Brett Buchanan

Bio: Brett hosted the BWR podcast from 2004 to 2009, and then opened in May 2009. The site changed its name to in June 2013. Brett also owns Reach out to Brett at; brett (at)

Another clip of Foo Fighters’ new track “Congregation” off of Sonic Highways has surfaced, this time with vocals. Listen below!

Pearl Jam bassist Jeff Ament discussed accidentally breaking a nose during a basketball game with Arcade Fire frontman Win Butler in a new interview with Rolling Stone.

“But the last few years we’ve done Big Day Out Festival in Australia with Arcade Fire and Win Butler is like, obsessed with basketball. So we got out three or four times and played. That was fun. And I actually said to him “Where were you 15 years ago when I still had 35-year-old legs and not 50-year-old legs?”

He also mentioned that he accidentally broke a nose during a game with Butler, “It was purely accidental. Win hooked up a game in Auckland, New Zealand and there was a bunch of college players playing. It was game point and there was a loose ball and I got to it first. And this big herkin’ New Zealand guy is standing over me, like 6’5″ and got 50 pounds on me, and he basically wouldn’t let me stand up. I sort of showed him that I was gonna stand up and pushed out my shoulders and elbows and he was just hovering over me. I stood straight up and the corner of my elbow clipped his nose and just snapped it, man.

It was bad. I felt bad because he was a super sweet guy too. We had a really great conversation before we played the game. It was the first time I’d broken someone’s nose in 40 years of playing basketball. We actually saw him in the crowd during the show that night and called him out, like, “Hey man, sorry.” [Laughs] He had, like, full raccoon eyes and a big bandage on his nose. I was like, “Look how big that guy is! Like, don’t feel too bad for him.”‘

‘Will you follow me, down and out? (No)’

In yet another ‘slow news day/why the hell is Alternative Nation reporting this’ news, Robert DeLeo is leavin’ Scott Weiland’s Twitter on a southern train, as the Stone Temple Pilots bassist has run ‘out of time’ when it comes to following his former bandmate Scott Weiland on Twitter. We reported two days ago that Weiland and DeLeo were following each other on Twitter, but the reunion of epic proportions came to an end today when DeLeo unfollowed Weiland.

Scott Weiland last performed with STP in 2012, and was fired by the band in February 2013 right before he started his Purple at the Core tour in a one sentence press release announcing his ‘termination.’ Weiland was replaced in May 2013 by Chester Bennington, which led to multimillion dollar lawsuits being filed.

STP first filed a lawsuit against Weiland after he attempted to stop KROQ from playing the new STP single, with the band stating, “Our purpose in taking this action is not to hurt Scott. We want to move forward productively, and Scott’s choices and actions have prevented us from doing that. We were in the process of putting our 20th anniversary tour together to celebrate the release of our first album, Core. The plan was for a big tour where we’d perform the album in its entirety, along with some other favorite STP songs. So, you might imagine our shock and disappointment when, without any notice, we learned that Scott had seized this tour for himself as his solo tour, and decided to do exactly what we as a group had planned. We found out about it the same way you did—we saw an ad for it.”

Without getting into legal details, the band has a binding agreement that clearly states what each of us can and cannot do outside of STP. Unfortunately many of the decisions Scott made violate this agreement, have been harmful to the band, and prevented us from moving forward.”

Weiland filed a $7 million dollar countersuit, claiming in his lawsuit, “How do you expel a man from the band that he started, named, sang lead on every song, wrote the lyrics, and was the face of for twenty years?”

Scott Weiland and the Wildabouts and Stone Temple Pilots With Chester Bennington are both working on new albums, and have toured off and on separately since splitting.

Bush frontman Gavin Rossdale responded to Gene Simmons declaring rock dead in a recent Weiland Tribune article:

“It’s a little too finite for me – there’s not much wiggle room,” said Rossdale. “I’m sure it’s obviously his opinion that day. I’m sure when he puts the tickets back on sale for KISS, as he will do in about 10 minutes, that he hopes it suddenly gets resuscitated and comes back around. You know all music goes through a thing. You could argue that hip hop is in a quieter stage versus EDM… I just think for me, as a musician, you just have to stay the course. You stand your ground. You try to get better at what you do. And it’s almost like a carousel. Everything comes around, there are cycles to everything, and it comes down to good records.” has spoken to several rockers about Simmons’ statements regarding the state of rock.

Smashing Pumpkins frontman Billy Corgan: “I think Gene’s comments, and I do know Gene personally a bit, I think his comments were quickly pounced upon and misconstrued. I read what he said as sort of a lament, not criticism. In essence, saying that he feels bad that musicians don’t have the same opportunities that he did. Obviously, every generation has a different set of opportunities based on media and technology. I feel I’ve talked about this stuff ad nauseum, and I feel like in a way nobody needs to hear anything else from me about it, particularly when if you even step one inch over the line, you get hammered that you’re criticizing this generation’s music.

I’ve kind of come around to a different position, which is that every generation deserves its music, and whether another generation agrees or disagrees is irrelevant. In essence, the artists are making music that connects with the people of their time. Obviously, there are many bands that I don’t know about, and a few bands that I do, that are connecting in that way. I’m not the person to sit there and say whether or not they’re doing it in an effective manner, because they are doing it in an effective manner.

