9LP DISTORTION: 1996-2007 BOX RELEASED JAN 22nd 2021 ON DEMON

 

TWO FURTHER VINYL BOXES TO ARRIVE IN 2021

8LP DISTORTION: 1989-1995 & 24CD DISTORTION: 1989-2019 BOXSETS BOTH OUT NOW

On January 22nd, 2021Demon Music Group will release Distortion: 1996-2007, the second of four vinyl boxsets chronicling the solo career of legendary American musician Bob Mould. It follows hot on the heels of the recently released 8LP Distortion: 1989-1995 boxset, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, and the 24CD Distortion: 1989-2019 box, which covers the entirety of his post- Hüsker Dü output.

Distortion: 1996-2007 takes in six studio albums across nine LPs: Bob Mould (1996), The Last Dog and Pony Show (1998), modulate. (2002 – first time on vinyl), Long Playing Grooves. (2002 – first time on vinyl), Body of Song (2005) and BLOWOFF (2006 – first time on vinyl), as well as a new compilation Distortion Plus: 1996-2007 which features an array of bonus tracks including the demo version of ‘Dog on Fire‘ (the theme from The Daily Show), B-sides and other rarities, pressed on clear vinyl.

As with the previously released Distortion: 1989-1995, each album in the set has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. The boxset includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron, contributions from Death Cab For Cutie‘s Ben Gibbard and Best Coast‘s Bethany Cosentino, lyrics, memorabilia and much more. An exclusive indie edition limited to 750 copies worldwide also includes a 12″x12″ screen-print of the new modulate. album cover hand signed by illustrator Simon Marchner and Mould himself.

 

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!”

2021 will see two further vinyl Distortion boxsets covering the years 2008 to 2019 rounding out a year-long celebration of one of the most storied, creative and consistent voices in the American underground. 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 9LP Distortion: 1996-2007 boxset is released Jan 22nd, 2021, via Demon Music Group. The 24CD Distortion: 1989-2019 and 8LP Distortion: 1989-1995 boxsets are both available now. Keep your eyes peeled for two further vinyl boxsets later in 2021.

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

BOB MOULD
ANNOUNCES DISTORTION ANTHOLOGY BOXSET

24CD DISTORTION: 1989-2019 & 8LP DISTORTION: 1989-1995 BOXES RELEASED OCT 2nd 2020 ON DEMON

THREE FURTHER VINYL BOXES TO ARRIVE IN 2021

On October 2nd, 2020Demon Music Group will release Distortion: 1989-2019, a chronicle of the solo career of Bob Mould and his band Sugar. This massive anthology compiles for the first time the entirety of Mould’s recorded work from 1989 onwards: 18 studio albums, plus four live albums and two albums of rarities and collaborations. Assembled with Bob Mould’s full involvement, and featuring new sleeve notes from legendary UK music critic Keith Cameron plus exclusive new artwork, this is the definitive portrayal of an American rock icon.

“It’s called Distortion because it describes the music and it fits the world we live in,” says Mould himself. “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!”

Today’s news comes accompanied by audio and video of Mould performing ‘Could You Be the One?’ – a latter Hüsker Dü classic, drawn from the trio’s 1987 swansong Warehouse: Songs and Stories – at Washington D.C.‘s 9:30 Club in October 2005, in the process bringing it back to dynamic, electric life. It features on the CD anthology’s Distortion Plus: 1989-2019 rarities and collaborations discs alongside other highlights from the show.

Speaking of the show, Mould offers: “For years, I didn’t play Hüsker Dü material with my subsequent touring bands.” He continues: “This was the first time my longtime friend and colleague Jason Narducy (bass) played in my touring band. Rich Morel (keys) was my work partner for 11 years in BLOWOFF, and the 9:30 Club was home for our monthly dance party. Brendan Canty (drums) nudged me out of my self-imposed ‘rock retirement’ after the 1998 Last Dog and Pony Show tour (which is also chronicled in the box set). Brendan’s company Trixie Productions filmed and edited the show.”

