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2 weeks ago
Hard Rock Review: D-A-D 30 - Years 30 Hits: The Best of D-A-D 1984-2014

#Rock #music #reviews

Write A Music Review: Hard Rock Review: D-A-D 30 - Years 30 Hits: The Best of D-A-D 1984-2014

Music Reviews & News Release Date: March 18, 2014 Label: AFM Records Website Longevity is something that is noteworthy, especially in the music business where fads come and go and audiences can be fickle. For a band to last for decades is an achievement in itself, but to continue to produce quality music year after year is something else. It is a t...

TJR and Benji Madden Team up for Electro House “Come Back Down”
If you were wondering what the other Madden twin was up to these days, we...


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2 days ago
### Unveiled Its Largest Since WWII, and 's Steamed

source: http://motherboard.vice.com/blog/japan-unveiled-its-largest-warship-since-wwii-and-chinas-steamed

Japan showed off its newest warship today, the flat-top destroyer DDH-183, which is reportedly the largest ship the country has built since World War II. But while Japan insists the warship isn't an aircraft carrier—an important distinction, as it could then violate Japan's constitutional requirement to have a military—commentators in China say the ship is a wolf in slightly-less-aggressive-wolf's clothing.

### Unveiled Its Largest Since WWII, and 's Steamed

source: http://motherboard.vice.com/blog/japan-unveiled-its-largest-warship-since-wwii-and-chinas-steamed

Japan showed off its newest warship today, the flat-top destroyer DDH-183, which is reportedly the largest ship the country has built since World War II. But while Japan insists the warship isn't an aircraft carrier—an important distinction, as it could then violate Japan's constitutional requirement to have a military—commentators in China say the ship is a wolf in slightly-less-aggressive-wolf's clothing.


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4 days ago
Rock Review: The Temperance Movement

Write A Music Review: Rock Review: The Temperance Movement

Music Reviews & News Release Date: September 16, 2013 Label: Earache Records Website ?Blues-drenched, soulful and loud ? with an instantly recognizable explosive live sound? is how the British rockers, The Temperance Movement, describe themselves. No amateur musicians here, as various members have played with and are connected to such acts as...

Grown and Sexy
Friday 2nd May 2014
Rise Nightclub, 1 Leicester square, London, WC2H 7NA, United Kingdom
This is a personal invitation for YOU to come have a drink and shake a leg at London's FINEST nightclub. GROWN and SEXY is more than a rave! It is a gathering of London's SEXIEST people who love to party to GREAT music, sip QUALITY alcohol and experience UNFORGETTABLE vibes. Party connoisseurs see you there!

Mix CD

Pics from previous events

Your DJs giving you a GROWN and SEXY vibe playing the best in; Sexy RandB, Hip-Hop, House, Dancehall, Vocal Garage, Afrobeats, Soca, 80/90s Walkman Classics and Slow Jams will be


ADMISSION and DRESS CODEStandard tickets £10: More on the door: Valid government I.D essential: Last entry 2am with or without ticket

Absolutely no Denim, Hats, Hoods, Sportswear, Designer Trainers, Pradas, Guccis, Vans, Converse

Pictures of Cakes/Tables

It's said we have the best party packages in London so if you're celebrating anything between the 27th April, 10th May then look no further!

Celebrate in STYLE with our exclusive packages which include? V.I.P Table: Booth: Personalised Cake: Champagne: Wine: Spirits: Nibbles: Sweets: Chocolates: Professional Photography: Disposable Cameras: Personal Hosts: Helium: Balloons: Decorations: Card: Poppers: Sparklers

Packages can be tailored to your own bespoke needs. To party in style contact JUNIOR on 07572 433 672: PIN:24DF8987

07939296977: 07572433672: 07908893250
PIN:221161D8: PIN:24DF8987

Facebook: http://atnd.it/9320-2Tickets: http://atnd.it/9320-0


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1 week ago
Rock/Britpop Review: Elbow-The Take Off and Landing of Everything


#rock #pop #musicreviews #music

Write A Music Review: Rock/Britpop Review: Elbow-The Take Off and Landing of Everything

Music Reviews & News Release Date: March 11, 2014 Label: Concord Website Elbow is another case of a band that is extremely well known in the UK, but is relatively unknown in the US. The band has released six studio albums dating back to 2001, all of which have been in the top 15 on British album charts. In 2008 they won the Mercury Prize for The Se...

