VIDEOKILLER - Girls (aka Superhot Models) on film! Brand new fetish kolossal-video "Girl Panic!" by Duran Duran is NOW

Make yourself comfortable…the premiere of Duran Duran’s “Girl Panic!” is here!

VIDEOKILLER - All you need is now! On November 8th Duran Duran's "Girl Panic!" video-kolossal is out. Take a look at the sexy backstage

The eighties gave us supermodels, and they gave us Duran Duran. Fast-forward to 2011 and they’re all making headlines again. The band recruited five über-supers for a video for “Girl Panic!,” its new single off the album All You Need Is Now, released earlier this year. In the nine-minute clip directed by Jonas Akerlund (the Grammy Award winner behind Lady Gaga’s “Telephone”) and made in collaboration with Swarovski Elements, Naomi Campbell, Cindy Crawford, Eva Herzigova, Helena Christensen, and Yasmin LeBon play Simon, John, Nick, Roger, and an “anonymous guitarist,” while the real members of the group appear as bellhops, waiters, chauffeurs, and paparazzi. Domenico Dolce and Stefano Gabbana even make cameos as Harper’s Bazaar U.K.’s guest editors during a photo shoot scene, images from which can be found in that magazine’s actual December issue. “It’s all daft stuff, but it’s fantastic daft stuff,” says John Taylor in a “making of” video that Style.com is debuting exclusively here. Check back on Tuesday, November 8, for our interview with Nick Rhodes and the complete music video.

Nicole Phelps for "Style.com"

Watch the backstage of "Girl Panic!"

http://www.style.com/stylefile/2011/11/duran-duran-super-sized/

Duran Duran’s “Girl Panic!” is Coming!
Premiering on November 8th on VEVO.com

NEWS WAVE - The Book of Love! "We can be heroes" is the right present for Christmas...

This Friday 4th November, Graham Smith and Chris Sullivan will be hosting an evening soirée geared around the forthcoming book ‘We Can Be Heroes’ at The Society Club in Soho. I’ll have polished up my frames and be exhibiting a few prints and Chris will be telling his ribald tales:

The Society Club
12 Ingestre Place, on the corner of Silver Place, which is off Lexington Street, Soho, W1F OJF.
Prints will be on sale.
It’s early 7-10pm

Afterwards Chris will be Djing classic club tunes from 1976 – 84 at the The Aviary Bar – 17 Little Portland Street, Oxford Circus, London W1W 8BW from 10 till 3:00am (http://www.theaviarybar.com/). Both venues are free to get into – so dig out your espadrilles and book yourself a baby sitter now!!!!

"We Can Be Heroes" is only available from www.unbound.co.uk/books/we-can-be-heroes

Graham was an essential cog in Spandau Ballet’s early pioneering days. He was the band’s original graphic designer and was responsible for the initial performance posters and record sleeve designs. He also happened to capture those days on camera. And now 30 years later he is producing his first photographic book of those heady days.

Chris Sullivan has written a brilliant and hilarious main text and Robert Elms has contributed an introduction. Our very own Gary Kemp has written a foreword along with Boy George and Steve Strange.

OFF THE RECORDS/VIDEOKILLER - Nomi and cognomi...Jessica 6 new album is out and we are into it!

Jessica 6 'Prisoner Of Love' feat. Antony from Jessica 6 on Vimeo.

Talking about Jessica 6 and Nomi Ruiz (see the Post down under), here it is the article of "Interview" about their brand new album "See the light" (out now), the premiere of "Prisoner of Love" video and their astonishing video "White Horse"...It seems Soft Cell's "Non stop erotic cabaret" meets Andy Warhol...Enjoy!

