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Music Reviews

Pirate Cat Radio Charts for June 2016

1 MITSKI Puberty 2
Dead Oceans

2 Deerhoof The Magic
Polyvinyl Records

3 HOLY FUCK Congrats
Innovative Leisure

4 KILLS Ash and Ice

5 Claypool Lennon Delirium Monolith of Phobos

6 Radiohead A Moon Shaped Pool

7 PAUL SIMON Stranger To Stranger

8 GOLD PANDA Good Luck and Do Your Best
City Slang

9 Whitney Light Upon The Lake
Secretly Canadian


11 Car Seat Headrest Teens Of Denial

12 CASKET GIRLS The Night Machines

13 KRISTIN KONTROL X-Communicate

14 MONKEES Good Times!

15 Margaret Glaspy Emotions And Math

16 MINOR VICTORIES Minor Victories
Fat Possum


18 Avett Brothers True Sadness

19 WHITE LUNG Paradise
Domino Records

20 Jay Arner Jay II

California Dreamin’


23 TWIN PEAKS Down in Heaven
Grand Jury

24 Modern Baseball Holy Ghost
Run for Cover


26 JAMES BLAKE The Colour in Anything

27 Lucius Good Grief
Mom + Pop

28 case/lang/veirscase/lang/veirs


30 steve gunn eyes on the lines

31 Young Rival Strange Light
Paper Bag

32 Fruit Bats Absolute Loser
Easy Sound

33 PARQUET COURTS Human Performance
Rough Trade

34 PITY SEX White Hot Moon
Run For Cover

35 EAGULLS Ullages

36MALE GAZ EKing Leer
Castle Face

37 Lumineers Cleopatra

38 YUMI ZOUMA Yoncalla

39 BETH ORTON Kidsticks

40 Kvelertak Nattesferd

41 ANDREW BIRD Are You Serious
Loma Vista

42 DEAD SHIPS Citycide

43 Sonny & the Sunsets Moods Baby Moods


45 Plaid The Digging Remedy

46 SUPERMOON Playland

47 Tegan And Sara Love You To Death

48 Jayhawks Paging Mr. Proust
Thirty Tigers

49 M83 Junk

Commodore Trotter

51 PJ Harvey The Hope Six Demolition Project


53 J-Mythos Dumb

Rough Trade

55 VARIOUS ARTISTS A Tribute To Pet Sounds
Reverberation Appreciation Society

56 10th Letter ESCAPE FROM ATL

57 MEAN JEANS Tight New Dimension
Fat Wreck Chords

58 Chance The Rapper Coloring Book

59 Amber Arcades Fading Lines
Heavenly Recordings

60 Drowners On Desire


62 SAOSINA long The Shadow

63 ANDY SHAUF The Party
Arts & Crafts

64 WEAVE SWeaves

65 SARA WATKINS Young In All The Wrong Ways
New West

66 Asta Hiroki Balance EP
Jalapeno Records

67 Desdamona No Man’s Land

68 WEEZER Weezer (White Album)

69 SPRAY PAINT Feel The Clamps

70 Fakear Animal
Ninja Tune

71 NATHANIEL RATELIFF AND THE NIGHT SWEATS Nathaniel Rateliff And The Night Sweats

72 highest order still holding
idée fixe

73 ESKIMEAUX Year Of The Rabbit
Double Double Whammy

74 NEW MADRID magnetkingmagnetqueen
New West

75 MOURN Ha, Ha, Ha
Captured Tracks

76 Tor Blue Book

77 Jon Bap Let It Happen
Fresh Selects

78 Courtney Barnett Day of the Dead

79 RY X Dawn
Loma Vista

80 Young Magic Still Life

81 Mutual Benefit Skip A Sinking Stone
Mom + Pop

82 Jessy Lanza Oh No

83 Go jira

84 Legendary Rich Gilbert Stereo Action Music
Holy Wreckords

85 HOT HOT HEAT Kid Who Stays In The Picture

86 PRETTY CITY Colorize

87 Xeno & Oaklander Topiary
Ghostly International

88 YUNG A Youthful Dream A Youthful Dream
Fat Possum

89 Band of Horses Why Are You Ok

90 Power Trip

91 Rogue Wave Delusions of Grand Fur
Easy Sound

92 ScienZe Good Food
Dope League

93 Mulligrub Soft Grudge

94 HEAD AND THE HEART All We Ever Knew
Warner Bros

95 AESOP ROCK The Impossible

96 Beartooth

97 Lunch Duchess My Mom Says I Have A Rich Inner Life

98 MOCK ORANGE Put The Sleepy Kid On The Horse

99 TWIN RIVER Passing Shade
Light Organ

100 Space Dimension Controller Orange Melamine
Ninja Tune

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How Denis Leary Honored David Bowie on Last Night’s ‘Sex&Drugs&Rock&Roll’

Warning: This article contains major plot points from the most recent episode of “Sex&Drugs&Rock&Roll,” “Rebel Rebel.”

