Saturday, July 31, 2010

Blood Into Wine Screenings + Release Parties


[fourtheye.net] A few more Blood Into Wine screenings are on the horizon:

* TX – Austin – August 5 – Alamo Village
* NE – Lincoln – August 6-12 – Mary Riepma Ross Media Arts Center
* AZ – Prescott – August 7 – Prescott Film Festival
* AZ – Jerome – August 8 – Spook Hall. For tickets call (928) 639-9463
* AZ – Phoenix – August 21 – Arizona Biltmore (Hollywood and Wine)

According to some tweets from Maynard, the Jerome screening will feature several showings, and will feature Q&A sessions with Maynard (though I doubt he’ll be fielding Tool questions).

Also, there are a few DVD Release Parties planned that you may be interested in attending:

* MA – Boston – Sep 7 – Parris Nightclub
* NY – New York – Sep. 7 – Highline Ballrooom
* VA – Arlington – Sep 2 – Arlington Drafthouse

Mark Lanegan & Isobel Campbell Announce US Tour


[NME.com] Isobel Campbell and Mark Lanegan have announced details of their first tour of North America.

Beginning in Cambridge, Massachusetts on October 13, the 14-date trek will end in Los Angeles, California on October 29.

The pair are playing in support of their upcoming third album 'Hawk', which will be released in the UK on August 14 and in the US on August 24.

Written, produced and arranged by Campbell, the follow-up to 2008's 'Sunday At Devil Dirt' will also feature Willy Mason, who appears on two songs.

The duo will also perform at Glasgow's ABC on September 8 and at London's Barbican on September 10.

Isobel Campbell and Mark Lanegan will play the following:

Cambridge, MA The Middle East Café (October 13)
Philadelphia, PA Johnny Brenda's (14)
Washington, DC Rock N Roll Hotel (15)
New York, NY Bowery Ballroom (16)
Brooklyn, NY Music Hall Of Williamsburg (17)
Montreal, QC Cabaret (19)
Toronto, ON Mod Club (20)
Columbus, OH Wexner Center (21)
Chicago, IL Lincoln Hall (22)
Minneapolis, MN Cedar Cultural Center (23)
Seattle, WA Neumos (26)
Portland, OR Doug Fir (27)
San Francisco, CA Great American Music Hall (28)
Los Angeles, CA El Rey (29)

Friday, July 30, 2010

Quick Notes: Soundgarden, BlackDiamondSkye Tour, The Stooges, + More


*[FMQB.com] A previously unreleased Soundgarden song, titled "Black Rain," will appear in the upcoming Guitar Hero: Warriors Of Rock game, according to Billboard. The game is due out in September. It is rumored that the track will also appear on a new Soundgarden best-of CD/DVD set, expected out September 28. "Black Rain" is also expected to arrive at Rock radio in early August.

*Jerry Cantrell spoke to MTV News about the upcoming BlackDiamondSkye tour featuring Alice In Chains, Deftones and Mastodon. "You've got three bands that are pretty distinct, and pretty unique in their own way, and who have worked really hard at throwing out some music. And we're gonna throw it all out together," Cantrell told MTV. "It's better than a Reese's. You know, Reese's, you get two great tastes together... we're kind of like an Almond Joy. You get almonds, chocolate and coconut, so you get three great flavors on one tour."

*Iggy Pop tells Rolling Stone that a re-issue of his solo record Kill City is due October 19, and that the remaining Stooges are considering a new album as well. "[Guitarist] James [Williamson] is always sending me new music. The riffs are really good. And I even did vocals for it. I try to makes songs out of it, but I don't think any of it works yet."

*Producer/musician Daniel Lanois tells Rolling Stone that Neil Young is mixing a new album, which the two recorded together in Los Angeles earlier this year. "We cut a couple of solo acoustic songs, but the rest is very electric," says Lanois. "There's no band, but I got in there with my sonics. There's nothing else out there like it." Rolling Stone also reports that Young's next volume of his Archives box set collection could be out sometime soon, which is expected to span much of the mid to late 1970s and include three unreleased Young albums.

*New Zealand's Decortica have posted a preview of their track "The Sadness of Men". The song comes from their forthcoming EP Love Hotel which will see a release on August 16th. In the meantime, stream the track below...

The Sadness of Men (preview) by Decortica

*[punknews.org] Street Sweeper Social Club, the new project from Tom Morello of Rage Against The Machine and Boots Riley of The Coup, have posted their cover of the LL Cool J classic, "Mama Said Knock You Out". The song comes from the duo's upcoming EP, Ghetto Blaster, due out August 10, 2010...

"Momma Said Knock You Out" StreetSweeper Social Club by miss info

Black Sabbath's Geezer Butler Discusses "Paranoid" with Noisecreep.com


[noisecreep.com] Over the years, Eagle Rock Entertainment has released informative DVDs about the making of classic albums by Iron Maiden, Sex Pistols, Motörhead, Def Leppard and Nirvana. But the company's latest 'Classic Album' release, 'Black Sabbath Paranoid' might be its most insightful offering for headbangers, revealing how Black Sabbath gave birth to heavy metal and what historical, sociological and environmental factors contributed to the legendary album.

Noisecreep recently talked to bassist/co-songwriter/lyricist Geezer Butler about the record that helped define heavy metal.

NC: After you finished your first album, 'Black Sabbath,' you toured Europe for six weeks, then went right back into the studio to record 'Paranoid.' Did you guys feel like you were on top of the world at that point?

GB: No, it was more like the four of us felt like we were against the world. Our families had no hope in us whatsoever of ever making anything. And our friends used to laugh at the idea that we'd ever be successful at what we were doing. So you know, it brought us closer together and made us more determined to be successful, but we didn't feel like rock stars or anything. It was quite the opposite.

NC: Had you developed a studio protocol at that point, or did you follow what your producer Roger Bain and engineer Thom 'Colonel' Allom asked of you?

GB: We literally went in and played as if it was a live gig. We didn't know anything about studios or production or engineering. We just went in, set up and played live in the studio and they recorded us. We did it all in less than a week. It sounds easy, but it's actually a really hard thing to do -- to record a band live in the studio and get the whole feeling across. A lot of producers tried that, but dismally failed. But Rodger and Tom just had the knack of doing it. And they'd just come up with a few suggestions here and there, and we'd do it.

NC: It's no secret that you guys drank a lot and experimented with all sorts of drugs. Did that contribute to the creative vibe on Paranoid?

GB: No, because we really weren't doing anything back then besides sharing the occasional joint. We couldn't afford it. We couldn't even afford booze, so none of us were drinking yet. The music we were making was more a reflection of what we were thinking and experiencing at the time. We weren't into flower power and good vibes. That was crap to us, because from where we were, everything was bleak and dark.

NC: You touched on some political lyrics on 'Paranoid,' such as the Cold War and Vietnam.

GB: Yeah, 'Electric Funeral' was about the Cold War at the time. It was always touch and go whether Russia would drop the atomic bomb on us or we would drop the atomic bomb on them. So atomic war was always imminent, we thought. So we were as far removed from hippy flower power as you could get. We were four working class people in the most industrial part of England, and all we had to look forward to was dead-end jobs in factories. And we thought at any second we'd be called up to drop in to the Vietnam War, because it looked like Britain was going to get involved in it as well. So there wasn't much future in anything for us.

NC: The album is called 'Paranoid.' Why is there a picture of a soldier with a shield on the cover?

