Underoath have announced that they will be taking part in an Abbey Road Live series recording session and will record their entire March 11th performance from the Koko in London.

The show at the Koko will be the first stop of the UK/European tour and will also be making stops in countries where the band has never played before, including Russia. More tour date info can be found on their MySpace page

Fans in the U.S. and the UK will be able to pre-order the CD from here as well as at all the dates on the UK/European tour.

Underoath’s last record Lost In The Sound Of Separation was released in September of 2009 on Tooth & Nail Records.

CD 1

1-01 The Only Survivor Was Miraculously Unharmed
1-02 In Regards To Myself
1-03 Emergency Broadcast The End Is Near
1-04 Young And Aspiring
1-05 We Are The Involuntary
1-06 Anyone Can Dig A Hole But It Takes A Real Man To Call It Home
1-07 Casting Such A Thin Shadow
1-08 You're Ever So Inviting

CD 2

2-01 Breathing In A New Mentality
2-02 A Moment Suspended In Time
2-03 Desperate Times Desperate Measures
2-04 Too Bright To See Too Loud To Hear
2-05 It's Dangerous Business Walking Out Your Front Door
2-06 Writing On The Walls

All I say is I like the way AWK, our rock & roll party hero, is musically evolving. Yes, there are traces of his earlier work here, but Andrew (not Andy, haha) seems not content to repeat himself...and based on this new record, I say "The Wolf" is a bridge between "I Get Wet" and "Close Calls With Brick Walls". Dare I say, this new one is a concept record of sorts that tells a story, with a beginning, middle and end. There is a wide gamut of material here, from piano-pounding rockers like the catchy "I Want To See You Go Wild" and "The Background"; typical-but-not-typical AWK barnstormers like "Not Going To Bed", the amazing "Hand On The Place" and the dare-I say-it-Meatloaf-ish "You Will Remember Tonight"; short interludes like "Golden Eyed Dog", the sorta title-track "Close Calls With Bal Harbour", and "Dr. Dumont"; and rockers with a twist "Slam John Against A Brick Wall" (which basically repeats itself but speeds up as it goes along, to cool effect), "The Moving Room", "Don't Call Me Andy" and "Las Vegas, Nevada". He is also, dare I say it, actually SINGING (really well too), not so much tunefully shouting like your mechanic in the garage down the block!!!

AND, on the Korean edition, there are FOUR MORE bonus tracks, making the tracklist number a grand total of 22, and these 4 tunes are among the best songs on the album: "Can You Dance With Me??" (everyone should say yes), "This Is My World", "I Want Your Face", and the amazing "Let's Go On A Date" (which everyone should play for someone they like). The length of the album is still short, as it has short interludes...with the 4 bonuses, the total length is 57 minutes and change, which is a bit short but it's a full meal when you think of the big dose of innovative rock & roll you're getting by our hero Andrew W.K. Everyone should hear the brilliance he's putting out...and 2 more albums in 2007...in a way, he's as much of an auteur as Brian Wilson, in his own way.

I have no idea what stuff is on the bonus DVD on the Japanese pressing, but these 4 tunes more make up for it. Go Andrew!!!!

DISC 1:

01. I Came For You 2:16
02. Close Calls With Bal Harbour 1:22
03. Not Going To Bed 2:57
04. You Will Remember Tonight 4:06
05. Pushing Drugs 2:41
06. Hand On The Place 3:20
07. One Brother 2:25
08. Las Vegas, Nevada 3:00
09. Dr. Dumont 1:06
10. I Want To See You Go Wild 3:00
11. When I'm High 3:16
12. Golden Eyed Dog 0:28
13. Into The Clear 1:33
14. Mark My Grace 3:11
15. Don't Call Me Andy 2:45
16. The Background 2:55
17. Slam John Against A Brick Wall 3:52
18. The Moving Room 3:37

DISC 2:

01. We Party (You Shout) 2:40
02. High Five 3:31
03. Let's Go On A Date 2:19
04. We Got A Groove 5:13
05. Sarah Notto 2:06
06. I'm A Vagabond 2:42
07. I've Got Know Fear 3:26
08. Big Party 2:45
09. Who Knows 2:22
10. Coming Bad 4:12
11. Can You Dance With Me 2:08
12. Kicks And Bricks 2:58
13. A.W.K. 5:44
14. I Will Find God 3:41
15. This Is My World 2:46
16. Young Lord 2:59
17. We're Not Gunna Get Old 4:50
18. Kill Yourself 3:16
19. I Want Your Face 2:25
20. Jewel Street Man 4:43
21. The Party God 2:14

