Robert Glasper: Double-Booked Out 8/25

Title: Robert Glasper: Double-Booked
Artist: Robert Glasper
Label: Blue Note
Release Date: 25 Aug 2009

With DOUBLE-BOOKED, his 3rd Blue Note release, ROBERT GLASPER presents both sides of his musical persona with an album that bridges his parallel careers as the leader of an acclaimed jazz trio and a first-call sideman with hip hop artists such as Q-Tip, Mos Def, and The Roots. Moving nimbly from the acoustic ROBERT GLASPER TRIO to the hip hop fusion ROBERT GLASPER EXPERIMENT, the young keyboardist puts his versatility front & center. Special guests include Mos Def & Bilal. Enjoy!

1. Intro

2. No Worries

3. Yes I’m Country (And That’s OK)

4. Downtime

5. 59 South

6. Think Of One

7. 4eva

8. Butterfly

9. Festival

10. For You

11. All Matter

12. Open Mind


Trustkill band IT DIES TODAY are ready to make their presence felt with the release of their long awaited album LIVIDITY due out September 15. Look for the band to tour well into 2010 in support.

Singer Jason Wood checked in to say, “We’re really pumped about this new record and finally releasing it for our fans! This week Mike Hatalak (producer/guitarist) is in final mix sessions for the album and we have also finished several cover songs including a cover of Duran Duran’s “Come Undone” as well as Alice In Chains “Them Bones”. We know alot of fans are curious about the delays with this new album, but we assure you, if we could have gotten it to you sooner we would have! We have had so many problems with the studio we build to record this album. After spending close to $12,000 on building a completely enclosed soundproofed studio in the house that Mike (Hatalak) and I lived in and spending over 2 months finishing pre-production and tracking, our efforts were thwarted with a forced move out of the house. That move forced us to tear down our entire studio (salvaging about $2,000 of materials) within a holiday weekend. So we moved to a new house and rebuilt the studio and are now finally finishing all mixes. I’m looking forward to hearing reactions from our fans and foes and hopefully this album will make up for the long wait!”.

Born, bred and proud to be among the Buffalo, NY hardcore scene IT DIES TODAY formed in 2001. The group creates a blend of brutal riffs and punishing breakdowns that are coupled with huge anthemic and driving melodies. This dichotomy within their sound has gained them fans across the metal, hardcore and rock scenes as well as the ability to bring both sexes together in the pit. Already having sold over 150,000 albums to date, the band’s initial release was the 2001 EP Forever Scorned, followed by 2004’s The Caitiff Choir which garnered them a slot on Alternative Press Magazines 2005 “Bands To Know” list, then came the Sirens release which debuted at #5 on Billboard heatseekers chart and won the band a slot on Ozzfest as well as a guest spot on MTV2 Headbangers Ball. At their formation, most band members were only 16 years old and although now only in their early 20s this is a band who has already accomplished more than bands twice their age and they are only getting started.

Look for the true strength, ability and resolve of this band to explode with “Lividity” on September 15.


For most of us the phrase Gold Country evokes memories of the 49ers who flocked to California by boat and covered wagon in order to seek fortune for themselves and their families. Chuck Ragan’s latest disc may be coming out a few lifetimes after the gold rush of the mid-nineteenth century, however there’s a timeless quality to the album that embodies the hope and hard work that helped define that period in the American consciousness. That has a lot to do with the fact that there’s nothing preconceived about Gold Country. It’s simply the sound of a talented songwriter doing what his kind has been doing for centuries: playing simple songs alongside a close group of friends not for hope of financial gains, but because he literally has no other choice.

“We recorded the record at Flying Whale Studio up on this six acre mining claim called Arrowhead Mines. It’s an old local mine that was pretty well known back in the day,” Ragan explains. “The record is just another page in the book and another chapter in life and it’s documenting where we are in that moment of time. Right now Gold Country is what I’ve lived for, everything I’ve worked to achieve and hold sacred and everything I strive to get home to.” Ragan knows a thing or two about paying his dues: since the early nineties he’s co-fronted the legendary punk act Hot Water Music and over the past few years he’s released a string of well-received solo acoustic efforts in the spirit of fellow folk troubadours like Steve Earle and Pete Seeger.

