My Morning Jacket proudly welcomes special guests to its One Big Holiday– the band’s first ever destination event at the newly renovated Hard Rock Hotel Riviera Maya, Mexico, January 26-30, 2014. In addition to MMJ’s 3 full shows and DJ Dance Party, now joining MMJ on thisÂ four night adventure are the Flaming Lips along with Preservation Hall Jazz Band, Mariachi El Bronx and Rob Garza (Thievery Corporation) Solo DJ Sets.
Tickets are on sale now, visit www.MMJOneBigHoliday.comÂ for tickets and information. All-Inclusive prices range from $1249-$2599 per person based on double occupancy and include a four night stay at the resort, access to all shows, top notch all-inclusive resort amenities, and an unparalleled music adventure in paradise.
One Big Holiday is much more than an intimate run of shows; this is an all-inclusive adventure: all meals, drinks, concerts and activities are included in the package. In the coming weeks, look out for more announcements including the music schedule, artist hosted activities, excursions and theme nights.
One of the most anticipated albums of the year, The Flaming Lips’Â THEFLAMING LIPS AND HEADYÂ FWENDS sold out instantly at retail outlets around the world when it was released on vinyl in honor of Record Store Day this past April 21st. Now, due to overwhelming demand, Warner Bros. Records will make the album available on physical CD and digitally via all digital retailers on June 26, 2012.
Itâ€™s no surprise that THEFLAMING LIPS AND HEADY FWENDS was among the Top 3 best-selling albums on Record Store Day, due to its collaborative nature with an unexpected array of Special Guests, its aesthetic beauty pressed into vibrant psychedelic rainbows of color (no two pressings alike) and the simple fact that The Flaming Lips deliver something special with each new release.
THEFLAMING LIPS AND HEADY FWENDS just may be their most adventurous recorded experience to date. The album contains the bandâ€™s unique and experimental collaborations with a diverse cross-section of heavy friends from every corner of the musical cosmos, including vocal and musical assistance from such disparate playmates as Yoko Ono, Nick Cave, Bon Iver, Ke$ha (pictured on the cover w/ Wayne Coyne) and many more. A new track recorded with Aaron Behrens of Ghostland Observatory is exclusive to the CD and digital versions and was not included on the vinyl edition.
THEFLAMING LIPS AND HEADY FWENDS: Track Listing
1. Â â€œ2012 (You Must Be Upgraded) â€œ(w/ Ke$ha, Biz Markie & Hour Of The Time Majesty 12)
2. â€œAshes In The Airâ€ (Featuring Bon Iver)
3. â€œHelping The Retarded To Know Godâ€ (Featuring Edward Sharpe and The Magnetic Zeros)
4. â€œSupermoon Made Me Want To Peeâ€ (Featuring Prefuse 73)
5. â€œChildren Of The Moonâ€ (Featuring Tame Impala)
6. â€œThat Ainâ€™t My Tripâ€ (Featuring Jim James of My Morning Jacket)
7. â€œYou, Man? Human???â€ (Featuring Nick Cave)
8. â€œIâ€™m Working At NASA On Acidâ€ (Featuring Lightning Bolt)
9. â€œDo It!â€ (Featuring Yoko Ono/Plastic Ono Band)
10. â€œIs David Bowie Dying?â€ (Featuring Neon Indian)
11. â€œThe First Time Ever I Saw Your Faceâ€ (Featuring Erykah Badu)
12. â€œGirl, Youâ€™re So Weirdâ€ (Featuring New Fumes)
13. â€œTasered And Macedâ€ (Featuring Aaron Behrens of Ghostland Observatory)
Looking back on an Honest Tune in 2011 is a very humbling experience. Thanks to our readers, the growth during the past year has been exponential. It is our constant hope that our gratitude shows through our continued and concerted efforts to bring the most compelling content, and to do so to the best of our ability as we strive to be your main source for reviews, interviews, exclusive video performances and a contest or two, here or there.
As we prepare for 2012, we are trying to go out with a bang by covering events across the country that hopefully are taking place in an area near you.
