The Crystal Method Announce US Dates

As they continue to crisscross the country bringing their Divided By Night live show to the masses, THE CRYSTAL METHOD have announced the addition of several new dates for late July and early August.  The duo of Ken Jordan and Scott Kirkland will also take their live show across the Atlantic, where for the first time ever they will perform at the U.K.’s two leading music festivals: Leeds on August 29 and Reading on August 30.

methodTheir additional U.S. dates commence on July 30 in Detroit and have the pair traveling through the Southeast into such markets as Columbus, Norfolk, Charlotte, Nashville, Little Rock, Tulsa and Albuquerque. They’ll then head to the northeast for DJ sets in Afton, NY and Washington D.C. and then return to Southern California for another DJ set in San Diego.  Tickets for all U.S. dates are on sale now.

Upon its release on May 12, Divided By Night hit #1 on iTunes' Electronic Music chart and #1 on Amazon. It also debuted on various Billboard charts including: #38 Top 200 Albums, #2 Top Electronic Albums, #3 Top Digital Albums and #4 Top Independent Albums.  It features a vast array of guests including vocalists Emily Haines of Metric, Justin Warfield of She Wants Revenge and his wife Stefanie King Warfield, Jason Lytle of Grandaddy, rappers LMFAO plus players like bassist Peter Hook (New Order) and drummer extraordinaire Samantha Maloney (Peaches, Hole). The album was launched with the momentous first single “Drown in the Now,” their infectious collaboration with mic master Matisyahu.  Watch the video for the song here.

THE CRYSTAL METHOD’s current tour routing is as follows:

DATE                          CITY                                       VENUE                      

Wed    6/17                 San Francisco, CA                 Grand Ballroom

Sat       6/27                 Los Angeles, CA                  Electric Daisy Carnival

Thu      7/30                 Pontiac, MI                         The Crofoot

Fri        7/31                 Columbus, OH                      Boma

Sat       8/1                   Norfolk, VA                         The Norva

Sun      8/2                   Charlotte, NC                       Amos’ Southend

Mon     8/3                   Nashville, TN                         Limelight

Tue      8/4                   Little Rock, AR                      Juanita’s Cantina

Wed    8/5                   Tulsa, OK                              Cain’s Ballroom

Thu      8/6                   Albuquerque, NM                   Sunshine Theatre

Fri        8/7                   Afton, NY                              The New Echo Lake (DJ set)

Sat       8/8                   Washington D.C.                    Fur (DJ set)

Sun      8/9                   San Diego, CA                        Hard Rock Hotel (DJ set)

The Dodos To Release "Time To Die" This Fall

With a title like Time To Die, you might think the Dodos’ third disc is their ‘mature album,’ a deadly serious undertaking punctuated with string sections and synths. Nice try kid, but you’ve got it all wrong. While indie rock’s go-to guy, Phil Ek (Built to Spill, Fleet Foxes, The Shins), hopped behind the boards this time, the Dodos’ wildly-percussive style is still centered around two key elements: the punchy percussion of Logan Kroeber and the Fahey-infused finger-picking of frontman Meric Long. Oh sure, you’ll hear a horn blast here and there, but it’s never enough to distract you from the group’s riffs and rolls.

“I’m glad that we were able to keep things simple on this record,” says Long, “Because when your band gets a little popular, there’s this tendency to say things like, ‘Let’s add an orchestra on this one!” That works for some people, but it would detract from this band.”

Indeed, and as right as Long may be, Time To Die introduces one major addition to the Dodos’ creative core: Keaton Snyder, a 21-year-old music school dropout who plays a mean vibraphone. As Long puts it, “He’s a better musician than Logan and I combined. I don’t even know what’s going on with his music theory ideas half the time.” On a similar note, Snyder—a classically-trained musician—is constantly learning what ‘being in a band’ entails. In fact, he didn’t even know how to react when a chord was yanked during his Dodos debut. “After the show,” says Long, “he was like, ‘Yeah, I’ve never had to plug anything in before.’ It was hilarious.”

All jokes aside, you’d never know Snyder was the Dodos’ third man without looking at the new album’s liner notes. Not because he’s missing in action half the time; he’s just locked in step with Long’s steady-handed strumming and Kroeber’s canon-like beats. That, and Snyder’s actual sound/physical presence isn’t all that different than the visceral elements explored on the Dodos’ previous two albums, 2006’s Beware of the Maniacs and the band’s buzz-stirring breakthrough, 2008’s Visiter.

