band and choirs will be performing unique versions of their werewolf, zombie, and monster inspired love songs and tales. Reviving a ritual from a bygone era the band is organizing a talent show in each city in place of a traditional opening act (more info on this to be announced this coming week). These shows will be a spectacle of the highest order and will not be something to miss.

10/14/2009 Brattle Theatre, Cambridge
10/15/2009 LPR, New York
10/16/2009 First Unitarian Church Sanctuary, Philadelphia
10/17/2009 Sixth & I Historic Synagogue, Washington
10/19/2009 Le National, Montreal
10/20/2009 The Music Gallery, Toronto
10/21/2009 Schubas Tavern, Chicago early show
10/21/2009 Schubas Tavern, Chicago later show
10/23/2009 The Triple Door, Seattle
10/24/2009 Venue, Vancouver
10/25/2009 Mississippi Studios, Portland
10/27/2009 Swedish American Hall, San Francisco
10/30/2009 The Regent, Los Angeles

DEAD MAN’S BONES SITES:
http://www.myspace.com/deadmansbones
http://www.deadmansbones.net/

Depeche Mode Relevant All Over Again in Las Vegas (August 22/09)

Fresh off releasing a deluxe box set of Sounds of the Universe, Depeche Mode performed to a sold-out audience of 2,200 at the Palms Casino Resort’s Pearl Concert Theater — an intimate soft-seater comprised of tiered levels and an open floor.

Swedish indie pop sensations, Peter Bjorn and John opened the night with a friendly and tidy 25-minute set beginning with “Nothing to Worry About” and the Paul Simon-influenced title track from their latest release, Living Thing. The band ended with a prelude taken from their 2007 breakthrough release Writer’s Block and “Young Folks,” which seemed like an incredibly gutsy move. First, euphemistically speaking, people have heard the happy-go-lucky hit more than a few times. Second, Peter Morén left the stage to considerately sing to the floor crowd, which consisted of hardcore DM fans (a.k.a. grown-up versions of formerly dark-angsty-twisty-n-twitchy teenagers) and who knows what could have been dangerously awoken inside these post-industrial new wavers by a precious pop song. Either way, PB&J bravely put on an energetic and warmly received set and were wise to keep it under a half hour. Kudos to Björn Yttling, who has split his time between PB&J and doing production work for the likes of the Concretes, Shout Out Louds, Robyn and Lykke Li.


At nine o’clock sharp, members of Depeche Mode walked onto the stage — the crowd roared and it sounded as though every one of the 2,200 fans in attendance began screaming their excitement at the same time. Andrew Fletcher took his spot behind the keys and, as the only member of Depeche Mode who hasn’t written a song, mostly disappeared in the background. A sparkly and body glittered Martin Gore took his spot on stage right and Dave Gahan confidently planted his feet at the centre of the stage as the band broke into “In Chains.”

A dozen years have transpired since Depeche Mode’s last obvious sign of a commercially successful album, Ultra. The pop music landscape has inhospitably changed and shifted and artistic music videos — the band’s forte due to the immensely creative eye of Anton Corbijn — no longer have the opportunity to monopolize music channels. Even so, the band continued to release new albums and quietly sell millions. Now with the synth revival comfortably settled in, the music community seems ripe for another love affair with these sonic pioneers from the alternative scene.


The rest of the 90-minute gig was a (black) celebration of old hits and new material coexisting with smooth continuity. The show was more than a trip along memory lane as a rapt audience sang along with songs of their youth and the new songs. With “Walking in My Shoes,” “A Question of Time,” “Enjoy the Silence,” and Gore’s a cappella “Question of Lust,” the audience’s collective voice nearly overtook the volume of the nearly 50-year-old front men. They were permitted to take over certain choruses with the blessing of Gahan, whose rich baritone had recently been on rest and was as strong as ever.

