Accompanying the tour will be the release of a series of Akron/Family 7″s, which will first be available to those who hit up one of the band’s shows. A more traditional release will take place afterward.

Akron/Family 7″s:
7″ #1 - Everyone is Guilty/Total Destruction
7″ #2 - River/Morning on Michigan Ave
7″ #3 - Many Ghosts/??!

Akron/Family 2009 Tour Dates:
07/22 - Cleveland, OH @ Rock & Roll Hall of Fame
07/23 - Detroit Lakes, MN @ 10,000 Lakes Festival
07/24 - Chicago, IL @ Bottom Lounge
07/25 - Calgary, AB @ Calgary Folk Festival
07/26 - Calgary, AB @ Calgary Folk Festival
07/29 - Steamboat Springs, CO @ Ghostranch Saloon
07/30 - Vail, CO @ The Sandpark
07/31 - Denver, CO @ Bluebird Theater
08/02 - Liberty Park, NJ @ All Points West
08/11 - Washington, DC @ Rock & Roll Hotel *
08/12 - Carrboro, NC @ Cat’s Cradle *
08/13 - Atlanta, GA @ The Earl *
08/14 - Birmingham, AL @ Bottletree *
08/15 - Asheville, NC @ Harvest Festival
08/28 - San Francisco, CA @ Outside Lands Festival
08/29 - Los Angeles, LA @ El Rey Theater
09/07 - Seattle, WA @ Bumbershoot
09/08 - Portland, OR @ Baghdad Theatre
09/10 - Baltimore, MD @ Talking Head Club ^
09/11 - Philadelphia, PA @ Johnny Brenda’s ^
09/12 - Monticello, NY @ ATP New York
09/14 - Hudson, NY @ Jason’s Upstairs ^#
09/15 - Williamsport, PA @ Site B ^#
09/16 - Ithaca, NY @ Castaways ^#
09/17 - Buffalo, NY @ Mohawk Place ^#
09/18 - London, ON @ LOLA Fest
09/19 - Detroit, MI @ Magic Stick ^#
09/20 - Louisville, KY @ 21C Museum Atrium Gallery ^#

* = w/ Wooden Hand
^ = w/ Jeffrey Lewis & The Junkyard
# = w/ Slaraffenland

As previously reported, there has been speculation that footage from Jackson’s final rehearsal, which was apparently recorded in multi-camera, high-definition video and multi-track audio, could be released in the coming months.

To clarify, Judge began with two animated shorts, the rambunctious duo that is Beavis and Butt-head and the lonely yet rattled Milton. By sheer coincidence, the pseudo-geniuses in music video critique became the basis for an entire series riddled with fart flames, head banging and rather cruel outlooks on ’80s bands, all glazed over with basic crude humor that hallmarked our nation’s “benevolent” youth. While Judge may be remembered now for his cult classic hit Office Space, or his longest running victory, King of the Hill, it’s the success of Beavis and Butt-head that allotted Judge these pop-culture marvels. So, what about …Do America?

The animated film was probably the last thing anyone expected to receive praise by Siskel & Ebert, but lo and behold the critics gave many positive reviews. And while it cost about five million to make (pocket change nowadays), …Do America grossed over $60 million dollars for its domestic box office run, a feat attributed to timing as the height of Beavis and Butt-head’s popularity only dwindled shortly thereafter. Though, in the moments before Judge’s creation found its grave, this movie became a pop culture icon cementing a laundry list of beyond stupid catchphrases like “Come to Butt-head!” or “I am Cornholio” into our feeble teen minds. The duo who shunned “wussy” bands like Winger or Poison and hailed both Metallica and Radiohead were given their own big screen debut, so one had to wonder what to expect from their corresponding soundtrack?

Turns out this album is essentially the love child of late ’90s alternative and Beavis and Butt-head-approved metal, only with a little comic relief for good measure — a perfect mix for such a confused yet brilliant decade. The on-screen duo get the ’70s buddy cop treatment with the late Issac Hayes turning their TV show theme song into the “Theme From Shaft”’s evil twin, and it’s all aptly titled, “Two Cool Dudes”. This is perceived by some as foreshadowing of Hayes’s later animated dealings, most specifically, his portrayal of Chef on South Park. Though as popular the Academy Award-winning composer was, he couldn’t compete with the album’s most popular track, the Red Hot Chili Peppers’ envisioning of The Ohio Players tune, “Love Rollercoaster”. It was the first official single and remains an alternative radio staple with Flea’s infectious funk bass and Keidis’ muffled rap verses. It also became a favorite video on MTV2 featuring the band as animated theme park attendees/daredevils, naturally interspersed with footage from the movie (namely Beavis and Butt-head dancing in Las Vegas).

