Brett Buchanan

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

Smashing Pumpkins have released “Drum + Fife” off of their new album Monuments to an Elegy. Listen below!

THE SMASHING PUMPKINS ANNOUNCE SPECIAL
ONE OF A KIND LAUNCH DATES IN SUPPORT OF NEW ALBUM

BRAD WILK (RAGE AGAINST THE MACHINE) AND MARK STOERMER (THE KILLERS) WILL JOIN THE SMASHING PUMPKINS LINEUP FOR THE INTIMATE SHOWS

MONUMENTS TO AN ELEGY AVAILABLE DECEMBER 9

November 18, 2014; New York, NY – In support of their eighth studio album Monuments to an Elegy, available December 9, The Smashing Pumpkins will play a series of special shows in select cities around the globe. The tour will begin in Berlin at Kesselhaus on November 30th, and make stops at Koko’s in London on December 5th, Le Trabendo in Paris on December 6th and New York’s Webster Hall on December 8th (see below for list of current tour dates). Tickets for the New York date go on sale tomorrow November 19th at 12pm EST via Ticketweb. The band wishes to inform fans to look for additional dates to be added very soon in Chicago, San Francisco, and other select markets.

The special lineup for these performances will include Brad Wilk (Rage Against The Machine) on drums and Mark Stoermer (The Killers) on bass joining The Smashing Pumpkins’ Billy Corgan and Jeff Schroeder. “We’re absolutely thrilled and humbled to have Brad and Mark helping us out with these shows,” said Corgan “and if our rehearsals are any indication they should be one-of-a-kind.” The Smashing Pumpkins have also been confirmed to play a special outdoor stage performance on ABC’s Jimmy Kimmel Live! on Wednesday December 10th as well as a performance at KROQ’s Almost Acoustic Christmas concert on Sunday December 14th.

The Smashing Pumpkins were recently announced as headliners for South American Lollapalooza Festival dates which include March 14/15 in Santiago, Chile, March 21/22 in Buenos Aires, Argentina and March 28/29 in Sao Paolo, Brazil. Anticipation and praise already surround the December 9th release of Monuments to an Elegy, with Huffington Post calling it “the band’s super-album.” Yesterday, Vice.com premiered the new track, “Tiberius” which they called “intimate” and “expansive” while Noisey.com declared the track “sounds like a return to form—a nod to the beloved Pumpkins sound of old with a modern twist.” Monuments To An Elegy features Tommy Lee on drums and was recorded in Chicago. The album is produced by Howard Willing, along with Corgan and Schroeder. Monuments to an Elegy is “an album within an album,” part of their ongoing work-in-progress Teargarden By Kaleidyscope (with Day For Night as the project’s last work).

The Smashing Pumpkins tour dates:

November 30 Berlin, Germany Kesselhaus
December 5 London, UK Koko’s
December 6 Paris, France Le Trabendo
December 8 New York, NY Webster Hall

Kim Thayil discussed the record industry going with proven commodities and Soundgarden’s latest compilation in a new Artist Direct article:

“You tangibly have it in your hands. If you want to put it in your car or on your bookshelf, there it is. That’s been the goal. Convincing the record company of that was a little more work. Even convincing our band’s management of that over the years has been tough. I think record companies like to orient themselves towards proven sales leaders and winners. That’s why you might think about a Superunknown 20th anniversary deluxe box set because there’s a track record of people having success with that. I suppose most recently it was Pearl Jam, Nirvana, Alice in Chains, and now Soundgarden. For the B-Sides, you’ve got to think like a fan—not even just a collector—but a fan of a band. If you’re a really strong or crazy fan, you’ve got everything. For people who are more casual fans, have other things to do, or have a number of bands they may like, this package is certainly for them because it’s likely they don’t have all of these collected together.

I definitely wanted it to be a distinct album—another record as apart from a Greatest Hits. Ultimately, it is a compilation, but it’s a compilation of non-album tracks. This is the only album at present for most of these songs. I separate that from Greatest Hits compilations where you take songs and tracks that you already had if you have the other albums, and your record company likes for you to throw in a bonus track or two. I look at that and say, ‘Well, there’s a loose end. I have all of these songs, but now I’m going to buy this album for that one song.’ Some people will do that. It depends on what kind of fan you are.”

Soundgarden have released five compilations, including 2010’s retrospective/greatest hits album Telephantasm, and one album, since reuniting.

Actor Evan Peters, who recently gained a bit more mainstream exposure portraying Quicksilver in the acclaimed superhero film X-Men: Days of Future Past, played a rendition of the classic Nirvana song “Come As You Are” on American Horror Story: Freak Show. Peters’s character in season one (each season containing an independent storyline with its regular actors in different roles) was compared to Kurt Cobain.

You can also listen to the performance via Entertainment Weekly below.

AlternativeNation.net did an article about the story behind Nirvana’s “Smells Like Teen Spirit” in September.  You can read it below.

Kurt Cobain (The Seattle Times 1991, Patrick MacDonald): It’s basically about friends.  The friends that I have now, in a way.  We still feel as if we’re teenagers because we don’t follow the guidelines of what’s expected of us to be adults.  We still screw around and have a good time.  It also has kind of like, a teen revolutionary theme to it, too.

Kathleen Hanna (2010 Concert): [There was a] teen pregnancy center that had just opened in our town, but it wasn’t really a teen pregnancy center.  It was a right wing con, where you got teenage girls to go in there, and they told them they were going to go to hell if they got abortions.  Since Kurt and I were angry young feminists in the 90’s, we decided we were going to do a public service that night.  We drank our Canadian Club, and he watched out while I went across the street and wrote: ‘Fake Abortion Clinic Everyone.’  Because I was kind of the pragmatic one or whatever, but he was more creative, and he wrote ‘God is gay.’

