The third vinyl installment of Bob Mould’s career-covering Distortion boxset series – this time covering 2008-2019 – alongside a series of Best Of compilations, all of which land Apr 16th on Demon.

 

The main vinyl box being announced includes: 2008’s District Line, 2009’s Life and Times, 2012’s Silver Age, 2014’s Beauty & Ruin, 2016’s Patch the Sky and 2019’s Sunshine Rock covering a particularly fruitful and resurgent period for Bob in which he penned some of his most beloved records. Alongside them is a bonus LP which features Bob’s collaborations with Foo Fighters and Butch Walker and his 2019 Buzzcocks cover single ‘I Don’t Mind’, as well as a 28-page booklet featuring liner notes by journalist Keith Cameron, contributions from J Mascis and Shirley Manson, lyrics and memorabilia.

 

DISTORTION: THE BEST OF 1989-2019 2LP, 2CD, 4CD + DIGITAL ALSO OUT APR 16th ON DEMON

 

On April 16th, 2021Demon Music Group will continue their year-long Bob Mould reissue campaign with Distortion: 2008-2019, the third of four vinyl boxsets chronicling the solo career of the legendary American musician. It follows hot on the heels of October’s 8LP Distortion: 1989-1995 boxset, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January’s 9LP  Distortion: 1996-2007 boxset continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, and the 24CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.

Distortion: 2008-2019 follows Mould through a number of standout records that include some of his most celebrated work – collected here are District Line (2008), Life and Times (2009), Silver Age (2012), Beauty & Ruin (2014), Patch the Sky (2016) and Sunshine Rock (2019), as well as a bonus disc Distortion Plus: 2008-2019, which features Mould’s collaborations with Foo Fighters and Butch Walker plus the 2019 single ‘I Don’t Mind‘. It comes pressed on clear vinyl with an etched B-side.

Meanwhile, also seeing release on April 16th via Demon are 2LP, 2CD and 4CD Distortion: The Best of 1989-2019 compilations – the first career-spanning compilations of Mould’s solo recordings, all of which were compiled by the man himself. Gathering 24 tracks (2LP), 32 tracks (2CD) and 73 tracks (4CD) respectively, the sets collect the cream of the main Distortion boxes and offer a fascinating glimpse of a musician at the vanguard of his field for over four decades. The 2CD edition also includes a 16-page booklet with a new essay by Cameron and artwork by Marchner, while the 4CD version comes with a 32-page companion that includes all of the above alongside a foreword by Fred Armisen and contributions from Richard ThompsonBethany Cosentino and Shirley Manson. Both compilations will also be available digitally via all DSPs and iTunes. The audio on the Best Ofs has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

“It’s called Distortion because it describes the music and it fits the world we live in,” says Mould of the boxsets. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin — though somehow I seem to be able to crawl my way out of the dirt every time!”

As Cameron offers:

“In 1989, Bob Mould was already a renowned figure, thanks to his trailblazing work with Hüsker Dü: the Minneapolis trio which refracted ’60s pop melody through the discord of hardcore punk, creating a new language that Pixies and Nirvana would subsequently teach the world to sing. With his debut solo album Workbook, however, Bob Mould amazed his audience with its pastoral beauty and contemplative tone.

“It would be the first in an ongoing series of artistic transformations, each profoundly shaped by Mould’s sensitivity to his environment. In 1992, he formed Sugar, a band whose debut album Copper Blue earned both critical plaudits and a long overdue popular dividend. Just three years later, with Sugar at its commercial peak, Mould ended the band and made a self-titled solo record mapping the most nakedly personal path down a road already hallmarked by unsparing self-expression. He shocked then confounded fans by announcing his retirement from rock music in 1998 and re-emerging in the new century as an experimental electronica artist and successful DJ, whose club night Blowoff became a phenomenon across the US. By the end of the ’00s, Mould had found a harmonious accommodation between his musical selves, and in 2012 released the catalytic Silver Age, made with his latest power trio configuration, and heralding a resurgent decade. A succession of albums up to 2019’s Sunshine Rock followed, each one a real time/real life distillation of fearless artistic vision and a master craftsman’s skill.”

Discover more about the boxsets including full tracklistings and FAQs:
Here

The 7LP Distortion: 2008-2019 boxset and Distortion: The Best of 1989-2019 2LP, 2CD and 4CD compilations are all released Apr 16th, 2021, via Demon Music Group. The 24CD Distortion: 1989-2019, 8LP Distortion: 1989-1995 and 9LP Distortion: 1996-2007 boxsets are all available now. 

 CARDIFF SHOWS PAYING TRIBUTE TO NHS STAFF NOW MOVED TO JULY 2021

Manic Street Preachers have moved their previously announced shows in December at the Cardiff Motorpoint Arena to Friday 16th and Saturday 17th July 2021. This is due to the ongoing Covid 19 restrictions for the live music industry.

The first night is a free show for NHS staff, the second had tickets available to the public with all profits going to NHS Wales charities.

All tickets remain valid for the rescheduled dates but anybody who is unable to make the free show for NHS staff should contact Ticketmaster so they can be offered to another member of NHS staff.

The band who have championed the incredible NHS for many years explained: “We wanted to do something to show our appreciation, love and respect for the NHS and its amazing brave workers. One free show and one fundraising show seemed the best way for us to express our deep gratitude for all their heroic work. We tried our hardest to make these shows happen in December but due to the current situation have had to move them to 2021.”