At first glance, Thursday’s episode of “Sex&Drugs&Rock&Roll” seemed preoccupied with blithe plotlines involving Johnny Rock (Denis Leary) and his girlfriend, Ava (Elaine Hendrix), engaging in a threesome – and Gigi (Elizabeth Gillies) throwing over boyfriend Flash (John Corbett) for some sexual experimentation with a sultry singer from out of town (Rebecca Naomi Jones).

But underneath the comedic narrative, the episode, titled “Rebel Rebel,” also served as series creator Leary’s homage to the late David Bowie, who died at age 69 earlier this year.

“He’s one of my favorite artists,” Leary told Speakeasy on the set of “SDRR” back in April. “Bowie and the Stones were my bridge until punk rock happened, so he’s always been a huge part of my rock and roll life.”

Before Leary even got into how he was able to work the legendary music artist into his FX show, he reflected on how Bowie’s death came on the heels of the loss of his friend and longtime collaborator, guitarist-composer Adam Roth, who passed away in December 2015 following a battle with cancer. But in an unexpected way, it was Bowie’s video “Lazarus,” released two days before the singer’s death, that provided Leary with an initial sense of healing:

“We were all mortified about what happened with Adam,” said Leary. “And that Friday [Jan. 8], I saw that video by Bowie. I thought it was an amazing video about a guy dying. I called [“SDRR” music-tech advisor] Charley [Roth], Adam’s brother, and his wife, and I said, ‘You guys have got to watch this video,’ because it’s the first time since Adam died that I watched something and I went, like, ‘Oh, my God!’ This made me feel almost like I’m healing a little bit. Like, spiritually, it’s uplifting.

“And then [a couple of days later],” Leary continued. “I wake up and find out that Bowie died, and I went, ‘That’s f—ing crazy.’ That that guy, an artist, could know what was happening to themselves and leave this document afterwards that – by the way – it’s not sappy, it’s not sentimental. How crazy is that video? And powerful!”

Leary’s next challenge was figuring out how to best honor Bowie on “SDRR” without messing with the show’s light, comedic tone. “It was very emotional for me,” he said. “[The writers and I], we said, ‘We gotta pay tribute, but we can’t do something serious because that would just be crazy.”

HIDE CAPTION Denis Leary as Johnny Rock in the 'Sex&Drugs&Rock&Roll' episode 'Rebel Rebel' PHOTO: JEFF NEUMANN/FX
Denis Leary as Johnny Rock in the ‘Sex&Drugs&Rock&Roll’ episode ‘Rebel Rebel’ PHOTO: JEFF NEUMANN/FX

So other than a couple of fleeting references to Bowie’s passing in the dialogue – and the “Rebel Rebel” title – last night’s Julieanne Smolinski-penned episode kept the Thin White Duke’s presence to a minimum. That is, until the final moments.

After Johnny and Flash found themselves booted out of their respective bedrooms so their girlfriends could engage in some women-only action (Ava with a member of an all-female AC/DC tribute band; Gigi with Jones’s character, Davvy), they bonded over pizza and a David Bowie doc. But what Leary never expected, was that he would be able to make the documentary part of that scene actually happen.

“I wanted to do a thing at the end where we would pay tribute to Bowie by virtue of the fact that this funny stuff was happening – and we were watching this Bowie documentary,” he said. “But I figured, I’m never going to get permission from his family, because it’s not, like, a serious tribute, it’s just me and Flash, who love Bowie, at the end of the show.”

As it turns out, the artist’s family was more than accommodating: “They gave us, like, 20 minutes of footage from back in the ‘Aladdin Sane‘ days, onstage and backstage,” said Leary.

For the record, the clips are not from an actual documentary. They’re BBC-owned footage of Bowie from the 1970s.

The end result was the best of both worlds for Leary: “You have to pay tribute to the guy, but on this show, it’s just gotta be funny.”

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Behind the scenes of Blood Orange with Iggy Pop

I am sitting in the waiting room of a Spanish vet with a sick cat and Iggy Pop. It feels like the strangest dream.

We are in Ibiza making a feature film, a noir thriller called Blood Orange. Iggy is playing the lead, an ageing rock star married to a beautiful seductress, and things get complex and dark. In these days of corporate movies and haemorrhaging budgets, it’s something of an anomaly. It’s the first feature directed by Toby Tobias, who wrote the script.

Toby is one of the hardest working people I know. He got Blood Orange off the ground with deft skill and blind faith. Blood Orange is financed by investors, family, friends and credit cards. In the midst of this intense schedule, 15-hour days, 15 days to shoot the film, there is the feeling that something good is happening. There’s a crew of 25 brilliant technicians and creatives from Ibiza, England, Barcelona and Madrid. No one’s being being paid up front but we all care.

And in the middle of it all is Iggy. Iggy was a surprise; Toby approached his agent, he liked the script, liked the director, accepted that it was low budget, that it would be tough, and that the living conditions would be basic.

Iggy has a deco villa with views to the ocean, opulent on the surface but devoid of character. It’s built like an ocean liner, clean lines and balconies and turquoise pool. He calls it the “dorm”. We are like a dysfunctional family. The “kids” are the other actors: Ben Lamb, Antonio Magro and Kacey Barnfield.

