In a follow-up post, fans were told that the new schedule would be announced “as soon as dates are finalised”. All tickets purchased for the 2020 tour “will be honoured accordingly”.
“Thank you for understanding. Stay safe, and stay home,” the statement concluded – you can see the tweets above.
Eilish was due to touch down in the UK on July 21 for three shows at Manchester Arena, before taking in four nights at The O2 Arena, London. These concerts would have concluded the singer’s wider European tour, which was set to kick-off in Spain on July 9.
“We wrote a whole song in its entirety, an entire song, which is kind of rare for us to just write a whole song in one,” she explained. “I really love it. It was exactly what I needed to say when we wrote it. I can’t tell time anymore.”
Billy Corgan is currently working on two separate Smashing Pumpkins albums, according to the band’s guitarist Jeff Schroeder. Read More: Smashing Pumpkins – ‘Shiny and Oh So Bright, Vol. 1’ review Back in January, Corgan revealed that he and the group had 21 songs ready to go for a “pretty different” album. He later confirmed that […]
In a recent interview, Schroeder has now claimed that Corgan has yet another Pumpkins LP under his belt.
“Billy has already started working on another new album,” he said on a recent instalment of Yamaha’s Artist Check-in with… series.
“We have actually 20 news songs coming out this year that we just finished kind of right before this [the coronavirus crisis] all started. He’s taking the time to get the ball rolling on even another new album.
“So once we can all get together and work on that we’ll try to even do some more music since there’s some time.”
You can watch the full interview with Schroeder above.
Earlier this year, Corgan explained that Smashing Pumpkins’ upcoming double project is their “first real album [since their reunion] where we’ve hunkered down and made a classic”.
“This is the first album since the album that came out in 2000, ‘Machina’, where me, James and Jimmy worked on something for a very long time,” the frontman said. “It’s got a greater conceptual base, and it’s probably a wider swath of music.”
Life under lockdown isn’t so different for Alison Mosshart. The Kills‘ frontwoman – also of The Dead Weather – has been hunkered down in her Nashville apartment for the past two months, flexing every creative muscle in her body as a means to combat quarantine-induced boredom. “I’m so lucky that I ended up getting trapped here,” she tells NME from her home-turned-workshop, “because this is where my studio is, my art supplies and guitars… everything.”
For the most part, it’s business as usual. But Mosshart, who’s happiest living out of a suitcase, flitting between Los Angeles and Tennesse’s Music City, has found that the enforced extra downtime offers a rare opportunity to reflect – having been out on the road for almost 25 years. She’s also shared her first-ever solo material amid these trying times, a result of digging through her extensive archives of unreleased songs. Out today (May 13), new track ‘It Ain’t Water’ serves as the B-side to new single ‘Rise‘, and comes with a video made by Mosshart herself.
The cut is somewhat symptomatic with Mosshart’s time in isolation, which she says has been “just a lot of drinking and talking to myself”. In one verse, she sings: “Set a place at the table, and become my own stranger”, while expressing the disorientating, hazy feeling of days rolling into each other (“Today becomes tomorrow”). “Very ‘now’, man,” she says of the lyrics’ newfound relevance. “It feels very ‘now’ for me.” On the flipside, the “empowering” ‘Rise’ – penned about desperately missing a loved one – presents a glimmer of hope that we’ll make it through to the other side, set against a slab of crunching desert rock.
Mosshart also spoke to NME life in lockdown, progress on The Kills’ next record, and her dreams of returning to the road eventually.
What’s the latest with The Kills?
“Me and Jamie are in the middle of writing record. If we’re ever allowed to see one another again and I can go back to LA, that would be ideal. We’ve just been writing and demoing and stuff, so we’ve got about three or four tracks that we’re really into – and then a tonne of other ones that are just in rotation that we’re working on. They sound different, but everyone will probably think they sound like us.”
Have you managed to progress with the record during isolation?