Not everyone will admit to loving disco. But deep inside, everyone loves soul-searing, bass-thumping, sex-appeal-oozing disco à la Summer's "I Feel Love," which is what Jessica 6, and its frontwoman Nomi Ruiz, serve up in heaps. And smartly, the sensuality that pervades the band's debut album See The Light is as present in the band's visuals as it is in sound. Ruiz is simply a bombshell, and J6's gritty, red-drenched videos put her front and center. (Bandmates and production team Andrew Raposo and Morgan Wiley make their presence known in acid-house synths and basslines.) Her seductive performance and voice even caught the attention of the man behind one of the most captivating stage performers in the world: Gaga stylist Nicola Formichetti. For their new video "Prisoner of Love," Formichetti does put Ruiz in a baroque, high-necked, crystallized piece by The Blondes, but for the most part, he lets her captivate in simple outfits, like a black crop-top or a white tank. (Her two-toned nails, however, are pretty eye-catching.) Halfway through the Marco Ovando-directed video, Ruiz's friend and collaborator Antony Hegarty of Antony and the Johnsons appears, adding a warm timbre and throaty roundness to Ruiz's breathiness. But this isn't a repeat of Hercules and Love Affair's 2008 synthy rave tribute hit "You Belong" (in which Hegarty supplies Ruiz's backing vocals); "Prisoner of Love" is a more organic affair, with Hegarty crooning while Ruiz purrs, and the two engaging in a vocal tête-à-tête until crescendo. On top of vocal layers, there are Ruiz layers too, with the singer's silhouette providing a window to her bandmates, Hegarty, and Ruiz herself. Check out the exclusive here, and rest assured that underground dance music divas are just as sexy as their '70s predecessors.

JESSICA 6'S DEBUT, SEE THE LIGHT, IS OUT NOW. THEY'LL PLAY WITH HOLY GHOST! THIS SATURDAY AT BOWERY BALLROOM. FOR MORE ON THE BAND, VISIT THEIR MYSPACE.

NEW GOLD DREAMS/LET'S TOUR - Take off your shoes, better Boots with rain...The coming back of Little Boots (feat. Nomi Ruiz!)

Welcome back Boots! Little Boots has been busy recording her second studio album and we're super excited for it! Aww man! Just now, like less than a half hour ago she dropped this brand new mixtape filled with good, good stuff. Oh Land, Madonna, The Magician and Eli Escobar featuring the astonishing Nomi Ruiz of Jessica 6 (one of the best and peculiar voices of the last decade, believe me)! Also, she's embarking on an international DJ tour in November and early december. If you're in Paris, Berlin, New York, L.A, San Francisco, Tokyo, Beijing or London - check her out! Shake Until Your Hearts Break at the very end must be a new Boots track too. Love this mix edition (listen to this at high standard, please)!
SHAKE UNTIL YOUR HEART BREAKS MIXTAPE by LittleBoots

VIDEOKILLER - Brand new IAMX video "Volatile Times" is out! Good blood&rain...

OFF THE RECORDS - Erasure Up! Esce questa settimana "Tomorrow's World", il nuovo Cd del duo Vince Clarke-Andy Bell

Articolo tratto da Vogue.it
In un periodo dove la retromania per gli anni 80 ha invaso la scena musicale, dalla mainstream a quella indie, Andy Bell e Vince Clarke, gli Erasure, non potevano non tornare a farsi sentire con il nuovo album: Tomorrow’s World (Mute), proprio loro che del synthpop britannico sono i pionieri. Il rientro del duo è avvenuto un mese fa sul palco del Short Circuit presents Mute, alla Roundhouse di Londra. Coincide con il venticinquesimo compleanno della loro carriera, il cui esordio risale al 1986 con l’album Wonderland come nuova reincarnazione di Vince Clarke, che aveva alle spalle progetti come Yazoo, di recente riesumato in coppia con Alison Moyet, e Depeche Mode su tutti.
«Se si vanno a contare le band di musica elettronica in classifica fra gli anni 80 e l'inizio dei 90, non ce n'erano molte in realtà. Oggi sono il 90%. Trovo la nuova scena elettronica emozionante, ma non parlerei di nostalgia solo perché si suonano dei sintetizzatori come allora» afferma Vince Clarke, che in 25 anni con gli Erasure ha centrato 40 hit single e venduto 25 milioni di dischi.

Registrato tra Londra, New York, Los Angeles e il Maine, dove oggi vive Clarke, e anticipato dal singolo When I start to (Break it all down), Tomorrow’s World arriva a quattro anni dal precedente album di studio The light at the end of the world ed è stato prodotto da Frankmusic, nuovo pupillo della scena dance, già al servizio di Ellie Goulding, Lady Gaga e Pet Shop Boys. «Abbiamo scelto lui perché ha un approccio diverso alla musica, lavora ai synth con una sensibilità unica. Produce un suono molto più intenso e pieno del nostro, un vero e proprio wall of sound. Nei passati album tendevamo invece ad avere un atteggiamento più minimal. Credo che Tomorrow’s World sia un buon compromesso fra suoni analogici e synth, si avvicina molto a lavori come Erasure, del 1995, e Loveboat mescolati insieme a Chorus».

