Thursday, September 30, 2010

Shield Your Eyes "Theme From Kindness" Review


UK post punk trio Shield Your Eyes are getting ready to release their new album Theme From Kindness, which will be released on October 18th. Check out some early reviews of the record...

"Greatness unfolding before your ears. Right, I realize that you haven’t heard of Shield Your Eyes. I’m also acutely aware that all sorts of music journalist hack bitches (myself not unincluded) are constantly using whatever sites or publications they write for to constantly proclaim this band or that “the next big thing” only for them to crumble under the weight of expectation when you make the effort to check them out. While I wouldn’t claim that Shield Your Eyes are likely to be the next big thing – they’re far too commercially-unacceptable for that – I will state quite happily that this band is one of a very few London (or even elsewhere) acts who inspire me to huge excitement simply by virtue of their complete originality and total excellence. Pixie Lott fans may look away now. If you think Oasis are the best thing to happen to music, firstly you’re wrong (and I can prove it in ten seconds on the back of a cigarette packet while shagging your mum), and secondly you should know that this record is unlikely to be for you. If, however, you like Sonic Youth, Bob Tilton (the band not the preacher, you tit), Awesome Color and that kind of thing, and you are always on the lookout for bands who sound like themselves rather than those aforementioned acts, yet can be considered alongside them, I implore you to purchase “Theme From Kindness” plus their self-titled debut and last years’ “Shield ‘Em”, and then to catch the trio live as soon as possible. Because not only will you fail to be disappointed, but you will be so charmed, so drawn in by their music you will wish to seek me out and reward me with money and beer simply for the recommendation. Well, it would be nice. Because, you see, the music of Shield Your Eyes goes in through the ears and directly into your soul. This is some of the most heartfelt blues ever written, without sounding in the slightest like your idea of the blues. This is raw, stripped down, passionate music, delivered with a totally original approach, an avalanche of drums, a four-stringed guitar and a fuck of a lot of guts. This is the sound of a band who have found their own way to go, and are proceeding happily along it with neither compromise nor a thought of doing anything other than what their hearts tell them. While “Theme From Kindness” may already be charting a development from their previous work, their creativity is spreading in some inspired new directions. “Aves”, for instance, sounds like “Maggie May” would if it had been written by John Martyn and John Martyn had been born in New York 30 years later and signed to Ecstatic Peace, and even though it’s gentler tones provide a great counterpoint to the bluster and crash of some of the other songs, it still somehow retains the same impact. Guitarist / singer Steph not only has an incredible and unique guitar technique, he howls like a dog with a sore throat and it somehow sounds more soulful than Ruby Turner at her best. Shield Your Eyes are just consistently, mind-bogglingly great; miss ‘em at your peril and don’t say I didn’t warn ya... - Subba Cultcha, Eddie Thomas 2010

Fang Island Interviewed on Seattlest.com


[seattlest.com] We realized that Tuesday's show (at the Showbox, w/ Matt & Kim headlining) was going to be amazing as soon as we sat down with Fang Island and were bombarded with utmost kindness and sincere enthusiasm. The five-member group, formed in Providence, Rhode Island, exude such an infectiously warm excitement that although they've only been on the scene for a little over three years, it's hard to imagine that they've ever done anything other than play music with one another. It comes as no surprise that they've been pretty much adopted by fellow party anthem-er Andrew WK, which became even more blatantly obvious after we watched them play- they describe their sound as "everyone high-fiving everyone" and we couldn't help but agree, completely.

You recently moved to Brooklyn. What is the music community like there?

We’ve been on tour pretty much the entire time since we moved there. Basically, we haven’t spent much time there at all. We're not particularly roped in to any particular scene there, yet- We have friends that play in other bands, but for the most part it's just been us moving around. While we’re there, though, we eat really good pizza. Big, thin slices.

What is the creative process like with five members?

What's the opposite of organic? Inorganic? (the group laughs) In short, in the beginning it was unnatural. It had a lot to do with emails at first, because we all lived in different cities. It was an exchange of ideas and music coming from whoever, and when we could get together we’d try to hash it out as a group. It's come together since then, though.

Musicians and songwriters sometimes talk about how much easier it is when drawing creativity from a painful and dark place. How does the differ from tapping into a place of good, positive energy? What is it like to draw from that, instead?

We aim for positive results, but that doesn’t necessarily mean that we’re not drawing from all those other things, too. We like to draw from a full range of human emotions. It’s best not to depend on any one thing. Bands might run into some problems only writing from a place of sadness - there should be a full range of everything.

How was your tour with the Flaming Lips?

It was awesome! So great! They were great; every night they were absolutely amazing. They destroyed us every night. It was the best way to be destroyed. That was the first time any of us had ever seen them. Now we can say we’ve seen them, like, ten times. They've even said our name a couple times! (more laughter ensues)

What was it like playing in a kindergarten classroom?

It was a bit weird in the beginning. We tried talking to them about the powers of Rock and Roll but it was wwwaayyy over their head. (laughs) But once we started playing, they warmed up to us, and we had a really fun time. They asked a lot of great questions.

What kind of questions did they ask?

What our guitars' names were, if we liked clogging..

Do you guys like to play at parties? You create perfect party music.

The band was formed from that element. When we first started, we almost exclusively played at parties. There are no venues in Providence either - there’s like one. (the conversation sways to talk of a crazy party in an abandoned store, in which all they could think about while playing was what would happen if the floor collapsed)

What's coming up next for Fang Island?

We're touring until the holidays, and then taking a little break. We’re going to reinvent Rock and Roll at some point (laughs) The future is sort of up in the air. More touring, potentially just go straight to working on the next record, which we may or may not want to record in Seattle. We really like it here.

READ THE ENTIRE INTERVIEW HERE.

Bad Books (Kevin Devine/Manchester Orchestra) Pre-Order Available


So many exciting things are coming up with Bad Books, the new project from Kevin Devine and Manchester Orchestra. They've got 5 upcoming tour dates (details below), a digital release of the album October 19th, physical release of the album November 9th, and the pre-sale is live now! What's more? Each pre-sale order gives instant downloads of "You Wouldn't Have To Ask," "Please Move," and "Holding Down The Laughter," as well as a download of the album on the digital release date, an early arrival of the CD, and a signed poster.

This announcement doesn't come without music, of course. Below please find a download link to "You Wouldn't Have To Ask," a streaming widget, and a download widget of "Please Move" in exchange for an email address.

Pre-Order Bad Books HERE!!

DOWNLOAD: "You Wouldn't Have To Ask" MP3























Tour Dates (with Hardello, Gobotron, & more):

10.20.10 - Bowery Ballroom - New York, NY
10.22.10 - T.T. The Bear's Place - Cambridge, MA
10.23.10 - The North Star Bar - Philadelphia, PA
10.24.10 - The Ottobar - Baltimore, MD
11.24.10 - The Stuffing @ The Center Stage Complex - Atlanta, GA

Alain Johannes Offers "Return to You" FREE Download


Alain Johannes’ gorgeous, unflinchingly raw album Spark hits stores this Tuesday, October 5th on Queens of the Stone Age/Them Crooked Vultures frontman Joshua Homme’s label, Rekords Rekords (co-released by Ipecac Recordings). However, as an early treat Alain is giving his fans not one but two new tracks for FREE. If you haven’t already caught it when it premiered over at SPIN.com, click HERE to stream/download “Return To You.” Though it’s anchored by deceptively sunny melodies, the track carries an immense emotional weight as Alain sings “Take me away / make me forget this is real.” The other song is a non-album bonus track called “Fall To Grace.” Click HERE to stream it, or download it for free by entering an email address or sharing it with friends through social networking sites. Starting @ 10am tomorrow you can also listen to Spark in its entirety on www.alainjohannes.com and www.rekordsrekords.com.

