Tag Archive: “The Breeders”

The Breeders are playing their last Last Splash shows this December on a short tour leading up to their NYE showin Austin. In addition to performing Last Splash like they’ve been doing all year, the NYC, Chicago, Boston, and Austin stops will also feature full performances of their 1990 debut album, Pod.

Here are the dates:

December 12 Minneapolis – FIRST AVENUE Minnesota*
December 13 Madison – HIGH NOON SALOON Wisconsin*
December 14 Chicago – METRO Illinois*
December 16 Cleveland – BEACHLAND BALLROOM Ohio*
December 18 Boston – PARADISE Massachusetts*
December 19 NYC – Webster Hall New York*
December 20 NYC – Webster Hall New York*
December 29 New Orleans – ONE EYED JACKS Louisiana
December 31 Austin – THE MOHAWK Texas

* – w/ Speedy Ortiz

The Breeders just announced another run of dates before the end of the year.  Here they are.

October 9 Miami – GRAND CENTRAL Florida
October 11 Zapaopan – TEATRO ESTUDIO CAVARET Jalisco, Mexico
October 13 Mexico City – CORONA CAPITAL FESTIVAL Mexico
October 26 Melbourne – ALL TOMORROW’S PARTIES Release the Bats Australia
October 28 Sydney – ENMORE THEATRE Australia
October 29 Brisbane – TIVOLI THEATRE Australia
October 31 Perth – ASTOR THEATRE Australia
December 19 New York, NY – Webster Hall
December 20 New York, NY – Webster Hall

 

Bead Arithmetic
Bead Arithmetic (Jen and Jay of Shove with Jen Bockrath and PJ Paslowski of Motel Beds)

 

Indie rock is a small world where artists, fans, booking agents, public relations people, label figureheads, etc. are loosely and sometimes intimately connected by just a few degrees of separation. Once upon a time in the ‘90s, a scrappy, Pixies loving, indie-trio from Northern California collided with Dayton’s musical movers and shakers in a way that left both challenged and changed. Like most rock and roll back stories, this one had tremendous ups, and serious downs that left the band defunct, and little more than an interesting part of the indie rock puzzle and a brilliant piece of Dayton’s musical mythology.

Ghettoblaster spoke with two former members of indie-rock trio Shove (Mark Kaiser and Jen Schande) about their Dayton connections, brushes with The Breeders, and Dave Doughman’s mustache (just kidding).  Below is part two, Jen Schande’s account of crazy times with some of the Gem City’s most celebrated bands.

Writer’s Note: Jen Schande cut her teeth with San Francisco queer band Boyskout as well as ‘90s indie act Shove (whose second album was recorded by James Murphy) before a series of impressive releases with a band by the name of Schande. Her 2012 effort Songs for and Inspired by Valencia: Chapter 19, earned her comparisons ranging from Cat Power to P.J. Harvey to Marnie Stern. However, her most recent project, This Is Thunder grew out of a transatlantic bond and concrete desire to create together in spite of geographical boundaries. Jen Schande and France’s Nopse were fortunate enough to hash out demos in Nopse’s apartment and build the stormy, emotional foundation that ultimately culminated in their eager, oft-ominous debut EP, the bulk of which was recorded by Monte Vallier at Ruminator Audio in San Francisco. It will be self-released on May 28.

What originally brought Shove to Dayton in the ’90s?

The first time Shove played in Dayton was in 1995. At the time we toured whenever we could, long weekends, short weekends, any chance we could get really, and we spent out Summers going across country as that is when neither Mark or I were in school and we had more time to spend on the road. I used to book all of our tours and I remember really wanting to go to Dayton since, as a 20-year-old, it was like a dream to go play in the city where bands I really loved and was influenced by came from. The Breeders and Guided By Voices were huge in my world, so in a sense Dayton was like an indie rock Graceland. Thanks to Mike Justice who, at that time was working at Trader Vic’s, I was able to book Shove our first show in Ohio. I remember calling Trader Vic’s because of a number or address I saw on the back of a Guided By Voices 7″ released by Simple Solutions. I thought if I reached out to a small, local label they could help an unknown indie band from California book a show. Mike answered the phone when I called, we got to talking and started to develop a friendship which would later lead to really cool opportunities for Shove, aside from really fun shows to play.

