![]() ![]() Despite the nasal swabbing, mask wearing and obsessive hand washing, the whole endeavor has given us a much-needed sense of normalcy. It has been a logistical challenge pulling this off while carefully observing restrictions and protocols. We wanted to play a proper show with our band - the one we had spent so much time preparing in January. ![]() We wanted to do more than an acoustic set from home. ![]() “Once live music was effectively canceled, Patrick and I started working on a way to make it up to ourselves, our band, and to you. “This announcement has been a long time coming,” says Moore. Tickets for “live: in the void” are on sale now via. Meanwhile, “live: in the void” will feature direction by Tennis’ longtime visual collaborator Luca Venter, and find the duo joined on stage by their band for the first time since quarantine began. This song is really just me carrying a torch for her.” I feel a strong pull toward women whose creative contributions were cut short by their untimely deaths - Laura Nyro, Judee Sill, Trish Keenan, and of course Karen Carpenter. The result is something that doesn’t really sound like Tennis or the Carpenters, which we really liked. This led us to take a lot of liberties, including writing a bridge that doesn’t exist in the original. ![]() Our goal with ‘Superstar’ was to re-cast her voice in the context of a different band in a different era. “Her voice is so distinctive, I can always imagine her interpretation of a song regardless of genre. Long ago And oh so far away I fell in love with you Before the second show Your guitar It sounds so sweet and clear But youre not really there Its just the radio Dont you remember you told me you love me baby You said youd be coming back this way again baby Baby baby baby baby oh baby I love you, I really do Loneliness, is such a sad affair. “Karen Carpenter is a major influence on my writing,” says Moore. It follows this past February’s remarkable fifth studio album Swimmer, and sets a tone for Tennis’ “live: in the void” livestream performance this Saturday (October 17). Tennis’ “Superstar” takes its cue from The Carpenters’ version, much like the beloved Sonic Youth cover from ’94, and was produced by the duo’s Patrick Riley and Alaina Moore in their hometown of Denver. So when we came across Tennis‘ new interpretation of Delaney & Bonnie’s classic single “Superstar,” made famous by The Carpenters in the early-’70s, it seemed like a perfect match. It’s easily the gem here and provides a tantalising glimpse of what might have been still to come.Some covers are more obvious than others, and some just feel like destiny. Recorded in a basement during the final days of the band, opener Basement Contender is a delicately haunting, slightly Velvet Underground-ish instrumental on which you can really hear the band’s chemistry as they explore their way into the song and trade hypnotically pretty guitar lines. Social Static, a challenging soundtrack to Chris Habib and Spencer Tunick’s Super-8 film of the same title, finds them at their most dissonant, sculpting with distortion. The shorter, punchier Machine hails from 2008 but harks back to their late 1980s/early 90s vintage, presumably losing out to stronger ideas for the final album, The Eternal. The 12-minute latter starts as a driving groove with walls of guitars and suddenly shifts gear into an infectious hook. The former, recorded in a soundcheck, is a Neu!-like groove with Gordon contributing gently hypnotic vocal mantras. Two – In & Out and Out & In, recorded a decade apart – have been released physically before. Consisting of five largely unheard, mostly instrumental rarities from the band’s last 10 years, In/Out/In isn’t a “new” album by any means so much as tracks that remained underdeveloped or unfinished at the time. ![]()
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