My job is to “look after Iggy” and the other actors, but primarily Iggy. It’s the strangest and most dazzling job I’ve ever had. I have dropped everything, abandoned my family and stepped into the dream.

For me, Iggy’s music was a series of teenage epiphanies that led me from New Romantic shiny Pulp to a dark growling poetry that spoke about distant cities and limitless possibilities.

When I meet him, I’m so nervous I am basically mute. He has a huge grin and blue, blue eyes. We make the short drive to the set; Iggy asks if “this interminable mind-fuck will ever end”. I realise it’s going to be fine.

We have an editor on the set and some of the actors clamour around to watch the rushes. Iggy doesn’t. When I ask him why, he says: “I don’t need to. I know I’m fucking cool.”

Mostly we try not to destroy the location villa; it’s the epitome of luxury.

On the set Iggy strides around with a shotgun and dead rabbits slung over his shoulder; there are corpses and a lot of blood. Off set he reads his Kindle, the cat purring on his belly.

Very occasionally being with Iggy feels normal, but mostly it’s surreal. Our day has a rhythm; coffee and eggs are my collateral. Being with him is like having an amazing perspective on the world. I ask him if he prefers touring or acting. He replies: “They both suck.” On Nico: “She taught me two things, how to drink red wine and give oral sex”.

There are moments I’ll never forget: hearing his songs drifting down from the balcony in the morning, or looking for his script and glasses. “There was a time when all I had was a T-shirt and a penis and that seemed to be enough,” he says. But most of all it will be the cat.

The cat has adopted us as his family. Grey and white, and kittenish, he actively seeks the company of Iggy. The “butler”, a camp guy who lives in the garden in a cottage, tells us the cat “just turned up”.

Meanwhile we ricochet between one millionaire’s villa to another, like a Hockney painting, of whites, blues and greens, from our bizarre fictional world where dark events play out daily, to our dysfunctional family life.

We do not leave our villa – we are not near anywhere, and there is no time anyway.

We wonder who is in charge – Iggy? Jacques, the omnipresent owner of the location villa, or Chris, our smiling producer? It’s probably the cat.

Then one night the cat is sick. He’s listless and limp and seems to have difficulty breathing, and there’s some matted hair on his side. His benefactor is Eleanor, who’s here to learn about makeup, but bizarrely is sometimes Iggy’s stand-in. It’s about midnight and we’d just finished shooting, too late to take a cat to the vet. We tell the producer our concerns, and he rolls his eyes. I sleep with the cat on my bed, wrapped in a blanket; he drinks a tiny bit of water. I’m half expecting him not to make it through the night. Would we use the shallow grave on the set? Dark dreams stalk my sleep.

At breakfast, after hearing the news, Iggy says, “I think we should make the kitty our priority today.”

It’s been an intense schedule; this is his first free day in two weeks. Earlier I’d asked him if he wanted to go to a spa. “I don’t want to go to a fucking spa. What am I going to do, put seaweed on my face? I hate that music they play.”

So we drive to a suburban vet with our driver Jos, Eleanor and the kitten and agonise over its likely fate. It’s not looking good. Somehow the cat’s fate has become as important as the movie. Reality and fiction slide into each other.

We rename the cat – bizarrely christened ‘Sugartits’ by the crew – to ‘Pop’. Iggy laughs. We must be an unconventional sight in the waiting room, even in Ibiza, but no one visibly raises any eyebrows. The vet is a gentle sincere young woman who explains that the cat has probably been in a fight or fallen, and is having trouble breathing. And is female. Iggy’s surprised. “She kind of acts like a he.” She’s going to need to stay in the hospital for a few days on an antibiotic drip.

When a group of people work in such close proximity there needs to be an outlet for the collective neurosis. For a while it was the catering, which was often both surprising and disappointing. One of the commandments of film-making is Never Compromise on the Catering.

Toby’s devastated, he’s an amazing cook. The all-time low is pasta with sausages. Iggy is diplomatic. “It’s like welfare dinners at elementary school.” But some of us plot increasingly wild revenge scenarios on the chef.

But our team has collective neurosis and the thing that bonds us is the cat – its survival and fate.

Next we have to find her a home and it’s going to be a challenge. Ibiza is an island of cats, and everyone who wants one has one, and we only have a few days.

Jacques, the villa owner, is the obvious candidate, but he has four already. He tells us mysteriously: “I am the cat wrangler, I tell them the truth.” Bizarrely Iggy agrees. “He is.” I realise the cat is taking up as much of my time as the film.

The next day is Iggy’s other day off and we visit the cat at the vet. She’s looking much better, and the vet tells us she has three broken ribs, is in a lot of pain and would have died if we hadn’t brought her in.


Many conversations about pet passports ensue. Iggy can’t take her to Miami – he has dogs. Eventually Sondra, who looks after the villas and is as mischievous as the cat, and similarly seeks the company of Iggy, agrees to take her. It is an emotional moment.