Alla tournée attualmente in Usa con Frankmusic, segue il tour che fino a fine novembre porta gli Erasure nei teatri e club europei.

TALK TALK - Blondie forever! Debbie Harry interviewed (part 2 final)

I guess you could say that Blondie have a very street-wise glamour but they're also a band for romantics. Are you a romantic person at heart?

DH: Personally? Hmmmm. I don't know. I probably have a good imagination but I don't know if I'm a true romantic. But I do like romance. I don't know, it's a word that's been so mistreated. I mean, what is romance?

As I've only heard three of the songs off the album I had to make some guesses about the other tracks based on title alone. Does 'D-Day' stand for 'Debbie-Day'?

DH: YES! [punches air] But I really wrote it because I thought, if I play it over here it will be like [blows air through lips] … you know… it'll go down really well.

And there's 'The End, The End'. Now I'm kind of hoping this isn't The Doors song played twice in a row.

DH: That was a collaborative effort with this guy Ben Phillips and he had this idea about finding someone that you wanted to be with until the very end. So I guess that is a very romantic idea. He gave me this idea of what it was about and then we fleshed out the lyrics.

'Wipe Off My Sweat' sounds rather saucy…

DH: That's because it is [laughs]. It's in Spanish: 'Kiss me, kiss me, she has a tattoo on her skin where only he can see it…' And then when they're dancing she says: 'Kiss me, wipe off my sweat, don't stop, don't stop for anything.' It's simple and direct.

I'm also intrigued by the idea of 'China Shoes'.

DH: That's a ballad. Mid-tempo. It starts off, 'Cheap china shoes, tie on my feet, all man-made fabric worn out and beat, from pacing the floor, from walking the street. You fly over Brooklyn, back in a week.' So it's about someone leaving and you want them to come back. And then the chorus is, 'I left a note in the back page of your book, volumes away but it's worth a good look. Remember me, remember that you're mine, remember me when you get to the last line.'

You are a romantic! When I think of Blondie, I think of a pop group who had equals and contemporaries in the worlds of art, writing, photography, etc. I wonder if that's something that's missing from today's pop scene? How important was it for you to know people like William Burroughs and Andy Warhol?

DH: Really important. They were such great influences. It might be a little bit different in New York, because of the area — because everything is located so closely together and it's very easy to jump into the art world, to jump into the music scene, into the photography scene. It's all compacted together. Maybe that's why it happens. It seems kind of natural.

Do you think this concentration of people and ideas causes a continuum? When I think of The Velvet Underground I can see that there are clear lines through to Television, Suicide, Blondie, Sonic Youth…

DH: Yeah. Oh yeah. Well, I hope so…

Were The Velvet Underground still playing when you moved to New York?

DH: They were. Actually, the first time I saw them was one of the best shows I have ever seen. I didn't have a clue who they were. I used to go to this place — a big room called The Balloon Farm… [laughs] Well, it was the psychedelic period, right? So we went in this place, which was like a former Ukrainian nursing home, and it was The Velvet Underground playing live with Nico. The stage set and colours were designed by Andy Warhol who was also doing the lights. It was beautiful. And you know, Moe Tucker on drums was fucking great. And you could just wander in and watch them.

In a way you got the whole drug thing out of your system before you started Blondie. I was wondering how you got into heroin — was it just that there was a lot of it about?

DH: It was the time. It was all over the place. At first we felt that it might have been political [to take heroin]. Yeah, I know… [giggles and shakes head] It was everywhere and it really had a lot to do with the end of Vietnam and the fallout from that. What's that airline they talk about bringing everything in on? Air America. That's how the junk came in. It was very noticeable; it was everywhere.

A hundred and fifty years before Blondie, the popular perception of anyone female singing for their supper would have been that she was a prostitute. Do you think the music industry has ever got past seeing its female talent in terms different to commodities that could be sold or traded with?

DH: We are all commodities and I don't think it's necessarily just women. That was the game, you know? It outlived itself, didn't it?

