Friday, October 31, 2008

King of the Road Says You Move Too Slow

Fu Manchu - King of the Road, released 2000 (Mammoth)

After a bit of a break from albums, not counting the Return to Earth singles compilation, Fu Manchu fully fired up and took off again with King of the Road, an album that doesn't so much follow on from The Action Is Go as flat out continue it. Hill has a touch more bite to his vocals this time around, but otherwise there's little to differentiate the two records — and that's very much meant as a compliment. With plenty of touring and other things under their belts, the lineup has fully jelled and sounds it, Bjork's bad-ass drumming (and occasional cowbells, of course) and Balch's insane lead guitar crunch possibly even better than ever. Together it's all one megariff and nasty, slamming rhythm after another, and face it, anyone expecting anything else from Fu Manchu really needs to find another band. Joe Barresi co-produces with the band, and while there's no extra keyboard/organ weirdness this time around, it hardly matters. In as much as there's a theme to King of the Road beyond the basics of driving, drugs, and that demon rock & roll, it's driving — there's a reason why the cover and internal art features a slew of great '70s-era photos from a massive van rally. The one shot of the fully leather-covered interior of one mobile love nest, complete with black curtains, about says it all. Then there's the megachugging title track ("King of the road says you move too slow!"), "Hell on Wheels," "Boogie Van," and so forth — call it a concept album that doesn't waste time with elves and yogis. As with the last album, a punk/new wave nugget gets the cover treatment here — none other than Devo's "Freedom of Choice." Needless to say, now it sounds just like a Fu Manchu original. (

Hell On Wheels - Fu Manchu

For fans of: Nebula, Queens of the Stone Age, Kyuss, etc.

Thursday, October 30, 2008

Blackberry Stone Age Fighters

The Foo Fighters brought their arena rock show to a much smaller stage last night (Oct. 29) at the 1,400-capacity Avalon in Los Angeles, during a private concert with Queens Of The Stone Age to help promote Blackberry's first touch-screen phone, the Storm.

Despite the corporate promotional element behind the show, Foo Fighters frontman Dave Grohl assured the crowd that the band was there to rock. "Ladies and gentlemen, don't be fooled," he shouted," we're having a rock concert."

Although sets from both acts were limited to about one hour, the Foos and QOTSA didn't fail to deliver the rock. QOTSA took the stage around 8:15, tearing through such songs as "Millionaire," "Mexicola," "Little Sister," "A Song for the Deaf" and "Sick, Sick, Sick," among others. It seemed like a sure bet, but Grohl, who in the past has filled in as drummer for QOTSA, didn't join the group onstage during its set.

The Foos' 12-song set included "All My Life," "Learn To Fly," "Stacked Actors," "My Hero," Everlong" and "The Pretender." The group is about to begin a lengthy hiatus in the wake of a busy 2008, which found it touring the world in support of last year's "Echoes, Silence, Patience and Grace." On Nov. 18, RCA will release the Foo DVD "Live At Wembley Stadium," chronicling June 6-7 shows at the London venue.

Research in Motion VP of brand marketing Paul Kalbfleisch says last night's concert was a perfect way to "celebrate" the forthcoming release of Blackberry's Storm, which is scheduled for release next month.

"We wanted to put on a show that fans would love -- we knew Foo Fighters and Queens Of The Stone Age on the same stage would be memorable," Kalbfleisch tells "It was great to be able to offer Foo Fighter fans one last chance to see the band before they go on an 18-month hiatus."

Blackberry allowed about 800 contest winners into the show. The event was first announced as a "secret show," where fans were prompted to text in a code for access.

Here is the Foo Fighters' set list:

"All My Life"
"Times Like These"
"Learn To Fly"
"Young Man Blues"
"Long Road To Ruin"
"Let It Die"
"Stacked Actors"
"My Hero"
"Cold Day in the Sun"
"The Pretender"

Tribute Spills Over

With the Failure Tribute album quickly approaching release on November 25th, many of the bands have recently released their own new tracks in past few days.

30 Fathom Grave have posted a live version of their new track, "Puppet on a String." If you've been following this band as I have, you've noticed that they just keep getting better and better with every track released. I was really curious to hear what they'd sound like live, and I can't complain. They will post more songs from the same concert in the next few days so stay tuned to their Myspace.

Satellite Tragedy, whose incredible debut album, "New Beautiful" will also be released by Pop-Up Records on 11/25, have posted a new demo of a song called "Uncorruptible." Great dynamics from a band I have no doubt we'll be hearing a lot more from in the future, at least from me! Check them out and show your support, they certainly deserve it.

As I posted yesterday, I'll give another heads up for Exeter, who released the first track from their upcoming sophomore release, Grey Noise White Lies. The track "Red Dress," can be heard, downloaded, and voted for HERE. From this song and the other clips I've heard from this album, I am very highly anticipating the release of this CD.

Change in Climate

The Guardian, a large independant UK newspaper, featured Operahouse as their band of the day today!

Hometown: London.

The lineup: Alexander Kaines (vocals, guitar), Johnny Lloyd (vocals, guitar), Jimmy Cratchley (bass), Dan White (keyboards), Ben Niblett (drums).

The background: There are a few new British bands waiting in the wings to assume the mantle of Radiohead circa The Bends as the OK-to-like epic rock balladeers with the vocally acrobatic frontman: White Lies, Red Light Company, Wild Beasts, The Rushes ... and now Operahouse. They're well named. Johnny Lloyd might not exactly cause Placido Domingo (or even Bono or Thom Yorke) sleepless nights, but he can hold a note and he favours the soaring, sweeping chorus - all the better for him to show what he can do, which is sweep and soar. He's emotive (as opposed to emotional) and although the music he writes with Alex Kaines may not trouble the proprietors of the Royal Opera House, it's a notch or two above the usual three-chord indie shambles slung together by boys who consider the collective works of Arctic Monkeys and the Libertines the height of musical ambition.

Actually, they do have a bit of a past as Doherty/Turner worshippers, although unlike White Lies, they haven't undergone a full-scale transformation and name change. What they have done is sharpen up their act and push themselves that little bit harder. The band are keen to let us know that they've been listening to a lot of Pixies and Beatles, Led Zeppelin and Velvet Underground, but it doesn't show.

Change in Nature, the title track of their forthcoming EP (and a song about climate change and the first monkey in space - it says here), suggests they've been paying closer attention to the Verve, Echo & The Bunnymen, and all those acts they'd rather we didn't mention, such as Keane, Coldplay and Snow Patrol - if only to check out the competition and attempt to supersede them.

More than anyone, they remind us of early Starsailor, ie when they were serious contenders ("serious" being the operative word). Credit where it's due, though: the drums towards the end of Change in Nature have the heft and wallop of John Bonham and Plastic Cage has Zep-style climactic dynamics, making the whole song feel like one long crescendo - except for the middle bit with its atmospheric (read: boring) echoes of U2 circa The Joshua Tree. Meanwhile Red Hats for the Masses does the slow/fast, quiet/loud Pixies thing quite convincingly.

The odds are stacked in their favour. They're on a label run by the bloke who signed the Killers. Their producer is Richard McNamara of Leeds' anthemic miserablists Embrace, a band who know a thing or two about slogging through when the tide of musical fashion goes against you. They've got Dave Bascombe (Depeche Mode, Tears For Fears) in to mix their album - there are traces of 80s pop bombast here, not necessarily a bad thing. And they have a healthy disregard for accusations of overambition, even preposterousness, as their lyric to Change In Nature attests:

An Indian chief in World War 3, left alive in sympathy
The curled up mother of the destined twins
To grow up weak on food from tins
Generation TV shy, when asked the colour of the sky
Said grey, white, black, oh my oh my

Oh my indeed. More than anything, they don't want to be the Wombats or the Enemy. "We try and sculpt songs and make them more like a piece of modern music," they say. "If you don't have dreams and ambition, what's the point of doing this?"

The buzz: "Operahouse have built a sound that towers over their young Britrock peers just like Babel would've done over Eiffel."

The truth: If you thought The Verve's comeback album was a bit of a letdown you might like this downbeat take on their pseudo-sombre pomp-rock, designed as it is for late-night summer festival slots.

Most likely to: Start a reassessment of Starsailor.