Having collaborated with the likes of Queens of the Stone Age, Them Crooked Vultures, Chris Cornell, Brody Dalle’s Spinnerette, and Mark Lanegan to name a few, Alain already has a reputation as an inventive and highly expressive guitarist. With Spark he proves himself to be a soulful vocalist and skillful songwriter as well. The album also reveals flamenco, classical, and Indian music as a major influence on his playing and one of the reasons why his style is so unique.

After the passing of Natasha Schneider, Alain’s late wife and creative partner, he began writing solo material both as an homage to her, and as a means of wrestling with the complex emotions he was experiencing. The resulting songs that make up Spark take listeners on a breathtaking journey they will want to experience over and over again.

Prismo Perfect Debut "Wired Feelings" Video

Prismo Perfect have posted their video for "Wired Feelings" from their debut EP Out Of Nowhere. You can download the EP for FREE HERE...

Prismo Perfect - Wired Feelings from Analog... what ? on Vimeo.

Tool's Justin Chancellor Chats with New Zealand Herald

[nzherald.co.nz] The members of Tool are getting along better than ever after taking their customary between-album hiatus.

They reconvened in mid-2009 and have already started on their new record (the follow up to 2006's 10,000 Days), they've done a couple of mini US tours which got rave reviews, and - suggests bass player Justin Chancellor, sounding a little bemused - they all seem to have grown up a little since they last unleashed their tense and menacing music loose on the world.

Well, as grown up as four men in their late 30s and 40s can get. Yet Chancellor has one nagging fear.

"It's almost like we've found a better way of communicating with each other, but the worry is the music is going to suck once we all start getting on," he jokes on the phone from Los Angeles.


Chancellor has a point, because it's this sometimes volatile working relationship which helps make Tool's music sound so powerful and intense.

The band, who return to headline next year's Big Day Out following their top billing in 2007, are all very different characters.

Chancellor is the affable British bloke with the mind-bending basslines; drummer Danny Carey, at 49 the oldest member of the band, is the sport-loving man machine; guitarist Adam Jones is the axeman, artist, and video-maker; and then there's singer Maynard James Keenan, a particularly prickly, often intimidating chap with a biting sense of humour.

The last time TimeOut talked to him - along with Chancellor - in a face to face interview in Melbourne in 2005 he was in a typically ominous yet somehow jovial mood.

He described himself as the grumpy old man over the fence who may - or may not - give the ball back. When Chancellor is reminded of this, he cracks up.

So how is Maynard five years on?

"He's good, man. He's changing as well. He's into [making] his wine, he's really enjoying that. Maybe he's got a mid-life crisis thing going on? He's in really good form and less grumpy than he might have been back then," he laughs.

Chancellor, who joined the band in 1995 ("I was basically asked to join my favourite band," he remembers.), says getting back together after a break is always a bit odd because they haven't seen each other for a long time.

"But we all come up with stuff on our own, and probably for the first six months we just share our ideas with each other, spending hours dithering around. So it really is a big kind of jam session."

And all he can say about the new album, which might be ready by the end of next year ("You'll have to be patient"), is that "it's going to be exceptional".

If it was to be released next year they would still be reasonably on track to release an album every five or so years. Not counting 1992's mini album Opiate, Undertow came out in 1993 kick-starting their steady rise on the heavy music scene with songs like Prison Sex, then break-through Aenima was released in 1996, Lateralus 2001, and 10,000 Days in 2006.

"With the new Tool record we're just taking our time with it because we want it to be a cracker, you know," says Chancellor. "It just takes a bit longer every time."

Since 10,000 Days was released, as well as touring, they have been involved in side projects, including Keenan's oddball solo act Puscifer and his band A Perfect Circle, while Chancellor has a new dark and industrial-sounding duo called M.T.void with Polish mate Peter Mohamed.

But there is no way these projects will take over from Tool - "I don't use up any of the arsenal of ideas I have for Tool" - and there is an intense devotion within this band. This loyalty comes from loving what they do, and most of all reckons Chancellor, realising that it is unique how four people can come up with the sort of powerful and singular music that they do.

"It's the one opportunity that we have musically to really go to an extreme level - and I think Tool is clearly that for all of us. It's a very unusual and unique thing. You feel compelled to be loyal to it and have a deep profound respect for it. I think we feel very lucky to have found this chemistry.

"We strive for something unique; trying to create something you haven't experienced before. Music is never going to die but it certainly feels like it's going through a stagnant period where it's getting squashed, processed, and watered down, and I'd like to think we work really hard to keep the idea of music being alive and living."

Wednesday, September 29, 2010

As Tall As Lions Announce Hiatus


A message from As Tall As Lions...

"After eight years of music, friendship, laughter, adventure, bliss, blood, sweat, tears, and everything else that goes along with it, As Tall As Lions are retiring for the foreseeable future. There is no sadness on our side, and we hope there is none on yours. We will be playing a handful of shows across the country to try and give everyone an opportunity to see us one last time.

12/17: Los Angeles - The Troubadour
12/19: Chicago - Lincoln Hall
12/21: New York City - Highline Ballroom

Tickets will go on sale at 10AM local time this Saturday.

Our sincerest apologies to those who can't join us at these celebrations, but know you will be there in spirit. Much love to you all, and thanks again for everything."

Akimbo's "Jersey Shores" Now Available on Vinyl


Alternative Tentacles Records is releasing the LP version of Akimbo's Jersey Shores. 180g gatefold. It comes with a download code too. Here's the LINK. Red Cobalt Industries will be releasing the Japanese version of LP. All new artwork and comes with a CD.

"Akimbo has barreled their way through the United States and Europe over the last decade with all the fervor of a demon army bent on conquest. Forging a path of righteousness with a thunderous sound and a menacing presence in today's underground rock scene, Jon Weisnewski (Bass/Vocals) and Nat Damm (Drums) have solidified a unique and devastating sonic battle axe left embedded in the skulls of their enemies. After years of rotating guitar players, Aaron Walters (Guitar) joined the band in 2006 and has proven himself as the defining diesel in this engine of pure, flaming, voluminous rock. They encompass everything that has made rock, punk, and metal a dangerous sound for the last 50 years.

Akimbo came forth with the sinister and anthemic full length album Jersey Shores in 2008 on Neurot. A concept album spanning twelve days of brutal and savage shark attacks that haunted the New Jersey coast in 1916, Akimbo has allowed the dark subject matter to fester into the grain of their instruments and recreate their sound anew. Steering away from the beer-fueled "rock for rock's sake" approach, the album treads into a more mysterious and brooding territory than previously heard from other releases, maturing the band's sound as a whole and adding a new chapter to the Akimbo saga.

With six hammering, primal, evocative, haunting tracks that transport the listener through 45 minutes of timeless fear, Jersey Shores marks the brandishing of a new weapon for Akimbo to wield after ten years of aggressive battle through the hallow pits of the rock and roll underground. This 180 gram vinyl gatefold reissue also marks the continued collaboration between the Seattle band and Alternative Tentacles."