Do you feel more in control now that the music industry is shrinking rapidly and is pretty much crippled in comparison to the monolithic thing that it used to be?

DH: No. No. Not necessarily. I mean, commerce and art have always had difficulties co-existing from the very beginning. I'm sure there were problems back when they were building the pyramids. I feel, perhaps, under the same amount of pressure to write another 'Heart Of Glass'. We're more in control of the creative end, yes, but it's not really fair for us because we've been around for a while and I think we have our thing figured out. And if we make a Blondie album we make a Blondie album. You know what that is. We've done our experimentation, basically. We've set up a framework that has a broad field of reference musically and we play with that. That is what our format is. The industry makes it hard to get a record out. It's like that for everyone. I mean, how many big artists are there? There are 10 or 20 major artists out there now and those are the ones who have big record deals.

You've said that the Plastic Letters album was about death. I was wondering how you dealing with Chris's illness in 1983 affected your view of your own mortality?

DH: I think that, up until that time, I had a lot of what you would call 'childish ways' and then the idea of taking complete responsibility for my life and not seeing it as just sheer fate or luck really hit home. Then, BAM! I knew death. I knew it right then. And I think everyone should know it. Everyone should know it, because we aren't really taught that, are we? We're not taught it and it's the total truth. I don't really want to talk about Chris getting ill today, but there are a few pictures of the last tour we did [in 1982] that I saw recently. I hadn't really seen them for a long, long time and I was so shocked. He must have gone down to 120lbs. It was just… horrible.

I guess you must get asked this quite a lot, but I'm interested in knowing what you put the bond between you and Chris down to. Because it is a very strong bond that transcends physical relationships. It goes beyond that.

DH: Yeah, it does. I think we just had a meeting of the minds…. Maybe it's because we've both got such accepting natures and we have a lot of room for a lot of different kinds of people and different dispositions and things like that. We both have a temper, though.

What do you think would have happened if you had changed the band's name to Adolf Hitler's Dog?

DH: The label would have dropped us. I loved that name, though. It's really funny, isn't it? Do you want to help me finish this salad?

This article originally appeared in The Stool Pigeon. For all things Pigeon, go here

LET'S TOUR - In Japan? No, in Italy. Finalmente: David Sylvian torna nel Bel Paese dopo 5 anni...

(ANSA) - ROMA - David Sylvian annuncia un tour europeo nel marzo 2012, la prima serie di concerti per l'artista dal 2007. Intitolata ''Implausible Beauty'', la tournee' prevede quattro appuntamenti in Italia: il 1 marzo al Gran Teatro Geox di Padova, il 2 al Conservatorio di Milano, il 4 all'Auditorium Parco della Musica in Roma e il 5 al Teatro delle Celebrazioni di Bologna. I biglietti per i concerti italiani, organizzati da Barley Arts, saranno in vendita da venerdi' 23 Settembre. Per le date a Padova, Milano e Bologna le prevendite sono sul sito Ticketone.it e nei punti vendita connessi; per quanto riguarda Roma, nel circuito Lottomatica (Listicket.it). David Sylvian, idolo pop a cavallo degli anni '80 con i suoi Japan e in seguito artista dalla poetica complessa, ha continuato a coltivare un percorso talvolta lontano dalle logiche di consumo del mercato musicale, ma sempre di altissimo livello artistico. Album come ''Gone To Earth'' e ''Secrets of the Beehive'', composti all'inizio della sua carriera solista, sono attuali tanto quanto i progetti ''Rain Tree Crow'', sostanzialmente una reunion dei Japan in chiave adulta all'inizio degli anni '90, e ''Nine Horses'' del 2005, sempre a fianco del fratello Steve Jansen, passando per ''Dead Bees on A Cake'', fino alle piu' recenti sperimentazioni sonore con vari collaboratori di musica contemporanea, fra i quali Ryuichi Sakamoto (gia' suo compagno musicale in varie occasioni), Masakatzu Takagi e Dai Fujikura, il musicista elettronico austriaco Christian Fennesz e altri, sfociate in ''Blemish'', ''Manafon'' e nel piu' recente ''Died In The Wool '', il suo lavoro piu' recente, uscito nel maggio 2011.

