In July 2017, It Was Reported That Veteran Japanese Pop-Punkers Shonen Knife Have Announced They Will Return to Australia This Year for a Huge Headline Tour

Total Page：16

File Type：pdf, Size：1020Kb

In July 2017, it was reported that veteran Japanese pop-punkers Shonen Knife have announced they will return to Australia this year for a huge headline tour. “Set to head our way in September, the trip will mark the band’s fourth tour of the country since their first in 1997 in support of Big Day Out. The trio, featuring original member Atsuko, Naoko and latest drummer Risa will perform in Brisbane, Ballarat, Perth, Sydney, Canberra, Adelaide, Hobart and Melbourne.” Japanese cult pop punk trio Shonen Knife celebrated their 35th Anniversary in 2016 with a new album Adventure, which saw the band delving deeper into the ‘70s rock leanings that they explored on their previous album, Overdrive. As Naoko explains; “Passing through the ‘70s, the music genre which was born as rock’n’roll developed to ROCK. This album is like that.” Musical references include Thin Lizzy, Motorhead and Deep Purple, but of course, this is Shonen Knife, so there is still an excitable pop element to the music. There are catchy hooks and ‘60s girl-group inspired harmonies along the way but the album is firmly rooted in ‘70s Rock. + + + + + Thanks to realkosh for sharing the show at Dime. Lineage: FM > Proton 440 Stereo Tuner component > RCA > Behringer UFO202 > USB > Audacity (44.1kHz 16bit) > Trimming > WAV > CD Wave > WAV > FLAC MP3 Version Triple R Performance Space 00. Naoko Interview 221 Nicholson Street (conducted before the show) 10:13 East Brunswick 01. DJ intro 1:05 Melbourne, Victoria, Australia 02. Banana Chips 2:36 Shonen Knife Melbourne 2017 October 2, 2017 03. Twist Barbie 2:49 04. Jump Into The New World 3:22 05. Green Tangerine 3:57 06. Sushi Bar 1:39 07. Wasabi 3:39 08. Ramen Rock 4:06 09. Riding On The Rocket 3:50 10. DJ outro 1:03 39 mins Shonen Knife Melbourne 2017 Naughty Dog Naughty Dog Trade Freely. Not For Sale..

Copy Link

Recommended publications

Charles Peterson …And Everett True Is 481
Dwarves Photos: Charles Peterson …and Everett True is 481. 19 years on from his first Seattle jolly on the Sub Pop account, Plan B’s publisher-at-large jets back to the Pacific Northwest to meet some old friends, exorcise some ghosts and find out what happened after grunge left town. How did we get here? Where are we going? And did the Postal Service really sell that many records? Words: Everett True Transcripts: Natalie Walker “Heavy metal is objectionable. I don’t even know comedy genius, the funniest man I’ve encountered like, ‘I have no idea what you’re doing’. But he where that [comparison] comes from. People will in the Puget Sound8. He cracks me up. No one found trusted the four of us enough to let us go into the say that Motörhead is a metal band and I totally me attractive until I changed my name. The name studio for a weekend and record with Jack. It was disagree, and I disagree that AC/DC is a metal band. slides into meaninglessness. What is the Everett True essentially a demo that became our first single.” To me, those are rock bands. There’s a lot of Chuck brand in 2008? What does Sub Pop stand for, more Berry in Motörhead. It’s really loud and distorted and than 20 years after its inception? Could Sub Pop It’s in the focus. The first time I encountered Sub amplified but it’s there – especially in the earlier have existed without Everett True? Could Everett Pop, I had 24 hours to write up my first cover feature stuff.