Least likely to: Stop climate change.

What to buy: The Change in Nature EP is released on November 10 by Marrakesh.

File next to: Geneva, The Verve, Wild Beasts, Starsailor.


If you haven't noticed, I love this band. This is why...

Wax Sponge

Sponge - Wax Ecstatic, released 1996 (Sony)

With their second album, Sponge returned to the '70s hard rock roots they had only hinted at on their alterna-metal debut, Rotting Pinata. Before Rotting Pinata, the group had slogged it out on the Detroit hard rock circuit under a variety of names, honing their chops and developing their skills. They managed to have a moderate hit with Rotting Pinata, which sounded exactly like it was recorded in Seattle. That hit allowed the band to expand their horizons with their second album, Wax Ecstatic. In order to grow, the group went back to their beginnings, touching on glam-rock, arena rock, blues-rock, and jangle-pop. Although it reveals Rotting Pinata to be somewhat calculating in its approach, Wax Ecstatic, ironically, is a far superior album. Simply put, Sponge sounds more comfortable on this terrain. They can spin out fuzzy hooks like those that populate the title track with ease, and they can craft hummable tunes like "I Am Anastasia" with equal aplomb. Wax Ecstatic is a more focused, more determined and all around more successful record than its predecessor. (

Wax Ecstatic (To Sell Angelina) - Sponge

For fans of: Stone Temple Pilots, Pearl Jam, Foo Fighters, etc.

Wednesday, October 29, 2008

Concluding Your Broadcasting Day

STONE TEMPLE PILOTS/ex-VELVET REVOLVER frontman Scott Weiland will perform on ABC-TV's "Jimmy Kimmel Live!" on November 26, it was announced today.

"Paralysis", the new video from Scott Weiland, can be viewed HERE. The song comes off the singer's sophomore solo album, "Happy In Galoshes", which is scheduled for release on November 25, 2008 via the artist's label Softdrive Records and distributed by New West Records/ RED/Sony.

Rocketing to the forefront of the music world in 1992, Scott Weiland has become one of the music world's most highly-respected and prolific artists. As the frontman for STONE TEMPLE PILOTS, Weiland has remained a dominant force in rock music since the group's inception. Now with his sophomore solo release Weiland proves that his music and song-writing is as potent and powerful as ever.

"Happy In Galoshes", produced by Scott Weiland and Doug Grean (VELVET REVOLVER, SHERYL CROW, CRYSTAL METHOD), with select tracks recorded by Steve Albini, features a collection of songs that bring a revitalizing sound to Weiland's highly praised and unique musical style. The album also features several guest appearances including Adrian Young, Tony Kanal and Tom Dumont of NO DOUBT, who, along with Grean and Weiland, penned "Paralysis", which features Young on drums. "She's so Cold" was co-written by Gary Beers from INXS. The album also includes other standout tracks such as the dynamic "Missing Cleveland" and the catchy hooks of "Talk About Love".

Scott Weiland plans to hit the road behind the new disc in January.

ZZ Foo Roses

Former GUNS N' ROSES and current VELVET REVOLVER bassist Duff McKagan joined Dave Grohl (FOO FIGHTERS, ex-NIRVANA) and ZZ TOP for an October 26, 2008 concert at Pomona Fairplex in Los Angeles. Watch fan-filmed video footage of the "Tush" performance below. The show was part of Love Ride 25, a motorcycle charity event that has raised more than $20 million dollars throughout the years for various organizations. The event also included a barbecue lunch, motorcycle trade show, vendor village, stunt exhibitions, award ceremonies and more as part of California Bike Week, which began on November 24.

"Tonight Show" host Jay Leno acted as Grand Marshall of the event. Leno has filled that role since Love Ride's inception.

The day-long event was launched in 1984 to raise money for the Muscular Dystrophy Association, and now raises money for an array of Southern California non-profits and children's charities.

Making their Mark

Exeter, a phenominal up-and-coming space/alternative rock band from Austin, Texas has released the first new track from their upcoming album, "Grey Noise White Lies." The track, entitled "Red Dress," is available for streaming and download at You don't want to miss this song, and I know I can't wait to hear the rest of the album!

Vote for Red Dress on!

The New Gamma

Beck has released a new video for 'Gamma Ray' featuring actress Chloe Sevigny.

In July Beck put together the first version of the video, however it appears that was a stop-gap measure.

An anonymous commentor to Stereogum noted at the time: "This is not the actual video. Sorry to ruin things for you guys. The original stars Chloe Sevigny (Not yet released)."

The new version, directed by Jess Holzworth and starring the actress, premiered on MySpace yesterday (October 28).

Sevigny's role has been described on as "post-apocalyptic go-go dancer set loose in a Dada-ist pastiche of psychedelic imagery and characters".

Beck - Gamma Ray

The track appears on Beck's latest album 'Modern Guilt'.

New Meets Old

Cave In - Perfect Pitch Black, released 2005 (Hydra Head)

Cave In's 2003 major-label debut garnered comparisons to Radiohead, Foo Fighters, and, in at least one review, Blue Öyster Cult. The new direction caused throngs of longtime fans to turn their backs on the band, and the cash-in, resulting in a slick but sickly commercial hardcore sound, ultimately bombed. Two years later, the band is back on Hydra Head, and while there are a few nods to the Cave In of days past, Perfect Pitch Black is nonetheless a melodic rock album at heart.
Strikingly, Perfect Pitch Black succeeds because of-- not in spite of-- its catchy melodies, infectious riffing, and silk-smooth vocals. The tempos, generally in the mid-to-slow range, give the songs time to develop, allowing them to sink in gradually. Additionally, bassist Caleb Scofield's guttural hardcore barking, once such a signature element of Cave In's sound, only shows up here on occasion, as an accent to Stephen Brodsky's clear, gliding vocal style that more closely resembles the hard-rock singers of the 70s. Fresh off manning the decks for the Red Chord and Victory at Sea, producer Andrew Schneider lends these songs a heady atmosphere, ripe with booming drums, glistening guitars, and twisted reverb effects. Following a brief intro, "The World Is in Your Way" rolls in on a slow, jerky rhythm, but begins to hint at something more sinister as the guitars shift into a slightly atonal style, and Scofield's bestial holler breaks through-- a blend of melody and slow-burning fury that sets the tone for much of the disc's runtime. "Trepanning", however, applies a different formula, spinning a guitar-groove boogie as Scofield snarls through the verses. The song leads into "Paranormal", a seven-minute atmospheric piece which weaves elements of psychedelia into the band's heavy riffage. Another surprising moment comes with "Ataraxia", a math-metal instrumental that blends layers of fuzzy, twisting guitars and distant, nebulous vocals.

Down the Drain (Album Version) - Cave In

Each of Cave In's albums to date has marked a distinct shift and change of approach, and Perfect Pitch Black's strength lies with their ability to seamlessly intertwine their past and present, experimenting with a diverse array of progressive genres and styles while remaining true to their metalcore roots. Granted, this is a far cry from the band's earlier work, and five years on from Jupiter, their creative apex does seem to have come and gone. On the other hand, few bands are capable of weathering so much change while remaining so consistent. Given the obstacles and challenges of their decade-long career, Perfect Pitch Black is a far more rewarding album than Cave In should rightly be capable of producing this late in the game. - Cory Byrom (

Tuesday, October 28, 2008

Still Freeky

The Freeks have posted yet another video, this time for the track "Look Ahead." Here's what the band had to say about it...

"Yep..That's right all you Freekoids! Doug Rhodes does it again!! Only this time he is joined by Winston might know him for all those cool Dead Kennedys record covers that he did......WHAT!!!!....Thats right we say!! Doug's animation of Winstons art creates the newest Freeks music video that is now posted for you all to enjoy!! Let us in on your we can manipulate them more........and more!! WAVE THAT FREEK FLAG!!!"