TALK TALK - Blondie forever! Debbie Harry interviewed (part 1)

In a feature that originally appeared in The Stool Pigeon, John Doran talks to Debbie Harry about the history of Blondie, heroin, reggae and New York City. Debbie Harry photographed by Rebecca Miller.

Unusually for a bona fide pop icon, Debbie Harry was already 33 when Blondie released their UK breakthrough album Parallel Lines in 1978, and had even turned 34 when 'Heart Of Glass' was a colossal debut hit in the US a year later. In pop terms, the dynamic core of the group — Harry and her then boyfriend, the guitarist Chris Stein — were already neighing skittishly in the shadow of the glue factory when they hit paydirt. And this ascent to fame goes from being improbable to downright astonishing when you cast your eye over Harry's full CV. It seems unlikely that anyone attempting to tread in her footsteps would have any kind of life left to live by their mid-thirties.

Born on July 1, 1945 in Florida to parents who gave her up for adoption, Debbie Harry grew up in suburban Jersey, where she spent her time formulating plans of escape and daydreaming that Marilyn Monroe was her biological mother. In 1965 she moved to New York City, clicking naturally with the bohemian set, and joined the whimsical folk rock group The Wind In The Willows. Their one album on Capitol, released in 1968, was produced by Artie Kornfeld, who was determined to earn some of that hippy dollar. The year after the record flopped, he got his wish, becoming the musical booker for Woodstock. Harry, meanwhile, became a barmaid at Max's Kansas City in Manhattan where she met Andy Warhol and his retinue, served drinks to Janis Joplin and had sex with glam rocker Eric Emerson in a phone booth.

As the 60s began to sour, so did her experiences. She got hooked on heroin. She married a millionaire but left him a few months later. She became a Playboy Bunny. She moved into a Harlem drug den with a dealer and his armed gang. She eventually crawled out of New York, her life in shreds, only to get lured back by the advent of glam rock. Inspired by hanging out with the New York Dolls at the Mercer Arts Center she ended up forming her own group, The Stilettos, in 1972. A year later Stein watched the group and was so impressed he ended up joining. Although they never made it, this band were essentially part of New York punk's first wave along with other CBGB's house acts Television, Suicide and Wayne County. In 1974 Harry and Stein quit to start afresh and what was originally Angel And The Snakes became Blondie; the nomenclature derived from the name that lascivious New York drivers yelled out of their car windows at her.

They were not overnight sensations. Many rough edges needed to be sanded off before they became household names. By the time they released their first single in June 1976, the live song 'Sex Offender' became the 7" 'X Offender', for example. But Blondie were never going to fit into the narrow punk orthodoxy. Like The Clash, they were part of rock'n'roll's lineage, reflected by their nods to 50s culture and their dalliances with multiple new and classic forms of pop music, unconcerned if it made them look like dilettantes or not. And the rest of their music? Well, they barely released a bad single during their original seven-year existence, from the serrated punk of 'Rip Her To Shreds' and the clipped new wave of 'Denis' to the downtown disco hip hop of 'Rapture' and the shiny calypso reggae of 'The Tide Is High' via the unimpeachable pop statements of 'Union City Blue' and 'Atomic'.

Despite clearly possessing pop genius, the group were often dismissed as 'mere' teeny boppers and have never really garnered the kind of critical plaudits that might have been theirs had they looked like dough-faced brewers from Carlisle and sung about signing on. Harry, in particular, was always at pains to point out in interviews that Blondie were a group, rather than just her with a backing band, and after finding out that they shared a name with the favourite pet of the 20th Century's most reviled dictator, they threatened to change their name to Adolf Hitler's Dog by means of protest.

Toward the tail end of the group, heroin reared its ugly head again and the band fizzled out in 1982. Then, the following year, Stein was laid up by the life-threatening and rare autoimmune disease pemphigus. Blondie gave way to make room for his recuperation and Harry's solo career.

Although no longer a couple, Harry and Stein still share an intense bond — she is godmother to his two daughters — and they still work together continuously. This year the Blondie name has been revived once again for the pair (along with original drummer Clem Burke and newer recruits) to release their ninth album, Panic Of Girls. We join her for lunch to talk heroin, New York and why we should be taught about death at an early age.