[Show full text]
Spinner Exclusives
Shonen Knife Reissue Albums in English, Play Pop Montreal - Spinner Page 1 of 8 • AOL • MAIL • ◦ You might also like: ◦ Music | ◦ Movies | ◦ TV | ◦ Celebrity News ◦ and More • Sign In / Register Search the Web Search for Artists, Songs andSubmit More Query • Main • Features ◦ The Hit List ◦ Spinner Interview ◦ Tributes & Essays ◦ Potent Quotables ◦ Music Appreciation • Songs ◦ Free MP3 of the Day ◦ Full CD Listening Party ◦ What's That Song? ◦ Listen Up! • Videos ◦ The Interface ◦ Sessions ◦ Video of the Day ◦ All Videos • Radio ◦ AOL Radio ◦ AOL Radio Toolbar ◦ Shoutcast • AOL Music Sites ◦ The Boot ◦ The BoomBox ◦ Noisecreep ◦ PopEater • Lyrics • Send Feedback Spinner Exclusives • The Interface - Live Performances Listen to Spinner's Recent MP3 of the Day Picks http://www.spinner.com/2010/09/30/shonen -knife -reissue -albums -pop -montreal/ 9/30/2010 Shonen Knife Reissue Albums in English, Play Pop Montreal - Spinner Page 2 of 8 • Listening Parties - New CDS for Free • Spinner Radio • Listening Parties - New CDS for Free Features • Best Opening Lyrics • Cinema Music Geeks • College Songs • Rock's College Rankings • Sad Songs • School Songs All Categories • A Day in the Life (3) • All About Jazz (58) • Around the World (168) • Book Club (79) • Celebrity Doppelganger (16) • Clash of the Cover Songs (48) • Coming Out Stories (20) • Concerts and Tours (5186) • Count Five (68) • Defining Moments (1) • Exclusive (3892) • Free MP3 Download of the Day (1138) • Grammy Awards (87) • Guest Blogger (103) • Holy Hell (797) • I Fought the Law (53) • I Freakin' Love This Song (239) • Listen Up! (10) • Movies (270) • Music Appreciation (82) • New Music (470) • New Releases (154) • News (7801) • No Date (0) • Picture Book (7) • Politics as Usual (41) • Pop Culture (52) • Potent Quotables (768) • Q + A (38) • Quizzes & Trivia (3) • R.I.P.
[Show full text]
August 29, 2012
1 “When Joy Trumps Ineptitude: Silver’s Do You Wanna Dance” Max Hechter, MPH April 17, 2004 I suppose the “magic moment” of hearing this record impacted a very special few upon its release in 1980. Personally, my record collecting mentality was undeveloped in 1980, the highlight of that year being for me, the discovery of the Young Marble Giants. Another reason was the distribution of this single in the United States was nil. My hunt for this single was prompted by a short review in reknowned collector Chuck Warner’s 1995 Throbbing Lobster catalog: “Finnish teen’s ’80 roar into the 60’s-via –Ramone’s classic and leave every teen incompetent from Tampax to Shonen Knife in the dust. (B-side) does the same to Einstruzender’s and/or Suicide. Astounding noise.” By the time I responded to Chuck, he had already sold it. (My theory is that Johan Kugelberg was the buyer). In 1997 or 1998, while perusing the adverts in the back of the British publication Record Collector, I happened upon a list of Finnish records being offered by a collector in Helsinki. I wrote away for his catalog, and soon thereafter, I started buying the occasional Finnish punk rarity at premium prices (in British pounds) from him. It must have been the second or third catalog I received, that the item of my obsession appeared. Mind you, this guy did not believe in the internet (it was still early in that game.) So the velocity of these transactions was quaintly turned back to pre-1994 “snail mail”, which of course only added to the feeling of longing.
[Show full text]
Alt-Nation: November Happenings
Alt-Nation: November Happenings The Upper Crust What better way to shake off the post-Halloween blues than a rock show where the band dresses up like 18th century aristocrats? That is what The Upper Crust, a band composed of Boston music scene veterans, give you with loud rock ‘n’ roll in the vein of AC/DC. The Upper Crust provide funny in- character stage patter between tongue-in-cheek rockers like “Rock and Roll Butler,” “Let Them Eat Rock” and “We’re Finished with Finishing School.” I’m hoping they play their slow jam “Boudoir” that hasn’t been in the set the last few times I caught them. I recommend getting there early for TEAZER and The Worried. TEAZER recently killed their Halloween show as Van Halen and here’s hoping a song or two from that set gets carried over to this weekend. The Worried bring it with blitzkrieg punk rock. The Upper Crust, TEAZER, and The Worried serve up the rock at The Met Café on November 5. Route .44 Reunion Show It wasn’t that long ago that Route .44 was possibly the biggest band in town. Route .44 have this dark sound that mixes influences like Morphine and gypsy rhythms into haunted, danceable grooves. The combination of Jess Powers and Ian Lacombe trading off vocals added a presence to the songs that was really like no other around. It has been a few years since Powers left to first do her Chanteuse series of shows and more recently, be one half of Cowboy and Lady with Tyler James Kelly.