The only thing I can criticize, and I have been very vocal about this, is where the music systems/artists themselves are not aspiring to the biggest main frame available, because at the end of the day, I feel that rock and roll is meant to be a battering ram against convention. Rock and roll is meant to be a battery ram against what is safe in the world. Rock and roll has been a great political tool, and a great social tool, in pointing out injustice and hypocrisy. When rock and roll becomes safe, or plays to its own choir, I’ve always been critical of that, and that goes back to the very beginning of the Pumpkins. That is not something I gained in my 30’s or 40’s, and I took shit for that in my 20’s when I went after my own generation for playing to the choir. Beyond that, I feel like anything I would say beyond that is just redundant.”

Seether frontman Shaun Morgan: “I don’t take Gene Simmons as an authority on anything, because the dude’s out of touch man. To come from a guy like that, I guess it’s something worth listening to, but he also doesn’t live in the real rock world like the rest of us, he lives in Gene Simmons land. KISS’ planet is very different from the rest of ours, he doesn’t get on a tour bus and ride around for a year at a time, he flies around, and has flowers and crap put in his dressing room and stuff.”

Buckcherry frontman Josh Todd: “If you’re passionate about what you’re doing, and your band, you are going to find a way. All that statement means to me is that there is a huge void in music for a great rock band.” He added, “I think a lot of the new rock records are very washed out, they’re muddy, they lack melody, they lack groove, they lack songs.”

Escape The Fate guitarist TJ Bell: “I don’t think that it’s dead, but I do think that it’s harder for bands today to get off their feet, because there is so much out there today, there is just an overload of music you can get for free. I think with people’s attention spans, they’re onto the next band in like a month.”

The Dead Weather’s two latest tracks “Buzzkill(er)” and “It’s Just Too Bad” will be available for purchase digitally worldwide on November 4th. Listen to a full stream of “Buzzkill(er)” now and be sure to purchase both songs next Tuesday.

Jack White’s Third Man Records also announced the following earlier this week:

GHB Jazz Foundation Announcement

The GHB Jazz Foundation, Third Man Records, and Revenant Records are proud to announce their new licensing arrangement regarding master recordings originally released on the Paramount Records label, one of the most important record labels in American history.

Paramount, which in the 1920s and 30s released 78 rpm records featuring iconic American artists like Blind Lemon Jefferson, Jelly Roll Morton, Charley Patton, Ma Rainey and King Oliver, has seen its astonishing recorded legacy highlighted in a number of recent projects, including Third Man-Revenant’s “The Rise & Fall of Paramount Records” Volumes One and Two, and Third Man’s LP-only releases of Charley Patton’s and the Mississippi Sheiks’ early recordings.

The new licensing arrangement, which does not include sales in CD format or digital downloads (rights to which are retained by the GHB foundation), ensures that Paramount’s rich musical legacy can continue to be shared with new generations of listeners.

Founded in 1987 by George H. Buck Jr. (1928-2013), the GHB Jazz Foundation aims to celebrate and preserve these authentic styles of American music.

Tour News

Jack is set to embark on his November UK and European tour beginning next week on November 7th in Istanbul. Although it is impossible to replace Ikey, the incredibly talented Dean Fertita (The Dead Weather, Queens of the Stone Age) will be joining the band to play piano and keyboard for all of Jack’s currently announced tour dates.

Jack is also pleased to announce that Lucius will be joining him on the bill as support for his November shows starting with Vienna on November 11th. Umut Adan will be supporting Jack in Istanbul.

Mark Lanegan released his latest solo album Phantom Radio last week, an album full of haunting romantic lyrics, and a synth heavy post punk sound. In this exclusive interview with, Lanegan discusses his new album, his feelings on listening to old Screaming Trees songs, his memories of writing Mad Season’s “Long Gone Day” with Layne Staley, his thoughts on Nick Oliveri’s return to Queens of the Stone Age, his creative process on The Winding Sheet, and much more.

You’ve already mentioned having listened to post punk music from the 80’s around the recording of Phantom Radio, but what else have you been listening to recently both old and new that has inspired you?

This year I really loved the new Swans record To Be Kind, that’s been played a lot in my house. I really like the new Magnus record, it’s called Where Neon Goes To Die, they’re a Belgian band. I really like the Leyland Kirby record The Death of Rave (a partial flashback), that’s really good. I really like the HTRK record, it’s called Psychic 9-5 Club. I really liked the new Fucked Up record, it’s called Glass Boys. I really like the Donato Dozzy record from a couple years ago called Plays Bee Mask. I like a lot of stuff (laughs).

Yeah, that’s a good list. So when it comes to your upcoming tour for Phantom Radio, what new tracks do you plan to perform live on this tour, especially with the different vibe on this album compared to the last one?

I’m going to play a good number of tunes off the new record, which is generally what I always do when I make a record, go on tour and play a lot of the new songs because they’re the most fun for me to play. They’re the ones I’m least tired of (laughs). So a good number of the ones off of Phantom Radio, a lot of the ones off of the last record. I tend to stick to the newer stuff, I try to play some of the older stuff, but I lean heavily on the newer material.


Speaking of your setlist, you just mentioned what you primarily play, which is your newer material. You also play some select older tracks like Screaming Trees’ “Halo of Ashes.” Are there any other songs from your past that you’d like to perform live again at some point?