Switching gears (and genres), “Ain’t Nobody” by LL Cool J was the second single off the record, but unfortunately only charted at #46 in the States. For nostalgic fans, the song holds steady, but on the whole it feels out of place amidst the funk, punk and metal. Yes, the metal. Anyone who has actually seen this movie remembers Beavis’s desert hallucination vividly (noted by The Nostalgia Critic as #5 on his Top 11 Nostalgic Mindfucks countdown), and the ensuing sonic mayhem, as well.

Inspired by Rob Zombie’s artwork and played in sync to White Zombie’s “Ratfinks, Suicide Tanks & Cannibal Girls”, the imagery results from Beavis eating a cactus. The song itself makes for the soundtrack’s heaviest metal performance, second and third easily being AC/DC’s “Gone Shootin’” and Rancid ft. Stubborn All-Stars’ “I Wanna Riot”, respectively. Known as the final recording by White Zombie, as it hit streets around the release of Rob Zombie’s Hellbilly Deluxe, this segment of the film pays homage to Beavis and Butt-head’s critic days with Beavis claiming what he sees is “like a music video!” - and for the most part, he is right on the money.

Another interesting last (as well as first) is the track “Walk On Water” by none other than Ozzy Osbourne. While the demo was featured in the film, this polished studio version boasts the only performance of guitarist Joe Holmes on an Osbourne studio recording (though he was schooled by the late Randy Rhoads and co-wrote three tracks on Down To Earth before leaving the band). While not the best of the tracks in the Osbourne catalog, the notoriety it brings to this soundtrack leaves much to aspire towards, especially alongside White Zombie’s courteous donation.

Onto ’90s territory, we have the presence of some old school No Doubt (you know, before Stefani became the second coming of Cyndi Lauper?) and Butthole Surfers. In a similar fashion to Filter, Butthole Surfers have the one song everyone knows (”Pepper”), and a healthy dose of soundtrack appearances (MI:2, Romeo & Juliet, etc.). While Filter might have been much more successful in the long run, a Butthole Surfers song by band name alone is almost a necessity on the …Do America OST, and thus we get “The Lord Is A Monkey (Rock Version)” thrown in for good measure. A bit bizarre to the point of mimicking White Zombie in some aspects, this psychotropic sound scape fits well amongst the wickedness that is Beavis and Butt-head.

Complementing the funkier Red Hot Chili Peppers we get No Doubt’s “Snakes”, which rather than scoring two slackers, actually belongs in a strip club. In fact, the animators should have put in a deleted stripper scene specifically for this song, because the lyrics by themselves are only made more provocative with Stefani’s sexy vocals and the occasional wails (”Open the basket/listen to the flute play”). While it might have taken some practice to get the dancer’s rhythm on point, boy would that have been so worth it. Where the hell is Jessica Rabbit when you really need her?

Closing out this twisted joyride of musical gene splicing (perhaps “genre splicing”), we have a song covered by Engelbert Humperdinck entitled “Lesbian Seagull”, which is played by Beavis and Butt-head’s hippy school teacher during an FBI raid, and later during the end credits by Humperdinck himself. This acts as the album’s comic relief next to Hayes’s theme song interpretation, but even more, because it’s absolutely random by all accounts. It neither adds or takes away from the film, but if they had to pick a song for the hippy teacher’s “Kumbayah” moment I suppose this is as good a satirical jab as any.

Suffice it to say that in this site’s eyes, Beavis and Butt-head Do America was Mike Judge’s crowning achievement, surpassed only by Office Space for no other reason than the “O” face. Granted, …Do America was only as successful as the TV series allowed it to be, but let’s consider the name players involved, both musically or otherwise. It’s a rag tag team of Demi Moore, Bruce Willis and even the guy fromUnsolved Mysteries (Robert Stack, for those uninformed) — all of them had voices slapped to this very vulgar film. Nobody had seen such a transition from TV to film, at least not animated. In some respects, it was very influential on South Park’s Bigger, Longer, and Uncut, only Judge lacks that musical background that both Trey Parker and Matt Stone pride themselves in. Nevertheless, the soundtrack here, and the enormity of the bands present on it, is more than enough to make you want to go: “Come to Butt-head”.

