One of the most popular bands to come from France in recent years is Phoenix, whose style lies in the borderlands of alternative, indie, new wave, and jazz. While the group has been releasing records and playing packed tour dates for over ten years, it wasn't until the release of their most recent album, Wolfgang Amadeus Phoenix, in 2009 that Phoenix hit it big. The band's members are currently spending their time writing songs for their new album, with no official announcement on a title or release date yet. Unfortunately, with Phoenix in the studio, that means no more concert dates for 2011 past February, but fans can expect numerous tour dates upon the release of the album.
Phoenix began as a garage band in the suburbs of Paris in the early 90's by lead singer Thomas Mars, guitarist Chris Mazzalai, and bassist Deck d'Arcy. In 1995, Mazzalai's brother, Laurent Brancowitz, left his band Darlin' (which included Thomas Bangalter and Guy-Manuel de Homem-Christo of Daft Punk) and joined Phoenix as a second guitarist. It took the group two years of writing songs and playing tour dates to independently release a single before they were picked up by Source Records. Early on, the band made regular appearances as the back-up band for French duo, Air, on tour dates. The group released their debut LP, United, in 2000; while the album wasn't an instant success, the song "Too Young" was used in the Sofia Coppola film Lost in Translation. Phoenix's 2004 album, Alphabetical, achieved slightly more success and was supported by the singles "Everything Is Everything" and "Run Run Run". The success of the album afforded the group more publicity, as well as a number of worldwide, high profile tour dates.
It wasn't until 2009, with the release of Wolfgang Amadeus Phoenix, that Phoenix became a commercial and critical success worldwide. The album included the hit singles "1901" and "Lisztomania," and both songs harken back to the late 19th / early 20th century Parisian style. The album won Phoenix a Grammy Award for Best Alternative Music Album in 2010, and also scored Phoenix a number of headlining tour dates. Also in 2010, Phoenix provided the majority of music for the film, Somewhere, by Sofia Coppola (whom Thomas Mars is currently dating and has two children with).
While Phoenix has no more scheduled concert dates in 2011, they are in the early stages of producing a new album. There is a camera set up in the band's rehearsal space, which plays on the band's website so fans can check out their progress. Unfortunately, fans will probably have to wait until 2012 for the announcement of new tour dates. Be sure to keep checking Eventful for the latest news on Phoenix's upcoming album and any updates on tour dates.
Originally from Trinidad & Tobago.....then moved 2 M.I.A Florida where i was inspired to rap by a relative. Then i moved to Texas where i am currently working on two mixtapes!!!
The Airborne Toxic Event:
With only two albums out, indie rockers The Airborne Toxic Event are quickly making a name for themselves in the world of mainstream music. Unlike other indie bands, The Airborne Toxic Event features a more classical, orchestra style sound that has led to tour dates at concert halls and with symphony orchestras. The band has entered the mainstream limelight with their 2011 release, All at Once, and is celebrating with summer tour dates in 2011.
Lead singer and guitarist Mikel Jollett and drummer Daren Taylor formed The Airborne Toxic Event in Los Angeles circa 2006. They soon recruited guitarist Steven Chen, bassist Noah Harmon, and viola player Anna Bulbrook before playing local tour dates and posting their music on MySpace. The band's self-titled debut album was released in 2008 and was instantly acclaimed by a number of critics, supported by the hit single "Sometime Around Midnight." Following The Airborne Toxic Event's first headlining tour, a live DVD, and numerous other performances, the band returned to the studio to record All at Once, which featured both expanded and acoustic styles and cemented the band's position as heavy-hitting contenders.
In honor of their relatively newfound fame, The Airborne Toxic Event is finishing up headlining 2011 US tour dates in August. While the tour ends on August 26, the band has two performances at the V Festival in the UK, as well as numerous one-off shows until December. For all the information on The Airborne Toxic Event's tour dates in 2011, use Eventful.
The Mighty Mighty Bosstones:
The Mighty Mighty Bosstone's 1997, Let's Face It, featured that year's biggest ska hit "That's The Impression That I Get". The punk rock band had been around for over a decade before scoring that coveted Platinum plaque, but the wait was well worth it. Mighty MIghty Bosstones tour dates were scheduled on some of the year's biggest festivals. The music didn't last forever, and the band disbanded in 2003. However, following a successful Mighty Mighty Bosstones reunion tour in 2007, the band decided to make amends and record a new album. The Mighty Mighty Bosstones continue to tour and record today. Don't miss a date on the Mighty Mighty Bosstones concert schedule (2011); Use Eventful as your source for the Mighty Mighty Bosstones tour dates and concert schedule information.
