Sunday, November 30, 2008

I Don't Want to Leave This Heaven So Soon

Mark Lanegan Band - Bubblegum, released 2004 (Beggars Banquet)

With the Screaming Trees an increasingly distant memory and his brief tenure with Queens of the Stone Age seemingly over and done, Mark Lanegan appears to have well and truly become a solo artist, and while the dark and blues-shot introspections of Whiskey for the Holy Ghost and The Winding Sheet felt like a respite from Lanegan's usual musical diet of the time, Bubblegum sounds like an effort to fuse the nocturnal atmospherics of his solo work with the impressive brain/brawn ratio of his better-known bands. Credited to the Mark Lanegan Band (though there's no consistent set of musicians from track to track), Bubblegum is hardly short on the moody stuff, with Lanegan's nicotine-buffered pipes leading these songs though any number of empty streets and unhappy events, as on the jonesed-out road trip of "Strange Religion," the pained drift of "One Hundred Days," and the wasted longing of "Morning Glory Wine" — notice a common theme yet? (Oh, and in case you were wondering, the album's title refers not to teen-centric pop music, but a line from his song "Bombed": "When I'm bombed, I stretch like bubblegum/And look too long straight at the morning sun.") But Lanegan was also of a mind to rock out a bit while making this album (or figured that his newer fans were expecting it of him), and with his QOTSA pals Josh Homme and Nick Oliveri helping out on a few cuts, he does indeed deliver the rock, most notably the clanking menace of "Methamphetamine Blues," the straightforward bash of "Sideways in Reverse," and the organ-driven ooze of "Hit the City" (the latter featuring Polly Jean Harvey in an inspired duet appearance). But while most guys making a solo album after a stint with a successful band create music that speaks of freedom and release, Bubblegum finds Lanegan digging ever deeper into the obsessions and appetites that drag him into the same corner every time. It sure doesn't sound like a life most of us would wish to lead, but it makes for damned compelling art, and the dank emotional caverns of Bubblegum offer some territory well worth exploring for the strong-willed. - Mark Deming (

Methamphetamine Blues - The Mark Lanegan Band

Saturday, November 29, 2008

Times of Leach

A message from Jesse Leach (of Seemless, etc.)...

As of this morning I am heading to Massachusetts to put the finishing touches on the "Times of Grace" album with my good friend Adam D at the helm. I can't say enough about this album, so I won't say anything except that I think most of you may be surprised by the diversity of it. We are hoping this album will receive a release date in mid 2009, that all depends on the record label. As soon as this album session is wrapped up I begin another one!

My new band The Empire Shall Fall! I have been so tied up these past few months with "Times of Grace" I have had little time to dedicate to these guys. For those who don't know already long story short I started a "metal band" of sorts. This band consists of two seasoned Jazz players a bassist & a drummer who have never played aggressive music until now. An 18 year old guitarist that plays an 8 string guitar & has currently written the three songs that are up as demo versions on our myspace page.

We have literally had 5 full band rehearsals & played 4 shows, so really we haven't even begun to form our sound etc. This band was formed not just on the the love of music, but first & foremost a message. Our message is to educate uplift & provoke thought in our fellow human beings about politics/human rights & the world around us. Thus far musically we have jammed on Metal, hardcore, thrash & rock, but the new stuff brings some Jazz,math-rock & experimental stuff. Really expect us to make some noise with our message as well as our music. We are currently preparing to write a few more tracks play for a few months & then hit the studio to record a full length.
I can't stress this enough we are a totally D.I.Y. band we currently have no management, no PR, no label. So everything we do we do it ourselves! So if you live in the northeast and are a promoter, know a promoter pass us along. Or if you are a promoter with good backing & want to fly us somewhere hit me up! my point is help us get the word out, we need your help to get shows & get our sound tight & ready for the studio!

Thanks everyone for all of your support & kind words! Stay tuned for more updates!
One Love

New Old =W=

On the heels of the release of the second volume of Weezer frontman Rivers Cuomo's home recordings, the group is now taking a look back into its own vaults.

Cuomo tells Billboard he has "no idea" when the tentatively titled "Odds and Ends" will be released, but describes it as "just another fun project to do. They're great songs, but for some reason they didn't make the final cut for [a] record. They span a vast period of time from the very beginning of our career in the early '90s right up to the present day."

Meanwhile, Cuomo says Weezer may tour next spring with Oasis, and is hoping to enlist Spike Jonze to direct a video for the song "The Greatest Man Who Ever Lived" from its recent "The Red Album."

And while the next Weezer studio album appears to be a ways off, the group recently recorded six Christmas carols that will be downloadable for the iPhone game "Tap Tap Revenge," including "Oh Holy Night." Says Cuomo, "They're the classics."

In addition, Cuomo recently wrote a song with sibling pop duo Aly & AJ, although it's unclear when it may see the light of day. "It was such a blast to remember how teenagers approach songwriting," he says of the experience. "Their minds just work so fast and they have no fear and no ego."

Cuomo's "Alone II: The Home Recordings" was released earlier this week by Suretone/Geffen. The first installment came out in December 2007.


A new Glassjaw track can be heard HERE. The track is "You Think You're John Fucking Lennon". You just have to wait abit for the track to start.

Can't Change Him, Just His Music...

Chris Cornell - Euphoria Morning, released 1999 (Interscope)

With Down on the Upside, it was clear that Soundgarden, while still strong, was no longer the ideal vehicle for its frontman Chris Cornell. He sounded much more comfortable on Superunknown, the first Soundgarden album that broke free from the Sab-Zep restraints, allowing him to indulge in psychedelia. That, along with his stellar contribution to the Singles soundtrack, suggested that Cornell had aspirations of being a singer/songwriter, so it's not a surprise at all that he decided to tie those two loose ends together to provide the foundation for his solo debut album, Euphoria Morning. Those expecting a slab of metal from Euphoria Morning will be disappointed, but it's hard to feel sorry for them, since they were evidently not really listening to the last few Soundgarden records. There's no question that it's a rock album, but it's a shaded, textured rock album, lacking the grinding sludge and furious rock that were his previous band's stock-in-trade, yet it's undeniably of a piece with Superunknown. Thankfully, Euphoria Morning doesn't have the shiny arena rock gloss that Michael Beinhorn gave Soundgarden's masterpiece. True, it is a clean, big production, but it's organic, which means that it doesn't sound unnatural when Cornell dives into blues ("When I'm Down") or when he suggests Radiohead with the beginning of "Preaching the End of the World." That kind of flexibility is what was missing from Down on the Upside, and it keeps Euphoria Morning fascinating, since it's unclear what's coming next, even if it all sounds of a piece. It's a mature album without being overly somber. It could be argued that it sounds a little too mature and possibly a little self-conscious, but that just emphasizes the real craft behind Euphoria Morning. Cornell knew exactly where he wanted to go as a solo artist, and he's achieved it. If it doesn't satisfy some dyed-in-the-wool Soundgarden fans, that's too bad, since it will undoubtedly win the affections of open-minded listeners who haven't before considered him a serious songwriter or musician. - Stephen Thomas Erlewine (

Cant Change Me - Chris Cornell

Friday, November 28, 2008

Time for a Euro Trip

Biffy Clyro will headline the final day of the RockNess festival in Dores, Scotland next June.

The Scottish rockers will be playing on the third night of the bash, which runs from June 12 to 14 – expanded to three days for the first time.

The Prodigy, Basement Jaxx and Dizzee Rascal are also confirmed to play at the event. Fatboy Slim, usually a stalwart of the festival, will not be playing this time.

Biffy Clyro's Ben Johnston told the Daily Record that his band would unveil new material at the headline slot. "We are bored out of our minds playing the same songs," he said. "We should have the (new) record done by then, and will unveil a ton of new material."

Tickets are on sale now.

To check the availability of Rock Ness tickets and get all the latest listings, go to NME.COM/GIGS now, or call 0871 230 1094.

