It’s not a huge surprise, as BJM was always more Newcombe’s brainchild than a proper band like Dandy Warhols.Īufheben begins majestically with “Panic in Babylon,” essentially Beatles psych-rock classic “Tomorrow Never Knows” re-imagined as a trippy international-dance-party anthem for the clubs in Ibiza. This Machine (out on Brooklyn’s The End Records) finds the Dandy Warhols back in the indie game with their longtime lineup still intact, while BJM’s Aufheben (out on Newcombe’s own ‘a’ Records) features only two of the band’s original members, Newcombe and guitarist Matt Hollywood, plus Will Carruthers of Spacemen 3 and Spritualized, as well as a slew of other new contributors. Now, eight years later, with the events of Dig! more than a decade in the rearview, both bands have just released new records within a week of each other. Part of the central tension of Dig! was the Dandy Warhols’ decision to sign with major label Capitol while Newcombe and BJM held true to their independent ethos but began to rapidly untether. While it’s impossible to know for sure how things really went down without having been a fly on the wall during filming, one can only assume the truth lies somewhere between Timoner’s and the artists’ version of events. Though Dandy Warhols frontman Courtney Taylor-Taylor cooperated with filmmaker Ondi Timoner at the time, lending pot-stirring voiceover narration to the doc’s opening sequence, the two groups claimed in hindsight that the film was grossly manipulated to sensationalize the tension between them, especially in regards to the relationship between Taylor-Taylor and eccentric BJM frontman Anton Newcombe. Back in 2004, controversial documentary Dig! captured the friendship, fallout and seemingly bitter rivalry between Portland, Ore.’s Dandy Warhols and San Francisco’s Brian Jonestown Massacre, launching the two relatively underground bands into the spotlight when the film won the Grand Jury Prize at Sundance.
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