As Mould’s musical trajectory enters its fifth decade, now is the perfect moment to reflect on the journey so far. Distortion’s 24-CD box set edition features 295 tracks, mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston, and includes every solo album from 1989’s Workbook to 2019’s Sunshine Rockthe entire Sugar catalogue, Mould’s long out-of-print electronica projects LoudBomb and Blowoff, and four live albums spanning the period 1989-2008. Also included is Distortion Plus: 1989-2019, a new and exclusive collection of rarities and collaborations, featuring such highlights as ‘Dear Rosemary’, Mould’s 2011 collaboration with Foo Fighters, his fabled Golden Palominos contribution ‘Dying From The Inside Out’, plus a previously unreleased demo version of ‘Dog On Fire’, his theme tune for Comedy Central’s The Daily Show.

 Beautiful new artwork has been created by illustrator Simon Marchner, while the 72-page booklet features sleeve notes by Cameron, new interviews with Bob, a foreword by writer and actor Fred Armisen, testimonials by Richard ThompsonShirley Manson and Best Coast’s Bethany Cosentino, plus lyrics and unseen memorabilia. A 1,000-limited edition includes an exclusive print hand-signed by Bob himself.

[Distortion: 1989-1995 8LP boxset]

Truly then, this is the definitive guide through the career of one of the most storied, creative and consistent voices in the American underground. 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.”

 

Berlin power-trio PABST share video for new single Skyline and announce new album ‘Deuce Ex Machina’

Berlin power-trio Pabst are today sharing the video for brand-new single Skyline, a track that was born from their frustrations with living in a city that is being rapidly gentrified. In what they describe as a “post-grunge hymn” on which their rage is manifested in a muddy, fuzzed-out wall of distortion, they bemoan being priced out of their own town, and condemn homelessness, greed and profit. Pabst, being three of a dying breed of non-riches in their city, are watching the development of theirs and other cities in disbelief, with Skyline erupting into its hook, “This city is no place for losers like us.” The band explains further.

“Although more than half of the world’s population lives in cities (and the trend is rising), they seem to be becoming more and more hostile places as they increasingly develop into “locations”. Especially in Berlin, where we come from, we have noticed vast changes in this direction in recent years. High fluctuation determines the cityscape and the housing market, with more and more furnished apartments being built. If you want to live somewhere, you often have to compete with hundreds. Houses classified as dilapidated will be demolished or fully renovated (’cause otherwise the price will not rise).

Nobody who owns the apartments really lives in them: students live there who stay in the city for a comparatively short time, tourists stay there for whom the apartments are converted into holiday homes, and above all; for people who can afford it. Everyone else has to move out of the city to where it’s boring and cheap. You know that, it’s nothing new. And, of course, this affects not only living space, but also the rest of the infrastructure. Many clubs and other cultural venues have to close because their rental contracts are passed on to the highest bidder, or because of a few residents who seemingly realized too late that the city apartment is not a country house by the lake.”

After releasing the critically acclaimed debut album ‘Chlorine’, playing too many gigs to count, supporting the likes of Bob Mould (Hüsker Dü) and Kadavar on tour – as well as making over 30 festival appearances in 2019 alone – Pabst return in 2020 with the announcement of their new album Deuce Ex Machina for release June 19. Lead single Ibuprofen was accompanied by visuals reminiscent of classic ’90s MTV music videos with pastel-grunge scenes, directed by Constantin Timm. Watch Ibuprofen HERE.

Pre-save / Pre-order the album HERE.

One from three at Five if you like. This Monday its the turn of a few artists that have been reviewed recently or coming up and not wanting to give too much away but these are three bands you really should investigate.

Firstly this week sees Frank Carter hit UK stages as part of a sold-out club tour before his new record drops.

