Bob Mould

Bob Mould Solo Electric: Distortion and Blue Hearts!
with Will Johnson
Wednesday, September 14, 2022
Doors 7 | Show 8
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Legendary musician Bob Mould announces his “Distortion and Blue Hearts!” tour starting September 16, 2021, in Boston at Paradise. The tour is in two parts. For the first three weeks, Bob will be joined by Jason Narducy on bass and drummer Jon Wurster. Beginning October 15 in Bloomington, IL, Mould will perform “Solo Distortion” electric shows (full run of dates and locations below).

On July 16, 2021, before any tour dates happen, Demon Music Group will conclude their year-long Bob Mould retrospective campaign with their fourth vinyl box, Distortion: Live. The 8 LP set includes live recordings from Mould’s solo career and his band Sugar.

This box follows October 2020’s 8 LP Distortion: 1989-1995 vinyl set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January 2021’s 9 LP Distortion: 1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, April 2021’s 7 LP Distortion 2008-2019 covering District Line to Sunshine Rock, and the 24 CD Distortion: 1989-2019 box, which covers the entirety of his post-Hüsker Dü output.

Mould’s live shows will span his entire 40+ year career, including songs from the Distortion collection and from his landmark band Hüsker Dü, as well as songs from last year’s explosive and critically acclaimed album Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.”

“It’s been a year and a half away from the stage. I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are too, because this Fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time, reconnect, and celebrate together with live music!”

As with the previously released box sets in the Distortion collection, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. This box set includes 4 live albums: Live At The Cabaret Metro, 1989; the Sugar album The Joke Is Always On Us, Sometimes; LiveDog98 (first time on vinyl), and Live at ATP 2008 (first time on vinyl). In addition, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare photographs and memorabilia, and a bonus LP Distortion Plus: Live, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film.

Discover more about the box sets including full track listings and FAQs here:

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Will Johnson

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Will Johnson’s 7th solo album “El Capitan” is out now. Recorded over three days in June 2020 at Ramble Creek Recording in Austin, Texas with contributions from Britton Beisenherz, Thor Harris (of Shearwater, Xiu Xiu), and Lindsey Verrill (Little Mazarn).

It’s a more subdued album than last year’s Wire Mountain, with Johnson using only his Stella acoustic guitar to record. Here’s his description of these songs:

There’s a simple “mornin”” that is exchanged amongst many early bird runners as they pass. I’ve noticed this since I was nine or so, and have taken different interpretations from it: Have a good run. Good luck. Have a good day. Stay safe. We’re a part of something, moving in harmony. Look at us fucking go.

It’s pleasing in its way; a show of support. The location might be a utility road in Wyoming or a city park in St. Petersburg. I don’t know the root of it, or how this transfer of pleasantry started amongst this cut of humanity. It’s never been: “morning..” or “good morning” or even “g’mornin”. It’s just: “mornin'”. There’s a musicality to it, and I think it means more to me these days, as do the moments outside. It’s where the lines, the choruses, and some full songs are coming from, now more than ever.

This new record started years ago at a friend’s dining room table in Portland, building up on long desert drives, in hotel bathrooms, at casino bars, and on these regular runs. Over years, the songs mortared themselves together into something I thought fit together. Some are now quite old, and a couple are pandemic-new. It feels like we’re at the mercy of nature now more than ever, and the quietude of this patch of time made sense to document them and finally get them out. I took a hundred-dollar Stella guitar to my friend, Britton’s, and we spent three days, distanced, building something. We let go of old habits, peeled things back, and tracked it all to a Tascam 388. We ate tacos, drank Tecate and found happiness in the act of moving again in the early summer heat. There’s tape hiss, and there are imperfections. Thor Harris and Lindsey Verrill contributed beautifully from afar.

The other night I took to another run to feel the night’s breeze, and maybe see if another melody might be out there. It was late, and now I sometimes take to running right down the middle of once-busy streets. Another night runner approached and moved over, giving wide berth. He put his mask up, and I pulled my bandana up from my neck. There was compassion in the movement of the dance. He flashed a peace sign, and I flashed one back. It was a needed reminder that most of us are still moving together, just from different places now. I headed back to the middle of the road, and we headed our opposite directions, giving chase to whatever kind of solace and satisfaction we could find in that quiet night. Chasing clarity in the stillness of the world’s new, oft-strange chapter.