The punk-rock group from Boston formed in 1983 and combined ska with the musical inspiration of the Clash and Motorhead to create their sound. The Mighty Mighty Bosstones embarked on their first full American tour in 1991 and scored mainstream success with their third LP Don't Know How to Party in 1993. They were invited to open for Aerosmith in 1993 at their Boston Show and released their fourth album, Question the Answers, in 1994. They then appeared in the hit film Clueless, performing their first hit single "Where'd You Go?", which was also featured on the soundtrack. The Mighty Mighty Bosstones tour dates were scheduled on the 1997 Warped Tour right before they released their breakthrough smash, Let's Face It. Their single, "The Impression That I Get" was a #1 hit on the modern rock format and the Mighty Mighty Bosstones were suddenly everywhere.
The released Pay Attention in 2000 and returned to their independent roots with A Jackknife to a Swan in 2002 before disbanding in 2003 because of non-stop touring and heightened tensions. They returned in 2007 for a reunion tour and have been touring and recording new material ever since. In 2008, the Mighty Mighty Bosstones tour dates were scheduled with the Dropkick Murphy's on a national US tour and they performed at the Hometown Throwdown Festival in 2010. The Mighty Mighty Bosstones tour schedule (2011), includes several dates in their native Boston. Use Eventful to stay up to date with the Mighty Mighty Bosstones tour dates as they are scheduled.
The Boston, MA-based Passion Pit began as a one-man project of singer and songwriter Michael Angelakos to produce a Valentine's Day gift for his girlfriend. The gift, an EP entitled Chunk of Change, soon wound up in the hands of friends and acquaintances, who were enthralled with the work. Eventually, Passion Pit became not only a vehicle for the romantic expressions of Angelakos' heart but a full-fledged band -- at least for live gigs -- and opened for a number of well-known artists including Death Cab for Cutie. This momentum led to label interest, and in 2008 the Frenchkiss label picked up Chunk of Change for re-release, even going so far as to tack on two bonus tracks. A full-length from Passion Pit was in the planning stages and a 2009 release date was said to be in the cards.
In the brutally cold world of Big Rock Biz, there’s something very comforting about just knowing that a band like L.A.’s Silversun Pickups exists. That feeling derives from the group’s searingly sumptuous music, sure, but it has a lot to do with knowing their rather humble origins and super-admirable raison d’etre.
Silversun Pickups, you see, rather than being just another fiercely determined young band willing to claw and scrap their way to the top of the rock heap, genuinely appear to be far more like a gang of real, true friends who happened, quite fortuitously, to meet as a result of their mutual love of — shock horror! — music, and who seem to enjoy each other’s company as much as they like playing their own brand of ravishing rock noise.
And in fact, guitarist-singer Brian Aubert, bass player Nikki Monninger, drummer Christopher Guanlao and keyboardist Joe Lester are bona fide pals who’d played together or in mutual friends’ bands when they finally settled on a Silversun lineup and began playing shows at local clubs, which further broadened their innately formidable playing chops and established loving loyalties among a growing crop of seekers and sinners.
Silversun’s initial forays into live performance weren’t exactly stunning achievements in stage artistry, according to Aubert. “In the beginning, we were just trying to figure out what we wanted to do, didn’t even know if this was what we wanted to do. But we were playing clubs while we were learning – and I was learning to be a frontman all of a sudden.”
“But after a little while we started honing in on where things were going and what we liked and didn’t like,” says Aubert. “It was like trial by fire, playing on stage all the time. It was scary, but you learn fast that way.”
Their initially haphazard performances didn’t phase their growing core of devotees, who seemed to easily grasp the inner grace of Aubert’s plaintively savage songs about the whys and wherefores of love lost and found, wrecked loyalties and fear of genetically inherited failure genes. These fans didn’t mind that the band’s otherwise wickedly pretty tunes’ delivery was a bit rough-edged, or that Aubert was initially painfully shy in front of a mike; it was obvious that Aubert and co’s. desire knew no bounds.