Missed Weiland?

STONE TEMPLE PILOTS/ex-VELVET REVOLVER frontman Scott Weiland performed on Wednesday night's episode of Jimmy Kimmel Live!. Footage of Weiland performing his new track 'Missing Cleveland' can be seen below...

On November 25th, Weiland releaseed the two-disc set Happy In Galoshes, his second official collection of solo material and the follow-up to 1998's 12 Bar Blues.

High Tides

Tides of Man have posted a song from their upcoming album, "Empire Theory." The song is called Contents Within and is a great and epic track. Please check it out and leave some feedback about it!

You can hear the song HERE!

The Kings of Pancake Mountain

A message from the Melvins...

"Hey Kids!!!!!!

There will be a live taping of Pancake Mountain featuring the Melvins on Saturday, November 29, 2008 at The Troubadour in West Hollywood.​.​.​.​Pancake Mountain is a cool kids show out of Washington D.C.

here are the details,​dance_​party/​index.htm

We hope to see you there!"

Here is a video explaining the show...

Superdrag's Own Black Friday Deals

Buy a shirt or a tour poster -- receive a complimentary CD

For a short time starting today, the prices of Superdrag shirts have dropped to $15...

Plus, we are offering a "bonus gift" to those who purchase any shirt or any tour poster from the Online Merch Store.

For EVERY purchase of a shirt OR a tour poster you can choose to receive ONE free bonus CD.

The available bonus CDs to choose from are:
* In the Valley of Dying Stars
* Last Call for Vitriol
* Changin' Tires on the Road to Ruin

Upon purchasing a shirt or tour poster, simply type in the name of your bonus CD in the "Special Instructions" box on the CCNow order page!

To get your shirt or poster and complimentary CD, head over to

: andy :
Your Superdrag Webmaster

Fat Kid Gets No Words

A message from Autolux...


There is a new song up [on their myspace] for you to hear, "Fat Kid" ---> it's an instrumental. and, if there are any sounds on it that remind you of a tuba or tympani - that happens Greg getting those sounds out of his guitar.

This song will not be on Transit Transit, but it will be available to buy on iTunes in a couple of weeks.

Unfortunately, the new Autolux record will be coming out after the new year. Autolux is dealing with getting the business end of the music squared away. a new website is on its way too.


Producer Goblin

Orange Goblin will enter a recording studio in London at the end of May 2009 to record what will be their 7th studio album and first for new label Candlelight. Production on this one will be handled by Sanford Parker who has recently produced albums by the likes of Nachtmystium, Lair Of The Minotaur, Pelican, Rwake, Unearthly Trance, Venemous Concept, Minsk, Buried At Sea and more. Orange Goblin vocalist Ben Ward said " We are excited at the prospect of working with Sanford, we are all big fans of his work with bands like Pelican, Nachtmystium and Lair Of The Minotaur and I'm sure he will add a new element to what we do in Orange Goblin. It's inspiring to work with someone new that 'gets' exactly what we are about and Sanford's enthusiasm to work with us made him an obvious choice!" The album should be due for release in September 2009.

The World's Finest Prog

King Crimson - In The Court of the Crimson King, released 1969 (EG)

This reissue of King Crimson's debut, In the Court of the Crimson King (1969), renders all previous pressings obsolete. In the late '90s, Robert Fripp remastered the entire Crimson catalog for inclusion in a 30th anniversary edition. Nowhere was the upgrade more deserved (or necessary) than on this rock & roll cornerstone. Initially, King Crimson consisted of Robert Fripp (guitar), Ian McDonald (reeds/woodwind/vibes/keyboards/Mellotron/vocals), Greg Lake (bass/vocals), Michael Giles (drums/percussion/vocals), and Peter Sinfield (words/illuminations). As if somehow prophetic, King Crimson projected a darker and edgier brand of post-psychedelic rock. Likewise, they were inherently intelligent — a sort of thinking man's Pink Floyd. Fripp demonstrates his innate aptitude for contrasts and the value of silence within a performance, even as far back as "21st Century Schizoid Man." The song is nothing short of the aural antecedent to what would become the entire heavy alternative/grunge sound. Juxtaposed with that electric intensity is the ethereal noir ballad "I Talk to the Wind." The delicate vocal harmonies and McDonald's achingly poignant flute solo and melodic counterpoint remain unmatched on an emotive level. The surreal and opaque lyrics are likewise an insight to Peter Sinfield's masterful wordplay, which graced their next three releases. The original A-side concludes with the powerful sonic imagery of "Epitaph." The haunting Mellotron wails, and Fripp's acoustic — as well as electric — guitar counterpoints give the introduction an almost sacred feel, adding measurably to the overall sinister mood. Giles' percussion work provides a pungent kick during the kettle drum intro and to the aggressive palpitation-inducing rhythm in the chorus. "Moonchild" is an eerie love song that is creepy, bordering on uncomfortable. The melody is agile and ageless, while the instrumentation wafts like the wind through bare trees. Developing out of the song is an extended improvisation that dissolves into a non-structured section of free jazz, with brief guitar lines running parallel throughout. The title track, "In the Court of the Crimson King," completes the disc with another beautifully bombastic song. Here again, the foreboding featured in Sinfield's lyrics is instrumentally matched by the contrasting verbosity in the chorus and the delicate nature of the verses and concluding solos. Of course, this thumbnail appraisal pales in comparison to experiencing the actual recording. Thanks to Fripp and company's laborious efforts, this 30th anniversary edition sports sound as majestic as it has ever been within the digital domain. Frankly, the HDCD playback compatibility even bests the warmth and timbre of an original 1-A vinyl pressing. This is especially critical during the quieter passages throughout "Moonchild" and "I Talk to the Wind." Initial releases were housed in a limited-edition gatefold replica of the original LP packaging and were accompanied by an oversized 12-page memorabilia booklet with photos and press clippings from the era.

Court of the Crimson King - King Crimson

Thursday, November 27, 2008

Stoner Heathens

Dozer - Through the Eyes of Heathens, released 2006 (Small Stone)

Woe to those who dismissed Sweden's Dozer as distant, perhaps unimportant satellites to the mostly U.S.-centric, late-'90s stoner rock solar system, for here they are: five years beyond that scene's generally accepted heyday, and ten into their career — and still they orbit, only now exerting the gravitational pull of a major heavenly body upon the smaller bands that lie scattered across the vast stoner rock asteroid belt. Can you dig? In the event you can't, and prefer less colorful descriptive methods, suffice to say that Dozer's fourth album, Through the Eyes of Heathens, cements the band's gradual transition from perceived followers to acknowledged leaders of this perennially beloved subgenre of underground hard rock. In fact, the ten tracks making up Through the Eyes of Heathens almost serve as a "state of the genre" address, boasting a broad cross section of historic stoner rock hallmarks. Take infectiously stripped-down tunes like "Drawing Dead," "Born a Legend," and "The Roof, the River, the Revolver," for instance — all of them so timeless they simultaneously fit in with the mid-2000s crop of post-stoner heavy blues-rock bands (Halfway to Gone Alabama Thunderpussy, etc.), and those Harley-on-the-highway, heavy groove-rock anthems laid down by Dozer's original contemporaries, Clutch and Fu Manchu. The apocalyptic "Until Man Exists No More" (featuring guest vocals from Mastodon's Troy Sanders) and the light-and-shade extremes of "Days of Future Past" dredge up massive Black Sabbath power chords from stoner rock's sister subgenre, doom, and the epic "Big Sky Theory" delves in neighboring psychedelic and space rock tendencies, while "From Fire Fell" and "Omega Glory" span the sonic evolution from Kyuss' pounding quasi-thrash to Queens of the Stone Age's driving riff-o-rama and quirky falsettos. There's even a total curve ball in "Man of Fire," where jabbing guitars and grungey vocal tones temporarily have the band sounding like Pearl Jam — weird! In the end, if there's anything truly dating — or at least geographically specific — on this album, it's Dozer's obvious disinterest in any of the Southern rock overtones so prevalent among mid-2000s retro rock combos, but they're never really missed here. Rather, Through the Eyes of Heathens offers top-of-the-line stoner rock at a time when it's sorely needed to revitalize the style. - Eduardo Rivadavia (

Drawing Dead - Dozer

Wednesday, November 26, 2008

Torche Gets Dimmer

Torche have confirmed the departure of lead guitarist Juan Montoya from their line-up. The group, who plan to continue on as a trio for the interim, cite 'personal reasons' as the cause for the split. In other news, Hydra Head are said to be planning a 12" for the bands track "Healer" in the coming months.