GB: The whole story of how we created that song is funny. It became the most popular song from the album, but it wasn't something we though much of when we wrote it. In fact, we finished the record and then the producer told us we needed one more song to finish up the album, so we just came up with 'Paranoid' on the spot. Tony [Iommi] just played this riff and we all went along with it. We didn't think anything of it. And then later the record company said, 'Hey guys, this is the best song on the album. Let's call the record Paranoid.' But we had originally wanted the record to be called 'War Pigs,' and that's what the record company was planning as well when [they] came up with the record cover, which is really horrible to begin with. We didn't like it at all, but the label put it together, so we were stuck with it. The cover was bad enough when the album was going to be 'War Pigs,' but when it was 'Paranoid' it didn't even make sense [laughs].

NC: The song 'War Pigs' is also legendary. Didn't that originally have a different title?

GB: The song was written as 'Walpurgis,' which sounds a little like 'War Pigs.' But 'Walpurgis' is sort of like Christmas for Satanists. And to me, war was the big Satan. It wasn't about politics or government or anything. It was evil. So I was saying "generals gathered in the masses/just like witches at black masses" to make an analogy. But when we brought it to the record company, they thought 'Walpurgis' sounded too Satanic. And that's when we turned it into 'War Pigs.' But we didn't change the lyrics, because they were already finished.

Stone Temple Pilots Discuss Tour with Billboard.com


[billboard.com] Stone Temple Pilots fans can expect to hear some treats on the next -- and most extensive -- leg of the group's tour promoting its new, self-titled album, according to guitarist Dean DeLeo.

"We've been in rehearsals the last week and a half," DeLeo tells Billboard.com. "We're playing some stuff we've never played live. We're doing some stuff from (1999's) 'No. 4' and some things off (1994's) 'Purple' that we haven't played since, like, '94." And, he adds with a laugh, "We actually worked up about five or six songs from the new record -- the fans' worst nightmare, right? 'We're gonna do a few songs from our new record...' "

Actually, STP's fans haven't minded since the band started previewing the "Stone Temple Pilots" material before its May 21 release, and DeLeo says familiarity since then has only made their response fonder -- including a No. 2 debut on the Billboard 200. This time out STP will likely be showcasing "Take a Load Off," the album's second single and successor to "Between the Lines," which hit No. 1 on the Modern Rock Tracks chart.

"It's a song I've had sitting around for a little while," DeLeo says, dating it back to the sessions for the lone Army of Anyone album he and his brother, STP bassist Robert DeLeo, made in 2006 with Filter's Richard Patrick and current Korn drummer Ray Luzier. "Rich wasn't really digging on it, so I was like, 'That's fine, my good friend, 'cause I know somebody who will take a good bite out of that. And Scott (Weiland) did his thing; I just offered him the music and he put together the entire melody and lyric for it, and it came out great."

DeLeo says STP is leaning towards "Cinnamon" as the third single from "Stone Temple Pilots," but he says the quartet hasn't broached the prospect of a next album yet. "Oh, goodness no," the guitarist says. "We have so much at hand right now with touring. We're kind of booked up through, like, February of next year."

STP's latest tour gets under way Aug. 7 at the Rock on the Range festival in Winnipeg and wraps Oct. 16 in Pensacola, Fla. Dean DeLeo says the group will play in South America in December, then head over to Europe in early 2011. Ultimately, however, he says STP hopes to avoid the nine-year gap that preceded "Stone Temple Pilots."

"Stranger things have happened," he says, "but I think we're all having a really good time doing this and, yeah, we'll just kind of see what happens. I know we're all excited about getting on the road again. I just want everything to be smooth around us and... work in a really pleasant environment, not just the band but the 18 people on the road who have families as well. We want to make sure everybody's content and happy, and so far that's been the case."

Oceansize Map Out Full Tour Schedule + Supports


[theprp.com] Oceansize have firmed up their European/UK touring plans, here’s how their schedule now runs:

With This Town Needs Guns, Mojo Fury:

September 18th Newcastle, UK – O2 Academy
September 19th Glasgow, UK – Oran Mor
September 20th Aberdeen, UK – Cafe Drummonds
September 21st York, UK – Fibbers
September 23rd Leeds, UK – Cockpit
September 24th Liverpool, UK – O2 Academy 2
September 25th Cambridge, UK – ARU
September 26th Nottingham, UK – Rescue Rooms

With This Town Needs Guns:

September 28th Birmingham, UK – O2 Academy 2
September 29th Cardiff, UK – Millennium Music Hall
September 30th Stoke, UK – Sugarmill
October 01st London, UK – Koko
October 02nd Oxford, UK – Academy 2

With Porcupine Tree:

October 05th Halle, GER – Steintor-Variete
October 06th Berlin, GER – Admiralspalast
October 07th Bochum, GER – RuhrCongress
October 08th Karlsruhe, GER – Johannes-Brahms-Saal

With Vessels:

October 09th Dordrecht, NET – Poppodium Bibelot
October 10th Nijmegen, NET – Doornroosje
October 11th Amsterdam, NET – Melkweg Oude Zaal
October 13th Cologne, GER – Gebäude 9
October 14th Hamburg, GER – Logo
October 15th Copenhagen, DEN – Beta
October 16th Oslo, NOR – Garage (feat. Blank Dogs)
October 17th Stockholm, SWE – O’Baren
October 19th Helsinki, FIN – Kuudes Linja
October 20th Tampere, FIN – Lost In Music
October 23rd Warsaw, POL – Hydrozagadka
October 24th Prague, CZE – Lucerna Music Hall
October 25th Leipzig, GER – Werk II
October 26th Aschaffenburg, GER – Colos-Saal
October 28th Konstanz, GER – Kulturladen
October 29th Munich, GER – Backstage
October 30th Aflenz, AUT – Sublime
November 01st St Gallen, SWI – Grabenhalle
November 02nd Bern, SWI – ISC Club
November 04th Barcelona, SPA – Be Cool
November 05th Granada, SPA – El Tren
November 06th Madrid, SPA – Ritmo & Compas
November 07th Navarra, SPA – Sala Totem
November 09th Paris, FRA – Nouveau Casino

With Mojo Fury:

November 11th Portsmouth, UK – Wedgewood Rooms
November 13th Brighton, UK – Concorde 2
November 14th Bristol. UK – The Fleece
November 15th Manchester, UK – Academy 2

Oceansize’s new album “Self Preserved While The Bodies Float Up” will see a release in North America through Superball Music on September 14th.

Dead Confederate "Giving It All Away" Video + New Tour Dates

Dead Confederate unveil an imaginative, surgery-based music video for forthcoming single "Giving It All Away". Directed by Jason Miller (Of Montreal, Major Lazer, Diplo), the video is darkly poetic and features the band being at the mercy of a group of small children (found through a casting call on craigslist). It really conveys the meaning of the song which deals with how musicians put so much of themselves into their music in return for so little. There were some additional bonuses on top of the creation of a stunning video. Guitarist Walker said, "I never knew how comfortable a hospital gown was.... now I know why the Scottish wear kilts!"



In just a couple of weeks on August 24th, Dead Confederate's sophomore album Sugar sees its release. With guidance by star producer John Agnello (Dinosaur Jr., Sonic Youth, The Hold Steady) Sugar pounds with a weighty, dark alt-grunge fervor that recalls Smashing Pumpkins' heyday; at other times, the record buzzes with a frantic distortion and howling anger reminiscent of The Walkmen. Psychedelic and prog-rock elements add depth to a broad and diverse direction for the band - perhaps most evident on "Run From The Gun," which blends harmony and Mellotron into a drifting, airy commentary on war.

Head over to www.DeadConfederate.com to download "Giving It All Away" and to check out footage of the band recording Sugar.