### List of countries without armed forces

source: http://en.wikipedia.org/wiki/List_of_countries_without_armed_forces

### List of countries without armed forces

source: http://en.wikipedia.org/wiki/List_of_countries_without_armed_forces

Open The Gate @Passing Clouds
Friday 25th April 2014
1 Richmond Road, E8 4AA
Open the Gate is back at Passing Clouds with an amazing line-up of live music from various genres and styles that will make you get on your dancing feet and travel the world!

LIVE on stage

A sublime mix of Afro and House:
☆ AFRIQUOI ☆ African Dance Music

Headlining the night with a combination of Kora, Congolese Guitar, Deep House Vocals, Percussions, Synths and Electronics featuring Jally Kebba Susso, Fiston Lusambo (Zong Zing All Stars), Andre Espeut (Copyright), Andr? Marmot (Wormfood) and Nico Bentley☆ RENKON BAND ☆ Japanese Reggae and Blues

Straight from the far east the brand new project by Koichi Sakai (Ghetto Lounge) bringing to the World the sounds of Japan mixed with Reggae & Blues!
☆ JESSIE LEE BURN ☆ Soulful Indie

Opening the night will be Jessie Lee Burn with her wonderful voice, after blowing our minds as vocalist for JazzSteppa she is back on our stage with her own band.

Hosted by Open The Gate Sound [Fenomeno show & MC Samurai] feat. straight from Hungary Gregory G Ras


Afrobeat Highlife Afrofunk Tropical Caribbean Grooves

Bringing Back the Memories - 70s, 80s & 90s Reggae
Masters Winebar, 217 Kenton Rd, Harrow, London, Qaasuitsup
Bringing Back The Memories ? 70s 80s & 90s Reggae & Soul

LOVE SENSATION every week at Masters Winebar - 217 Kenton Rd, Harrow, HA3 0HD

EVERY WEDNESDAY time 9pm ? 1am


Reggae, Soul, Funky House, Dancehall, Rare Groove, Roots, Revival

Dress Code ? Smart Casual & Birthday bookings welcome

Tune into LOVE SENSATION on Xcellent Radio every Tuesday 5-8pm & Sunday 2-5pm on www.xcellentradio.co.uk

Security Tight but Polite. Come with love in your hearts & minds. See you there


Watch: The Afghan Whigs’ full performance at Coachella 2014
Greg Dulli and Co. make their Coachella debut with 10-song performance.


Laffe the Fox - V-Axys & Laffe the Fox - Bright Sky Dark Space
FREE DOWNLOAD: https://soundcloud.com/laffethefox/v-axys-laffe-the-fox-bright A collab I did with V-Axys. I really enjoy his airy, atmospheric sound and pop-punk-ish tracks, always with some sweet melodies. Check them out here: https://soundcloud.com/v-axys 02:17 is the best part, by the way!! Haha. Enjoy if you can! ;D 2014 Creative Commons CC Attribution Noncommercial No Derivative Works (BY-NC-ND)


A post from Dafydd Monks
wrote the following post:
PODMAP - Diaspora* pods by country.

Germany: 36

USA: 13

France: 9

Netherlands: 7


Bar Soho
Saturday, 31st May 2014
23-25 Old Compton Street, Soho, London, W1D 5JL
Celebrate in Bar Soho, the liveliest bar in London.

Take full advantage of our 5 - 7pm happy hour were you can enjoy more drinks for less.

Our resident DJ's at Bar Soho will have you and your friends partying till the early hours of the morning, playing the very best in commercial chart / disco / RnB / Pop and party anthems.