The film wraps. It is done. I tell Toby “it’s always been about the cat” and he agrees. To make a movie in 14 days seems like a small miracle. No animals were killed; in fact, the producer moves hedgehogs from the road at night and Ben rescues the beetles spiraling upside down in the pool. And the cat is saved.

For us the cat underlined that Iggy was someone great. We knew that he has a brilliant mind, is self-effacing, funny and subversive, but the cat made us love him unreservedly. At the airport Iggy asks: “Do you have any Euros, hon? I gave all mine to the cat.”

When I get home the world slides back into focus and it’s rather grey. I remember I have a screenwriting book called Save The Cat! I dig it out – the writer explains the Save the Cat scene. “They don’t put it into movies anymore. And it’s basic. It’s the scene where we meet the hero and the hero does something – like saving a cat – that defines who he is and makes us, the audience, like him.”

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Elliott Smith Devo tribute band

Elliott Smith in a 1994 Devo tribute band

In the early ’90s, before Elliott Smith was nominated for an Oscar and Chris Slusarenko played in Guided by Voices, they were just some guys knocking around Portland’s independent rock scene. Smith had just released his first solo album and was still in a band called Heatmiser. Slusarenko performed in a band called Sprinkler with his brother, Nate.

In 1994, the folks behind legendary Portland venue The X-Ray Cafe decided to have a talent show for the local music scene. The Brothers Slusarenko, Smith, and two other local musician friends—Sam Coomes of Quasi and Crackerbash’s Sean Croghan—thought it would be a gas to enter as a Devo tribute band. So they did. And the result was downright excellent.

Twenty-two years after the fact, the video of the performance has finally been digitized, and Chris Slusarenko’s current band, Eyelids, has put it on their YouTube channel. Take 20 minutes and bask in its glory.

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What could Brexit mean for the UK Music Biz?

Culture secretary John Whittingdale has no doubt what Britain leaving the EU would mean for the UK’s music industry: absolutely nothing.

“We are the most extraordinarily creative nation on the planet,” he told a mix of music biz executives and politicians at a UK Music reception at the House Of Commons last week, “And that has nothing to do with whether or not we are in the European Union. The world may or may not be different [after the result]. But the one thing which I’m absolutely certain about is that British music will go on continuing to thrive.”

Not many music people in the room seemed to agree – and, indeed, his comments later prompted no less towering a political figure than Stuart Braithwaite of Mogwai to brand him a “fucking moron” on social media.

More empirically, Music Week’s Twitter poll on whether a vote to Leave would be good or bad for the UK music industry came back with a resounding 91% saying it would be bad news.

Of course, the shocking death of pro-Remain MP Jo Cox puts any music-based issues into perspective. But, with the polls suggesting an Out victory is a distinct possibility, Music Week decided to take a cool, clear look at the actual implications of going it alone…

The most obvious area that could be affected is the live business. Any executive who was involved in the sector before Great Britain joined what was then the Common Market in 1973 has horror stories to tell of touring through Europe in the days before freedom of movement.

Back then, touring acts were required to carry a ‘carnet’ – a document listing their every piece of equipment that would be rigorously checked at each border – and visas were required to enter most European territories.

“Happy days,” sighs Rob Hallett, CEO of Robomagic. “Or were they? Anyone who has ever tried to go from the EU into Russia to perform will be having nightmares about six-hour border crossings with additional, expensive days off between shows in order to allow for possible delays.”

Whether that actually became the norm for UK artists would very much depend on the type of deal the UK government struck with the EU after its exit. Some in the live business privately believe it’s highly unlikely that anything would actually change, at least in the short term, but others warn that things could rapidly become very different.

“I think the live industry would be hit hard by the travel restrictions that will inevitably come with an EU exit,” says Hallett, who believes the current visa-free touring schedule would be replaced by the need to apply for a Schengen Visa, a document that allows you to enter most EU nations, that’s currently used by most US and non-European touring acts.

“This will hurt young developing acts the most,” he adds. “The extra paperwork and costs involved will be an obstacle that some simply won’t be able to transverse. For example, they will need to show proof of funds where fees are often cash on the night, or they rely on the T-shirt sales to get them through.

Will promoters in Europe even bother to book UK talent when there are great new acts locally that can be booked without the additional hassle?”

“For established artists it would simply add to their costs, but I doubt very much it would prevent them from touring,” agrees Tim Clark, director of IE:Music and manager of Robbie Williams, Passenger and many others. “Of course Robbie Williams can tour there, because he’s vastly and hugely popular.

But for many, many artists that are basically making a small amount of money or breaking even, the chances are that this would be the thing that finally pulls the plug on their live careers.”

And that’s just the start of the possible problems. Artists could be required to file tax returns in multiple countries when they play there, while VAT and excise duty might become due on the merchandise bands take into each country. And that’s before you factor in potentially soaring travel costs once the UK is free from EU economic regulation and if the pound – as seems likely – plummets against the Euro.

Then there’s the festival market: both for UK bands playing in Europe, and for European fans keen to visit our legendary events such as Glastonbury and Reading & Leeds.