I've enjoyed listening to the three songs I've heard from the new album and I was blown away by how modern it sounds. But then I guess Blondie has always had a very close relationship with current trends in dance music.
Debbie Harry: Yeah, we've always been very urban.

Is a Panic Of Girls a collective noun — you know, like a pride of lions?
DH: [laughs] A panic. Yeah. I hadn't thought of that.

What does the title refer to, joking aside?
DH: It's a line from one of the songs, which is about a street person who is predicting the end of the world. It's something that came out as just a rhyming line but, I don't know, it just seemed great when I said it.

The character of the mother doesn't really crop up in rock & roll that much but she seems to appear in your songs quite a lot.
DH: Really? You think so?

In 'Hanging On The Telephone'. In 'Golden Rod'. In 'Mother' on this album…
DH: Oh, mother, right. Well, Jack Lee [of The Nerves] wrote that ['Hanging On The Telephone'], so we can't be held responsible. Mother used to be a club in New York that I loved going to. It was the kind of place where they would have a theme and you would have to dress accordingly or you wouldn't get in. It was a really great fun night for me on a Tuesday. It was mainly people from the city — it wouldn't be like a Bridge and Tunnel thing. There was a good bar that you could drink in, another room with a dancefloor and stage where they put on shows… I performed in some of them. It was an off-the-wall kind of joint. There was also a basement with other music and video screens that had these loops playing that [visual artist] Rob Roth used to make up. When they closed I was sort of, 'Wow! What am I going to do on a Tuesday night now?'

Do you still live in New York?
DH: Uh huh.

When I think of New York in the late 70s and early 80s, I think of Blondie as being a quintessential band for the time and place; that you would have fitted in, in all the different New York strata — uptown, downtown, rich, poor, arty, punk rock, disco, hip hop.
DH: Uh huh. [Her nouvelle cuisine-sized meal arrives. She eyes the waiter sternly.] That's it? [sighs] Do you want some of this?

No, I'm good thanks. When you first moved to New York around the time you first started working in Max's, what was the city like?

DH: I guess it was not as crowded as it is now; not so many new apartment buildings in it, and a lot of old buildings. The rents were low. The city government was bankrupt. There were always strikes. It was kind of great — chaotic and dangerous.

Did it feel like the artistic spirit of New York was very accessible? Because didn't you meet Andy Warhol and the Factory crowd quite easily?
DH: It was a small world, basically. It was an enclave. The Downtown world really meant something. I think it's always going to be like that because it's such a small area. Everyone in New York is forced to know each other. There are new apartment buildings that have increased the population and a lot of people that would normally have moved to a nicer area at one time can now live downtown and be comfortable in a nice apartment, whereas it used to be just flats and brownstones and tenements. So that nature of it has all changed.

Do you think that 'zero tolerance' changed the musical spirit of the city?
DH: 'Zero tolerance'?

When I first went to New York, it was in 1992 and I didn't go back for over 10 years. In the intervening time, something happened — the city felt safer but it had also changed in negative ways as well. I can only speak as a tourist.
DH: It felt like Cleveland or Cincinnati, right? You know, I feel the same way about it.

Can I ask why you chose to cover Sophia George's 'Girlie Girlie' for the album?
DH: It's a great song. I don't think it was ever played in the States. But it was a big hit in the UK, right?

I must admit, until I heard your version I'd always presumed that the Sophia George was criticising a male suitor for being too camp: “Young man, you're too girlie girlie." I didn't listen very carefully.
DH: [laughs]

Obviously given this and 'The Tide Is High', you're no stranger to reggae. Did you ever go to Jamaica?
DH: No! I hate the Caribbean! I like the music but I hate the islands. I just don't like them.

Too hot? Too girlie girlie?DH: There are a couple of reasons. I don't really like being on an island that's that small and I don't really like the separation between the people who live there and the people who go there. That really disturbs me.

You're advised to stay within the compound of your hotel and not go wandering around Trenchtown, or wherever, on your own, right?
DH: Yeah. Part of the reason I would want to visit a place like that would be the religion and the churches — the local culture. As you say, you're not really encouraged to move beyond your boundaries.

What was your introduction to reggae like? Where did it come from?
DH: Hmmmm, I don't know exactly. I think I'd been hearing it for a long time. But I know that Chris came to London when there was a big reggae scene. I think it was in 1972 and when he came back he was really high on this reggae groove…Do you want some of this salad?