Special VIP and celebrations packages are available for those who are looking to add a little more glamour to their night at Bar Soho, starting from as little as ?25.

Click here for more party deals.

Bar Soho can get very busy so please reserve your space by getting on the guestlist or by booking a table in advance.

Entry is free on guestlist untill 10pm then ?10 thereafter.

Maxx Next

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1 month ago

- - Sunshine of your love


- - Sunshine of your love

Miranda Lambert's ACM Awards Fashion Hat Trick: Which Dress Is Best?
You know you?re the belle of the ball when you rock not one, or two but three gorgeous looks f

Interview | Chris Robinson Talks CRB, The Crowes & More
Written By: Chad Berndtson

:: Chris Robinson Talks CRB, the Crowes and the €œSci-Fi Scenario€ ::

Chris Robinson would be the first one to tell you that the Chris Robinson Brotherhood hatched with no expectations: the Black Crowes began yet another hiatus after 2010 and, as Robinson remembers, it was time to €œstart an L.A. band.€

But in three years, what began as a lark among pals wanting to play some cosmic Americana has become a full-time, deceptively potent psychedelic blues-, country- and folk-rock band. Not only that, but one whose strength grows with every tour and, in what€™s seemed like the blink of an eye, has created a massive repertoire, a nourishing live show and a fanbase ready to saddle up as the Crowes are once again shelved.

We note €œdeceptively potent€ because the CRB can be an acquired taste. Rather than the hot-skillet, hard-rocking, spirit-lifter vibe of the Crowes, CRB shows are deliberately paced €“ not to be confused with slow - serving up lengthy improvisational segments that favor adventuresome wandering over a more concise solo-and-out delivery.

But there€™s magic in that, whether it€™s Robinson€™s soul-drenched howl carrying a tale of woe, or Neal Casal€™s skywriting guitar powering a sun-dappled jam in the best tradition of Jerry Garcia, or Adam MacDougall spewing keyboard filigree just left of twinkle and just right of fuzz-out, or the rhythm section of Mark €œMuddy€ Dutton and George Sluppick ensuring there€™s a foundation to it all.

With the CRB about to release their third album, Phosphorescent Harvest €“ and ready for a national tour - Robinson gave JamBase a few minutes on what€™s next for the band, what€™s next for the Black Crowes and why the current music industry is a €œsci-fi scenario.€

JAMBASE: The Brotherhood seemed to come to life quickly and then there were long strings of shows in California that became long strings of shows nationally and we€™re now three albums deep for such a €œyoung band.€ I guess it€™s cool now to lift the side project tab and call this your main pursuit. Why do you think this band has been so prolific?

CHRIS ROBINSON: Ha, you know it€™s true, we got back to rehearsal when the Crowes tour ended and on day one, the first day back in the room when we started playing, we looked and there are, like, 200 songs in our repertoire. We were like, holy shit!

So, where do we start? Well, I think the energy, and the creativity, and everything that€™s gone into it comes back to, yeah, there€™s this group, and all of us, no matter what we€™ve done previously as musicians, still see music as something€™s that alive. We all want to be part of it. And if you juxtapose that against what I think is going on with the mass culture or the mainstream in music and the broken business model, I think we can equate being alive to being free.

We all have that utopian idea for this: the scene, and the vibe. Some people wouldn€™t get that. If I said that to, I don€™t know, USA Today, they€™d tell me that it€™s a bunch of new- age, psychedelic whatever. But I can say that to a publication that understands improvisational music and that scene and what that€™s supposed to be.

JAMBASE: For sure. I know when I see you guys live, the word that keeps coming to me is €œunhurried.€ It€™s not that the songs are downtempo or dragging or anything like that, but you really take your time, whether it€™s a song like €œStar or Stone€ or something else where the band can wander a bit and whether it€™s five minutes or 20 minutes it feels like it deserved to be that way. Do you think I€™m capturing that fairly?

CR: Well absolutely. I do think we understand that and whether we€™re listening to, I don€™t know, stuff that evokes Golden Gate Park in 1975, or Miles Davis, or live whatever€music in general, none of this is hokum to me.

