Dates:

1/20/11 Dallas, TX House of Blues
1/22/11 Houston, TX House of Blues
1/24/11 New Orleans, LA House of Blues
1/25/11 Jacksonville, FL Mavericks Rock ‘N Honky Tonk
1/27/11 Orlando, FL House of Blues
1/28/11 Ft. Lauderdale, FL Revolution Live
1/31/11 Myrtle Beach, SC House of Blues
2/01/11 Atlanta, GA Masquerade
2/04/11 Charlotte, NC The Fillmore
2/05/11 Richmond, VA The Norva

On August 31, Shonen Knife released the English-language versions of their latest album Free Time, as well as 2007’s fun! fun! fun! on Good Charamel Records, the indie label founded by Robby Takac of The Goo Goo Dolls.

Shonen Knife’s Live At Mohawk Place DVD is also available now at indie stores and via the Internet beginning October 19th. The live release was recorded during the band’s final stop on the 2009 “Super Group” Tour of North America at Buffalo, NY’s Mohawk Place. Highlights include an encore performance by original member Atsuko, 18 songs from their extensive catalog, tunes such as “Giant Kitty,” “Antonio Baka Guy” and “Bear Up Bison,” as well as selections from their Super Group album, including exclusive interview footage.

Shonen Knife also appear on Good Charamel’s recently released I Love J-Rock compilation, alongside such buzzing Japanese acts as TsuShiMaMiRe, LAZYgunsBRISKY and Molice to name a few.

Dates:

Wed 09/08

Seattle, WA
Tractor Tavern
Thu 09/09

Vancouver, BC
Biltmore Cabaret
Fri 09/10

Portland, OR
Mississippi Studios
Sat 09/11

Oakland, CA
Uptown Night Club
Sun 09/12

San Francisco, CA
Bottom Of The Hill
Mon 09/13

San Diego, CA
The Casbah

Tue 09/14

Los Angeles, CA
Spaceland
Fri 09/17

Austin, TX
Red 7
Sat 09/18

Dallas, TX
The Loft
Sun 09/19

Kansas City, MO
The Record Bar
Mon 09/20

Northfield, MN
The Cave
Tue 09/21

Chicago, IL
Schubas Tavern
Wed 09/22

Kalamazoo, MI
The Strutt

Thu 09/23

Cincinnati, OH
Midpoint Music Festival Grounds
Fri 09/24

Pittsburgh, PA
31st Street Pub
Sat 09/25

New York, NY
Asia Society
Sun 09/26

Washington, DC
Rock And Roll Hotel
Tue 09/28

Brooklyn, NY
Knitting Factory
Thu 09/30

Montreal, QC
Le Cabaret Du Mile End
Fri 10/01

Toronto, ON
The Legendary Horseshoe Tavern
Sat 10/02

Buffalo, NY
Mohawk Place

Dates:

10/21/10 Boston, MA at Paradise Rock Club w/ Teenage Bottlerocket, Cobra Skulls
10/22/10 New York City, NY at The Temptress Cruise w/ Teenage Bottlerocket, Cobra Skulls
10/23/10 Brooklyn, NY at Music Hall of Williamsburg CMJ w/ None More Black, Teenage Bottlerocket, Smoke or Fire, Dead To Me, The Flatliners,
Cobra Skulls
10/24/10 Asbury Park, NJ at Asbury Lanes w/ Teenage Bottlerocket, Cobra Skulls
10/26/10 Philadelphia, PA at North Star Bar w/ Teenage Bottlerocket, Cobra Skulls
10/27/10 Washington D.C., at Black Cat w/ Teenage Bottlerocket, Cobra Skulls
10/28/10 Carrboro, NC at Cat’s Cradle w/ Teenage Bottlerocket, Cobra Skulls
10/29/10 Atlanta, GA at The Loft w/ Teenage Bottlerocket, Cobra Skulls
10/30/10 Gainesville, FL at The Venue Nightclub FEST 9 w/ Smoke or Fire, Dead To Me, Teenage Bottlerocket, The Flatliners, Banner Pilot, Cobra
Skulls

NOTAR was playing gigs all over NYC a few years back when he caught the attention of Counting Crows’ frontman Adam Duritz. Loving what he heard, Duritz signed NOTAR to his label, Tyrannosaurus Records. With a genre that is his own, NOTAR mixes hip-hop beats, intense rock riffs and has a stage presence like no other. You can check out NOTAR’s self-titled EP when it drops on September 14, 2010. To tide you over until then, Revolt’s Evelyn Miska Krieger recently caught up with NOTAR to ask him a few questions.