“Well, we’re doing it. But I have to say, this is just the weirdest time on Earth. I mean, it’s just such a strange energy. I’ve been really trying to find my feet with writing music throughout this. Things that are coming really easy to me are making videos, painting, drawing pictures and reading – reading so much. I feel like I’m going back to school in a weird way. It’s like: study, read, practise this or that. My brain is really wanting that kind of stuff right now.
“But I work on music every night. I kept thinking this is gonna psychological and emotional phases this whole time. And I feel like that in the last couple of weeks, it’s my guitar that I really wanna pick up.”
You both seem to use your limitations as a tool, working with just the gear at your fingertips…
“Well, all the songs start out pretty simple; it’s usually me and an acoustic guitar. I’ve been messing around with the keyboard lately, which is hilarious because I don’t know how to play a keyboard – but I’m learning. Jamie’s been taking piano lessons online and he’s having so much fun. We’re always trying to use things that we don’t particularly use, even if it’s just to write the song. It might not end up on the record but it kinda sparks different ideas. Whatever I have to hit, smash and make noise with in my house – I’m gonna use it.”
Previous record ‘Ash & Ice’ felt like a big departure – you introduced new genres and brought extra musicians to the shows. Can we expect a similar thing for album number six?
“I don’t know what we’re gonna do next time. The recording and the record will dictate that. I really like having a drummer behind my body onstage; it’s like this incredible force pushing me forward. It’s a nice feeling, rather than the drums coming out of the speakers at your face. Well, they were both happening the whole fucking time.”
The Kills’ 20th anniversary is looming – do you plan on celebrating?
“People keep saying that. It’s looming; it’s two years looming. I have a tattoo on the side of my hand from the very first day we played a show. That was Valentines Day 2002, so we’ve got two years. By 2022 I think we’re gonna be in a lot better shape and I really hope that we can be playing shows and really celebrating that. It feels like a thousand years away when I think of it like that, but it’s something to look forward to at least.”
Do you think we’ll be in a gig-free world for the long haul?
“I think it’s gonna change things for a long period of time, yeah. Listening and reading about all of the re-opening strategies and stuff, it really is like the very, very last phase, to have crowds anywhere. Maybe there’ll be other types of things where you have smaller venues and cooler, weirder events with like 10 people and a camera live-streaming. I think we have to get inventive. I’m not really super-into just [live-streamed performances]. I’m not finding it ultimately satisfying to watch people performing on my phone.”
Instagram Live sessions don’t seem very ‘Kills’…
“It just lacks energy and adrenaline; it’s very much a solo mission. Who knows, my mind might change. There might be some kind of thing where that suddenly clicks with me, but I like being in a room with people. I will do everything in my power to prepare myself for really going on the road again. That’s just my favourite thing in the world. It’s gonna be hard to replace that.”
How else has self-isolation changed you?
“I keep saying, being home is like being on an adventure to me because I really don’t feel like I’ve been home in 24 years. So it’s like, ‘Wow, what is this life? This is really fucking crazy’. I have a lot to catch up on. Being home has been interesting because I’ve been face-to-face with basically the artefacts of my whole life. They are everywhere, and I can at least live through a whole shit tonne of memories that I forgot that I even had.”
Do you think we’ll become more united after this?
“God, I really hope so. But I have no idea what this is really doing to people, or if we’re just gonna get over this and go back to the shitty way that we were before. I hope not; I hope it changes us for the better. I’ve noticed during this that I can’t stop fucking waving at people. I wave at everybody – I wave at anything! I stop to notice everything; I have so much more patience. There’s never been anything that we’ve all shared so much. Something’s gotta come of that.”
How would you describe the mood in the US right now?
“It’s really scary. I’m trying to find silver linings, you know. All these governors, mayors and local governments are coming out and being incredible. Not all of them, there are a lot of problems. But you have these rising voices that make sense and they give a shit. It’s nice because on a general day you don’t hear those voices. You just hear that one horrible fucking voice. I really hope he [Trump] goes away.”
And stops telling people to drink disinfectant…
“Yeah. He’s the biggest dick of all time, he truly is.”
Do you hold out hope for the upcoming election?