It€™s a great deal of luck that I€™ve tapped in with people that can share this, and after, what, 25 years on the road, I can be in a place where I can go out and play music and we can get people interested and move them. That€™s an incredible, unique gift. What is our goal when we play? Our goal is to have those moments like you described, and those are moments that can€™t come at the expense of show business. The showy stage thing €“ that€™s not our trip.

I€™ve thought a lot about how to go about this, and it€™s like, I don€™t want to make a record just to make a record. I don€™t want to be a part of the music business where people are still thinking that works and there are people telling you what do so they can all make a little money. I don€™t work that way as an artist and it€™s just not interesting to me. I mean, hey, I€™m just the singer in the Black Crowes. It used to be different, but that€™s what it is now. It€™s not a big and brash thing. The Black Crowes is the Black Crowes and it€™s a different energy.

For this band, though, we weren€™t going to put a burden on ourselves or on other people if they didn€™t like it. That€™s why we stayed in California for the first few weeks of playing, and did like 40 shows. But it was cool, the next time we€™d come to these places with the band there€™d be twice as many people. We knew we had to have this tangible thing that was worth doing €“ I mean, can you still go out and be a band? It happened for us, though. You plant the seed, you sow the seed, you harvest the seed.

JAMBASE: To be fair, though, you have a certain gravity fronting the Black Crowes and this band has your name in the title, as much as it€™s an ensemble approach. I wonder, did you have to explain that to the Brotherhood early on €“ that it€™s intended to be a band and not just your vehicle?

CR: I think we took a page from Jerry, in a sense, that yeah, every band has to have a leader, but the best way to be that person is really to not tell anyone to do anything. That€™s what makes it coalesce. Whatever, I mean there are some strokes, if you will, in terms of well, we€™re not going to do that, we won€™t do this, but we had the songs, and like I said, it was very much, let€™s try this and see where we are after nine weeks.

We bit off that California residency €“ it was, let€™s get in a van, let€™s play together, let€™s get high together, let€™s share our lives. That€™s really what we did, and it€™s taken care of itself to grow. I think it is different now in one way, and that€™s that we€™re all older. Except for Adam, we€™re well into our 40s and some of us are leaving our 40s, man. So I think you bring your knowledge into a situation like this and know what will work and what won€™t. Every one of us has been in good situations and bad situations.

JB: You brought up the Crowes. What was your take on the past year€™s tour?

CR: I really enjoyed myself. Jackie brought a great energy, and at a pragmatic level, the Black Crowes are a soul-driven rock €˜n€™ roll band. I was super overjoyed to do it and be in front of people €“ it was super positive.

JB: I€™ll ask the question you always get: what€™s the future of the Black Crowes?

CR: Yeah. I have no clue. People do ask or whatever, but two years into the Chris Robinson Brotherhood definitely made me see the Crowes in a different light. Right now, there is a lot of immediacy in the Brotherhood €“ there€™s an energy and space that we can feel. I don€™t want to leave our garden unattended. All my passion and energy and focus are going into the CRB and we plan on being back in the studio again in the future.

JAMBASE: Staying on the Crowes for a minute, why did you guys decide to go with a changed lineup for the 2013 tour?

CR: Luther Dickinson quit. He called me out of the blue and he said he didn€™t want to do it. So that was that. I€™d been playing with Jackie. I€™ve been playing with Phil Lesh for a long time and knew Jackie for a long time, and Jackie€™s in Trigger Hippy and my brother€™s played with him. My thing was, Jackie wants to be in a rock €˜n€™ roll band and it was a good fit.

JAMBASE: I wanted to ask you about New Earth Mud, which had a little cult going and didn€™t return after the Crowes reunited in 2005. Some of that music survives in the CRB, but would you ever revisit that?