Our first show was at the Sub Galley and we played with The Know Nothings and The Tasties. Both bands were so fun and so good! That night would prove itself to hold a bit of foreshadowing as a couple of years later I would go on to date Jeremy Apland and play music with PJ Paslowski (both from The Know Nothings). We actually had so much fun we came back I think like 10 days later to hop on another show just so we could hang out in town again. This turned out to be the humble beginnings of a sweet, sweet love affair between Shove and Dayton.

Shove covered GBV for a tribute that may or may not have been released.  What is the story behind that?

Shove covered “Melted Pat” and I remember the recording of that song really well since I had just had my wisdom teeth pulled a few days beforehand and my face made swollen look emaciated. We recorded it in Goleta, California with our friend John Lyons (whom we would later name Shove song after), and I remember being so excited thinking it was like the biggest deal in the world. Giddily excited, puffy faced and with a moth full of gauze (a lovely visual I know, I’ll let you sit with it for awhile) we recorded and mixed Melted Pat in a couple of days and then anxiously mailed our cassette to Simple Solutions. Obviously this was not the most ideal timing for recording, but we had a very brief window to get it done so we recorded during a break from school when I just happened to be getting my wisdom teeth extracted. One of the benefits to not being a “vocalist” and more being someone who, ohhhh say hits the right notes out of luck more than anything else, the gauze wasn’t much of a handicap and we were able to get done what we needed to. I remember teaching myself the short guitar line/melody for the song and feeling so accomplished after figuring it out. It’s funny now, but at that time I felt like King Shit of Fuck Mountain figuring out a guitar part to one of my favorite songs by one of my favorite bands. Seriously, like arms in the air Rocky style set with a theme song and everything.

The compilation, called Blatant Doom Trip was eventually released, although much later than anticipated. Simple Solutions had a limited amount of CDs pressed and I think now your best bet at finding one is used on Amazon or eBay or something like that. There were loads of great bands on the compilation, some really well known ones too, so it kind of blew our minds to be included among them. Especially as Sonic Youth and Superchunk fans, to be on the same album as Thurston Moore (Male Slut) and Mac McCuaghan (Portastatic) was, if I may, totally fucking rad.

Did you actually live here for a while?

Indeed I did! From March to Novemberish 1998, I lived in Dayton – well on Dorothy Lane in Kettering first then I moved to High Street in Dayton a few months later. At the time I smoked, erm, shall we say generous amounts of weed, so living on High Street gave me a cheap laugh pretty much constantly. I was young, I was stoned, it seemed funny at the time…..ahem, moving on……

I had graduated college in January that year and spent February travelling around the country visiting friends and just exploring places I had never been to before. I was mainly on the East Coast but I stopped by Dayton to see some friends as Shove hadn’t been through in awhile and I honestly really missed it. The amazing benefit of the Shove-Dayton love affair was getting to meet, know and make friends with people from the handful of times we played there, so hanging out in Dayton was almost like a homecoming of sorts. I was at a point in life where Shove had called it a day so I was not in an active band, I was finished with school, was single, was jobless and as a result I had the extreme luxury of taking life where I wanted. I had enough in my bank account to either go home and flounder around for a bit or to start paying rent and build new adventures. I went for the new adventures route, which was short lived but definitely lived up to its name sake. As can happen with youthful abandon I wasn’t leading the healthiest of all lifestyles during my time in Dayton, so with some amazing friend support from Jay (Shove) I wound up moving back to California with the intention of getting my shit together. Sorting myself out wound up taking much long than planned, and was an unfortunate process to say the least, but that’s not really the point….the point is that yes, I did live in Dayton for awhile. (Note to self – learn how to answer questions succinctly….)

