VIDEOKILLER/NEW GOLD DREAMS - "White Elephant" brand new video by Ladytron is out! Merçi Mr. Kubrick...

"White Elephant" appears on Ladytron's forthcoming full length album, Gravity The Seducer, in stores September 12 (UK) / September 13 (US). Hear more music from Gravity The Seducer: http://snd.sc/kavzOy

Reserve your copy of Gravity The Seducer:

iTunes: http://www.itunes.com/ladytron
CD on Amazon (US): http://amzn.to/jgX0q1
LP on Amazon (US): http://amzn.to/kXihkK
Signed CD (Euro): http://bit.ly/nN8zgE
Signed LP (Euro): http://bit.ly/pcCX7X
CD on Amazon (Euro): http://amzn.to/n1D2BT
LP on Amazon (Euro): http://amzn.to/r89D7F

Visit Ladytron Online:

www.ladytron.com
www.facebook.com/ladytron
www.twitter.com/ladytronmusic

NEWS WAVE - Altro che spiaggia e sole, questo weekend tutti al Vintage Festival a Londra

Pazzi, altro che spiagge affollate, creme solari e beach-volley...Questo weekend prendete il primo volo per Londra a celebrare musica, moda, cultura e design degli anni '80 (ma non solo). Tra gli artisti eighties-wave presenti: Adam Ant, Thomas Dolby, Alan Wilder (ex Depeche Mode), Mirrors...

Vintage Festival 2011 will be taking place over the Friday 29th until Sunday 31st July at a new home at London's Southbank Centre. The 21 acre South Bank site will be transformed into a Vintage wonderland.All the wonderful clubs, bands, fashions, art, and design, film, shops, vintage retailers, dance lessons, makeovers, workshops that made Vintage 2010 so memorable will be there along with some cool new Thames boat party surprises.This annual family friendly music and fashion led celebration of creative British cool from the 40s, 50s, 60s, 70s & 80s. The festival will feature music, fashion, art and design, film, comedy, burlesque, and food.

Line-upAdam Ant, Thomas Dolby, Robin Gibb, Percy Sledge, Sandie Shaw, Alan Wilder, Mirrors, Booker T., David McAlmont, The Jim Jones Revue, Andrej Havelka & His Melody Makers, John Miller Orchestra, The Jive Aces, Fargo, Trio Manouche, DC Fontana, Dr Robert, Chris Dale, Speed and Pid, George Power, Norman Jay, Terry Farley, Jay Strongman, Mike Pickering, Graeme Park, A Guy Called Gerald, Craig Charles, Jon Da Silva, Greg Wilson, Noel Watson, Sean Rowley, Ashley Beedle, Horse Meat Disco, Disco Bloodbath DJs, and many more. For the line-up details as available please click here.

TicketsTickets for Friday, Saturday or Sunday are priced at £60, with a day + Vintage revue show pass priced from £75. To buy tickets, click here.The festival will be housed in The Royal Festival Hall, The Hayward Gallery, Queen Elizabeth Hall, Purcell Room, The British Film Institute, the shops, restaurants and bars and the Thames Embankment itself.Vintage on the South Bank features an inspirational line-up of world renowned bands, DJs, collectors from each decade as well as current bands and brands inspired by Britain's rich creative heritage.

Vintage will feature a line-up of catwalk shows, hands on creative experiences with a gathering of over 200 of the finest purveyors of vintage clothing, accessories, and homewares in a Vintage Marketplace running for hundreds of metres along The Thames.Visitors can have their hair + make up done in a iconic style, can take part in fashion, design and art workshops and the best dressed get their chance to strut their stuff on the Vintage Catwalk.By night the whole of the Southbank complex will be transformed into a series of evocative set dressed venues, complimented by a flotilla of party boats, cruising The Thames on a summer evening specialising in genres from funk, to electro swing.The British Film Institute will also host three days of 20th century classic and iconic movies, Public Information films and documentaries.Vintage at Goodwood is the brainchild of designers Gerardine and Wayne Hemingway. The South Bank is this year also celebrating the 60th anniversary of the 1951 Festival of Britain.More information will be here when available.