CR: Pause. You know, to know one€™s fault but my very own€well, I think there are positive things to take from that experience. We didn€™t have the perspective we needed with New Earth Mud, and I think we were disillusioned €“ we looked at doing records and didn€™t look at why people would want to be there to see it or what we or they would want to get out of it, all while trying to throw something together with the pressures of business and a lot of other people€™s expectations.

I learned from that experience what not to do. And basically when it was time for Adam and I to look ahead in the last couple of years of the Crowes, 2009 and 2010, we were talking about getting an L.A. band together. We wanted to do a group together and just start the whole thing. It wasn€™t ever, let€™s go make a record and think we can tour behind it for a year. It was, let€™s go backwards, turn it inside out.

You have to find a way to make it work. The best part of the music business being in shambles is that€well, you know, I like the sci-fi scenario of it. It€™s like we€™ve crash- landed in an alien environment and our machine doesn€™t work anymore but we can still salvage parts of it to survive. You can still have good ideas and people will come out for them.

I think the other part of it is putting in the work. I like psychedelic inspiration. I like handmade things. I mean, shit, people used to live in the woods and build houses on stilts. I can€™t drop out of society, I can€™t be a maniac €“ I have a wife and kids and I have to be around. But I can drop consciously away from as much corporate culture as I choose. I can choose not to watch news run by corporations, or too much TV, even though €“ don€™t tell anyone €“ I watch basketball. But that€™s my business. There are a lot of creative, alternative ways of getting through this life, so with this band, it€™s, let€™s get into it.

JAMBASE: Switching years, Chris, you€™ve been in the Phil Lesh orbit for a long time now. But I wanted to hear how that surprise birthday celebration at Terrapin Crossroads came together.

CR: I told Jill Lesh that out of all the places in the world and things I€™ve seen, I think that was the only time in my life anyone has ever really kept a secret like that. I mean, it was so stealth-driven and undercover. We actually surprised the maestro!

JB: So it was Jill Lesh who pulled that together?

CR: Yeah, I mean, we€™re always in contact. Any time I can play with Phil or be a part of what€™s going down with Phil or at Terrapin, I€™m always there. I love the man to death, and love the family. We€™re only a few hours down the road from him.

JamBase | A Wiser Time
Go See Live Music!