There was a connection between you and The Breeders.  What happened there?

We were very lucky enough to play with them twice- the first time at Slim’s in San Francisco and the second time at a venue whose name I forget in Portland, Oregon….something to do with the moon or Luna….Anyway, the first time we played with them was just a really, really cool gesture on Kim’s part. They were in San Francisco to play a New Year’s Eve show (this was for the 1996 going on1997 NYE), and our friend Dave Doughman was doing sound for them. Dave invited us along to hang out at the shows they were doing in Santa Cruz and the NYE San Francisco show as well, and who were we to say no? I remember bringing generic brand beer, it literally just said “Beer” on the can in this standard stylized font and thinking that was really cool. Silly….

Anyway, my friends Miriam, Dani and I were hanging out at the Phoenix Hotel (SF’s quintessential rock hotel) and noticed Kim, Carrie and Kattie (from Real Lulu, who was playing with them at the time) stuck in the rain waiting on a cab to get to their soundcheck for the NYE show. Since waiting for cabs in SF is its own separate rung of hell, I offered to drive them to their soundcheck and as a thank you Kim asked if Shove wanted to open for a show they were doing at Slim’s a couple of nights later. Never having heard us, and I’m going to assume not expecting much of us, it was just a really nice offer. After doing everything we could not to shit ourselves, and thankfully for all involved succeeding, we said yes, played the show and The Breeders really liked us. Yet another boost for the Shove-Dayton lovefest. I remember calling my mom from a payphone backstage (remember payphones? That worked?) just on absolute cloud 9….it was definitely the biggest show Shove had ever played and the circumstances couldn’t have been more amazing. A couple of days later Kim and a couple of people they were travelling with rented a car to drive up to a town east of San Francisco called Vacaville to come see us play again. I still can’t really wrap my head around how unexpected and how cool that was. You expect your friends and if you’re lucky your parents to be stoked on what you do, not necessarily one of your favorite musicians. But yeah, that happened, and it was awesome.

When Shove was in Dayton on tour a few months later, we hung out The Breeders again and in the process realized that our bands would both be in the Northwest at the same time. They asked us to play with them in Portland and so that is how the second show came to be. The venue was really big, and I remember having to put a lot of effort into not nerding out like “oh my god, oh my god, oh my god….we get to play here, holy shit, oh my god, oh my god, oh my god”. A. Lot. Of. Effort. The show offer was so very, very cool of them and such an amazing experience for us. We were so young, and so unknown, so to play shows that were in big venues, let alone with a band we adored and that had influenced us, was kind of unreal.

When I lived in Dayton, I wound up playing music with Kim throughout the summer. We had bumped into each other at a bar, I want to say the Southern Belle but that might be false advertising, and she had mentioned they needed a bass player and that we should hang out and play sometime. So we hung out and I was learning some Breeders songs on guitar, both old and new – I am admittedly an extremely shitty bassist, there’s no getting around it. As it would turn out, our playing together was extremely short lived (I never played with her outside of her basement , and was never on any recordings or anything like that), but it was a really fun time and significantly memorable to say the least. I was 23 and definitely didn’t predict that was how my first year out of school was going to play out.

During that time, I was still writing songs with my Shove bandmate Jay with a band called Bead Arithmetic (which would later feature Dayton locals PJ Paslowski of The Motel Beds and Jennifer Bockrath). Jay was still living in California at the time but he came out to visit for a couple of weeks and Kim recorded our demos, which was really fun and really nice of her. To this day, I still think those songs are among the best I will ever have had a part in writing. I was on fire with inspiration, and Jay and I were able to write and create together so seamlessly, with such ease…it was just the right place and time for great songs to be born. Unfortunately nothing was to become of the demos, but all is not lost as one of those songs made a resurgence last year, funnily enough. Last year I released a soundtrack album, 19: Songs for and Inspired by Valencia- Chapter 19, and the leadoff single “Nice Fez” was one of the songs I had written in Dayton and recorded in Kim’s basement. I had forgotten about the song for years, but when the opportunity to write music for the Valencia film arose I thought it would be cool to bring back a song I had written in the late ‘90s since that’s when the memoir takes place. I revisited a tape I have of the Bead Arithmetic demos, listened to “Nice Fez,” and realized redoing that song would be so perfect for the film that reworking it was a no-brainer. Funnily enough, the Valencia film is premiering in San Francisco on June 21, so reliving this memory is complete perfect timing!