Appearing to be enjoying themselves as much as the audience, the ageless Gore and Gahan kept amping up the energy as the set proceeded. Gahan’s trademark moves haven’t changed — wiggling hips, flamenco-inspired shuffles, fierce spins and lascivious interactions with the mic stand. Gore, dressed like a glittery spaceman, kept swapping one gorgeous sounding Gretsch for another before connecting with a sparkly star-shaped guitar as iridescent as his outfit.

As a whole, the set firmly laid down the band’s relevancy and impressive attention to production detail. After all, Gore is a man at home in a recording studio. There have been remixes (and box sets of these remixes) from the start of their career. Due attention was paid to resonant bass and thick bottom end, so that the instantly recognizable melodies were given a bright spotlight and sturdy ground to dance upon.

As a lesson or reminder to all music fanatics, don’t be discouraged when concerts sell out. In this case, the gig sold out within minutes. However, the band released tickets they didn’t need (for friends, family and media) before the concert began and a few lucky fans walked away from the box office with highly coveted floor tickets. Previously, floor tickets had only been available for purchase on eBay for triple and quadruple the face value.

Depeche Mode is on tour. Head to www.depechemode.com for details on upcoming dates.

Upcoming guest DJs for Shindig!

Hey everyone! Due to an action-packed work schedule (you know it's madness when the caffeine stops working), Bryson will be filling in for me on today's episode of Shindig!. Bryson is one of the entertaining co-hosts of CJSW's Monday Morning Letdown who also moonlights as a local club DJ. He's got solidly eclectic music taste, so you'll be in great hands. Speaking of being in great hands... on Monday, August 24th, make a point of catching CJSW's former music director Gary Powers when he trots out his excellent music taste as he hosts Shindig! while I'm in Las Vegas catching up with Depeche Mode. Will be back on Monday, August 31st with some good stories. Have a great couple of weeks, friends.

Chic-a-Go-Go on the next Shindig!

In the spirit of American Bandstand, Soul Train and other variety shows, Chic-a-Go-Go is not only Chicago’s Dance Show for Kids of All Ages... it could very well be the coolest thing on television today.

Tune into Aubrey’s Shindig! on Monday, August 10th between 4-6pm MT to hear an exclusive interview with Chic-a-Go-Go's friendly hosts lil Ratso and the lovely Miss Mia. Hear the story behind the Midwestern television rock’n’roll sensation! Only on CJSW 90.9 FM in Calgary and www.cjsw.com everywhere else.

Interview with Dan Deacon runs until 3.05. At 3.05, witness the studio magic of Chic-a-Go-Go!

Moving on up...

Hey gang! Hope you're all having a fun and relaxing summer. Changes are happening at CJSW headquarters and Shindig! is movin' on up to an earlier time slot to kick up some dust. I've enjoyed the past few years of nighttime radio and have had a blast broadcasting to the evening CJSW crowd, but I'm really excited to be returning to a two-hour daytime spot. Please tune in on Monday, August 3rd when Shindig! makes its grand debut in the Monday 4-6pm spot on CJSW 90.9 FM and www.cjsw.com. We're going to have a whole lot of fun! Big thanks to new Shindig! sponsors, Calgary's fantastic Drum & Monkey Public House.

Attention Team Rock

Sebastien Grainger and The Mountains, who released one of the best albums last year, are coming to The Marquee Room on April 8th, 2009. Tickets go on sale Thursday, February 26th at 10am. See you in the front row!