TALK TALK - Remembering Bauhaus...Peter Murphy on Bauhaus, Dali's Car, his new solo album and his status as Godfather

Peter Murphy interviewed by "The Quietus"

For the last 30 years or so, goth has been the most durable of musical genres. Loved and ridiculed in equal measure, in its refusal to die it has come to resemble any number of vampire movies where the antagonist simply cannot be stopped despite all manner of stakes, garlic and crucifixes.
Yet bizarrely, as it came to mutate over the decades to cross-pollinate with any number of other genres – techno, industrial and metal have all felt the chill hand of goth resting on their shoulders – several of its key players have come to reject the genre like a parent disinheriting an errant child. The Sisters Of Mercy’s Andrew Eldritch will flee from the word with the haste of a bloodsucker making its way back to its coffin before the first rays of the rising sun, while The Cure’s Robert Smith is probably too cuddly to qualify as one despite a following that suggests otherwise.
Not so Peter Murphy. The erstwhile Bauhaus vocalist – sharp of cheek and pouting of lip – is only to happy to admit to his part in goth’s formation. Combining sacrilegious and blasphemous subject matter with S&M imagery and a high sense of camp and drama, Bauhaus were one of the first bands to use punk as a launchpad to somewhere else. Their brief reign of terror lasted less than five years but the imprint they left behind is still visible to this very day.

Now based in Istanbul, Murphy has just released his ninth solo album entitled, er… Ninth. Soon to be touring the States, Murphy returns to Europe after the summer, just in time for those long evenings to start drawing in…

From your vantage point of a lifetime of experience, how do you view the younger version of yourself who was just starting out in Bauhaus?

Peter Murphy: Well, with all modesty, when I think back, when we started writing songs in that mobile classroom I knew that I’d made it already. I remember everything because I have an elephant’s memory, and my memories of our farewell show in ’83 [at Hammersmith Palais] are particularly vivid and quite personal, in a sense. Having burnt our fires around the world, I was burnt out, really.

Can you remember what the catalyst was that moved you into music?

PM: From early on, I would whistle. I was more vocal than intellectual at school. I remember always whistling on that dreary walk to school, and there was music everywhere in my Catholic school. But there was music at home, too - more vocal music in a sense, but what really grabbed me was when I watched cheesy television shows like The Golden Shot and they’d always have these visiting stars singing a song here and there. And I used to think, 'I can do that!' I don’t know where that came from, but when I was at a concert I always knew that I’d rather be onstage than being down in the audience. But there was pivotal moment when I was about 14, and we were driving home from seeing relatives. It was night time and I was nodding off on the back seat with my head in my arms, and I just shot up with a great sense of urgency and said, 'I’m going to be a singer!' And that was that. They just turned round and said, 'Right. Go back to sleep.'

How important was the high drama of Catholicism, such as Masses, to the development of Bauhaus stage act?

PM: Tangentially, [guitarist] Daniel Ash and I were the Catholics and the other two [bassist David J and drummer Kevin Haskins] were the miserable, selfish Church of England heathens. When we first started touring, Daniel and I would stay in a bed and breakfast and their parents got them hotels. It was really pathetic. Daniel and I brought the psychodrama to the band, and I would exorcise a lot of that repressed psychodrama that had been left over from Catholicism. Personally, I used to really enjoy Mass and the hymns and there was a great contemplation of the Anti-Christ. I really enjoyed it but I also wanted a shag, which is why I went into a band, I guess. My passion, really - which came out in the first album, In The Flat Field - was escaping the flat fields of the mundane; the escape from the working class ghetto of the 'jobs for life' mentally and its forced ignorance. That reflected in the Church’s idea of hierarchical supremacy where the priests would say, 'Listen to me. We mediate between you and God; you just get on with it.' There was a lot of that that came out in the music.

Download these from "Ninth":
Peter Murphy - Seesaw Sway by nettwerkmusicgroup
Peter Murphy - Never Fall Out by nettwerkmusicgroup

LIVE AND KICKING - Time goes by but we are always "passing strangers"...