This isn’t the only Beavis and Butthead-endorsed album. Before this, there was a little collection called The Beavis and Butt-head Experience, which featured prominently heavy metal bands praised by the cartoon duo. Though this album was exceptionally better in terms of simple compilation novelty, the soundtrack of Beavis and Butt-head Do America has something for almost anyone — and even if your only initial reason for buying this soundtrack was “Love Rollercoaster”, chances are you kept it because of the other stellar tunes to follow (kind of like buying the Coneheads OST simply for “Soul To Squeeze”).  Above all else, this throwback to the ’90s is novelty but on a higher echelon of such, as it reminds us that at one time or another we all thought Cornholio was hilarious.

Beavis & Butthead Original Motion Picture Soundtrack Tracklist:
01. “Two Cool Guys” - Isaac Hayes
02. “Love Rollercoaster” - Red Hot Chili Peppers
03. “Ain’t Nobody” - LL Cool J
04. “Ratfinks, Suicide Tanks and Cannibal Girls” - White Zombie
05. “I Wanna Riot” - Rancid with Stubborn All-Stars
06. “Walk on Water” - Ozzy Osbourne
07. “Snakes” - No Doubt
08. “Pimp’n Ain’t EZ” - Madd Head
09. “The Lord Is a Monkey (Rock Version)” - Butthole Surfers
10. “White Trash” - Southern Culture on the Skids
11. “Gone Shootin’” - AC/DC
12. “Lesbian Seagull” - Engelbert Humperdinck

In album opener “Feels So Good”, sleek synthesizers and other sonic effects evoke the sound of a spaceship readying for take off, before turning into a booty-shakin’ romp. The sleazy groove of “Little L” is propelled by a simple, yet killer, bass line - courtesy of then-bassist, Nick Fyffe. Sample lyric: “Why does it have to be like this/I can never tell/You make me love you love you baby/with a little L”. Not Shakespeare by any stretch, but this doesn’t much matter when you’re jamming to it on the dance floor.

Three and a half-minute trifle “You Give Me Something” provides a bed of synthesized, layered vocals for such profound ruminations as, “You give me somethin’/somethin’ that nobody else has got.”

“Corner of the Earth” is the showstopper: a meditative bossanova-tinged ballad featuring soaring trumpets and swirling strings. Jay Kay croons, “Nature’s got me high/And it’s so beautiful,” as the song careens toward its climax on a squall of larger-than-life sound. Track five, “Love Foolosophy”, is that rare pop song that packs an actual emotional punch while throwing an irresistible groove your way. “Stop, Don’t Panic” is guitar-driven and danceable. “Main Vein” sounds like Donna Summer crossed with a blaxploitation soundtrack, complete with soulful female backing vocals and wah-wah guitars.

Jay & Co. even return to their social commentary roots on the acoustic “Black Crow”. Strings and soaring harmonies swirl as he laments the absence of spirituality in modern culture. The Rock guitars and computerized vocals on “Twenty Zero One” befit a song about the dehumanizing effects of technology. The poignant, Latin-flavored ballad “Picture of My Life” follows (if I’m in the right mood, this song can actually make me cry), before the bouncy bonus track “Feels Good To Be Real” closes out the album.

Truthfully, I don’t feel all that guilty about loving this album. I still remember rockin’ to these tunes for most of 2002; and even listening to it today, I find the album ages well. Return of the Space Cowboy may be their best album; Traveling Without Moving was more successful; but with its invigorating, dancefloor-ready tunes, A Funk Odyssey remains my favorite. I should be ashamed to listen to such eager-to-please music, but, honestly, what is wrong with being eager to be pleased?

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So, to summarize, Grizzly Bear is playing a one-off with one of the most well-known orchestras in the world and a renowned composer (maybe?) in London on Halloween fucking night!

Commence mad scramble to Travelocity.com to book airline tickets! Then, head to barbican.co.uk at 10:00 AM BST (that’s 5:00 AM EST) tomorrow to pick up your tickets.

Yeah, so did we mention this whole thing is free? The entire bill, laid out in beautifully in alphabetical order, can be found right here.

After the ceremony, Jackson will reportedly be laid to rest at the Hollywood Hills location of Forest Lawn Memorial Park and Mortuaries (via E News). The family had hoped to bury him at his former estate, the Neverland Ranch, however, as the Los Angeles Times reported earlier this week, those hopes had fallen victim to red tape.

With the 1999 departure of founding member Andrew “Mushroom” Vowels, Massive are now a duo, consisting of Robert “3D” Del Naja and Grant “Daddy G” Marshall. But they’ve always operated like a loose collective, with vocalists and members coming and going as they please. On its face, this makes a tricky business of translating the group’s futuristic pop songs into live performances. But performances like this one of Safe From Harm at a 1996 gig in Phoenix demonstrate how they take their sleek, cinematic songs on the road.