[Show full text]
Representations of Chinese Rock Bands”
Representations of Chinese Rock An Analysis of Contemporary Reviews of Chinese Rock- Groups Magnus Forseth Masteroppgave ved Instituttet for Kulturstudier og Orientalske Språk/Det Humanistiske Fakultet UNIVERSITETET I OSLO 23.11.2011 II Representations of Chinese Rock An Analysis of Contemporary Reviews of Chinese Rock-Groups III © Magnus Forseth 2011 Representations of Chinese Rock Magnus Forseth http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Summary In this paper I will try to address tendencies of Orientalist representation found in certain examples of Western English-written album-reviews. When reviewing Chinese bands some music-critics have reduced contemporary Chinese rock-bands to merely being copies of Western groups. (Both good and bad) Of which some groups only seem to deserve attention because they were part of a Western protagonist’s pop-cultural “discovery” - a discovery by the West for the West. Often the protagonist (journalist, writer or compiler) is highlighted as an outstanding individual because he or she found something “rare” to present to a Western audience. I will argue that representations such as these reinvigorate Orientalism, as Edward Said defines the term. In addition, Chinese bands have sometimes been presented as under- developed; not only musically - as mere copyists - but also culturally; as members of a culturally “under-developed” state. In that way certain Western music-journalists contribute to create a discourse which furthers the conceived cultural-hegemony of the “West” over the “East.” My analysis of album-reviews published on the Internet will also try to show a tendency among certain music-journalists to compare Chinese bands solely on the basis of Western rock-tradition and Western bands.
[Show full text]
Rock Music, Feminism, and the Cultural Construction of Female Youth
excerpts from Just a Girl? Rock Music, Feminism, and the Cultural Construction of Female Youth Gayle Wald Signs, Vol. 23, No. 3, Feminisms and Youth Cultures (Spring, 1998), pp. 585-610 Six years before Gwen Stefani and No Doubt burst onto Top 40 radio and MTV, a small group of young women musicians active in and around the punk music scenes in Washington, D.C., and Olympia, Washington, produced a two-page manifesto calling for a feminist revolution within independent rock— what they touted under the slogan “Revolution GirlStyle Now.” At the time, members of the bands Bratmobile and Bikini Kill, the independent women rockers at the forefront of this movement, coined the term Riot Grrrl as a means of signposting their snarling defiance of punk’s long-standing (although hardly monolithic) traditions of misogyny and homophobia, as well as racism and sexism within the corporate music industry. Together with other women active in various punk scenes (such as the related, albeit separate, movement of lesbians in “homocore” music, including the all-female band Tribe 8), Riot Grrrls have not only consistently advocated the creation of all-female or predominantly female bands, but they have also emphasized women’s ownership of record labels and their control over cultural representation. This last goal has been fostered by myriad Riot Grrrl—affiliated or girl-positive fanzines (such as Girl Germs and Riot Grrrl), inexpensively produced publications that circulate through feminist bookstores, independent music retailers, networks of friends, and word-of-mouth subscriptions and that explicitly envision women’s fan activity as a legitimate and authentic form of cultural production.
[Show full text]
Career in Music Dream of a Career in Music Production & Recording? Free Info!
Shonen Knife - Live At Mohawk Place 2009 : DVD Talk Review of the DVD Video Page 1 of 3 Career in Music Dream of a Career in Music Production & Recording? Free Info! www. Expression. edu Ads by Google Price DVD Blu-Ray/ HD Release List Reviews Shop Newsletter Forum Advertise Search Giveaways DVD Reviews & Columns Popular Reviews Reviews Search: All Reviews 6 For: Search DVD TV on DVD Reviews » DVD Video Reviews » Shonen Knife - Live At Mohawk Place 2009 HD DVD / Blu-ray International DVDs Theatrical Shonen Knife - Live At Mohawk Place 2009 Adult Goodtimes // Unrated // August 24, 2010 Video Games List Price: $16.95 [Buy now and save at Amazon ] Features Review by Bill Gibron | posted September 22, 2010 | E-mail the Author | Start a Discussion Collector Series DVDs Easter Egg Database Interviews The Product: DVD Talk Radio When is a favored music group no longer themselves? Put 1. Robin Hood (2010) - Feature Articles another way, do constant member changes and personnel Unrated Director's Cut 2. The Thin Red Line Columns shifts forever alter the making up of a beloved rock and roll 3. The Human Centipede Anime Talk outfit, so much so that they really aren't the same? There's (First Sequence) XCritic.com 4. The Karate Kid (2010) DVD Stalk always chemistry to consider, and artistic direction. But if DVD Savant Journey is successfully touring the country minus its 5. Superman/Batman: High-Def Revolution memorable lead singer, Steve Perry, or if Styx stays afloat Apocalypse Silent DVD 6. Delicatessen -- absent its keyboard playing founder Dennis De Young, are we StudioCanal Collection still talking about the same band, or just a cash machine 7.