REVOLT: You’ve had the chance to work with hip-hop producer MGeeZy. What was that experience like?
NOTAR: Truly, I feel blessed for being able to work with MGeeZy and continuing to work with him. He understood the musical direction I wanted to head towards and the rock/hip hop dynamic works really well for us. Honestly, he is one of the most talented individuals I have ever known. We work well together to say the least.

REVOLT: What in particular did you learn from working with MGeeZy? Is there a “number one” piece of advice you were able to take away from working
with him?
NOTAR: When you’re working with different people I think you always pick up on different things. I never really have to think when making music with MGeezy. It’s natural and when it is completed, it’s epic. I wouldn’t say there was any real advice I received or gathered from working with him but if working with him did anything, it truly reinforced how bad I want to win and, again, how truly blessed I have been to be able to work with such talented individuals. Ask MGeeZy if he received any advice from me. I’m sure he has! Hahaha!

REVOLT: What kinds of approaches did you take into recording your EP? What would you change for the next album you put out?
NOTAR: The approach/purpose for this EP/(and full-length to follow) was to create songs based around a character facing a lot of hardship in his life. I wanted to paint the picture of someone encapsulated in madness, temptation, pain, and immediate gratification. A lot of these songs were based around that ideology. I create each song differently but time and patience usually are the two main components. I believe as you grow and time moves forward, things always change. Music should change and reflect the times in your life that are changing. As long as I’m being honest and true to myself that will determine what changes.

REVOLT: What are you most proud of about your self-titled EP?
NOTAR: I’m most proud I was able to record it and extremely proud that people will hear my work. I put my heart into every song.

REVOLT: You’ve been wrapping up some touring with the Counting Crows. What was that experience like?
NOTAR: It was truly the best time of my life. To be on the road doing what you love with amazing musicians such as the Counting Crows and Augustana was incredible. I wish I had the words to describe how fun that was.

REVOLT: Do you have any further tour plans for supporting your EP? What is your next step?
NOTAR: Yes, I plan on getting out and touring as much as possible. This is being sorted out now. My next step is to continue to work hard and keep recording. How hard I work depends on what is next. Touring is the most important thing for me right now, though.

REVOLT: What is the best part of your work at this point? What is the most difficult?
NOTAR:The best part is being creative. Waking up one day and saying ‘I want to give the world something tomorrow that it doesn’t have today.’ I love writing and creating. The most difficult is the “hurry up and wait” of this
business. “Get this done you have to hurry!” Then I get it done and I’m waiting for something to happen. Was it Bono that said “running to stand still”? Well, that’s how I feel a lot of the time. Haha!

REVOLT: Coming from formal jazz training, how has that background influenced you as you’ve moved into the hip-hop world?
NOTAR: Music is music. I feel that trumpet playing and being trained enables me now to have a better grasp on rhythms and the way I can approach cutting up a beat vocally. It helped my ear as well as overall musical knowledge.

REVOLT: What do you think are some of the most interesting trends in music right now? Is there any particular band or musician whose recent work you’ve gotten excited about? Are there any forthcoming albums you’re
particularly interested to hear?
NOTAR: Whatever is great I love. Goosebumps/chills are my sign something I’m listening to is great. I’m a huge Jack White fan as well as a fan of a slew of others. I’ve been listening to a lot of Wolfmother lately as well. Music as a whole excites me and I’m open to it all.