One of the signature tunes off Blue Lines, “Safe From Harm” was first sung by early MA vocalist and fan favorite, Shara Nelson. In this performance, Deborah Miller, who joined Massive Attack for several tours through the years, replaces Nelson. Although she doesn’t quite achieve the steely spirit of the album version, Miller still ably conveys the noirish, sinister vibe of the song — and sports a kickass outfit while doing so. She and 3D stalk the stage before a note is sung or said, alluding to the song’s sense of dread. Supporting players, namely DJ Mushroom and guitarist Angelo Bruschini play off each other and with ease, as they transform a mellow head-nodder into a seething, then screeching wail of a song. In the background, Massive stalwart Horace Andy — he’s sung on all four of the group’s albums — provides plaintive harmony, adding a touch of vulnerability to the proceedings. In recent years, the band has perhaps performed more dynamic versions of this song; but I’m partial to this performance because it is something of a time capsule, capturing them well after they’d graduated from their Wild Bunch sound collective days, but before they became known as the godfathers of trip hop.

3D and Daddy G have promised that their long-awaited fifth album (tentatively titled Weather Underground) will finally be released this September. Coinciding with the album’s release is a tour scheduled to kick off September 5 in Guadalajara, Mexico. The band will then head to Europe for the remainder of the fall, before coming to North America and Asia in 2010. Check out the dates after the jump.

Massive Attack 2009 Tour Dates:
09/05 - Guadalajara, MX @ Auditorio Telmex
09/11 - Isle of Wight, UK @ Bestival
09/17 - London, UK @ O2 Academy
09/18 - London, UK @ O2 Academy
09/19 - London, UK @ O2 Academy
09/21 - Sheffield, UK @ O2 Academy
09/22 - Birmingham, UK @ O2 Academy
09/24 - Leeds, UK @ O2 Academy
09/26 - Manchester, UK @ O2 Academy
09/27 - Manchester, UK @ O2 Academy
09/28 - Glasgow, UK @ O2 Academy
09/30 - Newcastle, UK @ O2 Academy
10/02 - Leicester, UK @ De Montfort Hall
10/03 - Swindon, UK @ Oasis Leisure Centre
10/06 - Dublin, IE @ Olympia Theatre
10/07 - Dublin, IE @ Olympia Theatre
10/14 - Moscow, RU @ Luzhniki Sports Palace
10/16 - Helsinki, FI @ Old Ice Hall
10/18 - Stockholm, SE @ Annexet
10/19 - Copenhagen, DK @ Falkoner Theatre

Still refusing to shy away from big promises, Chapman states that Turning the Mind is “the fully formed manifesto.” (His first album, We Can Create was, in contrast, simply “the birth of Maps.”)

But there’s also some pretty interesting ideas at play, not just pretty, flowery hyperboles. Keeping very much in his vein of indie electronica, Chapman here explores “themes related to the human mind and the way certain stimuli, particularly chemical, can affect the mind in different ways.”

Chemical: Meaning THC or SSRI’s? Well, the album’s title comes from the Buddhist-influenced, cognitive-therapy practice of mindfulness, while Chapman says that the “journey of extremes” the music takes might mean, for example, depression to euphoria. So maybe Xanax, then just X?

In fact, from the sound of it, Lerche looks to be working as hard as ever. For his fifth studio album, titled Heartbeat Radio and due for release on September 8th via Rounder Records, the now 26-year-old teamed up with producer Kato Ådland mixer Joe Chicarelli (White Stripes, My Morning Jacket, The Shins). He also tapped longtime backing band, The Faces Down, the High Llama’s Sean O’Hagan and a slew of other musicians and contributors to provide the album’s described “full-bodied pop sonics recalling Fleetwood Mac, The Beach Boys, Prefab Sprout, XTC and Brazilian legend Milton Nascimento.” Get an early state of this amibitous release in the form of its title track over at Stereogum.

Heartbeat Radio will be supported by a yet-to-be-announced North America tour in September followed by a European one in October.

Heartbeat Radio Tracklist:
01. Good Luck
02. Heartbeat Radio
03. I Cannot Let You Go
04. Like Lazenby
05. If Only
06. Pioneer
07. Easy to Persuade
08. Words and Music
09. I Guess it’s Gonna Rain Today
10. Almighty Moon
11. Don’t Look Now
12. Goodnight