The Freeks are:
Ruben Romano (Nebula / Fu Manchu)
John Mcbain (Monster Magnet / Wellwater Conspiracy)
Scott Reeder (Kyuss / Across the River)
Isaiha Mitchell (Earthless)
Lorenzo Woodrose (Baby Woodrose / On Trial)
Jason Corbin (Bartenders Bible / The Casbah)
John Cobett (Hammers of Misfortune / Ludicra)
Jack Endino Skin Yard / Earthworm)
Mr. Bernie Worell (Wizard of Woo & Woo Warriors / Funkadelic / Parliament)

Not Quite Alone

Castor - Tracking Sounds Alone, released 1999 (Mud)

Sounding something like a punk version of Failure, Castor's Tracking Sounds Alone is a rare commodity, a truly alternative recording that is at once expansive, tuneful, and most importantly, original. Castor shares a certain sonic quality with their Champaign-Urbana neighbors like Hum, Honcho Overload, and others, but singer/guitarist Jeff Garber's well-defined writing and performance skills give Castor an identifiable hook that many indie rockers of the time were missing. A posthumous release, Tracking Sounds Alone hit record-store shelves well after the band's 1998 breakup. This might suggest that the material was simply foraged tracks that couldn't make the grade for the band's debut, but nothing could be further from the truth. The songs are powerful, with rockers like "Trackstar" and "Carnival" standing out as highlights. A nice balance of song-driven and noisy indie rock, Tracking Sounds Alone is a must for Castor fans and anyone fascinated by obscure '90s alternative gems.

stay lo - castor

Singer/guitarist Jeff Garber went on to join Ken Andrews in Year of the Rabbit, and has since been performing with National Skyline.

For fans of: Failure, Hum, Shiner, etc.

Monday, October 27, 2008

g. Sighting

Tommy Corrigan of Silent Majority and Capital has posted an update on the forthcoming album from Glassjaw. Corrigan works with Glassjaw guitarist and songwriter Justin Beck at MerchDirect and notes:

I for the most part heard a complete Glassjaw CD last winter. It had a latin/spanish music feel to some songs. It had some nice grooves kinda like a massive attack thing going on in some parts. All it needed was vocals.

Beck, for his part, has remained elusive about the contents and release date for the record but has promised a record before the end of the year.

Interview Interview Interview (3)

I recently had the chance to sit down with not one but four members of Woodstock, NY’s prog-rock breakthrough act, 3. From inside their seventh floor hotel room dubbed “The Ivory Tower,” the band revealed the state of their current tour, their thoughts on last year’s album The End is Begun, and touring with bigger bands. Of course, in true MetalSucks style, their answers have a healthy helping of goofiness to them. Read the full transcript...

Good to have you all here. So you guys are on your first headlining tour? How the fuck does that feel?

Joey: It’s actually really awesome, we’re used to sort of having to cram it all in to half an hour and now we get to stretch out and give people a little bit more of a well rounded sense of what we do as a band.

Billy: We get to jam. Daniel gets to jam. [laughs]

So its eight days in now and it’s all gone pretty good?

Joey: Yeah, it’s been great, really really awesome. You don’t know what you’re walking into because we really haven’t done this before. It’s been solid turnouts of 150 people-ish that’s probably our average per show. It’s just real fans and having people sing your songs back into your faces. It feels good. [laughs from rest of the band]

[to the band] What are you doing?

Billy: Beef up the numbers!

Daniel: In all seriousness, there were like 500 people.

Billy: No, I think there was 220 at one and 200 at another.

Daniel: We had 1500 last night, I mean only…

I mean you guys have toured with big bands before: The Scorpions, you did a UK tour with Porcupine Tree, Progressive Nation last time you were here in Vancouver with Opeth and Dream Theater. How do you manage to get on all these awesome tours with these amazing, big bands?

Daniel: Booking agents.

Joey: Booking agents, but it’s also the music. Ultimately these big bands have to listen to your music and go “Oh yeah, I think this could work.” In the case of Progressive Nation, it was really Mike Portnoy who stepped up and fought for the band to get on that tour, because he felt like it was a band that their audience would really “get” and really embrace. He was definitely right on about that.

Steven Wilson’s had a lot of good things to say about your band, as well, right?

Joey: Yeah, I have to say in my opinion that was probably our best match-up yet. I only heard of Porcupine Tree through our fans saying that’s a band that we should play with. Our manager was able to hook that up, and once we got to know each other and it went so well we decided to do another tour so we got to do two. They wanted to bring us to Europe as well but we couldn’t make that one happen financially – next time.

What do you guys think is cooler, headlining smaller more intimate venues or playing bigger venues but being in the opening slot?

Billy: They both have their place but ultimately the idea is to play the headlining shows, I mean that’s always better. You know, it’s hard when there’s not deluxe catering in Turnips, Winnipeg and five different kinds of cheesecake [laughs from rest of band], but it’s more about a room full of people really excited about your songs, singing along, you get to play a longer set.

Daniel: That’s right.

Joey: Totally.

So tell us a little bit about your latest album, The End is Begun…

Joey: [to band] what do you guys have to say?

Daniel: It was cool! It was a lot of fun making it. We produced it ourselves. It was fun to be the producer and get to do your own thing. I had a lot of fun making it and I think it came out pretty good.

In my personal opinion, I think this album has opened you up to a lot more people, a lot more fans. I heard about you guys after this album came out. Do you guys think this will come to be known as the breakthrough 3 album in a couple of years?

Joey: Who knows? [laughs]

Daniel: It’s a good question.

Joey: Every album is our breakthrough album. Wake Pig was the record that sort of put us on the map, but each record is sort of a stepping stone and we’re the kind of band that get better with each record, so who knows what the future holds? The next record could really be that big step. That’s what we’re hoping.

So you guys are signed to Metal Blade records… Do you ever feel out of place on the same label as bands like Cannibal Corpse and The Black Dahlia Murder?

Joey: Yes! [laughs] But we’ve never really fit in anywhere really. That’s been my lot in life. At first we thought it was really cool that we sort of contrast with the rest of the sound of the label, but there’s definitely a connotation to that. And there’s definitely… I mean, I thought the idea of our band being a surprise could work to our advantage and it has in some regards. But it’s also been a challenge.

Now Joey, you’ve got kind of an interesting guitar technique that you don’t really see in a lot of bands. A kind of slap/flamenco style…

Joey: I just never played with a pick. Playing in a rock band, I’ve just found different ways of using my fingers. I’m always exploring the instrument and there’s no rules. My technique is always evolving and I just sort of stumbled onto this flamenco-esque type of thing but I play on steel strings. Personally I think it’s about taking your own approach to your instrument, and that exploration gives you your own voice, and when someone has their own voice on an instrument… The rest of the guys in my band, they’re all guys who have their own voice on their instrument and when it comes to art that’s what it’s all about.

Billy: I play traditional guitar and Joey uses Euro-grip!

Joey: What? [laughs] Euro-grip?

Daniel: [laughs] What?

Joey: I don’t even know what that means. [laughs]

What are you biggest musical influences?

Daniel: Definitely The Beatles for me. They’ve always been the thing that I run to when I don’t quite know what to do.

Billy: Yeah, that’s right, we had Beatles Day in the van today.

Daniel: Yeah we did.

Joey: We did?

Billy: Well yeah, you’re up in the Ivory Tower [laughs].

Joey: Yeah I guess I missed Beatles day. Yeah, definitely The Beatles. John Lennon’s a personal hero of mine. For me: The Beatles, Stevie Wonder, I love song writers, I’m a big fan of Elliot Smith, Joni Mitchell…

Billy: You’re a little Frou Frou girl.

Chris: Yeah, Imogen Heap.

Joey: Yeah.

These next questions all require numbered responses, so I’ll just take the first three answers; What three songs should everyone listen to from your band?

[band members exhale deeply and then continue to make wind noises]

I haven’t heard that one.

Joey: Yeah it’s on the new record. [laughs] You gotta come to the show.

Chris: Well, “The End is Begun” is definitely one of them.

Daniel: Yeah.

Joey: Well, I always thought “All That Remains” was a good, all around song. That’s why it was a single, because it had all the elements of what the band was about on the latest record. The thing about our band is we’re not a band with a singular boxed-in identity. We’re more than that. You’ve gotta come out and see it live and experience it as a whole to really have an idea, to really have a grasp on who we are and what we do.

What three cities are you guys looking forward to playing the most?

Billy: L.A.

Daniel: Montreal was one of them.

Joey: Yeah, Montreal was awesome.

Billy: All the Canadian cities.