NEW GOLD DREAMS - From Russia with love. Take a listen to The Tapeaters, i Junior Boys moscoviti

The Tapeaters, named after a naughty tape recorder, is a Russian electro pop / electro funk duo formed in 2009 by Vadim (vocals, gtr., synths ) and Dmitri (synths, talkbox). The Tapeaters’ sound is formed by the warmth of vintage synths, funky vibes, layered airy vocals and talkbox combined together.
The band first got noticed in september, 2009 after the release of their first EP ‘Keep on Dancing’. This record was a combination of 7 tracks with catchy melodies, bouncy groves and the atmosphere of a slightly melancholic happiness. The title track ‘Keep on dancing’ still remains the most listened to. Inspired by positive feedback The Tapeaters didn’t wait long and released their second EP ‘Watch your Step’ in november.
In 2010 The Tapeaters toured Russia, Ukraine, Belorussia and played at the biggest russian music festival alongside The Horrors, Pantha Du Prince, Autokratz and many more. This experience proved that the band is great both on records and live. This was also the year when the collaboration between The Tapeaters and the Colombian design agency Monocromo began. The brilliant designers brought the band’s visual concept to a new level by working on the concept for the releases, their cover art for the releases and the website.
Later that year the band signed a record deal with a Boston based label OMG! Recordings. The first single ‘Oh My’ was released in august with remixes from Moscow producer Kimouts and Boston duo Nightriders, and was named in the 10 must hear indie-dance tracks on Beatport. It was followed by ‘Satellite’, that contained a dreamy funky original track and incredible remixes from Lifelike, Xinobi and Ghosts of Venice. Two weeks later The Tapeaters released their debut album ‘Visions’, consisting of 13 tracks.
The Tapeaters are working on their second LP.

The Tapeaters - Keep On Dancing (Real Altered) by The Tapeaters

NEWS WAVE - Here he is the new Steve Strange! Patrick Wolf shows his real...Visage

Let's find out the differences between the look of the 2009 Patrick Wolf's video "Hard Times" and old cult "Fade to grey" by Steve Strange's Visage...80's never die!

LET'S TOUR - Blow up again! I Blow Monkeys son più vivi che mai e sono al Guilfest di metà luglio!

Forse non tutti sanno che i Blow Monkeys si son riuniti (o riformati, che dir si voglia) nel 2008 fino a pubblicare un album a gennaio 2011...Qui trovate la loro biografia: http://www.theblowmonkeys.com/index.php?option=com_content&view=article&id=61&Itemid=260. La notizia più recente è che parteciperanno al popolare Guilfest di Guilford (nel Surrey inglese), dal 15 al 17 luglio, con altre reunion-band quali gli Echo and the Bunnymen, Adam Ant, oltre ai sempreverdi Erasure. Se volete fare un salto (di Manica), qui il cartellone: http://www.guilfest.co.uk/index.php.
Di seguito l'hit che ha reso famosi i BM negli '80, "Digging Your Scene" e "Steppin' Down", tra gli ultimi sorprendenti single dei giorni nostri.

LET'S TOUR/OFF THE RECORDS - Don't you forget about them! Simple Minds on the summer tour plus live record...

Hurry up, boys&girls!!

The remaining Live CD recordings of Simple Minds at Bedgebury Pinetum & Forest, Hampton Court Palace and Cannock Chase Forest are selling out fast! For your chance to get these CDs, before they are all snapped up, follow the link below to the special Concert Live page. Click here for the Live CD'sClick here to listen to snippets of the songs right now.

Some tickets are still available for the shows below:

07/07/11 - St Peter at Sunset, Kestenholz, CH

09/07/11 - TW Classic Festival, Werchter, BE

09/07/11 - Rock Zottegem, Belgium, BE

10/07/11 - Festival Terres Blanches, Guerande, FR

16/07/11 - City Rocks, Inverness, Scotland, GB

19/07/11 - Honberger Festival, Festivalzelt in der Ruine, Tuttlingen, DE

21/07/11 - Zeltspektakel Festival, Winterbach, DE

23/07/11 - Burgtheater Dinslaken, Dinslaken, DE

26/07/11 - Dortmunder Music Festival, Westfalenhalle, DE

30/07/11 - INEC, Killarney, Ireland

06/08/11 - Rock the Rock Festival, Gibraltar, GB, Iberia

11/08/11 - Les nuits musicales de Ma�che, FR

12/08/11 - Festival du Chant de Marin, Paimpol, FR

13/08/11 - F�te du Bruit dans Landerneau, FR

18/08/11 - Belgrade Beer Fest, Belgrade, RS

Click Here to View Details on all Current Dates...Remember there are seven free downloads in the Members Area at Simpleminds.com right now...