I’m sure there is, if I had a list of them in front of me, I might be able to tell you a few of them. (Laughs) But you know, I’ve got about 30 years of back catalog to choose from. Whenever I go out on tour, not so much with this one, because we don’t have much time to prepare for it, and it’s very short, but when I have a little more time to prepare, and I’m doing a longer tour, I usually go back to the old Trees stuff, and I try to find something that I’ve maybe never even played live before. Because there were a lot of songs we never played, and when I bust that stuff out, it’s always fun. But yeah, there’s a million songs, not only from my catalog, but from the world of music. I love playing covers, so there’s always stuff that’s ripe for the picking.

When it comes to songs that haven’t been played live a lot, I’d love to hear “Ash Grey Sunday” and “Anita Grey,” those are really good songs.

Well I can tell you that we’re actually going to play “Black Rose Way” off of that record [Last Words].

Great! Moving onto your creative process, you are credited for playing some guitar dating back to your early solo albums, and Screaming Trees’ Dust. How have you generally written songs over the years with your many collaborators, dating back to working with the Conners in Screaming Trees, to Josh Homme in Queens of the Stone Age, and now Alain Johannes on your latest albums?

Well when I’m writing by myself, I’m writing usually on guitar. Sometimes on the old Casio Keyboard, sometimes I start with a drum machine beat, and add a synthesizer or something to it, but usually it’s with a guitar. When I write with Josh for instance, he’s writing the music, we’re writing lyrics together. When I’m writing with Alain, he’s generally writing the music, and I’m writing the singing part, and the words. It’s always different.

What about your collaborator Mike Johnson on your previous solo albums?

When I first started, I wrote The Winding Sheet, and I didn’t know how to play guitar, but I had an offer to make a record, so I made up singing parts. I was working in a warehouse, and at the end of the day I would come up with a vocal melody, and I would go home. I had a guitar chord book, and I would find the chords that went underneath the vocal melody, so I was really doing it backwards. Then when I had those songs, Mike came in, and wrote intros, and middle sections, and outros, and all of the other stuff that you need in a song (laughs) besides the singing part. Then of course later, Mike would often right entire songs musically, and I would write the words and singing, that happened a lot also. He’s one of my all time favorite musicians. I made a covers record a couple years ago, and he came over from France where he lives now, and played on it with me, and it was a great time.

Mark Lanegan Steve Gullick 2014 new - Copy

Everybody talks about anniversaries of albums, and my favorite album of yours is Bubblegum, which recently celebrated its 10th anniversary, as well as Whiskey For The Holy Ghost, which recently celebrated its 20th anniversary. A lot of artists are reissuing their old albums, would you ever consider this, and is there enough extra material to do it?

I’m pretty sure that next year Sub Pop is doing a box set of all of the stuff that was on that label. I think that might include some extra stuff, I’m not really sure. I know that last year a label called Light in the Attic did a box set that had a disc of rarities, oddities, shit like that, stuff that hadn’t been heard before. So it’s happened already, and it’s going to happen again.

What are your memories of writing and recording “Long Gone Day” for Mad Season’s Above with Layne Staley?

Well, it took us about 20 minutes to write it, and it took us another 20 minutes to record it, which we did all by ourselves in the studio. I ran the tape machine when he was singing, and he ran it when I was singing. I wrote a line, handed him the paper, he wrote a line, handed it back to me. It was probably the easiest song I’ve ever written, and also one of my fondest memories, because of course Layne was my best friend, so I have a great fond memory of that, but also sadness when I think of him, because I miss him.

What drew you to the tracks you chose to record for Mad Season’s Above reissue last year, and were you ever seriously considering participating in a second album with the band in the late 90’s under the Disinformation name?

Well, that was bandied about, but to me it was contingent on Layne’s participation, and he became unwilling, or unable, to continue working on that project, so I was not involved any more either. When they went to put the reissue out, there were all of these instrumental tracks that they had recorded. I heard them back in the 90’s, and it was sort of putting some closure on something. I enjoyed it, I enjoyed the music, I love those guys. I love Mike McCready, I love Barrett Martin, and of course Baker and Layne were very close friends of mine. It was a no brainer, and I had the time and energy to do it, so I did.

You mentioned that in the late 90’s that you had heard the material, do you know if Layne had heard the instrumental material back then?

I do not know.

What’s next for the Gutter Twins?

Well, there’s going to be another Gutter Twins record, I’m not sure exactly when that’s going to happen, because Greg and I are both obviously occupied doing our own thing right now, but we talk all of the time, and we’re stock piling music. So there will be another record, God willing, not sure exactly when, but are there are plans to do one.

Have you ever considered doing a full collaboration album with Nick Cave?

Well, I have collaborated with Nick Cave on the soundtrack for (pauses) – god man, this is what happens you get 50 years old, you get senile. It’s (pauses again) Lawless, which Nick wrote the screenplay for, and him and Warren Ellis the soundtrack. I worked on the soundtrack with those guys [on "Fire and Brimstone," "White Light/White Heat," and "Sure 'Nuff 'n Yes I Do"], I’ve also done quite a bit of touring with them, played with them, sang on stage with them, I’m a huge fan, I love Nick. Of course I would do anything that he asked me to do, but he hasn’t asked me lately (laughs).