REVIEWS:

"Musically, Jersey Shores functions like the greatest of horror stories, building its dread with masterful dynamic, offering false calm in its wiry, entangled melodies before building up to crushing, bottomed-out bludgeons delivered with the force of a great white's upward charge. Guitar squeals surge above the melee. And the tumult recedes again; more false hope to string us along. The long-standing Seattle band's got the chops to pull off such a visceral aural assault, but it's handled with a preternatural finesse. The spiraling melodic lines intertwine with crushing drop-tuned chugging. Weisnewski's gruff howls attack with his band's choppy froth and bleed out into a cracked croon as the band's behemoth climaxes dip back into the murky depths, waiting for the next strike. Feedback hums drape the quiet moments, creating an ominous drone that inevitably gives way into more of Akimbo's scorching metal." - Tiny Mix Tapes

"An epic post-rock-infused metal testament to those lives, mangled and forgotten in the shallow, cold, Jersey waters almost a century ago. An atmospheric beginning and ending with melodic chaos in the middle, violating your ear hole with positive results." - Punk News

The Black Angels' "Phosphene Dream" Reviewed on No Ripcord


[noripcord.com] In 2008, I reviewed The Black AngelsDirections To See A Ghost and wrote the following:

“Unable to avoid any Velvet comparisons, The Black Angels at least bring the whole psych thing to a different level: Timothy Leary in loner mode, nighttime wanderer, tuned into his own acid-soaked brain matter, reacting to expansive and empty stimuli. Spiritual, but from somewhat of a paranormal sense. Though, content-wise, there’s nothing paranormal about them.”

Phosphene Dream is the newest album by the neo-psychedelic quintet, free of the night air and obscuring sounds that fueled its predecessor. Inasmuch as they continue to build upon The Velvet Underground’s Warhol-ian art rock daze and the psychedelic blues of hometown heroes The 13th Floor Elevators, The Black Angels attempt clarity with Phosphene Dream, revelatory guitar playing that owes more of itself to the garage gems associated with The Kinks, The Monks, The Troggs and even The Doors. The thick pulse of bass resonance that opens Bad Vibrations is flanked by guitar noise and high-timbre notes, but the elements unite with resolve to follow each other. I don’t want to say that they sound “refined,” but they at least follow a strong bass line with rhythmic support from the band’s six-strings as opposed to just churning out fields of purple haze or chemically induced ambience. They refuse to completely abandon this sort of aural envelopment, though, and vocalist Alex Maas still has haunting presence within each track.

But, because the band’s fuzz is reduced, Phosphene Dream winds up embracing more of the 60’s musical spectrum. The appropriation of blues music for instance by rock’s demigods, bands like The Yardbirds, Zeppelin, The Stones and Cream, leads The Black Angels to Haunting at 1300 McKinley, bluesy rock moves and grooves that muddy the Technicolor waters with a dream pop lick. The bass levels are kicked up for Yellow Elevator #2, guitar sneering underneath the crawling keyboard. Sunday Afternoon has teenage pop excitability to it, dance groove and melody that resurfaces with the Kinks-ish Telephone.

Meditative and loud ponderings still manifest in the form of River Of Blood and Entrance Song, the former some progressive and up tempo variation on The Doors’ The End. Entrance Song tumbles into the title track, which is fairly focused and tangent-free, relying on consistent motion.

Song lengths are held to less than five minutes, making spacey psych tracks and tendencies toward shoegaze trimmed to efficiency. A prayer song like True Believers would typically award the band an opportunity to wallow and jam free form under the influence of sitar and ethereal amplitude, (I immediately think of Directions’ sixteen-minute Snake In The Grass), but they keep the momentum intact and finish every track with predetermined or rehearsed exactitude.

There is a tone of western influence in The Sniper, which begins like Nuggets-tumbleweeds and transitions into country-fried riffs and harmonica-like howls. Momentarily parting ways with their psych-love, The Sniper finds The Black Angels reveling in sounds based in southern/western regions, satisfied to play some rock music while leaving the past alone for almost four minutes.

8/10

Quick Notes: Omar Rodriguez Lopez Group, Deerhunter, And So I Watch You From Afar + More

*Check out a video from the Omar Rodriguez Lopez Group Live from New York City shot on Sept 17th, 2010 (Work in Progress)...



Watch more videos from this show HERE!!

*[pitchfork.com] Superstar DJ Diplo has teamed up with the Montreal producer Lunice to remix "Helicopter", the floaty BNM'ed single from Deerhunter's also-BNM'ed new album Halcyon Digest. The Diplo/Lunice version, which you can download HERE via the Mad Decent blog, makes ample use of all the empty space in the original track, filling it with with twerked-up synth beeps and warm ambient hums.

*[smalltownamericarecords.blogspot.com] And So I Watch You From Afar may be clocking up the miles across America with Trash Talk but that doesn't mean they've forgotten about all you fans back home; the band have announced today that they'll be hosting a festive blowout at the Hideout in Warrenpoint on Thursday 23rd December - tickets on sale now. Expect a tinsel-adorned version of their logo to follow in due course.

<a href="http://explodinginsound.bandcamp.com/track/and-so-i-watch-you-from-afar-a-little-bit-of-solidarity-goes-a-long-way">And So I Watch You From Afar - A Little Bit of Solidarity Goes a Long Way by Exploding In Sound presents...</a>

*[theprp.com] A free bonus track from Alain Johannes by the name of “Fall To Grace” has been posted online HERE. Johannes‘ new album “Spark” is scheduled to arrive in stores on October 05th through Rekords Rekords/Ipecac.

Fall To Grace by AlainJohannes

Quick Notes: Led Zeppelin, Sonic Youth, Birds of Tokyo + More


*[bravewords.com] LED ZEPPELIN legends Robert Plant and Jimmy Page will be guests on In The Studio - The Stories Behind History's Greatest Rock Bands - during the week of October 18th. They will be discussing the 40th Anniversary of Led Zeppelin III with professional radio broadcaster and rock musician interviewer Redbeard. Check out a preview HERE (left-hand side - scroll down).

According to Wikipedia, Led Zeppelin III was recorded between January and July 1970 and was released on 5 October 1970 by Atlantic Records. Composed largely at a remote cottage in Wales known as Bron-Yr-Aur, this work represented a maturing of the band's music towards a greater emphasis on folk and acoustic sounds. This surprised many fans and critics, and upon its release the album received rather indifferent reviews. Although it is not one of the highest sellers in Led Zeppelin's catalogue, Led Zeppelin III is now generally praised, and acknowledged as representing an important milestone in the band's history.

*[NME.com] Sonic Youth have announced details of a London New Year's Eve show. The band will play ATP's Strange Days event at Hammersmith Apollo on December 31. Other acts on the bill include Shellac and Factory Floor, plus a series of guest DJs. Meanwhile, the group will also play the night before (December 30) at Manchester Academy. Tickets go on sale tomorrow (September 29) at 9am (BST).

*Be sure to check out the exclusive new digital bundle from BIRDS OF TOKYO for 'Plans' available now. The bundle includes previously unreleased acoustic B-Sides of 'The Saddest Thing I Know' and 'Wild at Heart'. Buy it HERE!

*[theprp.com] Rock Sound are reporting that Monster Magnet frontman Dave Wyndorf has formed his own record label dubbed Studio 13. The venture will focus on 7″ efforts and digital downloads of Monster Magnet related material. The first planned release is a reimagined version of the bands track “Superjudge” and a track dubbed “She Digs That Hole“. More on that can be found HERE.

In the meantime, the bands new album “Mastermind” is slated for an October 26th North American release date through Napalm Records.

*Martin Cohen of Nine Black Alps has his first single coming out on Oct. 18th with his other band MILK MAID! You can pre-order it HERE or listen to it HERE!!

Check out what Suffering Jukebox had to say about the release...