Industry Drag

Tennessee alt-rockers, Superdrag, have announced details surrounding their latest album. Industry Giants, will drop March 17 via Superdrag Sound Laboratories.

After a hiatus in 2003, Industry Giants marks the first time the original line up will be releasing new material since 1998's Head Trip in Every Key.

Filthy and Afraid (Stealth Mix D) - Superdrag

Crowes Shall Fly

[Billboard] Black Crowes guitarist Rich Robinson says that he and brother Chris Robinson, the group's frontman, have "tons of songs around. Chris and I are always writing." They just have to figure out what to do with them.

"We want to make another record" with the Crowes, the younger Robinson tells, which likely means a 2009 follow-up to this year's "Warpaint." That was the Crowes' first set of new material in seven years and the band's first for its own Silver Arrow Records imprint.

"We still want to do this," Robinson says. "Having all this sort of new enthusiasm and this newfound sense of identity as a band, I think we want to put it to good use and make another great record and really do some different and interesting things."

The Crowes resume their Euphoria Or Bust Tour on Dec. 5 for a dozen dates, finishing with a five-night stand Dec. 15-20 at the Fillmore in San Francisco. Now shows have been announced yet for 2009, and Robinson notes that recording will be a priority.

"Right now I'm just writing what I write, and Chris is writing what he writes," the guitarist says. "When we get together and put all of our songs together, I think it'll dictate what common direction it's going to go. Once that happens, that's when I think everyone's gonna come in and we'll solidify everything."

The Robinsons also hope to do some more work as Brothers of a Feather, which they launched with a 2006 duo acoustic tour. "Chris and I had so much fun doing it, we're talking about making a new Brothers album of all originals," Robinson reports, adding that they're not concerned about having to make a Solomon's choice between songs for that project and for the Crowes.

"I think the context will dictate that pretty easily," he says. "I think there will be songs that are more suited to that (acoustic) presentation than what would be right for the Crowes. We'll just keep writing and come up with things and suss through 'em all. It's better to have too much material than too little.

Old Man Floyd

(PR) As a special Thanksgiving gift, will host clips from David Gilmour's latest release, Live In Gdańsk, for fans to see over a period of a week, starting Tuesday November 25th, until Tuesday, December 2nd.
Different songs will be featured every other day, but over the course of a week fans will be able to catch "Speak To Me/Breathe/Time/Breathe", "Shine On You Crazy Diamond", "Fat Old Sun", "Wish You Were Here", and the non-album song "Wot's… Uh The Deal?" as well as other songs from the album's live DVD.

Additionally, Thursday, November 27, marks A Very Pink Floyd Thanksgiving on VH1 Classic. The programming on the cable channel will consist entirely of Pink Floyd music and video, as well as solo material from Pink Floyd members, including David Gilmour Live In Gdańsk.

David Gilmour Live In Gdańsk is a double live album plus concert DVD, released on September 23rd via Columbia Records. David Gilmour Live In Gdańsk, the first solo live album from Pink Floyd's singer / guitarist, captures the magic of his concert held in front of 50,000 in the Gdansk shipyards, the final performance of his critically acclaimed 2006 On An Island tour. It also features the first ever recording of selected Pink Floyd classics performed with an orchestra. It was the only concert on the tour to feature a live orchestra, the only one to feature Marc Brickman's unique 6-screen system, and features the late, great Richard Wright.

Check out clips from Live In Gdańsk HERE

Those Handsome Fellas

Handsome - Handsome, released 1997 (Sony)

Handsome's eponymous debut puts a melodic spin on the hardcore sound that its members helped to invent during their tenures in bands including Helmet, Murphy's Law, the Cro-Mags and Quicksand. Churning, almost surgical guitar riffs, shifting time signatures and a rock-steady rhythm section help to make this collection of songs stand out. Driven by a tightly reined energy and further unified by Jeremy Chatelain's singing, Handsome delivers a distinctive hybrid that is complex and interesting, particularly when, as in "Eden Complex," the band shifts effortlessly from one hook filled section to the next. Should satisfy people who are looking for an intelligible yet hard(core) alternative. - Peter Stepek

Tuesday, November 25, 2008


The day is HERE, the time has ARRIVED! THE NURSE WHO LOVED ME: A TRIBUTE TO FAILURE and SATELLITE TRAGEDY'S debut album NEW BEAUTIFUL are both out and available right now! I really urge you to buy both of these releases, they're worth every penny spent. Both albums, released by Pop-Up Records are phenomenal, and only get better with repeat listens. All the proceeds from The Nurse Who Loved Me go to the "Save the Music Foundation," so you can rest assured with your great new music that you also supported a great cause.



BUY THE FAILURE TRIBUTE ALBUM ONLINE HERE! You can order a physical copy HERE! Available on iTunes within the next few days.

Satellite Tragedy's New Beautiful is online at iTunes HERE!! Order a physical copy from Pop-Up Records HERE!

Interview 88

The 88 have posted a brand new video interview, check it out below. Their album, Not Only...But Also is in stores and available at all digital music retailers now! Great pop rock the whole family can enjoy.

Priestess Run Wild in Canada

Priestess are currently mixing their new album which is expected to see a release early next year. In the meantime, the band are currently on tour, remaining dates are as follows:

November 25th Calgary, AB - The Hi Fi Club
November 26th Edmonton, AB - The Starlite Room
November 28th Victoria, BC - Sugar
November 29th Vancouver, BC - The Commodore
November 30th Whistler, BC - Garbaldi Lift Company
December 01st Surrey, BC - Amber Jacks
December 02nd Golden, BC - The Roadhouse
December 04th Saskatoon, SK - Amigos
December 05th Regina, SK - The Drink
December 07th Fargo, ND - The Aquarium
December 09th Chicago, IL - Empty Bottle
December 10th Columbus, OH - Ravari Room
December 11th Buffalo, NY - Mohawk
December 12th Montreal, QC - Sala Rossa

No Mo Montoya?

Rumors abound that Torche have parted ways with their lead guitarist Juan Montoya. Montoya has not been seen performing with the band at recent shows and has also been removed from the bands line-up on the groups official Myspace page. No official word on his departure has been released.

Burn Baby Burn

Black Light Burns have found themselves unsigned as a result of their label I AM: Wolfpack folding. The band will continue on undeterred however and will be playing a variety of new material on their upcoming tour with Combichrist, dates for which are as follows:

January 14th Ft Lauderdale, FL - Club Premier
January 15th St. Petersburg, FL - State Theater
January 16th Jacksonville, FL - Jack Rabbits
January 20th Austin, TX - Elysium
January 22nd Phoenix, AZ - Marquee Theatre
January 24th Los Angeles, CA - The Avalon
January 25th San Francisco, CA - DNA Lounge
January 26th Orangevale, CA - The Boardwalk
January 27th Portland, OR - Hawthorne Theater
January 28th Seattle, WA - El Corazon
January 30th Salt Lake City, UT - Avalon Theater
January 31st Denver, CO - Marquis Theatre
February 02nd Kansas City, MO - The Record Bar
February 03rd St. Paul, MN - Station 4
February 04th Chicago, IL - House of Blues
February 05th Detroit, MI - The Majestic Theatre
February 06th Cleveland, OH - Peabody's Down Under
February 07th Toronto, ON - Opera House
February 08th Montreal, QC - Foufoune Electriques
February 10th Philadelphia, PA - Polaris
February 11th New York, NY - The Fillmore NY @ Irving Plaza
February 12th Towson, MD - Recher Theatre
February 13th Norfolk, VA - The Norva
February 14th Atlanta, GA - The Masquerade

More on the bands current outlook and future plans can be found below...