This Friday Nick Oliveri is returning to Queens of the Stone Age at their big show in LA. I was looking at your schedule, you don’t have a show on Halloween, so do you think you might show up? If not what are your thoughts on Nick coming back for a show?

I wasn’t aware of that, is he playing bass in the band?

Yeah, he’s playing on 6 songs, I think.

Oh wow, that’s great. I’m not going to be in the area.

Hopefully you’re lying and you’re there, that’s what I’m hoping for. A couple non music related questions, how do you think the Clippers are going to do this year?

Well of course I have high hopes. It was a terrible pre-season, but Blake Griffin looks like he’s MVP material now, so I think the sky’s the limit.

You’re generally known as a pretty serious guy with your musical persona, though I’ve seen a good sense of humor from you here. But, what makes Mark Lanegan laugh?

Oh god, what does make me laugh? Good question. You know what, I never laugh. I sleep in a coffin.

(Laughs) Well you made me laugh with that line.

You can purchase Mark Lanegan Band’s new album Phantom Radio and check out tour dates on

Phantom Radio Mark Lanegan cover

Pearl Jam recently wrapped up their Fall 2014 U.S. Tour, one of the band’s most exciting and unpredictable tours in recent memory. Below are 10 of the most awesome things that happened during the tour.

A photo posted by @annakatsanis on

10. Eddie Vedder Crowd Surfs Wearing A Soundgarden Shirt

Eddie Vedder’s t-shirt of choice on Pearl Jam’s U.S. tour was Soundgarden’s Nudedragons shirt, and on one of the first nights he wore the shirt, Eddie dove into the crowd to crowd surf.

9. Dave Krusen Attends Memphis Show

Original Pearl Jam drummer Dave Krusen attended Pearl Jam’s show in Memphis, and was photographed with his former bandmate Mike McCready.

8. Pearl Jam Pay Tribute To Ikey Owens

Jack White keyboardist Ikey Owens recently passed away in Mexico, so Pearl Jam paid tribute to him and all we have lost with a special performance of “Light Years” in Detroit.

7. Pearl Jam Perform “Of The Earth”

Pearl Jam performed “Of The Earth” in Denver for the first time on their Fall 2014 U.S. tour. Pearl Jam have only played “Of The Earth” 8 times live. The band performed the track for the first time at The O2 in Dublin, Ireland on June 22, 2010. The band performed the song 4 times on their 2010 tour, twice in 2011, once in 2012, and now once in 2014. The track is a fan favorite since the band have never released a studio version of the track.

6. Pearl Jam & Rick Nielsen Perform “Baba O’Riley”

In Milwaukee, Cheap Trick guitarist Rick Nielsen joined Pearl Jam to cover The Who’s “Baba O’Riley.” Nielsen had just performed with Foo Fighters the previous week and appeared on their HBO series and new single “Something From Nothing.”

5. Pearl Jam & Neil Young Perform “Throw Your Hatred Down”

Pearl Jam closed their tour at Night 2 of the Bridge School Benefit in Mountain View, CA by performing the Mirror Ball track “Throw Your Hatred Down” with Neil Young.

4. Eddie Vedder Debuts New Song “Moline”

Eddie Vedder performed a song he had just written before Pearl Jam’s show in Moline, titled “Moline,” in tribute to the city where the show was being performed.

3. Pearl Jam Perform No Code In Its Entirety

Pearl Jam shocked fans when they performed their 1996 classic No Code front to back for the first time ever in Moline. Watch video above of Stone Gossard singing “Mankind.”

2. Pearl Jam Perform Yield

Pearl Jam performed their 1998 album Yield in Milwaukee, which was very surprising since they’d performed No Code just days earlier.

1. Temple of the Dog Reunite

Chris Cornell came onstage and Temple of the Dog reunited for the first time in 3 years to perform “Hunger Strike” on back to back nights at the Bridge School Benefit in Mountain View, CA to wrap up their Fall 2014 U.S. tour.

dave grohl nirvana

Dave Grohl discussed the Seattle episode of Foo Fighters’ HBO series Sonic Highways in a new interview with Studio Brussel, and also the song that was recorded in the episode, and how it is inspired by the ending of Nirvana. Grohl says that he was reborn when he returned to the studio where Nirvana last recorded to record Foo Fighters’ debut album, and now a song for Sonic Highways.

“Seattle is where my life changed with Nirvana, and then my life started over with the Foo Fighters. I would use Seattle as an example, I tell the story of the city and this crazy studio. The studio is the last place where Nirvana recorded, it’s this strange underground studio north of the city, that was right down the street from my house. Not long after we recorded there, Kurt died.”

Grohl added, “I didn’t want to make music any more after Nirvana, then time went on and I thought wait a minute, music is the one thing that’s going to help me start over, it’s going to heal me, so that’s what I have to keep doing. So I went back to that same studio, and recorded again, and my life started over again, so that becomes the theme of the episode, and that also becomes the theme of the song.”

Grohl is referring to Robert Lang Studios in Seattle, where Nirvana recorded “You Know You’re Right” in January 1994, and Grohl returned later that same year to record Foo Fighters’ self-titled debut album. Foo Fighters will release Sonic Highways on November 10th, and their TV series airs Fridays on HBO. The band will tour in 2015, with a high profile show at Wrigley Field already confirmed.

