Grinderman may be no more, but I recently came across these absolutely stunning posters for their Melbourne gigs on 17th and 18th January 2011.
The first poster, left, was illustrated by Ken Taylor, who seems to do a lot of one-off gig poster design (see his excellent blog for posters from Pearl Jam, Swans, Soundgarden, the Decemberists and Bon Iver and Queens of the Stone Age among many).
Melbourne based Illustrator & Designer Ken Taylor works primarily within the music industry and is predominantly well-known for his striking rock posters. Ken started in Perth Western Australia doing posters and album artwork for local bands. In 2001 He moved to Melbourne and slowly started to create a name for himself within Melbourne’s music scene. In 2006 he went out on his own and started to work full-time on music based artwork.
This poster is (currently) available from Beyond the Pale:
Size: 872 x 297 mm
Limited Edition: 375
Print Type: 250 gsm matte sandstone archival
Price: $49.00 AUD
I ordered two of this poster and two of the next which, with shipping from Australia to the UK, cost $195 AUD – about £138 (or $215 USD). And the customer service has been great so far!
I discovered Bauhaus in 1982, and Bela Lugosi’s Dead, In the Flat Field and Mask were essential listening for the next ten years. I think Mask is an underrated LP – both as a Bauhaus LP and as a goth LP – it is dense and dark and contains some fantastic moments of high camp (Of Lillies and Remains anyone?
“In the marbled reception hall I received a three band gold ring from Mark – a token of esteem. Running through ghost closet locker rooms, to hide from Peter, who has fallen to the old cold stone floor, wheezing and emitting a seemingly endless flow of ectoplasmic white goo from ears and mouth…”).
But Mask also contains many of Bauhaus’s finest moments, of which Kick in the Eye is definitely one.
The record collection of late, legendary BBC Radio 1 DJ John Peel will soon be available to browse online, as the BBC reports. His collection of LPs will be added in increments of 100 each week from May through October at a website called the Space, run by the BBC and Arts Council England.
According to Tom Barker, director of the John Peel Centre in Suffolk, England, the virtual collection will function as “an online interactive museum.” Scanned album artwork will offer a visualization of each album, some of which will be available to stream. Others will point to archives of the now iconic “Peel Sessions.” Baker told the BBC, “this is the first step in the journey of making one of the most important archives in modern music history available completely.”
UPDATE: seems like this may all be a hoax, according to Hooky…
The track, believed to have been recorded during the ‘Unknown Pleasures’ sessions has surfaced online from an unknown source.
‘Aerial’, is believed to be only one of a number of discarded master tapes discovered by celebrity chef Jamie Oliver while excavating a former branch of Midlands Bank in Manchester for a new Restaurant. The song was only ever previously heard under the name ‘No Reception’ on bootlegs.
The ominous track consists of a typical Peter Hook driven bass line, not to dissimilar to the Iggy & the Stooges song ‘I Wanna be your Dog’. Ian Curtis’s distinct and troubled vocals bellow out the lyrics ‘I plug my Aerial in’ for most of the song.
Update: a review of “InGladAloneness” can be found here.
This release both excites and concerns me. I love Bauhaus. Along with the Sisters they define the goth sound, and image, for the early 80s. I love Japan, again seminal although this time for the emergence of the New Wave movement. Japan split in 1982 and Bauhaus in 1983 (with both bands at the peak of their influence and popularity) so when, in 1984, Peter Murphy (singer for Bauhaus) and Mick Karn (bass player for Japan) announced they would be forming Dalis Car everyone waited with bated breath.
The result was, err, interesting. Their only LP “the Waking Hour“, comprised a brief seven tracks of art-house, fretless bass-driven art-pop. There are some good bits, but there is also some filler where there was really room for none. It has no edge – disappointing given the potential of the ingredients. The general feeling was that this was a curio, a taster for something better. But nothing else came and we all assumed Dalis Car had come to a natural conclusion.
If you dug up Jamie Oliver’s cellar you’d probably expect to find dead dinner ladies and a box full of assorted body parts he and Ainsley had kept from their many sex parties. What you wouldn’t expect to find was just over a million pounds in sweet, sweet treasure. OR A DECENT FISH PIE RECIPE. OH, SNAP.
And yet, when excavating the basement of one of his new restaurants, currently being built in an old Midland bank in Manchester, the obese-tongued chef managed to find not only jewels and gold, but also Joy Division and New Order master tapes as well as a very reasonable collection of guns. Total value: £1.1m.
Unfortunately, he’s had to give it all back to the treasury, who will more than likely stick it all in an old Volvo which they’ll then sink off the Isle of Sheppey just to prove a point.
via Jamie Oliver finds Joy Division master tapes, treasure and guns in his basement | Celebrity News | Holy Moly!.
April 2nd sees Killing Joke release their new album, ‘2012’, on Spinefarm Records / Universal. 2012 is the perfect year for us to be releasing an album that is as dense and as dark as the surrounding swirls of madness in the world. At a time when the news is fast-forward and the planet seems to be descending into madness, who better than Killing Joke to reflect this?
When their original line-up of Jaz Coleman, Geordie, Youth and Big Paul reconvened in 2008 after working together intermittently, that strange voodoo once again filled the room. Individually, they have a power, but together they have something sulphurous and strong that few bands can match. Killing Joke are not an average band with an average agenda; they lock the door and let the ritual commence, and ’2012′ is the result.