It Sure Looks Like the Yeah Yeah Yeahs Will Play Some Shows This Year
The Yeah Yeah Yeahs appear to be gearing up for a live return in 2025.
On Tuesday, March 11, the indie rock greats shared a poster on social media with a list of eight cities: Chicago, London, Los Angeles, Manchester, Mexico City, Nashville, New York, and San Francisco. The post was captioned 'Wait…' — a likely reference to their classic 'Maps' — and the band encouraged fans to sign up for updates.
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Currently, the Yeah Yeah Yeahs' website offers RSVP options for the eight cities, as well as one for folks whose hometowns don't appear on the list. If this is indeed a teaser for a tour — and it's hard to imagine it being anything else, but never say never — no other details have been revealed at the moment, such as dates or venues.
It's been nearly two years since the Yeah Yeah Yeahs' last tour, with the band spending much of 2023 on the road in support of their 2022 album, Cool It Down. That record marked their first full-length album since 2013's Mosquito, with the trio pursuing solo albums and other projects in the intervening years.
The Yeah Yeah Yeahs returned to the stage in 2017, playing a handful of shows, including some in support of the 15th anniversary of their breakthrough debut, Fever to Tell. They spent the next two years playing scattered festivals and one-offs before their official return with Cool It Down.
While the Yeah Yeah Yeahs haven't announced, or even teased, any new music, they did recently contribute an unreleased track, 'Turn Into Redux,' to Los Angeles Rising, a charity album benefiting Los Angeles wildfire relief efforts.
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Forbes
a day ago
- Forbes
Sunday Conversation: The National's Matt Berninger On His New Solo Album
How to describe an interview with The National frontman Matt Berninger? Like talking to Moby or Liz Phair (who along with Robert Plant might be the smartest interview in music) it is a fascinating labyrinth of cerebral twists and turns where you just hold on and do your best to keep up. It is as compelling and enlightening as his music. Which is saying a lot because along with Nick Cave and the timeless Bruce Springsteen, Berninger, with The National and on his own, has been, to me, the most consistent rock act in the first quarter of this century. Once again, Berninger stuns with his second solo album, Get Sunk. A gorgeous slice of life that, like the writing of Raymond Carver, is deceptively complex and profound, Get Sunk is, as Berninger describes it, a romance with ghosts. As we discussed, it is a record of memories, of life, of hope. Steve Baltin: I'm a big believer in environment affecting writing. So, was it Connecticut that lit the spark for this album? Matt Berninger: The Connecticut part of it maybe colored the process. This record has a lot of Midwestern atmosphere with creeks and trees and animals and bike rides along rivers and stuff. I've always been writing about that stuff. But yeah, getting to Connecticut, back in an area that is like what it was like in my youth and particularly on my uncle's farm. The place I live now, I have a barn, and I have a little bit of land. But I have all this stuff and there are trails in the woods and creeks all around where I live now. And that's where I spent all my most memorable stuff of my childhood, it all happened at that farm in Indiana. So, Connecticut really inspired that part of it. But I think anytime you uproot and go to a new place, or take a vacation, you're riding a train through Italy, like suddenly, you're going to write differently and be inspired to write different kinds of stories. So, I do think, I think changing the soil you're in every 10 years is really smart. Baltin: So that's something that you've done regularly, move every decade or so? Berninger: Yeah, I've moved from Cincinnati, moving out of your house or your parents' house, and then going to college in an apartment, that feels like two different types of living. Then I moved to New York City in '96, and I was there for maybe 15 years, and that's where I met my wife, that's where my daughter was born. We'd been in Brooklyn for close to 15 years or something. Then we just felt we had squeezed New York for every drop of inspiration and so we moved to Venice, California. We lived out there for 10 years and then I wrote five or six, seven records, did so much stuff out there and met Mike Mills and became a collaborator