“The festival market has developed as a truly European market and that is a great strength,” says Paul Reed, general manager of the Association Of Independent Festivals, “Especially when you consider the incredible festivals that have emerged aimed at Europe-wide audiences.

There is an argument that if Britain votes to leave the EU, it’s going to become more complicated to work across borders. We could also potentially see a reduction in music tourism, which generated £3.7bn for the UK economy in 2015, with a year-on-year increase of 16% in overseas tourists attending music events.”

Finding a music industry voice to speak publically in favour of Brexit is nigh-on impossible. But to play devil’s advocate: most of those restrictions and worse are in place in the US, and yet British music is thriving there.

Why would post-Brexit Europe be any different?

“British music is successful in America in spite of the barriers,” stresses Paul Pacifico, CEO of the Featured Artists Coalition. “Those barriers are a real problem, particularly to young artists. The thousands of pounds that have to be spent on visas and the difficulty of touring in the US is a nightmare.

“We were successful in Europe before being part of it, but again [it was] in spite of the barriers. Plus, the barriers only seem to be one way. It costs thousands of dollars to get a US visa. It costs £20 to bring a US artist into Britain.

Are we saying we want to have a world like that with Europe?”

But if live music would face huge challenges after we left our European cousins, surely recorded music would be OK? Here, again, UK artists are thriving: labels body the BPI says that British music accounts for 17.4% of album sales in Europe’s six biggest markets after our own (Germany, France, Sweden, Italy, the Netherlands and Spain).

In an increasingly digital, borderless world, there’s surely nothing the Vote Leave brigade can do to scupper that, right?

Wrong, as it turns out. All our current copyright law has come from Europe and, with the EU currently reviewing its regulations in the light of the European Digital Single Market, an exit could either leave us out of step with new legislation or ending up bound by it without having been fully involved in the negotiations.

“Ninety per cent of our members said that we need to be around the table when those rules are agreed,” says Geoff Taylor, chief executive of the BPI. “And we need to be able to influence them because otherwise we may end up with a set of rules which effectively exclude British labels in some way from free access to the European market. That would be a real concern.”

Of course, the UK government could draw up its own copyright legislation that would be hugely favourable to rights-holders. But detractors point out that European governments in general – and
French/German ones in particular – have always been keener to stand up to technology giants such as Google and Apple than our own decision-makers.

Meanwhile, industry sources privately concede that pan-European licensing – finally getting off the ground with initiatives such as PRS For Music/GEMA/STIM joint venture ICE – could go back to square one if UK copyright rules fall out of step with the rest of Europe. Taylor, meanwhile, raises the spectre of old fashioned trade barriers hitting British music exports.

“It’s possible we’d end up with tariffs on our exports,” he says. “And there could be other restrictions, such as cultural quotas on the amount of European music that needs to be played on radio stations or other services that could hold back our exports. There would be a greater incentive for protectionist behaviour against British music from Brussels and European countries if we’re not part of the single market.”

So far, so doomsday scenario. But, surely, there must be some positives to the UK leaving the EU? The wider business community certainly seems much more split than the music industry, with many smaller and entrepreneurial-type companies talking up the possibilities of less rigid taxation and less red tape.

“Flexibility on VAT could clear the way for the UK to reduce VAT on music as cultural goods, like books,” concedes Taylor. “But we don’t even know that’s what our government wants to do and, generally speaking, it hasn’t been in the business of reducing taxes on consumer consumption, because it wants the revenue.

Decisions might go against us just as much as they might go for us.”

And ultimately, that may be what has swayed the music industry so firmly behind Remain. With British music booming in Europe like rarely before, there is too much risk – and not enough opportunity – in changing for the music industry to ever see leaving Europe as a serious option.

“British music is succeeding tremendously well across the world,” concludes Taylor. “Now is not the time to take a risk with the economic background to that success. British labels create music for the whole world to enjoy and we don’t believe cutting ourselves off from our biggest export market makes any sense.

There’s a huge opportunity for continued growth in the digital era and we don’t want any barriers put in the way of that future growth.”

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David Lynch is like our nation’s super-fun, super-weird uncle, and it’s high time that he decided to get involved with a music festival. To his credit, he’s not riding the coattails of an established festival but has started one up from scratch.

It’s called the Festival of Disruption, and it’s going to happen in downtown Los Angeles on October 8 and 9. Lynch has put together the kind of impressive lineup of guests that you can only muster if you’ve long since become Hollywood royalty (albeit in a surrealist sort of way).

The headliners are Robert Plant and the Sensational Space Shifters. Joining them will be St. Vincent, Questlove, and Rhye, as well as a performance of music from Twin Peaks involving Sky Ferreira, Xiu Xiu, and Lynch’s axiomatic composer Angelo Badalamenti.

There will also be “talks” with figures such as the stars of Lynch’s masterpiece Blue Velvet (Kyle MacLachlan & Laura Dern), Blondie’s Debbie Harry and Chris Stein, and Mel Brooks, who was Lynch’s producer on The Elephant Man. There will also be screenings of Lynch’s films, daily Transcendental Meditation sessions, and more.

