22-03-2013, 13:19
online listen
seventh album
I've heard a couple but nothing to grab me
didn't care for the slower ones on here
only 1 track I liked, which I included below
it kicks butt
1.3 from me and a converted 2.4 from allmusic
web site - http://blackrebelmotorcycleclub.com/?show_order=false
from the album - Sell It
http://www.youtube.com/watch?v=oOp6m771Z_Q
released Mar 19th, 2013
![[Image: MI0003494111.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_250/MI0003/494/MI0003494111.jpg?partner=allrovi.com)
Bio - from allmusic
The seed that became Black Rebel Motorcycle Club -- or BRMC for short -- was planted in 1995,
when Robert Levon Been (aka Robert Turner) and Peter Hayes met while attending high school in
San Francisco. The two formed a solid friendship and a shared camaraderie based on a mutual
love of early-'90s U.K. bands like Ride, the Stone Roses, the Jesus and Mary Chain, and My
Bloody Valentine. Despite such similar tastes, both joined different bands -- Hayes spent time
in the Brian Jonestown Massacre circa Give It Back! -- and worked apart for several years,
although they occasionally kept in touch by attending each other's gigs. In 1998, however,
Turner and Hayes regrouped and added British drummer Nick Jago to the fold. The band began
performing live in November 1998 as "the Elements," a name they quickly ditched after
discovering many other bands that shared the same title. They purloined their new moniker from
the Marlon Brando-led biker gang that stormed into that dusty California hamlet in The Wild
One.
By 1999, BRMC had recorded a polished, 16-track demo CD and relocated to Los Angeles. The Santa
Monica-based radio station KCRW jumped on the band's demo first, giving them their initial
airplay, but interest in the band eventually spread across the Atlantic, where BBC Sheffield
named the demo their "Record of the Week." Oasis' Noel Gallagher even expressed interest in
signing the band to his new Brother Records imprint, telling MOJO magazine that they were his
favorite new group. After inking a lucrative Warner/Chappell publishing deal, however, Black
Rebel Motorcycle Club began fielding offers from several labels, and they ultimately chose to
sign with Virgin Records in March 2000.
Following a short U.S. tour with the Dandy Warhols, the band entered the recording studio and
eventually emerged with a self-titled debut, B.R.M.C., which was released in March 2001. Two
years later, the trio returned with a slicker edge and a new album, Take Them on, on Your Own,
which peaked at number three on the U.K. charts. They severed ties with Virgin Records eight
months later. A deal with RCA surfaced within months, and the acoustic, Americana-influenced
Howl arrived in August 2005. The band moved back to the loud rock & roll approach favored on
their first two albums with 2007's Baby 81, and the resulting tour was documented by the band's
first concert DVD, LIVE, in 2009.
Nick Jago left the band after Baby 81's release, ostensibly to focus on his solo career. With
the Raveonettes' touring percussionist, Leah Shapiro, now handling drum duties, BRMC decided to
change their direction once again, this time embracing electronica and ambient noise on The
Effects of 333. Independently released via the band's own label, The Effects of 333 failed to
gain either commercial or critical acclaim, and BRMC chose to partner with Vagrant Records for
the release of their next album, 2010's Beat the Devil's Tattoo. While touring that album, the
band lost their engineer and Been's father, Michael Been (the leader of '80s alternative heroes
the Call), who died of a heart attack backstage after a show in Belgium. They toured throughout
2012 and 2013, then announced their seventh album Specter at the Feast in early 2013.
Fittingly, they covered the Call for their first single, "Let the Day Begin," and Been also
joined the Call for a string of concerts, standing in for his late father.