“The vibraphone is pretty crazy and loud,” says Long, “and if you put it through some effects, you can make it sound like a guitar or synthesizer. It still has that element of something you’re hitting, though, which is central to how Logan and I play our instruments.”

That’s the thing about Time To Die: It expands the Dodos’ Ginsu-sharp sound without smothering it. It’s not the death of everything you adored about the duo; it’s a rebirth, revealing some serious career standouts (the widescreen payoff of “Small Deaths,” the string-and-drum spasms of “Longform,” the delicate/distorted dynamics of Snyder’s “Troll Nacht” parts) along the way.  Which isn’t a surprise when you hear how many months they spent writing the damn thing earlier this year.

“After Visiter, we had a lot of options for which direction to go,” says Long, “But I knew we wanted to make a rock record. Being an acoustic band—primarily, at least—sort of works against this idea, but Phil’s production showcased that side of our band.”

Tortoise Annouce Fall Tour Dates

Tortoise's new album and first full-length release of all new material in over five years, Beacons of Ancestorship, is out June 23rd on Thrill Jockey. As previously reported, the band will be playing select cities this summer in the week surrounding their performance at the Pitchfork Music Festival. Additionally, Tortoise has added a week of shows throughout the midwest to their fall schedule. A complete list of dates is below.

tortoiseAlmost alone among bands of the last two decades, Tortoise remains unique as one of the rare bands who outgrew their early influences and instead became one of the markers by which other groups are now measured. Resisting easy metaphors and analogies, while spawning countless followers and imitators, Tortoise truly sound like themselves and no one else. Witnessing the element of group play between the five band members in a live setting and their adept skills at playing interchanging instruments to create this sound is truly an inspiring experience and one that should not be missed!

Tortoise Tour Dates:
Sat. July 11 -- Los Angeles, CA @ Troubadour
Mon. July 13 -- San Francisco, CA @ Great American Music Hall
Wed. July 15 -- Austin, TX @ The Mohawk
Fri. July 17 -- Chicago, IL @ Pitchfork Music Festival
Sun. July 19 -- Washington, DC @ Black Cat
Mon. July 20 -- Philadelphia, PA @ Sanctuary at First Unitarian Church
Tue. July 21 -- New York, NY @ Le Poisson Rouge
Fri. July 24 -- Tokyo, Japan @ Fuji Rock Festival
Fri. Aug. 14 -- St. Malo, France @ La Route Du Rock
Sat. Aug. 22 -- Hasselt, Belgium @ Pukkelpop
Tue. Sep. 29 -- St. Louis, MO @ Firebird
Wed. Sep. 30 -- Kansas City, MO @ Beaumont Club
Thu. Oct. 1 -- Omaha, NE @ Waiting Room
Fri. Oct. 2 -- Minneapolis, MN @ Cedar Cultural Center
Sat. Oct. 3 -- Dubuque, IA @ Voices Warehouse Gallery

Nouvelle Vague play select US cities for June tour!

On their debut, Nouvelle Vague took cherished tracks from the late 1970s and early 1980s by acts such as Joy Division, The Clash, The Cure, Depeche Mode and the Dead Kennedys and reworked them in a gentle bossa nova style. Sung by French female vocalists, some of whom had never heard the originals before, these cult hits had new life breathed into them, and their meanings became softly subverted. In French, Nouvelle Vague means “new wave”, and “bossa nova” in Portuguese. Even the records’ sleeves wittily referenced the artwork for Jean Luc Godard’s early-’60s new-wave films.

The group expanded its musical palette on Bande A Part, adding touches of reggae, ska and blues to balmy readings of familiar numbers by Bauhaus, Blondie, Buzzcocks, New Order and Yazoo, among others. By this point, even hardcore fans who’d considered these easy-listening versions of punk staples to be sacrilege learned to enjoy Nouvelle Vague as a guilty pleasure. But what of the authors who wrote the original songs – what did these once-ruthless idealists think of Nouvelle Vague’s more fragrant approach?

Well, of those canvassed, all approved – thumbs up from Mick Jones of the Clash, Morrissey, the Undertones, Dead Kennedys and Killing Joke. And this led Oliver and Marc to the concept behind the third album: Nouvelle Vague performs duets with the original singers.  The pair wrote a ‘dream’ list of the people they’d most like on the album and, when contacted, most said yes.