Boy George
28th April 2014
The Fillmore, 1805 Geary Blvd.,
Boy George Put on the spot on a TV show and asked the title of his next album, Boy George blurted out This Is What I Do. It wasn't as random as this story suggests, the title was one of a few being mulled over, but the decision was instant and it has stuck. The simple statement of fact -- This Is What I Do -- is telling and significant because so much has gone on over the years to actually obscure what George does and who he is. "It's about re-establishing myself musically to say this is what I do. I was at the Brits a couple of years ago and some unexpected people were giving me name checks, like Cee Lo Green and Arcade Fire. It made me think, a lot of people know who I am and have this affection for me but they don't really know why they like me. I had to ask myself, well who and what are you?" George is famous enough for all of us to have an opinion and think we know who he is. On This Is What I Do we are likely to be confounded. Close your eyes, empty your mind, and as another '80s pop star once said, listen without prejudice. This may be the best record he's ever made. It's the record he's always had the promise to make but only now through life experience has been able to find a direct line to his muse. In the process he freed his spirit to explore not just his own psyche but the diverse influences that have inspired him over the years -- from dub to rap, Woolwich to Jamaica, glam rock to country, mean streets to sunny uplands. "I went back to the soul, the essence of what I do. That's been important for me. There have been a few periods over the years where I didn't listen to music. It was almost like the birds stopped singing. I can measure my own wellness by how much I listen to music. "With this record we were playing lots of stuff in the studio, random things that weren't anything to do with what we were doing, but to get a feeling. We were listening to lots of what I call baggy music, music that is not programmed, slightly out of time, a bit loose, has its own footprint. I do a lot of dance stuff as a DJ and in collaboration with other people and I wanted to step away from that and do something more organic. I know that's clichd, but that's what I was after." The list of listening ranged from early Bowie and the Stones to Cockney Rebel, Nico and Lou Reed. "The album was easy to make. There's a lot of love on it, a lot of love, and people I've worked with over the years came and contributed." Just that statement, to those who knew George in his Culture Club days is shocking in itself. Recording sessions were always filled with drama and George hated the studio environment virtually being dragged in to do his vocals and running out as fast as he could. "Making albums has always been a drama for me, but this was just beautiful and if I do another Culture Club record it has to be fun. It doesn't have to be a headache. We get paid to do what we love. It's such a pleasure to do what we do. "The album started off with reggae as the template but then it branched out into other things. We didn't want to restrict ourselves because you've got to honour the song, so if a song has a certain type of energy you can't force it into a genre. "We went back to the '70s, which was the time that shaped me as a musician and a person. The '70s was such a bonkers decade, everything from the Sex Pistols to The Goombay Dance Band. Even though Culture Club were associated so much with the '80s, our roots were in the '70s -- reggae, glam rock, punk rock, disco, electro. I think this record is very '70s." George has stretched his musical repertoire while retaining his soulfulness and pop sensibility. He's found his inner rock god on "My God," explored country swing on "It's Easy," entered a dream-like altered state on "Any Road," gone sultry and wistful on "Death Of Samantha," and reminded us, and maybe himself, of his playful side on "Nice And Slow." The exploration of his musical roots mirrors the personal journey of self-discovery he has embarked on since becoming sober in 2008. Another milestone was turning 50 two years ago. "It was a huge turning point for me. I thought I've got to get my s~~t together, I've got to focus, this is important. I just felt I'd wasted a lot of time. I looked at myself and thought, God, I've done nothing. I know I've done a lot, I've always worked, I've grafted and always made money, but a lot of it was pointless because no one knew what I was doing." He changed management, got a new DJ agent and set out on the path to show the world the real Boy George, the one who had been obscured in a haze, some of it his own doing, some of it simply the myths that had built up around him. There is a growing acknowledgement that George is one of those artists whose reputation needs to be reappraised. There has been a steady stream of these over the years. Antony Hegarty paid his tribute to George when they duetted on "You Are My Sister" in 2005. In 2010, Mark Ronson invited George to sing on "Somebody To Love Me." Earlier this year George was a guest of Yoko Ono at the Meltdown festival. This Is What I Do is set to further enhance that reappraisal and show the world that George is not only back, he's an important artist with an irrepressible zest for life. When you connect your ears will quiver, your soul will shiver and you'll want to dance like Saint Vitus.


Hot Feet, Hilang Child and Cathedrals and Cars
Tuesday 27th May 2014
Hot Feet are a folk rock band from Stroud, Gloucestershire whos music lives and breathes in the countryside. ?Wood House? was written in a small cabin on the east coast of Sweden and recorded in a remote studio in the Scottish Highlands, only accessible by boat. The five songs are set, however, in the Cotswolds where Marianne tends to goats and sheep when she?s not playing music, and Lachlan builds dry stonewalls.

The band draw together a range of musical influences including delta blues, sixties folk and world rhythms. Clamorous in places, delicate in others; sometimes offering raucous, earthy uproar and a wistful, yearning narrative within the same song. The EP ranges from stomping gallops to tender ballads, and has been lovingly and impressively produced by Pete Roe, long-time side-man of Laura Marling and a gifted songwriter in his own right. https://soundcloud.com/hotfeetmusic

"Truly nothing short of fabulous...really wonderful". Marc Riley 6Music"I predict great things for Hot Feet" Guy Garvey 6Music"Lively and enlivening" For Folk's Sake

Hilang Child is the solo songwriting project of Ed Riman. As a drummer, Riman has performed with numerous bands and as a touring session musician, but is now moving out from behind the kit to take centre stage for the first time. His homemade brand of dream-folk, complemented by hand-printed artwork by his own late grandfather, has been compared to artists such as Fleet Foxes, Stornoway & Sigur Ros. stunner. https://soundcloud.com/hilang-child"Incredibly moving... give a listen, get carried away" - The Needle Drop "Delightfully understated pop... it's really quite lovely" - The Tipping Point
"Riman slowly unleashes ascending builds of harmony, billowing and growing into shifting and increasingly sublime heights. It's an astonishingly accomplished collection of songs for a first release" - Everybody Taste