The venue is the Ace Theatre Hotel and Theatre, located at 929 South Broadway. Tickets go on sale Friday, June 24th at 10:00 a.m. PST. 100% of the proceeds will benefit the David Lynch Foundation, whose mission is reducing toxic stress and trauma among at-risk populations, including victims of domestic violence, veterans suffering from PTSD, and underserved urban youth, through the evidence-based Transcendental Meditation technique.

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November 2010 Top 10

November 2010 Station Top 10
1. Zion I “Atomic Clock” (Gold Dust Media)
2. Django Reinhardt “Djangology (10cdset)” (Documents Classics)
3. Brian Eno “Small Craft on a Milk Sea” (Warp Records)
4. Diego & the Dissidents “Contaminated Waters” (Quite Scientific)
5. Yo Mama’s Big Fat Booty Band “Greatest Hips Vol II”
6. Iggy Pop “Kill City” (Bomp! Records)
7. Englishman “Englishman” (Cave City Records)
8. The Hundred in the Hands “The Hundred in the Hands” (Warp Records)
9. Swedish House Mafia “Until One” (Astralwerks)
10. Gold Panda “Lucky Shiner” (Ghostly International)

1. Iggy Pop, “Kill City” (Bomp! Records)
2. Englishman, “Englishman,” Cave City Music
3. The Hundred in the Hands, “The Hundred in the Hands” (Warp Records)
4. V/A “Tribute To The Beatles”
5. Cloud Nothings, “Turning On”
6. Common Grackle, “The Great Depression” (Circle Into Square)
7. The Rutles “s/t”
8. Bluebeard, “Port of Sorts,” Badger Records
9. Vernian Process, “Behold the Machine”
10. Man Your Horse, “Man Your Horse”

1. Brian Eno “Small Craft on a Milk Sea”
2. Swedish House Mafia “Until One (Deluxe Edition)”
3. Gold Panda “Lucky Shiner”
4. White Noise Sound “White Noise Sound”
5. Eskmo “Eskmo”
6. Hair Loss “Triple Whippit EP”
7. Laco$te “The Paradox of Time EP”
8. Dnae Beats “Reptilian MIDI Jazz”
9. Various Artists “Ninja Tune XX Sampler”

Hip Hop/Funk/R ‘n’ B
1. Atomic Clock Zion I
2. Contaminated Waters Diego and the Dissidents
3. Trumpalump EP Dels
4. Mind Over Matter Zion I
5. Blind Threshold Beats Antique
6. Joy Sach
7. Pattern+Grid World Flying Lotus
8. NINJA TUNE XX Vol.1 [[Disc 2]] Various Artists
9. Rock On (Supreme Math Mix) Tokimonsta
10. Shipping and Handling Thes One

1. Django Reinhart – Djangology
2. Various Artists – Musette to Maestro 1928-1937
3. Django Reinhardt et le Quintette du Hot Club de France – Kimg of Reinhardt
4. Various Artists – Great Swinging Sounds
5. Moreland and Arbuckle – Flood
6. Various Artists – Django & His American Friends
7. John Lee Hooker – The Classic Early Years 1948-1951
8. Gaucho – Pearl
9. Yo Mammas Big Fat Booty Band – Greatest Hips Vol 11
10. Gyan Riley Trio – New York Sessions

1. Ari Up “Dread More Dan Dead”
2. Arsenio Rodriguez y Su Conjunto “Montuneando con Arsen??o Rodriguez y Su Conjunto -1946 – 1950”
3. Artemis “Gravity”
4. Atahualpa Yupanqui “Camino del Indio”
5. Catalino de Baranquilla “Colombianazo Tropicaliente”
6. Kastoria “As Thimithoume Ta Palia No 1”
7. La Sonora Dinamita “Dinamitazos de la Cumbia”
8. Marika Papagika “The Further The Flame The Worse It Burns Me”
9. Oscar Alem?°n y su Quinteto de Swing “Swing Guitar Masterpieces 1938-1957”
10. The Roots of Chicha “Psychedelic Cumbias From Peru”

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October 2010 Charts

Top 10 for October 2010
1. Various Artists ” Ninja Tune XX” (Ninjatune)
2. Mr. Bungle “Disco Volante” (Warner Bros.)
3. Malikat Dan Singa “Arrington De Dionyso” (K Records)
4. The Hundred in the Hands “The Hundred in the Hands” (Warp)
5. Eskmo “Eskmo” (Ninjatune)
6. Fences “Fences” (Onto Entertainment)
7. The Mutilators “I’m Sooooo Psychobilly”
8. Very Be Careful “Escape Room” (Barbes Records)
9. Unknown Hinson “Target Practice”
10. ‘Allo Darlin “Allo Darlin” (Fortuna Pop!)