These guys are real heavy. If you like Acacia Strain or Oceano get this. Their guitarist Jeremy used to be in Oceano back in the day. But yea this is one heavy-a*s cd, and the songs don't get old either like most other bands in the genre. The atmospheric leads add a lot of dimension to the breakdowns, which there are plenty of. There's some time changes and other tricky-sounding things, but it's nothing you can't still bang your head to. I really like the back-and-fourth guitar parts. My favorite songs are Truth, Negative Polarities and No Care Ever. Overall, it's a really good listen. I'm enjoying it too much to not give it five starts. I have a feeling these guys are gonna be big, so get into this band now and you can say you liked them before they were popular!

01 - Truth
02 - Bounce (Feat. Jon Hunt and Eric Phillips)
03 - Guess Who's Back
04 - Negative Polarities
05 - No Care Ever
06 - Windy City Real
07 - 10;1 (Feat. Gus Farias)
08 - End of the Beginning

Teen Island star Justin Bieber's newest single, "Baby" featuring Ludacris is the newest single from his forthcoming album, MY WORLD 2.0.

Justin just appeared at the 52nd annual Grammy Awards telecast on CBS-TV and joined fellow Def Jam artist Rihanna and an all-star cast of NFL players at the Pepsi Super Bowl Fan Jam LIVE concert in South Beach televised on VH1. MY WORLD (released November 17th) crossed the RIAA platinum plateau in just seven weeks, for U.S. sales in excess of 1 million units. The album contains his premiere quartet of Billboard Hot 100 Top 40 hits, "One Time" (certified RIAA platinum), "One Less Lonely Girl," "Love Me," and "Favorite Girl." Justin is the first solo artist in history to send four songs from a debut album into the Top 40 of the Billboard Hot 100 prior to his album's release.

Now plans call for MY WORLD 2.0 to be issued on March 23rd. "Baby" is the first new track to be released from that upcoming CD. Meanwhile, Justin has surpassed 100 million YouTube.com video views (the first 50 million of them as an amateur starting in 2007, posting renditions of his favorite hip-hop and R&B songs).

Born in Stratford, Ontario, Justin Bieber is a multi-talented pop/soul singer, and a self-taught musician on drums, guitar, piano, and trumpet. His manager Scooter Braun intro¬duced Justin to the music industry in Atlanta two years ago. There he met multi-platinum superstar Usher, who signed the 13 year-old to his first professional deal and formed the RBMG joint-venture label with Braun and Antonio `L.A.' Reid, Chairman, Island Def Jam Music Group.

1. Baby (feat Ludacris) (3:34)
2. Somebody To Love (3:40)
3. Stuck In The Moment (3:42)
4. U Smile (3:16)
5. Runaway Love (3:32)
6. Never Let You Go (4:24)
7. Overboard (feat Jessica Jarrell) (4:11)
8. Eenie Meenie (feat Sean Kingston) (3:22)
9. Up (3:54)
10. That Should Be Me (3:52)

I've always enjoyed the concept of the split cd as it's a chance to hear more than the single track you'd expect to hear on a compilation, and with only two bands to listen to, it's a lot easier to absorb than 15 new bands vying for your attention all at once. Here we have 2 bands from Germany, namely Far From Horizon, from the Northern town of Bielefeld and Cult Of Gaia, who are from Aschaffenburg in the South.
The heavier of the two bands is Far From Horizon, who treat us to 5 songs, and an outro, of in-your-face Deathcore and thankfully, there's not a hint of wimpy clean vocals to be heard, although there is a clever use of female vocals towards the end of track two, Ophelia. For the most part, this is brutal, gutteral and downright heavy as hell and Far From Horizon are a band I'd definitely like to hear more from.
With the vocals coming in a few octaves higher, kind of like a modern hardcore-ish bark, and with a rather unique blend of melodic Death guitar lines, Cult Of Gaia certainly make an impact, mainly because I've not heard the two styles used in this way before. Breaking this cacophony up is the obligatory gutteral growled vocals and a few squealing guitars. I'm not sure if they've absolutely nailed what they are trying to achieve, but at least they are trying something a little different.