Tour Dates:

7.23.10 - Sky City - Augusta, GA
7.24.10 - The Jinx - Savannah, GA
7.25.10 - Visulite Theatre - Charlotte, NC %
7.27.10 - The Social - Orlando, FL %
7.28.10 - Respectable Street - West Palm Beach, FL
7.29.10 - Crowbar - Tampa, FL %
7.30.10 - Engine Room - Tallahassee, FL %
7.31.10 - Buckhead Theatre - Atlanta, GA %
8.01.10 - Exit/In - Nashville, TN %
8.03.10 - Proud Larry's - Oxford, MS %
8.04.10 - Hi-Tone Cafe - Memphis, TN %
8.05.10 - Off Broadway - St. Louis, MO %
8.24.10 - The Bottletree - Birmingham, AL *
8.25.10 - One Eyed Jack's - New Orleans, LA *
8.26.10 - Chelsea's - Baton Rouge, LA *
8.27.10 - Mango's - Houston, TX *
8.28.10 - The Mohawk - Austin, TX *
8.29.10 - The Loft - Dallas, TX *
8.31.10 - Old Town Pub - Steamboat Springs, CO *
9.01.10 - Belly Up - Aspen, CO *
9.02.10 - Urban Lounge - Salt Lake City, UT *
09.03.10 - Neurolux - Boise, ID *
09.05.10 - Official Bumbershoot After Party @ Hard Rock Café - Seattle, WA @*
09.06.10 - Doug Fir Lounge - Portland, OR #
09.08.10 - Great American Music Hall - San Francisco, CA #
09.09.10 - SoHo - Santa Barbara, CA #
09.10.10 - Detroit Bar - Costa Mesa, CA #
09.11.10 - Troubadour - Los Angeles, CA #
09.12.10 - Belly Up - Solana Beach, CA #
09.14.10 - Plush - Tucson, AZ #
09.15.10 - Rhythm Room - Phoenix, AZ #
09.17.10 - Telluride Blues & Brews Festival - Telluride, CO #
09.18.10 - Larimer Lounge - Denver, CO #
09.19.10 - Fox Theatre - Boulder, CO #
09.22.10 - Double Door - Chicago, IL #
09.25.10 - The Note - West Chester, PA #
09.26.10 - The Middle East - Boston, MA #
09.28.10 - Music Hall of Williamsburg - Brooklyn, NY
09.30.10 - Cat's Cradle - Carrboro, NC
10.01.10 - Snug Harbor - Charlotte, NC
10.02.10 - Patriot's Point - Charleston, SC ^

% w/ Deer Tick
@ w/ Surfer Blood
# Dead Confederate / Alberta Cross co-headline date
* w/Futurebirds
^ w/ Widespread Panic

The Dirty Dishes Post "Stolen Apples" Video


The Dirty Dishes have posted a video for their track (and EIS compilation favorite) "Stolen Apples". I'm not sure if this is the official video or not... but it's certainly a video... The song comes from the bands debut EP In The Clouds, which you can check out HERE. For all those in the Boston area, don't forget The Dirty Dishes will be headlining the upcoming Exploding In Sound showcase, August 8th at Church. For more details, click HERE.

Woven Bones Sign to Hardly Art + Offer FREE MP3


[letters-from-a-tapehead.blogspot.com] Woven Bones has signed to the Hardly Art label and, in recognition of the move, a new 7” from the Bones is being released on August 10th, “I’ve Gotta Get” b/w “Hey Kid.” “I’ve Gotta Get” has a lot of that lo-fi smog that seems to have qualified as “commonplace” lately, but I love the surf timbre guitars and the Stooges-level of resigned energy they seem to generate.

DOWNLOAD: ”I’ve Gotta Get” (courtesy of Hardly Art) [right click, save as]

If you’re interesting in seeing Woven Bones live, Insound recently brought the band in for their Insound Sessions series HERE!

Tour dates via press release:

08.06.10 – Austin TX @ the U.S. of Art Authority (w/ Happy Birthday, Residual Echoes)
08.07.10 – Dallas TX at the Nightmare
08.10.10 – Denver CO at Hi Dive (w/ Woodsman)
08.11.10 – Salt Lake City at Kilby Court
08.12.10 – Boise ID at Neurolux
08.13.10 – Portland OR at Plan B (SMMR BMMR)
08.14.10 – Seattle WA at the Wildrose (w/ Idle Times)
08.15.10 – Olympia WA at Northern (w/ Christmas)
08.17.10 – Reno NV at the Lincoln Lounge
08.18.10 – San Francisco CA at Bottom of the Hill (w/ Sandwitches)
08.19.10 – Los Angeles CA at Spaceland (w/ the Meeks, Animal Style)
08.20.10 – San Diego CA at Casbah (w/ Crocodiles)
08.22.10 – Phoenix AZ at Rhythm Room
08.24.10 – Albuquerque NM at Launchpad
08.25.10 – Lubbock TX at Bash Riprock’s
09.28.10 – Austin TX at Stubb’s Waller Creek (w/ Pavement)
10.14.10 – New Orleans LA at Circle Bar
10.15.10 – Birmingham AL at the Bottletree (w/ Coathangers)
10.16.10 – Atlanta GA at the Earl (w/ Coathangers)
10.17.10 – Asheville NC at Broadway’s (w/ Coathangers)
10.18.10 – Chapel Hill NC at Local 506 (w/ Frankie Rose and the Outs)
10.19.10 – Baltimore MD at the Ottobar (w/ Frankie Rose and the Outs)
10.20.10 – Philadelphia PA at Kungfu Necktie (w/ Frankie Rose and the Outs)
10.24.10 – Cambridge MA at TT the Bear’s Place (w/ Frankie Rose and the Outs)
10.26.10 – Rochester NY at Bug Jar (w/ Frankie Rose and the Outs)
10.27.10 – Cleveland OH at the Spot (w/ Frankie Rose and the Outs)
10.28.10 – Chicago IL at Empty Bottle (w/ Frankie Rose and the Outs)
10.29.10 – Madison WI at the Frequency
10.30.10 – Minneapolis MN at 7th St. Entry
10.31.10 – Fargo ND at the Aquarium
11.02.10 – Iowa City IA at the Mill
11.03.10 – Lawrence KS at Jackpot Saloon
11.06.10 – Austin TX at Fun Fun Fun Fest

Introducing: The Dirt Bad Men, J. Irvin Dally, + Hotel St. George

I get an enormous amount of mail from bands, some of it makes the site, some doesn't... Yesterday I introduced you to The Fling and Ono Palindroms, here are three more great new bands I think you should check out...

BAND: The Dirt Bad Men
LOCATION: Atlanta, GA
SITE: www.myspace.com/thedirtbadmen
RIYL: The Bronx, Fu Manchu, Queens of the Stone Age, Spacehog


The Dirt Bad Men are a brand new three piece band from Atlanta, but the members have been around the scene, each playing with several other artists in the past. Their music is fast and riotous, with big stoner rock riffs and punchy rhythms. The vocals are clear and melodic, reminiscent of David Bowie or Spacehog's Royston Langdon wailing over hazy desert rock. The guys have been writing over the past few months and look to put out an album before the year's end. Check out their track "Electric" below...




BAND: J. Irvin Dally
LOCATION: Los Angeles, CA
SITE: www.jirvindally.com/
RIYL: Old Canes, Maps & Atlases, Jeff Buckley


J. Irvin Dally has an incredible knack for lo-fi Americana/freak folk music, and showcases his talents with soaring colors on his sophomore solo release Despistado, which saw a digital release this past April. You can stream the entire expertly crafted indie masterpiece at his bandcamp page HERE. The gorgeous recording is sparse with dazzling rhythms, acoustics, haunting reverb, and an exceptionally strong vocal performance. Don't take my word for it, listen to the album for yourself...