1. Mr. Bungle “Disco Volante” (Warner Bros.)
2. Malikat Dan Singa “Arrington De Dionyso” (K Records_
3. The Hundred in the Hands “The Hundred in the Hands” (Warp)
4. Fences “Fences” (Onto Entertainment)
5. ‘Allo Darlin “Allo Darlin” (Fortuna Pop!)
6. The Goldenhearts “Is There Life On Mars?”
7. Iggy Pop & James Williamson “Kill City” ( Bomp! Records)
8. Miss TK & the Revenge “The Ocean Likes To Party Too” (Ernest Jenning Recording Co)
9. Thunder Buffalo “Thunder Buffalo” (Sarathan Records)
10. The National “Alligator” (Beggar’s Banquet)

1. Various Artists ” Ninja Tune XX” (Ninjatune)
2. Eskmo “Eskmo” (Ninjatune)
3. The Herbalizer “Herbal Tonic” (Ninjatune)
4. Stateless “Ariel” (Ninjatune)
5. Bassnectar “Cozza Frenzy” (Child’s Play/Amorphous Music)
6. Gold Panda “Lucky Shiner” (Ghostly International)
7. Space Dimension Controller “RS1008″
8. Shlohmo ” Shlomoshun Deluxe” (FoF Music)
9. James & Evander “This Isn’t the Beginning of Anything” (s/r)
10. Kruder & Dorfmeister “G-Stoned – EP” (G-Stone Recordings)

1.  The Mutilators “I’m Sooooo Psychobilly”
2. The Adicts “Life Goes On” (Prison Records)
3.  Nobunny “First Blood”
4.  La Plebe “hasta la muerte”
5. Bad Religion “Dissent of Man”
6. Various Artists “Father and Sons of Garage Punk, Vol. 5”
7. The Raincoats “The Raincoats”
8. The Stranglers  “Black and White” CAROLINE WORLD SERVICE CATALOG 
9.  Angry Johnny & The Killbillies “What’s So Funny?” (Pete’s Pig Parts)
10.Christmas Island  “Nineteen” (Captured Tracks)

Hip Hop / Soul / R’n’B
1. Various Artists “NINJA TUNE XX Vol.1” (Ninjatune)
2. Tricky “Maxinquaye” (Island)    
3. Michael Jackson “Thriller” 
4. Diego and the Dissidents “Contaminated Waters”  (Quite Scientific) 
5. Murs “Murray’s Revenge”   
6. Flying Lotus “Cosmogramma” (Warp)
7. Flying Lotus “Pattern+Grid World”  (Warp)
8. Yo Mama’s Big Fat Booty Band “Greatest Hips Volume II” 
9. Ansia “I Krissis” 
10. The Gaslamp Killer “My Troubled Mind” (Brainfeeder/Alphapup)

1. Very Be Careful “Escape Room”
2. Michael Land “The Secret of Monkey Island” – Special Edition
3. Marika Papagika “The Further The Flame The Worse It Burns Me, Äì Greek Folk Music In New York City 1919 to 1928”
4. Kritikies Mantinades “kritikies paranomes mantinades”
5. Giorgos Dalaras “tragoudia rembetika”
6. Cachete Maldonado “Cachete Maldonado Y Los Majaderos”
7. Atahualpa Yupanqui “Camino del Indio”
8. Harry Kalapana “Tiki Music – Hawaii – Vol. 1”
9. John Brown’s Body “Spirits All Around Us”

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September 2010 Top 10

Station Top 10 for September 2010
1. V/A “Give The People What They Want (KINKS Tribute)”
2. Light Pollution “Apparitions”
3. Primus “Frizzle Fry”
4. Lang Elliott “Music Of The Birds”
5. DJ Anibal of Nortec Collective ” Tijuana Beat Shop – Mezcla Continua de Nortec Por DJ Anibal”
6. V/A “The Golden Years of Disco Fuente”
7. V/A “Menastes”
8. Krust & Die – “I Kamanchi”
9. Sad Bastard Book Club “Another Family Dinner at the Saturn Residence Ends in Tears”
10. Lucabrazzi “Crash And Burn”

1. V/A “Give The People What They Want (KINKS Tribute)”
2. Light Pollution “Apparitions”
3. Primus “Frizzle Fry”
4. Lang Elliott “Music Of The Birds”
5. Sad Bastard Book Club “Another Family Dinner at the Saturn Residence Ends in Tears”
6. Lucabrazzi “Crash And Burn”
7. V/A “Scott Pilgrim Vs. The World Soundtrack”
8. The Plea “Nothing But Trouble”
9. Singing Bear “Gold”
10. Today Okay, “All this Weaponry”

1. DJ Anibal of Nortec Collective – ” Tijuana Beat Shop – Mezcla Continua de Nortec Por DJ Anibal”
2. Krust & Die – “I Kamanchi”
3. !!! – “Strange Weather, Isn’t It?”
4. Eleventh Sun – “God is Laughing at you LP”
5. Steinski – “What Does It All Mean?
6. Tremor “Viajante”
7. Eskmo “Cloudlight”
8. Joris Voorn “from a deep place”
9. Ellen Allien “orchestra of bubbles”
10. Bob Holroyd “Phonica006”