The second video sees a classic slab of Husker Du with Mr Grohl sitting in on drums as the band blast through ‘New Day Rising’. Still a super song regardless of the personnel playing it Mould is a legend, Fact!

whilst talking an old album came up in topic and two of us had played this record unbeknown to the other within 24 hours of each other so it seems only fair that one of the videos from that record is shown here to round off this Rainy days video selections.

It seems like an eternity since the news was released that Bob Mould was releasing a follow up to the fantastic ‘Patch The Sky’ but the day is upon us and on this day ‘Sunshine Rock’ is breaking out over the skyline.

The album opens with the title track and a sprightly jump around it is too. There’s a rough edge and a fire inside his belly that still burns and fans will be delighted that everything is in order and ‘Sunshine Rock’ gets off to a fizzing start like a pop song with loud guitars. We head off in an upward trajectory from there on in as the guitars are turned up loud and when I say loud anyone whos seen the guy live can testify he doesn’t scrimp on the volume and he’s transferred that onto this record. ‘What Do You Want Me To Do’ is loud and it sounds like the record of a guy with hunger and love for what he’s doing its exhilarating stuff.

Splitting Mould albums into light and dark categories can get in the way, sure sometimes it’s inevitable but for me, this one most definitely goes into the big bright happy category.  I don’t think its a coincidence it has the title it does.  Clear your mind and let Sunshine into your life.  Blimey, it works. I must say I’m really enjoying this record on initial plays and I’m sure the deeper I get into it and over time my views might well change but initially this might just be one of his finest offerings to date (solo wise) ‘Sunny Love Song’ is vibrant and skips along LOUDLY!  I find the coloured vinyl quite hypnotic as well looking at it whilst spinning and letting the music try and sink in ‘Thirteen Dozen Roses’ has a sharp riff that dominates the song as Mould slashes at his Strat and beats the chords out.

‘The Final Years’ is a real shift in gears as a keyboard dominates the intro but as the verse begins it drops back to the rhythm section and sparse keyboards as the band locks in for a real slab of new wave This could easily be some 80’s brit pop. Bob turns the amps back on and lets the warm valve heat up as ‘Irrational Poison sounds like a band just playing live and capturing some real live in the studio magic.

If your looking for possible radio singles ‘I Fought’ wouldn’t be one of them as Mould spits out the lyrics laden with expletives like he really means it maaan. ‘Sin King’ sounds like cruising down the freeway in a classic car with the sun blazing down and the radio on full volume its got a real road trip feel to it hidden in the depths of ‘Sunshine Rock’ a song that will give more and more over time I’m sure of it.

‘Lost Faith’ is a more laid back mellow affair at first few plays it had some REM in its melody with strings in the background and well in the background to be fair. the track builds up to a bridge that just soars before falling back to and repeat its like song climbing with Bob Mould it ebbs and flows wonderfully  and like he might be in the next room writing these and your the first person and maybe the only person he’s singing to its got that personal feel to it which is a magical thing to capture. mould stays ahead of the game on ‘Sunshine Rock’ and is as relevant as he’s ever been which is some mean feat considering how quickly the musical sands of time shift and many a musician and songwriter lose their footing and stumble and fall, Mould remains at the top of that dune. He can change gear from song to song whilst ‘Lost Faith’ is calm ‘Irrational Poison’ and ‘Sin King’ are heavy but in a good way and the campfire stum of ‘Camp Sunshine’ is as easy listening as you’re going to get. As a final hoorah you have the frantic one-two of ‘Send Me A postcard’ (made for throwing your ageing body around at some sweaty live show sometime soon.) Mould bows out of ‘Sunshine rock’ with the splendid ‘Western Sunset’ and already the world is a better place as a Bob Mould record gets released into the ever-maddening and confusing world there are few things to rely on and this guys records are one of them. ‘Sunshine Rock’  is a must own record it’s as simple as that what an awesome way to end your week than playing this over and over and over again.  Buy It!

 

Buy Sunshine Rock Here