"We are touring in January and February with Combichrist in the US and Canada. Two things are very different about this tour. 1) We are touring as an unsigned band. Our former label (bless their hearts) I AM: Wolfpack have thrown in the towel as a label altogether and we are actively seeking a new home for our next album which brings me to my second point: 2) on this tour we will be trying out a lot of new material. That's right. Although there will be songs played off of Cruel Melody and Cover Your Heart, this tour is going to be primarily used as a proving ground for the new shit. One of the new songs will be released at the beginning of next year during the tour on an upcoming soundtrack (More on that later) and we'll be playing that as well. It's been a long time and this band is far from over. We're all looking forward to hanging out and having a few laughs and drinks with some familiar faces as well! These shows are going to go off! See you there!

P.S.- For the people who are writing about us not coming "here" or "there", we haven't gotten ALL the dates yet. there are still some TBDs out there in the ether, so keep checking in and we'll post again when we add more."

Weiland's Stream

This week at AOL Music/Spinner you can stream the brand new album from Scott Weiland, Happy in Galoshes!

Keeping It Gutter

[] Attention, Europe: What follows is not a list of Gutter Twins tour dates. Yes, Greg Dulli and Mark Lanegan-- um, aka the Gutter Twins-- will appear at the spots listed below the jump on the dates in question to perform music. And yes, they are calling the intimate shows "Stripped Down in the Gutter". But these performances are different enough from your usual barnstorming Gutter Twins set to bear the name "An Evening With Greg Dulli and Mark Lanegan".

The relatively unadorned gigs will find the duo and guitarist Dave Rosser utilizing unique instrumentation while rolling through both familiar favorites and tunes neither has performed in years, or, in some cases, ever. But not as the Gutter Twins, got it?

In fact, I wouldn't expect much action from the Twins for a little while yet. Once the tour wraps, Dulli-- who just issued a live album of his own-- has his eye on a follow up to 2006's Powder Burns from his Twilight Singers, while Lanegan plans to put in some work with Soulsavers and get busy on his first solo LP in half a decade.

Not the Gutter Twins:

01-15 Glasgow, Scotland - Oran Mor
01-16 Dublin, Ireland - Academy
01-17 Galway, Ireland - Roisin Dubh
01-19 London, England - Union Chapel
01-20 Hasselt, Belgium - Muziekodroom
01-21 Brussels, Belgium - Ancienne Belgique
01-22 Haarlem, Netherlands - Patronaat
01-24 Berlin, Germany - Babylon
01-25 Vienna, Australia - WuK
01-26 Milan, Italy -La Salumeria Della Musica
01-27 Rome, italy - Auditorium Parco Della Musica
01-28 Florence, Italy - Auditorium Flog
01-30 Barcelona, Spain - Apolo
01-31 Bilbao, Spain - Kafe Antzokia
02-02 Madrid, Spain - Joy Eslava
02-04 Athens, Greece - Gagarian 205

Free Nirvana Audio Book

Nevermind broke Nirvana, but the band (and many critics, including Rolling Stone’s) preferred its follow-up, In Utero. RS contributor Gillian G. Gaar, who served as project consultant on the Nirvana box set With the Lights Out, spoke with Dave Grohl, Krist Novoselic, engineer Steve Albini and many more Nirvana insiders while writing her 33 1/3 book on the album — and now you can download the full audiobook for the the first time right here. It’s part of’s productions of the 33 1/3 book series about classic, critically acclaimed albums (the collection also includes Bob Dylan’s Highway 61 Revisited, the Smiths’ Meat Is Murder and more).

Click here to download the free In Utero audiobook for use on your iPod or other player — available in audio for the first time from thanks to the good folks at

A Perfect Step

A Perfect Circle - Thirteenth Step, released 2003 (Virgin)

Three years after the release of its debut Mer de Noms, A Perfect Circle's Thirteenth Step sees the light of day. By that time, Troy van Leeuwen and Paz Lenchantin had left and been replaced by bassist Jeordie Osborne White, formerly of Marilyn Manson, and guitarist James Iha, formerly of the Smashing Pumpkins (though he doe not appear on the album). While van Leeuwen appear on part of the set, guitarist Danny Lohner helped out after he departed. Amazingly, despite the changes, the sound is still very much the creation of Billy Howerdel with the unmistakable vocal of Maynard Keenan from Tool. Produced by Howerdel and mixed by the inimitable Andy Wallace, Thirteenth Step is a moodier, tenser, and more atmospheric (if that is possible) recording than its predecessor. Written mostly by Howerdel and Keenan, the songs traverse a particular associated with surrender, loss, having the nature of a person stripped away, and turning in the twilight of those feelings toward a kind of slow transformation into something that can only be called "other." There are no easy outs and no easy answers, only hard questions throughout "Weak and Powerless," where surrender is necessary but far from desired. The title bitingly refers to the 12 Steps of Alcoholics Anonymous, but this is not your average recovery outing. Tracks like "Blue," "Vanishing," and "Lullaby" (one of two tracks featuring the amazing Jarboe on vocals) feature a kind of barely restrained menace caught in a trap by rock & roll vulnerability. The wide dynamic swathes that were so prominent on the band's debut are all but absent here. The squalling guitars have taken a backseat to carefully crafted melodies where atmospherics are maximized and pulled taut over the listener. While not a radical departure from Mer de Noms, there is a real progression here. However, the explosive, heavier-than-heavy rock-ism of A Perfect Circle is so well known for it is readily evidenced on cuts such as "The Outsider" and "Pet." As moods shapeshift from the sepia-toned murk of "The Package" and "The Noose," the over the top hard rock to the Baroquely scaled "The Nurse Who Loved Me" and "Gravity," with its beautiful guitar effects and crystalline bassline, the listener becomes aware of just how much water has traveled under A Perfect Circle's bridge. The Thirteenth Step is the sound of a musical and lyrical maturity that normally doesn't occur until a band's third or fourth albums. Lyrically, musically, sonically, the Thirteenth Step is proof positive that mainstream rock has plenty of life and vision left in it. - Thom Jurek (

Monday, November 24, 2008

Leaflets Continue

dredg have posted episode 15 of their ongoing "Leaflet" studio documentary series online here. The series documents the recording of the bands upcoming new album which is expected out on March 24th.

Double Date with Pavement and Ikea

Ever think to yourself, "You know who might be a good guy to help me pick out my new tea cozy? Bob Nastanovich of Pavement"?

You neither, huh? Welp, all that may very well be about to change.

In slightly cheeky celebration of the expanded edition of Pavement's brilliant fourth LP Brighten the Corners, Matador Records and imeem have teamed up for a truly killer contest. Submit a photo of your domicile (via your sorority's spycam, perhaps?) and a short essay describing just why your house/apartment/dorm/shack/igloo is in dire need of new furniture to the Pavement Fans group on imeem. Soon, you might just find yourself at an IKEA near you with a $500 gift card and a member of Pavement to help you select all your sleek Swedish-designed housewares. Lunch is on them, too; hope you're in the mood for meatballs.

Matador hasn't announced which member of Pavement will go on the date with you, however. So it's a surprise! Maybe you'll get a whole reunion?

The contest runs from now through December 6, with the winner announced on December 9, and as of press time, there's not a whole lot in the way of competition.

It's all, of course, an oh-so-clever play on the album's insidiously catchy, Spiral Stairs-penned tune "Date With Ikea", which takes its proper place on the Nicene Creedence Ed. of Brighten the Corner when it's released December 9.