Chris: Vancouver, man! Shit… [laughs]



Black Rebel Motorcycle Club will be releasing a new album called, "THE EFFECTS OF 333" in the next few days. Here is what they have to say about it...

We are proud to announce our first release independent of any record company. As our first release through our Abstract Dragon label, this record is exactly that – no lyrics, no apologies, no regrets, just abstract. This has been in the works for the last 3 years at least, on and off the road, in hotel rooms, bus bunks, and back stage.

1. The Effects Of 33
2. Still No Answer
3. I Know You're In There
4. And With This Comes
5. A Sad State
6. A Twisted State
7. Sedated With Sterilized Tongues
8. We’re Not Welcome Alone
9. Or Needed
10. And When Was Better

This will be available as a digital download only through our new music store. The banners will take you there at 3:33 am Pacific Time on November 1st.

3 people will be selected for a private video chat/interview with Peter Hayes that will take place on the 333rd day of the year.

Happy Halloween and Dia De Los Muertos

Peter & Robert

M is for Maynard

Puscifer (Maynard James Keenan and friends) have released their new nine song remix collection, "D Is For Dubby", over at The outing features a variety of remixes done by Lustmord. In other news, tentative plans are being laid for a live Puscifer show in the coming months, possibly in Las Vegas, NV in February.

Dub remixes from "V is for Vagina" by the elusive O.G. Goth legend, LUSTMORD. Lot's of Dub out there in the world. Some of it is actually done correctly. Lustmord is one of the few who do it right. Turn it up, settle in, and remember to Puff Puff Pass.

Rivers Afloat

posted from

New Music: Rivers Cuomo: "I Want to Take You Home Tonight" [Stream]

"The Greatest Man Who Ever Lived would like to take you home tonight, lay you by the fire, and proceed to beat you senseless with piledriving power chords and operatic power-ballad guitar soloing. Weezer frontman Rivers Cuomo's "I Want to Take You Home Tonight" is apparently intended for a second Cuomo demos disc, the follow-up to Alone: The Home Recordings of Rivers Cuomo. On first listens, it's one of my favorite things we've heard from Cuomo this year, adding AOR muscle to Pinkerton's splintered angst, with Cuomo's voice avoiding smarm and fleshing out some nice harmonies. Not that it has the distinctive point of view of those first couple of Weezer records or anything, but at this point that's not really news anymore. Cuomo debuted the track during a Y-Rock on XPN Radio Takeover with Weezer's Brian Bell." - Marc Hogan

While I absolutely love Weezer's first two albums, and consider them to be as classic as can be, I no longer consider myself to be a fan of the band. I haven't particularly enjoyed anything they've released since Pinkerton, but last year's "Alone: The Home Recordings" was pretty good as it contained unreleased stripped down material from their entire careers.

New Songs and Empire

Robots & Empire have posted three new songs for your listening pleasures entitled "Nigel Snarsky Farsky," "Riff Huxtable," and "Homo Thug." You can find it at the link provided.

Here's the message from the band...

We put some unmixed songs up on our page. We'll prob take them down by tomorrow morning. We just wanted to give everyone an idea of whats been going on in the studio. Re-post if you're into them.

Paralysis for the Eyes

"Paralysis", the new video from STONE TEMPLE PILOTS/ex-VELVET REVOLVER frontman Scott Weiland, can be viewed HERE. The song comes off the singer's sophomore solo album, "Happy In Galoshes", which is scheduled for release on November 25, 2008 via the artist's label Softdrive Records and distributed by New West Records/ RED/Sony.

Rocketing to the forefront of the music world in 1992, Scott Weiland has become one of the music world's most highly-respected and prolific artists. As the frontman for STONE TEMPLE PILOTS, Weiland has remained a dominant force in rock music since the group's inception. Now with his sophomore solo release Weiland proves that his music and song-writing is as potent and powerful as ever.

"Happy In Galoshes", produced by Scott Weiland and Doug Grean (VELVET REVOLVER, SHERYL CROW, CRYSTAL METHOD), with select tracks recorded by Steve Albini, features a collection of songs that bring a revitalizing sound to Weiland's highly praised and unique musical style. The album also features several guest appearances including Adrian Young, Tony Kanal and Tom Dumont of NO DOUBT, who, along with Grean and Weiland, penned "Paralysis", which features Young on drums. "She's so Cold" was co-written by Gary Beers from INXS. The album also includes other standout tracks such as the dynamic "Missing Cleveland" and the catchy hooks of "Talk About Love".

Scott Weiland plans to hit the road behind the new disc in January.

People Going Places

People in Planes - Beyond the Horizon, released 2008 (Wind-Up)

People in Planes' début album was... well, it wasn't that good. Full of ridiculously stupid lyrics and plain guitar pop, it was a failed attempt at trying to master the tricky ground of combining pop tunes with a slightly experimental edge. It was also obvious that the band was trying way-too-hard to master the off-kilter indie pop-rock of Biffy Clyro, falling flat on their collective face in the process.

Thankfully, the band have learned from their mistakes. Ditching the trite, nonsensical lyrics and annoying choruses, they've stopped trying to write quirky pop songs and now the song-writing has become more focused and structured sounding like experimental alt rock rather than the prog-pop they went for on their début, but the progressive edge is still indeed there.

Opening with the organ-infused “Last Man Standing,” it's initially a sombre piece with the mournful Moby-esque vocals of front-man Gareth Jones, but quickly builds up some energy as upbeat keys and rackety acoustics are added. Leading in to the next track, which is also the first single, “Mayday (M'aidez)” sounds like the excellent experimental love-child between Muse and dredg. Verses of a bobbling Muse bassline ignite into choruses of stratospheric dredgery (yup, that reverb we all know and love) and is packaged complete with a catchy chorus.

While they've ceased capping their song-writing ability by aiming straight for radio play, there are a couple of airwave playlist-friendly tracks here, but this time for all of the right reasons. “Get on the Flaw” has an almost Kenna-like hip-hop beat to it but is littered with intricate guitar sounds, and second single “Pretty Buildings” is ready for hit song status. “Better Than Life” sounds like another Muse radio-rocker with its urgent and frantic fuzzed-out riffs.

Vocalist Gavin Jones has quite an impressive range and his full extent is realized on this record. At times he can sound comparable to the mellow crooning of Kenna or the emotive wail of Biffy Clyro's Simon Neil, and continuing to mix it up further, “Flesh and Blood” is a bit of a wild card as it had me checking the playlist to see if a rogue Coldplay song had somehow made its way on there with Jones pulling out an exceptional impression of Chris Martin's radio-friendly mumbling.

Vampire - People in Planes

Towards the end of the album, the band wanders further out into new territory and deep into Oceansize's waters. If you ever wanted to know what Biffy Clyro would sound like genetically spliced with Oceansize, listen to “I Wish You'd Fall Apart” and “Vampire.” The former opens up with oceanic guitar tones and washy ethereal ambiance which is a blatant rip off of Oceansize's “Rinsed” only re-written and packaged into a neat pop song.

People In Planes have stepped up their game big-time from their début record, but Beyond the Horizon is hardly an original album, as it clearly draws from a number of influences. Listening to it will surely give you musical deja vu and leave you scratching your head trying to rid the brain-itch of continually wondering to yourself: “Where have I heard that bit before?” While their intent on their début seemed to be severely diluted by too many bland attempts for radio glory, they've chosen not to limit themselves this time around and have included a few radio-friendly rockers, but have also injected them with an admirable experimental edge. Album stand-out “Mayday (M'aidez)” is what the single “If You Talk Too Much My Head Will Explode” should've sounded like had it not been restrained by radio intent, and these are the type of singles you need to release if you want to gain both mainstream exposure whilst simultaneously appealing to the experimental / art-rock crowd. -Rich Taylor (

For fans of: Biffy Clyro, Dredg, Muse, Radiohead, etc.

Sunday, October 26, 2008

A Tall Order

As Tall As Lions - As Tall As Lions, released 2007 (Triple Crown)

It’s all too seldom that ambient, honest, and tactful pop music makes its way to the forefront, and even less frequent that it gets the attention it deserves. Codeseven, being the most prominent group to come to mind in recent history, made strides in this department only to disband from a lack of a substantial audience, and with the greatness of As Tall As Lions' predecessors being considered, it's rather remarkable that the group have been capable of their success to date. With influences reaching from The Police to The Smiths, its no wonder that the group's second full length album, the self titled As Tall As Lions, is as captivating as it is.