"'Such Fun/Can't You See' is the first release from Manchester's Milk Maid and the forth release on Suffering Jukebox Records. Milk Maid is a band built around the songwriting talents of Martin Cohen, the bassist from Nine Black Alps and the two jams on this single represent his first ever attempts at songwriting... attempts that in our opinion are a bit like someone attempting to play for Manchester United, scoring a hat-trick and ending the night making out with Winona Ryder on the Heathers set... that said; we think he rules.

No-one really sounds like Guided By Voices, but Milk Maid have a similarly laissez faire approach to recording solid gold melodies; throwing away songs most bands would kill for with a kinda swoony arrogance. This single wouldn't sound out of place on the Woodsist label, home of Kurt Vile, Woods and Real Estate...but y'know Suffering Jukebox got in first. Maybe they'll steal Milk Maid of us and we'd end up all bitter and broken.

Such Fun/Can't You See is available on 7" Vinyl and Cassette Single"

*Armistice Live features the "Making of Armistice" documentary that, for the first time ever, takes fans into the writing and creative process of MUTEMATH as they make an album. Armistice Live is available everywhere on October 12th.

Kim Thayil Discusses Soundgarden Songs with Rolling Stone


[rollingstone.com] What exactly does Telephantasm — the title of Soundgarden's new best-of, which hits stores today — mean? We asked guitarist Kim Thayil, who came up with the name. “‘Tele’ is at a distance, or from afar,” he explains. “And 'Phantasm' is an illusion, or could be used to refer to a ghost. So I guess 'Telephantasm' would be an illusion at a distance, or a ghost from afar. Which I think would be an appropriate reference to what we have here — a retrospective of a band that had been inactive for thirteen years."

The album — which coincides with Soundgarden's first live dates since 1997, and includes the previously unreleased tune, “Black Rain” — will be released in four configurations: as a single disc with twelve tracks, two-CD/one-DVD set, a three-LP vinyl package, and a "super deluxe" version that includes the CDs and vinyl, liner notes, photos, and more. Meanwhile, Thayil says, “There are definitely other releases coming down the pike. For one, that B Sides record I've been threatening for 15 years now. There's live material that we've been mixing, there's some material that was never released, that was intended for [Screaming Life]. And I certainly wouldn't rule out the interest amongst the band in doing some new stuff." In the meantime, Thayil has shared his thoughts and memories about Telephantasm’s 12 main tracks.

“Hunted Down”
That was the A side of our first single. But for some reason, it wasn't included on the [1997] album A Sides — the B side of the single was included on A Sides. That's about the level of communication the band was at back then [laughs]. It has a heavy, visceral riff, a nice chaotic noise-jazz. I don't know if they're really “solos,” they're sort of “accent leads” in between the verses. I think originally, we did the song slower, because we wanted it to sound heavy. But it naturally sped up and became more up-tempo rock riff.

“Hands All Over”
I think there was a minor protest about [the lyric "You're gonna kill your mother"] — of course, "your mother" being a metaphor for the environment or the Earth. People flipped out about that. But I am going to go on the record now to tell everyone, “Kill your fucking mother!” [Laughs]

“Outshined”
The video we released, by [directors John] Dayton and [Julie] Faris, was one of the first videos the two had done for MTV. But that was not the original video — the original video was shot by Matt Mahurin, and personally, I thought was much more beautifully shot. But it was not satisfactorily edited and put together. The video that did get released was thrown together at the last minute — it got a lot of airplay, but it was not the original and intended video.

“Rusty Cage”
Chris came up with that intro, and augmented it by suggesting we use a wah-wah pedal on it. And then came up with this really cool, backwards sound. What I love about that song is the arrangement — it has this one kind of "A" section, then it goes to a "B" section, and then culminates in this slower, heavy "C" section. I love the way it starts out kind of fast, and ends in a heavy, undanceable riff.

“Birth Ritual”
That's a cool riff that Matt [Cameron] wrote. That track ultimately was reserved for the Soundgarden B Sides album, which we've been discussing for about a decade now. [Telephantasm] would have been the B Sides album, had it not been for the fact that we need to re-establish ourselves with the rock and roll audience out there, the younger audience.

“Black Hole Sun”
When we heard Chris' demo, we said, "This could be a very popular song." Once we fleshed it out, we definitely felt very strongly that there was something about that song that was going to have an appeal beyond just the rock musicians that we had appealed to. It seemed like that song might be picking up some housewives and people who listen to rock radio while commuting to and from work ... maybe even some junior high school girls.

“Spoonman”
[Pearl Jam’s] Jeff Ament had made up a mock set list of titles [for a demo tape on the set of Singles], and Chris [Cornell] thought that the titles were interesting, and wrote songs for each of those titles. That was some time after we lost Andy Wood, the singer for Mother Love Bone, and Chris became very prolific.

“My Wave”
Whenever we start that song, the whole audience bounces up and down — it’s as if they're at a Rage Against the Machine concert. But unlike a Rage Against the Machine concert, we're not going to whip you with a 4/4 dance groove. Instead, that song very quickly is established as the 5/4 song it is. That loses everybody.

“Fell On Black Days”
The title really captures the whole thing — the feel of the song. I like the song now more than I liked it then. I liked the song then, but it was a little more mellow and subdued. I like listening to it more than I liked playing it. But now, I actually enjoy playing it.

“Burden in My Hand”
It has that "classic rock element" to it, but I don't know, I thought "Black Hole Sun" may have had that, too. I thought of "Burden in My Hand" as the contemporary "Hey Joe." I thought there was something to the melody, the lyric, and the feel — the overall emotive sort of discomfort and beauty that that song elicited was very similar to that sort of squirming beauty that "Hey Joe" elicited.

“Blow Up the Outside World”
Even though there's an aspect of blues guitar playing — which I definitely picked up either by osmosis or just assimilating rock guitar — I'm not generally a huge fan of blues in general. But I am with specific artists. And with "Blow Up the Outside World," which is sort of a pop arrangement, I remember approaching that with a blues sensibility. It was very strange, because it is a pop arrangement, but it had a feel to it like a blues song, so that's why I came up with the blues solos for that.

“Black Rain”
I've been reading some stuff on web forums, and some people refer this to as a "brand new song," and some people are disappointed because they think it's an old song. Well, they can rest assured that in many ways, it's a new song. It was uncompleted. I love that song, I think it's got a heavy groove, and it's got a couple of memorable rock guitar riffs in it. I've had a number of people point out that Chris' vocal style and performance is very much from the Louder Than Love sessions. But there is something about the viscerality of the song that will remind you of Badmotorfinger. And then the intro and outro has got this ambient trippiness that you could file neatly with Superunknown.

No Age's "Everything In Between" Reviewed


[pitchfork.com] Words like "accomplished" and "discipline" seem opposed to the very ideals on which punk was founded. But L.A. dream-punks No Age seek to straighten up and fly a little straighter on their second LP, Everything in Between, tamping down their whiplash tempos, prying open their songs to let a little more air in, further settling into their frantic sound. Their songwriting's grown in leaps and bounds, evincing unexpected depth yet never shying from a satisfying detour. And their sound's become more balanced; hot blasts of dissonance have been turned into smoldering pockets of noise. Everything in Between is a grown-up, downright respectable record about the pitfalls of being a lifer with a 9 to 5, and the sound's matured along with their outlook. Less ferocious, more deliberate but in many ways more compelling, Everything in Between finds No Age matching a new, nuanced approach to their expansive noise.

By this point, you probably know what goes into a No Age song: A scuzzy intro jumps face-first into a thrashabout hook, either jumping again into another firestorm or swelling to a swift end. On 2008's Nouns, they cut these ripcords through with huge, gorgeous clouds of sound. It worked beautifully at the LP level, but the songs themselves felt shot out of a cannon. They didn't always leave room for nuance.