<a href="http://jirvindally.bandcamp.com/album/despistado-ep">the little ones by j. irvín dally</a>

BAND: Hotel St. George
LOCATION: San Diego, CA
SITE: www.myspace.com/hotelstgeorge
RIYL: Male Bonding, David Bowie, Japandroids, Doomstar!


Hotel St. George is an aural hallicinatory trip spiraling at a rapid pace. The band have crafted jangly pop tunes that are blasted in and out of psychedelic guitar sound, whirring feedback, and catchy danceable rhythmic passages. Their debut album Fun Shine Line has been nominated for several San Diego Music Awards, and the band have earned it. The band have released an epic video for "Little Children's Bones," finally answering the age old question... who would win in a fight: a robot or a wizard?

Quick Notes: Autolux, Dredg, The Flaming Lips, + More


*Autolux are now streaming their entire new album, Transit Transit, which will be released August 3rd. Here's what they had to say...

"Hello, for those interested in hearing all 10 tracks from transit transit (leak downloaders excluded), it is now being streamed at myspace.com/autolux. transit transit is available on the website at autolux.net. thanks."

*[theprp.com] dredg, who have been heavy into pre-production for their next album as of late, have offered the following update on their plans for the year:

“August/September – We will be entering the studio to record our fifth record. October/November – We will be touring the US. More details to follow…" - dredg

*The Flaming Lips have posted their recent performance on Letterman. The band played "See The Leaves" from their most recent album Embryonic...



*The last major missing piece of the Porcupine Tree back catalogue is finally available again. "Recordings" was originally compiled in 2000 in order to help finance a tour, and although it is mainly a collection of leftover songs from Stupid Dream and Lightbulb Sun, the band and many fans consider it to be every bit as strong as these albums. It includes favourites such as "Buying New Soul," "Disappear," "Ambulance Chasing," and the full 14 minute version of "Even Less". Recordings will be reissued on 23rd August by KScope, faithful to the original edition, but in a digibook sleeve. It's available for pre-order at the PT Store now.

*Bear Hands will release their debut album on Cantora Records in the Fall. "Burning Bush Supper Club", has been selected as the title, and will be released in the US & Canada on November 2nd.

Bear Hands released a 7" single and digital single, "What A Drag" with Cantora earlier this year and liked them so much they bought the company... Nah, not really. Lots more info to follow regarding the track listing, cover, etc to follow soon along with some exclusive track streams.

*[theprp.com] Street Sweeper Social Club (Rage Against The Machine, The Coup) have made a number of new tracks from their upcoming release “The Ghetto Blaster EP” available for streaming online. You can check out the groups cover of M.I.A.’s “Paper Planes” over at their Myspace, their new track “Scars” over at Spin.com and their cover of LL Cool J’s “Mama Said Knock You Out” at Missinfo.tv. “The Ghetto Blaster EP” will see an August 10th release date through SSSC/ILG.

Black Helicopter Featured on Skin Poison


[skinpoison.com] Black Helicopter are curmudgeons. Indie Rock needs more stubborn people with unwavering ideas. Perhaps then I would listen to more indie rock. As it stands the genre seems filled with wimpy boys and waify chicks doing Fleetwood Mac covers who would be just as happy if they were say, modeling. I’ll pass and reminisce about the 90’s…

Black Helicopter remind me it’s okay for me to not identify with those hip boys and girls and their boat shoes. Black Helicopter are the type of Indie Rock that older brothers everywhere need to pass on to their younger, misguided, siblings so they don’t travel down the road of family friendly alternative rock like Train or worse yet Fall out Boy. I picked up ‘Don’t Fuck with the Apocalypse’, their third album and was struck by the album art, I totally recognized the style from Black Flag’s album covers. So, I had to know more. I got the LONG story from bass player/master of the inappropriate, Zack Lazar. After some impassioned letters from punk heroes Mike Watt and Thurston Moore on the band‘s behalf, the legendary artist Raymond Pettibon granted the band permission to use one of his works for the record, which should be endorsement enough for anyone who fancies themselves a music fan. Unfortunately, shortly after choosing the art, which depicts a snake handed, angry Jesus, the lames at Universal/Fontana asked the band to change or alter the artwork, album title and the song title of ‘King Shit‘. Here’s where we get back to why Black Helicopter are curmudgeons. Rather than choose a less ‘offensive’ piece or change the song title, they passed on distro/mfg from a biggie label. Ecstatic Peace! agreed to put out the record and here we have it, lawyers be damned! I mean, after 10+ years, what’s the point of making ANY art if you can’t express yourself in the way you intend?

Musically, Black Helicopter remind me of bad times, and I say that in the most flattering way. Songs like ’Copout’, ’King Shit’, and ’In the Blood’ make me think events you can’t do over, like those tense moments before you break it off with someone ‘for good’, or seeing someone you know hasn’t forgiven you, or moving outta town and never coming back. It’s sad and heavy but those are the moments you pull from most.

Don’t Fuck With the Apocalypse is a rock record, made by men, not boys. No skinny jeans, no girl on tambourine, just four guys who do this because they love it and it’s still fun. There’s a little bit of psych, lots of heavy, Shellac-ian bass/drum pummeling, with a few surprising shimmers of pop here and there like on ’Golden Days’ and ‘Record Player’. Tim Shea’s vocals evoke J. Mascis and (I know I’ll catch flack for this) a little Jonathan Richman and make me miss living in Boston for some reason.

Black Helicopter are the band that the aloof dude who works at your local record store has been into for years, it’s about time you caught on.

The Band is Black Helicopter. The Album is “Don’t Fuck with the Apocalypse” on Ecstatic Peace records. Get it on CD, iTunes, and more importantly, available on colored vinyl for the geeks!

<a href="http://explodinginsound.bandcamp.com/track/black-helicopter-invasion-of-prussia">Black Helicopter - Invasion of Prussia by Exploding In Sound presents...</a>

Thursday, July 29, 2010

Fun Times All Around with Portugal. The Man: The EIS Interview

Portugal. The Man have proven to be one of the most creative and prolific rock bands of our generation. They have released five exceptional albums in the past five years, and after conquering all they could as an independent band, the group have signed to Atlantic Records. The guys that make up Portugal. The Man: John Baldwin Gourley, Zachary Scott Carothers, Jason Sechrist, and Ryan Neighbors are bringing their eclectic influences and stellar songwriting to the next level, and Exploding In Sound couldn't be more excited for whats to come. In the midst of preparing for tour and working on their next album, Carothers was gracious enough to answer some questions about recording, joining the "majors," relaxing, and... his grandparents...



EIS: How’s the new recording going?

ZC: It’s going pretty well. Right now everybody’s back in Portland. John was in New York for a couple of weeks with our producer, they were getting stuff ready and we set up a makeshift studio down in our basement, which was pretty fun. They were sending tracks to us and then we’d fill in our parts and then send them back, which is kind of a weird way to do things. We’ve never really done it like that before, but it was a lot of fun.

EIS: Didn’t John end up recording American Ghetto primarily alone with Anthony Saffery handling the production?

ZC: Yeah, he was doing that. It was the same kind of thing actually, but he was mostly just using samples and stuff like that, so we didn’t track too much to send back. We kinda filled in some of our stuff, but this is the first time we’ve done it from home with everybody together in our basement, getting everything ready for when we go to the studio to finish up the album.