So on NV3 you’ll encounter Depeche Mode’s singing “Master and Servant” with Nouvelle Vague’s leading lady Melanie Pain; Ian McCulloch of Echo And The Bunnymen duetting with Melanie on “All My Colours”; Marina Celeste performing “Our Lips Are Sealed” with Terry Hall of the Specials and Funboy Three (that’s a Go-Go’s track penned by Hall); and Magazine’s “Parade” sung by Barry Adamson and NV’s Nadeah Miranda. For additional tracks that didn’t make the final album, Chris Bailey from legendary Kiwi rockers The Saints performs a duet, likewiseSamy Birnbach of noted Belgian new-wavers Minimal Compact.

Nouvelle Vague transform Talking Heads’ “Road To Nowhere” into a dusty bar-room shuffle, its head bowed as it traipses into the sunset after a long day working the land. “Heaven” by Psychedelic Furs becomes a tender acoustic affair. A bluesy swagger through Gary Numan’s “Metal” is sung with innocence and charm by Eloisia, a young Brazilian girl who could barely speak English and knew nothing of this music. Even “God Save The Queen”, once full of menace and bile, is fashioned into a romantic flutter. Add enchanting covers of Plastic Bertrand’s “Ca Plane Pour Moi”, Soft Cell’s “Say Hello Wave Goodbye” and “So Lonely” by the Police, and you have Nouvelle Vague’s strongest album to date.

To keep it fresh, Marc and Olivier approached this album in the same spirit of discovery with which they made their 2004 debut. Back then, says Olivier, they recorded four songs for fun and played them to friends, who loved them, and also loved the idea of turning new-wave songs into something different. And so they made an album.

As with all Nouvelle Vague’s work, the real stars of the records and shows are the songs themselves.

When Nouvelle Vague play live, these well-known songs by other people become Nouvelle Vague’s songs. They own them, you might say. In the last few years the group have taken to the road as a six-piece touring outfit, playing shows and festivals all over the world.

Tour dates:

JUNE 17 @ The Fillmore New York at Irving Plaza, NYC (Doors 8:00pm)

JUNE 18 @ La Maison Française, Embassy of France- Washington, DC (Doors 8:30pm)

JUNE 19 @ Grand Ballroom @ The Regency Center, San Fran (Doors-7:00pm/ Show-8:00pm)

JUNE 20 @ The Music Box Theatre @ Fonda, Los Angeles at (Doors 8:00pm/Show 9:00pm)

The Motet @ Boulder Theater

KGNU & Colorado Daily present
w/ Albino
Thursday, July 9        
doors 8:00pm, show 8:30pm

Dual CD Release Party!

Founded by Dave Watts, The Motet has become one of the most recognized improv-dance bands touring today. Fusing Afrobeat, afrocuban-funk, jazz, and electronica, much of the distinctive character of The Motet's sound comes from having a diverse body of material created from a drummer's perspective.

The SF Music Award-winning Albino is a ten-piece Afrobeat ensemble that honors the fiery legacy of Nigerian musical revolutionary Fela Kuti. Albino's high-energy grooves and explosive stage show thick with hypnotic percussion, a heavy horn section, African dance, outrageous costumes, and infectious group choreography have established the band as the West Coast's premier Afrobeat act.

Tickets are on sale now at The Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone. Tickets are also available through our website @  All tickets are subject to tax and service charge.

Wild Beasts Release 'Two Dancers' on 9/8/09

Wild Beasts released their critically acclaimed debut album, Limbo Panto, last November on Domino Records. The band garnered a huge amount of attention in their home country surrounding this release. They made their first live appearance in the U.S. this past March at SXSW. It was this trip that made a splash for Wild Beasts in the U.S. and really made their mark as a promising young band on the rise. Wild Beasts are quickly following up with their sophomore album, Two Dancers, a record that is surely posed to officially break them stateside. It is an album that will further prove Wild Beasts are not just an of-the-moment band who will come and go within the course of three months, but a band of young men with real staying power.

wild beastsCo-produced by Wild Beasts and northern English enigma Richard Formby in remote Norfolk, UK earlier this year, Two Dancers finds Wild Beasts on fire. Its a record of tightrope-high drama, alive with its sense of possibility, a sound that shimmers and sways in the band’s own mercurial fashion. The band’s performances throughout are pure liquid energy. The needlepoint drama is a result of the band eschewing studio hyper-gloss by playing together in the room -  “recorded live, no over thinking” explains Wild Beasts' Hayden Thorpe. The sound and sensation of a band, to borrow the lyric of "This Is Our Lot," "dancing late / like young reprobates". Two Dancers is a streamlined, minimalist, and user-friendly Wild Beasts, with equal grace and gusto, equally elegant and ugly.