with all these amazing filmmakers and stuff. So that was an amazing decade of creativity and then my daughter was about to go to high school, and we all wanted something new, and we had family in Connecticut and it's so close to New York. I didn't want to move back to Brooklyn, but I really want to be close to New York again. I go to New York every week and ride the train. So yeah, it's really new and inspiring and I think that is really good and it does jolt me, although some of this record I started five years ago in Venice. Even some of the songs that are talking about Indiana, and the Midwestern pastoral scenes were written when I still lived in Venice during the lockdown. So maybe I was just dreaming of wandering the woods or going back to a time. But I always write about that stuff. But moving and changing your environment does change your brain. Baltin: Would this album have been made anywhere now at this time? Berninger: Yeah, I feel like this would have been made anywhere at this point in time. I do, and I have been saying this recently because I've been trying to answer that question. Because yeah, a lot of this record does go back and it's a really conscious effort to try to reshape, not in the details and truth, but in the emotional memories of things and write a great story, and of a great 45-minute immersive connected experience. And it was really important for me on this record more than anything I've ever done, I think. But you're right, what is our past? What is it? And often, I've been saying this, that our past is a story we tell ourselves. and we remember it differently. Our memories of it change and our memories are memories of memories. So, it's our own version of (the game) telephone constantly going as we go and try to retell the stories of what happened and why am I like this and what was my childhood like and what were my relationships with my parents like and what was it? It's all fantasy and it's just the same way your future is a story you're telling yourself. What you want, why you're doing what you're doing and where you're trying to go and how long you want to live and what you want in your life and what experiences you want to have going forward is also just a story. And what experiences you had in the past so you're just telling your story of those experiences. All those things, traumas, good things, can totally shape you, yes, but sometimes we can be confined by our own definitions of ourselves and that we create a little bit of a prison or a trap around ourselves and we say, 'I'm this way because of this and that's why and I'm going to stay this way.' And right now you're seeing in the world, everybody, it's an identity crisis. People don't know. I'm a Catholic, but there are so many Catholics identifying with something else that is so un -Catholic. And that kind of thing, but there's so much, 'But this is me now, I'm this and I identify with this.' I think we really trap ourselves into our ideas of who exactly we are and I think it's a dangerous thing. I was trapped in an idea of what I was. Like I was this type of guy. I'd written all these stories. I had manifested becoming this melodramatic, unhinged character. And then I was leaking into that facade or that story I had told had started to become a little real. And it wasn't real. And so, yeah, I think that this record is trying to maybe go back and kind of recontextualize some of the beauty and I think the good things mostly. There's a lot of darkness in this record, but I'm a happy person. I've had very unhappy times. I've had very dark, long depressions. Everyone has, but my core is optimistic, hopeful, kind, brave, and happy mostly, and I remember that. And I learned that from my parents. I learned that from my cousins. I learned that from my uncle. I learned that from nature. I learned that from the farm. I learned that early, and that hasn't changed. I identify as those things, but sometimes you get lost in these other prisons of other things that you think you are, but you're not. Baltin: That's so interesting on so many levels. As The National started getting bigger, do you feel like personally you became a character people wanted you to be? Berninger: I was actually in my early 30s before we got successful. But when you get your first taste of success and people are really reacting to your work that is some of the most extreme, darkest parts of your personality, or the saddest parts, and those become the best songs because I'm being honest about something. But