1. Abandon something
2. Ophelia
3. How to find the gasleak with a lighter
4. 5 guys 1 cake
5. Lets talk about feelings, shall we?
6. Outro
7. Es werde
8. Loblied auf pandora
9. Ares
10. Leviathan

A lot happened to Charlotte Gainsbourg between the release of 5:55 and IRM. Along with appearing in I'm Not There as one of Bob Dylan's wives, a 2007 water skiing accident pushed her brain to the side and filled her skull with blood, a condition that should have killed or paralyzed her. After emergency surgery, Gainsbourg was fine physically, but still convinced she could die at any moment, undergoing several MRI scans to prove she was all right. She also took one of her most daring roles as an actress, appearing in Lars Von Trier's uncompromising film Antichrist as a violently deranged, grieving mother who disfigures herself and her husband. This mix of fragility and boldness is also the heart of IRM, Gainsbourg's collaboration with Beck. As with 5:55, which featured Nigel Godrich, Jarvis Cocker, and Air, her choice of collaborators is perfect, but the results couldn't be more different. Where her previous album was ethereal and ephemeral, IRM is exciting and eclectic. Beck and Gainsbourg bring out the best in each other: His songwriting and production are so sympathetic and wide-ranging that he's like a director guiding Gainsbourg to inspired performances. Meanwhile, she brings an emotionality and presence to Beck’s flights of fancy that make them more grounded than they would have been as his own songs. IRM still offers plenty of beautiful French atmosphere, but it’s more mussed than on 5:55: The way the strings turn from romantic to a little sinister on the slinky “Le Chat Du Café Des Artistes” is decidedly jolie laide, while “La Collectioneuse” is as eerie as it is lovely. However, the album delivers much more than looser versions of where Gainsbourg has been before. IRM’s title track is a hallucinatory meditation on Gainsbourg’s post-surgery experiences that incorporates the sound of MRI scans (IRM is the French abbreviation of MRI) with a tribal, distorted beat and detached vocals that are closer to Broadcast than any of her previous music. Elsewhere, she dives into deceptively simple folky pop with “Me and Jane Doe” while “Trick Pony”’s breathy sexuality and strutting beats feel like Beck repaying the favor of sampling Serge Gainsbourg’s “Melody Nelson” on Sea Change’s “Paper Tiger.” The pair gets more daring as IRM unfolds, with Beck casting Gainsbourg as a world-weary siren on “Dandelion”’s bluesy shuffle, and a sneering rebel on the brittle “Greenwich Mean Time,” which makes more noise than all of the songs on 5:55 put together. Gainsbourg’s mental and physical healing process unites the album’s experiments, making them personal. “Heaven Can Wait”’s joyful stomp is self-explanatory, but when she sings “you could learn to crawl where you used to walk” on “Vanities,” or “It doesn’t take a miracle to raise a heart from the dead” on “Time of the Assassins,” it adds even more depth. Playful, heartfelt, and unexpected, IRM gives Gainsbourg’s music a new lease on life.

1. "Master's Hands" 2:49
2. "IRM" 2:35
3. "Le Chat du Café des Artistes" 4:03
4. "In the End" 2:00
5. "Heaven Can Wait" 2:41
6. "Me and Jane Doe" 3:21
7. "Vanities" 3:38
8. "Time of the Assassins" 2:46
9. "Trick Pony" 2:53
10. "Greenwich Mean Time" 2:25
11. "Dandelion" 3:18
12. "Voyage" 4:05
13. "La Collectionneuse" 5:15

Even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released when she was 13), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoît Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's "Wonder Milky Bitch") wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery. On "AF607105" -- the most Air-like song here -- she's a stewardess recounting the most glamorous plane crash ever; she performs an autopsy on a relationship on "The Operation," finally stating that "the heart was rejected by the host." As good as the atmospheric heartache of the first half of 5:55 is, it's on the second half, when Gainsbourg and her crew stretch out a bit, that the album really gets interesting. "Jamais," a slightly tough, witty cautionary tale about literally acting like you're in love, is a standout, while the sexy, obsessive "Beauty Mark" and "Everything I Cannot See" would make her father proud.