Everything in Between finds a little space for everything. Randy Randall's guitar now buzzes and howls throughout these songs, providing them with a backbone rather than simply standing behind them and shoving. Dean Spunt's drums go from a wet thwack to a wild carnival stomp as the situation dictates, seeming to take on new forms as the LP progresses. Every tone, from Randall's guitar squeals to Spunt's impassioned shouts, feels treated, scuffed up, warped. But the sounds are more spectral, less squalid, a product of Randall's varying his guitar tones and the duo's embracing a few more patient tempos. Rather than stepping to one huge precipice at the edge of every song, they've made them more jagged, played up the internal tensions, and traded in one big thrill for a seemingly self-propelled series of precision blasts.

Structurally, Everything in Between doesn't shy far from the Nouns formula: Several hook-forward numbers anchor the front half, the floatier stuff mostly shows up around the two-thirds mark, and they close the thing out with a total banger. But the tunes themselves are longer and slightly more traditional (they actually liked a couple of these choruses enough to sing them twice), and the punk rock urgency of their past work's been tempered slightly by a more deliberate pace and Randall's trickier, rustier, less world-beating guitar riffage. It all calls to mind less straight-up SoCal punk and more rangy, roughhewn indie rock; there's flecks of Dinosaur Jr.'s lazy crunch in "Valley Hump Crash", plenty of Hüsker Dü's pop urgency in "Common Heat", enough Sonic Youth to go around everywhere. They've opened up their tone palette so much here, it's as though just about anything could be around the corner. The drone bits feel especially purposeful this time around; "Positive Amputation" has all the skyward motion of an Explosions in the Sky tune, and nearly every time they pull back into these sonic curlicues, the record seems to breathe. They've long felt like a hardcore band with excellent noise instincts, but Everything in Between is where you realize they're mostly a rock band with a ridiculously good ear for sound.

Tuning into No Age for Dean Spunt's lyrics has always seemed a bit of a fool's errand; his tales of youthful malaise are accurately but rarely vividly rendered, and besides, it's not always been easy to make him out through the din. Spunt's voice, though still occasionally inaudible, sits far higher in the mix here on Everything in Between, sticking his lyrics-- and his thin, pleading voice-- at the center of some of these songs. Spunt's still not exactly a masterful singer, and he's just shy of the pitch a time or two here. He's putting his voice to better use though, with a batch of lyrics that underscore the motivational appeals to action that have long hovered around the No Age project. If the record's got a thesis statement, it's somewhere in its first line: "One time is all I need to know my job's complete," Spunt notes, before proceeding with his most detailed, deliberate record yet. Despite the obvious care that went into it, Everything in Between's hewn-from-pure-noise songwriting still feels more like a ridiculously good run of happy accidents than anything resembling hard work-- and it's shot through with an unassuming left coast attitude that makes the record all the more ingratiating.

Everything in Between begins with a series of hits from Spunts' drums; it ends with fireworks. Not the big crash-boom city-spanners, nah; strictly bodega-special bottle rockets, popping along behind Spunt's drums in the chorus of "Chem Trails". It's sort of perfect; this is no lavish, decadent affair, no grab at some greater glory. This is a pair of friends getting together to make a truly compelling racket, and while the wildly successful Everything in Between is certainly cause for celebration, making some big scene would throw its balance off completely. Everything in Between certainly doesn't feel like some huge statement of purpose, some radical reinvention, some big move toward the mainstream; simply a sonically chameleonic, musically generous, seriously compelling record from a couple guys who've once again got all their pedals in a row.

— Paul Thompson, September 28, 2010

Nine Inch Nails' "Year Zero" Miniseries Headed to HBO/BBC


[herocomplex.latimes.com] Trent Reznor says HBO and BBC Worldwide Productions are moving forward with the development of “Year Zero,” the grim sci-fi epic that Reznor has chronicled in his music as well as in a celebrated Alternate Reality Game (ARG).

“We are in [the development phase of] pre-production with HBO and BBC [Worldwide Productions] to do a miniseries,” Reznor said Monday. “It’s exciting. I probably shouldn’t say too much about it except that I understand that there’s a thousand hurdles before anything shows up in your TV listing. It’s been an interesting and very educational process and it cleared the HBO hurdle a few months ago and now we’re writing drafts back and forth. So it’s very much alive and incubating at the moment.”

Reznor is working with the team of Lawrence Bender, best known for producing Quentin Tarantino films such as “Pulp Fiction,” “Inglourious Basterds” and ”Reservoir Dogs“ as well as the documentaries “An Inconvenient Truth” and “Countdown to Zero,” and Kevin Kelly Brown, who was executive producer on “Roswell.“

“BBC [Worldwide Productions] was the first to show interest and came on as the studio,” Reznor explained. “Our writer is Daniel Knauf from ‘Carnivàle’ and he’s busy with pages right now and revising the overall world Bible. It’s been an interesting collaborative effort but I’ve learned that [television development] moves at a glacial pace.”

Year Zero” began (as so many things do in the music of Nine Inch Nails) from a place of wrenching emotion and sonic adventure. Reznor found himself increasingly outraged by the geopolitical situation during the Bush years and he wanted to express the fury in music, but he found himself bored by traditional approaches to protest music. To read more about ”Year Zero,” read our 2008 interview with the rock auteur.

Bottomless Pit's "Blood Under The Bridge" Reviewed


[pitchfork.com] If you're familiar with Bottomless Pit's excellent debut (2007's Hammer of the Gods), then Blood Under the Bridge might seem at first like a high-quality retread. While there's variety from track to track, the group continues to mine the common ground between Silkworm's tasteful classic-rock inclinations and the pastoral majesty of Seam. (It's only fair, given that three-fourths of Bottomless Pit came from those groups.) Not much has changed lyrically, either. When Tim Midgett's at the microphone, he offers disarmingly guileless phrases and thoughts, and imbues them with a heartening vulnerability. Andy Cohen's tracks feature him unspooling noir-flavored narratives whose tumbling rush of words mesh perfectly with the artful sloppiness of his guitar playing.

In that light, it almost seems appropriate for Blood Under the Bridge to feel less like an actual follow-up to Hammer, and more like the second half of a sprawling yet cohesive double-album set. Blood even seems to begin in the middle, with the understated "Winterwind". Behind that track's relaxed gait and resigned sigh, however, is an unflinching resolve that Midgett ably puts into words: "Waiting on deliverance is just like waiting on a tree that you can't get out from under." The tension exemplified in that lyric-- torn between being in a place you don't want to be, and not having the ability (or desire) to escape-- informs most of the tracks on Blood. Midgett doesn't necessarily betray his emotions when he sings, but whether he's navigating a vengeful line like "so many fuckers in this world to line up and trade for you" (from the raucous "Late"), or offering a more plaintive sentiment ("I've been waiting on the real you all along," from "Kiss Them All"), that push-pull impulse is always evident.

It might be harder to keep up with what Cohen's singing about on "Summerwind"-- he spends most of the track's four minutes spitting out lyrics in a "Subterranean Homesick Blues" style-- you only have to catch a couple of fragments to realize the song's nostalgic regret. He's a little more to the point on album closer "38 Souls", painting a portrait about a punch-the-clock grim-reaper type whose frustration is best expressed through Cohen's holler and intermittent bursts of over-amplified guitar.