EIS: It’s funny after all this time, now that you’ve signed with a major record label, you’re recording in the basement…

ZC: Well we went to a really really nice studio outside of El Paso for a few weeks, John did some stuff in New York, and we’re gonna end up going into another studio to finish it up. Most of the stuff we’re doing down here won’t be kept, we’re just getting our parts set, ideas, and things like that. I imagine we’re not keeping a whole bunch of this stuff because we don’t have very good microphones, and I’m not a recording engineer [laughs]. I’m just learning Pro Tools and it’s fun, it’s something I’ve wanted to learn, so we can at least get our ideas down in the basement. We have it set up pretty nice right now, our buddy Edgar came and let us borrow some stuff… probably should have shown us how to work everything, but it’s pretty fun.

EIS: Do you feel any difference writing and recording this album because it’s your major label debut, or is it the same process as usual?

ZC: Same process, but we definitely feel more pressure since we want everybody to be happy with it. We’re really taking our time with this one, which we’ve never done before. We’re recording for a little bit, taking time off and going out doing tours and just listening to it, getting better ideas and making better parts. We’re definitely putting a lot more thought into this than we ever have before. I think it will be good for us. We just want to make the best record we can right now. There’s a lot more pressure and a lot more thought.

EIS: I finally was able to catch you guys live for the first time at the Governor’s Island show in New York.

ZC: Oh yeah! That was fun, such a beautiful place to have a show. It was kind of crazy for us to fly out to New York for a day. We were there for maybe 30 hours. It was a busy 30 hours, but it was fun, we got to see friends and actually got to hang out in New York! We can’t really do that on tour because we have our van and trailer and there’s nowhere to park, or we’re sketched out about it because a lot of our friends don’t live in the best part of town. A couple of us usually get to stay, and the rest get Jersey duty, and go out to Jersey by the airport, get a hotel, and don’t get to have any fun. This was fun though because we didn’t have all our gear so we could just pile our stuff into our friends apartment and go out.


EIS: I noticed during the set you were playing lots of “re-imagined” and “reconstructed” versions of your songs. Is this a common occurrence for a live Portugal. The Man concert?

ZC: We like to switch up our songs a lot. It’s for many different reasons, sometimes we get tired of playing it the same old way so we do a lot of improv on stage, and a lot of jamming. As musicians, you don’t really get any better playing the same thing every night, so it’s the only way we can keep up on our practice. We try to make it different every tour so that if you’re playing the same songs for people who come out to shows regularly, or fans who come to every tour, they get something a little different.

EIS: That’s definitely awesome.

ZC: We write everything in the studio, and we don’t really do it in the practice setting. Sometimes we’ll write a song and then go to play it live, and it just feels weird. Even though we’re all playing our parts and doing it well… it just doesn’t have the right energy or something like that, so we try to rewrite the song and make it different for our live shows. Most people like it and are excited about it and some people say “why didn’t you play the album version?” Well… you can hear that anytime, this is something a little different.

EIS: Yeah, I personally think it’s great. It’s something that’s so commonly done among the “jam band” scene that doesn’t generally cross over to much into “alternative" rock. You guys are about to head over to Europe for the rest of summer, do you notice a big difference touring overseas as opposed to in the States?

ZC: We’re heading over Sunday! For sure there’s a lot of differences. The people are different over there in general. The music fans are a lot more open to different kinds of music; there’s not as many “cliques”. Over here you can stereotype and see someone on the street and say “I bet that guy listens to this band”. You can kinda tell the indie fans, the hip hop fans, the classic rock fans. You can tell more so in America. Over there it’s a lot different, we have a really wide range of people coming out. We’ll have twelve year old kids at our shows to grandparents that heard a song on the radio and thought, “oh, I like this” and they don’t really care if it fits into any specific genre. if they hear a band and like it, then they like it. They’re just huge music fans, Germany especially, which was the first place we went over there and it’s kind of our home-base with Austria. They’re just crazy music fans, they buy a lot of records for not being very big, and they have some of the biggest and craziest music festivals in the world.

They treat you really well too, that’s another difference. As a smaller band, when we first started going over there, we were really excited. When you pull up to a venue here in the United States, you go into the backroom and we get a case of Pabst and chips and salsa, but over there they’re so hospitable to bands. The promoters have all sorts of food and beer laid out in the backroom, and they’re all really excited about it. It’s fun because each different town has it’s own thing, everything is local from the beer that’s brewed in their hometown, and there’s always a staple dish of that area that’s famous in those parts that was created there most of the time. They’re overly excited about it like, “hey you’ve got to try this, it’s from our town!” They’re very patriotic and proud of where they live, and they treat artists unbelievably well.


EIS: Speaking of treating artists unbelievably well… on your past couple of tours you’ve released free downloadable compilations including several songs from each of your opening acts which is really cool of you guys to help promote your supporting bands.

ZC: 9 times out of 10, anybody we bring out we really like and really respect. Sometimes you do favors… a band will take us out and in return we take out a band from their label or management company, but even then we always make sure that we like it. We really represent the whole brotherhood vibe that you get on tour. A lot of times when someone is there just for the headlining band and they’re complaining through the opening bands, you’ve got to remember in most cases all the bands have become pretty good friends because you spend every day together and get to know people real well in a short amount of time. We really like the whole family vibe, so when we do a tour we want it to be very known that “this is our whole show, we brought these bands out because we like them, and we want to show everyone else why we like them. Our fans are pretty respectful, and nobody really gets heckled at our shows, so it’s cool. We like it to be known that we’re proud of who we take out.

EIS: Going back to the records, with each album there’s a huge progression in your music, while always maintaining the Portugal. The Man sound. Is it a conscious decision on your part to keep things shifting in different directions?

ZC: Yeah, it definitely is. For one, we just always want to make better songs, but we do always want to make something different. We like a lot of types of music between all the members of the band and our crew. Since we listen to so much different music, we want to incorporate everything. It started out with us not knowing what kind of band we wanted to be, and we wanted to draw influence from all different places, a lot of it not even music necessarily, more just sounds, feelings, and growing up. We always wanted to write good, semi-accessible, rock ‘n’ roll songs and started with how to do it better. Our song writing changes how it goes every record, but we’ve found our thing and have started to write a little different. We’re writing around actual chord progressions, instead of just around riffs and jamming… we’re actually putting more thought into the melody.

EIS: As far as the writing sessions for American Ghetto went, despite the fact that it’s built on electronic drums and synths, the album still feels very natural and organic because of the songwriting.

ZC: Yeah, that was mostly John. We didn’t do a whole terrible lot on that record. We had a couple of weeks off and John felt like going out there [to Boston] and seeing what he could do on his own. He would send us tracks and ask for input, but he just wanted to see what would happen if he did something like that.



EIS: While we’re discussing John, how does the band feel about the long open letters [for example] he has become known to write to the audience? Those letters have got to be one of the most honest and sincere things I’ve ever seen a band share.

ZC: We’re all totally cool with it, we love that kind of stuff. John really likes doing that and the blogs, and we all have our different roles in the band. I like to write letters now and then, but John’s pretty good at it so he’s taken that role, and I’m more of the picture guy. I take all the photos for the band when we go on tour. I take all the pictures for the Facebook, Myspace, and website, that’s how I get to connect with the fans, as well as talking to people face to face at shows. I probably hang out the most, go out in the crowd, hang at the bar and meet everybody.

EIS: Well we know the fans appreciate that!

ZC: Yeah, it’s fun! We are very fortunate for our fans, without them we couldn’t do any of this. There are so many different mediums to connect with people these days online, so we make sure to keep people updated in as many ways as we can. We don’t want to be annoying… we have our mailing list and everything we have is kinda “if you want information, you can definitely find it”. You can find a lot of updates about us through Twitter, Facebook, our website, but we don’t want to force it on anybody with mass mailings. We don’t want to be annoying, but if you want to be annoyed…

EIS: [laughs] Yeah, the option is there. In the past couple of years you guys have played just about every major music festival in the country. Do you prefer to play the enormous festivals, or would you rather be playing club shows?