OFF THE RECORDS - Erasure's Andy Bell selects 13 favourite records of his life

During the 1980s, Mute was a remarkable Janus of a record label, looking on one side towards the electronic experimentation in releases via Diamanda Galas, Einsturzende Neubauten, NON and Laibach, and on the other to the furthering of synthpop via Erasure and Depeche Mode. Erasure, though, were never mere two-dimensional synth chart toppers - instead, their history is full not only of sublime catchy one-off singles like 'Who Needs Love Like That?', 'Ship Of Fools' and 'Love To Hate You', but terrific albums (especially The Innocents, Wonderland and The Circus, and camp, theatrical stage performances that were a high water mark in 80s pop's fight against that decade's conservatism. It's no surprise, then, that Andy Bell's Baker's Dozen selection is a list of very classy pop stretching from post punk (Blondie, Talking Heads, Siouxie & The Banshees), electronic pioneers (The Human League, Japan, Yazoo), including Lene Lovich, Donna Summer, Kirsty MacColl and Kate Bush, before coming up to date with Ladytron and Miss Kittin & The Hacker. Hit the image below to explore Andy Bell's choices, and his reasons for the selections.

Blondie - Plastic Letters
Already their second studio album, they had scored hit singles with 'Denis Denis' (I first heard that on my Grandad's window cleaning round) and the sublime 'I'm Always Touched By Your (Presence Dear)', still one of my favourites to this very day. As a whole album, it sounds like a spy movie soundtrack with 'Contact In Red Square' and 'Kidnapper'. Highlights for me include 'I'm On E' and 'Love At The Pier'. The very definition of late 70s New York pop art and punk glamour; Deborah Harry, for me, will remain forever the Queen of New Wave.

Lene Lovich - Flex
I became an instant fan of Lene's after the quirky chart hits 'Lucky Number' and 'Say When', I quickly became a fan of the Stiff Label's Roster through Lene and Madness and Kirsty MacColl. This was her second studio album, completely bonkers but as soon as I heard ‘Bird Song’ on the radio I rushed out to buy the 12 inch and subsequently the EP 'You Can't Kill Me' and the album flex. 'Angels', the second single, reminds me of Del Shannon's 'Run Away' and I remember reading that the weird album cover was shot inside a vat at the Guinness factory; I suppose it could be described as a Buddhist album. We were later on to meet and collaborate with Lene on don't 'Kill The Animal's', a song for PETA.

Siouxsie and the Banshees - Kaleidoscope
I had been a rather reluctant punk as a teenager, finding the whole movement too aggressive for a Peterborough gay boy, so this I suppose more commercial offering from Siouxsie was much more up my street - and consequently, as with all my favourite teen angst albums, I learnt all of the songs inside out and backwards. Siouxsie has an incredible voice and was one of my first live concerts, alongside Joe Jackson. We were later to bump into her at Sire Records in NYC but I was too nervous and shy too say 'Hi'.

Talking Heads - Remain In Light
The likes of which I had never heard before - white soul boy funk - it was a great album for a party soundtrack and hash joints. I just love the mad percussion and pseudo African backing vocals, though I don't have a clue what Mr. Byrne is singing about.

The B-52s - The B-52s
Obviously we gravitate to those we love, and I suppose the B52's did all the groundwork for the campy disco rock a la Scissor Sisters that followed decades later. They are true originals and may have been the soundtrack to a John Water's movie. I lost count of the amount of times I danced to ‘Rock Lobster’ and tried to learn the who's who list of names on 52 Girls. The brilliant thing about being a pop musician is that you get to meet all of your teen idols. We toured with The B52's and I stayed in Woodstook at Kate Pierson's Lazy Meadow's Silver-line Caravan site, where I consequently felt the drums of an Indian pow wow coming up through the water of the river through my feet (which I often hear on the intro to ‘A Little Respect’ but it isn’t actually part of the music… spooky!).

Kate Bush - This Woman's Work Volume One
Part of a deluxe boxed set of Kate's work right up until Experiment IV, the woman is an absolute genius and I just love this collection of B-sides, Christmas singles etc. 'Under The Ivy' and 'The Empty Bullrin'’ just break my heart. I love Kate's vocals laid bare, often better than the finished studio versions - just piano and her. Also, please check out the bootleg Cathy's Home Demos: it's staggering. It’s worth the price simply for ‘December Will Be Magic Again’ and ‘Lord Of The Reedy River’ (which I didn't realise was a Donovan song). I am haunted by Kate's opening line "I fell In Love With a Swan", that's where the swan bike for 'Phantasmagorical Entertainment' came from and, of course, 'Ride A White Swan' by Mr Bolan.