Cathedrals and Cars are a Suffolk-based five piece alternative band. They have been described as ?a revelation? and ?mesmerising? (B-Side Magazine). The band has come a long way since their inception in 2011 when they were an acoustic 3 piece band who released an ep, Sky Lanterns, on Cemetery Bench Records in November 2011 described as ?beautiful yet melancholic? (Generator.org.uk). It gained attention from BBC Suffolk Introducing who offered them a live session in January 2012. https://soundcloud.com/cathedralsandcars

Website: www.koreema.comTickets: https://tickets.songkick.com/events/19780269Soundcloud: https://soundcloud.com/koreema/sets/kmg-live-presents-hot-feet-atFor more info contact and guest list requests: info@kmglive.co.ukFacebook event: https://www.facebook.com/events/290213224465576/

Good Trip, Bad Trip: Shearwater
Shearwater - Jonathan Meiburg
Jonathan Meiburg€™s memories of away trips and tear gas€

Currently promoting their 2013 LP €˜Fellow Travelers€™ (one €œl€, this being an American band€™s album title; review), Texan troupe Shearwater has been around a bit. By which we mean: they€™ve seen plenty of the world while working their musical wares. Their latest collection is comprised of covers €“ but an all-originals tenth studio set is in the works.

Here, band-founding frontman Jonathan Meiburg (pictured) tackles Clash€™s new Good Trip, Bad Trip feature. Which is ever so nice of him. Less nice: gangsters and tear gas, obviously.

- - -

€˜I Love The Valley Oh!€™, from €˜Fellow Travelers€™ (originally by Xiu Xiu)

- - -

Best Trip€

€œDo I get to count the time I played a session on Falkland Islands Radio Service in Stanley?€

Worst Trip€

€œWe played a show in (country name withheld) that appeared to be organised by gangsters.  It was really scary; the promoter€™s henchmen seemed terrified of him, and he stared us down in the green room in an eerie way that faintly suggested dire consequences if we didn€™t play the show he wanted.  Then they insisted that we go to a club with them afterward, where I didn€™t get the feeling we were free to go.  I remember standing outside the club and wondering why my eyes were watering so uncontrollably; was it just the fear of not knowing where I was or how I was ever going to make it home?  And then billows of tear gas started wafting down the street.€ 

Our favourite foreign venue€

€œUnion Chapel in London might be my all-time favourite €“ I don€™t think I€™ve ever played a more beautiful venue €“ except for two things. First, they won€™t let you crank the PA in there, which was maddening; just the sound of the unamplified snare drum exceeded their dB limit. Second, the last time we played there, our bags were stolen out of the green room.  Of a church!  So we spent the next day frantically trying to replace lost passports €“ I keep mine on me at all times now. London, you really know how to turn on the charm.€

We€™re surprisingly popular in€

€œAnywhere.  The shock of turning up to play somewhere far from home and finding a crowd of people there to see us hasn€™t worn off.  I hope it never does.€

Best or worst exotic foodstuff€

€œBesides Amsterdam€™s magnificent stroopwafels, or pretty much anything they put on the table in Turkey or Italy?  Note to Germany: I€™ve had enough bread and cheese for a lifetime.€

The most interesting item I€™ve brought home€

€œI don€™t really collect souvenirs, but I did bring back a pellet of raven vomit from the Aran Islands (in Ireland) once.  It was much prettier than you€™re imagining; it was a hard little lozenge made almost entirely of iridescent green beetle shells, like a weird, conglomerate gemstone.  It crumbled to dust in my bag, but if it had made it home I€™d have framed it.€