ZC: You know… we’ve talked about this a lot, and we can’t really decide. They’re both really awesome, and they’re both completely different. The festivals are awesome because it’s just a big party and you can feel the love of music in the air when you walk around the grounds. To be involved in something like that is absolutely amazing. You get to play with a lot of really cool bands and the vibe is just so awesome. It’s like a buffet, or a giant sampler platter, but it’s also good to play club shows where it feels like it’s your party and the people are coming there to see you. Honestly, we can’t decide which is more fun.

EIS: Are there any festivals you guys haven’t played yet that you’re looking forward to hitting in the future?

ZC: Bumbershoot would be pretty cool, that’s kinda the last one that we’d all be really excited to play, as well as some of the local and smaller festivals. All of them are really cool in their own way. Bonnaroo was amazing and will always have a place in our hearts because it was the first major open air festival that we got to do. That day just went so perfectly, and it was such an amazing experience… same with Coachella, and Sasquatch… being up in the gorge in Washington… they are just beautiful beautiful places. We’re excited to play the Frequency Festival over in Europe this year, it’s a really big, really good one. In Europe, almost every town has its own little festival with 2,000 or 3,000 people. They’re always in really cool locations like an old castle, fort, or a rock quarry in the mountains [laughs]. We played those last summer, and we’re going back over to play a lot of those again next week. It’s kind of between playing a club show and a big festival because there are a lot more people than would normally be at our shows, obviously, but its still fairly small and tight knit. You can still walk around and talk to everybody, it’s a lot of fun.


EIS: Europe certainly knows how to throw a festival. Seeing as you guys have slowed down your pace… well, at least slow for Portugal. The Man standards… is it nice to have a little “breathing room” so to speak with the new record?

ZC: It definitely is! It’s nice to take our time on it, it’s nice to take some time off. We’re not really “off,” we’re still working everyday but we’re at our own place. We just got a house in February. We rented a house in Portland, we’d been homeless the entire career of the band except when one or two of us have a girlfriend we can live with for a little bit. We’ve been sleeping on couches since we’ve been gone so much, or crashing in garages and basements, Fight Club style. We finally invested in a home for us, and we’re all living together with our tour manager and we actually get to spend a couple of weeks at home in the summer in Portland which hasn’t happened in years. The summer in Portland is beautiful, and it’s been really nice to take a break, since we know it’s the calm before the storm. We know once this album is out, the next year is going to be crazy. We’re jumping back up again and we’re gonna be touring constantly, pretty much all year is the plan, but we like that. We like to work hard, but we are appreciating the downtime. My girlfriend is mad as hell since I never get to see her, so it’s been nice to see her [laughs].

EIS: Always good to keep the girlfriend happy [laughs].


ZC: [laughs] Yeah, pretty much impossible, but hey… you gotta try.

EIS: You mentioned earlier that you were really interested in the artwork aspect of things, and your recent album’s packing has been really incredible [exhibit A], especially The Satanic Satanist, are you planning something special again for the next release?

ZC: For sure, we’re always going to try and step it up, and we’re really big into that for a lot of reasons. There’s obviously the business aspect to it… not many people are buying CDs anymore, I don’t buy a lot of CDs anymore, if I do I buy them off of iTunes because I feel I have to support artists… but if a band comes out with really cool and interesting packaging, that’s what makes me want to go out and buy the physical copy and the vinyl. The artwork can be whole other experience, and it bums me out when bands don’t take that into consideration. There’s so much you can do with that kind of stuff, especially bigger bands that have giant budgets like Justin Timberlake [laughs]. I love Justin Timberlake, don’t get me wrong, but when I see that guy and he just has snapshots of him smashing a disco ball, you know that guy probably has a $300,000 art budget and he could do something craaazy! I hope to be able to do that someday, we don’t have any budget. Until now, we’ve done all the records ourselves, putting up all the money for everything and we always put a lot of thought into the packaging. We think it’s a cool thing and something extra that we can do. We’ve got some ideas for the record that are pretty cool, we haven’t decided on one thing yet, but it’ll be pretty nifty I imagine.

EIS: Very cool. Do you feel like you were snubbed by the Grammys for The Satanic Satanist not being nominated for "Best Packaging"?


ZC: [laughs] Well… I don’t really think that we were on their radar yet… we didn’t submit ourselves because we didn’t know you had to do that. Yeah, that would have been awesome, but I understand... we’re a tiny band and if we had been nominated everyone would have said, “who?” I think it was close to that, the packaging for “Satanist” was awesome and we put a lot of time into it and a lot of thought, so hopefully some day we can do that. That’s a big thing to add to our list, but I don’t think we’re gonna win a Grammy anytime soon.

EIS: Well, the Grammys are kind of convoluted and watered down at this point anyway…

ZC: [laughs] Yeah, our grandparents would be really pumped though. My grandparents are hilarious… they try to be real cool and try to follow the band and talk to me about all that stuff, and… they just have no clue about pop culture at all. They bring up things to me like they know what they’re talking about… they were talking to us about Austin City Limits, which we’re playing this year, saying “I’ve seen the show, I heard that’s a big deal. That’s really cool!” and I said, “yeah, it’s awesome, we get to share a stage with the Eagles,” and my grandparents just said “who?” I thought “really? You guys have never heard of the Eagles?” [laughs] That’s crazy!

EIS: Well at least your grandparents are probably the only ones in town who are bigger fans of Portugal. The Man than they are the Eagles.


ZC: [laughs] Yeah, it’s nuts. I couldn’t believe it. I started singing her “Hotel California,” and she said “oh it sounds familiar”. I can’t make it two hours around town without hearing that song somewhere.

EIS: [laughs] Hey, as long as they’re busy listening to your music, seems pretty cool to me…

ZC: Yeah, they keep up and play their part. It’s pretty funny. That’s one thing that’s cool about signing to Atlantic… our family members are all really pumped about us, it’s proof to them that we’re doing something good, working hard, and has put us on another respect level which was cool. Our immediate family members have always been supportive, but now our aunts and uncles are really excited which is pretty cool.

EIS: You guys released music videos for “Do You” and “The Sun” from The Satanic Satanist, are you planning on making any for American Ghetto?

ZC: We have, we made a couple for American Ghetto and we’re going to do a couple more for “The Satanist”. We’ve done two that haven’t been released yet, one is finishing up and the other is coming out in a month or so. They’re almost done… they’re pretty cool and pretty crazy. We like that, it’s just another medium we can hit people with. I think videos are very important, and they’re awesome that we have them. They make a fan out of me all the time, if I hear a band that I normally listen to and I see an awesome video I’ll go out and buy the record, whether I end up liking it or not. I really respect that art. There are bands who I don’t even like their music, but when they put a video out, I’m one of the first people to check it out.

Portugal. the Man - Do You from Ryan Rothermel on Vimeo.



Portugal. the Man - The Sun from Ryan Rothermel on Vimeo.



EIS: Well Zach, I know you’re a busy man, and I don’t want to take too much of your time, but I really appreciate you doing the interview. Thanks so much and have a great time on tour!

Deaf Scene Reviewed in Flame Thrower Magazine


[flamethrowermagazine.com] Deaf Scene is a three-piece, instrumental prog/post rock band based out of Baltimore who just recently released a self-titled 5-song EP which I got a chance to hear.