Harkening back to the early folk era, last year’s Revival Tour also featured songwriters from Avail, Lucero and Against Me! and was one of the year’s most unique concert experiences. “You go on a tour for two months and the last three days of the whole tour you’re playing songs together and having a blast. Why can’t we get together and rehearse before the tour starts and do that from the beginning?” Ragan explains when asked where he got inspiration for the Revival Tour. Correspondingly, that idea also ties back into his sense of family and community that’s inherent in his own music. “Some of our set is scripted [on the Revival Tour] but pretty much everything else we just see what happens,” he elaborates. “It’s truly one of the most special tours I’ve been a part of.”

Curl Up And Die – The One Above All, The End of All That Is (CD)

Curl Up And Die may just be the band that has been present through the entirety of the time that NeuFutur has been a print zine. Our first review of Curl Up and Die was about their “The Only Good Bug Is A Dead Bug” album, and the band has tightened up their sound more than a little bit since then. The screamed-out vocals of Mike really do not convey vocals as much as provide another brutal, guitar-like sound to each of the tracks on “The One Above All”. The driving guitar riffs of “An Uncomfortable Routine” really take hold of a listener completely when Mike moves into some sort of traditional melodic, verbal role for eir vocals. The short track length of the majority of the tracks on “The One Above All”, coupled with the orientation of the disc being more like 11 different movements of one symphony, makes Curl Up And Die the purveyors of a huge, 33 minute long chunk of music. Instead of being able to simply turn off the disc, one necessarily has to hear the story that the band tells through tracks like “Instrumental” and “Ultra Carb Diet…”.

While atmospheric music is not usually the forte of metal and hardcore acts, Curl Up And Die nonetheless creates a dark and gloomy landscape with the incorporation of shrill and noisy guitar riffs flashing like lightning above the hustle of “Black Out”. “There Is Never Enough Time To Do Nothing” is perhaps the darkest and most intense that Curl Up And Die gets during “The One Above All”. Imagine a blues-fueled guitar, stretched out and creeping up the scales while the vocals and ever-present drums really fill out the track, and one will begin to see the brilliance in the track. The progressive metal-influenced interlude that is present during “To Do Nothing” shows a band that is definitely not a one-trick pony, as the slower tempo is done with such talent that one honestly could see Curl Up And Die centering an entire album around this about-face.

Curl Up And Die are the iconic creators of an entirely new brand of music; with tracks like “I’m Trying To Fly…” they move away from the brand of hardcore that extols the value of technical virtuosity over accessibility without moving into the opposite, power-chord brand of music. Metal, hardcore, goth, thrash and a whole hell of a lot more makes this an album equally accessible by all.

Top Tracks: I’m Trying To Fly To The Moon…, Instrumental

Rating: 7.7/10

Curl Up And Die – The One Above All, The End of All That Is / 2005 Revelation / 11 Tracks / / / Reviewed 23 August 2005

The Delfields release “Ogres” on August 18, 2009!

A presence since early 2006, The Delfields have been altering the musical landscape in New Jersey for almost four years. In their hometown of New Brunswick, the term “indie” is used loosely to describe anything which doesn’t smack of the town’s long love affair with metal, punk, and more recently emo. This makes The Delfields’ self-proclaimed categorization of indie pop virtually non-existent.

Joseph Fekete, lead singer and principal songwriter met twin brothers Ryan and Kyle Shook while teaching guitar at Lou Rose Music Center. Introduced to the brothers by former guitarist Allen Meretsky, they began playing regularly and recording what would eventually become the full-length album Ogres, inspired by the bittersweet outcome of a series of relationships gone awry. Driven by a constant focus on melody and texture, the band creates an ethereal and hazy pop wall of sound. The tight rhythm section doubles as a melodic counterpoint for calculated guitars and keyboards. The instrumentals set the perfect stage for soaring melodies comprised of tapestries of abstract yet vivid lyrics. Paying no heed to the state of current indie music, The Delfields are not swayed by popular trends and look to their past to create their unique sound. Recorded entirely on a 1/2” 8-track tape machine, hints of The Beach Boys, The Smiths, Talulah Gosh and The Ventures float through the album.

Recently, The Delfields completed a music video (directed by Will Kauffman) for single and title track “Ogres”. The surrealistic feeling of the video complements the helter-skelter melody and dreamy vocals, capturing the essence of Fekete’s lyrics. Ogres is an impressive first outing for a band who will raise the bar not only for themselves, but for New Jersey music as a whole.