Band’s Website | MySpace | Twitter | Facebook

Interpol is playing a FREE show at Space 15 Twenty parking Lot in Los Angeles at 7 p.m. Sept. 7th. Fans who purchase a copy of the act’s upcoming self-titled album that day in various Southern California independent retailers [check out the list by clicking here] will receive a wristband for guaranteed admission to the concert. [while supplies last]

Pre-orders with Matador Records tagged with “LA OUTSTORE” in the comments will also receive a wrist band, so long as supplies hold out.

Track Listing:

1. The Northern
2. You Burn First (iTunes Original version)
3. Heading For The Sun
4. Boiled Frogs (iTunes Original version)
5. Midnight Regulations
6. Waterwings (iTunes Original version)
7. Young Cardinals
8. This Could Be Anywhere in the World (iTunes Original version)
9. Accept Crime
10. Born and Raised
11. No Transitory (iTunes Original version)
12. Happiness By The Kilowatt (iTunes Original version)

Metalcore outfit The Autumn Offering has always had a hard-hitting assault in their music that never really lets go. Often, a self-titled album may signify a change in direction for a band, if even to the slightest degree. But with their fifth studio album, The Autumn Offering has stayed true to exactly what they do best: pounding away with fast, heavy guitar work and drums blasting through with deep growls. There are only two ways to view this: they know what they’re good at and they do it well, or they simply can’t get out of a rut that’s slowly dying.

The Autumn Offering has really perfected metalcore. A few solid solos, really well-groomed screams and some nice clean sections for good measure. This formula basically applies to every track on the album, and the band applies it well. After doing this for so long, there is nothing but respect for how well they have honed their craft. The Autumn Offering’s continual dedication to the genre flows through. On the other hand, this record is also just another 11 tracks to throw on their backs for a few circle pits in musty bars. They have four other albums of the exact same type of material they can throw out there with very little distinguishing them from each other except for the production value, which has only increased perfectly throughout the years. There is no deviation from the stock formula presented on any metalcore record. There isn’t a power ballad or instrumental. The band isn’t reaching out for something beyond the last six years of releases they’ve had. Monotony is really taking its toll on their approach. Furthermore, the scene they’re a part of is over-saturated and quickly dying because of the monotony.

The dedicated fans and metalcore lovers will eat this record up without question, and for good reason- the execution is spot on. But there has to be something more to the musicians behind The Autumn Offering that questions if they are too content in their approach and if a revamp somewhere in the future will push the band, and the genre, to a new level. –MATTHEW COLWELL

Band’s Website | MySpace

Red Light Rabbit is the second album by The Quick & Easy Boys, best described by the band itself as an “amalgamation of funk, psychedelic rock, and garage-soul with a slight pinch of honky-tonk”. The first thing that strikes you when giving this LP a listen is the incredible musicianship. These boys know how to rock. Jimmy Russell plays a mean guitar, Sean Badders makes the bass walk and Michael Goetz keeps it all in line behind the drum set. Additionally, all three band members take turns at the mic with Russell and Badders on vocals and Goetz on backup. The singers have fairly similar voices so it feels more like one person with good range. This makes the switch between vocals less disconcerting, if barely noticeable.

Rather than breaking any new ground, Red Light Rabbit revisits great sounds over the years, and does so with impeccable style. Every song triggers the memory of something you’ve heard before with touches of Santana, The Doors, The Rolling Stones , Jimi Hendrix and some others in the mix. Some of the tracks may take a few listens to grow on you, but they always manage to win you over in the end. Even people who aren’t crazy about the musical style can appreciate the band’s legitimate skills.

The album kicks of with the irresistible, high-energy “Foster I…” with its swaggering beat. The incredible guitar playing on this piece, especially the lighting-quick chord changes, is totally worth checking out. And that is only the beginning. Next song, “Take Your Medicine,” features a Bee Gees-like falsetto and slower, ringing guitar. “Black Panther” is a languidly groovy song with a ’70s feel, about a hot little number that expects to get her way. Don’t read too much into the lyrics, however. Apparently, this song was inspired by a domestic feline rather than a woman. (Ah, the power of suggestion.) Again, the guitar totally shines on this track, laid-back on the verses and coming out to play during lulls in the vocals.