Sonic Highways tracklist:

1. “Something From Nothing”
2. “The Feast and the Famine”
3. “Congregation”
4. “What Did I Do?/God as My Witness”
5. “Outside”
6. “In the Clear”
7. “Subterranean”
8. “I Am a River”

According to Hits Daily Double, Bush’s new album Man On The Run debuted at number 32 in the United States with 9,066 copies sold in its first week on sale, the lowest of the band’s career. The band’s previous high was 1996’s Razorblade Suitcase which debuted at number 1 with 293,000 copies sold. 2011’s The Sea of Memories debuted at No. 18 with 20,000 copies sold, featuring the hit single “The Sound of Winter.”


If you missed Alternative Nation’s review of the album, you can read it below.

Everything Is Not Zen On Bush’s New Album Man On The Run

I’d like to preface this review by saying I’m a huge Bush fan. The snarky headline was to grab your attention, because the internet is fickle and has ADD these days. Bush’s debut album Sixteen Stone was one of the most hit packed albums of the 90’s, and the band had a steady stream of good songs mixed in their other albums all the way up to Golden State, which featured the underrated “Superman.”

The band returned 4 years ago, I was at the first reunion performance and have seen a few shows since as well, and Bush remain a very entertaining live act, with Chris Traynor and Corey Britz doing an admirable job stepping in for Nigel Pulsford and Dave Parsons. Bush’s 2011 comeback album The Sea of Memories had a lot of forgettable tracks, but “The Sound of Winter” was a gem. I don’t expect any of these 90’s alternative rock bands to put out anything close to their prime as they hit their mid 40’s and early 50’s, but as long as there’s a great song or two per album, I am at least somewhat satisfied, as I was with “The Sound of Winter.” Bush have a new album out today, Man on the Run, which was recorded at Dave Grohl’s studio.

“Just Like My Other Sins” kicks off the album and has a 60’s type riff. Rossdale sings, ‘You need your mind/you don’t need a gun/there’s no Miss America/when you’re on the run.’ The vocals are too overproduced and the lyrics aren’t good. There’s also a part where an ‘arena blip’ GarageBand type EDM keyboard setting is used.

“Man on the Run” has more EDM/electronic elements, there’s a really annoying electronic thing thrown in the verse, which is otherwise very pleasant melodically/musically. There are some good hooks in this song, and riffs, old Grunge riffs. The electronic loop they have in the verses should have been cut, just totally unnecessary and it distracts from the melody and riff.

“The Only Way Out” is the lead single, it sounds like typical radio pop rock. I’m not opposed to pop rock as long as the melody is really good, I liked Rossdale’s solo track “Love Remains The Same” quite a bit, but this just kind of feels by the numbers. It is better though than other tracks on the album though.

The band sounds tight on “The Gift,” like they do on most of the album, but the song just isn’t memorable, no strong hook. “This House Is On Fire” is another example of this.

“Loneliness Is A Killer” borrows the riff from Soundgarden’s “Loud Love” and also has some Alice In Chains elements instrumentally. It also throws in more random EDM stuff throughout the song. I’m not really sure what audience they’re going for with that is, especially since these don’t sound like huge crossover hit songs. The people seeking Grunge nostalgia hate EDM, and EDM fans don’t care about Grunge music. This also isn’t incorporating electronic elements like a Nine Inch Nails does (or even the Bush classic “The Chemicals Between Us”), where the layers of NIN’s more electronic leaning songs add additional melodies rather than cluttering things up. There are some really interesting lead guitar parts by Chris Traynor in “Loneliness Is A Killer,” despite the song’s flaws.

“Bodies In Motion” is another generic rocker, but weaker than “The Gift” and “This House Is On Fire.” When Rossdale does this thing where he tries to sings high it just doesn’t work, when he sticks to his classic singing style tends to be when he sounds best on this record. The main riff to “Broken In Paradise” reminds me of the Beverly Hills 90210 theme song for some reason. Rossdale sings, ‘She’s broken in paradise/the furniture is so nice/she’s broken in paradise/everything that money buys is paradise.’ It’s just tough for me to relate to that, maybe older listeners will better.

“Surrender” sounds different than most of the songs on the album at first, then goes into pop rock mode. There’s another one of those Rossdale singing higher pop rock choruses in “Dangerous Love.” The final track “Eye of the Storm” has a nice dreamy riff and some cool melodies, and some solid drumming by Robin Goodridge. It’s the best song on the album, Rossdale doesn’t lean on any generic pop rock melodies like he does on most of the other songs.

Overall not a fan of this album, and it’s tough to write a review like this, since I’m a big fan of Bush. Anyways, I give the album 2/5.

Foo Fighters have released a clip of the next episode of their HBO Sonic Highways series, and it includes a clip of their new song “Congregation” throughout the preview. Dolly Parton, Zac Brown, and Carrie Underwood are featured in the clip.

Foo Fighters released the second track off of Sonic Highways on Friday, “The Feast and the Famine.” The track has an instantly catchy hook, and is far more straight to the point than “Something From Nothing,” and actually sounds like more of a radio single than the former. It sounds like a classic Foo Fighters riff, somewhat similar to “Breakout,” but with more of Dave Grohl’s screaming singing style that has predominant on the band’s heavier material since In Your Honor.