The band lived to play, and play they did, at numerous dates at many of the most important L.A. clubs, which found their stage sets growing more confidently not cocky but in greater command of their playing prowess. Aubert’s guitar was a rapidly developing feral beast of tight chipchop splendor and near-Hendrixian fuzzy howl in songs that seemed to reference the spare, driving cool of Neu while injecting a barely constrained glee – something like youthful romance, in the more tormented My Bloody Valentine way – into great walls of shredding white noise and a big throbbing rhythm section. The interplay of Aubert’s guitar with Lester’s spidery/splintery keyboards on songs like “Three Seed” made their combined effect resemble an enormous shiny machine being launched into the farthest reaches of the solar system.
Ex-Pine Marten keyboardist Lester was an important addition to the band, says Aubert, “because a) he was family — we didn’t want anybody we didn’t know, like take out an ad in L.A. Weekly: ‘Must not wear cowboy hats.’ Joe is like having a guy who’s not a keyboard keyboard player -- not a scientist, but like an orchestrator. He does things that really trip out the guitar, like sample it and make sounds that you can’t really tell what it is.”
“Or we’ll use our voices with something from Joe, as just a sonic element,” says Monninger
Guanlao adds, “People come up to us and they’ll be like, ‘Dude, how’d you do that sound on the guitar?’ or ‘How’d you do that sound on the keyboard?’ and it’s like, ‘No, the guitar player wasn’t doing that, neither was the keyboardist.’”
Yet Silversun’s secret weapons are the achingly potent melodies of their songs, which poke their lovely, shy heads out and ultimately proclaim their power in rare shades of melancholic ardor. While so many bands oft-claim supreme melody as the underpinning of their noise, with the Pickups it can claim moral superiority: Silversun radiates palpably great melodies that – the real test – simply won’t leave you alone no matter how you try to shoo them away.
That melodic/toughness no doubt encouraged Dangerbird Records to sign Silversun Pickups for an EP, called Pikul (pronounced pie-kul), a six-song set crammed with polished versions of many live favorites such as the growlingly ethereal “Kissing Families” and “…All the Go Inbetweens.” These songs sealed in the love among Silversun Pickups’ L.A. fans and critics, and their subsequent mounting acclaim led the band to undertake an increasingly heavy touring schedule, which found them playing alongside Brendan Benson, Black Rebel Motorcycle Club, Dead Meadow and Two Gallants, and they returned home to record, Carnavas, their full-length debut for Dangerbird (July 25, 2006).
Produced by Dave Cooley (J Dilla, Rolling Blackouts), engineered by Tom Biller (Sean Lennon, Jon Brion) and mixed by Tony Hoffer (Beck, The Kooks, Belle and Sebastian), the album reveals the Pickups in a full flowering of their considerable melodic, textural and rhythmic gifts, with 11 dark/light songs about "Melatonin,” “Little Lover’s So Polite,” “Future Foe Scenarios” and “Well Thought Out Twinkles,” among other provocatively ambiguous themes. The album rages with a kind of mixed emotion well matched to those themes, a vibrating compound of feral cries amid tender harmony, resonating powerfully with heavily filtered guitar squawk, hovering keyboard clouds, and bass & drums that often seem to lurch their way into divinely propulsive beats.
For the new disc, Silversun Pickups got to play in the studio, which they’d never done before, and, at producer Cooley’s insistence, they got to take their time.
Says Aubert, “We wanted the EP and the record to be two different sort of things, and we knew that we didn’t want the same songs. Basically our live sound was so loud and big, and before we just sort of documented it -- Pikul didn’t sound like us live; even though we essentially recorded itlive.”
“We think of records and live shows being two different sorts of worlds,” he continues. “Ironically, in the studio, getting really specific about sounds -- how they cut through -- made us sound as big as it is onstage.”
Cooley proved an inspiring force for the band, sometimes if only to affirm their belief in doing things their own way.
Says Lester, “Sometimes he’d push and push, and sometimes suggest a bunch of different ideas, and all it did was steel our resolve. It was almost better that way, because it just reaffirmed what we know is the best way to do it.”
Aubert: “In pre-production meetings, we discussed the structure, for example, but he brought out ideas that were already clicking in our heads -- we would change things that we didn’t like and had been too lazy to change, or just hadn’t thought about. Or completely battle him and realize, wow, we really do mean this. Having someone who’s antagonizing you and you have to defend your choice, when you didn’t have to defend it before, you realize you actually really believe in that.”