Kirsty MacColl - Kite
The most undersung songwriting genius ever in British pop. I had the privilege of hanging out with Kirtsy on a number of occasions and I have to say, she was the bomb. We usually got into trouble somewhere along the line. She couldn't understand why she wasn't more popular and nether could I, but this album kinds of explains it really. Songs like '15 Minutes'… she kinda knew that pop would eat itself, and she was too talented and beautiful for the fickle superficial pop world. 'Don't Come The Cowboy With Me Sonny Jim' needs to be covered by a mega country artist. The backing vocals on 'Dancing In Limbo' are sublime and 'Le Foret De Mimosa' makes me cry.

Ladytron - 604
Sounds like a post Chernobyl Fallout album very similar musically to early Lene & Pet Shops. I love 'The Way That I Found You', 'Commodore Rock' and 'Playgirl'. I don't know what it is about them but I love her voice and dead pan delivery - there's a hint of 60's Lynne Redgrave from Smashing Time & loads of mid 80's references. Which leads me neatly to...

The Human League - Dare
What a fucking record! If you hadn't been introduced to synthesisers via Kraftwerk or Soft Cell, then this was the album that would do it. This was another that became the soundtrack to my teenage life. Knew it inside out and what a relief that boys could finally wear makeup. There's not one dud track on here and the non-singles are best, except 'Love Action', which is pure class. The League are the reason that electronic music has been kept alive.

Miss Kittin & The Hacker - First Album
I first heard 'Frank Sinatra' when Erasure where recording the album Erasure in 1994 at the Strongroom in Shoreditch East London, which has now become metrosexual electro Grand Central. I love her completely nonchalant don't give a fuck attitude on Hollywood Star, it kind of reminds me of my pre-Erasure work with Pierre Cope - very minimal. On 'Frank Sinatra' she sounds like a Russian Mafia gangster that would kill you stone dead. They're also brilliant live.

Yazoo - Upstairs At Eric's
This is when I fell in love with the genius Mr. Clarke & Alison's amazing voice. I could see why they thought she was a black gospel singer in the Detroit/Chicago House clubs. 'I Before E Except After C' kinda fucks your head up, and it's very indicative of what it's like to work with Vince. 'Winter Kills' is bleak and heart bracingly sublime all at the same time.

Japan - Quiet Life
'Quiet Life' is one of the most beautiful tracks Giorgio Moroder ever created, and together with the voice of the uber-glamourous Dave Sylvian, is like heaven on a stick. The cover of 'All Tomorrow's Parties', dare I say, is better than the original.

Donna Summer - Once Upon A Time
Speaking of Giorgio Moroder, you have to give it to the guy. What a brilliant team, him and Donna. From the very opening 'Once Upon A Time’, this is a kind of a mini-musical and completely sums up the studio 54 NYC disco era in one fell swoop. This record could actually turn a straight man gay - especially the trilogy 'Now I Need You', 'Working The Midnight Shift' and 'Queen For A Day' It must have cost an absolute fortune to record with all the brass and string arrangements, but this is Donna at her absolute post 'I Feel Love' best. I wish I could have been a fly on the wall.

LET'S TOUR - I Duran Duran annullano il tour, problemi di voce per Le Bon

I Duran Duran hanno annunciato l’annullamento dell’imminente tour europeo, che sarebbe partito il 14 luglio da Dublino, a causa di problemi alla voce del cantante Simon Le Bon.

Sono state quindi cancellate anche le tre date previste in Italia:

22 luglio Piazzola sul Brenta
23 luglio Milano
24 luglio Margherita di Savoia

Sarà possibile richiedere il rimborso dei biglietti già acquistati entro il 30 agosto 2011, presso il punto vendita di acquisto. Per i biglietti acquistati online TicketOne manderà una e-mail con tutti i dettagli a tutti gli acquirenti.

I dottori reputano che i muscoli che controllano le corde vocali del cantante si siano danneggiate in occasione del concerto tenuto a Cannes i primi di maggio di quest’anno, causando la temporanea riduzione della sua estensione vocale.
Fisioterapia e un rigoroso programma medico permetteranno al cantante di tornare in piena forma velocemente, anche se è troppo presto per fare un’esatta previsione dei tempi di recupero.
La decisione anticipata di rimandare il tour europeo è stata presa per evitare di deludere i fan pochi giorni prima dei concerti.

VIDEOKILLER - "The Chaffeur" avec Sneaker Pimps of Chris Corner plus Simon Le Bon