depeche mode tour of the universe time warp

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As you probably already know, Depeche Mode drops Tour Of The Universe on November 9. The 2-DVD, 2-CD set covers two nights in Barcelona during the 2009 Sounds Of The Universe tour.

And of course the DVDs are packed with extras like a tour documentary, rehearsal footage and the 7 "screen films" projected behind the band at every show.

If you happened to catch this tour, you'll happily recall that Gore and Gahan pulled from the back catalogue more liberally than they have in recent memory.


In fact, favorites like "A Question Of Time", "Fly On The Windscreen" and "Stripped" are on the Barcelona set list. Hearing those classics from Black Celebration is great and all, but it makes you want to experience old school Depeche Mode in context. Not even the 101 version...  before that.

In 1984, on the Some Great Reward tour, Depeche Mode recorded a concert film in Hamburg. It has yet to be released on DVD, but some relatively good quality VHS transfers exist on YouTube. Thanks to those hardcore DM fans for hanging on to their VCRs and doing the hard work for us.

"If You Want":




"Leave In Silence":




"Told You So":




"Everything Counts":



So awesome.

engineering a shoegaze revival

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To date, the biggest thing that's happened to British shoegaze savants Engineers is having their song "Home" co-opted by the HBO polygamy drama, Big Love. Otherwise, they've been dropped by their label, had a drummer and guitarist quit, and outside of some kind press for last year's Three Fact Fader they've been pretty much ignored.

They hope their fortunes change with a new album and the addition of a new band member. Album number three, In Praise Of More, was released yesterday — their first with German electronic auteur Ulrich Schnauss.

Schnauss' presence is apparent, but not overwhelming. This is a more textural record, and as a result a little more thoughtful and restrained. Even the uptempo title track never really lets loose:

In Praise Of More - Engineers by oldwaver

The soft/loud dynamic isn't as pronounced as it has been on previous Engineers releases either, with songs like "To An Evergreen" ending up more serene than stirring:

To An Evergreen - Engineers by oldwaver

Overall, In Praise Of More falls under the "grower" category. If you're already on board, give it a chance to take root.

If you haven't been exposed to Engineers before, better to start with their self-titled debut and bliss out to a modern shoegaze classic like "Forgiveness".  Enjoy:

mark ronson's record collection is cooler than yours

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It's hard to get a read on Mark Ronson.  Is he a gifted producer, amazing networker and innovative composer?  Or is he an over hyped, privileged one-trick-pony?

In truth, he's probably a bit of both. His third album, Record Collection, is released today — and while it follows the guest star formula of his breakout sophomore release Version, it makes a sonic shift from hip-hop horns to 80's keytar.

The first two singles maintained the hip-hop connection, with the always-up-for-a-guest-spot Q-Tip appearing on "Bang Bang Bang" and Spank Rock contributing to "The Bike Song".

Phantom Planet's Alex Greenwald, who did a nice take on Radiohead's "Just" for Version, teams up with Wu Tanger Ghostface Killah for the standout "Lose It (In The End)":

Lose It (In The End) Featuring Mark Ronson, Ghostface Killah, Alex Greenwald by oldwaver

Ronson has been at the controls of the forthcoming Duran Duran record, so it only makes sense that Simon Le Bon would pitch in. He lends a weighty chorus to the ironic "Record Collection":

Record Collection Featuring Simon Le Bon, Mark Ronson by oldwaver

It's evident that Ronson is a man with many ideas. Not all of them are good, but he can make them sound good enough and fill them out with an all-star cast. Ultimately, these solo projects may be a nice diversion, but Ronson's legacy will be tied to Amy Winehouse, Duran Duran and whomever else he produces to the top of the charts.

"The Bike Song" is fun and all, but who's going to remember this?

lcd soundsystem's unofficial robot mascot

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At the end of last week, a friend of old waver uncovered a video that quickly made the rounds among the indie blog elite. Even though many of you have probably already seen it, what's the harm in watching it again, right?