Says Guanlao, “Before that experience, we were very organic about how we got a song going and finished; we would never really think about it too much, we did it how it felt. And then Dave came in and we really had to focus on things, just a measure or a little beat or whatever.
Aubert: “He’s amazing, because he’d push you and push you, but he’d be the first to pull the plug. I remember I’d been singing for days and days, trying to get a track right, and he’d say, ‘No, man, just stop. You’re tired.’ And I’m like ‘No, man, let me drink some more whiskey!’ And he’d be ‘Nope.’ He’d just push the stop button and say ‘It’s not right, it’s not working, it’s too job-like.’”
Not just the songs but their performance and their very sound were all critical factors in the album’s production. Says Lester: “Two measures in on a take, Tom would be like, ‘Snare’s out of tune.’ Stop everything, and we’re like, ‘Really, you can even hear that?’ And then we could hear it. It changed the vibe, and it sounds like the bass and drums are almost one thing. That made it seem way more solid.”
The proof’s in the pudding, and now all you need to do is listen. And all Silversun Pickups need to do is figure out how to transfer the album’s splendorous riot of beauty onto the concert stage — and deal with the acclaim that’ll inevitably follow. But that shouldn’t prove difficult for these dedicated friends, who’re happy to have found each other and make, almost like frosting on the cake, magnificent music together.
Before they were rockstars selling-out concert dates to thousands of screaming fans, they began as a garage band from Tennessee. Paramore is the premier pop punk band to rise to power in recent years, filling a gap left by Blink-182's many hiatuses. The group has become a huge success thanks to an accessible punk sound fronted by the sometimes fierce, sometimes melodic vocals of Hayley Williams. Paramore broke onto the mainstream music scene with their 2007 album, Riot!, which featured the hit single "Misery Business" and their concert dates are becoming a huge draw. With the announcement of a new album currently in the works, Paramore can currently be found on a number of concert dates, including tour dates on the 2011 Vans Warped Tour.
While the success of Paramore can be attributed to each and every member of the band, the group's formation revolves heavily around a thirteen year-old Hayley Williams. Williams moved to Franklin, Tennessee at the onset of her teen years, soon befriending schoolmates Josh and Zac Farro. She was soon signed to Atlantic Records as a solo pop artist. Williams refused and the label brought in the already formed Paramore, including the Josh Farro on lead guitar, Zac Farro on drums, Davis on bass, and Williams' neighbor Jason Bynum on play rhythm guitar.
Shortly before recording their debut album, Jeremy Davis left Paramore due to reasons that have never been fully revealed; however, he returned shortly after the release of the album. Distraught over the loss of their bassist, the remaining members of Paramore titled the album All We Know Is Falling after the incident. Shortly after the release of the album, Jason Bynum left the band and was replaced by Hunter Lamb, who would later be replaced by original rhythm guitarist Taylor York. While sales of their debut album weren't astronomical, it allowed Paramore to headline a number of sold-out concert dates.
Paramore's mainstream success came with the release of their second album, Riot!, in 2007. Riot! went platinum inside of a year as well as the hit single "Misery Business," with the album's other singles -- "Crushcrushcrush," "Hallelujah," and "That's What You Get" -- becoming successful on the radio and television. The success of the album provided the members of Paramore with plenty of concert dates on the Warped Tour in 2007, as well as loads of airtime on MTV. Paramore released their third album, Brand New Eyes, in 2009, which reached #2 on the Billboard 200 and sold 175,000 copies in the first week alone, far exceeding the release of their previous album. However, the continued focus on Williams as the leader became too much for the Farro brothers, and they departed Paramore in late 2010. That hasn't stopped Paramore from recording, or rocking huge tour dates in 2011.
Paramore announced in March of 2011 that they had returned to the studio and are working on more material, but there is no confirmation of an album yet. While fans might have to wait several months for the release of any new tunes, they won't have to wait long at all to see Paramore on tour dates in 2011. The band will head to Sweden and Finland in early July before playing concert dates in Portugal and Spain. Paramore will begin a handful of Warped Tour 2011 tour dates beginning on July 14, before kicking off a series of Hawaiian concert dates in late August. Even with two founding members gone, fans shouldn't count out the continued success of Paramore.