Here is coverage that weÂ will have for your viewing and reading pleasure we wind into 2012 and as the month of January gets into full stride, there will be a few extra special surprises that we are bursting at the seams to get on your computer screens! We invite you to tell us where you will be in the Facebook comment section below.
2011 was quite the year for The Avett Brothers. From their most successful touring year to date to one of the most memorable Grammy moments in recent history when they took the stage alongside fellow folksters Mumford and Sons and arguably the greatest songwriter of all time, living legend Bob Dylan.
The DeGaetanoÂ duo (Brian & Jill) will be on the scene in Chattanooga to do their thing and bring back the moments from what promises to be a spectacular evening of music.
Catching The Disco Biscuits in 2011 has been like trying to find a needle in a Where’s Waldo? haystack. With Marc Brownstein and Aron Magner devoting the majority of their 2011 time to Conspirator, we caught up with them in Atlanta to discuss that project.
This said, we did manage to track the Biscuits down on a couple of the few stages that they graced: Camp Bisco and IDentity Fest.
Chris Baldwin will be out in full force as the Biscuits close out 2012 and though their future is uncertain — from our vantage point at least — the Biscuits never fail to bring down the house on NYE. (See: “Countdown Medley” from 2009)
Perpetual Groove is closing out the year and opening up 2012 with a bang. Having welcomed back founding member, keyboardist Matt McDonald, PGroove is taking a step back to 1.0 while steadily looking toward 3.0. Set to sail on the 10th sailing of Jam Cruise, the band is starting fresh and, without a doubt, it is an exciting time to be a “perp” (Perpetual Groove fan).
2011 is a year that the Trucks clan is sure to always look back on with a glimmer in their eyes. With their debut release, Revelator, critics hailed. It was the only album to make four out of six “Best of 2011” lists from the Honest Tune staff in the annual look back at yearly releases.
We spoke with Derek earlier in the year and the excitement in his voice when speaking about the project made it even clearer in regards to how much stock that the power-duo was placing in their ensemble.
The live shows have been just as spectacular and we have been fortunate to catch up with them at multiple stops.
Susan Weiand will be out at The Warfield in San Francisco to witness the Trucks bringing down the house.
This year brought even more success to the progressive jam veterans, Umphrey’s McGee. With their most experimental album yet, Death By Stereo, Umphrey’s continues to shine across the country, topping bills and growing an already gigantic fanbase.
This band, that earned its Wheaties in the live format, has seemingly crossed a threshold… but the smart money isn’t betting on them slowing down anytime soon.
Brian Spady will be in Missouri for the three night stand that the UMphreaks have been clamoring to get to since it was announced.
As the leaves changed colors and the temperatures began to fall, Moogfest made its triumphant return to the southern avant-garde city of Asheville, NC.
Though only in its second year under its current management and in its new home, the event has quickly become recognized by artists, music industry elites, and fans as being one of the most unique and truly revolutionary festivals in the land. Through its incorporation of some of the most eclectic music from the past four decades and music workshops open to all who are curious about the impact of musical inventions and work, coupled with the fact that the eventâ€™s attendees are also privy to Ashevilleâ€™s native food-savvy culture as well as a plethora of art instillations all over the city, it is the complete sensory experience that sets the festival apart in a world of an ever-expanding market.
In short, Moogfest is a place where young and old gather to celebrate the extent of human genius in the world of music, and the one place where itâ€™s not unusual to see Beetlejuice booty dancing with a unicorn.
Tucked away in the beautiful Blue Ridge Mountains, the three day event celebrates the legacy of music guru Bob Moog, who forever transformed how listeners and artists experience music; and though using Moog equipment isnâ€™t a prerequisite for being on the bill, the lineup focuses on those artists who have worked to be creative and push the future of musical innovation. Perhaps Flaming Lips front man Wayne Coyne said it best when he said â€œ[the festival] is about being a fucking weirdo and just going for it.â€
Friday began with a whirlwind of excitement. Fans from the previous yearâ€™s event turned out to greet faces of new alike as all set out to explore the playground that Asheville had become.
