Mark Lanegan Band tour 2014/2015

[bibi]

Aldo Struyf answered somebody who asked him about upcoming tours on facebook:
"nov US - jan/feb/maa EU"
So I guess tourdates should be announced soon...

[silence]

Yeah, Heavenly announced yesterday on their Phantom Radio page that UK dates will be announced very soon.

[coma]

Wow didn't expect US dates to be this soon. As long as the east coast dates aren't Thanksgiven weekend I'm good.

[miracle]

Aug 28, 2014 8:49:35 GMT -5 bibi said:

nov US

Gimme gimmee gimmeee!!!!
I would like a Black Friday Birthday show.

[ShotByTheBlues]

Come back to feckin Norway! Every show has been great, even the Afghan Whigs were great. Marky Mark and the Funky Bunch, Oslo misses you.

[dcdog]

" I always liked Philly.. for your no bullshit attitude" - ML...oct 2013

c'mon back Mark. World Café live this time, maybe

[wheels132]

Sept 2, 2014 19:17:19 GMT -5 dcdog said:

" I always liked Philly.. for your no bullshit attitude" - ML...oct 2013

c'mon back Mark. World Café live this time, maybe

Ha I was at that show and remember that line. Frigin excellent show that night--Phantasmagoria was ace

[Lucy]

November isn't very far away. I wonder why they haven't announced U.S. dates yet.

#impatient

[inthefade]

Hopefully the Philly date doesn't conflict with DFA 1979, or I might have to miss out this time around...

[Grumpella]

Aug 30, 2014 6:26:13 GMT -5 miracle said:

Aug 28, 2014 8:49:35 GMT -5 bibi said:

nov US

Gimme gimmee gimmeee!!!!

NOW


nownownownownownownow nownownownownownow


now

[angela]

I have a 4th row ticket for Ryan Adams. No clshes, please!

[silence]

US dates just gone up on Facebook, which doesn't let me copy/paste. Tix on sale Friday

[aktalv]

First official news

marklanegan.com/mark-lanegan-band-to-tour-us/

[calm ocean]

come on mark. add some Canadian dates.

[leisureman]

MARK LANEGAN BAND Autumn Tour:
10/29 – Seattle, WA @ Neptune
10/30 – Portland, OR @ Crystal Ballroom
11/01 – San Francisco, CA @ Great American Music Hall
11/02 – Los Angeles, CA @ El Rey Theatre
11/03 – Englewood, CO @ Gothic Theatre
11/04 – Chicago, IL @ Bottom Lounge
11/05 – Cleveland, OH @ Grog Shop
11/07 – Philadelphia, PA @ Underground Arts – Wolf Building
11/08 – New York, NY @ The Marlin Room at Webster Hall
11/09 – Washington, DC @ U Street Music Hall

Nice, LA show is at the same venue where he played with Isobel Campbell.

[coma]

Nice placement of dates for me. Philly and NYC it is.

[Grumpella]

Seattle Portland and a very strong temptation to fly to San Francisco, until I remember that I can't buy the airfare until two weeks in advance and I don't even want to know what that might cost.

[wheels132]

Philly and DC baby. Awesome.

[coma]

Wonder if he'll make a appearance at the Qotsa Halloween show?

[miracle]

The Neptune??// Why not the Showbox???
Is the sound any better?

I really don't want to sit down for shows [GAMH]. Especially for a MLBAND performance.

I know I will be in Seattle that week [Halloweeeeen], and am considering a daytrip to Portland, and just flying late to SF for the show, and then heading to L.A.
I wish I could confirm for the east coast, but it doesnt look like it. 3 is better than none..

[miracle]

Sept 16, 2014 20:53:01 GMT -5 coma said:

Wonder if he'll make a appearance at the Qotsa Halloween show?

I'm also wondering where Lanegan will be trick-or-treating.
i didnt consider that Queens show. I figured he'd either stay in Portland or head to SF early.