when you're writing those songs in your 30s, and then you get successful, I'm sure subconsciously I've elevated that idea of that guy in my head. There's more currency to that character, I realize. And so maybe you start to manifest it, and you keep building this weird sculpture of these little Legos of melodrama and anger or rock and roll songs and all these things. Then they become this really weird cool sculpture that everybody buys tickets to see. And then the next thing you know, you're stuck as this thing that wasn't what you intended. Baltin: You and I have talked over the years too about literature being inspiring and I feel like there were very literary and cinematic points of this album. Right when we got on the Zoom, I was listening to the record again. I love 'Silver Jeep.' That one has almost like a Raymond Carver feeling to me. Berninger: Yeah, there's a few of them. Some of them are more kind of blurry, abstract, impressionistic, emotional descriptions of emotional things or descriptions of process, like 'Nowhere Special' is a totally different song from a lot of the other songs and so is "End of the Notion.' I don't think about it when I go in but I see that I'm often trying to write a type of song I've never written but I've written hundreds and hundreds and hundreds of songs. But "Silver Jeep" and "Bonnet of Pins" and "Frozen Oranges," those are three examples of songs that are like scenes. Or "Bonnet of Pins" is maybe just an hour or a couple of hours of reconnection between two people. Then "Frozen Oranges" is a whole day, a long bike ride filled with medicines and joys and fruit and sunshine and bugs and juice and it's a really healthy song. Then 'Silver Jeep' is a is an echo of the same character from 'Bonnet of Pins.' That character is not really present much in 'Frozen Oranges.' But then at the end of the record, I think 'Silver Jeep' and 'Bonnet of Pins' are a little bit of a return to that relationship or that dynamic. What is it? Well, they're always chasing each other. They're always seeking each other, but they're always there. The line in 'Silver Jeep' that I like is, 'I see you out there somewhere in a silver jeep.' Maybe only in my mind but you'll always be there whether I ever see you in person again, you're never leaving. This person might already be dead. The whole record is about a ghost but it's not a singular ghost, it's not one person, it's a ghost of something. It's a really romantic record. It's a romance with a ghost, I guess.
Yahoo
22-05-2025
- Yahoo
Soaking in the Past at the Cruel World Festival
The very first Cruel World festival at Brookside at the Rose Bowl was held over two sweltering 90+ degree days in 2022, daring denizens of gloomy music and ghoulish dress-up to brave the California sun in their fishnets to see their favorite artists live in an outdoor festival setting. Saturday's wet and rainy 2025 edition may have been more appropriate in terms of environment for a goth and new wave assembly, but it didn't appear to be as successful, and the rain wasn't even the main problem. Economic struggle has affected us all, from gas to groceries and especially entertainment like concerts. Coachella, now a mainstream pop extravaganza, barely sold out its GA tickets this year in its first weekend, and the second weekend didn't sell out at all. Beyonce, who kicked off her Cowboy Carter Tour with five nights at Sofi Stadium did ultimately sell out, but it wasn't quick, and cheap seats were released each night to fill the venue. Niche and nostalgia fests like Cruel World can be hot tickets but the bill has to be right— and the formula can't last forever unless it evolves. C.W. has attempted to do that as its grown, dipping into poppier acts from the 80's and expanding its scope into the 90's and 2000's alongside 80's bands and new ones inspired by them. But excitement for this year's line-up never matched the first incarnations which featured comeback shows from post-punk legends Bauhaus (2022) and Siouxsie Sioux (2023), and pop-friendly new wave poster boys Duran Duran (2024). At this year's Cruel World —headlined by Nick Cave and the Bad Seeds and New Order, with secondary bill-toppers including the Go-Go's, Devo, OMD, Death Cult, Garbage, Madness, Til Tuesday, She Wants Revenge and Alison Moyet— the bad weather definitely put a damper on things, but the atmosphere was clearly diminished regardless, from the vendor count to the crowd itself. Musically, there were more hits than misses, but some of the misses