The most intriguing human I€™ve met on the road€

€œWe€™ve had some great tour managers over the years. Ben Corrigan can make the grimmest tour into a grand rock and roll odyssey; Jeroen Vrijhoef can talk you out of trouble with the German police; and the great Phil Jones does not appear to need sleep.  But our all-time favourite touring companion probably has to be Rikke Iversholt, an expat Danish social worker who€™s somehow contrived to become Scottish and counsels social workers in Glasgow. She brought us rosewater cupcakes for years until we finally insisted that she come along on several tours to sell merch and promote our general welfare. Ask her about the time she had to call Alex Chilton to get him to convince her roommate to pay the phone bill.€  

Worst on-tour injury, illness or infection€

€œMany years ago, we played a show in a dungeon in Sheffield that had a total audience of three people; one of them was a drunk dude who wanted me to go out back with him and, I€™m guessing, either f*ck or fight €“ I didn€™t find out. The other two were a bashful student couple that wanted to give us their band€™s CD. We didn€™t have a place to stay and we were flat broke, so we asked them if they could put us up, and after some hemming and hawing they agreed to put us on the floor of their dorm room kitchen at the university. We pulled up at the school and the whole dorm was gathered outside their rooms, clogging the staircases; it turned out the fire alarm had just gone off. It was freezing outside, and the drummer and I huddled together all night on the kitchen floor under a dirty blanket, shivering. Kids kept peering through the door at us like we were some kind of zoo exhibit, and I picked up a nasty, bone-shaking cough I didn€™t shake for the next six weeks. 

€œOn the plus side, we got to spend the next morning thawing out in a small gallery downtown that was showing some original Blake drawings, and outside the gallery in the street I saw a mouldering poster for a band called the B€™Eagles. A quote in huge type at the bottom of the poster gushed: €˜A truly accurate representation of the music of the Eagles!€™€  

My essential travel item€

€œEarplugs. Just the foamy kind you get in any drug store. Wear €˜em on the plane, wear €˜em in the van, wear €˜em in the show. It€™s amazing how much they reduce your overall level of anxiety; the effect is weirdly similar to the detached bliss you get from Valium or opiates, and way cheaper. And you can always pretend you can€™t hear someone when they€™re talking to you. Plus, I have some hopes of still being able to hear birds singing when I€™m old.€ 

My essential travel tip€

€œDon€™t take more than you can easily carry; you might have to make a getaway quick-like. And remember: almost nobody sees you for more than one day in a row, so who cares if you wear the same shirt for a month?€

- - -

As told to Si Hawkins

€˜Fellow Travelers€™ is out now on Sub Pop. Find Shearwater online here

See the band live:

30th - XOYO, London

1st - Deaf Institute, Manchester 2nd - Fleece, Bristol 3rd - The Haunt, Brighton

Related: Good Trip, Bad Trip: Tokyo Police Club

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Music's 10 Most Innovative Companies

10While it's easy to argue with some of those listed on Fast Company's new World's 10 Most Innovative Companies In Music, the ten chosen and their brief descriptions offer insights into what mainstream business journalism views as innovation in music and music tech. YY makes the list, but no Rap Genius, Pandora or Bop.fm? 

Music's 10 Most Innovative Companies:

10. YouTube - For growing up.

9. Ultra Music Festival - For bringing the world€™s music to the rest of the world.

8. Soundcloud - For going pro properly.

7. Macklemore LLC - For leveraging major label power intelligently.

6. VEVO - For mastering the magic of music videos.

5. Mad Decent (label for Harlem Shake) - For shaking up how music goes mainstream.

4. Spotify - For saving the music industry, one stream at a time.

3. Columbia Records - For staying up all night. (Label for Daft Punk, Beyonce and more.)

2. YY - For reclaiming karaoke and taking it online. (Performance hub with $198 million in revenue.)

1. Shazam - For naming that tune. All the time.

from Fast Company

Who would you add to the list of Music's Most Innovative Companies?  

Future Rock
O2 Academy Islington, N1 Centre, 16 Parkfield Street, London
Future Rock - O2 Academy 2 Islington, London, United Kingdom - 26, Jun 14

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