Lyrically the song is obviously about Washington DC, since that’s where the song (and episode of Sonic Highways) was recorded. Many of the verse lyrics seem to be about the people of Washington DC, especially those suffering through hard times that were depicted in parts of the episode. There are references as well to the straight edge punk scene, ‘Where is that PMA?’

A new part comes in where Grohl proclaims that ‘we need a monument’ that at first doesn’t quite work melodically, but they quickly move into the ‘Is there anybody there?’ part which works much better, before going back to the hooky riff. Overall this is a catchy song that is more focused than “Something From Nothing.” It sticks to the Foo Fighters formula and works because of the song’s tight structure. There are a few parts in the verses where Grohl sounds like he may be trying to fit in too many lyrics, which could be because of his format of writing the lyrics as he is inspired while recording in each city. It’s something that is only noticed if you nitpick the song after several listens though, this is a solid effort from Foo Fighters that fans of the band’s singles should love, with one of the catchier guitar riffs to come out in recent memory.

Foo Fighters will release Sonic Highways on November 10th.

Third Man Records has announced that Queens of the Stone Age’s Dean Fertita will play piano and keyboard on Jack White’s upcoming tour dates, standing in for the late Ikey Owens, who recently passed away in Mexico due to a heart attack.

White’s press release states, “Jack White is set to embark on his November UK and European tour beginning next week on November 7th in Istanbul. Although it is impossible to replace Ikey, the incredibly talented Dean Fertita (Queens of the Stone Age, The Dead Weather) will be joining the band to play piano and keyboard for all of Jack’s currently announced tour dates.

Jack is also pleased to announce that Lucius will be joining him on the bill as support for his November shows starting with Vienna on November 11th. Umut Adan will be supporting Jack in Istanbul.”

Owens’ passing crushed White, who canceled tour dates in the wake of his death. White said the following through Third Man Records regarding his death, “It is with great sadness that we tell the world of the passing of the incredible musician Isaiah “Ikey” Owens. He will be missed and loved forever by his family, friends, bandmates and fans. Ikey Owens was an astounding keyboard player in Jack White’s backing band. He also played with Mars Volta, Free Moral Agents, and many other projects. Out of respect for Ikey, the remaining shows of the Jack White Tour in Mexico have been cancelled. We will all miss you Ikey. You were and are an incredible artist.”

Dean Fertita joined Queens of the Stone Age in 2007 as a multi-instrumentalist, playing keyboard and doing additional guitar work. Queens of the Stone Age will wrap their …Like Clockwork tour on Friday in Los Angeles at the Forum, with former bassist Nick Oliveri rejoining the band for a special performance.

Alice In Chains released their new music video for “Phantom Limb” via BitTorrent. The track appeared on 2013’s The Devil Put Dinosaurs Here. You can watch the video below.

Alice In Chains bassist Mike Inez recently discussed the loss of Layne Staley and Mike Starr to drug addiction in a new interview with the Lucas H Gordon Show.

“Drug addiction is beyond the music business. Whether you’re a washer, dryer, or repair man, drug addiction and alcoholism seems to go through all walks of life. It’s a pretty crazy business we’re in already, it’s just such a shame when your friends pass away so young, we’re supposed to grow old together.” He added, “It’s just sad.”

Inez also discussed the Seattle Grunge scene and Los Angeles music scene.

“The difference between the LA scenes and Seattle scene, is a band like Soundgarden was together for 10 years before they got signed by a major label, so they had a lot of time to get together and gel as a band.”

“Even all of the bands like Nirvana, Alice In Chains in the early days, Pearl Jam, and Mother Love Bone they had a lot of time to jam before they release their music to the world. So I think that was very important, where here in Los Angeles they were trying to mix and match bands like, ‘Oh we need a bass player with long blonde hair, we need a singer with curly hair.’ They were just trying to do that, so the music started lacking I think because of it.”

“But I tell you one thing about the LA scene, there were more girls in the 80’s here than I’ve ever seen in my life, it was a really fun time to see that. I was very young at the time, but it was nice in high school to see a band like Van Halen play a backyard party, or Motley Crue playing the Whiskey. It’s really cool to see these bands. Me and Slash are the only two guys born and raised here, everyone else comes here, but we’ve been here the whole time, we’ve seen it come and go.”

The Black Keys drummer Patrick Carney discussed the band’s success in a new interview with MercuryNews, and the garage rock revival of the early 2000’s, and why the band never could have had a number 1 record during this period.

“When our first record (2002’s ‘The Big Come Up’) came out, the Strokes and the White Stripes and Hives had all broken through in a certain way,” Carney says. “But, at that time, none of those bands had a No. 1 record. (The music scene) was just changing.”

“At 5:30 a.m., we found out that we actually had the No. 1 record,” Carney says. Carney takes the achievement with a grain of salt, knowing that it comes at a time when album sales are down. “Turn Blue” sold 164,000 copies in its first week.

“The reality is if Turn Blue had come out in 2003, it wouldn’t (have been) a No. 1 record then,” he says, noting how streaming and single-song downloads have changed the industry. “Only now can a band like us be having a No. 1 record.”

Carney added that the commercial success of an album doesn’t change his thoughts on it.