[Show full text]
The History of Rock Music - the Eighties
The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Punk Crossovers (These are excerpts from my book "A History of Rock and Dance Music") New York 1986-89 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. As the 1980s came to an end, it became obvious that punk was far from dead. In fact, it was "the" most "alive" of all rock's subgenres. The legacy of hardcore was simple: thousands of bands rehearsing in garages and performing at parties throughout the USA. Not since the Sixties had there been such a universal language in teenage music. Of the major New York punk-rock bands of the mid 1980s, Adrenalin O.D. were the only ones to truly deserve the attribute "hardcore". Their demented style was closer to California's beach-punk, as proven by the frantic Humungousfungusamongus (fall 1985 - nov 1985). Ray Cappo's Youth Of Today became the main apostles of straight-edge hardcore, preaching positive ideals to punks on sermons such as Take A Stand (1986). That genre peaked with Start Today (jan/apr 1989 - nov 1989), the album by the Gorilla Biscuits (1), featuring vocalist Anthony Civarelli and guitarist Walter Schreifels, and with Sick Of It All's Blood Sweat And No Tears (? 1988 - jul 1989).
[Show full text]
Appeared in – the Adelaide Review
March 20012004 Gathering of the Tribes Appeared in – The Adelaide Review Big Day Out Wayville Showgrounds This year’s is the twelfth Big Day Out and I think I’ve been to all but four. Nevermind that I wasn’t cool enough to see Kurt Cobain back in 1992, the BDO has been just the thing for a music tourist like me. Every food group in popular music is represented from high protein to extreme carbohydrate and - with seven venues running in parallel universes - for the price of a ticket you get more than seventy hours music in the space of twelve. Big Day Out gives us the past, the modish present and always a glimpse of the ineffable future. The Prodigy, bridesmaids in 1996, were the lords of all they surveyed the following year. Last year the virtually unknown White Stripes played a small side stage, now they are the New Carpenters. But it is the chance to see zany little bands like Osaka’s Shonen Knife or those Mormons in alfoil, Rocket From the Crypt, or bands of the calibre of Dirty Three, Wilco and yes, Coldplay, that makes the event so engaging. Not that it is just the music. Big Day Out is a significant spot in the religious calendar. Universities no longer even try to enrol on that day and government schools brace themselves for a pandemic of truancy on the first Friday of term. Perhaps it is this sense of stolen mischief which give the event its buzz, or maybe, in among the rides and exhibition halls of the Royal Show, it carries the promise of the funfair.
[Show full text]
Artist Album Label 2 Bears, the Be Strong Southern Fried/DFA 2:54 2
Artist Album Label 2 Bears, The Be Strong Southern Fried/DFA 2:54 2:54 Fat Possum 3flections The Best Intentions EP Self Released 7 Year Bitch Gato Negro Atlantic 999 Separates Do Jo Limited 99ers, The Move It! Spinout A Place To Bury Strangers Onwards To The Wall Dead Oceans A Place To Bury Strangers Worship Dead Oceans ABC & D Of Boogie Woogie, The Live In Paris Eagle Abercrombie Quartet, John Within A Song ECM Ablaye Cissoko/Volker Goetze Amanké Dionti Motema Accused, The The Curse of Martha Splaterhead Southern Lord Adam Kromelow Trio Young Blood Self Released Aesop Rock Skelethon Rhymesayers Against All Authority Nothing New For Trash Like You Sub City Air Le Voyage Dans La Lune Astralwerks Alabama Shakes Boys & Girls ATO Alexandra & The Starlight Band Alexandra & The Starlight Band Alexandra Band Alexy, Teague This Dance Consider It Correspondence All The Apparatus All The Apparatus Faulty Allo Darlin' Europe SLR Alt‐J An Awesome Wave Canvasback Amadou & Mariam Folila Nonesuch Andersen, Arild Celebration ECM Ane Brun It All Starts With One [Pias] Animal Collective Centipede Hz Domino Animal Kingdom The Looking Away Mom + Pop Anti‐Flag The General Strike SideOneDummy Antibalas Antibalas Daptone Apollo Cobra Motherland Rocketsnake Apple, Fiona The Idler Wheel Is Wiser... Epic Arctic Monkeys R U Mine? Domino Ariel Pink's Haunted Graffiti Mature Themes 4AD Arstidir Svefns Og Vöku Skil Stef Asssbrigade Your Future Self‐Released Asteroids Galaxy Tour Out Of Frequency BMG At Odds The Oddyssey Self Released Atlas Trio, Louis Sclavis Sources ECM Attack Ships On Fire Vegas Soul Squidhat Avett Brothers, The The Carpenter Island Azure Ray As Above So Below Saddle Creek B‐Movie Rats Bad For You Junk Records B.