The Chop Shop phenomenon and must-have Eastern Bloc rock from Handsome Furs

If you’re an obsessive pop culture junkie, you’ve probably heard of 40-year-old Alexandra Patsavas. At the very least, you’ve likely heard her ostensibly cheeky placement of music in Gossip Girl, Grey’s Anatomy, The O.C., Mad Men and other programs. Formerly a University of Illinois campus radio DJ and political science graduate, she’s the powerhouse behind Chop Shop Music Supervision and is responsible for breaking bands like The Fray and Snow Patrol. If the script is lacking, you can count on Patsavas for elevating the show interest with a well-placed and punchy track from The Kills, Cold War Kids, Love and Rockets or a Crystal Castles/Health collaboration. Holding the dream job of a steadily employed film and television music supervisor, Patsavas devised another way to help expose the best submissions from the thousands of demo CDs flooding her South Pasadena office. After cutting a deal with Atlantic Records, Patsavas can now sign these artists to her record label, Chop Shop Records.

One of Patsavas’ newest signings is a radio DJ turned singer-songwriter, Anya Marina. The listeners of San Diego’s KBZT have been the only audience under the spell of Anya Marina’s girlish voice until now. For a beguiling and breathy singer-songwriter, Anya has an uncharacteristically invulnerable sophomore collection of quirky pop songs on Slow and Steady Seduction Phase II. If you like the agreeable indie-lite tunes on Grey’s Anatomy, you’ll love Anya Marina’s less complacent and more assertive pursuit of a creative hook.



For those of you searching for something with more teeth (literally, check out the sharp fangs on the album cover), seek out Face Control from the coolest husband-wife duo from Montreal, Handsome Furs on March 10th (Sub Pop). Featuring Dan Boeckner (Wolf Parade, Atlas Strategic) and Alexei Perry, Handsome Furs’ second album is an earnest and jagged piece of unconsciously stylish and catchy escapism from audio monotony. Influenced by a tour through Russia (“Nyet Spasiba,” “Radio Kaliningrad”), Boeckner and Perry named the album after a popular Moscow nightclub policy restricting entry to the most attractive patrons. Can you imagine? CBGB would have been deadsville in the ‘70s.

While some bands get themselves worked into a cluttered tizzy with synthesizers and effects gone awry, Handsome Furs keep their riffs and electronics focused, simplified and minimal. Still, they connect with all the right notes – often finding a clever riff and infectious rhythm and repeating. The synthesizers may be coolly composed, but there’s no doubt about the duo’s boiling blood the moment Boeckner opens his mouth to sing. Boeckner’s vocals and guitar are the warm heart and soul to the hypnotic, mechanized chill of Perry’s drum machine and ARP 2600. Ironically, despite his distinguished position as one of the best and most identifiable voices in indie rock, Boeckner’s defiantly angular guitar on “Evangeline” provides a better refrain than anything a human voice could achieve. Meanwhile, a lead contender for best song of the year thus far, “Radio Kaliningrad” clutches onto a fierce, purposeful, uncomplicated riff and fearlessly struts with bold perfection.

Along with other tracks like “Passport Kontrol,” Handsome Furs satiate nostalgic cravings by revisiting New Order and other new wavers of the mid-80s. Sub Pop pushed the release date forward to secure permission to reference New Order in “All We Want, Baby, Is Everything.” However, with lyrics alluding to the current hellacious economy set to an enjoyably pushy rock agenda, Face Control is much more than a superficial rerun. Each song comes off with a fresh rock vitality and edgy vigour normally spent by the end of the first song on other albums. It’s a goodie.

Handsome Furs' Alexei Perry and Dan Boeckner want you to call CJSW and request a song off their hot new album.

What to seek out in record stores in February!

Tonight, I'll be debuting two killer new albums that oughta get you fumbling for your asthma puffer -- Keep It Hid from Dan Auerbach (of The Black Keys) and a collection of previously unreleased tunes called The Unlistenable Years from early '80s pyro noise duo, Toy Killers. Auerbach's sweaty release is a must-have, friends. It bleeds raw, emotive blues fit for the music library of any chronic insomniac or heartbroken listener. On the other hand, the Toy Killers' fun collection of outtakes from 1980-84 is a chewy piece of post-punk, no-wave instro candy. Yum! Two very different albums, but both dynamic gems that are completely worthy of your turntables and CD players.