Building by increments, in volume and intensity, “Breakin’ Love” has a jittery, honky-tonk feel and conflicting energies that mess with the mind. Half of the instruments and the rapid-fire repeated chorus hurry the song along, like someone on a caffeine buzz, while the other half hold it back, moving at a leisurely stroll, not a care in the world. “7 Ways” has the merest hint of “Black Magic Woman” as performed by Santana, but sped up and with more punch. Upbeat, rock track “The Letter” keeps you on your toes. Just when you think the song has ended, it starts up again.

Title track “Red Light Rabbit” and “Sweet Anticipation” are both a little heavier than the rest of the songs, the first with booming drums, a flamboyant chorus and hypnotizing bass, the second with an abrasive intro, insistent drums and more musical goodness than the brain can register. The band might be a trio, but it sounds like five or more people are performing. Final and longest song “Daggers” takes the energy way down, ending the album with Gothic gloominess.

The band may have only formed in 2005, but the The Quick & Easy Boys sound like they have been around for decades. High-energy songs reminiscent of another time, written, sung and performed by talented musicians, Red Light Rabbit has everything you could possibly want, all in one package. If you enjoy music you can sink your teeth into and have a hankering for guitar played with effortless flair and remarkable intricacy, this is the album for you. — ANITA MORF

Band’s Website | MySpace | Twitter | Facebook

The Hush Now’s latest EP is slated as both a conclusion and a new start. Shiver Me Starships follows their full-length album Constellations and is a precursor to their next full-length album due out in the spring of 2011. For this EP the band had the opportunity to work with Benny Grotto (The Dresden Dolls) and Jeff Lipton (Arcade Fire) and although they had the chance to collaborate with such big names and the fact that The Hush Now isn’t a brand new group, the album is lacking a certain something. The vocals frequently sound strained and that, sadly, overshadows some of the good things the band does with the instrumentation. There is possibility on Shiver Me Starships, but the full follow-through isn’t there.

It is difficult to say whether “Other Ones” is supposed to be a take-off on the old Sesame Street song that had the lyric “one of these things is not like the other,” but if the similarity wasn’t intentional, The Hush Now better be prepared for the comparison. That similarity aside, there’s something strained about the song and lead singer Noel Kelly sounds like he’s having difficulty with the vocals towards the end of the song. That makes for a rather weak opening track. That same vocal strain comes across on “Big Awesome,” but whereas it doesn’t show right away on the opening song, it rears its ugly head immediately on this one. Things get a bit better on the chorus, but, in general, this aspect is distracting from the rest of the track.

“Daedalus Bound” begins with a different sound and has more of a synth and keyboard harmony than on most of the other songs. This track also fares better on the chorus when it comes to the vocals, but slips on the verses where it sounds like Kelly is pushing himself too much out of his natural vocal register. The end result is a bit jarring and makes one wonder why some of those big names that worked on the album didn’t recommend a different approach. “For What It’s Worth” has some pretty melodies and the interesting inclusion of what sounds like an accordion, but, like most of the other songs, there’s something grating about the vocals that sound both whiny and nasally at the same time. This could have been a rather haunting track, but instead, it flops.

“Vietnam Giraffe” picks up the pace with a very fast track but falls prey to most of the same problems that the other songs have. The EP is rounded out by “Pure Gold” which, like the others, might have succeeded more had it not sounded like Kelly was going too far outside his range. At best, the track may be slightly reminiscent of some songs by Franz Ferdinand, but unless one can get past the irritating nature of the vocals that sometimes sound as if Tarzan were singing, the strengths of the song get lost.

Shiver Me Starships is a good example of how experience and having experts at mixing and mastering albums doesn’t guarantee that an album will be good. The saddest part of this EP is that it could have been much better if the problems with the vocals didn’t overshadow everything else. It might be time to reconsider a few things before putting the final touches on that full-length due to come out in a few months. –EVELYN MISKA KRIEGER

Band’s Website | MySpace | Twitter