[Hugs and Hisses]

Hey, Philly folks -- what's the deal with the listing saying it's "Underground Arts -- Wolf Building"? I'm not a huge fan of the sound system at Underground Arts. Is this Wolf Building different than the usual UA venue? I'm trying to decide between close-to-home UA vs. schlepping into NYC in the hopes of getting a less muddy sound system.

[miracle]

to give the Neptune Credit, I do like the info/interview-like thing they posted on their site,



STG Presents Mark Lanegan Band at the Neptune in Seattle on Wednesday, October 29, 2014.

Mark Lanegan is almost 50. He is also about to release a new album, titled Phantom Radio. It will be the ninth under his own name, but combine it with the collaborative albums he’s made, be it with Isobel Campbell, or Duke Garwood, or as 50 per cent of the Gutter Twins (his ongoing partnership with Greg Dulli), or his legendary first band the Screaming Trees, then the total is nearer 20. Then there’s his guest spots with Queens Of The Stone Age, and, before then, Mad Season, the mid-‘90s Seattle supergroup that featured members of Alice In Chains, Pearl Jam and Screaming Trees. And that’s before we count his many occasional or one-off collaborations, as the singer on records by the varied likes of UNKLE, Martina-Topley Bird, Moby, Soulsavers, Melissa Auf der Maur and Creature With The Atom Brain. In total, Mark Lanegan has made close to 50 records. Fifty years, 50 records. What has this life taught him?

Mark Lanegan smiles broadly and gives a chuckle. “That there’s more to life than writing songs every day.”

He used to get up every morning and write something. Leave it for a few hours, come back, chip away again at night. By the time it came to make a record, he had a mountain of material, only a small portion of which survived onto the finished article. But for Phantom Radio, just like its celebrated predecessor Blues Funeral (2012), he recorded every song he wrote. It took two and a half months to make, but that’s because these days Mark likes to take things leisurely. He would write a song. Bring it to Alain Johannes, his producer, who then arranged the recording at his days Mark likes to take things leisurely. He would write a song. Bring it to Alain Johannes, his producer, who then arranged the recording at his West Hollywood studio. Once the song was recorded, Mark took a few days off and then wrote another. He estimates he worked a couple of days a week, and no more than five hours a day. This is not the workshy regimen of a slacker, however, but the discipline of a true craftsman.

Mark, typically, regards his modus operandi in rather more modest terms.

“I’ve got better at distilling what makes a successful song for me and what doesn’t. I think I’ve become more discerning. But,” he laughs, “less active at the same time. It’s a nice balance to strike when you’re 50! I don’t get as crazy about it when I was younger. It was a lot harder, when I was younger, to write songs.”

Mark’s younger days were crazy by any definition. A troubled kid in the small Washington State farm town of Ellensburg – in and out of jail for theft and drug-dealing – at age 20 a doctor told him he would be dead by 30 unless he addressed his alcohol intake. Lanegan would subsequently joke that heroin therefore saved his life. He saw more violence in the Screaming Trees than in any correctional institution: the band he joined in 1984 whirled around a vortex of sibling strife as its songwriting brothers punched their way through a succession of progressively more powerful albums, until 1992’s Sweet Oblivion brought the Trees a modicum of commercial success to match the respect they had earned among Seattle scene peers like Nirvana.

Parallel to his band’s turbulent journey, Lanegan began releasing a succession of solo albums, primarily acoustic, which revealed a stentorian voice and forbidding persona at which the Trees’ florid, rootsy psychedelia barely hinted. His debut, The Winding Sheet (1990), grew out of an aborted attempt by Lanegan and Kurt Cobain to record an EP of blues covers. Lanegan’s treatment of Leadbelly’s Where Did You Sleep Last Night survived (and indeed provided Cobain with the template for Nirvana’s later celebrated version), but it would be the masterful follow- up, Whiskey For The Holy Ghost (1993), that confirmed Lanegan’s credentials as a truly unique artist.