Two Dancers is full of references to the following: booty calls, puckered lips, bodies as perfect machines, and dim-lit streets.  LyricallyTwo Dancers is equally energetic and ripe. In "All The King’s Men" Tom Fleming sings with purposeful intent about “Girls from Rodean, girls from Shipley, from Hounslow, girls from Whitby” as Thorpe’s falsetto soars with palpable anticipation. In this song, as on the whole of the album, Wild Beasts dare you to cut loose and be seduced, but you’ll join in on the disorientation along the way.

Wild Beasts have made a record of earthly pleasures that sounds thrillingly widescreen, open and in awe of life; equally intoxicated and disturbed by the possibilities of pleasure. Two Dancers will be released September 8th on Domino Records.

Two Dancers Tracklisting:
01. The Fun Powder Plot
02. Hooting & Howling
03. All The King's Men
04. When I'm Sleepy...
05. We Still Got The Taste Dancin’ On Our Tongues
06. Two Dancers (i)
07. Two Dancers (ii)
08. This Is Our Lot
09. Underbelly
10. Empty Nest

Jann Klose’s “Reverie” continues to build in the U.S. & abroad

Jann Klose's album REVERIE is continuing to build momentum. The record has already become a critical favorite in regional America and is – as the LA Weekly states – becoming “a minor hit,” heard on over 100 radio stations worldwide, including Sirius XM Radio in the U.S., the BBC in the U.K. and most recently, Prambors Radio in Indonesia. George Graham just included REVERIE in his list of Best CDs of 2008 alongside Elvis Costello, Emmylou Harris, Buddy Guy and Peter Gabriel. Mr. Graham produces the longest running “Adult Contemporary” Radio show on WVIA FM in Pennsylvania.

Jann-KloseSince the release of the album, Jann has opened for Michael Glabicki of Rusted Root and rising jam band Old School Freight Train.  He performed with Renaissance's Annie Haslam and John Tout at the Sellersville Theater as well as with Rosanne Cash, Marty Stuart and Roger McGuinn at the Martin Guitar 175th anniversary concert. This winter and spring, Jann and his band supported Elliott Murphy on tours of the East and West Coast. The two are planning on more shows together later this year. Hits Magazine’s Roy Trakin calls Jann a “promising opening act.” This summer Jann will again be touring in the United Kingdom, Germany and in Ireland for the first time.

In addition to radio airplay and extensive touring – over 100 shows in 2008 alone – Jann and his band have been receiving positive press for REVERIE: The Washington Post writes: “Klose wins over the listener with his soaring voice, which may well be a staple of chamber pop for a long time to come.” Performing Songwriter says: “Born in Germany and raised in Africa, Jann Klose brings an element of world music to his adult-contemporary pop-rock. His latest record Reverie offers songs of thoughtful introspection and longing. Rich arrangements feature orchestral strings, jazzy horns and old-world accordion in addition to the standard bass, drums and guitar. Highlights include the melancholy 'Mother Said, Father Said' and Latin-flavored ‘Clouds.’”

REVERIE was recorded at Hoboken, New Jersey’s renowned Water Music Studios. It was produced by Jann Klose with Stewart Lerman (Dar Williams, Antony and the Johnsons, The Aviator Soundtrack); engineered by James Frazee (Spiderman 3, The Hold Steady) and mastered by Dominick Maita (Fall Out Boy, Bryan Ferry, Plain White T’s). The album features musicians Chris Marolf (upright bass), Lars Potteiger (keys, accordion), Patrick Carmichael (drums) and Leah Potteiger (violin).  Additional musicians on the album include:  Pedro da Silva (Portuguese guitar), Megan Marolf (oboe), Ryan Scott (electric guitar), Dan Brantigan (trumpet, flugelhorn) and Doug Hinrichs (percussion).

