Hunx and His Punx, that mixture of 50s teenage rock n roll, 60s girl groups and bubblegum pop, are finally releasing a proper album after 2009’s Gay Singles LP (Matador/True Panther Sounds), which was a collection of hard-to-find and out-of-print 7″ singles. The Album, Too Young To Be In Love, has a release date of March 29, 2011 through Hardly Art. The foursome will take their “Deliciously trashy homoerotic pop” (Pitchfork) on the road in April after a date at SXSW.
03/16 – 03/19 Austin, TX – SXSW
04/02 – San Francisco, CA – Bottom of the Hill $
04/08 – Los Angeles, CA – The Echo $
04/09 – San Diego, CA – Tin Can Ale House $
04/10 – Tucson, AZ – Club Congress $
04/12 – Austin, TX – Emo’s (Indoor) $
04/13 – Houston, TX – Fitzgerald’s (Downstairs) $
04/14 – New Orleans, LA – Spellcaster Lodge $
04/15 – Atlanta, GA – Atlanta Mess Around at The Earl
04/16 – Nashville, TN – The End #$
04/18 – Durham, NC – Duke Coffee House $
04/19 – Baltimore, MD – Golden West Cafe $
04/20 – New York, NY – Cake Shop $
04/21 – Philadelphia, PA – Kung Fu Necktie $
04/22 – Swarthmore, PA – Olde Club $
04/23 – Brooklyn, NY – Glasslands $
04/24 – Cambridge, MA – T.T. the Bear’s $
04/26 – Montreal, QC – La Sala Rossa $
04/27 – Toronto, ONT – The Legendary Horseshoe Tavern $
04/28 – Detroit, MI – The Old Miami $
04/29 – Chicago, IL – Empty Bottle $
04/30 – Milwaukee, WI – Cactus Club $
05/01 – Minneapolis, MN – 7th St. Entry $
05/03 – Fargo, ND – The Aquarium $
05/04 – Omaha, NE – Slowdown Jr. $
05/05 – Kansas City, MO – The Record Bar $
05/07 – Denver, Co – Hi Dive $
$ = w/ Shannon & The Clams
# = w/ Jeff The Brotherhood
Steve Albini, former frontman of Big black, current frontman of Shellac and engineer on Nirvana’s In Utero and The Pixies’ Surfer Rosa, has never been supportive of the mainstream music industry. His main source of income remains his day job at his Electrical Audio recording studio in chicago and his band’s live performance are particularly rare. When GQ sat down with him at the All Tomorrow’s Parties festival in upstate New York, he made some valid observations about the existence of a “perversion of normal ethical standards” in the music industry regarding a sort of arrogance and entitlement that emerges as the industry becomes more removed from regular life. But he also made some harsh comments about artists who moved on to major labels, even those he considers his friends, like Sonic Youth.
When asked about his opinion on Sonic Youth’s conscious decision to move to Geffen in 1991, he very bluntly replied that he thought they “should be embarrassed about it.” He blames them for giving “credibility to some of the nonsense notions that hover around the star-making machinery” and sees their decision as “a sellout and a corruption of a perfectly valid, well-oiled music scene.” And the bashing doesn’t end there: he goes to call that decision “crass,” he says that as a consequence of their transfer to Geffen, music culture was “kind of empty and ugly and was generally a kind of bad influence.” No word on their return to the indie labels after their 2008 departure from Geffen to Matador.
The Q&A session also included his perspective on the state of the music industry now, which he finds exciting because of the endless possibilities available to bands to reach out to the world independently. He enjoys that our new habit of sharing the music through sites like YouTube and torrents is motivated by pure enjoyment, not the desire to make profit off of it, “which is the only reason the mainstream industry would do something” according to him.
Still, the article ends on a high note, after an especially GQ oriented question about fashion. Albini answers by saying, “I would like the fashion industry to collapse. I think it plays to the most superficial, most insecure parts of human nature. I hope GQ as a magazine fails. I hope that all of these people who make a living by looking pretty are eventually made destitute or forced to do something of substance. At least pornography has a function.”
It seems Albini is never out of brutal comments, but after all this slamming of mainstream culture, it’s important to notice that he had his own part in it, as some of his most noted work, Nirvana’s In Utero and PJ Harvey’s Rid of Me, were both released on major labels. Food for thought? You can read the entire interview HERE to get the full picture.
Pavement will always be a very dear band to me. When I was about 12 years old, I remember getting glimpses of them on 120 Minutes if I was lucky. 120 Minutes was on so after my bedtime that I had to sneak downstairs to watch it. Pavement were frequently played, and I remember being in love with a certain song that still remains to be one of my favorites until this day…”Shadey Lane.” I did my best to find ‘Brigthen the Corners’ in my little suburban mall, and to my surprise, they had it. I played that cd to no end.
To me, Pavement is the essential indie rock band. They are what got me into music. They are what made me in love with music. Stephen Malkmus was my first musician crush. They were my first party band. I’m not sure where I would be if I never discovered Pavement, or where a lot of us reading this would be.
Matador is reissuing ‘Brighten the Corners” due out November 11th, filled with b-sides, compiliations, outtakes, etc. This is beyond exciting. Its kind of sad though that after this, all that is left to reissue in deluxe edition is ‘Terror Twilight.’ Hint Pavement: Reunite because you were awesome….and so I don’t have to stalk Mark Ibold at Stephen Malkmus shows and giggle ‘haha IBOLD!’ to my friends.
Check out one of my other favorite songs off of ‘Brighten the Corners’, ‘Stereo’. Look for the squirrel….