Album Review - from allmusic
With 2010's superb Beat the Devil's Tattoo, Black Rebel Motorcycle Club found a balance between
their muscular, fuzzed-out noise rock and rootsy if no less punk-inspired take on American
blues and country. The trio, now featuring singer/bassist Robert Levon Been, singer/guitarist
Peter Hayes, and drummer Leah Shapiro (who joined for Devil's Tattoo), seemed to have matured
into a fully realized version of its younger self. BRMC's seventh studio album, 2013's Specter
at the Feast, takes this musical maturation even further, as the band delves into a moody,
sustained, and long-form dream pop aesthetic. Much of this introspection is most likely
inspired by the loss of Robert Been's father, the Call frontman Michael Been, who suffered a
heart attack and died backstage at the 2010 Pukkelpop Festival in Belgium. As BRMC's touring
soundman, Been was an invaluable source for both creative and professional advice, as well as
an inspiring, loving force in the group's life. The loss, understandably, hit BRMC hard and,
purportedly, they wondered if they could continue to make music without him. Thankfully, they
ultimately decided that they could, and if the music on Specter at the Feast is any indication,
they became a stronger, deeper, more commanding band for the experience. Michael's presence
permeates all of the songs on Specter at the Feast, with lyrics that clearly find the band
toiling with the loss. On "Returning," Robert sings, "A part of you is ending, a part of you
holds on," and later, "But you must leave and not turn back, knowing what you hold/How much
time have we got left, it's killing us, but carries us on...carries us all." However, the album
isn't solely an introspective one. On the contrary, cuts like the bluesy "Hate the Taste" and
the defiant "Teenage Disease" prove that BRMC have lost none of their rock & roll snarl. That
said, the album, which is dedicated to Michael's memory, will most likely stand as the band's
most bittersweet. Perhaps the best example of this is BRMC's cover of the Call's 1989 hit, "Let
the Day Begin." Poignant yet triumphant and joyful in tone, the cover, as with all of Specter
at the Feast, stands as both a heartfelt tribute to their bandmate and a rallying cry for
moving forward.
Track Listing
1. Fire Walker
2. Let the Day Begin
3. Returning
4. Lullaby
5. Hate the Taste
6. Rival
7. Teenage Disease
8. Some Kind of Ghost
9. Sometimes the Light
10. Funny Games
11. Sell It
12. Lose Yourself
seventh album
I've heard a couple but nothing to grab me
didn't care for the slower ones on here
only 1 track I liked, which I included below
it kicks butt
1.3 from me and a converted 2.4 from allmusic
web site - http://blackrebelmotorcycleclub.com/?show_order=false
from the album - Sell It
http://www.youtube.com/watch?v=oOp6m771Z_Q
released Mar 19th, 2013
Bio - from allmusic
The seed that became Black Rebel Motorcycle Club -- or BRMC for short -- was planted in 1995,
when Robert Levon Been (aka Robert Turner) and Peter Hayes met while attending high school in
San Francisco. The two formed a solid friendship and a shared camaraderie based on a mutual
love of early-'90s U.K. bands like Ride, the Stone Roses, the Jesus and Mary Chain, and My
Bloody Valentine. Despite such similar tastes, both joined different bands -- Hayes spent time
in the Brian Jonestown Massacre circa Give It Back! -- and worked apart for several years,
although they occasionally kept in touch by attending each other's gigs. In 1998, however,
Turner and Hayes regrouped and added British drummer Nick Jago to the fold. The band began
performing live in November 1998 as "the Elements," a name they quickly ditched after
discovering many other bands that shared the same title. They purloined their new moniker from
the Marlon Brando-led biker gang that stormed into that dusty California hamlet in The Wild
One.
By 1999, BRMC had recorded a polished, 16-track demo CD and relocated to Los Angeles. The Santa
Monica-based radio station KCRW jumped on the band's demo first, giving them their initial
airplay, but interest in the band eventually spread across the Atlantic, where BBC Sheffield
named the demo their "Record of the Week." Oasis' Noel Gallagher even expressed interest in
signing the band to his new Brother Records imprint, telling MOJO magazine that they were his
favorite new group. After inking a lucrative Warner/Chappell publishing deal, however, Black
Rebel Motorcycle Club began fielding offers from several labels, and they ultimately chose to
sign with Virgin Records in March 2000.
