All of the DC9's shows until October 20 have been canceled or moved to Rock & Roll Hotel, including gigs by MillionYoung/Sunglasses and Prince Rama/Light Pollution. Future shows this month, including Matthew Dear, Small Black/Class Actress, and First Aid Kit, are still on for the moment. Check here for the updated schedule.

A note on the DC9 website reads, "DC9 is deeply saddened by the tragic events that have occurred. Our condolences go out to the family of the victim. We would like to thank our friends, family, and all the employees of DC9. DC9 is a special environment of some of strongest friendships that could only be compared to a close family, which we consider ourselves. We very much look forward to our day in court. Stand strong bars & stars."

Posted by Ryan Dombal on October 15, 2010 at 2:55 p.m.

Tags: Legal,

Tracklist:

01 Rain
02 Mexican Slayride
03 22
04 Water
05 Kingstep (LP Version)
06 18th Special
07 Damn It (Extended LP Version)
08 Lee Perry: Exercising (Horsepower Remix)
09 Poison Wine

Notes: First album in six years from these dubstep progenitors.

Posted by Larry Fitzmaurice on October 15, 2010 at 2:35 p.m.

Tags: New Releases, Horsepower Productions, Tempa

Bejar: "Kaputt by Malaparte, which Bejar has never read… Kara Walker, specifically the lyrics she contributed to the song 'Suicide Demo for Kara Walker'… Chinatown, the neighborhood bordering on Bejar's… Baby blue eyes… 80s Miles Davis… 90s Gil Evans… Last Tango in Paris… Nic Bragg, who played lead guitar on every song, again… Fretless bass… The hopelessness of the future of music… The pointlessness of writing songs for today… V-Drums… The superiority of poetry and plays… And what's to become of film?… The Cocaine Addict… American Communism… Downtown, the neighborhood bordering on Bejar's… The LinnDrum… Avalon and, more specifically, Boys and Girls… The devastated mind of JC/DC, who recorded, produced and mixed this record from fall of 2008 to spring of 2010… The back-up vocals of certain Roy Ayers and Long John Baldry tours… Merry Christmas, Mr. Lawrence…"

As previously reported, on November 2, Merge will release the new Destroyer EP "Archer on the Beach" b/w "Grief Point", featuring collaborations with Tim Hecker and Loscil. Neither track will appear on Kaputt.

Kaputt:

01 Chinatown
02 Blue Eyes
03 Savage Night at the Opera
04 Suicide Demo for Kara Walker
05 Poor in Love
06 Kaputt
07 Downtown
08 Song for America
09 Bay of Pigs (Detail)

Posted by Tom Breihan on October 15, 2010 at 1:20 p.m.

Tags: Destroyer, Dan Bejar, New Releases, Merge

Butler serves as keynote speaker at the Center for Civic Engagement-sponsored Civically Engaged Young Alumni Week. A representative for the Center told North by northwestern that it's "possible" that Butler will perform as well as speak, but nothing is planned.

Posted by Tom Breihan on October 15, 2010 at 12:20 p.m.

Tags: Arcade Fire, Will Butler,

The trio of Colin Newman, Graham Lewis, and Robert Grey recorded the album with no guests at all. The tracklist is below. And up above, you'll find the cover art and the tough, terse "Two Minutes"-- which, yes, is almost exactly two minutes long.

Red Barked Tree:

01 Please Take
02 Now Was
03 Adapt
04 Two Minutes
05 Clay
06 Bad Worn Thing
07 Moreover
08 A Flat Tent
09 Smash
10 Down to This
11 Red Barked Trees

Posted by Tom Breihan on October 15, 2010 at 11:35 a.m.

Tags: Wire, New Releases, Audio,

Talking about the upcoming trek at a press conference, he said, "Come early, come often. I have a lot of hits." He's telling the truth.

He also said, "Bring your friends, bring your children, and bring foot spray, because it's going to be funky."

We're still awaiting details on exact dates and places.

Posted by Ryan Dombal on October 15, 2010 at 11 a.m.

Tags: Prince, Janelle Monáe, Tours,

"I definitely really enjoyed working with other musicians, other artists, so I continued that process on Hurley," he said, speaking of  recent collaborations with Ryan Adams, Lil Wayne, and others. "I'm still doing it actually, tomorrow I'm getting together with the girl [Bethany Cosentino] from Best Coast and we're going to write a song. You never know where these songs are going to end up but it could be on the next Weezer record."

This comes after news of a recent collaboration between Cuomo and lo-fi act Male Bonding. Hey, I wonder what Vivian Girls are up to...

Posted by Ryan Dombal on October 15, 2010 at 10:15 a.m.

Tags: Rivers Cuomo, Weezer, Best Coast, Collaboration,

Tracklist:

01 Love Is Won
02 Daphne
03 Little Marriage
04 Bag of Wind
05 Grown Unknown
06 After Is Always Before
07 Ice Wine
08 Lilac
09 New Myth

Notes: New album from this Brooklyn-based singer-songwriter.

Media: Stream "Daphne", which features Bon Iver's Justin Vernon, below. Download "Grown Unknown" here.

Posted by Tom Breihan on October 15, 2010 at 9:50 a.m.

Tags: Lia Ices, New Releases, Audio, Jagjaguwar

Pitchfork: What can you tell us about "T.O.R.N.A.D.O.", your new song?