were Order closed out the night on the main Outsiders Stage with a whimper, and even a vibrant light and laser show couldn't save them. Lead singer Bernard Sumner's vocals were on the weak side of acceptable, but his energy was lacking to the extent that we wondered if he even wanted to be there. The band have a handful of heartfelt hits that bring a lot of us back to a wistful time in our lives. For me, songs like "True Faith" and "Bizarre Love Triangle" recall teen breakups, unrequited loves, house parties and clubs (right there in Pasadena) where they all played out. New Order's music is melancholy in the best possible way, especially from the Gen X perspective— upbeat sonically but haunting lyrically. Saturday the band didn't come close to conveying the emotion that made them so special in their heyday. Even their Joy Division material lacked angst. 'Blue Monday' a hit so well-known, it veers into wedding reception playlist territory (it played at mine anyway) felt limp as well. By contrast, Nick Cave and the Bad Seeds, who played just before New Order, were mesmerizing and powerful. It felt like they had something to prove, though Cave's transcendent performances always kind of feel that way. He may be a legendary dark music figure —from his time in the Birthday Party to his Bad Seeds and Grinderman projects— but he doesn't have the American radio hits that many from Saturday's bill did. Some Reddit and social media groups doubted him as a headliner, pointing out his lack of populist appeal. They were proven wrong on Saturday, and we're guessing many of the same naysayers became new fans this past weekend. The Bad Seeds turned in the best headliner set of the day led by Cave's eternally visceral, passionate, theatrical presence up front. Even when no one in the crowd knew the words to sing along to classics like "Frogs" and "Tupelo," or the band's latest, "Wild God" (read our conversation about the record HERE), he had everyone enraptured from start to finish. Across the Brookside Golf Club grounds at the Sad Girls stage, The Go-Go's played in between the two headliners. Sound-wise, they had some problems but their energy made up for it. These ladies are L.A. legends of course, and it was nice to see them get the spotlight twice, first at Coachella and then at C.W. Dressed in sequins, lame and colorful prints, the band brought lots of exuberance to their set full of hits like "Our Lips are Sealed," "Vacation" and "We Got the Beat," which were joyful if imperfect, leading guitarist Jane Wiedlin to remind fans that they started out a bit sloppy too, playing at the legendary Hollywood punk club The Masque. Other retro sets that made the soggy Saturday worth trekking: Blancmange, whose hits "Don't Tell Me" and "Living on the Ceiling" sounded just as sharp as they did when we first heard them on K-ROQ 106.7 and DJ Richard Blade's local new wave TV show MV3; Alison Moyet, arguably one of the most powerful voices of the 80's, giving us chills-inducing takes on Yazoo faves "Situation," "Only You" and "Don't Go;" the Buzzcocks poppy-punk bops which still have bounce even without Pete Shelley. It poured during all these sets but it didn't matter; each made their own did Madness, whose ska-flaired pop is proving timeless on stage (and in TV commercials); Devo, who've shown they basically can't give a bad performance at this point, with ebullient sets at the first Cruel World and last year's Darker Waves as well as Sat.; OMD, a vocals-driven group whose hits like "If You Leave" and "Enola Gay" still sparkled; and Death Cult (for many of us, their closing nod to the Love era with "She Sells Sanctuary" made the set). Beyond Cave, who is really in a class by himself —or at least, right next to Peter Murphy, Siouxsie and Morrissey from past fests— the strongest sets of the day came from Garbage and She Wants Revenge, two somewhat younger bands who've been around the block but clearly still have a lot of hunger on stage and in their hearts. Rather than simply playing their hits and hoping they still sound good, both added nuances to their best known numbers and served up new material they're been working on that actually got us excited to hear more. Dressed in a colorful ruffled frock, Garbage's Shirley Manson really connected with the crowd talking about the Butch Vig-led band's 32 year journey and conveying what an honor it was to share the stage with so many influential artists. She also begrudged her band's slot against Devo, playing the opposite stage at the