The album opens up with “Stab City”, a gentle track that builds up, both instrumentally and vocally, as it progresses and sets a mood and expectations for the album that the next nine tracks more than satisfy. “Song for Luna” brings the progressive touch down a notch and serves as the perfect intermediary piece, leading into “A Break A Pause”, a track as rich instrumentally as the album’s opener. With the guitar and drums more on the experimental side of pop, set to background spacey samples and a come and go piano player, the depth of this album is remarkable, not only considering the groups which the band often tour with, but their label mates as well, as most of Triple Crown’s roster is on the pop-punk side of the fence.

Love, Love, Love (Love, Love) - As Tall As Lions

“Love, Love, Love (Love, Love)” is a true highlight of the album, and reinforces the band’s style of starting most of their songs out slowly and building them up into an amazing array of melody and ambiance. This track is especially awe inspiring due to its chorus being performed in the vein of a choir group set to a background of lush indie pop. “Ghost of York” grounds the band, at least momentarily, and serves as a more rock influenced track, an acceptable variation from its predecessors and leads into the mellower “Milk and Honey”. This is a slower track which is easily relatable to “Song for Luna”. “Be Here Now” offers a contrast to its predecessor with a louder introduction, and a moodier tone throughout. This track brings to mind peers of the group such as Gatsby’s American Dream, but with a bit more gentle vocal range.

“I’m Kicking Myself” is an interesting change of tone, and serves as a more than pleasant acoustic track which reinforces a theme of hopefulness met with depression that seems to reoccur throughout the album’s duration. “Where Do I Stand?” despite being a solid track just isn’t quite as catchy as prior tracks, but does have a solid range instrumentally. “Maybe I’m Just Tired” is both the album’s softest and most beautiful track, with melancholy vocals set to a background of spacey piano keys and soft drumming, which progresses into a rather wealthy track, seemingly a perfect closer for an album as solid as any that come to mind in recent history. Despite the excellence of the closer, the group offer up a hidden track as well, which is both danceable and catchy, yet doesn’t shift moods or take away from the rest of the album’s content. The track is a welcome addition to the lineup of songs and is further proof of the talent swelling within the group.

As Tall As Lions is an album that may be harder for some mainstream pop-punk fans to swallow, but is rich in content and more than worthy of a listen. Piano driven melodies set to a more experimental indie sound come together for an album that may catch listeners off guard, but will become a wealthy addition to any cultured listener's collection. -Josh Tabbia (

For fans of: Jeff Buckley, Dredg, Ours, etc.

Saturday, October 25, 2008

Let it Burn

Burning Airlines - Mission: Control!, released 1999 (Dischord)

After Jawbox's amicable split in 1997, frontman J. Robbins and guitarist Bill Barbot teamed up with ex-Government Issue drummer, Pete Moffett, to form Burning Airlines, with Barbot switching from guitar to bass duties. Mission: Control! the band's debut album, brilliantly channels Robbins' pop sensibilities through muscular hardcore riffs with insistent, rhythmic foundations. With its seamless, dynamic shifts, thick riffs and killer melody, "3 Sisters" epitomizes the transition away from Jawbox's clipped, angular post-punk and onto a much more open-ended playing field. Barbot's bass work is a big surprise; Jawbox bassist Kim Coletta always rattled off cool melodies, but Barbot has a sharper and more intuitive sense of placement. His rubber-band lines do the dirty work on the slick "Wheaton Calling," and tug on Robbins' riffs like a magnet in "Pacific 231." Jawbox's music had begun to incorporate a greater range of moods by its final album, and Burning Airlines finds Robbins' melodies highly effective in a variety of settings: insanely catchy punk-pop ("Pacific 231"), furious Nirvana-esque rock ("Sweet Deals on Surgery" and head-spinning opener, "Carnival") and arty dissonance ("I Sold Myself In," the intelligently weird "Crowned"). "Scissoring" is the album's standout cut, with its wicked harmonic riff, bad-ass bassline and thrashy second-half. With rarely a dull or unoriginal moment, Mission: Control! is a very promising start to life after Jawbox. (allmusic)

Pacific 231 - Burning Airlines

For fans of: Shudder to Think, Pixies, Jawbox, The Valley Arena, etc.

TP and The HBs!



Warner Brothers. Records will release cinema legend Peter Bogdanovich's film Runnin' Down A Dream: Tom Petty and the Heartbreakers as a two-disc DVD, complete with added previously unreleased bonus performances, on October 28. Formerly sold as a four-disc package exclusively at Best Buy, this newly released two-disc package of the film will be available everywhere in the U.S. and Canada..

Premiered to unanimous praise at the 2007 New York Film Festival, Runnin' Down A Dream brings Tom Petty and the Heartbreakers full circle, from their humble Gainesville, Florida beginnings to their emotional hometown 30th Anniversary concert. The film is a vivid account of a band that created a body of work considered one of the richest catalogs in American musical history.

Upon its original release in October 2007 the Houston Chronicle said Runnin' Down A Dream is "destined to be a classic" and the New York Daily News described the film as "a godsend for music lovers." Rolling Stone called the film "rock and roll purity with poetic gravitas."

Tom Petty and The Heartbreakers had the 1 tour of the summer according to Rolling Stone, thrilling sold out audiences in 40 cities. Now fans can own the definitive Peter Bogdanovich film that chronicles their remarkable over thirty year career.

The two-disc set will contain the entire four-hour film plus three bonus performances.

The Bonus Performances:

Too Much Ain't Enough, recorded Live At The Santa Monica Civic Auditorium, December 31, 1978- Santa Monica, CA. Directed by Michael K. Mannes.

The Waiting (featuring Eddie Vedder), recorded Live At Pepsi Center, July 3, 2006- Denver, CO. Directed by Michael Drumm and edited by Martyn Atkins and William Bullen.

Mystic Eyes (Van Morrison), recorded Live At The Greek Theatre, October 27, 2006- Berkeley, CA. Directed by Adria Petty.

Friday, October 24, 2008

Wish I Was There

On Wednesday I posted an article letting everyone know that Jane's Addiction, with all four original members, would be playing a show yesterday to a tiny audience in LA. Much appreciated, one of this blogs readers, Chad, was nice enough to send me an article with a review of the show, and here it is...

"Jane’s Addiction brought Hollywood to downtown Los Angeles on Thursday night, 20 years late. Or maybe just in time.

The fearsome L.A. foursome, in their original lineup, played a muscular 10-song set that reminded you of when some other guy named Bush was president (and before). And they played it to a crowd of 157 at La Cita — the Hill Street bar that until a little more than two years ago was a neighborhood watering hole and dance hall with a largely Mexican clientele.

I heard no ranchero music on this night. The occasion was a party; the DJ was celebrity artist Shepard Fairey (the Boston Globe was in town to do a piece on him); and the overtones were faintly political — even if Jane’s Addiction frontman Perry Farrell did confuse how far away the election was when he gave his get-out-the-vote spiel. And the band’s sweat-drenched admirers soaked it up. “A Top 10 moment,” one told me unblinkingly. Added a music executive who moshed in the wings near the likes of Karen O, Nick Zimmer, Adrian Grenier, Tom Morello and Taylor Hawkins: “I’ve loved that band since I was in diapers.”

That band — and the 200-amp sound system it brought along — made this ride in the Time Machine sound pristine. Even with La Cita’s low-slung ceilings, the volume from the temporary stage erected at the back of the main room was not oppressive, and the mix was perfect. Virtually start to finish, the quartet played a set worthy of their rock-star stature, as well as their fans’ undying devotion.

With the guest list incredibly tight (more on that later), Barton Saunders took no chances. The 37-year-old from Toronto, who spent $410 on a plane ticket to L.A. after reading about the show on a local blog, arrived at La Cita on Wednesday, slept on the sidewalk outside the bar and hung out at the bar all day Thursday to ensure he was there for the set. “A defining moment,” he called it.