[Show full text]
Ace Frehley - Bio 2018 Here Are a Few Things You Probably Know About Ace Frehley: He’S the Original Lead Guitarist for KISS (Which He Co-Founded in 1973)
Ace Frehley - Bio 2018 Here are a few things you probably know about Ace Frehley: He’s the original lead guitarist for KISS (which he co-founded in 1973). He was also their best—his song-within-the-song guitar solos are as much a part of KISS as the band’s seven-inch platform boots. And he’s always been the coolest member of KISS—rock ’n’ roll swagger, laid-back, mysterious—just ask Tom Morello of Rage Against The Machine, or Naoko Yamano of Shonen Knife, or Abbath of Immortal. Hell, even people who don’t like KISS still love Ace. What you may not know is that Ace Frehley has not been a member of KISS since 2002, when he left his second tenure with the band (there’s a “spaceman” currently playing leads for the band, but it ain’t Ace). In his time away from KISS (1983-1996, and 2002-present), Frehley has put together the most successful solo career of any member—current or former. And Ace is on a roll. He’s ready to embark on his next musical journey with Spaceman, his third solo outing in four years. Of all Ace’s post-KISS recorded output, Spaceman might be the closest link to his widely acclaimed 1978 solo record, both in spirit and execution. First off, Frehley played all of the guitar parts on Spaceman, as well as bass on all but two songs. Longtime drummer Anton Fig, whose friendship with Ace began in that 1978 record, also appears on “Off My Back” and “Pursuit of Rock and Roll” (longtime collaborators Scot Coogan and Matt Starr also play drums on Spaceman).
[Show full text]
Cal Poly Pomona Music Department for Details, Contact: for Release
Cal Poly Pomona Music Department 3801 W. Temple Avenue, Pomona, CA 91768 Phone: 909-869-3554 Fax: 909-869-4145 Website: http://www.cpp.edu/~class/music/ For Details, Contact: Teresa Kelly, Music Department Publicist Email: [email protected] For Release: January 21, 2015 Phone: 909-869-3554 2nd Songwriting Summit • Wednesday, February 25th, 2:00-5:00 PM in the Cal Poly Pomona Music Recital Hall, 24-191. Master classes are FREE and open to the public. The 2nd Songwriting Summit will be followed by: Ken Stringfellow & Joe Pernice in concert • Wednesday, February 25th, 8:00 PM in the Cal Poly Pomona Music Recital Hall. Tickets are $15 general/$10 student, available through the Publicity Office, 24-142, (909) 869-3554 or online at http://csupomona.tix.com/Event.aspx?EventCode=712798 For more information, please contact Prof. Arthur Winer at [email protected]. -------------------------------------------------------------------------------------------------------- SPECIAL EVENT: 2nd Songwriting Summit The Cal Poly Pomona Music department is pleased to announce a day of master classes with songwriting and music industry experts at the 2nd Songwriting Summit on Wednesday, February 25th, 2:00–5:00 PM in the Music Recital Hall 24-191. The 2nd Songwriting Summit master classes are FREE and open to the public. The event is co-hosted by Music professors Arthur Winer and Kelly Jones. In the 2nd Songwriting Summit, songwriting and music industry luminaries will work one-on-one with Cal Poly Pomona student songwriters to help prepare them for the 12th Songwriter Showcase (more info below). This year’s guest experts: • Ken Stringfellow (also performing in the 8:00 PM concert) is a founding member of the power pop rock band The Posies.
[Show full text]