Beck’s new album Modern Guilt, produced with Brian “Danger Mouse” Burton, will be released July 8, 2008.

The new album contains 10 new songs, and with the exception of last year’s Grammy-nominated, digital-only single “Timebomb”, Modern Guilt is the first new material Beck has written since the prolific stretch that produced 2005’s platinum Guero and 2006’s universally acclaimed The Information.

Modern Guilt is a tightly assembled group of songs that range in lyrical tone from introspection and social commentary to off the cuff wordplay and lighthearted humor. Musically, the album’s ten tracks vacillate between economy and experimentation, hybrid and pop classicism, while consistently manifesting Beck and Danger Mouse’s shared interest in psych-rock, folk, electronic minimalism and orchestration.

Beck is about to embark on a tour of the UK and Europe, followed by a number of US headline and festival appearances, culminating in Beck’s biggest hometown headline show to date, September 20, 2008 at the Hollywood Bowl.

Review from Amazon.com

have a listen HERE

This is the record where they discovered melody. That’s never a bad thing.
It’s NOT their best album. But, it’s very good.

get it HERE

Great concert footage (though nothing of them at their wildest, alas). Amazing small venue stuff with double drumming. Paul Leary looks absolutely evil when he plays and Gibby looks like something that shambled out of lunatic asylum. Fantastic, hypnotic songs (of course).

The interviews in between are hilarious. Mostly, Gibby (clearly drugged out of his mind) rambling nonsensically while the others eat pizza and look bored. That poor interviewer. It’s amazing to me the cheesey bands that flower and get hugely successful, stadium-selling careers, while the Surfers, one of the most innovative, brilliant bands of all time, remain locked into playing smaller gigs. NO ONE argues that they are geniuses. I think its just a matter of accessability. They may have been too brilliant, too far ahead of their time. No matter. Time reveals all.

Possibly the strangest part of this DVD is the (extraordinarily brief) clip of an early, early Surfers gig. We see an astonishingly clean-cut, handsome, well-spoken, and flustered Gibby pleading politely with a crowd to please stop throwing things at the band. Wow. Amazing what time can do!

The whole shebang is HERE

Babyshambles on tour!

Get it HERE

There’s a DVD as well.

The actual title of the CD and vinyl is Heavy Trash - Going Way Out With Heavy Trash [2007]

The bastard cousin to Jon Spencer’s genre-demolishing Blues Explosion, Heavy Trash features Speedball Baby’s guitar brawler and producer extraordinaire Matt Verta-Ray in a project that drinks down the best of roots, R&B and rock-a-billy. Going Way Out with Heavy Trash, the second offering from these kings of buzz saw guitars and late night incantations, was recorded in three different countries and features an international cast of musicians - Canada’s The Sadies, members of Denmark’s Tremolo Beer Gut and Powersolo, and New York City’s Simon Chardiet and Phil Hernandez. Heavy Trash is what the name implies - filthy and hard - the soundtrack to the strung-out road trip from which there can be no return.

Pick up yer trash here

Stephen Malkmus has never made a record that covered nearly as much stylistic ground as this nor, it could be argued, has Stephen made an album until now that packed as much of an emotional (not nearly trashy enough for some) wallop. “Cold Son,” “Out of Reaches” and “We Can’t Help You” are amongst the more gorgeous, contemplative songs Malkmus has recorded, though we should stress a) there’s no shortage of dark humor scattered through RET and b) Malkmus remains a sh*t-hot guitarist (ridiculously so).

get it here

I’m really starting to dig this band. As soon as I get the LP I’ll post it. I promise.

Nice beats to thump your bass box

I bet you want to hear it.

Here it are

http://www.mediafire.com/?mphlxyjvzy5

Have to confess, I haven’t listened to the entire thing. They use some interesting harmonies. Can’t say I love what I’ve heard. It may grow on me.

There’s a jerkiness, a forced stylistic thing that you either like or not. See what you think. I could be wrong. I don’t think we really want this 50’s thing right now. Then again, everything going on in the world seems so raw and real….maybe some musical escapism isn’t such a bad thing.