Born in Mannheim, Germany, raised in Nairobi, Kenya and Johannesburg, South Africa, Jann spent his teenage years in Hamburg, Germany before coming to Cleveland, Ohio as an exchange student.  He returned to Germany to fulfill mandatory civil service, and then relocated to Northeast Ohio, where he studied voice with Emmy winner David Gooding, sang in the Cleveland Opera Chorus, and released two CDs on local label G21 Records (1997’s ENOUGH SAID and 1999’s THE STRANGEST THING).

In 2000 Jann relocated to New York. He has since performed in Broadway touring companies of JESUS CHRIST SUPERSTAR and JEKYLL & HYDE as well as a regional production of THE WHO’S TOMMY. Songs from his 2003 EP BLACK BOX, produced by Grammy winner Marlon Graves, were licensed to the Warner Bros. DVD “Dead Broke,” featuring Paul Sorvino, car maker SAAB’s 60th Anniversary CD in France and Prambors Hits 3 in Indonesia. Jann now resides in the Bronx, New York.
June 19       Mocha Maya’s w/ Sarah Blacker      Shelburne Falls MA  
June 20       Coffee Planet      Ballston Spa  NY
June 20        Jonesville Store      Clifton Park  NY
June  21       Rockwood Music Hall      New York  NY
June 24        The Winchester w/ Dave Brooks      Cleveland OH
June 25          Vic's (Victorian's Midnight Cafe)  Columbus OH
June 26       The Boom Room      Youngstown/Warren OH
July 2          Sellersville Theater w/ Acoustic Strawbs   Sellersville PA 
July 24            Kukuun     Hamburg, Germany w/ Duncan Townsend
July 28           Kultiviert Anders, Leipzig Germany
July 30       Brauhaus Suedstern, Berlin  Germany
July 31        Blue Note      Dresden  Germany
August 3     Connemara FM   Radio Letterfrack  Connemara Ireland  87.8 fm & 106.1 fm, online at
August 4        Flirt FM Radio      101.3 fm, online at  Galway   Ireland
August 4        Roisin Dubh Pub & Music Venue      Galway Ireland
August 5     The Hard Rock Cafe  Dublin  Ireland
August 5     The Zodiac Sessions  Bruxelles Bar  Dublin  Ireland
August 8        The Regal Room at Distillers      London  UK
August 10   The Yardbird      Birmingham  UK
August 13    The Musician   Leicester  UK
August 14    Bar Risa         Leeds  UK
August 15       The Zanzibar Club      Liverpool  UK
August 16       CB2 w/ The Fancy Toys and Tom Copson     Cambridge UK
October 18   Beacon Sloop Club  Pumpkin Festival    Beacon NY

Paolo Nutini's Sunny Side Up Available Everywhere Today

PaoloIf you think you know Paolo Nutini, think again. His two million selling 2006 debut album, These Streets, established the young Scotsman as a leading light amongst the new wave of singer-songwriters. Paolo's extraordinary follow up, Sunny Side Up, casts him in a whole other light.

"Musically where I'm at, I dont really have a genre or style that I feel a part of," explains Paolo.  "It's a bit of a random mish mash. I honestly wanted it all to come out, and not harness it, not manipulate it. I just wanted it to be organic, and so immediate it's in your face and you can't help but take it all in."

The first single from the 22-year-old's new release is "Candy" - a heart tugging ballad written after an argument with his girlfriend, when it suddenly occurred to him that the fault lay with him. Watch the cinematic video here, and be sure to pick up a copy of Sunny Side Up available everywhere today.

Band du Jour @ Boulder Theater

Band du Jour, the Jam band sensation from the 90’s returns to Boulder with soulful vocals and high energy jams. Their original brand of soul n' roll made them an institution in the 90's in Boulder where they brought the funk to enraptured audiences time and time again. Now Band du Jour returns, with the soulful vocals and high energy jams that will keep the audience boogying all night long once again.

Band Du Jour's style was concocted from a wide array of influences including rock n' roll, New Orleans style funk, soul, R&B and reggae. Their unique and compelling original songs are complimented by their psychedelic jams. With five vocalists in the band supported by a rhythm section, two guitars, and a Hammond organ player/pianist, the band has an authentic rootsy sound. This year, the entire original line up will be performing, including the legendary Sherri Jackson whose raw vocal power and electrifying charisma light up the stage.

Members include Danny Brandt Schults, the founder of Band du Jour, Sherri Jackson, John Ohnmacht and Bill McKay.