Shove (Mark, Jay and Jen)
Shove (Mark, Jay and Jen)

Indie rock is a small world where artists, fans, booking agents, public relations people, label figureheads, etc. are loosely and sometimes intimately connected by just a few degrees of separation. Once upon a time in the ‘90s, a scrappy, Pixies loving, indie-trio from Northern California collided with Dayton’s musical movers and shakers in a way that left both challenged and changed. Like most rock and roll back stories, this one had tremendous ups, and serious downs that left the band defunct, and little more than an interesting part of the indie rock puzzle and a brilliant piece of Dayton’s musical mythology.

Ghettoblaster spoke with two former members of indie-rock trio Shove (bassist Mark Kaiser and vocalist/guitarist Jen Schande) about their Dayton connections, brushes with The Breeders, and Dave Doughman’s mustache (just kidding).  Below is part one, Mark Kaiser’s account of crazy times with some of the Gem City’s most celebrated bands.

Writer’s Note: California native Mark Kaiser began his obsession with records and the people that make them at an early age. Before the end of his teenage years he had toured the country extensively with his band, Shove, and was waist deep into the music industry quagmire, releasing records on his fledgling Omnibus label, which would later serve as the jumping off point for The Shins, Mates Of State, The Intelligence, was the label home of young James Murphy’s Speedking and many more. After more than a decade of playing bank account and babysitter to 20 and 30 something music makers, Kaiser put an abrupt end to Omnibus, joined forces with long time musical and artistic collaborator Jay Howell (whose cartoon Sanjay and Craig debuts on Nickelodeon on May 25!) and began Mt.St.Mtn. (Mount Saint Mountain), an art and recording project dedicated to limited vinyl releases and printed works which continues to this day. A professional art director and graphic designer by trade, Kaiser continues to play in bands from time to time.  Some of his past endeavors included Gift of Goats and Mayyors.

How did Shove get together and how was the band inspired by Dayton’s musical exports?

Jen and I have known each other since we were small. We both jumped feet first into music in the mid-late ‘80s around Jr. High. We were huge Pixies fans, and were naturally head over heels for the Breeders once Pod dropped, right around the time we started playing together.

In high-school we’d sneak off to L.A. to see them play (once with Unrest, once with Yo La Tengo). Jen made a habit of hanging out to chat with Kim and crew, who usually hung out in the back of the venues after each show. This continued into our early college years, as Shove solidified as an actual band and we started touring a lot.

What originally brought Shove to Dayton in the ‘90s?

Around this time, probably our freshman year of college or so, GBV blew up and Jen was a super fan. That probably was the origin for us getting to Dayton the first time on our first U.S. tour (we were about 19 at the time).

We met the Olive Records twins and Mike Justice, probably through MRR “Book Your Own Fucking Life,” and through that first show or two met most of the Dayton scene that were around at the time (Tasties, Nostromo, Brainiac, Swearing At Motorists, Lazy, O-Matic and a ton of younger pop-punk bands like Something Gay, etc.). It’s a city full of townies (a lot like Sacramento) and when something’s going on, everyone seems to come out, even the old timers.

Who introduced you to everyone?

Dave Doughman, the ultimate connector, took us under his wing from then on and introduced us to anyone and everyone – including Kim. We ended up playing and touring with Swearing At Motorists over the years, and always found a solid home in Dayton. Through Dave and Mike Justice we were introduced to Trader Vic, his shop and his Simple Solutions label.