Ending on this burst of seemingly impotent anger is where Blood best distinguishes itself from its predecessor. The closing track on Hammer of the Gods, "Sevens Sing", offered a despondency similar to "38 Souls", but in a more restrained and resigned manner. The difference between that song's mood and the cautious hope offered on album opener "The Cardinal Movements" could be measured in light years. Blood, on the other hand, lets the quiet resolve voiced in its opener find a more insistent and active voice at its ending. It might be nothing more than fitful raging against the dying of the light, but sometimes that rage is what's needed most of all.

— David Raposa, September 29, 2010

Mr. Gnome Announce Winter Tour


Mr. Gnome have announced new tour dates for the winter...

11/04 Pittsburgh PA @ Lava Lounge
11/05 Brooklyn NY @ Union Pool
11/06 Taunton MA @ Steve's Backstage Pass
11/11 Indianapolis IN @ Radio Radio
11/12 Chicago IL @ The Hideout
11/13 Madison WI @ The Frequency
11/15 Kansas City MO @ Riot Room
11/16 Denver CO @ Hi-Dive
11/17 Salt Lake City UT @ Burt’s Tiki Lounge
11/19 Portland OR @ Mississippi Studios
11/20 Seattle WA @ Sunset Tavern
11/23 San Francisco CA @ Elbo Room
11/24 Los Angeles CA @ Silverlake Lounge
11/26 Tucson AZ @ Plush
11/30 Springfield MO @ The Outland
12/02 Dallas TX @ Double Wide
12/04 San Antonio TX @ Lone Star Studios
12/06 Pensacola FL @ The Handlebar
12/08 Atlanta GA @ Drunken Unicorn
12/10 St Louis MO @ The Firebird
12/18 Cleveland OH @ Beachland Ballroom

Details are available HERE.

<a href="http://explodinginsound.bandcamp.com/track/mr-gnome-vampires">Mr. Gnome - Vampires by Exploding In Sound presents...</a>

Shapes Announce Tour Dates + Remix Album


Shapes will be hitting the road in October in support of their brand new remix EP, The Pasture, The Oil Remixes. Here's what they had to say...

"We're going on tour in October with the awesome These Monsters to back the release of our new Remix EP.

Dates are:

6/10 - The Old Blue Last, London*
8/10 - The Flapper, Birmingham w/&U&I
15/10 – IN THE CITY @ Gullivers, Manchester*
20/10 - The Flapper, Birmingham*
21/10 - The Bodega, Nottingham*
23/10 – BRAINWASH FEST @ The Brudenell, Leeds
25/10 - The Harley, Sheffield*
29/10 – venue tbc, Southampton*
30/10 - The New Hero, Brighton*

*with These Monsters

The Pasture, The Oil Remixes features all 6 tracks off The Pasture, The Oil but remixed by various old and new friends. The album will be released on October 4th.

We'll be releasing 100 limited edition physical copies HERE and will be available from iTunes too.

We will also be giving a track a week beginning on Monday 27th Sept HERE!!

<a href="http://weareshapes.bandcamp.com/track/trampled-by-a-horse-remix-please-will">Trampled By A Horse Remix (Please Will) by SHAPES</a>

Hope you all enjoy the mashed up versions of the tracks and hopefully see you all somewhere along the way in October!!"

Love
Gavin, Richard, Steve
SHAPES

Soundgarden Perform "Black Rain" + More Live [Video]

[theprp.com] Soundgarden performed their track “Black Rain” live at a launch party event for the “Guitar Hero: Warriors Of Rock” video game at Paramount Studios yesterday, September 27th. Fan-filmed footage of the performance can be found below. Both the aforementioned video game (which “Black Rain” is featured on) and Soundgarden’s retrospective effort “Telephantasm” arrived in stores today, September 28th.





Black Rebel Motorcycle Club Postpone Tour Dates


Black Rebel Motorcycle Club has postponed forthcoming headline shows scheduled amidst their run with Stone Temple Pilots on their U.S. tour, due to a recent announcement by Stone Temple Pilots to re-route a portion of their tour. Black Rebel Motorcycle Club will do the same, and pick back up in October.

The trio recently returned from an extensive overseas run and completed two headline shows on the West Coast before joining Stone Temple Pilots in Houston. Their Little Rock headline show originally scheduled for September 24 will now take place October 17 with their Dallas headline performance now happening October 24 at Trees. They will pick back up with STP on October 8 in Tampa when that tour resumes following a brief postponement.

BLACK REBEL MOTORCYCLE CLUB WITH STONE TEMPLE PILOTS:

October 3 - Nashville, Tenn. @ Exit/In *
October 4 - Atlanta, Ga. @ Masquerade *
October 5 - Asheville, N.C. @ The Grey Eagle *
October 8 - Tampa, Fla. @ St. Pete Times Forum
October 9 - Orlando, Fla. @ UCF Arena
October 12 - Hollywood, Fla. @ Hard Rock
October 13 - Estero, Fla. @ Germain Arena
October 15 - Baton Rouge, La. @ Baton Rogue River Center
October 16 - Pensacola Beach, Fla. @ Santa Rosa Beach (De Luna Festival)
October 17 - Little Rock, Ark. @ The Rev Room *
October 19 - Raleigh, N.C. @ Raleigh Amphitheater
October 20 - Charlotte, N.C. @ Road Runner Mobile Amphitheatre
October 22 - Bee Cave, Texas @ The Backyard
October 23 - Corpus Christi, Texas @ Concrete Street Amphitheatre
October 24 - Dallas, Texas @ Trees *
October 26 - San Diego, Calif. @ Viejas Arena
October 27 - Santa Barbara, Calif. @ Santa Barbara County Bowl

* Headline shows without Stone Temple Pilots

Adam's Castle Announce New Album Details


ADAM’S CASTLE, an NYC-based instrumental psych-rock band, will be releasing their new album, VICES, on October 19, 2010 via Triple Down Records. Alongside the two EPs in their catalogue, VICES will be the band’s third full-length album. If you join their "Rollout Club" you'll get all the tracks on VICES ahead of time in installments.

On September 14th, Triple Down Records (TDR) will be releasing the album’s first single, "ANGEL DUST". TDR will then be giving away tracks at the rate of two per week leading up to the final release date on October 19th. Each group of songs will be accompanied by custom artwork, done by one of five uniquely talented visual artists.

A valid email submission HERE is required to take full receipt of the album rollout.

Vices Tracks // Artist // Release Date:

"Angel Dust" // Ben Canales (album Cover) // September 14, 2010.
"TKO" + "You’re Fucking the Best" // Justin Bilicki // September 21,2010.
"VLM" + "Babiasz" // Tricia Kleinot // September 28, 2010.
"Bender" + "Alarm Clock" // Kris Porter // October 5, 2010.
"Dark Party" + "But do You Have a Flag?" // Tess Keller // October 12, 2010.

About Adam’s Castle:

Formed in Detroit in 1999, ADAM’S CASTLE broke up for various reasons in 2004. Now, with each member living in New York, the band is back together and better than ever. At heart, ADAM’S CASTLE is the same; an instrumental trio consisting of piano (SAMI JANO), bass (ERIC ADAMS) and drums (ZACH EICHENHORN). Now armed with a heavily treated Rhodes, extra-terrestrial samples, loop pedals and other mind-altering effects, the sound of ADAM’S CASTLE is firmly set on a braver, darker and more mature course.

In an effort to capture their new, bombastic sound, the band enlisted the services of engineer/producer, Andrew Schneider (Blue Man Group, Pelican, Cave In) and recorded at his Brooklyn studio, Translator Audio. The songs on VICES smack of the irreverent ADAM’S CASTLE style but are undeniably more ambitious and textural than previous works. Much like artistic contemporaries (Russian Circles, Godspeed You! Black Emperor, Battles, and Tortoise) ADAM’S CASTLE possesses a confident, uniquely identifiable voice, honed through a long history of breaking musical boundaries and countless live shows.