The newest addition to the festival this year included an outdoor stage, something which proved tricky in Ashevilleâ€™s chilly fall nights, and cause many to relinquish elaborate costume ideas that they had pondered on in the weeks leading up to the event. But this is not to say that the campy spirit was entirely broken by the elements; there were still costumes abound, with the likes of giant Muppets battling aliens and a plethora of girls in neon wigs.
The first show of the day was a surprisingly energetic performance by Matthew Dear. Despite the less than warm weather, the debonair Dear and his squad of well-dressed musicians got the crowd moving enough to forget the unforgiving cold. The charismatic â€“and typically oxymoronic — enjoyable pop music set the stage for a positive night. The weather, however, continued to get worse as Mayer Hawthorne & The County took stage.
The Michigan based eclectic soul group made good humor of the situation and pleaded with the crowd to not laugh if they fell on the wet stage in the increasing downpour.
German electronic group Tangerine Dream has served as an influential paramount act since the late 60s. With over one hundred studio albums, Tangerine Dream is just one of those acts you canâ€™t miss. The set provided equal opportunity in regards to whether one chose to dance to the groove being put forth or simply sit back and take in the ethereal and otherworldly music. One of the members commented how Moogfest was â€œone of the best prog fests on the planet right nowâ€ and commemorated Bob Moog as not only â€œjust a technician, but a philosopher and a visionary.â€
For those who needed something more upbeat than the solemn Tangerine Dream, Canadian electronic band Holy F**k provided a more rage-friendly scene. The incredible thing about this band is the manner in which they create their music. Their use of many instruments and random objects to pull off the computerized sounds without actually using the tools weâ€™ve become accustomed to such as laptops and samplers, was a sight and sound to behold and for which many long.
As if this wasnâ€™t enough, at the conclusion of Holy F**kâ€™s set, Moby, the man who needs no introduction, made his entrance before the Moog masses.
Having been a critical piece to dance music over the past 20 years, the performer did not disappoint. Though personally skeptical in regards to how the music would work in live translation, my doubt was shortly put to rest as I was quickly blown away and whisked back to the days of â€œWe Are All Made of Starsâ€ and â€œNatural Blues.â€
Throughout the set, the pioneer demonstrated that the performance was just as special for him as it was for those that were bearing witness, evidenced by his bountiful expressions of gratitude between every number. Joining him on stage was the lovely and supremely talented Inyang Bassey, whose voice became the centerpiece of Mobyâ€™s iconic music.
Festival goers who attended Saturday seemed more prepared for Ashevilleâ€™s blustery onset of an early winter. Most turned out more properly bundled, having made Â Â alterations to their costumes in order to accommodate for the low temperatures. This preparation was at least partially responsible for an increase in the overall energy of the crowd, especially for the outdoor sets.
Dan Deacon, who famously created a mass dance scene at last yearâ€™s festival brought his antics yet again when he invoked an insanely long human dance tunnel for people to show off their moves in.
If Deaconâ€™s costumed dance party didnâ€™t get the crowd riled up, then certainly the spirited performance by Crystal Castles did the trick. Vocalist Alice Glass stole the show even though her lyrics were often drowned out by the music. But regardless of less than perfect sound mixing, Glassâ€™s stage presents — which included frequently spitting whiskey onto the crowd — mixed with the heavy light show made for an incredible spectacle to observe.
Unless youâ€™ve been living under a rock for the past few years, the Flaming Lips spectacle is one that is quite predictable. This said, it remains one of the most energetic and sensory overloaded experiences in the live music world of the day.
With an entrance no less than brazenly flamboyant, the crowd went wild as the band members walked out of the giant, flashing nether regions of a previously dancing nude woman. Continuously, front man Wayne Coyne â€“ a festival connoisseur, no doubt –Â Â praised Moogfest as being one of the best festivals in existence; even going as far as far as to encourage festival newcomers to â€œjust stick with this fest, since nothing else could possible top the experience.â€
At one point, an attempt was made to raise the spirit of Bob Moog to join the party. Between every song, Coyne had quite a lot to say to the audience, which at times seemed tedious due to the fact that fans wanted to hear more music. But in spite of the amount of conversation, the rainbow warzone that is a Flaming Lips show marked itself as something to remember. With an Emerson, Lake & Palmer cover and a solo performed on an iPad, the Lips exhibition was once again enjoyable as most suspected it would be.