No thanks. On 'Girlie Girlie', I love the fact that there's a diss on there to a woman who sells cigarettes on a roundabout. Amazing. But talking of the song's wayward ways, are you a monogamist and have you always been?
DH: A monogamist? Mmm. Ha ha ha! I guess I have been. Dating is such a drag, don't you think? It gets really horrible and complicated. I have gone out with different guys at the same time but that was a long time ago. But now I just have friends so it's not quite the same, but it gets really complicated. Doesn't it?

VIDEOKILLER/NEW GOLD DREAMS - Dance to this and comb your hair like her...

VIDEOKILLER - (Never) Let me go: Human League vs. Heaven 17

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
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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

OFF THE RECORDS - Gagaism revisited! Three for Lady "Judas": Hurts, Goldfrapp and now Röyksopp

Three for Gaga and Judas for all!
Goldfrapp and Hurts were the first ones to remix Lady Gaga's "Judas" song some weeks ago. More intimate and in slow motion that one by Goldfrapp, more "contro tempo" and didascalic that one by Hurts.
Now even Röyksopp have remixed the pre-last Lady Gaga single...it's the most down to the beat of the trio gone to the Lady's court. Take a listen to the "Röyksopp European Imbecile Remix" below! The track is available to download now in Part 2 of the "Judas (Remixes) EP".

Listen to the "Judas" remix by Royksopp

NEWS WAVE - The Queen is dead...or maybe not! NME celebrates 25 years of the astonishing The Smiths' album

The Smiths are on the cover of this week's NME, out on Wednesday (June 19), marking the 25th anniversary of 'The Queen Is Dead' coming out. Here we've compiled Morrissey's best quotes from over the years – click through the gallery to read his pearls of wisdom (and about how he wanted to assault comedian Vic Reeves).

The boy with the Thorn in his side video

NEW GOLD DREAMS/VIDEOKILLER - Spy-stories so '80s! Mirrors' "Into the heart" and Hurts' "Sunday"

LET'S TOUR/TALK TALK - Non c'è due senza tre...I Duran fanno tris di tappe in Italia e intanto raccontano moda e mode degli '80 su "Love Magazine"

Dopo l’annuncio di due date italiane, parte del loro attesissimo tour europeo, i Duran Duran hanno annunciato una terza tappa nel nostro paese: dopo Piazzola sul Brenta (22 luglio) e Milano (23 luglio) la band icona del pop proseguirà il tour estivo alle Saline di Margherita di Savoia, in provincia di Barletta (24 luglio).

Meanwhile John Taylor and Nick Rhodes confess their "careless memories" to "The Love Magazine"...watch and hear them here: http://www.thelovemagazine.co.uk/main.php.

OFF THE RECORDS/LET'S TOUR - Non solo Depeche! Da oggi in vendita anche il nuovo di Peter Murphy, ex Bauhaus, con relativo tour in USA

(ANSA) - ROMA, 7 GIU - Peter Murphy, storico cantante dei Bauhaus, band dark wave inglese, annuncia il suo ritorno con "Ninth", nono disco solista al debutto con l'etichetta Nettwerk Music Group e da oggi nei negozi. Dopo lo scioglimento dei Bauhaus nel 1983 Murphy intraprende la carriera solista, pubblicando dischi che lo hanno coronato come uno dei piu' grandi artisti della storia del rock, oltre a prestigiose collaborazioni tra cui quella con Trent Reznor dei Nine Inch Nails e Mick Karn, ex bassista dei Japan.

The day has come, 'Ninth' is finally here! Get your copy from ITUNES / AMAZON today!

This record is warmly recommended by Leo Grant.