VICES is the first installment of a double album statement, showcasing the band’s raw and intensely kinetic capabilities. The follow-up, DAYLIGHT (spring 2011), will be the smoother, lighter chaser, culminating in a complete picture of the many moods of ADAM’S CASTLE.

Saddle Creek Tours: Old Canes + Rural Alberta Advantage


Saddle Creek Records have announced two separate tours from two of our favorite bands on their label, Old Canes and Rural Alberta Advantage...

Old Canes - Fall 2010:

Fri-Oct-15, Omaha, NE, The Waiting Room
Sat-Oct-16, Chicago, IL, Mayne Stage
Sun-Oct-17, Indianapolis, IN, The Vollrath
Mon-Oct-18, Newport, KY, Southgate House
Wed-Oct-20, Pittsburgh, PA, Brillobox
Thu-Oct-21, New York, NY, The Delancy (Saddle Creek CMJ Show)
Fri-Oct-22, Philadelphia, PA, The Fire
Sun-Oct-24, Washington, DC, Red Palace
Mon-Oct-25, Charlotte, NC, The World Famous Milestone
Tue-Oct-26, Wilmington, NC, Soap Box
Wed-Oct-27, Orlando, FL, The Back Booth
Thu-Oct-28, Athens, GA, Caledonia Lounge
Fri-Oct-29, Atlanta, GA, Drunken Unicorn

<a href="http://explodinginsound.bandcamp.com/track/old-canes-little-bird-courage">Old Canes - Little Bird Courage by Exploding In Sound presents...</a>

The Rural Alberta Advantage - Fall 2010:

Wed-Oct-27, Winnipeg, MB, The West End Cultural Centre
Thu-Oct-28, Regina, SK, The Exchange
Fri-Oct-29, Edmonton, AB, Myer Horowitz Theatre
Mon-Nov-01, Lethbridge, AB, The Slice
Tue-Nov-02, Calgary, AB, The Legion
Wed-Nov-03, Canmore, AB, Canmore Hotel
Thu-Nov-04, Kelowna, BC, The Habitat
Fri-Nov-05, Victoria, BC, Sugar
Sat-Nov-06, Vancouver, BC, The Biltmore Cabaret

Tuesday, September 28, 2010

Three Mile Pilot Return From "Inevitable Past" With Smooth Edges

It has been thirteen years since Three Mile Pilot’s last release, and a lot has changed within that time. The band has amassed extensive catalogs as members Pall Jenkins formed The Black Heart Procession while Zach Smith and Tom Zinser joined Pinback, and in spite of their “side projects” esteemed indie success, the triumphant return of 3MP has arrived. One of the most underappreciated bands of the early 90’s, some things don’t change, as we find 2010 era 3MP returning to their signature tone and style. The Inevitable Past is the Future Forgotten is their first album since their hiatus, and sure enough, they have continued where they left off. Released through Temporary Residence, the record finds the band back in collective form, with a noticeable influence from each of their outside projects. Long time fans will notice a smoother, more refined sound, which can most likely be attributed to the maturity gained over the past thirteen years as musicians. The jagged and angular rawness that defined the band’s earlier output hasn’t been completely removed, but The Inevitable Past is a more restrained affair, paying greater attention to atmospherics than their previous apocalyptic sonic constructions.


The very first moments of album opener “Battle,” make it abundantly clear the guys are back in proper Three Mile Pilot state of mind. Jenkins voice permeates with impact and urgency with his signature syrupy howl riding over the low end heavy grooves the band has always excelled at. Smith’s bass line provides the tracks backbone, gliding over crisp guitars, delicate piano, and new wave nuances buried just beneath the mix. If that track represents their past, then “Still Alive” is their future, a song heavily influenced by the time spent with Black Heart Procession, as Jenkins shifts between soaring immediate yelps and his more reserved gravel inflicted croon. “Grey Clouds” benefits from a slow dirge of bass plodding and a swirling electronic cloud hanging over the mix as Jenkins passionately wails, “…but you can’t stop the day, and you can’t stop the night”. Just as they did in the 90s, the sound of Three Mile Pilot is once again fresh and invigorating. “Same Mistake” picks up the tempo with a twinkling piano progression providing the groundwork for building overdriven guitars and the anthemic hook, “this cold weather is chilling my bones, this type of living is killing my soul.”


“Days of Wrath” and “Planets” provide the albums one-two knockout punch, the unquestionable highlights of the record, ripping with disjointed guitar lines breaking in every direction, while the mesmerizing bass riffs brood with ominous overtones. A continuation on the sound the band were near perfecting on Another Desert, Another Sea, effectively proving they still have the post-punk spirit in them. "Days of Wrath" is everything I love about this band, and a definite contender for my favorite track of the year. One time rough and angular, Three Mile Pilot still resides in the dark shadows, only this time around the emphasis leans closer to elegance and seductiveness. This change in their repertoire is evident on the triumphant Stone Roses reminiscent “What’s in the Air,” the pulsating “What I Lose,” the bare and honest closer “The Premonition,” and “One Falls Away” a song rich with spaced out synths and hypnotic guitar plucking accompanying gentle vocals that double for texture. “Left In Vein” and “The Threshold” find Smith’s glossy bass weaving throughout every open space, building on the framework begun in the early 90s. While disarmingly less adventurous than the 3MP of the past, the band still oozes with gorgeous melodic structuring, enormous rhythmic constructs, and sheer intelligence. The Chief Assassin to the Sinister remains my favorite record in the band’s exceptional catalog, but The Inevitable Past is the Future Forgotten is no slouch and it is a great feeling to know Three Mile Pilot is active once again.

Days Of Wrath by Three Mile Pilot by PMA

Monday, September 27, 2010

Quick Notes: Tool, Deftones, Mastodon + More


*Tool, The Stooges, Deftones, Wolfmother and more have all signed on for the 2011 installment of the annual “Big Day Out Festival” which takes place in Australia and New Zealand. A number of other artists, including Birds of Tokyo, Grinderman, The Black Keys and more will also be taking part in the festival with further details available over at Bigdayout.com. Dates for the trek run as follows:

01/21 Auckland, NZ – MT Smart Stadium
01/23 Parklands, AUS – Gold Coast
01/26 Sydney, AUS – Showgrounds
01/30 Melbourne, AUS – Flemington Racecourse
02/04 Adelaide, AUS – Showground
02/06 Perth, AUS – Claremont Showground

*[bravewords.com] MASTODON will appear on Adult Swim's Metalocalypse on Sunday, October 3rd. Check your local listings for airing time and channel.

In live news, Mastodon is still on tour as part of BlackDiamondSkye, along with ALICE IN CHAINS and DEFTONES. The next scheduled show is September 28th in Atlanta, GA at The Lakewood Amphitheatre. A complete list of confirmed dates can be found here.

*[pitchfork.com] "In the Hall of the Mountain King" is one of those classical pieces you just know. Originally written in the 1870s by Norwegian composer Edvard Grieg, it's been covered by artists as diverse as Electronic Light Orchestra and Erasure, was used as the kidnapper's whistle theme from Fritz Lang's 1931 classic M, and has been featured in many movie trailers including Beetlejuice and Friday After Next, according to Wikipedia.

But there's never been a version quite like Trent Reznor and Atticus Ross's. Their menacing take is featured on the score to The Social Network, which hits theaters Friday, October 1. Listen to it HERE and read about how Reznor and director David Fincher decided to use it in the film in our new interview with the two HERE.