1. 5:55 (4:52)
2. AF607105 (4:30)
3. The Operation (3:59)
4. Tel Que Tu Es (3:09)
5. The Songs That We Sing (2:57)
6. Beauty Mark (3:07)
7. Little Monsters (3:46)
8. Jamais (4:37)
9. Night-Time Intermission (2:44)
10. Everything I Cannot See (5:46)
11. Morning Song (5:08)
12. Set Yourself On Fire (bonus track) (4:09)
13. Somewhere Between Waking And Sleeping (bonus track) (3:45)

Kieran Hebden's first Four Tet full-length in four years comes after a parade of collaboration albums, DJ dates, remixes, and one EP that sounded strikingly like John Carpenter soundtracking the original Halloween film. Appropriately, There Is Love in You is a reset album, one where Hebden pares his music down to the essentials. (Sorry, no dubstep workouts or pastoral ballads to be found here.) It's the most natural he's sounded on record in years, much more assured than Everything Ecstatic, which bore the brunt of Hebden's wish to snip the folktronica tag by floating an array of (somewhat) iconoclastic tracks. Here, the music consists of little more than soft tones, muted beats, and overlaid music-box melodies. Perhaps not a recipe for greatness, but in keeping with the axiom that a great artist can always shine no matter the materials or medium, There Is Love in You is an accomplished, beautiful record (despite the lack of shiny bits). Vocals, where they appear, are wordless and textural; the few samples are glitchy but warm and hypnotic. The nine-minute single "Love Cry" sounds like Carl Craig's Innerzone Orchestra making an epic children's record. Overall, There Is Love in You has the spartan precision of Phillip Glass but also, surprisingly, the warmth and vitality of classic Cluster as well. From his debut, Hebden has always made the more alien side of electronic music sound warm and inviting; this not only accomplishes that, but ranks with his best.

1. "Angel Echoes" 4:00
2. "Love Cry" 9:13
3. "Circling" 5:18
4. "Pablo's Heart" 0:12
5. "Sing" 6:49
6. "This Unfolds" 7:55
7. "Reversing" 2:40
8. "Plastic People" 6:34
9. "She Just Likes to Fight" 4:34

Kieran Hebden had every right to retreat from the folktronica tag stapled to his Four Tet recordings. Although he was the premier name in the sub-subgenre, and although his productions transcended even the cutest label that could be attached to them, the folktronica term was too clever by half; more importantly, no respectable artist in the indie underground can stand idly by while he's being pigeonholed. Nevertheless, the left turn Hebden has taken into jumpy Krautrock with 2005's Everything Ecstatic will make listeners yearn for the clever, nuanced productions he turned in on Pause and Rounds; fortunately, he hasn't completely forsaken his old ways. Early in the program, Hebden sounds more clearly derivative than he ever has; the spotlight track "Smile Around the Face" has one of Kanye West's chipmunk divas blandly merging into a sunny-day Avalanches production. "Sun Drums and Soil" begins with the menacing bell tones of an Autechre track and ends with the blatting horns of a free jazz workout, but the barrage of a percussion section never relents over six minutes. "Clouding," a criminally short interlude, is a turning point for Everything Ecstatic -- all of the album's best moments occur on the second half (and they are very good). "Turtle Turtle Up" and the shifting epic "Sleep, Eat Food, Have Visions" are nominally electro productions, but they're some of the oddest and most attentively produced electro tracks to ever appear on record. (On the latter, the slight influences of the Orb are assimilated into the whole, not pasted on top.) The final track, "You Were There With Me," transforms the sound of Balinese gongs into an isolated, nightmarish production with only a faint heartbeat for a rhythm track. Hopefully, using Everything Ecstatic as necessary distance, Hebden can either return to the sound of his early records or transform his new direction into styles worthy of his production talents.

1. "A Joy" – 3:07
2. "Smile Around the Face" – 4:30
3. "Fuji Check" – 0:23
4. "Sun Drums and Soil" – 6:14
5. "Clouding" – 1:43
6. "And Then Patterns" – 4:42
7. "High Fives" – 5:06
8. "Turtle Turtle Up" – 2:09
9. "Sleep, Eat Food, Have Visions" – 7:43
10. "You Were There With Me" – 5:52

For his solo projects, Fridge's Kieran Hebden is a lo-fi experimentalist who, had he been recording 15 years ago, would've been cranking out songs on a four-track recorder instead of a laptop. As demonstrated on his third record, Rounds, he's one of the few musicians capturing all the promise inherent in computer science -- being able to summon, manipulate, and mix any sound imaginable. The record offers something to nearly every audience that could approach it, with a bit of a groove for electronic fans, an obtuse sense of music-making for experimentalists, and a dreamy melodicism sure to endear it to indie-pop fans. The opener, "Hands," is especially breathtaking; it begins with a few seconds of drum samples, surgically inserted and ill-timed, but opens into a warm, melodic production with a simple frame-kit beat outlining Hebden's guitar-and-keyboard atmospherics. "My Angel Rocks Back and Forth" features a music-box melody playing against softly shaded backmasked guitar and a subdued, grating percussion line reminiscent of an iron lung. The nine-minute "Unspoken" alternates guitar and piano playing the same beatific melody, over another simple beat and tambourine claps. Though Rounds is experimental by nature, Kieran Hebden's gift for melody and emotional shading allows his records to be enjoyed by an audience wider than merely experimental listeners.

