What is the world coming to?

Part one was amazingly accurate, and part two, well, more of the same.

For the local SC kids:

Toro Y Moi
Deceptively straight males who think “riding the chillwave” is a national pastime.

Devo is having a live listening party showcasing its first record in 20 years…for cats. Right now. Seriously. This is so weird. And awesome. Something for Everybody is out today via Warner Bros.

Refused’s The Shape of Punk to Come sounds as unbelievably raucous and intense as it did 12 years ago. This climactic swansong obviously aped all of Refused’s hardcore and punk idols with practically every idea showcased, but the execution was perfect, which makes it all completely justified and, well, a moot point. The fact that the band broke up when it reached its absolute apex creatively is by definition punk as fuck. So, all those kids longing for a reunion clearly don’t get what these guys were all about. Refused’s lead singer Dennis Lyxzén recently spoke with Exclaim and explained his perspective in eschewing any sort of reunion to cash in on the legend:

“To be in that band is one of those things that half the time I’m sympathetic and understanding towards why people would do it. The other half, it’s just such a useless maneuver. It’s a defeatist attitude but if your objective is to play music with your friends and have a good time, there’s no harm in reuniting your band for a couple of shows. For us, there have always been so many other aspects of what we did, that it always felt like a complete no-no. You can’t do that shit. Minor Threat never got back together. That’s kind of our take on it. With some things, the legend is better than the actual thing.”

I doubt even many of the bands (with a legend to protect) who have chosen to reunite would disagree with Lyxzén there. The legend is always better than the actual thing. Anyone who witnessed Led Zeppelin in its heyday and then also happened to catch what constituted a reunited “Led Zeppelin” at the O2 Arena back in 2007 would in all likelihood affirm the same. Bands with the set of ideals that Refused actively preached have to stay true to the code or run the risk of becoming an utter mockery. So don’t hold your breath for a tour.

The Shape of Punk to Come has been reissued by Epitaph in a deluxe array of formats with all the requisite bonus features, including live tracks, liners, and photos. If you have never owned this album, and sometimes feel the urge to smash your face into a plate glass window, then I suggest you pick up a copy. You’re welcome. [Via Punk News]

Interpol’s self-titled fourth LP will be released via Matador Records this September, as Pitchfork has just reported. Not entirely surprising, given that the band’s major label debut, Our Love to Admire, failed to yield the type of commercial radio play that the clueless suits at the dying firms tend to favor. Matador is a much better home for Interpol’s brand of dense, dark post-punk, anyway. Losing bassist Carlos D hasn’t slowed down any of the band’s plans, however, as they’ve replaced him for the upcoming tour with Dave Pajo of the legendary Slint. Brandon Curtis of Secret Machines will join the group as well for keyboard and backing vocal duties. A slight hiccup in tour planning has postponed Interpol’s promotional machine for the forthcoming record, but those dates will likely be rescheduled.

David Gedge is selling his guitar (via Twitter)

David bought this Ibanez Artist semi-acoustic guitar brand new in early 1983 for £300 in Leeds after borrowing the money from bandmate Peter Solowka! Used at over a thousand concerts in Europe, North America and Asia including the first official Wedding Present show in Allerton Bywater, Yorkshire on 1st March 1985 and on every Wedding Present and Cinerama album since!

I Blame Coco – Self Machine

Still getting used to the extreme hard left turn away from I Blame Coco’s raw demos. The first few songs off this to-be-released major label debut remove the intimacy of her reggae-tinged pop in favor of today’s electronic flavor. I’m not yet 100% behind this new path, as I miss the juxtaposition of Coco Sumner’s raspy voice with the sparse instrumentation of her first few independent releases. The more I listen to “Self-Machine” the more it grows on me. I think it’s a good song structurally, but I can’t help but wonder how it would sound without all the electronics fussing it up in order to be “current.”