Ride With Me

Ride - Nowhere, released 1990 (Sire)

Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum — this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith — dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout. [Nowhere was remastered and reissued by Ignition U.K. in 2001. Added to the 11 tracks featured on Sire's U.S. edition are the four selections from the equally wondrous Today Forever.] - Andy Kellman (

Kaleidoscope - Ride


Radiohead has unleashed their video for the track "Weird Fishes."

Radiohead - Weird Fishes - by Tobias Stretch

It's Here, but Why Now?

(antiMusic) Guns N' Roses "Chinese Democracy," has been released at long last but some are asking "why now?" Idolator put together their theories on why Chinese Democracy came to the world in November of 2008. Here is a highlight from their article.
But two crucial events changed the course of Rose's career: Sanctuary's buyout; and Rose finding his way to the management fold of music heavyweight Irving Azoff and longtime hard-rock mastermind Andy Gould. Universal was in a position to sweep away all of Rose's disputes at once, and Azoff was keen to deal—as it turned out, the number to remember in the Chinese Democracy saga isn't 17, but 360.

Word is it was Azoff who initiated the push to resolve all the issues at once, in a negotiation led on the Universal side by the corporation's president, Zach Horowitz—though who was leveraging who depends on who you ask.

After months of back and forth, a deal was worked out to resolve all of Axl's disputes, with Chinese Democracy—and a nice "thanks for the retail exclusive" check from Best Buy—underwriting the peace agreements. - But what disputes were taken care of? find out here.

I'm curious as to what you think about the album, or if you even care? Let me know! I've listened to it several times and I think it's very decent, but nothing too great. Would love to hear your thoughts!

Homeless Revolver

(antiMusic) Slash's Official Fan Site decided they would catch up with the man himself to get to the bottom of recent rumors about Velvet Revolver's label status. Here is part of their report:
On the net, rumor has it that RCA has dropped Velvet Revolver. Slash says that while it is true that VR is no longer with RCA, the truth is not as negative as the rumor.

The band owed RCA money for a third album which at this time they are unable to produce (no singer). The band and RCA parted amicably.

[antiMusic verdict: This doesn't really make sense. The band owed the label money and a new album but since they don't have a singer the label just let them leave? Too bad Scott Weiland and Stone Temple Pilots haven't had such luck!] - more on this story

Sunday, November 23, 2008

Back in the Ocean

Isis are currently tracking their new album with producer Joe Barresi (Queens Of The Stone Age, Clutch) and had the following to say about their progress:
"Well, so far, so good! We're a little over half way done tracking our new record. It's nice to hear the songs beginning to really come together. Everyone has been doing a great job and we think it's all going to make for one hell of a record. Working with Joe has been a really cool experience. He has a great ear, provides a very comfortable and creative environment, and seems to really understand what we're after."

In addition, the band are moving ahead with a "Live V" CD which will feature their entire live performance of their "Oceanic" album from a past installment of the "All Tomorrows Parties" festival. The group had originally planned to release the set as a live DVD, but felt the video footage wasn't up to their standards. In turn, the audio from the set will be mixed by Justin Broadrick of Jesu, Godflesh, etc. fame for a future release.

So Did We - Isis

The Sixth Trail of Dead

Austin, TX's And You Will Know Us By The Trail Of Dead are gearing up for their sixth full length release, due in February 2009 on their newly formed Richter Scale imprint of Justice Records. The band has been working with Chris Coady (Foals, Grizzly Bear, TV On The Radio, Yeah, Yeah, Yeah's).

The group released the Festival Thyme EP earlier this year, and posted a song from the album on their MySpace page.


1. Giant’s Causeway (formerly “The Betrayal of Roger Casement and the Irish Brigade”)
2. Far Pavilions
3. Isis Unveiled
4. Halcyon Days
5. Bells of Creation
6. Fields of Coal
7. Inland Sea
8. Luna Park
9. Pictures of an Only Child
10. Insatiable I
11. Ascending
12. August Theme
13. Insatiable II

The Ghost of Jane's Past

JANE'S ADDICTION guitarist Dave Navarro has issued the following recap of the band's November 20th show at El Cid in Los Angeles:

"The show went really well. During 'Then She Did' some kind of ghost invaded the circuitry in my amp and pretty much shut it down. We managed to get through it thanks to Dan, my tech, and the skills of my bandmates. With Perkins and Avery as the rhythm section, things just keep moving along regardless of any technical issue. After 'Then She Did', Perry's amazing ability to captivate any room allowed him to engage the audience for 5-10 minutes while my equipment was being repaired. Once Dan solved the issue, we were back in the swing. The set was: 'Whores', 'Trip Away', 'Standing In The Shower', 'Mountain', 'Ain't No Right', 'No One's Leaving', 'Then She Did', '1%', 'Stop', 'Had A Dad', 'Ocean', 'Chip Away'.

There were rumors online that the show was for friends and family only. That was NOT the case. Here is the call I made to El Cid when I found this out on Dark Matter.

I know that some people didn't make it in, but overall the night was much smoother than the La Cita show in terms of getting the fans in. Wristbands were handed out to the people waiting in line during the day to assure entry. I have to hand it to our management team and crew for seeing to our concerns about this.

The whole night really felt like the old days... the music, the line up, the fans, Christmas lights, candles, a hot little club, things breaking down on stage, the entire audience singing along with every word of the set. What a spectacular way to spend a Thursday night! Thank you to everyone who came down to support us. A few people have asked about the posters that were handed out. I'll see if I can scrape a couple up and give them out on Dark Matter next Wednesday. They really are beautiful."

Keep Sleeping!

Wintersleep - Welcome to the Night Sky, released 2007 (Labworks)

Back with their third album, and first with an actual title, East coast [Nova Scotia, Canada] indie helmsmen, Wintersleep, are poised to turn some heads with the triumphant and varied Welcome to the Night Sky.

Coming out of the gate strong, this album definitely hits with a very effective one-two punch, as it is peppered with enticing and melodic tracks that dig their hooks in upon first listen, like album standout and lead-single “Weighty Ghost,” after which the rest of the release is then able to reel you in with its intricate and compelling layers.

Speaking of “Weighty Ghost”, there is just no stopping this track. Desperately addictive and uplifting, I’d go as far as to say that it alone is worth the price of admission. That said, there are plenty of other reasons to check this disc out, as there are very few misses to be heard. For instance, the smooth and trapping “Dead Letter & the Infinite Yes,” though it might not be as instantly gripping, is a perfect example of the second half of the aforementioned one-two punch dynamic, as it hypnotizes with Paul Murphy’s soothing and laid-back vocal delivery, encouraging you to hit repeat as you find yourself adrift in the song’s fluid melody. Not slouching in the up-tempo department either, Welcome to the Night Sky contains some seriously driven scorchers by way of songs like “Archeologists” and the stealthy second-half combo of “Astronaut” and “Oblivion,” a fierce and incendiary pairing, the latter of which sounds like a manic robot jamboree that merits some definite head nodding.

In fact, the material presented here is just so damn intoxicating that even the awkwardly mixed and at least 50% unnecessary “Murderer” (the strange echo on the drums had me convinced my speakers were blown) can’t detract too heavily from an otherwise diverse and well-crafted record.

All told, Welcome to the Night Sky is a sprawling and lush album that achieves its success by remaining firmly grounded in addictive pop sensibilities—a highly recommended gem from an East coast band easily perched at the doorstep of indie-greatness. - Paul (wolves hawks and

Saturday, November 22, 2008

The Nurse Who Loved Video

Well I've been talking about it for nearly a year now, but The Nurse Who Loved Me: A Tribute to Failure is being released next Tuesday, the 25th. That's only three days away ladies and gentlemen! Just in time for the holidays, this album will make a great gift for the rock lovers in all our families, not to mention a nice gift for ourselves!

Check out the awesome video for the project, with clips of every artist participating...

Lamb Handler Returns!