1. "Hands" – 5:40
2. "She Moves She" – 4:38
3. "First Thing" – 1:12
4. "My Angel Rocks Back and Forth" – 5:06
5. "Spirit Fingers" – 3:21
6. "Unspoken" – 9:29
7. "Chia" – 0:31
8. "As Serious as Your Life" – 4:36
9. "And They All Look Broken Hearted" – 5:06
10. "Slow Jam" – 5:16

On his second full-length as Four Tet, producer/mixologist/computer kid Kieran Hebden further f*cks with the notion that turntablism and electronica are essentially "nothing more than" computer music. While it's true that all the rhythms, melodies, and harmonies here are collaged samples combined with turntable wizardry, uninformed listeners would be hard-pressed to find anything but a few drum loops that sound as if they were composed and recorded by a band. For starters, on his opener, "Glue of the World," acoustic guitars, zithers, harps, and string basses wander around a minor-key riff that is augmented by a slip 'n' slide hip-hop rhythm with a sharp, in-your-face, drum-'n'-no-bass interlude. The track is a weave; it blends new age, acoustic jazz, and flamenco music in a golden braid that is heavenly. On "Twenty Three," steel drums, bells, and African and Balinese rhythm instruments open the way for an electric piano and acoustic guitar riff aided by a set of congas and bongos to come charging in DJ Shadow style. Just as the West African folk music theme settles, Hebden kicks it with hip-hop and a front line of trumpets, playing a long, slow, languid melody line, turning it into who knows what, but it's cool. It's also beautiful that there are small interludes of found sounds, like typewriter keys re-sequenced against an electric piano to create nothing but an ambient rhythm track that sounds as much like somebody shuffling things around on a desk as anything else -- until you pay attention. On tracks like "Untangle," where the percussion sounds a little less organic, Hebden demonstrates with flashes and cross-fades how rhythms from all over the world can be unified by the turntablist's skill -- or perhaps by musicians themselves willing to play together, which would be ideal. When the guitars and the bajo sexto kick in with the drums and the loops, it's the freakin' United Nations on stun, kickin' up a grand-style peace whoop. Four Tet's Pause offers more proof that DJ culture still has plenty to offer, and that Keiran Hebden is just getting started in his experimentation with transcultural electronica. Organic as dirt, and full of an acid-head's sense of space, this one's a winner from start to finish.

1. "Glue of the World" 5:02
2. "Twenty Three" 3:24
3. "Harmony One" 1:41
4. "Parks" 6:03
5. "Leila Came Round and We Watched a Video" 1:39
6. "Untangle" 4:36
7. "Everything Is Alright" 2:31
8. "No More Mosquitoes" 3:39
9. "Tangle" 3:44
10. "You Could Ruin My Day" 7:03
11. "Hilarious Movie of the 90's" 3:29

Some people might think it's easy to explain Fourtet: "It's electronica." It might be easiest to wince at these people and concede, "Yes, well sort of." Fourtet, the one-man DJ project of Fridge's Kieran Hebden, doesn't fit so easily into any one category. True, there are beats, samples, and other aspects of turntablism to his music, but there are also live instruments and very real sounding drum tracks -- "organic electronic" might be one way to describe it. Dialogue is Fourtet's first proper album (a slew of remixes and 12-inches have come before and after). Sometimes the record is jazzy: Heavy acoustic bass and scattered drums, but alternately, tabla and sitar, are the key focus of the final track. It seems that Hebden is quite happy in any musical setting he creates. None of the album sounds contrived, and there's an underlying earnestness that provides real credibility. Some of the record sounds, at times, like the more sampled passages of Fridge, but not as austere. If you're feeling fed up with stale, predictable electronica, or feeling ready to brave the shores of the electro-isle, this is an excellent album.

1. "The Space of Two Weeks" – 5:50
2. "Chiron" – 5:23
3. "Alambradas" – 1:55
4. "3.3 Degrees from the Pole" – 6:00
5. "Misnomer" – 3:20
6. "Liquefaction" – 4:58
7. "She Scanned" – 3:12
8. "Calamine" – 7:38
9. "The Butterfly Effect" – 6:21
10. "Aying" – 4:56
11. "Fume" – 9:53
12. "Charm" – 5:04