Track List

1. A Slippery Slope
2. Honest
3. Francine
4. Short Sleeves
5. Ogres
6. Solvents and Vacuums
7. Our Beds
8. Fawn Fight
9. Highlands

The Dodos Announce US Fall Tour & Unveil “Time To Die” Cover Art

The Dodos Discuss Time To Die With Pitchfork :
With a title like Time To Die, you might think the Dodos’ third disc is their ‘mature album,’ a deadly serious undertaking punctuated with string sections and synths. Nice try kid, but you’ve got it all wrong. While indie rock’s go-to guy, Phil Ek (Built to Spill, Fleet Foxes, The Shins), hopped behind the boards this time, the Dodos’ wildly-percussive style is still centered around two key elements: the punchy percussion of Logan Kroeber and the Fahey-infused finger-picking of frontman Meric Long. Oh sure, you’ll hear a horn blast here and there, but it’s never enough to distract you from the group’s riffs and rolls.

“I’m glad that we were able to keep things simple on this record,” says Long, “Because when your band gets a little popular, there’s this tendency to say things like, ‘Let’s add an orchestra on this one!” That works for some people, but it would detract from this band.”

Indeed, and as right as Long may be, Time To Die introduces one major addition to the Dodos’ creative core: Keaton Snyder, a 21-year-old music school dropout who plays a mean vibraphone. As Long puts it, “He’s a better musician than Logan and I combined. I don’t even know what’s going on with his music theory ideas half the time.” On a similar note, Snyder—a classically-trained musician—is constantly learning what ‘being in a band’ entails. In fact, he didn’t even know how to react when a chord was yanked during his Dodos debut. “After the show,” says Long, “he was like, ‘Yeah, I’ve never had to plug anything in before.’ It was hilarious.”

All jokes aside, you’d never know Snyder was the Dodos’ third man without looking at the new album’s liner notes. Not because he’s missing in action half the time; he’s just locked in step with Long’s steady-handed strumming and Kroeber’s canon-like beats. That, and Snyder’s actual sound/physical presence isn’t all that different than the visceral elements explored on the Dodos’ previous two albums, 2006’s Beware of the Maniacs and the band’s buzz-stirring breakthrough, 2008’s Visiter.

“The vibraphone is pretty crazy and loud,” says Long, “and if you put it through some effects, you can make it sound like a guitar or synthesizer. It still has that element of something you’re hitting, though, which is central to how Logan and I play our instruments.”

That’s the thing about Time To Die: It expands the Dodos’ Ginsu-sharp sound without smothering it. It’s not the death of everything you adored about the duo; it’s a rebirth, revealing some serious career standouts (the widescreen payoff of “Small Deaths,” the string-and-drum spasms of “Longform,” the delicate/distorted dynamics of Snyder’s “Troll Nacht” parts) along the way. Which isn’t a surprise when you hear how many months they spent writing the damn thing earlier this year.

“After Visiter, we had a lot of options for which direction to go,” says Long, “But I knew we wanted to make a rock record. Being an acoustic band—primarily, at least—sort of works against this idea, but Phil’s production showcased that side of our band.”

North America Fall Tour, all dates w/ Ruby Suns
9/26 – Henry Miller Library – Big Sur, CA
9/27 – El Rey Theatre – Los Angeles, CA
9/28 – Casbah – San Diego, CA
9/29 – Club Congress – Tucson, AZ
9/30 – Modified – Phoenix, AZ
10/2 – House of Blues, Pontiac Garage – Dallas, TX
10/3 – The Orange Show – Houston, TX
10/4 – Austin City Limits Festival – Austin, TX
10/6 – Club Downunder – Tallahassee, FL
10/7 – The Earl – Atlanta, GA
10/8 – Grey Eagle – Asheville, NC
10/9 – Rock and Roll Hotel – Washington DC
10/10 – Talking Head – Baltimore, MD
10/12 – First Unitarian Church – Philadelphia, PA
10/13 – Music Hall of Williamsburg – Brooklyn, NY
10/14 – Bowery Ballroom – New York, NY
10/15 – Middle East Downstairs – Cambridge, MA
10/16 – La Sala Rossa – Montreal, QC
10/17 – Lee’s Palace – Toronto, ON
10/19 – Bottom Lounge – Chicago, IL
10/20 – Turf Club – St. Paul, MN
10/22 – Bluebird Theater – Denver, CO
10/24 – Neurolux – Boise, ID
10/25 – Aladdin Theatre – Portland, OR
10/26 – The Biltmore Cabaret – Vancouver, BC