Lamb Handler, a great good times rock n roll band from Charlotte, North Carolina are releasing their new album, Jingle Jangle in January! Here is a message from the band regarding the news...

"The new Lamb Handler album will be available January, 6 2009 on Coma Gun Records. We have 4 of the 16 track's up now, please let us know what you think about them. The album was recorded raw and live at Fat Back Studios in Atlanta GA with Joel Mullis and is a slight departure from "The Shepherds" album. Tour date's are coming together for January and February, give us a shout if you want us to come to your town.

More info to come..."

Head over to their myspace page right now and hear these new tracks! Also check out the sweet album art:

Here's their bio:

Lamb Handler are a rock and roll band and everything that comes along with that. Loud, Fast, a little sleezy and sometimes inebriated, they make music for us to potentially get speeding ticket’s to or party a little too long into the night. Since releasing their first album, “The Shepherds of Rock” in February 2007 Lamb Handler have received glowing reviews from music critic’s calling them “catchy-as-hell, turbo-pop that’s practically danceable” and “some mystical hybrid of Queens of the Stone Age and Electric Six , this album should probably be kept within reaching distance at a party.” After the release of SOR the band spent most of 2007-08 on the road crafting the rock and roll show you pay for, should get and NEED in these troubling times of Nickelback, Toby Keith and The Jonas Brothers. The Village Idiot said “The live show from this North Carolina Quartet will have you strumming your air guitar, probably a little bit of ass shaking, and a whole lot of drinking.” Lamb Handler played with allot of great band’s this past year like Local H, The Willowz, Veruca Salt, The Griefs, Up With The Joneses, Electric Six and some of their country music heroes like Joe Buck and Bob Wayne. In the summer of 2008 the band went into FatBack studios in Atlanta to record their new album “Jingle Jangle” due to be released January 6, 2009 on Coma Gun Records. This album contains some of the familiar stoner pop SOR was loved for but also shows an influence by some of the underground hillbilly music being made today by artist like Hank III, Bob Wayne and Joe Buck. It may seem like an odd combination but Lamb Handler’s up tempo dance rock combined with old school country music styles create a southern stomp that would make Johnny Cash or Buddy Holly proud. Jingle Jangle is 16 song’s and 55 minutes of pure rock and roll, COME GIT SOME!

Beyond Belief

Dinosaur Jr. - Beyond, released 2007 (Play It Again Sam)

More than most bands, Dinosaur Jr. left behind some unfinished business — not just in one regard but two. First, there was the notoriously acrimonious dismissal of original bassist Lou Barlow after the group's third album, Bug, just before the band made the leap to the majors, but when the time came for guitarist/singer/songwriter J Mascis to retire the band's name, he slyly turned the words of his idol Neil Young upside down, choosing to fade away rather than burn out. After 1997's Hand It Over, Mascis ran out the clock, bringing his contract with Sire/Reprise to a close, doing some solo acoustic tours before forming the Fog and cutting a couple records with them without making any real impact outside of his devoted fans. And since he didn't break beyond his cult, Dinosaur Jr. seemed to belong solely to the history books — the band that bridged the gap between the Replacements and Nirvana, the band that was seminal but not widely popular, a band that for whatever reason wasn't passed down to younger brothers and sisters the way their Boston compatriots the Pixies were. Perhaps it was because, unlike the Pixies, they summed up their times too well, since there was no other alt-rock musician that was as quintessentially slacker as J Mascis. With his laconic drawl and anthems of ambivalence, he was a figurehead for a generation who chose to stay on the sidelines, so sliding away from the spotlight was a logical path for Mascis: he never seemed to really want the fame, so it seemed that he'd be happier on the fringe, which is where he wound up.

All of this made the reunion of the classic J-Lou-Murph lineup in 2005 all the more surprising: there may have been unfinished business, but such a mess seemed inherent to their mystique. But the group got together to tour in support of reissues of their first three albums, and defying all logic, the reunion worked — working so well that the band decided to record a full-length album, Beyond, releasing it in May 2007. The very existence of this new album is a surprise, but the real shock is that Beyond is a flat-out great record, a startling return to form for J Mascis as a guitarist and songwriter and Dinosaur Jr. as a band. Although this is from the lineup responsible for You're Living All Over Me and Bug, two records so drenched in noise they still sound like aural assaults decades after their original release, Beyond sonically resembles latter-day Dinosaur albums; it's not as harsh and it's stylistically varied, ranging from full-throttle rockers to skipping country-rock and elegiac ballads. In a way, this sounds like the album that could have been released instead of Green Mind if Lou had stuck around, or if Dinosaur made the kind of grand major-label debut many expected them to deliver in the days before Nevermind. Musically, this suits that description — Beyond is not a breakthrough or reinvention, it's a consolidation of their strengths, which means it sounds very much like the band did at its peak — but in terms of attitude, Mascis could never have made an album as assured as this in 1992, simply because he never was this confident. Naturally, this deliberate disengagement was a large part of Dinosaur Jr.'s appeal: it not only made them sound distinct from their predecessors, but Mascis' ambivalence about anything and everything made his guitar virtuosity and great songs seemed almost accidental, their very casualness proof of his genius.

Beyond is very different in that for the first time, Mascis is assertive about his talent. He sounds engaged — in music, in life (as he winkingly acknowledges on the chorus of the opening "Almost Ready," "C'mon life/I'm almost ready") — and it gives the album a powerful sense of purpose that the classic Dinosaur albums were lacking by their very design. But Beyond isn't great simply because it's cohesive; it's great because it's as bold, vital, and monstrous as their best early work. As soon as the album crashes open with "Almost Ready," it's clear that Dinosaur Jr. has tapped into the essence of their music, and their thundering roar sounds as vivid and thrilling as it was the first time around. After that visceral shock fades, it soon becomes apparent that Mascis' writing is as forceful and surprisingly melodic as his guitar playing, and it soon becomes apparent that he's no longer burying his heart or humor beneath his band's walls of sounds; they're proudly out on display. This fact is brought into sharp relief by Lou Barlow's songs, two tunes that are typically turned inward, yet they're enlivened by being delivered by this remarkable band, which gives Lou's songs a backbone they never quite had in Sebadoh. Plus, the very presence of Barlow's songs helps emphasize that Beyond is a full-fledged reunion, the sound of a group making amends and reconnecting with their strengths. Lou left the band because J didn't let his songs on Dinosaur's records, but now that they're back together, it's a fully collaborative effort, and the band is stronger for it, as this unexpectedly glorious reunion proves. Beyond isn't merely a worthy album from a reunited band, it's simply a great record by any standard. - Stephen Thomas Erlewine (

Friday, November 21, 2008

We're Doomed, And It Feels So Good...

Hailing from Los Angeles, CA, Sputnik Monroe are an excellent up-and-coming band that you need to know! This five piece experimental rock unit has been compared to The Mars Volta, Radiohead, and Pink Floyd, and on their most recent EP "We're Doomed" The Great Depression Celebration Part I" it is clear as to why. Their debut full length "Wake the Sleeping Giant" was a bombastic funk fused hard rock album in the vein of Mars Volta. Since then however, the band has grown by leaps and bounds into their own sound that can be heard on "We're Doomed."

Why is it called "We're Doomed"? Well, here's the explanation from the bands website...

"After touring the US in two different vans, three transmissions, several blown tires, through a few hail storms and heat waves with no AC, adding a keyboard player, and ruining their credit scores to play music... Sputnik Monroe swept up the scattered pieces of their lives to make "We're Doomed". It's a 30 minute EP of a two part LP called "The Great Depression Celebration". Through the recording of part one, the band has been hit with streaks of bad luck. Josh Latham(engineer) lost his appendix, and later was diagnosed with a severe intestine disease landing him in bed for weeks at a time. He had to move to Boston to get family health care, leaving most of the mixing to be done over the phone and on the internet. Add a few common colds, broken gear, moving recording spots to five different locations, brushes with the law...and you have "We're Doomed", part one of The Great Depression Celebration."