Tickets are on sale now at The Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.  Tickets are also available through our website @ Ticket prices include tax and service charge.   GA / 21+ / $15.00

The Charlatans UK Announce US 2009 Tour

The Charlatans’ tenth studio album, ‘You Cross My Path’, is nothing less than a masterpiece – only the latest triumph, in a career which has been positively stuffed with them.

It was one of the most talked-about records in recent years, before anyone had even heard a note of it. It was first released in early March in MP3 format, via alternative radio station Xfm’s website. In a revolutionary move, The Charlatans were charging their fans not a penny to own and enjoy their latest music.

charlatans“I know some people have given their music away free before, like Throbbing Gristle, and Pete Doherty,” says Tim Burgess, the band’s singer, proudly, “but we’re the first to give a brand new album away free. The idea was just to get the music into people’s iPods. We came to the conclusion that we didn’t really care how people got it, just as long as they got it.”

On that score, mission accomplished: within a week, ‘You Cross My Path’ had been downloaded no less than 60,000 times. Had those transactions taken place within “official” channels, it would’ve been sufficient to send the album to Number Two in the UK charts. Another week later, the album was posted for download on the band’s own website, , again for free. At the last count, approximately 90,000 MP3 copies of the album were out in the world.

For those many happy owners of ‘You Cross My Path’, this hasn’t been some bizarre virtual twist on the money/old rope equation. Without having their minds made up for them by the media, they’ve come to realise that the album is amongst The Charlatans’ very best, if not the finest of all.

“The idea actually came up about two years ago,” says Tim, “soon after I asked Alan McGee to manage the band. I was really looking for a fresh start in a lot of ways. I decided to give up drinking and taking drugs, just to see where that takes me. It was a really painful time, because I loved drinking and taking drugs so much, but after about three months I really began to feel the benefit.

“Anyway, after we had that idea, personally I felt really inspired, and I think it helped the whole band. You try to get up in the morning and write a new record, but unfortunately it doesn’t happen all the time. You need something inspiring to fuel your energy. Lots of things seemed to start happening, it was really invigorating.”

At home in Los Angeles through the latter half of 2006, Tim had been submerging himself in his huge and ever-expanding record collection. As ever, the tunes he was listening to in that period provided the starting point for, and became a shaping influence on, the music that he and the band created over the ensuing months.

Tim: “We’ve been influenced by Motown, punk, 60’s psyche and we’ve been through Bob Marley, Bob Dylan, Gram Parsons and Curtis Mayfield… I wanted a different thing this time. I was listening to Brian Eno a lot, which triggered thoughts of Joy Division, who I found out were really inspired by Eno and Bowie, and that set me off listening to all the records I was listening to in 1981-86 – Section 25, The Wake, Royal Family And The Poor, and all those obscure Factory bands.

“Plus, my wife, Michelle, discovered ‘The Head On The Door’ by The Cure. When that originaly came out, I was working in a chemical factory in manchester; at the weekend, I’d go to the pub, drink bad cider and get pissed. They were times of optimism for me, hope for the future. I’d got to clubs and dance to Grandmaster Flash, D.A.F ‘The Cutter’ by Echo & The Bunnymen, ‘Temptation’ by New Order and ‘Felicity’ by Orange Juice – all in a row. In the same way, all that stuff blended into one over the two years of making the record.”

For the first time, Burgess wrote his initial song ideas using the Apple programme Logic. This enabled him to send them instantly to Tony Rogers, the band’s keyboard player and in-house computer wizard, “to get my ideas more fully realised”. In February ’07, Rogers and Mark Collins, the Charlies’ guitarist, joined Tim in LA for preliminary sessions.

The trio then reconvened for a couple more sessions at Tony’s house in Ireland, in April and October, before the remaining parts were completed, with bassist Martin Blunt and drummer Jon Brookes, at the band’s studio HQ in Cheshire, Big Mushroom. The album was then mixed by Alan Moulder, revered for his work with, amongst others, The Jesus & Mary Chain, My Bloody Valentine and The Cure.

‘You Cross My Path’ includes some of the most euphoric music the Charlatans have ever made – some of the most disturbed, too. Like on a classic Cure or New Order record, Blunt’s basslines lead from the front, for a driving, danceable sound, which is both nostalgic and fiercely contemporary. Burgess was keen to cut against the music’s polished upfulness in his lyrics. The first song he worked on was ‘Oh! Vanity’, which he says is “about nostalgia, and not a warm nostalgia – I wanted it to have quite a cold atmosphere.” You Cross My Path’, meanwhile, is “angry – someone had backed me into a corner, and I came out fighting”.