New Dates: Friday 16th / Saturday 17th July 2021 – CARDIFF, Motorpoint Arena

It’s all gone a bit Bob Mould bonkers this last month what with the post Husker Du reissues and Box set bonanza and this here new album. Solo album number fourteen if I’m not mistaken has seen him go from the darkness of ‘Black Sheets Of Rain’ to his last offering ‘Sunshine Rock’ covering just about everything in between the polar opposites.

‘Blue Hearts’ see that sunshine hidden behind some pretty dark clouds from the crackle of the opening acoustic Mould certainly does wear his heart on his sleeve as he pulls no punches.  Government, Climate change its a sad portrait he paints but one that can’t be denied or refuted. From there on the guitars are turned up to eleven and the ‘Next Generation’ crashes in.

Sure it’s familiar territory but I kinda like it when Bob Mould is raging against the machine.  Like being hit on the temple by a wrecking ball, Mould gives his guitar one hell of a seeing to as he doesn’t go gently into the night.  But wait it gets darker, ‘American Crisis’ is as angry as I can remember him Husker Du and Sugar included. Regan Bush and now Trump there seems to be an ever lasting conveyor belt of shit rolling through the white house doors and Sub two and a half minutes punk rock with a dark melodic chorus is the only thing that can save us. It’s crushing.  Pausing momentarily in the middle for breath (Not).

Fourteen songs mean its not anywhere near prog lengths for each number as one crashes into the other like a stormy sea its wave after wave as your senses get pummeled with each track devouring the last but there is respite with acoustic guitars being abused on ‘Forcast Of Rain’  even with its church organ sarcastically filing ever corner of darkness with more darkness its bleak and depressing but it isn’t if you know what I mean.

I don’t know if I should admit to being pleased that Mould is pissed off or disappointed with the wider world because it brings out the beast in his songwriting and this has been the case here.  He voices his disappointment at the state of the US at religion at the fact that man in the western world doesn’t seem to learn from its mistakes and as he roars “never thought I’d see this bullshit again” yet here he is. It’s fair to say Trump won’t ever see Mould wearing one of his trucker caps nor waving a patriotic flag at a rally any day soon.

‘When You Left’ sounds like a one-take number as Bob tries to break his voice it does mellow (did I just say mellow) I mean ease up a little on the next couple of tracks maybe Bob thought we needed to catch out breath and he’d be right.

I bet Bob’s guitar amps all go to eleven, it sounds like they do and it must be exhilarating to listen to the playback in a good studio as he wrestles to control the feedback on ‘Baby Needs A Cookie’.

The fact that this came out the same day Idles released their new album I think it’s safe to say that alternative guitar music is in safe hands.  Men who give a shit are standing on a mountain raging against the pricks and I like it.

It might be brand new but I already love it.  Don’t ask me in a month I love it here and now and it’s just what I need to hear every time I turn on the news I’m disappointed and I find myself shouting at the interviewers to hold the politician’s feet a little closer to the fire and I wish one day the powers that be will tell the truth or be a little honest or humble but until then I’m getting behind people like Bob Mould because they can turn that rage into something quite beautiful.  ‘Blue Hearts’ is Bob Mould doing what he excels at just at the right time. Anger is an energy and energy is something Bob Mould has in spades – come to think of it anger is something he’s pretty bloody good at as well – Exquisite record.

Buy Bob Mould Here

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Author: Dom Daley

TAKEN FROM NEW ALBUM, BLUE HEARTS,
OUT SEPT 25th ON MERGE RECORDS

 the latest single from his explosive upcoming album Blue Hearts, which arrives via Merge Records on Friday, September 25th. Pre-orders are available HERE.

Mould released this statement about ‘Siberian Butterfly’:

“The genesis of ‘Siberian Butterfly’ spoke to the notion of “collectors” — people with excessive means who gather the works of creative folk for their ego-driven portfolios.

“As I kept writing, the narrative shifted toward themes of change, growth, and freedom. These motifs are central to how we become our true selves. This is how we begin our journey toward our true identities.

“It’s autobiographical as well. I put myself through some self-hating years as a young gay man — never feeling “good enough”, not recognising the positive qualities I had to offer, while inhibiting the development of my gay identity.

“I hope for a world where all people can be what they want to be. Life seems shorter every day; maybe this simple song can be of use to people who are struggling to find their true selves.”


‘Siberian Butterfly’ is the third song released from Mould’s 14th solo LP, Blue Hearts – and follows the provocative first single ‘American Crisis‘ and the powerful second single ‘Forecast of Rain‘. Blue Hearts is the rawest and most confrontational work of Bob Mould’s four-decade solo career, a raging 14-track collection described by its creator as “the catchiest batch of protest songs I’ve ever written in one sitting.” Produced by Mould at Chicago’s famed Electrical Audio with longtime collaborator Beau Sorenson engineering, the album – which once again features backing from the crack rhythm section of drummer Jon Wurster and bassist Jason Narducy – nods to the veteran singer-songwriter’s groundbreaking past while remaining firmly planted in the issues of the day. Where Sunshine Rock captured Mould at his most “violently happy” (according to Rolling Stone), Blue Hearts is both seething and pointed, the raging yin to ​the previous album’s positive yang. Acoustic opener ‘Heart on My Sleeve‘ catalogues the ravages of climate change, while ‘American Crisis’ – written initially for Sunshine Rock but deemed “too heavy” by its writer – spits plainspoken fire at the people who fomented this catastrophic moment in history, while ‘Forecast of Rain’ questions the ethos of American community: “This love this neighbour thing: Does it apply to all mankind, or only those who fit neatly inside your narrow lines?”

Photograph Credit –  Blake Little Photography