You guys did a song for the GBV tribute he released, right?

We were one of the first bands to confirm a track for the GBV tribute record he was planning (with lots of big names from that era).  Unfortunately it took years to finally release and it didn’t come out until we had broken up 5+ years later as a CD only, a bit after the momentum had gone. We donated a track to an Olive Records 7” comp too, I think that came out after we split as well.

There was a connection between you guys and The Breeders too, right?  What happened there?

Dave Doughman had introduced us to Kim and the Amps line up of The Breeders in Dayton one Summer when we came through on tour.  He later went on tour with them (so did Neil Blender, more on that later) and invited us down to see them in Santa Cruz and again the next night at this ill-fated SF show with Primus on New Year’s Eve. Everyone was chafed about how insane the brodie-filled Primus crowd was, heckling and throwing fireworks on stage, so we bolted back to the legendary band crash-motel, the Phoenix.

The hotel was letting in bridge and tunnelers for NYE, paying big bucks to party with whatever overwhelmed rockers were staying at the joint that night (I remember meeting the Descendants). We got drunk, jumped in the pool fully clothed and continued to break glass and wreak havoc (one of the other Breeders roadies had to go to the ER on acid after a backward fall through a planter).

It’s going to get fuzzy, but I have fond memories of sliding the handrail into the pool barefoot with Neil, and dancing to Eek-A-Mouse who was playing in the hotel lobby. Jen, myself and the rest of our party crashed in Kim’s room. The next morning, The Breeders’ booking agent set them up a last minute show at Slim’s in SF to make up for the Primus thing, Kim insisted we opened and we did. It was a truck-ton of fun, our biggest show to date at that time. We had a show at a big community center in Vacaville the next night (always packed to the gills, one of our favorite place to play), and Kim and Neil rescheduled their flights so they could come see us again.

That Summer we toured the U.S. again and ended up visiting Kim at her home while she was booking their next tour, she added us to some shows in Pacific NW where we were going to be on the way home anyway. More fun times.

Her house was insane, packed with records piled on top of records, framed gold records underneath laundry piles, original prints from the first Pixies covers (a print of the photo used for Come On Pilgrim was getting warped in her bathroom, she offered it to me and I forgot it).

(Look for Part 2 with Jen Schande later this week!)

The Breeders have confirmed the details of the deluxe Last Splash box set. Titled LSXX, this expanded reissue will be out on April 23 through 4AD.

The CD set will include the same songs as the vinyl package.

LSXX:

LP 1 – Last Spash:

?1. New Year
?2. Cannonball
?3. Invisible Man
?4. No Aloha
?5. Roi
?6, Do You Love Me Now?
?7. Flipside
?8. I Just Wanna Get Along
?9. Mad Lucas
?10. Divine Hammer
?11. S.O.S.
?12. Hag
?13. Saints
?14. Drivin’ on 9
?15. Roi (Reprise)

LP 2 – The Stockholm Syndrome (Live in Stockholm):

?1. Shocker in Gloomtown
?2. New Year
?3. Hellbound
?4. Saints
?5. Hag
?6. I Just Wanna Get Along
?7. S.O.S.
?8. Roi
?9. Head to Toe
?10. Happiness Is a Warm Gun
?11. Cannonball
?12. Invisible Man
?13. Doe
?14. Drivin’ on 9
?15. Don’t Call Home
?16. Limehouse

LP 3 – Demos, Rare Tracks and Session Versions:

?1. No Aloha (BBC Session)
?2. Flipside (BBC Session)
?3. Divine Hammer (BBC Session)
?4. Hag (BBC Session)
?5. New Year (November 1992 demo)
?6. Grunggae (November 1992 demo)
?7. Invisible Man
?8. No Aloha (November 1992 demo)
?9. I Just Wanna Get Along (November 1992 demo)
?10. Mad Lucas (November 1992 demo)
?11. S.O.S. (November 1992 demo)
?12. Saints (November 1992 demo)
?13. 900 (November 1992 demo)
?14.Iris

10-inch 1 – Safari EP:

?1. Do You Love Me Now?
?2. Don’t Call Home
?3. Safari
?4. So Sad About Us

10-inch 2 – Cannonball EP:

?1. Cannonball
?2. Cro-Aloha
?3. Lord of the Thighs
?4. 900

10-inch 3 – Divine Hammer EP:

?1. Divine Hammer (single version)
?2. Hoverin’
?3. I Can’t Help It (If I’m Still in Love With You)
?4. Do You Love Me Now?