OK. It might have been defining for the venue, too. I arrived around 7, about the same time the fire marshals did. They had concerns about all the juice coming into La Cita (an outside generator was used), and the myriad cables and lighting gear that the band’s production crew spent all day assembling. After a last-minute scramble to solve those problems (including moving the stage a couple of feet, no easy feat), officials turned their attention to the capacity, which they capped at 157 — the legal limit for La Cita’s main room. Many on the VIP and industry lists did not get in.

Two of the bar’s owners, Carl Lofgren and Dave Neupert, embraced afterward. “I can’t believe this happened,” Lofgren said. Neither could a lot of others.

The setlist was:

Up the Beach
Trip Away
Ain't No Right
Pigs in Zen
Ted, Just Admit It
Ocean Size
Had A Dad
Been Caught Stealing

Whores (2006 Remastered Album Version) - Janes Addiction

Weiland Crashes

Exclusive Song Stream: Scott Weiland, "Crash"
The Stone Temple Pilots singer-gone-solo continues his sonic experiment in this tune off his sophomore album, Happy in Galoshes, out November 25.

As fans discovered with "Paralysis," the first leak from his forthcoming sophomore solo album Happy in Galoshes, Scott Weiland is exploring a new sonic direction far from the usual Stone Temple Pilots realm. And "Crash," another exclusive track from the record, continues the exploration.

Fusing trance-y atmospherics and computer-generated beats with slick Top 40 hooks, the singer riffs about losing faith during life's tumultous times. Listen to the song HERE and offer your thoughts in the comment section!

Just a Bit Longer

The reissue of Pavement's landmark album 'Brighten The Corners' has been delayed.

The indie legends' fourth studio album, originally released 1997, was set to be reissued next month, but the release date has now been pushed back to December 9 because of "delays at the vinyl press", according to a statement from the Matador record label.

This is the latest in the series of the band's albums to get the special treatment from the label, which is reissuing an LP by the band every two years.

'Brighten The Corners: Nicene Creedence Edition' will feature a remastered version of the original album, bonus material includes B-sides and compilation tracks from that period in the band's career, plus unreleased live and studio tracks and a 62-page bound companion book, as previously reported.

A Clann You Can Like

Clann Zu - Rua, released 2002 (Zahrada Records)

Clann Zu's Rua is one of the most original bands/albums I have ever heard in my lifetime. Not only are they doing their own thing, but their "thing" is incredible. While they will only serve a small market of tastes with so many influences mixed, they deserve to be given a chance by all!

Clann Zu are one of those few bands where reviewing them simply seems inappropriate. As if any of the words you can muster from an ultimately limited vocabulary can possibly do it justice without falling significantly short, but with emotion and beauty translated into music, it's an album that you cannot afford to miss. Like Jeff Buckley before them it will appeal to those with a persuasion towards rock/alternative/pop/folk music, in a word anyone.

In one swoop Clann Zu are able to tug at emotions you never knew you had, invoke thoughts and self introspection which leave you to ponder about what you just heard and what it meant to you and how it changed you. This is an emotionally heavy record that wont be spun in the odd few minutes before you move on to do something else, this record requires you to accommodate for it, to sit down, to absorb. Ethereal singing, beautiful lyrics, talented musicianship, the list is endless. Singer Declan de Barra, an Irish native who then located to Australia is consistently astounding with his Irish accented vocal which has a range that transcends from venomous rage as he spits his way through opener 'Words For Snow' to an angelic cry in 'Hope This Day'. The rich subtlety in his singing makes it listenable over and over.

The array of genres and instruments demonstrated create doorways to music you may have otherwise never listened to and the experience is all the more enriched because of it. Maybe I'm a sucker for violins and string sections but just listen to 'Five Thousand More' and try not to get lost in it. If it's stunning original music you're looking for, Clann Zu has it in spades and deserves every accolade it can get. - Brian Webb (

Thursday, October 23, 2008

Hazardous Territory

This past weekend I had the pleasure of checking out Boston’s own Hazard Adams. Originally a solo or duel guitar act, Hazard Adams has grown into a full band, and the sound and songs have in turn grown as well. Their musical style is hard to classify as they effectively mix a blend of folk, blues, country, and alternative rock into a sound that is all their own. Primary song writer Jesse Friedberg shows off a knack for writing catchy songs without falling too far into the pop territory, staying organic and true to his roots.

The band opened to a full audience at Bar 169 with “Tin Cup,” a blues influenced song of Friedberg’s. Guitarist Chris Perry adds great texture to the song with slide accompaniment that blends greatly with Jesse’s vocal melodies. The new inclusion of a rhythm section makes the song sound full and complete, but ultimately it’s Jesse’s songwriting that breaks and pops at all the right moments that draws you in. Clearly I'm not the only one that loves this song, as it was chosen to be in the major motion picture Senior Skip Day. With the audience pumped up, Hazard Adams dove into their next song, “Earth.” The ever talented Chris joins in on this song with another great texture, this time by way of mandolin. Hazard brings vocals and lyrics that are introspective and quirky, without sounding contrived or formulaic. On “Earth” the band delivers some great insight to life in a fun and upbeat folk-fused jangle pop sound.

The show mellowed down a bit for “Full Grown Man,” a thoughtful trip through growing up and living through all of life’s experiences. The crowd was equally excited to hear Hazard Adams break into a rocking and intense cover of The Kink’s hit song “Lola.” The crowd sang along as Jesse and company infused their own sound into the early 70’s radio staple. The band has been known to play several covers ranging from various influences including The Who, Daniel Johnston, and Eels. “Pete Townsend,” came next, Hazard’s ode to his idols. This song reflects the desire we all have to emulate our favorite musical stars, and the ultimate realization that you can only be yourself in the end. Jesse’s song writing is simple yet timeless, for music fans of all genres and ages. Next came the fast and frolicking “Hell Song.” This track has an outlaw country feel to it with an upbeat infectious jangle. I personally love this song as it contains a strong feel good vibe with accelerated vocal delivery from Jesse that conjures up images of a hoe-down (in a good way).

Hazard Adams closed out the set with the raucous break-up song, “I Don’t Want to Be Friends.” The lyricism and song writing make this one easy to understand, and highly relatable to anyone who’s ever gone through a rough break-up. “Why Did I Want You Again?” ended the concert with a slower melodic tune that slowly builds until it comes to an abrupt end, or so you think, as the band kicks back in with explosions of rock to make sure the show ends on a climax. The crowd loved the performance and were screaming for an encore. While the band was ready to please, much to the audience’s dismay, the venue would not allow it, and fans are left waiting for the next show for more of this unique and ultimately entertaining band.

Check out their Myspace page HERE to hear five of their songs, and check out news, bios, and pictures. If you enjoy what you hear, please show your support and add Hazard Adams as a friend to stay up-to-date on all the bands happenings.

Forget the CD, I want the DP

Guns N' Roses fans thirsting for the upcoming "Chinese Democracy" will have a sweet, fizzy treat to savor as they listen.

Dr Pepper is making good on a prior promise to provide every person in America a can of the soft drink if the album were to arrive in 2008, and yesterday (Oct. 22) revealed details of the plan.

"We never thought this day would come," says Dr Pepper VP of marketing Tony Jacobs. "But now that it's here all we can say is: The Dr Pepper's on us."

Interested fans are being asked to visit on Nov. 23, the day "Chinese Democracy" is released in the U.S. exclusively via Best Buy. After registering online, fans will receive a coupon redeemable for a 20-oz. Dr Pepper wherever the drink is sold.

The twist: the coupon is only available for 24 hours and will expire on Feb. 28.

For anyone who knows me, knows that I love Dr. Pepper more than any other liquid ever, it's a fact! Thanks Axl for the free one!