Those two tunes set him off trying to strike a new and different lyrical vibe. His wife suggested he try the cut-up technique originated by William Burroughs, and transposed to the pop world by David Bowie.

“I was like, I did that when I was 21 years old! I was at home one day, and I ended up writing four sets of lyrics for an Italian disco record I’d got by Doris Norton – one about the band, one about my childhood, one a weird essay on Diane Arbus, this photographer I really love, and one about a bad acid trip in a hotel. Eventually, I cut it all up, but I didn’t just throw it altogether, I just took all bits I needed. That became ‘The Misbegotten’.”

Tim laughs. “It might seem like I had too much time on my hands, but if LA’s been good for me in one way, it’s that I’ve got time on my hands. I come down to the room where I’ve got all my records, and just get inspired by music, which to me is what it’s all about.”

As The Charlatans approach their twentieth anniversary, their music continues to be just as inspirational to hundreds of thousands of fans. They first appeared in 1989 with the self-financed ‘Indian Rope’ single, and quickly followed it with ‘The Only One I Know’, which is to this day amongst the most beloved hits from that exciting era in British music.

The Charlatans themselves have proved every bit as enduring as that signature song, in the face of often tragic circumstances. Their history encompasses imprisonment, a fatal car accident, testicular cancer and the embezzlement of half a million quid by their accountant, not to mention the passing of countless musical trends.

As a result, they have often been cast as “survivors” – a rather grim and unflattering image for a band, who have scored nine UK Top Ten albums (not including ‘You Cross My Path’, as yet), and 22 Top 40 singles. Burgess singles out ‘Tellin’ Stories’ (1996), ‘Us & Us Only’ (1999) and ‘Wonderland’ (2001) as what he calls “our championship title-winning records”, but their music continues to evolve, excite and excel, both in the studio, and as an unstoppable touring combo.

For this, Burgess and his cohorts have lately found themselves adopted as godfathers by a new generation of bands for whom they have been literally a lifelong obsession. When Mark Ronson included a rendition of ‘The Only One I Know’ on his ‘Version’ album (sung by Robbie Williams, no less), it soon became clear that he’d done so out of immense reverence for the original, and its makers. Burgess has since sung it onstage with Ronson.

“He introduces me as the person that got him into music,” says Tim, “which is quite humbling, really. The first time we ever played in New York, he snuck out to see us. He was only 13 years old, and then did a paper [at school] about his favourite band, which was us.”

Similarly, a list of admirers that includes The Klaxons, The Horrors, Carl Barât and The Twang, as well as rising acts like Electricty In Our Homes and Glasvegas, have been welcomed into the ever-growing, music-obsessed Charlatans social whirl. Another group, Hatcham Social, recently enlisted Tim to produce their single, ‘Till The Dawn’. “They’re really into Orange Juice,” he enthuses, before launching into a lengthy discourse on the producer responsible for many of Factory’s early masterpieces, Martin Hannett.

…Which brings us back to ‘You Cross My Path’. “This’ll probably sound fucked-up,” says Tim, “but every day, I used to walk to the gym, because I thought I needed to get into training to make this record. In the final song, ‘This Is The End’, there’s the line, ‘I look at all the amputees on the Strip’, because on my walk I noticed all these guys who’d come home from the War [in Iraq] and were homeless, starting to live on [Sunset] Strip.

“I just wanted to put all that stuff in,” he continues. “Everything! The whole record came out as one complete thought – like ‘Power Corruption & Lies’, or ‘Electric Ladyland’, or ‘Kollaps’ by Einstürzende Neubauten. Everything’s in there, as one big flow of ideas.”

There is, perhaps, a strong sense of irony about such an incorrigible vinyl junkie, who takes so much guiding light from his records, suddenly becoming a spokesman for the digital revolution. The irony wasn’t lost on him, right from the beginning. “When WE were first talking about [the free download], “I secretly knew I’d want it on vinyl as well”. So, the album now arrives physically, in 33 territories, on deluxe double CD, single CD and trusty vinyl, courtesy of Cooking Vinyl.

“It feels like a great idea – to release it again!” Tim concludes. “We’re learning as we go along. We’ll just see where it takes us. But the whole thing has been invigorating. It really feels like the band have been reborn, like we’ve got a whole new lease of life.”