Another 10 years elapsed, however, before he made an album that pricked the Ghost’s aura. Bubblegum (2004) saw Lanegan emerge from the wreckage of the Screaming Trees and his on-off struggles with addiction to create a new version of the blues: part-acoustic, part-electro-rooted contexts mostly produced by Alain Johannes, with a floating cast of helpers, some illustrious (Josh Homme; PJ Harvey) others not. Seven years of collaboration followed before Lanegan, now a paragon of clean living, delivered the towering Blues Funeral, its Krautrock curlicues adding new textures to his molasses-thick doom canvas.

And now Phantom Radio builds on the same foundations: produced by Alain Johannes, and that voice intoning deep truths hewn from the bleakest realm. “I saw the feet of pilgrims bleeding,” Mark sings on Judgement Time. “I saw whole cities drowning, I saw whole armies dying.” You believe every word; no other living singer’s voice feels so charged with Biblical portent.

Which is all part of the craft, because Mark Lanegan is not as black as he’s been painted. His chief compositional tool on Phantom Radio was his phone – specifically an app called Funk Box. “I didn’t bother to hook up my 909 and 808 this time,” he says, “because the app had ’em. I’d write drum parts with it then add music with the synthesizer or the guitar.”

Phantom Radio grew organically from these synthetic roots, taking in Mark’s ongoing love of Krautrock and also an ’80s new wave show on Sirius satellite radio, his favoured aural companion as he drives around Los Angeles. “They have a few good shows – Little Steven’s garage punk one is great – but the ‘80s one in particular I like,” he says. “That’s the music that was happening when I started making music. And although the Trees drew on Nuggets psychedelia, 13th Floor Elevators and Love, we were actually listening to Echo And The Bunnymen, Rain Parade, the Gun Club. A lot of British post-punk. We loved that stuff. I just waited until I was in my late forties before I started ripping it off.”

Trip-hop – a peculiarly British ’90s post-punk variant – is the inspiration for at least one of the album’s peak moments: The Killing Season (“My soul’s in traction/Cops and criminals and all that crawl get into action”), co-written by Dutch violinist Sietse Van Gorkom.

Lanegan’s generous collaborative spirit delivered another co-write, from British guitarist Duke Garwood, with whom Mark made 2013’s dustbowl-desolate Black Pudding and who now offers the music for I Am The Wolf, a Lanegan signature tune. Mark’s favourite song on the album, meanwhile, is Torn Red Heart, an intensely tender meditation for a broken heart that’s like The Velvet Underground’s Pale Blue Eyes orchestrated by Angelo Badalamenti. He also has a special mention for Floor Of The Ocean, which balances sheer catchiness with a deceptively bleak lyrical reflection on a life lived on the hard shoulder: “Clear eyes, can’t avoid the searchlight/Hope that they don’t find me/ Find me where I’m lying.” Joining him on vocals is Shelley Brien, Mark’s girlfriend for the past 10 years. The singer considers the song, and offers a telling observation.

“It’s rare for me to be moved by my own, but that song has a sadness that actually affected me when I heard it back. I’m very fond of it.”

The album title stems from a lyric in Smokestackmagic, which features on the EP, No Bells On Sunday, that will precede the album’s release – five songs written during the same period but which were, in Mark’s judgment “too goofy” to fit with the rest. “I’m less apt to throw away a song that might be a little weird nowadays. I can make it work with whatever I’ve got going.”

Amidst this new Mark Lanegan album’s spooked headspace, reeling at the beauty and danger amid each melody, it feels like the Phantom Radio’s been switched on for all eternity. Notoriously hard to please, its creator pronounces himself as happy as he can possibly be. “I never have really questioned the lyrical process,” he says. “I go with whatever presents itself. And often what presents itself is considered dark or moody. But sometimes I’ll actually hear the same thing I’ll hear in somebody else’s song. When that happens it’s a pleasant experience.”

[username2500]

what good news! what, I wonder, is the Marlin Room of Webster Hall

[username2500]

does this mean seated?