10-inch 4 – Head to Toe EP:

?1. Head to Toe
?2. Shocker in Gloomtown
?3. Freed Pig
?4. Saints

R. Ring


If it hadn’t been for an altogether different opportunity for musical collaboration, the world may have never known the sonic pleasures of unorthodox rock duo R. Ring.  Introduced by celebrated Dayton/Cincinnati rock act Buffalo Killers, a casual friendship between The Breeders’ Kelley Deal and Ampline’s Mike Montgomery, from Dayton, Ohio and Dayton, Kentucky, respectively, became an official band. Teaming with Gem City-based Misra Records, the duo released their debut 7” on Oct. 30 to much critical praise.

Ghettoblaster caught up with the duo as they rehearsed for a pair of Ohio shows, as well as a European tour to support the release of a new EP overseas. This is what they said about their collaboration and the band’s near-term plans.

This week you will be rehearsing for the upcoming R. Ring jaunt overseas, correct.  Does practice make perfect?

Hopefully not! We need some wiggle room in these songs.  Practice makes us more practiced! –Mike Montgomery

How did you guys meet? Was there a particular event or catalyst that inspired you to decide that this was the right time for a collaboration with each other?

I was invited to contribute to a GBV tribute record called Sing For Your Meat. I asked the Buffalo Killers to play with me on it. They are a great band from southwest Ohio. -Kelley Deal

They were recording with me at my studio in Cincinnati and we became friends through that project.  When another Ohio band asked me to open a show for them solo, I expressed my nervousness to Kelley who offered to sing with me to assuage my fears.  After that, other people asked us to play some shows and it just sort of grew from there. -MM

What is it about working with Kelley that catalyzes you in your work together?

She has an inspiring enthusiasm for sonic exploration. “Music” for her is not relegated to a band setting. That is refreshing. Her willingness to experiment forces me to think outside of the shit I would naturally play on a guitar.  –MM

Kelley, how has collaborating with Mike differed from your past collaborations, in particular your collaboration with Sebastian Bach…

That’s like asking me to compare a mighty oak tree to Mars. They are both wondrous things but they are not of the same world… -KD

R. Ring has a show coming up in Columbus and I noticed that tickets were limited to 100. Is this kind of intimate setting the ideal setting for experiencing R. Ring and live music of your ilk?

Yeah. I think we fit sonically in smaller rooms better than big, loud clubs or bars. The songs are all over the place texturally and there are no drums to steamroll over chatter, so the chance to grab an attentive ear is always more appreciated than the “rock slot” at a party palace.  -MM

Mike, you produced the first R. Ring 7” for Misra, correct?  Was it difficult to wear both artist and producer hats?  Does your approach differ in either capacity?

Kelley and I were both very hands-on with the Misra 7″   She learned the board pretty quickly and would hit the buttons and turn the knobs while I was tracking my parts.  She’d make a good tape op! 

These days it seems like the lines between artist/producer/engineer/mixer/masterer are getting more and more blurry.  I started recording music as a kid to understand my own music better and my interest has never really changed or wavered.  While I have gotten the chance to record/produce some amazing music over the years, I never really set out to  be an ‘engineer’.  As far as my approach to recording versus playing or wearing different hats is concerned… I guess the hats don’t feel that different.  I very rarely have the opportunity to play while someone else is at the console so I don’t really know any other way.  -MM

Are you engineering or producing other records that you’re particular stoked about or positively challenged by?