Jill Cunniff – City Beach (CD)

Jill Cunniff was formerly with the band Luscious Jackson. While I am 23, the band achieved prominence and then moved away from that prominence before I was big into indie music. Thus, the tracks on this disc have little in the way of reference points with which I can work. The smooth pop music of Cunniff on “City Beach” could be enough to catapult eir into the mainstream again.

The clicking and snapping blended with the funk of “Happy Warriors” could easily make Lily Allen or India.Arie blush. The pop that Cunniff creates on this album is truly pop from another period; while there are sultry tracks on “City Beach” like “NYC Boy”, there remains a clean feeling to the music that is best tied to the work of Madonna pre-Britney Spears. Each of the tracks on this album are short enough the even if the style or overall sound of Cunniff does not impress a listener at a certain point, the track is soon ended. Still, how could not like this collection of hit after hit? Cunniff was able to work out any jags and sharp parts in eir music and create something that is like spun silkIt is odd to hear this album on The Militia Group, as the label usually involves itself with indie rock. However, the suits at The Militia Group are able enough to realize that Cunniff’s pop masterpiece will win over anyone else that may be listening in. The instrumentation on each of the track plays strongly in the background, adding a certain ambience to each Cunniff track.

This instrumentation varies between tracks, to allow listeners to keep focused in on “City Beach” throughout the disc’s 12 tracks. If anything can be compared to Cunniff’s work on this album aside from the stray Madonna tie, it would have to be one-hit wonder (but CATCHY one-hit wonder) Len. While “Eye Candy” has a vibrant energy all to itself that cannot be linked easily to other songs. “Exclusive” is another one of these stellar tracks, with an insistent tempo even as the vocals are smooth and calming. While I was never too familiar with Jill Cunniff in the past, this album will ensure that I find a few Luscious Jackson albums and attempt to complete my Cunniff collection. For fans of any pop music or rock with a tinge of pop influence, “City Beach” will impress a wide segment of the populace.

Top Tracks; NYC Boy, Future Call

Rating: 7.1/10

Jill Cunniff – City Beach / 2006 The Militia Group / 12 Tracks / / / Reviewed 24 January 2007



With a West coast tour behind him, singer and songwriter Tyler Hilton has announced an addition to the series of new U.S. tour dates that began July 9th. Hilton will be out on the road with Better Than Ezra.

The Palm Springs, CA, native is touring behind his new digital EP, Better on Beachwood, which was released on May 26th. Co-produced by Hilton and Rick Parker (Josh Kelly, Dandy Warhols), the EP features three fan favorites unavailable anywhere else: two new songs, “Tore the Line” and “Don’t Forget All Your Clothes,” plus an acoustic version of “I Believe In You,” a track from Hilton’s upcoming new album, which he has been working on in Los Angeles, due from Reprise Records later this year. Hilton and his band will also appear on MTV’s upcoming fashion reality series The Stylist.

Better on Beachwood is the first new music from Hilton since his 2004 major-label debut, The Tracks of Tyler Hilton — an appealing slice of strummy pop Americana that spawned two Top 40 singles “When It Comes” and “How Love Should Be.”

For more on Tyler Hilton, visit his official website
*denotes dates with Better than Ezra

Upcoming tour dates:

8/14 Milwaukee, WI Wisconsin State Fair

VICTIMS OF CIRCUMSTANCE Proves that Gambling Pays Off Releasing Second Album Roll the Dice on August 25th

Central Florida has always been a hotbed for music and its latest progeny, VICTIMS OF CIRCUMSTANCE (VOC) are ready to lead the ska charge out of the Southeast. With an adrenaline-fueled second album ROLL THE DICE ready for release on August 25, 2009 via Financial Records and a high-profile gig hosting the “Super Size Summer Ska Spectacular” in Clearwater, FL, they are primed and ready to pump some horns and punk/ska/pop “riddim” back into the mainstream.