1. 8 KALAKAS “Pan De Muerto”
2. The Clash “The Clash (Singles)”
3. Bad Religion “Dissent Of A Man”
4. LiliPUT “Kleenex”
5. Frankenstein LIVS “LP”
6. The Street Dogs “The Street Dogs”
7. The Stooges “Funhouse (Deluxe Edition) [Remastered]”
8. The Business “Suburban Rebels”
9. X “Los Angeles”

Hip Hop/Soul/R&B

1. Beats Antique “Blind Threshold”
2. V/A “Heavy Deep Funk”
3. Ecid “100 Smiles and Runnin'”
4. Stevie Wonder “INNERVISIONS”
5. Ceschi “The One Man Band Broke Up”
6. Jammer “Jahmanji”
7. Common Grackle “The Great Depression”
8. V/A “Florida Funk”
9. The Herbalizer “Herbal Tonic”
10. Bonobo “Black Sands”

1. V/A “The Golden Years of Disco Fuente”
2. V/A “Menastes”
3. Gabriel Romero “Gabriel Romero”
4. Los Monstruos “Jerk-Jerk-Jerk-Jerk”
5. Albino! “Peralta House”
6. Lisandro Meza “Lisandro Meza y Su Conjunto”
7. Blue King Brown “Worldwize”
8. Trunk Show “Stay Bad”
9. Fruko y Sus Tesos “Soy Como Soy”
10. Aphrodesia “Precious Commodity”

1. Lucabrazzi “Crash And Burn”
2. Coyote Girl “Get Drunk”
3. Mister Loveless “Three Words”
4. Beats Antique “Blind Threshold”
5. Common Grackle “The Great Depression”
6. Todayokay “All This Weaponry”
7. The Famous “Come Home to Me”
8. Patrolled by Radar “Be Happy”
9. The Barrel Riders “The Barrel Riders”
10. Munly and the Lupercalians “Petr and the Wulf”

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August 2010 Charts

Station Top Ten
1. Christopher Willits “Tiger Flower Circle Sun” (Ghostly International)
2. Various “Comedy Block”
3. Shigeto “What We Held On To EP” (Ghostly International)
4. The Herbaliser “Herbal Tonic” (Ninjatune)
5. Unko Atama “Another Creature” (s/r)
6. Various “Car and Driver”
7. Frank Zappa “Joe’s Garage”
8. J Dilla “Donuts” (Stones Throw)
9. Microfiche “Jetpacks & Laser Beams”
10. Eleventh Sun “God is Laughing at You EP” (Altosync)

Rock / Alternative / Pop
1. Christopher Willits “Tiger Flower Circle”
2. V/A “Car And Driver: The Greatest Car Songs”
3. Michrofich “Jetpack And Laser Beams”
4. Depeche Mode “Violator”
5. Dead Confederates “Sugar”
6. Valerie Orth “Faraway City”
7. CEO “White Magic”
8. Carne Cruda “Oakland’s Tight”
9. Wild Nothing “Golden Haze”
10. THE FAMOUS / Come Home To Me

1. Shigeto “What We Held On” (Ghostly International)
2. Eleventh Sun “God is Laughing at You LP” (Altosync)
3. Oriol “Night and Day” (Planet Mu)
4. We Love “We Love”
5. Various Artists “The Art of Noise”
6. Pale Sketcher ” Jesu: Pale Sketcher” (Ghostly International)
7. Simian Mobile Disco “Simian Mobile Disco”
8. Neon Indian “Should Have Taken Acid With You”
9. Deru “Say Goodbye to Useless”
10. Jammer “Jahmanji” (Ninjatune)

Punk / Ska
1. Unko Atama “Another Creature”
2. Joe’s Garage “Joe’s Garage”
3. DOA “Bloodied But Unbowed”
4. Toy Dolls “Dig That Groove Baby”
5. Dead Kennedys “Plastic Surgery Disasters”
6. Rudo Movimiento “Rudo Movimiento”
7. The Potential Jones “Chinese Telephones”
8. Misfits “Collection I”
9. Gallows “Grey Britain”
10. Hudson Criminal “Last Days of Man

Hip Hop/Soul/RnB
1. J Dilla “Donuts”
2. Wax Tailor “Tales of Forgotten Melodies”
3. V/A “Carolina Funk – First In Funk”
4. Janelle Monae “The Archandroid”
5. Nujabes “First Collection”
6. RJD2 “Deadringer”
7. Shigeto “What We Held Onto EP”
8. Sly & the Family Stone “The Essential Sly & the Family Stone”
9. 40 Winks “Sound Puzzle”
10. Brak the Mask “Red Dark Funk”

1. Unko Atama “Another Creature”
2. Microfiche “Jetpacks & Laser Beams”
3. Joe’s Garage “Joe’s Garage”
4. Valerie Orth “Faraway City”
5. The Famous “Come Home to Me”

International / World
1. Angus and Julia Stone “Down the Road”
2. King Africa “Bomba Latina”
3. V/A ” Sicodelic 60s Peru”
4. Chico Trujillo “Cumbia Chilobiana”
5. Core of the Coalman “Affinity Groups”

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