I am always very excited to work with the Buffalo Killers and they’re in right now (I should actually be mixing at this very moment). I just mastered an album for a Cincinnati band called Dessa Sons that’s really cool.  Locals Alone at 3a.m are working on an EP. Jeremy Pinnel and the 55s are a talented Honky Tonk group… I guess I find something to like about everyone I work with.  Just getting sounds is still a magical experience for me.  

R. Ring has always had a focus on packaging, with the first demos being released at South Park Tavern with special packaging, and then again with the whimsical cover art for the 7” on Misra.  Is there a particular packaging by another artist that you’ve found to be inspirational in your own endeavors?

Porcupine Tree and Aube had some really thoughtful and unique packaging. Mike and I both like working with our hands and making things so it’s a natural outcome.      

The artwork for the Misra single is the brain-child of artist Ali Calis, from Able Projects in Cincinnati. I couldn’t even begin to guess where the inspiration for his stuff comes from! –KD

Oh I don’t know that it sets us apart from anyone… We both just enjoy tinkering with materials to offer a tactile experience with the music.  I can’t think of other cool stuff I’ve seen lately… I blame my brain and too much soldering. -MM

What was it about Misra that appealed to R. Ring in terms of label support? Will they be releasing future output by R. Ring?

Misra is easy to work with and everyone got along. It was a very stress-less arrangement and we were both looking for a real low-key ease into the turbulent waters of record pressing. -MM

Leo Deluca is the reason we worked with Misra on the 7” and we look forward to working with him and Misra again. He’s from Dayton, a music lover and a musician so it’s a great relationship. -KD

What plans do you have for future releases and how will this differ from your past output?

We have an EP due out any moment in Europe and we plan to continue writing and recording when we get back from our trip. -MM

Kelley, you will head back out with the Breeders beginning in May, correct? How will the Last Splash celebration impact R. Ring’s activity?

Well it will limit the activity of R. Ring, but I’m not complaining. What a great problem to have! –KD

So, will R. Ring participate in SXSW or CMJ this year?  How about a full U.S. R. Ring tour?

We will be in Europe during the sxsw timeframe and when we return the Breeders will be gearing up to hit the road, so I’m not really sure what the rest of the year looks like for R.RING.   Thanks so much for taking the time to do this! -MM

Are you still working with the guys in Ampline Mike?

We are indeed still a band and are playing Feb. 21 at Blind Bob’s.  We’ll have a new split 7” with surf weirdos Daikaiju in tow. –MM

Kelley, how did the Breeders collaboration with Buffy come about all those years ago?

Sigh, Buffy…  The Breeders were big fans of the show and we learned the theme song and played it live and even recorded it as a b-side. I think someone associated with the show discovered that and invited us to be the musical guest. Yay! –KD

Can we expect another knitting book in the future?

I am planning on creating one-off patterns of designs I feel I MUST share with knitters but no plans for an entire book. Thanks for asking! -KD

( For more information, visit http://www.rringband.com.)

The Breeders have announced European and U.S. tour dates as they celebrate the 20th anniversary of their 1993 full length, Last Splash. They plan to perform the full album at most stops. The album itself is slated for a reissue on 4AD Records this year as LSXX.  Here are the dates:

Date City Venue
March 29, 2013 Bell House Brooklyn, NY
May 3, 2013 Mr. Smalls Theatre Pittsburgh PA
May 4, 2013 9:30 Club Washington,D.C.
May 5, 2013 The Trocadero Philadelphia, PA
May 6, 2013 Webster Hall New York, NY
May 9, 2013 Royale Nightclub Boston, MA
May 11, 2013 Danforth Music Hall Toronto, ONT Canada
May 12, 2013 Majestic Theatre Detroit, MI
May 14, 2013 Mercy Lounge Nashville, TN
May 15, 2013 Variety Playhouse Atlanta, GA
May 24, 2013 Primavera Barcelona, Spain
May 27, 2013 Le Bikini Toulouse, France
May 28, 2013 Le Rocher De Palmer Bordeaux, France
June 1, 2013 Trianon Paris, France
June 2, 2013 Ancienne Belgique Brussels, Belgium
June 3, 2013 Paradiso Amsterdam, Holland
June 14, 2013 Vicar Street Dublin, Ireland
June 17, 2013 ABC Glasgow, Scotland
June 18, 2013 Ritz Manchester, England
June 19, 2013 Forum London, England
June 21, 2013 ATP Festival Camber Sands, UK