“I believe that things can change, so I hope that they do. All of us are like, ‘Well, we were tricked the first time’. We didn’t think that could ever, ever happen – and it did. So there’s that trauma and fear that it could happen again, but I think nothing would be worse for us if it did. We can’t handle any more of it.”
Alison Mosshart releases ‘Rise’ as a 7″ single on July 31. Pre-order it here.
Fans will master the moves to Haim’s tracks ‘Want You Back’, ‘Little Of Your Love’, ‘If I Could Change Your Mind’ and their latest single ‘I Know Alone‘. The first session is set to take place this coming Sunday (May 17) – you can register your interest here.
The Haim Zoom Dance Class dates are as follows:
May 17 – ‘Want You Back’ May 24 – ‘Little Of Your Love’ May 31 – ‘If I Could Change Your Mind’ June 7 – ‘I Know Alone’
“The original plan was to release wimpiii [‘Women in Music Pt. III’] later on this summer well fuck that we are gonna release it on june 26th, just in time for summer we can’t wait,” the band explained.
It has now been confirmed that Everything Everything’s next full-length will be arriving on August 21 via Infinity Industries. Latest track ‘Arch Enemy’ made its debut on Annie Mac’s BBC Radio 1 show this evening (May 13).
“‘Arch Enemy’ sees a modern-day protagonist searching for a meaningful God,” singer Jonathan Higgs said of the track. “Finding only a congregation of greed, toxicity and waste, in the form of a sentient fatberg in the sewer, he duly prays to it, willing it to purge the decadent world above that has created it.
“These growing grease mountains are a curious juxtaposition of the modern and the ancient; a brand new example of archaic squalor.”
According to a press release, the band’s approach to penning ‘Re-Animator’ was to streamline the creative process by honing in on harmonies and melodies over synths and programming.
“This idea of the divided self captivated me,” explained Higgs of his fascination with psychologist Julian Jaynes’ theory of the bicameral mind, which heavily influenced the new material.
“Jaynes attributes this to the origin of gods, people ascribing deity status to this voice they could hear in their head. All this blew my mind, and I started thinking of ways I could make this a central concept. It really touched me. So across the whole record there are millions or references to this theory – to having a split brain, two selves, hearing voices.”
01. ‘Lost Powers’ 02. ‘Big Climb’ 03. ‘It Was A Monstering’ 04. ‘Planets’ 05. ‘Moonlight’ 06. ‘Arch Enemy’ 07. ‘Lord Of The Trapdoor’ 08. ‘Black Hyena’ 09. ‘In Birdsong’ 10. ‘The Actor’ 11. ‘Violent Sun’
Today (May 13), the group posted an official statement to their social media channels to confirm that none of their live shows would be taking place this year.
This includes their summer UK appearance, the North American Knotfest Roadshow and the inaugural Knotfest At Sea.
“The band looks forward to performing for its fans again, and will do so when everyone’s safety can be assured,” the statement reads, going on to confirm that ticket holders will be contacted via email regarding refund options.
The two iconic groups were set to embark on their joint Unity Tour across North America on September 5.
Kicking off in Toronto, the 11-date stint would have also seen the bands perform at venues such as New York’s Madison Square Garden and Los Angeles’ Hollywood Bowl.
Today (May 13), New Order issued a statement via their social media channels to confirm that Unity Tour would no longer be taking place in 2020.
Tickets for the original dates will remain valid for the new dates but refunds will be available if required in due course. Thank you for your understanding. Stay safe, and we look forward to seeing you in 2021.
“New Order and Pet Shop Boys unfortunately have to announce that our much-anticipated Unity Tour of North America, scheduled to start September 2020, will be moving to next year,” the band wrote. “We are rescheduling the tour to commence September 2021 and will announce the new dates shortly.”
Fans were told that the tickets they purchased for the original dates would remain valid for next year’s shows. Refunds will also be available should ticketholders be unable to make the rescheduled concerts.
“Thank you for your understanding. Stay safe, and we look forward to seeing you in 2021,” the statement concluded.