LCD Soundsystem has just hit the road for the second leg of a tour to support the truly wonderful This Is Happening. The album is an emotionally rich and sonically brilliant bit of electropop, with a terrific closer in the hypnotic jam "Home."

Director Rick Darge took it upon himself to create a video for the song, featuring the hi-fi robotic creation of a lonely geriatric.


The action follows the young robot's coming of age journey, full throttle fall from grace, and prodigal-son-style return. The video isn't sanctioned by the band or the DFA label, but I'm guessing James Murphy would approve.

Take a look for yourself:


LCD Soundsystem "Home" from FUNWUNCE on Vimeo.

slowdive into the weekend

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Back when I was in college and I needed a nice midday nap, I'd pull the shades and pop Slowdive's Just For A Day into the ol' CD player. The swirling guitars and ethereal vocals were my rainforest sound machine, closing out the world and carrying me away to blissful sleep. Who knew that nearly 20 years later my dorm room lullaby would be hailed as a shoegaze classic.

Slowdive — and shoegaze for that matter — wasn't around for long. Just For A Day got its US release in '92, and Souvlaki followed in '94.

By the time Pygmalion was released in '95, Neil Halstead was walking away from the shoegaze sound and the British press had moved on to Britpop.


At the time, Slowdive were considered pale imitators of My Bloody Valentine and the whole scene was viewed with derision. Now that shoegaze has regained some favor, history is kinder to the likes of Lush and Ride, and Slowdive are given the respect they deserve as a definitive example of the genre.

Check out this live clip from '91, at the height of the scene, complete with a shoegaze makeout session:




And here's a perfect way to sum it all up. A fan-made video for "Souvlaki Space Station" created with images from the Hubble Telescope site:





Happy Friday...

british sea power to rise again

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The Brighton lads with a fondness for shrubbery are back with a new EP. Zeus is a precursor to British Sea Power's fourth proper album to be released in January. The 7-song EP will be available October 5th in the states, but you can download the title track for free from Rough Trade Records.

Zeus hints at a welcome return to form for the mercurial Brits. After the angular and aggressive debut, The Decline Of British Sea Power, they've gone lush and pastoral with Open Season and taken aim at arena rock with Do You Like Rock Music.

The band took a detour with 2009's Man of Aran, an instrumental film score that accompanied the re-release of a 1934 fictional documentary about the inhabitants of Ireland's Aran Islands.

Now they sound revitalized, with the quirkiness that made them so likable intact and Martin Noble's frenetic guitar once again out front in the mix:

Zeus - British Sea Power by oldwaver

Here's hoping the rest of the new material hearkens back to those early days:

salem: the witching hour approaches

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Back in the day I'm sure our parents were frightened to death when we'd lock ourselves in our room and crank Ministry or Bauhaus. Now today's generation have something equally dark and capable of inciting parental panic.

Salem drops their debut album, King Night, next Tuesday, and with it they launch a new subgenre. The Michigan trio call it "drag", but the blogs are running with "witch house". Either way, it's a mangled wreck of goth, electropop and narcoleptic hip hop.

The gut rumbling bass of dubstep overwhelms and splatters all over the album's title track:

King Night - Salem by oldwaver

Processed vocals, similar to experimental electronic acts like The Knife, add to the warped and "dragged" nature of Salem's sound, as heard on one of my favorites, "Sick":

Sick - Salem by oldwaver

Salem are sure to be a divisive act for hipsters and indie snobs to dissect. All I know is it'll make a bitchin soundtrack for your Halloween house party.

OMD's comeback manoeuvres

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The classic lineup of Orchestral Manoeuvres in the Dark has been split since 1989. Founding member Andy McCluskey carried on the OMD name for a few more years and three more albums, but they became more or less a forgotten second tier new wave act.

Now McCluskey, Paul Humphreys, Malcolm Holmes and Martin Cooper have sensed the groundswell of synth pop resurgence and decided to reunite for a new album and tour.

You can't blame them for trying, and really, studio album number 11 isn't a total miss. In fact, History of Modern has plenty of what made OMD a chart topping success in the 80's.