One of the most anticipated acts of the festival, Amon Tobin was a prime example of ingenuity most prized by the spirit of Moogfest. The live show — which stands to transform the future of the concert experience — features an unusual structure made of large cubes that display intricate projections that are visually mapped upon the performance and in sync with the music put forth by Tobin, who performs from within the construction.
Words cannot do justice in regards to adequately representing the experience of witnessing the sight of machines seemingly break through cubes into constellations that dance harder to the music than the audience. While not the biggest act of the festival, Amon Tobin:ISAM had the large Civic Center packed full of old fans as well as new ones eager to see this creation.
Probably the most hyped shows of the festival was 70â€™s electronic punk band Suicide. Set to perform their debut album in itâ€™s entirety for only the fourth time, there was a lot of chatter about the show. Even Flaming Lips front man, Wayne Coyne, got on the promosexual bandwagon, telling his audience that “this was the show to see.” While certainly a historic event, the show was not nearly as energetic as it once was. Then again, with a lead singer of who has surpassed his seventh decade on the earth, who can critique them on a lack on vigor?
Festival staple, Sound Tribe Sector 9 has been gaining insane momentum since the welcomed recovery of band member David Murphy. With a packed house, the genre-crossing psychedelic rock band put a heavy focus on their new material from the album When the Dust Settles. It was a unique set that allowed die hard fans to dance the night away as well as those exhausted from a full day in the cold to relax and enjoy the enthralling show.
While not one of the larger names of the festival, one treat I stumbled upon was Brandt Brauer Frick all the way from Berlin. This group, labeling themselves as â€œacoustic techno” closed out Saturday night with one of the most unique sets of the day. While it is hard to wrap your mind around the sound of â€œacoustic technoâ€ the high energy trio created something akin to aboriginal club music, and the crowd lapped up with a vengeance.
As Sunday morning came around, what should have been a tired and weary crowd came out in droves of bright eyed, excited groups in even more costumes than before. Beats Antique was the first big show of the day, and despite the weather not improving, Zoe Jakes was still able to take to the stage in lavish belly dance garb and shimmy her way into the hearts of the crowd. The most tantalizing act included whirling feats coupled with a haunting mask. And to the pleasure of anyone who has seen their recent shows, they ended with their every growing onstage animal party that both confuses and excites.
M83 was a huge surprise hit this year. The immediate phrase that came to mind was â€œdance club of your dreams.â€ Song after song, the group performed powerful synthesized tunes that seemed so much larger than what I believed possible in relation to their albums.
The persistently touring EOTO brought improved visuals that included joyously dancing robots and eyeballs to a packed Orange Peel. The ever developing improv brain child of String Cheese Incidentâ€™s Michael Travis and Jason Hann took a diverse world fusion dub that was both intriguing and fun to dance to. This, however, couldnâ€™t compete with the show I was personally most excited about: Special Disco Version featuring James Murphy and Pat Mahoney.
With the recent demise of the infamous LCD Soundsystem super group, Moogfest fans who requested this influential band were given the extraordinary pleasure of this set. Even those who would not identify as a fan of disco were drawn into the atmosphere created. With futuristic aerial dancers hanging high above the crowd, roller-skating girls with LED afros and a massive disco ball that would make Studio 54 blush with envy, Murphy and Mahoney kept the high energy up until the very end.Â It was a refreshing and gripping show for anyone — and there were many at Moog — that refuse to let disco die.
With the task of following a show like that, who else could perform but Austin, Texas based electro-funk duo, Â Ghostland Observatory. Stealing the hearts and retinas of the audience, singer Aaron Behrens bounced around the stage while a caped Thomas Turner created an acoustically impressive show that was only rivaled by their renowned laser show. Executing an exceptional version of crowd favorite â€œSad, Sad City,â€ the set continually pushed the bar and became another example of technological innovation in music capitulated by the festival on its whole.