You can see the affected dates below:
SEPTEMBER 2020 05 – Toronto, Budweiser Stage 09 – Boston, Rockland Trust Bank Pavilion 11 – Philadelphia, TD Pavilion at the Mann 12 – New York, Madison Square Garden 15 – Columbia, Merriweather Post Pavilion 18 – Chicago, Huntington Bank Pavilion 20 – Minneapolis, The Armory 24 – Vancouver, Pepsi Live at Rogers Arena 26 – George, Gorge Amphitheatre 30 – San Francisco, Chase Center
Shah has now shared another single which she explained is about “a toxic relationship” and the psychological tactic of gaslighting.
“[Buckfast] is definitely not my drink of choice or one that I would admit to drinking anyway,” she said. “I like the idea that it is brewed by Benedictine monks though, makes it seem that bit classier.
“But like this song, we hide our bad habits, the ‘food too embarrassing’, unworthy of our Instagram feed,” Shah continued. “The food we scrape together when we feel so shite and can’t take ourselves to the shop so make up a concoction of condiments leftover from old Indian takeaways and cut the corner of mould off the bread meals.”
Continuing the with the song’s lyrical themes, its official visual shows a sponge cake spinning atop a vintage record player – you can watch it above.
Describing her upcoming record previously, Shah said: “It’s a conversation between me and so many of my friends in our 30s. There’s that panic that so many of us have that we are running out of time, when it comes to having children.
“It’s like when we were younger we all made our own timelines in our minds of when we thought we would do certain things. If you were to tell 14 year old me I’d be 34, unmarried and have no children I’d have never believed it. Lots of my friends I’ve spoken to did this very same thing.”
Lanegan wrote in his new memoir Sing Backwards and Weep that the pair had clashed after Gallagher shouted “Howling Branches” at him in an apparent bid to ridicule his band Screaming Trees.
“[The book] doesn’t reflect how I actually feel about [Gallagher] now,” Lanegan explained to PA (via Metro). “I see his clips on Twitter now and it makes me laugh, he’s kind of an eccentric old uncle.
“Also, I’m aware he does some good deeds in the community and he’s not a bad person.”
In his book, Lanegan wrote: “Liam Gallagher was an obvious poser, a playground bully. Like all bullies, he was also a total pussy.” Recalling Gallagher’s exit from the tour, he claimed: “He had quit and bailed before I could have a go at him before his promised playground battle royale in Miami.”
Upon being made aware of Lanegan’s published account, Gallagher tweeted: “Mark Lannegn [sic] here’s how I saw it I asked you your band’s name I was fucking around and called it something else… you being an upiight [sic] junkie and not having a sense of humour got your grungy little knickers in a twist another bullshitter trying to sell a book.”
David and Stephen Dewaele, who are also known as 2manydjs, created the new record and accompanying book in tribute to the classic rare synth EMS Synthi 100.
The duo joined forces with the University Of Ghent’s Institute For Psychoacoustics And Electronic Music (IPEM) to store the analogue instrument their DEEWEE studios, where EMS repair expert Constantin Papageorgiadis restored the piece of kit over the course of a year.
“It was our belief that there were tons of melodies and rhythms hidden within the machine, we just had to make it sing,” Soulwax explained. “A few of the compositions were written beforehand, with the Synthi 100 in mind, then translated onto it. A couple were created by just messing around for hours, and some of it is the machine randomly playing by itself, inspiring us to build onto its unique chaos.”
Comprised of six tracks, ‘EMS Synthi 100 – DEEWEE Sessions Vol.01’ will arrive on May 29 via DEEWEE alongside a 48-page book.
In a teaser visual for the album, the camera pans around the EMS Synthi 100 as it’s lit in various colours. It’s explained that “every sound on the record originates from this unit”, of which just 31 units were ever made.
You can watch the video above and see the album’s tracklist below.
1. Movement 1 2. Movement 2 3. Movement 3 4. Movement 4 5. Movement 5 6. Movement 6
Put together by Murphy and the Dewaele brothers, Despacio was designed to create the ultimate inclusive club listening experience. The trio played their pick of vinyl from throughout the ages with superior quality, with performances taking place at Glastonbury, All Points East festival and more.