Ian Parton: It's a bit more direct than the usual Go! Team song. It's like a seesaw of stabs, basically. It's call-and-response, sort of brassed out. It's like The Taking of Pelham One Two Three, if you know the soundtrack to that. It's pretty tough, a bit more kind of straightforward than the usual Go! Team song. I'm not normally happy unless I have like 10 things going on, but this one was refreshingly stripped back and tough. I think the production's a bit weightier than previous Go! Team output.

Pitchfork: Is the whole album more direct like this song?

IP: No, not really. It's really eclectic. It spans much more fanfare-y stuff, which was actually done with live brass sections. I've been working with a community brass band of 20 players, and we've had to score everything out. It's got this real live parade feel to it. But then the album kind of shrinks right back down to little BBC Radiophonic Workshop theme-tuney, interlude-type songs. And then we have kind of psychedelic hip-hop. I guess I'll describe it as technicolor, slightly woozy hip-hop, and it features Dominique Young Unique.

We've got lots more singing on the record, and we have guest vocals. Satomi [Matsuzaki] from Deerhoof is on one song called "Secretary Song", which is really heavy on office sound effects-- typing and telephones and things like that. It's got this "Mad Men" feel to it-- a 60s office kind of feel. Satomi's singing about hating being a secretary. Bethany [Cosentino] from Best Coast is singing on a couple songs, as well. We actually did it ages ago. That was recorded in late '09, so nobody had heard of her when I asked her to do it. I'm pretty pleased that she's gone on to do well. I'm a real fan of Best Coast and that California feel. The song on which she sings has a jangly, girls-in-the-garage feel to it; it's super-melodic.

There's quite a few different kinds of songs on the album, and not self-consciously so. That's the way it happened-- just always getting bored and going in nine different directions at the same time. From day to day, my favorite music's always changing, so I guess that kind of comes out.

Pitchfork: You said you recorded it a year ago...

IP: Well, bits and pieces of it. I did the vocals then. It's been a while in the making, partly because we were touring forever, and partly because I had a kid. Also, it's time-consuming music, really. The kickoff for it was literally sitting down and fucking listening to thousands and thousands of records. I hoard them, and I tape the best bits, and I whittle it down and try things out. It's the silliest way of making music that you could ever do, really. Often, the song was written on acoustic, and then the sample was fitted to it, rather than me basing a song around someone else's idea. There's lots of live instruments on it. It's not so clearly cut-and-paste, this record.

Pitchfork: Is it difficult to clear all these samples?

IP: We haven't had much trouble so far. I just give a list to the label, and they get on with it, really. I don't really factor that in, and I'm quite happy to fudge things occasionally. If it's different enough and quite of out of context, I don't really mind gambling a little bit.

Pitchfork: The last album, Proof of Youth, came out in 2007. When you take that long in between albums, is there a lot of pressure to come back strong?

IP: I don't really buy into that, really. It could be if you let it. I always just get back to the melody. Every single thing just goes back to the melody for me-- just asking myself, "Do I like it? Do I look forward to hearing it? Is it a drag to work on it?" All that kind of stuff. Melody is God for me. That's the kickoff point, and then everything else follows.

Pitchfork: You mentioned recording with community brass bands on this one. When you start out making music by sampling, how much of a challenge is it to start incorporating live instruments, and then to move on to really big ensembles like that?

IP: I like to think I was never from the sort of Kanye West school of sampling. I always treat it as songwriting and always get a kick out of changing the sample, playing different chords over it so it becomes something different. I wouldn't lift from someone else. So I think it's just a continuation of what we've been doing, and I'm just starting to have the ability to get these things done now. I've never had the bollocks to ask a 20-piece band to play, but now I'm a bit braver and a bit more ambitious.

We kind of got an African gospel choir on this one as well. I turned up to a church in Stratton when they were doing their gospel practice and got a recording of their song. I'm striving to be a bit more ambitious, but without being wanky. There's no string sections or any of that kind of overblown stuff, which is often used to disguise the fact that you haven't written a good song.

I've always liked epicness, in a way. When I set out, Morricone was always one of my favorites, and I was always making spaghetti western music, in a way. But this record was mastered to a C90 at the end. So I'm kind of always getting pulled in two different directions: lo-fi and panoramic scope. The lo-fi thing is still really important to me. I'm never angling to get on the charts or anything like that. It's the last thing on my mind. It's almost like I want to put things on C90s as a psychological thing for me. It's a way of making myself feel better, just scorching the sound a bit. It just gels the song together a bit more. It's not really nostalgia. Often, people talk about us being nostalgic. I'm a bit suspicious of nostalgia. The lo-fi aspect just puts a wall around it that says, "Hey, we're not aiming to be on daytime radio."

Pitchfork: How does Ninja feel about Die Antwoord having a rapper named Ninja?

IP: I think there's loads of Ninjas in the world, to be honest. I've seen quite a few in my day. It's a pretty textbook MC name, really. But everyone calls her Ninja. It's not even a stage name. Her boyfriend calls her Ninja. So do the band and her brothers and all that. Everyone calls her that. It's really weird. That's her name now.

Posted by Tom Breihan on October 15, 2010 at 9 a.m.

Tags: The Go! Team, Interviews, New Releases, Audio,