While the saying goes, “idle minds are the devil’s playground”, in VOC’s case, idle minds breeds musical creativity. “We had a full drum kit, a half-stack, a bass rig and half-a-dozen guitars lying around Glenn [Stewart]’s office”, says guitarist Michael Smyth about his drummer bandmate. “We just kept the door closed and no one seemed to notice.” Jamming afterhours once the rest of the office went home, Glenn and Michael formed the nucleus that would soon evolve into the five piece it is today. Adding bassist Alan Garcia, trombonist Aaron Zylman and saxophonist Jay Atheney to the line-up, the band took the 12 songs they had written and recorded the appropriately-titled 2007 debut, Do It Yourself with Mighty Mighty Bosstones’ Tim “Johnny Vegas” Burton in the producer’s chair. Garnering respect from (“Victims of Circumstance have put themselves in a surprisingly good position early with just one album under their belt”) and Bullz-Eye (“Victims of Circumstance are indeed a welcome breath of the proverbial fresh air in a genre that can become polluted with hack acts…. Here’s hoping for more!”), VOC made a grand entrance in the ska world.
Roll the Dice cover art:
Right-click on image for hi-res version

Roll the Dice, produced by Big D and the Kids Table bassplayer Steve Foote, not only turns up the amps two level notches above ten but also delves deeper into the depth of VOC’s musical creativity. From the getgo of opening track “The Final Flight of D.B. Cooper” that eases in with instantaneously-infectious punk rhythms to the celebratory skank of “This Riot Used To Be A Party” to the cheekily-named (but not too far off) “Number One Hit Single”, their second album packs energetic melodic ska/punk/pop into fifteen tracks.

Coming off a recent tour of the Southeast with labelmates Crisis in Hollywood, VOC are gearing up for their hosting gig at this year’s “Super Size Summer Ska Spectacular” which celebrates the best of Florida’s flourishing ska community. Taking place in North Largo’s legendary Gasoline Alley (14042 66th Street, N. Largo, FL 33771) on Saturday, July 18th, this festival will include performances by The Long Johns, One Way, Out of Nothing, Bastard Suns, Johnny Cakes, Fall on Purpose, among others. Also onstage will be celebrated pop-punkers Crisis in Hollywood who will adopt their skankin’ alteregos Crisis In Skallywood for the day. More information on the festival can be found at

Roll the Dice was produced by Steve Foote (Big D and the Kids Table) and will be released on August 25, 2009 on Financial Records.

For more information about Victims of Circumstance, please go to:

Introducing Volcano Choir, The Collaboration Between COLLECTION OF COLONIES OF BEES and Justin Vernon of BON IVER

Volcano Choir is the assembly of Wisconsinites Jon Mueller, Chris Rosenau, Jim Schoenecker, Daniel Spack, Justin Vernon, and Thomas Wincek.

One might find these old friends also frequenting records and stages under the monikers Collections of Colonies of Bees and Bon Iver. The Volcano Choir collaboration predates the meteoric rise of Justin Vernon’s Bon Iver project, with original songwriting dating back to the summer of 2005 – right around the time the Bees first toured with Vernon’s previous band DeYarmond Edison.

Jagjaguwar will release the first project by Volcano Choir, Unmap, on September 22nd (21st in the UK), worldwide.

While entirely a studio record, the collection doesn’t suffer from a digital pile up or over-thinking. Rather, it breathes and convulses in equal measure, radiating an inherent dynamism found only in the voluntary bondage of intimacy. With influences ranging from David Sylvian and Steve Reich to Mahalia Jackson and Tom Waits, it might be more accurate to say the group’s influence is music itself. You can hear it in the care and real love generously applied to each moment of Unmap. With the vibe of some intimate backwoods gospel, plus a spirit of patience and thoughtful repetition, the music of Volcano Choir is as dynamic as it is lovely.

Unmap ultimately came together over a weekend in November 2008 in Fall Creek, Wisconsin, at Justin and brother Nate Vernon’s recording studio. And while it is at its heart a record about the allure of being with people you need and making something with them, it is also a document created by musicians with rare gifts getting together to exorcise their ideas about beauty. This scaffolding of loops and off grid tempos for choral style vocals offers a state of continual surprise, call it unexpectation.

1. Husks and Shells
2. Seeplymouth
3. Island, IS
4. Dote
5. And Gather
6. Mbira in the Morass
7. Cool Knowledge
8. Still
9. Youlogy