No Need to Whig Out

The Whigs - Mission Control, released 2008 (ATO - JV)

"Perhaps it isn't intentional that the Whigs' name is a truncation of the Afghan Whigs — this quartet doesn't sound much like the arty soul-rock of Greg Dulli's Cleveland outfit — but it's surely deliberate that this trio recalls alt-rock's heyday of 1993 on their second album, Mission Control. Not that Mission Control would have held its own with Gentlemen or Saturation if it showed up in 1993, but this tight, 11-track collection niftily clocking in at under 40 minutes, has the sound and feel of the bottom of 120 Minutes' Buzz Bin (not to mention the look: those defaced '70s snapshots are uncannily reminiscent of the '90s). The Whigs are vaguely rootless, sounding like any number of '90s alt-rock favorites — those rolling, octave-jumping guitars could be compared to Pavement, those growling guitars could be compared to Guided by Voices, those harmonies and hooks may be lifted from the Foo Fighters, their po-faced lack of pretension either recalls the Replacements or, if you're less charitable, Better Than Ezra — without sounding like anyone in particular. Which doesn't mean that they have a unique identity; rather, they play like an alt-rock revue, hitting all the highlights but not channeling it into a distinctive sound. They have enough clatter and commotion to keep Mission Control moving at a brisk pace, but they could use some extra oomph — Parker Gispert's voice fades beneath his guitars, giving this a strange listlessness — and they would really benefit from hooks that were finally honed instead of riffs and vocals that seem to circle around the melody instead of confronting them straight on." - Stephen Thomas Erlewine

For fans of: Foo Fighters, My Morning Jacket, Kings of Leon, etc.

Wednesday, October 22, 2008

Luzier no Loser

STONE TEMPLE PILOTS begins the final week of its six-month-long reunion tour on Wednesday (October 22) in Hidalgo, Texas, with the trek wrapping up on October 31 in Pelham, Alabama. According to a posting on the band's web site, "Due to the unfortunate passing of his father, drummer Eric Kretz will be taking a brief leave of absence from the STONE TEMPLE PILOTS tour dates this week in Texas and at the Voodoo festival in New Orleans. Drummer Ray Luzier [KORN, ARMY OF ANYONE, DAVID LEE ROTH] will be filling in for Eric and will be performing with the band at these shows."

The affected dates are as follows:

Oct. 22 - Hidalgo, TX - Dodge Arena
Oct. 24 - New Orleans, LA - Voodoo Music Festival
Oct. 26 - Tulsa, OK - SpiritBank Events Center
Oct. 28 - Lincoln, NE - Pershing Auditorium
Oct. 30 - Southaven, MS - Desoto County Civic Center
Oct. 31 - Birmingham, AL - Verizon Wireless Music Centre

Luzier previously played with guitarist Dean DeLeo and bassist Robert DeLeo of STONE TEMPLE PILOTS in the short-lived project ARMY OF ANYONE, which also featured FILTER frontman Richard Patrick. The group released a self-titled debut album in 2006 which debuted at position No. 56 on The Billboard 200 before quickly dropping off the chart.

I've seen him play live when he was with Army of Anyone, and I can attest that he is a great drummer!

Horror King

Rob Zombie is one of my favorite new movie directors of the past decade. His film, The Devil's Rejects remains one of my favorite movies I've seen, and it's due to every little aspect of the direction, score, script, actors, etc. that Zombie pulled together. He recently won a Scream Award for his remake of Halloween, here's the press release...

Rob Zombie's hit 2007 remake of the 1978 horror classic "Halloween" was honored in the "Best Remake" category at Spike TV's third annual Scream Awards, dubbed "Scream 2008". The show, where winners are determined through online voting at, was taped on Saturday, October 18 at The Greek Theater in Los Angeles, while the event itself was aired last night (Tuesday, Octoebr 21) on Spike TV.

Scream Awards is an event celebrating horror, science fiction, fantasy and comic books.

Rob Zombie's "Halloween" grossed an estimated $31 million when it opened last year's Labor Day.

John Carpenter filmed his 1978 indie chiller on a $325,000 budget. The film made roughly $47 million at the domestic box office, and still ranks among the most impressive budget-to-box office ratios in history. Zombie's studio-approved "Halloween" cost about $20 million.

The three-disc unrated collector's edition DVD of Rob Zombie's "Halloween" hit stores nationwide on October 7. According to Rob, "The set contains an all-new four-and-a-half-hour documentary about the making of the film!"

The Tree Has Many Branches

Now available from the Porcupine Tree Store is a new budget priced sampler of music from various collaborations and solo projects by the members of Porcupine Tree. Includes tracks from Richard Barbieri's solo albums, Colin Edwin's forthcoming solo album, Ex-Wise Heads, Gavin Harrison/O5Ric, No-Man, Bass Communion, and a track from Steven Wilson's forthcoming solo album.

1. Hypnotek - Richard Barbieri (8.16)
2. Red Square - Richard Barbieri (7.52)
3. Harmonic Chain - Ex-Wise Heads (4.27)
4. Another Spark – Ex-Wise Heads (6.20)
5. Exit Strategy – Colin Edwin (4.51)
6. Sailing - Gavin Harrison / O5Ric (4.43)
7. Sometime - Gavin Harrison / O5Ric (6.55)
8. Truenorth (video edit) – No-Man (5.52)
9. Get All You Deserve – Steven Wilson (6.15)
10. Glacial (edit) – Bass Communion (9.03)

Freek Out Man!

The Freeks have posted their brand new music video for their track, "Basque in the Splendor." Check it out below. The Freeks is the collaborative effort of many amazing musicians, including:

Ruben Romano (Nebula / Fu Manchu)
John Mcbain (Monster Magnet / Wellwater Conspiracy)
Scott Reeder (Kyuss / Across the River)
Isaiha Mitchell (Earthless)
Lorenzo Woodrose (Baby Woodrose / On Trial)
Jason Corbin (Bartenders Bible / The Casbah)
John Cobett (Hammers of Misfortune / Ludicra)
Jack Endino Skin Yard / Earthworm)
Mr. Bernie Worell (Wizard of Woo & Woo Warriors / Funkadelic / Parliament)

Jane's Again

The original lineup of Jane's Addiction is expected to make a rare, reunited appearance tomorrow night in Los Angeles. Blabbermouth reports that the band will play as part of an event hosted by singer Perry Farrell's friend, artist Shepard Fairey. Jane's Addiction reunited to perform earlier this year at the U.S. NME Awards, where they were given the "Godlike Genius Award" by the British magazine.

While they have had several full blown reunions already, I personally have missed out on all my chances to see them live, and would love to see another full scale reunion!!

STP to Be?

The Pulse of Radio reports that STONE TEMPLE PILOTS begins the final week of its six-month-long reunion tour on Wednesday (October 22) in Hidalgo, Texas, with the trek wrapping up on October 31 in Pelham, Alabama. What happens after that? Although the band has talked about making a new studio album, singer Scott Weiland told The Pulse of Radio he's not so sure that will happen. "I don't know where things are gonna go with STP," he said. "It was sad to find out that we're still in some way locked in a contract with Atlantic Records, which is a travesty, actually. If it ends up being that we have to, you know, make a certain amount of records for Atlantic in order to be free, then I don't know if I have that in me."

Atlantic Records filed a lawsuit in June claiming that Weiland and STP drummer Eric Kretz had threatened to stop performing and wanted to terminate their contract with the label unless it was changed.

The band issued a response saying that it was "deeply disappointed" to see that the label had filed the "surprise lawsuit" during the middle of "what were believed to be cordial and positive discussions about STP returning to the studio to make a new album after five years."

Atlantic stated in the suit that it wanted the group to record up to three more albums.

Meanwhile, Weiland will release his second solo effort, "Happy in Galoshes", on November 25 through his own Softdrive label, with a single called "Missing Cleveland" headed to radio two weeks earlier. The vocalist plans to hit the road behind the new disc in January.