The reunited Last Splash-era lineup of The Breeders — Kim Deal, Kelley Deal, Josephine Wiggs, and Jim Macpherson — this week announced initial European dates for the band’s upcoming tour celebrating the 20th anniversary of that album, revealing they’ll play in France, Belgium and the Netherlands prior to their previously scheduled slot at the All Tomorrow’s Parties festival.

Here are the dates:

May 27: Le Bikini, Toulouse, France
May 28: Le Rocher, Bordeaux, France
June 1: Le Trianon, Paris, France
June 2: Ancienne Belgique, Brussels, Belgium
June 3: Paradiso, Amsterdam, Netherlands
June 21: All Tomorrow’s Parties, Camber Sands, UK

The Breeders are gearing up for a big 2013 as the Last Splash-era lineup — Kim Deal, Kelley Deal, Josephine Wiggs, and Jim Macpherson — reunites to tour that album, and to get fans into an appropriately festive mood, the band posted iPhone-filmed video of a rehearsal in Kim Deal’s basement of the song “New Year.”

Kim Deal’s been busy too. She just launched a new solo 7-inch single series. The first, limited to just 1,000 copies, features the songs “Walking With a Killer” and “Dirty Hessians,” and can be ordered at kimdealmusic.com.

Fallout & Fire b/w "See" 7"
The Breeders’ Kelley Deal and Ampline’s Mike Montgomery teamed up to form R. Ring – an unorthodox rock duo hailing from Dayton, Ohio and Dayton, Kentucky respectively. Characterized primarily by voices, guitars and keys, R. Ring is sparse, chaotic, abrasive and lulling, often within the same song.  Misra Records will release their debut 7” – “Fallout & Fire” b/w “See” – on October 30.  The band is staunch about unrolling things a little at a time and the two-song 7” is telling of this spirit. 

Ghettoblaster recently caught up with Ms. Deal to discuss the effort.  Here is what she told us about it:

When did you begin writing the material for the 7″?  

We started writing together last year. Mike has a studio in Cincinnati (Candyland) so we went in and just started recording.  We really liked how “Fall Out and Fire” turned out so when Leo DeLuca at Misra contacted us about putting something out that was the song that came to mind.  “SEE” was recorded one day this summer after I sat under a hot bridge in Cincy waiting for Mike and Kristian to get done skating…

What was the most difficult song to take from the initial writing stage through recording and mixing?  Why was it so troublesome?

Well, like I mentioned above, I had to waste half a day waiting for these two jerks to get done playing ’round so we could start recording!  BUT – once we got into the studio – things went along swimmingly. 

Which of the songs on the record is most different from your original concept for the song?

They both evolved really naturally.  We had been playing them live for awhile so when we went in to record them they took shape pretty quickly.  

Did you have any guest musicians play or sing on the record?

Well as a matter of fact we did. Our friend, Kristian Svitak (1031 Skateboards, The Heartaches) played drums on the “banana side” song, “SEE.” 

Who produced the record?  What input did that person have that changed the face of the record?

Mike and I wrote, recorded, mixed and mastered it ourselves. The idea of bringing some poor fucker into this mix is not something we’re interested in at this time!

Is there an overarching concept behind the 7″ that ties the record together?

Both songs involve death.  

 Have you begun playing these songs live and which song has elicited the strongest reaction from your fans?

We play them both live, but comparing them is like comparing oranges to bananas.