same time, and thanked everyone for being there. Garbage may not have fit with the festival's 80's-heavy or goth thematics on paper, but songs like "#1 Crush," "Paranoid," and especially "Only Happy When Rains" were perfect vibe-wise and Manson made them sound and feel of the rain. She Wants Revenge's Justin Warfield was the only one to truly celebrate Saturday's weeping clouds, likening the day to the perfect "goth prom." Indeed, the grey clouds made for a sexy and moody backdrop behind him as he crooned hits like "These Things" and "Red Flags and Long Nights."A Psychedelic Furs cover, a new song and the early 2000s-era band's now iconic hit "Tear You Apart" (which won new fans when a vampiric Lady Gaga seduced and bludgeoned someone to the track in American Horror Story a few years ago) represented everything Cruel World can and hopefully will continue to be: dark and dramatic energy, killer hooks and lyrical reverence for the outsiders and weirdos who made music so interesting and intoxicating decades ago. See more photos from Cruel World by photographer in the photo gallery below: View the 48 images of this gallery on the original article
Yahoo
21-05-2025
- Yahoo
Grinderman Are Reissuing Their Full Discography
The post Grinderman Are Reissuing Their Full Discography appeared first on Consequence. Grinderman, the side project of Nick Cave and the Bad Seeds, have announced they will be reissuing their full discography on July 18th. The Grinderman lineup is comprised of Cave with fellow Bad Seeds Warren Ellis, Martyn Casey, and Jim Sclavunos. The quartet has released three albums: their self-titled 2007 debut, 2010's Grinderman 2, and 2012's Grinderman 2 RMX. Each project will be available on eco-conscious black vinyl and digisleeve CD editions. Pre-orders are ongoing. Get Nick Cave Tickets Here Formed in 2005, Grinderman was created to explore a more raw, primal sound than The Bad Seeds and lean closer to Cave's earlier post-punk project, The Birthday Party. Their debut album, Grinderman, was universally acclaimed upon its release and spawned the singles 'No Pussy Blues' and 'Get It On.' Its follow-up, Grinderman 2, took a more psychedelic approach, while Grinderman 2 RMX featured reinterpretations from artists including Robert Fripp, Josh Homme, UNKLE, and Nick Zinner. Although Cave said the band was 'over' while on tour in 2011, Grinderman reunited in 2013 to perform at both weekends of Coachella. In a 2019 blog post, he hinted at a new album from a 'yet to be completed trilogy,' but that project has yet to come to fruition. In other Nick Cave news, he recently confirmed Nicolas Cage's claim that fans often confuse the two. Cave is scheduled to begin a solo European tour in June; get tickets here. The Bad Seeds' most recent album, Wild God, was released in 2024. Artwork: Tracklist: 01. Get It On 02. No Pussy Blues 03. Electric Alice 04. Grinderman 05. Depth Charge Ethel 06. Go Tell the Women 07. (I Don't Need You To) Set Me Free 08. Honey Bee (Let's Fly to Mars) 09. Man in the Moon 10. When My Love Comes Down 11. Love Bomb Artwork: 2 Tracklist: 01. Mickey Mouse and the Goodbye Man 02. Worm Tamer 03. Heathen Child 04. When My Baby Comes 05. What I Know 06. Evil 07. Kitchenette 08. Palaces of Montezuma 09. Bellringer Blues Artwork: Tracklist: 01. Super Heathen Child – Grinderman/Robert Fripp 02. Worm Tamer – A Place to Bury Strangers Remix 03. Bellringer Blues – Nick Zinner Remix 04. Hyper Worm Tamer – UNKLE Remix 05. Mickey Bloody Mouse – Joshua Homme Remix 06. When My Baby Comes – Cat's Eyes with Luke Tristram 07. Palaces of Montezuma – Barry Adamson Remix 08. Evil – Silver Alert Remix ft. Matt Berninger 09. When My Baby Comes – SixToes Remix 10. Heathen Child – Andy Weatherall Remix 11. Evil – 'The Michael Cliffe House' Remix 12. First Evil – Grinderman Popular Posts Trump Warns Springsteen: "He Ought to Keep His Mouth Shut Until He's Back Into the Country" New Reality TV Show That Sees immigrants Compete for US Citizenship Has Backing of Trump Administration: Report Holy Shit, You Have to See Footage from System of a Down's Concert in Brazil Bruce Springsteen Gives Trump the Middle Finger with Another Defiant Concert Guns N' Roses Share Video of Axl Rose Repeatedly Falling Onstage: Watch Nathan Fielder's The Rehearsal Tackles Autism — Thanks to a Consequence Article Subscribe to Consequence's email digest and get the latest breaking news in music, film, and television, tour updates, access to exclusive giveaways, and more straight to your inbox.