With all of the music, raging, dancing and the like, the biggest pleasure of the festival happened to be — at best — only loosely related to the aforementioned; it was the presence of the modern Renaissance Man, Brian Eno, who NPR fondly dubbed the title â€œMayor of Moogfest.â€ Presenting his exhibit, 77 Million Paintings — Eno’s exploration into light as an artist’s medium and the aesthetic possibilities of “generative software” — for the first time on the east coast at the YMI Cultural Center. In so presenting, Eno managed to add an all new element to the already abundant sensory experience that was and is Moogfest.
Within his Illustrated Talk, fans were graced with the insights and power of his newest creation as well as Enoâ€™s astute and humorous thoughts on the future of technology in music and art. The exhibit, which Eno explains as exploring the relationship between time and attention to investigate the â€œthreshold of eventlessness,â€ seems simplistic at firstÂ but quickly sucked its audience into a deep and powerful experience that was quite unexpected.
Set within a dark room, viewers were sat in plush couches and exposed to a multifaceted and ever-evolving environment that strikes a deep primitive and almost ethereal cord. Despite the name, the number of paintings is something closer to 100 millionâ€¦cubed.
â€œThe piece you just really loved will never happen again.â€
The addition of mastermind Brian Eno to the cumulative experience of Moogfest helped to set this festival one more step above expectations.
The exhibit will remain open to the public until November 30, 2011.
And as we say goodbye to another Moogfest and look back on all it has done and all it celebrates, it becomes increasingly impressive how remarkable the life and work of Bob Moog was. His work changed our relationship to music and how it interacts with our lives; and celebrating that on Halloween weekend in Asheville was the perfect fit.
Click the thumbnail(s) to view photos from the fest by Brad Kuntz…
The Flaming Lips will stay at home for New Years Eve, as they freak out the hometown folks with a New Years Celebration at the Cox Center in Oklahoma City. Stardeath and the White Dwarfs will open. Tickets are on sale now. Full tourdates are below.
The band's new studio album, Embryonic, is available now.
The Echo Project confirmed the second round of performers slated for the inaugural three-day eco-responsible music and arts festival in Atlanta, Georgia this October 12-14, 2007.
The additions to the lineup include: The Flaming Lips; Thievery Corporation with their full live band; Les Claypool; The Bravery; Clap Your Hands Say Yeah; Secret Machines; MSTRKRFT; JJ Grey & Mofro; Son Volt; The Egg; The Album Leaf; Man Man; Tea Leaf Green; The Benevento/Russo Duo; Lazaro Casanova; and Telepath.
The Echo Project kicks off its annual eco-responsible music and arts festival in Atlanta, Georgia this October 12 – 14, 2007. The three-day, multi-stage camping festival will be held on 350-acres of scenic Chattahoochee river front property on a privately owned 1250-acre farm just south of metropolitan Atlanta.
With a green focus and philosophy, The Echo Project is set to revolutionize how music and arts events affect our environment through eco-friendly event production by ways of carbon emissions, power consumption and creation, alternative energy sources, and waste management and recycling initiatives. For its inaugural event, The Echo Festival along with Sustainable Waves and Rivers Alive is also launching a major Chattahoochee river clean up prior to the festival. Tickets go on sale Tuesday, July 30th and are available at www.the-echoproject.com.
Featuring a diverse range of talent, from rock to hip-hop, The Echo Project also announced its first round of performers today, which include The Killers, Phil and Friends, moe., Stephen Marley, The Roots, Cypress Hill, Polyphonic Spree, Michael Franti and Spearhead, Umphrey’s McGee, Rodrigo Y Gabriela, The Disco Biscuits, Cat Power and Dirty Delta Blues, Brazilian Girls, The Avett Brothers, Lyrics Born, RJD2, Toubab Krewe, Spam Allstars, ALO, Greenskeepers, and Afromotive.