The elementary synth sounds and McCluskey's signature voice are given a modern production sheen that puts them somewhere between latter day Depeche Mode and the Pet Shop Boys on the "is this too gay to like?" continuum.

There are some soulful numbers and dance floor thumpers that may make your wince, but there are moments that make you fondly remember OMD's place in your childhood soundtrack.  For instance, "History Of Modern (part II)":

History of Modern (part II) - OMD by oldwaver

And if that doesn't get you all glassy-eyed nostalgic, how about their one true classic in a fan-made Pretty In Pink video mashup:



Jon Cryer peaked with Ducky.


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moz monday: everyday is still like sunday

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20 years ago, Morrissey was still fresh off the breakup of The Smiths and had just one proper full length release as a solo artist, Viva Hate.

After Viva Hate, he released a string of singles — "The Last of the Famous International Playboys", "Interesting Drug", and "Ouija Board, Ouija Board" — before deciding to skip the rigors of recording a follow-up studio album and releasing a singles and b-sides collection instead.

The result was Bona Drag, which to this day is the most beloved release in Morrissey's solo catalogue.

Thus, the 20th Anniversary treatment. Next Monday in the UK and Tuesday in the US (Correction: Oct. 4 in the UK and Oct. 19 in the US), EMI will present a deluxe edition complete with previously unreleased tracks, new inner sleeve photos and liner notes, and kinda new cover art.

The text is now in Morrissey's oft-preferred gothic font, and the cover photo has been corrected back to its original color, as shot on the set of the "November Spawned A Monster" video set.

"Everyday Is Like Sunday" is also being re-released as a single in CD and 7" formats, each with new videos or live b-sides for the hardcore completist. Most interesting is Morrissey's performance of the single on Tops of the Pops from June, 1988.

A remaster of the official video is included on the CD as well...  an unremastered version is embedded for your enjoyment right here:



Still can't believe the NFL Network ran promos with this song...

deerhunter's halcyon days

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Bradford Cox is a tortured soul. He was born with the genetic disorder Marfan syndrome that gave him a gangly, sickly appearance. His parents divorced in his teens and he dropped out of high school. Deerhunter's first bassist died tragically in 2004 and another close friend died of a heroin overdose the following year.

If great art comes from pain, it's no surprise Cox has captained Deerhunter — as well as his bedroom tapes released under Atlas Sound — into the indie rock canon of the aughts.

Deerhunter's widely anticipated fourth studio album, Halcyon Digest, is due for release September 28. It's the band's first release exclusive to 4AD and has been given plenty of viral promotion, including its own cryptic website.


From an old waver's point of view, this album is a tremendous step forward. While Deerhunter's previous efforts were certainly good, Halcyon Digest turns the corner and points the band further down the path of ambient and shoegaze. It's a curious combination of great songwriting and deep atmospherics that keeps even the most spacious songs interesting.

For instance, the album opener "Earthquake":

Earthquake - Deerhunter by oldwaver

With the shimmering guitar work of Lockett Pundt and the heavily effected vocals of Cox, their sound is at once haunting and beautiful. The same can be said of the video for "Helicopter":



Halcyon Digest may not be as readily accessible as some of the friendlier tracks on Cryptograms or Microcastle, but it's a visionary album that will certainly be counted among the year's best.

speaking of jesus and mary chain

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Yesterday's post about Crocodiles got me in the mood for some good ol' Jesus and Mary Chain.

Much like Joy Division and My Bloody Valentine, the Reid brothers have become more influential with age. Underrated in their day, they're a favorite touchstone of many a present day indie rocker.

Part of their appeal is their can't be bothered cool. Their unapproachable aloofness and sometimes earsplitting feedback provides a certain air — like they could give a shit if you're even listening — but the intensity of Jim Reid makes it too hard to look away.


Take, for example, this 1984 television performance of "In A Hole" from Psychocandy:




And this 1989 television performance of Automatic deep cut, "Gimme Hell":




The Reid brothers famously split in 1999, but reunited for a 2007 tour. This Oslo, Norway performance of "Reverence" from 1992's Honey's Dead proves they can still kill it:




I want to die on a bed of spikes...