Here is my track by track review of the highly conceptual EP...

The album begins with the beautifully atmospheric drift of "The Chamberlin." The ominous keys, heavenly choir-esque haze mix with intense jazz like drumming to create the perfect opening to the story. Nearing the songs half way point the intensity takes off with angular guitar lines before scaling back to the keyboards' calm, allowing the song to end just as it began. "Portamento / Nicola, I Miss the Barn" is the next track, an instrumental that serves as a two part suite. While serving one complete sound for the song, it is split into distinct sections and moods. The first half, Portamento, is an ambient filled insightful melody. The song constantly builds sonically complete with wailing siren like synths. The cinematic aspect of the song grows further intensity until its peak, where it returns to the ambiance.

"Standing in Rank" follows, picking up the tempo and heaviness of the album. The haunting synths, funky bass, progressive drumming and sharp charging guitars create the perfect backdrop for the strong vocal melodies. Reminiscent of Cedric Bixlar Zavala's voice, Kevin Netzley's energetic belts are cut from the same cloth as the best At The Drive-In songs. A horn section brings a slow depression over the complex odd time signatures of the rhythm section. This all blends to perfection to create a track that is dynamically epic, as it blends into the three part movement, "Ocean / Le Cirque Du Bruit / Time." The track starts off with their constantly impressive drumming, the deep impacting bass line, and reverb soaked guitars. Shifting rhythms with wavering vocal melodies create a sound equal parts art and rock. The members of Sputnik Monroe clearly know their instruments better than most, and show an incredible passion, without any of the self righteousness. Similar in many ways to the mighty Dredg, Sputnik clearly enjoy experimentation with countless effects and rhythmic times. Netzley's vocals travel the gamut from subdued Bixler-Zavala like shouts to high pitched trails with Bowie like flourishes. Never straying from the doom and depression theme for too long, all the songs return to the original bleak and dark state they began.

The sprawling and theatrically fueled "Everyone is Looking Elsewhere" closes out the album with a heavy and intense broading quality to the music. Chaotic, triumphant, and beautiful all at the same time, while remaining instrumental. The story is summed up amongst the emotional range and intricacies of their playing. This album could very well be the first half of a masterpiece, and I know that I personally cant wait to hear more from this band. Not only is their music great, but their album art is great too.

Please check them out at their Myspace page, located HERE.


MySpace Music, the world's most popular music community, is proud to announce that it will premier Radiohead's three new videos starting November 21 with the "Weird Fishes" and following with videos for "15 Step" and "Videotape" to be premiered on November 25 and November 28 respectively.

Weird Fishes - Radiohead

Getting to Know the Unknown

Here is a special message I received from Satellite Tragedy...


This email is just to let you - our very special friends - know that we - Satellite Tragedy - are releasing our debut record New Beautiful next week. We've signed a deal with Pop Up Records, a small indie label based in South Florida, and the hardcopy CDs (with artwork, liner notes, etc) will be available on their site, Tuesday, November 25th, as well as full album downloads on all the major music sites (iTunes, Napster, Amazon, etc.)

Since it seems there's always been a demand for music to have a 'genre label' in the music biz, I suppose we would describe our music as Alternative Rock, but not Nickelback Alternative. More like a Failure/Helmet/Nirvana 90s flavored alternative with an experimental NIN/Radiohead kinda twist. Sounds good right? It really is. Hear for yourself! Here's the clichéd bio:

"Satellite Tragedy is guitar driven alternative rock with soaring melodic vocals and conceptual lyrics. Their first album, 'New Beautiful' (Pop Up Records 2008) is a sonically dynamic experience that will leave the listener excited for this band's future."

So there ya have it: Satellite Tragedy - New Beautiful - - Nov 25th.

Give the gift of music this Christmas! And please forward this email to any of your music loving friends you think might enjoy us!

Ridd & Scott
Satellite Tragedy"

I have had this album for a while now, and I can honestly say that it's one of the best for the year. The completeness and flow of the album as a whole is incredible, similar in many ways to Failure's "Fantastic Planet." This should serve as all you need to know to go buy a copy of Satellite Tragedy's debut. Trust me, you're going to want to own this one! The band is able to invoke several different influences from track to track while still sounding very much grounded as a band.

P.S. - Garnet Syberg-Olsen did the spaceman artwork for the album and the flyer. He's also serving as Art Director on the currently in production animated video for our song 'This Unknown'. Check out more of his stuff here.

Ozzy Does It Again

According to IncGamers, Blizzard Entertainment, the company behind the hugely successful World of Warcraft, has released a new TV commercial featuring rock legend Ozzy Osbourne. The advertisement features Ozzy, in a typically humourous sitaution, calling for his wife Sharon as the Lich King chastises him for claiming to be the original Prince of Darkness. Watch the 33-second commercial below.

No More Waiting

Guns N' Roses is streaming its long-awaited Black Frog/Geffen album "Chinese Democracy" on MySpace ahead of its Sunday (Nov. 23) release exclusively via Best Buy.

The album, which was debuted for fans at New York and Los Angeles listening parties earlier this week, has already leaked online. An avalanche of "Democracy" reviews have gone to print, including a nearly 2,000-word treatise from Chuck Klosterman in the Onion.

The album's title track debuts this week at No. 34 on the Billboard Hot 100, the band's first appearance on the chart since "Sympathy for the Devil" in 1995.

Folk Against the Machine

This week on maniaTV's live performance show, Wrigley's Stage 5, Grammy Award-winning guitarist Tom Morello gives an exclusive live performance as his folk alter-ego, The Nighwatchman.

Morello, who is best known for his tenure with the bands Rage Against the Machine and Audioslave performs three songs off his newest album, The Fabled City, including "Midnight in the City of Destruction", "The Fabled City", and "The King of Hell".

Morello has compared The Nightwatchman to Woody Guthrie, Bruce Springsteen and Bob Dylan. His newest album, The Fabled City, was released on September 30th , 2008 by Epic Records.

To watch the exclusive footage and more, go to -

Just What the Dr. Ordered

Don't cry, Guns n' Roses fans. The agonizing wait for the 17 years-in-the-making masterpiece Chinese Democracy will finally be over (fingers crossed) on Nov. 23, 2008. Sure, there have been more rumored release dates than the 23 flavors of Dr Pepper, but if Chinese Democracy hits stores as announced, it's going to be so easy, easy for every American to get a free Dr Pepper as promised.
"We never thought this day would come," said Tony Jacobs, vice president of marketing for Dr Pepper. "But now that it's here all we can say is: The Dr Pepper's on us."

Dr Pepper is ready to give out free soda coupons to every American when the album releases on Nov. 23, 2008. If you're out to get a free Dr Pepper just follow these simple steps:

1. On The Nov. 23, 2008 Release Date, Go To
2. Register Your Information To Receive A Coupon For One Free 20-Oz. Dr Pepper.
3. When Your Coupon Arrives, Redeem It Wherever Dr Pepper Is Sold.
4. Drink Your Dr Pepper Slowly To Experience All 23 Flavors. Dr's Orders.

Coupons will be available for 24 hours, starting at 12:01 a.m. Eastern Time on Nov. 23, 2008. Allow 4-6 weeks for coupon to arrive. Coupons will expire on Feb. 28, 2009. Limit one coupon per person. Full terms and conditions available at

In a Country Far Away

Far have posted a video teaser for their impending UK trek this month online

I'm just waiting for an American tour schedule!