“Commercial performance has nothing to do with the true impact of a record,” Carney says. “I mean, Captain & Tennille probably sold, like, 50 million albums. And the Clash’s “London Calling” sold, I think, 1.5 million records in the U.S. But to me, that’s one of the biggest records ever made.”

“The value and importance of art never comes down to commercial value. That’s the only reason why it’s interesting that we have a No. 1 record, because we’re the type of band that’s not supposed to sell records, basically.”

‘I am, I am, I am, I said I’m followin’ you on Twitter’

In slow news day news, former Stone Temple Pilots bandmates Scott Weiland and Robert DeLeo have reunited: on Twitter. Weiland (@ScottWeilandSTP) followed DeLeo (@STPRobertDeLeo) earlier this year on Twitter, but more recently DeLeo followed Weiland back. While this probably seems like a dumb story to many readers, it is, but it’s positive news in light of all of the drama that has been going on in Stone Temple Pilots the last couple of years, and definitely qualifies as a ‘reunion of epic proportions’ in the Twitterverse.

Scott Weiland last performed with STP in 2012, and was fired by the band in February 2013 right before he started his Purple at the Core tour in a one sentence press release announcing his ‘termination.’ Weiland was replaced in May 2013 by Chester Bennington, which led to multimillion dollar lawsuits being filed.

STP first filed a lawsuit against Weiland after he attempted to stop KROQ from playing the new STP single, with the band stating, “Our purpose in taking this action is not to hurt Scott.   We want to move forward productively, and Scott’s choices and actions have prevented us from doing that.  We were in the process of putting our 20th anniversary tour together to celebrate the release of our first album, Core.  The plan was for a big tour where we’d perform the album in its entirety, along with some other favorite STP songs.  So, you might imagine our shock and disappointment when, without any notice, we learned that Scott had seized this tour for himself as his solo tour, and decided to do exactly what we as a group had planned. We found out about it the same way you did—we saw an ad for it.”

Without getting into legal details, the band has a binding agreement that clearly states what each of us can and cannot do outside of STP.  Unfortunately many of the decisions Scott made violate this agreement, have been harmful to the band, and prevented us from moving forward.”

Weiland filed a $7 million dollar countersuit, claiming in his lawsuit, “How do you expel a man from the band that he started, named, sang lead on every song, wrote the lyrics, and was the face of for twenty years?”

Scott Weiland and the Wildabouts and Stone Temple Pilots With Chester Bennington are both working on new albums, and have toured off and on separately since splitting.

Dave Grohl discussed why money doesn’t drive him to play music, and his thoughts on American Idol and The Voice in a new interview on 60 Minutes with Anderson Cooper.

“The reward of playing music should be playing music.”

Cooper said it was easy for Grohl to say due to his success, and he responded, “It’s really easy for me to say, but that’s the way I felt before any of this happened. I wasn’t doing it so that this would happen, I was doing it because I loved it.”

Grohl then discussed singing shows like American Idol and The Voice.

“Don’t worry about what everyone else thinks. Don’t let somebody say, ‘Sorry, you didn’t win the song contest, go home.'”

“Who is to say who is good or not? Imagine Bob Dylan standing there and singing Blowing In The Wind in front of those judges. ‘Sorry, it’s a little nasally and a little flat, next.'” He added, “I would never make it [on American Idol], never in a heartbeat.”

“People need to appreciate their voice. I don’t want to sing like someone else, I want to sing like me.”

Dave Grohl discussed Foo Fighters’ Sonic Highways HBO series recently with The Pulse of Radio, “This has been two years of my life — and I’m still not done, man. On the break between the last interview and this one, I had to go in there and approve edits on the next episode that we’re working on. My life has been consumed by this thing — which is amazing, and I’m so psyched — but, when it’s done… I’ll probably miss it. But, good God, I can’t wait to get this thing (done).”

Sonic Highways
01. Something From Nothing
02. The Feast and The Famine
03. Congregation
04. What Did I Do?/God As My Witness
05. Outside
06. In The Clear
07. Subterranean
08. I Am A River

pearl jam eddie vedder

On Sunday at Night 2 of the Bridge School Benefit, Pearl Jam performed “Throw Your Hatred Down” with Neil Young. Temple of the Dog also reunited for the 2nd night straight to perform “Hunger Strike.” Watch videos of both performances below.

Pearl Jam & Neil Young – “Throw Your Hatred Down”

Temple of the Dog – “Hunger Strike”

Soundgarden Setlist:
Fell on Black Days
Blow Up The Outside World
Black Hole Sun
Zero Chance

Pearl Jam Setlist:
Better Man
Elderly Woman Behind the Counter in a Small Town
The Kids Are Alright (The Who cover)
Just Breathe
Hunger Strike (Temple of the Dog with Chris Cornell)
Throw Your Hatred Down (with Neil Young)

In other Eddie Vedder news, we reported yesterday that Vedder will be performing with The Who. See the press release below:

The Who, one of rock’s legendary and defining bands celebrate 50 years of Maximum R&B, as part of these celebrations November 11th will see a very special evening of Who music at the Shepherds Bush Empire in aid of Teenage Cancer Trust.

The house band for the evening, THE WHO’S BAND featuring Simon Townshend, Zak Starkey, Pino Palladino, Billy Nicholls, Frank Simes, Loren Gold and John Corey will be joined onstage by some of the best artists in the world all performing WHO classics.