The opening track “Where Only We Exist” explores off-kilter rhythms and curious time signatures while featuring a haunting, wafting guitar sound reminiscent of Billy Howerdel’s guitar work in A Perfect Circle. It eventually morphs into a euphoric melody and builds into an aggressive pummeling before fading out into a warm rain.

The two-track musical exploration “History of Clouds” (Part A and Part B) features a guitar sound that soars like skyrockets making patterns in the sky, while distorted bass notes grind and churn along under the surface. The guitar melody travels across the vast expanses of the universe and back again within a single measure.

“Glass Creature” rides waves of reverb over jagged mountains and valleys of bass and percussion, and “Godzilla Skin” is built around chords that tremble and fade off into the distance like half-forgotten memories and notes that drip off the canvas like warm paint.

The whole 5 song EP is cohesive enough that it could be interpreted as one piece of music; the songs are somewhat different variations of the same sound and melt together in a way that makes it hard to tell where one begins and one ends. As the songs evolve they add subtle variations and build off of themselves without ever becoming repetitive.

Deaf Scene is a band with a very distinct and expressive sound, yet is still willing to explore the dark corners of their own sound without venturing too far away from the light.

If they do decide to eventually add the right vocalist it could push their sound over the top, but if not they certainly have a sophisticated enough sound and plenty of ripe musical territory left to explore on their own. Either way, I look forward to hearing more from Deaf Scene in the future.

Introducing: THE FLING


The Fling are a four piece alternative rock/Americana band from Long Beach, California. Comprised of Dustin Lovelis, Graham Lovelis, Justin Ivey, and Justin Roeland, the band are gearing up to self release their debut album When The Madhouses Appear on August 31st. I have been lucky enough to hear the record, and I can promise you it's not one you're going to want to miss out on. The band have crafted an album filled with shoegaze inflicted folk music, woozy pop balladry, swirling psychedelics, luscious vocal harmonies, and all around incredible song writing. Tracks like "Cold Comfort" combine all of these skills into one sweeping, roaring dreamscape of modern alternative rock. The Fling have developed their talents into an incredibly impressive debut album, and we should be hearing a lot from these guys in the years to come.

RIYL: The Delta Spirit, Darker My Love, The Beatles, Black Rebel Motorcycle Club, etc.

The Fling - "When The Madhouses Appear" Album Teaser from The Fling on Vimeo.



The band recently spoke with Gazettes Town-News, here's what they had to say...

[gazettes.com] The Fling have been preparing all year to finally release “When the Madhouses Appear” on Aug. 31, bassist and vocalist Graham Lovelis said. The band opted to self-release the record.

“It’s been a long process of finding money to record and meeting different people and building relationships with a whole team, rather than a label just giving them to you,” he said. “Pretty much starting our own thing from the ground up took almost a year, but I think it pays off a lot more. We’re all really happy with every single aspect of it.”

Lovelis cited Long Beach’s tightly knit music scene as an inspiration for the band to go it alone.

“I think it’s awesome having Long Beach become this real scene that’s completely separate from Los Angeles,” he said. “I feel like we know almost all the bands here and we’ve played with them.”

Lovelis said the band’s members hope the release of the album might usher in a new phase for The Fling and build upon its early success.

Media outlets have used bands like the Beach Boys, Beatles and Brian Jonestown Massacre to describe the group.

“I have a really hard time describing our stuff,” Lovelis said. “The only thing I can say that makes sense is that we grew up listening to our parents’ records and we grew up in the ’90s, so we can’t avoid those influences — we don’t strive to do things that have been done before.”

Check the band out on tour:

Jul 31 2010 Rainbow Harbor Amphitheatre Long Beach, CA
Jul 31 2010 SUMMER AND MUSIC FESTIVAL w/ Delta Spirit Long Beach, CA
Aug 5 2010 THE GROVE Anaheim, CA
Aug 27 2010 SPACELAND ALBUM RELEASE!!!! Los Angeles, CA
Aug 28 2010 TINCAN ALEHOUSE San Diego, CA
Aug 31 2010 AUDIE'S OLYMPIC w/ The Growlers Fresno, CA
Sep 3 2010 COMET TAVERN Seattle, WA
Sep 4 2010 DOUG FIR LOUNGE Portland, OR
Sep 8 2010 FLYING M's Nampa, ID
Sep 9 2010 WAREHOUSE PARTY Salt Lake City, UT
Sep 10 2010 HI DIVE Denver, CO

The Fling - Wanderingfoot from SAYER DAN4TH on Vimeo.

Introducing: ONO PALINDROMES


I would like to introduce you to a new three piece from the UK, Ono Palindromes. The post-punk/grunge/garage band are getting ready to release their debut EP The Kool Aid Acid Test, and have been picking up much praise a long the way. Check out the press release below...

“He talked of something called the Acid Test and forms of expression in which there would be no separation between himself and the audience. It would all be one experience, with all the senses opened wide, words, music, lights, sounds, touch- ligtning.” - Tom Wolfe, The Electric Kool Aid Acid Test

“(Ono Palindromes are) the new Nirvana” - Artrocker - March 2010

“(Ono Palindromes) want to shake things up and put some bite back into things, and they're certainly succeeding...” - John Kennedy - Dazed and Confused - January 2010

From the opening punchy, seductive riffing of "Silicone" to the delirious, feral yelps of "James Dean" and "Loose," Ono Palindromes mark themselves out as something very different from the current pack. Sex and politics with a desire for personal and creative freedom are the lyrical themes... Set to the back drop of “skull-dissolving riffs” (according to ArtRocker), the creative tension in their work is palpable.

Ono Palindromes formed in 2009. Featuring Andy Death (vocals/ guitars), Serge Pascal (bass) and Andy Came (drums), the band recorded “the Kool Aid Acid Test” EP at Rockfield Studios (Queen, Kasabian, Sepultura) with Tom Dalgety (Siouxse Sioux). Influenced by the likes of the Replacements, Queens of the Stone Age, the Bronx, and the Refused, the band's sound has begun to solidify producing original and distinctive alt. rock songs.

In just over a year together the band have received praise from NME (Top Ten Tracks), Artrocker (New Blood feature), XFM (live session), Dazed and Confused (New Music Section), BBC Radio Devon (live session)... The band have toured the UK three times as well as performing countless one off shows, which has lead to supports with the likes of: The Fall, Pulled Apart By Horses, Tweak Bird, Jaguar Love, LaFaro and shows at the Great Escape Festival.

The band embark on a headline tour of the UK in late August/early September to coincide with release of the EP. Full dates below.

A video for lead track, "Silicone," has been shot by Carl Shanahan. This will be available by mid August, Ono Palindrome's previous collaboration with Shanahan can be viewed below.

Aug 20 2010 The Globe w/ Gouranga Exeter, UNITED KINGDOM
Aug 22 2010 The Louisiana Bristol, UNITED KINGDOM
Aug 31 2010 Railway Inn Winchester
Sep 1 2010 Half Moon Harrow, UNITED KINGDOM
Sep 2 2010 The George Tavern London, UNITED KINGDOM
Sep 3 2010 YK Bar w/ Saturday's Kids Cardiff,
Sep 5 2010 Zimbalam Presents@ Camden Barfly Camden, London
Sep 6 2010 Bierkeller Bristol, UNITED KINGDOM
Sep 9 2010 Robbins Well Leamington Spa, UNITED KINGDOM
Sep 11 2010 Cavern.. EP launch w/ Saturday's Kids Exeter,
Sep 17 2010 White Light@ the Lexington London, UNITED KINGDOM
Oct 29 2010 Offbeat Promotions@ the Croft Bristol, UNITED KINGDOM
Oct 31 2010 Lexington w/ Trailer Trash Traceys, Wilson Fisk London, UK

KScope Records Update: Gavin Harrison & 05ric + The Pineapple Thief


*Gavin Harrison & 05Ric – 2disc edition of Circles to be released on Kscope...