Following a short U.S. tour with the Dandy Warhols, the band entered the recording studio and
eventually emerged with a self-titled debut, B.R.M.C., which was released in March 2001. Two
years later, the trio returned with a slicker edge and a new album, Take Them on, on Your Own,
which peaked at number three on the U.K. charts. They severed ties with Virgin Records eight
months later. A deal with RCA surfaced within months, and the acoustic, Americana-influenced
Howl arrived in August 2005. The band moved back to the loud rock & roll approach favored on
their first two albums with 2007's Baby 81, and the resulting tour was documented by the band's
first concert DVD, LIVE, in 2009.
Nick Jago left the band after Baby 81's release, ostensibly to focus on his solo career. With
the Raveonettes' touring percussionist, Leah Shapiro, now handling drum duties, BRMC decided to
change their direction once again, this time embracing electronica and ambient noise on The
Effects of 333. Independently released via the band's own label, The Effects of 333 failed to
gain either commercial or critical acclaim, and BRMC chose to partner with Vagrant Records for
the release of their next album, 2010's Beat the Devil's Tattoo. While touring that album, the
band lost their engineer and Been's father, Michael Been (the leader of '80s alternative heroes
the Call), who died of a heart attack backstage after a show in Belgium. They toured throughout
2012 and 2013, then announced their seventh album Specter at the Feast in early 2013.
Fittingly, they covered the Call for their first single, "Let the Day Begin," and Been also
joined the Call for a string of concerts, standing in for his late father.
Album Review - from allmusic
With 2010's superb Beat the Devil's Tattoo, Black Rebel Motorcycle Club found a balance between
their muscular, fuzzed-out noise rock and rootsy if no less punk-inspired take on American
blues and country. The trio, now featuring singer/bassist Robert Levon Been, singer/guitarist
Peter Hayes, and drummer Leah Shapiro (who joined for Devil's Tattoo), seemed to have matured
into a fully realized version of its younger self. BRMC's seventh studio album, 2013's Specter
at the Feast, takes this musical maturation even further, as the band delves into a moody,
sustained, and long-form dream pop aesthetic. Much of this introspection is most likely
inspired by the loss of Robert Been's father, the Call frontman Michael Been, who suffered a
heart attack and died backstage at the 2010 Pukkelpop Festival in Belgium. As BRMC's touring
soundman, Been was an invaluable source for both creative and professional advice, as well as
an inspiring, loving force in the group's life. The loss, understandably, hit BRMC hard and,
purportedly, they wondered if they could continue to make music without him. Thankfully, they
ultimately decided that they could, and if the music on Specter at the Feast is any indication,
they became a stronger, deeper, more commanding band for the experience. Michael's presence
permeates all of the songs on Specter at the Feast, with lyrics that clearly find the band
toiling with the loss. On "Returning," Robert sings, "A part of you is ending, a part of you
holds on," and later, "But you must leave and not turn back, knowing what you hold/How much
time have we got left, it's killing us, but carries us on...carries us all." However, the album
isn't solely an introspective one. On the contrary, cuts like the bluesy "Hate the Taste" and
the defiant "Teenage Disease" prove that BRMC have lost none of their rock & roll snarl. That
said, the album, which is dedicated to Michael's memory, will most likely stand as the band's
most bittersweet. Perhaps the best example of this is BRMC's cover of the Call's 1989 hit, "Let
the Day Begin." Poignant yet triumphant and joyful in tone, the cover, as with all of Specter
at the Feast, stands as both a heartfelt tribute to their bandmate and a rallying cry for
moving forward.
Track Listing
1. Fire Walker
2. Let the Day Begin
3. Returning
4. Lullaby
5. Hate the Taste
6. Rival
7. Teenage Disease
8. Some Kind of Ghost
9. Sometimes the Light
10. Funny Games
11. Sell It
12. Lose Yourself