The Social Network soundtrack is out digitally tomorrow, September 28. Download a five-song sampler from it for free HERE, and hear the track "In Motion" HERE.

*Catch Hopewell as they travel south with the Dandy Warhols this November!

11/6 Webster Hall – NY, NY
11/7 Electric Factory – Philadelphia, PA
11/9 Rams Head Live – Baltimore, MD
11/10 The Orange Peel – Asheville, NC
11/11 Center Stage – Atlanta, GA
11/13 Granada Theatre – Dallas, TX
11/14 End Of An Ear Records – Austin, TX
11/14 La Zona Rosa – Austin, TX

*[pitchfork.com] This past Saturday, Deerhunter played a free, Levi's and Urban Outfitters sponsored show under a Chicago overpass. Audience member Hotmetaldobermans got some nice, crisp video of Deerhunter playing a pair of BNM'ed new songs. Below, you'll find video of the band playing "Revival" and an eight-minute version of "Helicopter" HERE.

Deerhunter's new album Halcyon Digest is out tomorrow via 4AD. We had some nice things to say about it this morning.



*[popmatters.com] Jason Simon is best known as the voice behind D.C.-based psychedelic/stoner rock trio Dead Meadow, a group that has earned accolades from Rolling Stone, Metal Hammer, and numerous other sources from all over the music spectrum. The singer’s beautiful tenor vocals are at once distinctive and captivating, with the range and delivery to slowly draw listeners in and keep them engaged. On his solo project, Simon retains the spacey atmosphere of Dead Meadow, but uses acoustic guitar to affect a much quieter, more relaxed theme on the music. It is neither folk nor blues, but rather a style that lies somewhere in the middle; soft and calm, but still highly expressive, intelligent, and meaningful. Lead single “Let’s Begin” captures this tone wonderfully in both the music and the well-executed video, shot from two angles simultaneously in one long take. Fans of folk musicians like Imaad Wasif and Harper Simon will fall in love with this album. Make no mistake — Jason Simon now has two musical avenues for creativity beyond the imaginations of mere mortals.



*White Denim have released a FREE album titled Last Day of Summer for download HERE!! The band had this to say...

"We hope that you are doing well today. The band has been straight up busy in the studio this summer with a fairly large collection of songs. We are pleased to share a handful of them with you right now. This record is something we made as a little summer retreat from our ongoing work on the third full length. Many of these tunes have been bouncing around since the formation of the band back in 06. We were super pumped to utilize a few fresh and casual musical approaches on this record. We hope that you find something that satisfies you within this body of work. If you enjoy the music and feel compelled to support the group, please notice the support button beneath the download link and the image. We are going to be heading out on the roads this October and would greatly appreciate anything that you would feel comfortable contributing.

I would also like to add that we are still hard at work on the as yet untitled third LP. We expect to be wrapping that record at the end of the month. We can’t wait to play loads of this new material for you folks this winter and next year. At the moment I am writing all of the album info on a limited run of CD copies of ‘Last Day of Summer’ that will be lovingly hand packaged and available at our fall shows. Can’t wait to see you soon!"

*The New Regime is giving you the opportunity to put your own twist on the new track "Remission Of Guilt" and win some Ultimate Ears stuff and TNR merch. Over 120 tracks were used in the making of this one song and they have been condensed into 17 stems.

You will be able to upload your remix and have people listen and vote for your remix. The New Regime and Ultimate Ears have teamed up to give the winner a pair of Ultimate Ears SuperFi 5 Pro Dual Armature Earphones that retail for $249 and some merch from The New Regime. The winner will be determined by votes on this site. Deadline to submit your remix is 10/31/10. The winner will be announced 11/15/10. GO HERE FOR MORE INFO!

*[icelandmusic.is] New Icelandic band Dad Rocks! are heading out on their first UK tour! The artist behind the band is Snævar Njáll Albertsson, who also plays in Danish/Icelandic rock band Mimas. Dad Rocks! is quite different from that band though: the guitar here is acoustic and is accompanied by piano, trumpet, accordion, handclaps and more. As Dad Rocks!, Snævar is inspired by acts such as Bill Callahan, Owen, Why?, Akron/Family and Do Make Say Think. This has led to a sound that is a unique mix of psych folk and lo-fi country with elements of hip hop and use of dubs as it’s also heard in Yoni Wolf’s musical universe.

The band started in January 2010 and released their first EP in Denmark on the Kanel Records label. The EP, called 'Digital Age', was received very well in Denmark and was later put out on the Oxford record label 'Big Scary Monsters Records' (Get Cape. Wear Cape. Fly, This Town Needs Guns, Kevin Devine). The EP subsequently garnered favorable reviews from the 405 (9/10), while both Rock Sound and NME featured the video for the single 'Nothing Keeps Up' on their websites. You can catch Dad Rocks! do their live thing live at the following dates...

Oct. 18th - London - The Windmill
Oct. 19th - London - Old Blue Last
Oct. 21st - Cardiff - Swn Festival (BSM showcase)
Oct. 23rd - Leeds - Brainwash Festival
Oct. 25th - Sheffield - The Harley

ISIS' Aaron Harris Speaks on New Projects


[theprp.com] Former Isis drummer Aaron Harris has a number of interesting new projects in the works. Speaking via his new website, he revealed that he has been working with former Isis bandmates on some new demos. He also mentioned that he’s involved in another project with Jeff Boyle from Jakob and will also be overseeing some of the production for Pelican’s new EP.

Here’s what he had to say on his immediate plans:

“PROJECTS:

Jeff Caxide, Bryant Clifford Meyer, and I have been playing together fairly regularly. We have some pretty solid ideas that we’ve been working on and demoing. This, for obvious reasons, has been very fun and exciting for me. I really enjoy playing with the both of them. I can’t say what it’s sounding like, or where it’s heading just yet, but it’s been really great creating with those guys again.

Jeff Boyle from Jakob and I have been exchanging music files via the internet. We have a handful of tracks that we’re picking away at. I’m very excited about this. I love Jeff’s playing. He and his band mates in Jakob can do no wrong. We don’t have a name for this project, and it’s slowly moving along (Jakob is writing a new record!), but it’s one that I’m really enjoying and anticipating.

SOUND:

There’s a bunch of ISIS stuff that I’m working on at the moment. We have a lot of live sets that need mixing and a few other little treats that we’ve been preparing for a future release. I have a few multi-track recordings that I did from various ISIS tours capturing a nice range of our catalog. It’s been enjoyable and a bit emotional to work on these recordings.

I’m tracking some stuff for Pelican later this month for a new EP that they’re working on. The plan right now is for Larry and Bryan to do drums and bass with me here at my studio in Los Angeles, and Trevor and Laurent to do guitars in Chicago. Can’t wait to do this and hear some new Pelican songs. I always look forward to that!

I’ll also be mixing Pelican at the Troubadour here in Los Angeles on Oct 30th. They’re doing a couple of 10 year anniversary shows (one in Chicago, one in LA). I’m happy to be a part of that.

There’s some other great stuff in the works that I’ll be revealing soon. An amazing opportunity to work for one of my favorite drummers in January 2011. Also teaming up with a good friend and talented producer/engineer here in Los Angeles.

Thanks for reading and stopping by! -Aaron“

In other news, Harris has also posted a previously unreleased Los Angeles Digital Noise Academy (ex-Failure, etc.) track by the name of “Piano” which he performed on below:

Los Angeles Digital Noise Academy - Unreleased song "Piano" by AaronHarris23