Dinosaur Witch

Witch - Witch, released 2006 (Tee Pee)

Many admirers of '80s-era indie rock will always consider Dinosaur Jr. to be toward the top of the heap — thanks to such classic releases as 1987's You're Living All Over Me and 1988's Bug. However, guitarist J Mascis always was a classic rocker at heart — his melodic yet fuzzy solos were equal parts Neil Young and Ace Frehley. So it shouldn't come as much of a surprise that Mascis' early-21st century side project Witch could easily be mistaken for a heavy metal release — in the Black Sabbath mold. The only thing is, Mascis does not play guitar on their 2006 self-titled debut, as he returns to his first instrument, drums. But Mascis assembled quite a rockin' cast around him — his longtime pal Dave Sweetapple (bass), as well as Kyle Thomas (vocals) and Asa Irons (guitar) from the New England-based "avant folk" band Feathers. What you get is an incredibly raw, doom metal-esque release (certainly not the kind of "modern-day metal" you'll find on MTV or radio), which is chock-full of simply ripping leads from Irons. As with most bands of this genre, tight song structures take a back seat to demonic-sounding jams, including such standouts as the album opening "Seer" and "Hand of Glory" — the latter of which kicks off with a riff that sounds as if it's processed through a transistor radio. Doom metal fans will certainly approve of Witch's self-titled debut, and will probably be shocked to learn that the longtime leader of Dinosaur Jr. is keeping the beat. - Greg Prato (

Thursday, November 20, 2008

Eels Say Yes

Eels have contributed a new song to the film called 'Yes Man'.

The movie stars Jim Carrey, Zooey Deschanel and 'Flight Of The Conchords'' Rhys Darby, and was filmed in the Silver Lake neighbourhood of Los Angeles where Eels' lead singer, E, lives.

The new song, called 'Man Up', is featured on the soundtrack and in the film, which is out December 26.

The band have also contributed 12 classic Eels tracks to the film and eight to the soundtrack. Deschanel's band Munchausen By Proxy also feature on the release.

Listen to 'Man Up' in its entirety on the band's MySpace page.

The full tracklist for 'Yes Man' soundtrack is as follows:

'Man Up' - Eels
'Bus Stop Boxer' - Eels
'To Lick Your Boots' - Eels
'The Good Old Days' - Eels
'The Sound Of Fear' - Eels
'Wooden Nickels' - Eels
'Flyswatter' - Eels
'Blinking Lights (For Me)' - Eels
'Somebody Loves You' - Eels
'Sweet Ballad' - Munchausen By Proxy (featuring Zooey Deschanel/ Von Iva)
'Uh-Huh' - Munchausen By Proxy (featuring Zooey Deschanel/ Von Iva)
'Keystar' - Munchausen By Proxy (featuring Zooey Deschanel/ Von Iva)
'Yes Man' - Munchausen By Proxy (featuring Zooey Deschanel/ Von Iva)

Visionary Guilt


It’s two days after his 38th birthday when I tell Beck I’ve noticed his new album, Modern Guilt, touches heavily on grim, dystopian themes. His reply: “Welcome to modern America.” Neither of us is in the States—he’s in Portugal, I’m in Saudi Arabia—but it’s clear what he’s driving at, especially when he appends the statement with the kind of low, slow giggle that comes naturally to Southern Californians.

It seems Beck Hansen knows he is out of place among the rest of today’s rock acts; the guylinered, neo-disco bands that run amok on the channel about which he penned his first single, “MTV Makes Me Want to Smoke Crack,” but this fact has nothing to do with his age. Even in 1994, when the Los Angeles-born multi-instrumentalist released Mellow Gold, his first of now eight records, there was something different about him; an alien charm that’s difficult to explain but easy to recognize. It’s in his notoriously oblique, literate lyrics—sometimes rapped, sometimes sung—and the way he never really cleaned up his off-kilter sounds and haircut, years after his grungy ’90s contemporaries started shaving and faded away. He is timeless, and so are his tastes, which prefer music that predates both MTV and crack. “Both Danger Mouse and I just have an appreciation for those old, dirty-sounding records,” Beck croaks out in his famous, beachy drawl, name-checking the super-producer with whom he collaborated on Guilt. “That’s just what I like.” It’s a simple sentiment from a simple genius making records in an increasingly difficult world, and it’s the first thing he’s said today without pausing to think about it first.

Modern Guilt has a lot of talk about tidal waves and hurricanes. Do you sense apocalypse?
I don’t think so, really. That stuff is more about using words that would be good for rock songs—“Rock me like a hurricane,” y’know? Those are just really good rock metaphors. “Gentle rain” wouldn’t have the impact of hurricane. “Summer mist” wouldn’t do it, either. Those are the dominion of New Age artists. If I’m writing rock and roll music, I need to use words for rock songs.

As this is your shortest album to date (less than 34 minutes), was the recording process quick?
Not at all, no. There were very, very long hours. We kept having the threat of Danger Mouse leaving to go on tour with Gnarls Barkley. And there ended up being about two or three times over the course of recording where he would have to leave, and I would be left finishing stuff off and hoping he’d like it when he returned. Ultimately, it was a pretty smooth process, but it was just time intensive—not a lot of sleep. We were trying to make a deadline and we worked for about 10 weeks straight. It was crazy hours, but the trade-off was that certain momentum you get from focusing your energy so completely over a period of time; you get into this certain place. The feeling of recording and writing becomes more rubberized—everything you do just bends into the right thing. I think with any kind of work or discipline there’s a place you reach where everything just works and you keep going until you drop. That’s where we were.

Talk a little about the choice to use such dirty instrumentation on Guilt.
Danger Mouse’s beats are dirty, my guitars are dirty; my amp was the dirtiest amp I could get. That was all intentional. I don’t want my guitars to have that clean, clear tone of new guitars. Part of it’s probably us trying to counteract the sterility of recording on computers and using Pro Tools. It’s something I equate with what in Japan they call wabi-sabi. We don’t really have an equivalent term in the West, but it’s this appreciation for things that are beautifully decayed or falling apart. Whereas maybe in the West we have the urge to put a coat of paint over something old to clean it up and make it nice, the Japanese are into enjoying the beauty of paint peeling and colors running and patina, and the feeling of time having passed. I started to become really interested in that aspect of Japanese culture in the early ’90s. I started getting into appreciating something that’s just there without feeling the urge to have to change it or put your mark on it.

Do you make a concerted effort to change your sound with each new record?
Actually, ever since Sea Change, I’ve been making an effort to have some thread of continuity in the albums. I’ve really tried to have something—a feeling or a sound—that carries through each new record. I have other stuff that I’ve recorded in the last three or four years that I haven’t released, because it’s radically different from anything else. I’m trying to get away from everything being so different from each other. I’m trying to create some semblance of a body of songs that work together; that’s a very conscious thing. That said, it’s very hard for me to discipline myself to do that. And I know there are fans who really liked that about me—my changes. Also, I think a lot of times I liked to mix it up because I would get cold feet. I didn’t want to make everything sound like one thing, because what if that one thing failed miserably? Diversity takes the pressure off.

So commercial success crosses your mind even at this point in your career?
I don’t really consider commercial success, but I do try and make sure the music’s not something that’s going to make me cringe in 10 years. I want something that I’ll be able to make a connection with when I’m older. You can make music for the moment—and if I were doing that I think my music would sound very different—but I try to strike a balance. Certain artists can’t do that. For instance, Strawberry Alarm Clock was a great ’60s band that existed at the time of The Beatles, but only one of those groups made something that works today. I want to be like the one that still works.

Do you find it hard to listen to some of your old recordings?
Yeah, it’s hard to hear some of it. A few things I just can’t believe; I listen to myself and I just think, “What a twerp!” It’s one of those things where, when I was doing it, in my mind it sounded so deep, like Chuck D or Johnny Cash or Lou Reed, these people I revere. And now, I can’t believe people listened to it. That’s a hard thing about interviews for me: I’m confronted with what I’ve done, which I don’t like. If I start to look at it too closely, it makes me not want to do it because I see the deficiencies. I don’t see what other people see. Maybe Bob Dylan or James Brown could love every single thing they’ve ever done, but only artists of that caliber can do that, and there’s only a few of them out there. I’m somebody who works really, really hard on what I do until it’s decent.