Circles is the second album from Porcupine Tree drummer Gavin Harrison and the multi-instrumentalist, singer and extended range bass player 05Ric. The album is to be extended to a 2CD Kscope edition including the original album plus a 5.1 surround mix of the album.

The project is the result of a chance meeting between the two which led to one of the most interesting and complex musical collaborations in recent years. 05Ric has developed a fresh, exciting, style of singing and virtuoso playing, which blended with the extraordinary drumming of Gavin Harrison has produced some unique results.

Circles picks up from where their debut Drop left off. The 10 songs feature Ric's amazing extended range bass and haunting vocals - along with Gavin's mind bending rhythmic designs and unusual expressions on the drums.

The Kscope edition will be available from September 6th. Click here to pre-order your copy.

*The Pineapple Thief have announced an extensive European tour for later this year. Full details of the tour are available on the band's mini-site at www.kscopemusic.com/thepineapplethief or check them out below...

Oct 17 Spazio Aurora, Rozzano/Milano, Italy
Oct 18 Z-7 , Pratteln, Switzerland
Oct 20 Colos-saal, Aschaffenburg, Germany
Oct 21 Substage, Karlsruhe, Germany
Oct 22 Zeche Carl, Essen, Germany
Oct 23 De Boerderij, Zoetermeer, The Netherlands
Oct 24 De Pul, Uden , The Netherlands
Oct 25 Logo, Hamburg, Germany
Oct 26 C-Club, Berlin, Germany
Oct 28 Spirit of 66, Verviers, Belgium

The Pineapple Thief - Nothing at Best (from Someone Here is Missing) from Kscope on Vimeo.

Tropics Featured in Sabotage Magazine


[sabotagemag.com] The origin of most bands is rarely as confusing as Tropics. Originally considered a UK Punk band (by NME at least), they released a split with These Arms Are Snakes. The band are a completely different outfit these days with only one original member remaining (Jodie Cox, guitarist of supergroup Narrows).

The band are now fully British, completed by ex-Meet Me In St Louis drummer (Paul Phillips), guitarist (Oli Knowles) and bassist (Lewis Reynolds) and based in Brighton. Can we get excited now? Does this mean that Tropics are a finally fully functional?

“I suppose it does”, says guitarist Oli. “Jodie also plays guitar in Narrows and they had a big tour so we were pretty quiet while he was doing that. Since he’s been back, we’ve done a few new tracks. The other shows were made up of existing Tropics songs that had been re-worked with this line up so we’re looking forward to showcasing all the new stuff.”

It was a natural progression to have the three ex-MMISL guys working together, but it wasn’t always planned that way. “It’s a really comfortable set up we got. Paul was the first to team up with Jodie. I think the initial idea was to keep it to just the two of them and get friends to fill in the other parts for tours. When the tour with Obits was booked, they asked Lewis and I if we wanted to do the tour and after a couple of practices whether we wanted to do it permanently. It would’ve seemed stupid to say no really.”

You can’t help but agree. This self described “Fun Time Rock Noise” band look set to hit the music scene hard judging by the exclusive track above at least anyway. Such a heavy reshuffle will always change a band, but few become more awesome. What will this do to the live show?

“The new songs are a bit heavier than the re-workings so it would definitely be a slightly different show to what people may have seen. Probably much sweatier.”

Tropics - Broken Skeleton by sabotagemag

Wednesday, July 28, 2010

Quick Notes: Dead Confederate, Three Mile Pilot, Tropics


*Dead Confederate premiere their new music video for "Giving It All Away" exclusively via NME.com. The music video was directed by Jason Miller. The song, which features Dinosaur Jr.'s J. Mascis, comes from their sophomore full length Sugar, available August 24th. Watch the video HERE!

You can also download a FREE MP3 of "Giving It All Away" HERE!!

*[absolutepunk.net] Three Mile Pilot have not released an album in over a decade, but that is all about to change. The original members, which include Zach Smith (Pinback) and Pall Jenkins (The Black Heart Procession), finally took time away from their other projects to get together and record a new album. The result ended up being The Inevitable Past Is The Future Forgotten, a fine indie rock album that will be released by Temporary Residence on September 28th. To give you a preview, we have a song from the album titled "Days of Wrath" streaming exclusively on their AP.net profile. So go listen and mark your calendars.

*UK post-punkers Tropics have posted two new songs to their Myspace page. Be sure to check them out. Here's what the band had to say...

"Aloha, we've got 2 new tracks online with one more to follow soon and have also got some shows announced [including a date with Kong] for Guildford, Brighton and London!!! Check out our profile page for all the dates."

Much love,
Tropics x

Black Sabbath "Never Say Never" Regarding Reunion


[bravewords.com] Legendary BLACK SABBATH drummer Bill Ward spoke with Brandon Marshall from Sonicexcess.com recently about a number of topics. A few excerpts from the chat follow:

Sonicexcess.com: After the tragic death of RONNIE JAMES DIO, Tony Iommi said in a British newspaper that there would be discussions between he and Geezer Butler about Black Sabbath. Can you give us any insight?

Ward: "The only thing I know, and I have talked with Tony.... well, the only person I haven't spoken with is Geezer, but that is because he prefers e-mail to the telephone, and Ozzy called me yesterday. I think the statements have been made into a little bit of a cake. Where Ozzy's at, with wanting to tour with Black Sabbath is that Ozzy has been in his place for a long time and says, 'I'm never going to say never.' I have the same attitude. My quotes would be, 'I never want to say never, I'm in the same place.' Tony has a completely open mind to the possibility of touring with Sabbath again. I think what's happening is that some people have hooked into that and written a story out of it. I think realistically, right now, I can't see where it would be a possibility, with Ozzy on tour for the next 18 months and having a new record out that's great. I've got a new record, and I know that Tony has other things he wants to do musically, and Geezer also. We might all agree to it, but when it would happen, I just don't know. Other than those few comments, I just don't know about a Sabbath tour anywhere near in the future. I talk to Ozzy all the time, and he hasn't mentioned shit to me about Sabbath."

Sonicexcess.com: Black Sabbath wrote new material, but nothing came of it. Will those recordings ever see the light of day, and, if not, can you tell us Sabbath-heads what Sabbath album it's comparable to?

Ward: "Well it is true that there is a lot of material written and stored away in a very safe place. I don't know what Sabbath album it would be comparable to. We did all these jams in the spring, I think it was seven years ago. The songs have some brilliant riffs, obviously from Tony, and my drumming has changed a little bit. My approach and Geezer's approach was a bit different in supporting Tony, I thought. OZ was cutting across with some really nice things as well. I think it was more mature, because we are more mature, even though we are kids at heart. I don't think I can compare it to any Sabbath album, but it sounded really, really, strong."

Sonicexcess.com: Why was it never released?

Ward: "Politics (laughs)."

Sonicexcess.com: Well, I don't want to pry to much then, but do you think the songs will ever see the light of day?

Ward: "I think the songs that we have, and there were quite a lot of them, they ought too. They deserve to see the light of day, but whether they will or not, I don't know. It would be very sad not to let them see the light of day, because there are some really good foundations and grooves, some real nice chops. It was our band playing. To me, in my opinion, they're perfectly great enough to make another Black Sabbath album. The music is very current. It's us, 40 years later slamming it out, ya know?"

Read the entire interview HERE.