This Wheel's Turning

Catherine Wheel - Chrome

"The original title, Crank, would have been apt. Producer Gil Norton (Pixies, Echo & the Bunnymen) was brought in to toughen this band's sound and set them apart from the wave of U.K. upstarts who were pounding U.S. shores. That he did. But it's not necessarily progress; Talk Talk's master experimentalist, Tim Friese-Greene, gave Catherine Wheel's brilliant debut, Ferment, a dripping beauty, opulent textures illuminating barely hidden firepower. On even the most angry, aggressive tracks, such as "Texture" and "Shallow," this shimmering, shuddering mist was still ever-present. Many of those glistening touches have indeed been subtracted by Norton, and they're missed. That Chrome is still a terrific LP proves Catherine Wheel capable of eclipsing the overload. Like another sharp LP that "cranked" for an hour without much sonic letup, Chrome reminds one of Sugar's Copper Blue. Not because Catherine Wheel covered Hüsker Dü on the 30 Century Man EP; it's because that was the last LP that combined this kind of songwriting prowess, raging playing, dynamics, pop tunes gone kablooey, and huge, bonfire sound. And unlike that toasty Sugar LP, this twin-guitar quartet knows how to bring it down: both the spindly single "Crank" and the resplendent "The Nude" seem almost tearful, they're so pretty through the thickness, and the knockout "Strange Fruit" is as fulsome as it is fierce. Rob Dickinson sings as if to choke on his words, yet never loses a gritty determination backed soundly by his and Brian Futter's guitars. Add in heavier versions of previous B-sides-that-deserved-better "Half Life" and "Ursa Major Space Station," and you've got a double play from a band too resolute to fall victim to sophomore slump wimp out, too talented to write half-baked tunes in two minutes, and too strong to glaze out in a shoegaze haze some pigeonholed them in after Ferment." -

Crank - Catherine Wheel

Tuesday, October 21, 2008

Vibrating Whigs

The Whigs have released their new video for the single, "Like a Vibration" from the excellent album Mission Control.

Like A Vibration

Wannabe Part 2

The Eagles Of Death Metal have posted the official video for their current single "Wannabe In LA" available online below. As previously reported, an alternate version of the video is also available online here. The bands new album "Heart On" will see an October 28th release date through Downtown.

I really love this band and I can't wait to hear the new album!!

Video Premiere: The Sword’s ‘How Heavy This Axe’

“This video is so simple,” says The Sword frontman J.D. Cronise of “How Heavy This Axe.” “It really warrants no explanation.”

Kind of like the band’s music, a molten amalgam of doom, thunder and war that draws equally from midtempo Black Sabbath and slow Metallica. The Sword have never denied that their tunes are influenced by songs from a past era (the above, plus Pentagram, Trouble, Cathedral and St. Vitus). Similarly, the new clip is a celebration of another culture and time.

“It’s an homage to the psychedelic rock performance videos of the late ’60s and early ’70s,” Cronise tells “It’s just some dudes rocking out in front of some trippy backgrounds.”

Well, there you go, and here you are. Remember, “How Heavy This Axe” will premiere tonight at 10 p.m. on MTV2 during out week-long celebration of the 20th anniversary of “Headbangers Ball.”

Video Premiere: The Sword’s ‘How Heavy This Axe’

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Modern Beck

Beck - Modern Guilt, released 2008 (Interscope)

“I don’t know if it’s my illusions that keep me alive,” Beck wonders amidst his disintegrating ballad of a closer, “Volcano,” though the statement comes off as rhetorical. The man who has come to embody a certain whimsy seems to have something rather massive sagging from his shoulders this time around. On Modern Guilt, gravity has indeed usurped the usual warped levity, inevitably drawing all that is near toward a surging molten core. Beck’s eighth album marks the first time he has teamed up with virtuoso Danger Mouse—who serves as co-producer—but no single influence could possibly suffice to explain this rising of the tides. Each of the 10 tracks orbit closely around a despairing obligation so mysterious it might as well be a black hole. While the fun and games are on indefinite hiatus, Beck’s definitive genre-splicing palette is wholly intact. He summons from disparate caverns of the musical spectrum, slathering morphing shades of Sgt. Pepper’s crimson, metallic drum-and-bass gray, and subtle, endless blue. Though he has never had just one sonic home, and Modern Guilt is no exception to this rule, Beck is somehow more aware while puffing out his waves of broken poetry as opposed to the casual seed-spitting he has been known to turn to. Come to think of it, Sea Change might be the closest thing to a living contact this album has, albeit a distant one. After all, the tired melancholy of Sea Change still gave reason to believe that there was plenty of blood left to blot and time left to soak. From Modern Guilt’s tribal intro to “Orphans,” to the diagonal amphetamine percussion of “Replica,” to the teetering martyrdom of “Volcano,” it’s made very clear that resting on our proverbial laurels is no longer an option. “What makes the soul, the soul of a man?” Yes, you’re hearing me right, between the cracks of paint-chipped abstract imagery (“She’s got a cactus crown”) seeps an honest urge to look around the real world—simultaneously Beck’s and ours—and think. Perhaps the inky heart of Modern Guilt (as well as its unlikely first single), the transcendent “Chemtrails” makes not-so-hushed references to a certain catastrophic hurricane and its botched aftermath, lamenting, “You and me watching a sea full of people try not to drown.” During the moments he’s not stargazing in sad reflection, Beck seems to be interested most of all in escaping; in silencing the guilt that so audibly ails him. Patching up the funky, echoed groove of “Youthless,” is the wish to be numb: “Need a teleprompter for my life/Need a pipeline to the night.” Yet, with all the existential trouble brewing in its skies, Modern Guilt does not conclude with an acquiescence to succumb. “Volcano” meditates on the story of a Japanese girl who leapt into its fiery crater. Behind, retracing her dismal steps is Beck, who finally muses, “I don’t want to fall in though/Just warm my bones/On that fire for a while.” He has never come through any clearer than this." - Kyle MacKinnel (

Free Eels For All

EELS give away free EP to all upon deluxe vinyl release.

To celebrate the release of the EELS' acclaimed BLINKING LIGHTS AND OTHER REVELATIONS 4 LP deluxe vinyl limited edition the band is giving away a 4 song EP download for one week. The deluxe BLINKING LIGHTS package includes 3 LPs of the critically acclaimed album on vinyl for the first time with a fourth disc that is an exclusive 17 track live album, MANCHESTER 2005, recorded shortly after the release of BLINKING LIGHTS. Pressed on 180 gram vinyl, the 4 LPs each have their own covers, rice paper dust sleeves, and are accompanied by a hardback book of lyrics and photos, all housed in a beautifully crafted box that is numbered and begrudgingly signed by the author himself, EELS leader E. The edition is limited to only 2,500 copies and will be sold in order of lowest cover numbers first, 0001 - 2500. And this is not a fake signature like the ones often found on eBay. See the man signing these himself HERE.

The free EP contains 4 songs from the exclusive MANCHESTER 2005 album, which is only available on vinyl as part of the BLINKING LIGHTS deluxe edition, but you can download the EP regardless of ordering the BLINKING LIGHTS deluxe edition. Anyone who wants the EP can have it! Simply enter a valid email address and follow the link from the email for easy download. The MP3s will play on any iPod, MP3 player or computer. The live album is only available on vinyl as part of this limited edition. It will not be released in any other formats.

Download the free EELS MANCHESTER 2005 EP now until Tues, Oct 28 HERE!!

Order the BLINKING LIGHTS AND OTHER REVELATIONS signed & numbered deluxe 4 LP vinyl limited edition boxed set (ships Tues, Oct. 28) HERE.

Read about the world reaction to the much heralded EELS Blinking Lights and Other Revelations album HERE.

Monday, October 20, 2008

The Sword is Mightier

The Sword will headline a slew of off-dates while on tour supporting Metallica. Here's the schedule:

10/27 Minneapolis MN @ Triple Rock Social Club
10/28 Sioux Falls, SD @ Nuttys
10/30 Missoula, MT @ The Palace
11/2 Boise ID @ Neurolux
11/5 Wichita, KS @ Barleycorns
11/7 Chicago, IL @ Bottom Lounge
11/10 Nashville, TN @ Exit / In
11/11 Asheville, NC @ Stella Blue
11/12 Raleigh, NC @ Lincoln Theater
11/14 Hiltonhead, SC @ Shoreline Ballroom
11/15 Atlanta, GA @ The Masquerade
11/16 Covington, KY @ Madhatter
11/19 Ft. Worth, TX @ Lola's
11/21 New Orleans, LA @ One Eyed Jacks
1/14 Washington, DC @ Rock and Roll Hotel
1/16 Westchester, PA @ The Note
1/20 Albany, NY @ Revolution
1/21 Burlington, VT @ Higher Ground
1/22 Buffalo, NY @ The Tralf
1/23 Pittsburgh, PA @ Mr. Smalls
1/24 Cleveland, OH @ The Grog Shop
1/25 Columbus, OH @ Ravari Room