The Echo Project is promoted by Nicholas Bouckaert of Rivertown Entertainment, LLC. in conjunction with Meatcamp Productions. Greening partners include Sustainable Waves, a national provider of mobile solar powered sound and staging solutions; Green Mountain Energy Company, the nation’s leading provider of cleaner electricity and carbon offset products; and the Environment Media Association (EMA) which mobilizes the entertainment industry in a global effort to educate people about environmental issues and inspire them into action.
Tickets go on sale for The Echo Project on Tuesday, July 31 at 10 AM EST. Three-day tickets begin at $145 and are available online at www.the-echoproject.com and 1-800-594-TIXX.
Superfly Productions and A.C. Entertainment are proud to announce that the 2007 Bonnaroo Music and Arts Festival has sold out in advance. Once again, this year’s allotment of 80,000 tickets sold entirely through the festival’s Web site.
Set to take place June 14 – 17, the four-day camping and music festival will once again be held on the same 700-plus-acre farm in Manchester, TN, 60 miles southeast of Nashville.
Superfly Productions, A.C. Entertainment and AT&T are also excited to announce that AT&T blue room music will host the exclusive live webcast of the 2007 Bonnaroo Music and Arts Festival. From Friday, June 15th through Sunday, June 17th, fans not fortunate enough to attend this year’s festival, can still take part in the coveted Bonnaroo experience by going to AT&T blue room music (attblueroom.com/music) to see exclusive, live performances from the event. It’ll be the next best thing to being on the 700-acre farm in Manchester, TN.
Artists featured in the webcast include Kings of Leon, Damien Rice, Ben Harper, The Flaming Lips, Wilco, The Cold War Kids, The Brazilian Girls, and The White Stripes. The final schedule of performances will be available at www.attblueroom.com/music on Thursday, June 14. Webcasts start at 12:30 p.m. ET each day and run through 11:30 p.m. ET.
Following the festival, selected archived performances will be available in the blue room, allowing fans to relive the Bonnaroo experience as well as other moments of this multi-faceted event. This exclusive webcast experience on AT&T blue room music helps to ensure Bonnaroo’s place as a truly global event.
Finally, festival organizers are pleased to reveal the new additions to this year’s cinema tent. The Bonnaroo Cinema has been one of the main attractions at the festival since it began in 2002. The air-conditioned space with comfortable seating has always played host to a wide variety of movies 24 hours a day, including sneak previews of new films, classics, world cinema, documentaries, short films, animated films, and even NBA Finals games.
This year, Bonnaroo is proud to add the “Filmmakers in Focus” series, featuring screenings and interviews with some of the most creative minds in filmmaking today. Jim Jarmusch will host a showing of his film “Coffee & Cigarettes,” and sit for an up-close Q&A. In honor of the 40th anniversary of the Monterey Pop festival, director D.A. Pennebaker will be presenting the classic “Monterey Pop” documentary.
Also, Oscar-nominated animator Bill Plympton will participate in a 90-minute presentation about himself and his work. The tent will also be screening a sneak peak of the new HBO series “HBO Presents Flight of the Conchords” twice daily.
Norwegian deathpunkers Turbonegro, U.K. music rebels Editors, English alt-rockers Art Brut, indie dames Au Revoir Simone, Brooklyn pop duo Matt & Kim, fascinating blues man William Elliott Whitmore, Seattle’s Rocky Votolato, piano folkster Vienna Teng, Avail’s frontman Tim Barry, experimental core pop group De Novo Dahl, Chicago singer/songwriter Cameron McGill and kinetic rock band Mason Proper have been added to the Monolith Festival’s already stellar lineup.
They join The Flaming Lips, CAKE, The Decemberists, Kings of Leon, Spoon, Clap Your Hands Say Yeah, Ghostland Observatory, Brian Jonestown Massacre, Juliette and the Licks, Flosstradamus, Kid Sister, Cloud Cult, Earl Greyhound, Das EFX, The Broken West, Yacht, Reverend Peyton’s Big Damn Band, Bob Log III, Lords of the Underground, Mobius Band, Ra Ra Riot, Minus Story, and Otis Gibbs.