Peter Murphy returns to the United States with special live appearances around the release of NINTH including rare in-store performances & signings!
Full list of live shows and in-stores performances:
Tues, June 7 New York, NY @ J&R Music World (in-store performance & signing)… RSVP
Wed, June 8 New York, NY @ The Delancy... Tickets / RSVP
Wed, June 15 San Diego, CA @ Casbah… Tickets / RSVP
Thur, June 16 Los Angeles, CA @ Amoeba (in-store performance & signing)…INFO
Fri, June 17 Pioneertown, CA @ Pappy & Harriet's… Tickets / RSVP
Thur, June 23 San Francisco, CA @ Amoeba (in-store performance & signing)…INFO
Fri, June 24 San Francisco, CA @ Bottom Of The Hill… Tickets / RSVP
Sat, June 25 Sacramento, CA @ Boardwalk…Tickets / RSVP
Sun, June 26 Costa Mesa, CA @ Detroit Bar... Tickets / RSVP
Wed, June 29 Los Angeles, CA @ The Troubadour… Tickets / RSVP

OFF THE RECORDS - Buy or die! Da oggi in vendita il nuovo Cd di remix dei Depeche Mode!

This week sees the release of the career-spanning "Remixes 2: 81-11" compilation. With format choices including a 1-CD, 3-CD, 6-LP vinyl box and digital editions, you have many ways to enjoy the new release from Depeche Mode.
For the US market, select US independent music retailers will be selling the 3-CD edition of "Remixes 2: 81-11" with a very special, very limited 12" single. The 12" (sticker from the front cover on the left) contains two remixes of "Personal Jesus" (Alex Metric Remix and the M.A.N. Remix), as well as not-on-CD remixes of "The Sun And The Rainfall" (Black Light Odyssey's Further Excerpts) and "The Sinner In Me" (SixToes Remix). A full list of independent retailers is available on the Record Store Day web site, but not all of the retailers will be participating. As such, we advise you to call ahead, to make sure that your favorite indie retailer is participating in the event.

For now, we can tell you the following shops are participating: J & R, Manhattan, NYNewbury Comics - various locations in Connecticut, Maine, Massachusetts, New Hampshire and Rhode IslandAmoeba Records, Hollywood, CA (and possibly other Amoeba locations)Fingerprints Records, Long Beach, CALou's Records, Encinitas, CAPlease check the Record Store Day web site for more details. As we hear more details, we will post them here as well.

Also, there are a number of exclusives for you to choose from when buying your deluxe digital version of the album. Here is a complete breakdown of the retailers and remixes available when buying the deluxe digital edition of "Remixes 2: 81-11":

iTunes
Master And Servant (RSS Remix)
In Chains (Myer vs Wilder Deconstruction)
Amazon - exclusive bonus tracks
Sister Of Night (Ida Engberg's Giving Voice To The Flame Remix)
Sweetest Perfection (Phil Kieran Remix)
HMV - exclusive bonus tracks
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
The Sinner In Me (SixToes Remix)
Spotify Premium - exclusive bonus tracks
Sister Of Night (Ida Engberg's Walking Through The Light Dub)
Sweetest Perfection (Phil Kieran Remix Dub)
Personal Jesus (Alex Metric Dub)

FRANCE FNAC - fnacmusic.com - exclusive bonus tracks
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
The Sinner In Me (SixToes Remix)
FRANCE Virginmega.com - exclusive bonus tracks
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
I Want It All (Roland M. Dill Lunar Dub Remix)
GERMANY Napster - exclusive bonus track
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
SWITZERLAND 20 min / Basepoint Media - exclusive bonus track
The Sinner In Me (SixToes Remix)
SWEDEN CDON - exclusive bonus track
The Sinner In Me (SixToes Remix)
NORWAY / SWEDEN / DENMARK WiMP / Aspiro - exclusive bonus track
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
AUSTRALIA Big Pond - exclusive bonus track
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
FINLAND Nokia - exclusive bonus track
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)
ITALY Net Music - exclusive bonus track
The Sun And The Rainfall (Black Light Odyssey's Further Excerpts)

Beatport exclusive tracks
Dream On (Bushwacka Tough Guy Dub)
Suffer Well (M83 Instrumental)
John The Revelator (UNKLE Dub)
In Chains (Tigerskin's No Sleep Alternative Remix)
Wrong (Trentemøller Club Remix Dub)
A Pain That I'm Used To (Jacques Lu Cont Dub)
Leave In Silence (Claro Intelecto Walk Away Remix)
I Want It All (Roland M. Dill Instrumental)
A Question Of Time (Joebot Presents 'Radio Face' Instrumental)
Personal Jesus (Sie Medway-Smith Remix Instrumental).

NEW GOLD DREAMS/VIDEOKILLER - "Hot mess" by Chromeo (feat. Elly Jackson of La Roux)