Pearl Jam’s Eddie Vedder, Liam Gallagher, Wilko Johnson, Ricky Wilson from the Kaiser Chiefs, Manic Street Preachers’ James Dean Bradfield, Geddy Lee from Rush, The Strypes, Brody Dalle, Tom Odell, Amy Macdonald, Andy Burrows and Rizzle Kicks as well as more to be announced soon, have chosen their favourite WHO songs to perform in aid of Teenage Cancer Trust.

THE WHO’S Roger Daltrey is a long-standing patron of Teenage Cancer Trust and has been curating the charity’s annual flagship event, Teenage Cancer Trust at the Royal Albert Hall, for 15 years. In that time the shows have raised over £19 million to help young people with cancer and the charity has grown to include 28 specialist units and 48 expert teenage cancer nurses and youth-support coordinators. Go to for more.

Former Smashing Pumpkins drummer Jimmy Chamberlin has praised the band’s new track “Being Beige (World’s On Fire)” in a new tweet. Chamberlin exited the Pumpkins in 2009, but has made amends with Billy Corgan in recent years. See Chamberlin tweet below:

Billy Corgan told last month, “My relationship with Jimmy is great, we talk here and there. As far as playing together, I don’t know, I think we’re kind of happy to not have that be part of the equation of our relationship at this point. In essence, we can have a relationship without the stress of the band, or a musical relationship on top of it sort of altering the dynamic. I know he’s in a great place, he’s been out lately with this company he’s working with, I know he’s very excited about that. He’s such a smart guy, most people don’t realize how brilliant Jimmy is as not only a musician, but as a person. So I don’t know, I’m so much in the moment. I get the gist of those questions, and the general interest in those types of questions, but right now I’m just so focused on getting the new album out, and how to tour it and all of that.”

Smashing Pumpkins will release Monuments to an Elegy on December 9th. The band’s lineup on the album is Billy Corgan, Jeff Schroeder, and Tommy Lee.

1. “Tiberius”
2. “Being Beige (World’s On Fire)”
3. “Anaise”
4. “One And All”
5. “Run2Me”
6. “Drum And Fife”
7. “Monuments”
8. “Dorian”
9. “Anti-Hero”

Kasabian’s Tom Meighan took some pot shots at Smashing Pumpkins frontman Billy Corgan at the Q Awards. Meighan said after saying he himself is 33, “Some of [the bands] here are old men. It’s sad really, but that’s what it is. Is that Smashing Pumpkins? How sad is that?”

He later added, “I saw Billy Corgan, where did he come from? I haven’t seen him in years, fucking push the cobwebs off him, Jesus.”

He then laughed sarcastically and said, “No, he’s a nice man.” He also joked that he himself is old at 33.

Billy Corgan discussed Smashing Pumpkins’ new album Monuments to an Elegy with last month, “The album is very in tune to the speed of this generation. Whether or not Generation X wants to be a part of it, we are part of it now. So I just think you’ve got to move at the speed of the world, or you look kind of flat footed and antiquated. I think we’ve found a nice balance of what we do well, and the speed of the world. So it’s hard to talk about, because at the end of the day, people either get it musically, or they don’t. There’s times where I’ve been certain that people would get it, and they don’t, and there’s other times where I thought nobody would get it, and they do. So I’ve learned to kind of not guess on that any more.

I feel like it’s there, and all of the response that I’ve gotten behind the scenes is off the charts. Just a really, really intense response. Things like people saying, ‘This is the record I’ve been waiting for you to make for 15 years.’ That kind of stuff, very grandiose things, but it tells me that we’re on point, in terms of hitting the right note. Because if you made like, ‘Hahaha, Siamese Dream 2,’ people wouldn’t have that response. They wouldn’t see it as current, and I know that from my own list, so it feels current to people that are hearing it.”

Dave Grohl and Taylor Hawkins discussed classic rock bands on 60 Minutes last night with Anderson Cooper.

Taylor On Queen: “I wanted to be Roger Taylor, and I wanted to be in Queen. I wanted to play stadiums when I was 10 years old, no question.”

Dave On KISS’ Paul Stanley: “One of the great things about my life now, is that every day during drop off, I get to hang out with the singer of KISS, because our kids go to school together. There was this one morning at drop off where Paul Stanley pulls up in his car in the parking lot of the school. He rolls down the window and goes, ‘Hey Dave, I wanted you to have this,’ and he hands me the new KISS record. I just had this flash, if at 10 years old I ever thought the singer of KISS was going to handle me his new record at drop off.”

Taylor On Black Sabbath: “They’re kind of like Zeppelin’s ugly cousin,’ which led to everybody laughing.

Dave On Prince:
“Prince is a genius, everybody knows it. He’s better than everybody at everything he does, the end.”

Dave On The Beatles: “The Beatles really created the blueprint for the rock band. I feel like they were four members, each of them were brilliant musicians and songwriters. As a kid, that’s just how I learned to be a musician. I had a guitar, and I had a Beatles songbook, and I swear to God, I think still to this day, that’s all a kid needs to learn how play music. If it weren’t for the Beatles, I don’t think we’d be here.”

Watch video of Dave and Taylor below, and a clip of Pat Smear, Chris Shiflett, and Nate Mendel being interviewed. The special aired on CBS’ 60 Minutes last night.