Kurt Cobain (New Musical Express 1991, Keith Cameron): People just don’t do things very often any more.  I’m kinda disturbed by it.  It’d be just as easy to spray paint ‘Kill George Bush’ over and over.  Whether that would have an impact on anything or not, it doesn’t matter, it’s still fun to do.  Which is one of the lines in ‘Smells Like Teen Spirit': ‘It’s more fun to lose than to pretend.’

Kathleen Hanna (2010 Concert): We ended up in Kurt’s apartment, and I smashed a bunch of shit, and I took out a sharpie marker and I wrote a bunch of shit over his bedroom wall.  It was a rental, so it was really kind of lame that I did that.  Then I passed out with the marker in my hand, and I woke up, and I had one of those hangovers, where you think if you walk in the next room there could be a dead body in there.

Kurt Cobain (The Seattle Times 1991, Patrick MacDonald): Well, my friend [Kathleen Hanna] and I were in my bedroom, drunk. (Laughing) We’re having a real fine time talking about all kinds of revolutionary things, and we ended up destroying my bedroom.  We ended up throwing my art supplies all over, and paint, and breaking the mirror and tearing my bed up.  It was a lot of fun.  And so we were writing all over the wall with paint, and my friend wrote ‘Kurt smells like Teen Spirit,’ and I took that as a compliment, and what she actually meant by it was that I smelt like this deodorant that is for teenagers called Teen Spirit.  She’s seen that on television, and I guess I stunk that night.

Kathleen Hanna (2010 Concert): So I wasn’t that happy when six months later, Kurt called me up and said, ‘Hey, do you remember that night?’  I was like ehh, because even though I fell asleep with my clothes on, every time in my head when I thought about my night, this is what I saw (points at ugly picture), yeah it’s not pretty is it?  Then Kurt is like, ‘There’s this thing you wrote on my wall, and it was actually kind of cool, I want to use it as a lyric in one of my songs.’  I was like, ‘As long as I can get out of this conversation and not think about [that night] any more, I’m totally cool, so you can use whatever you want.’  Then I hung up, and I was like, how the fuck is he going to use ‘Kurt Smells Like Teen Spirit’ as a lyric?

Dave Grohl (Kerrang 2002): We wrote that song in January or February of 1991. We’d been rehearsing in this shed behind a house in Tacoma Washington. At the time we were really experimenting with that quiet verse, loud chorus dynamic, and a lot of it was derivite of the Pixies and Sonic Youth. Rather than talking about arrangements we just jammed – you just knew when the chorus was supposed to get bigger, and you just knew when to push songs one step higher.

Kurt Cobain (Rolling Stone 1994): I was trying to write the ultimate pop song. Basically, I was trying to rip off The Pixies.

Dave Grohl (Kerrang 2002): That song definitely established that quiet/loud dynamic that we fell back on a lot of the time. It did become the one song that personifies the band. Whether that was down to the imagery of the video I don’t know. At the time the video was the most key element in the song becoming a hit. People heard the song on the radio and thought, ‘This is great’, but then the kids saw the video on MTV and thought, ‘This is cool, these guys are kinda ugly and they’re tearing up a fucking high school’, and I think that had a lot to do with it’s success.

Kurt Cobain (New Musical Express 1991, Keith Cameron): It’s about hey, brother, especially sister, throw away the fruit and eat all the rind…No longer is it taboo for the tattooed to take their generational solidarity and shove it up the ass of The Byrds and Herman’s Hermits – loving disgraces we call parents.. posing as the enemy to infiltrate the mechanics of the system, to slowly start its rot from the inside.  It’s an inside job, it starts with the custodians and the cheerleaders.

Deftones are currently in the studio, and they were surprised when a rock legend walked into their writing session. The band posted a photo on Instagram of former Black Sabbath drummer Bill Ward joining the band in the studio. See the photo below!

You never expect Mr. Bill Ward to walk in to your writing session. Always a pleasure.

A photo posted by deftonesband (@deftonesband) on

Ozzy Osbourne recently told Esquire that he wants Bill Ward to return to Black Sabbath for their final album and tour.

“What I’m really happy about is, if this is Black Sabbath’s last hurrah, then we’ll have ended it on an up note rather than when I left in 1979 and everybody was fucked up on one thing or another and I was marked out as being the worst, you know. It ended on a bad note, so… The only thing sad about it is I hope [drummer] Bill Ward can get his stuff together to do this because… one of the biggest things I’m proud of in my life was that Black Sabbath wasn’t a band that was created by some business mogul in London or New York. That we were four guys who had a great idea and it worked from record one, and we still… Would you believe that it took 45 years to get our first No. 1 album in America? It was amazing to me.”

Ward stated in an interview with Rock Cellar Magazine last year that it was too painful for him to listen to Black Sabbath’s 13 album since he wasn’t on it.

“The only thing I’ve heard from ’13’ is… maybe 40 seconds of the first song, and then I turned it off. I haven’t heard anything off that album at all. And to be quite honest, I don’t care to either. It’s too painful. If I want to rip my guts out, I’ll put it on.”

He continued: “I mean, I wish them all the luck — well, not luck, they don’t need luck — but I wish them all the best in the world. But for me, I can’t listen to it, it’s too close to home, you know.

“Like I said, I listened to the first 40 seconds of ‘God Is Dead?’ and I just said, ‘I can’t listen to this anymore.'”

Read more at http://www.blabbermouth.net/news/bill-ward-says-he-cant-listen-to-new-black-sabbath-album/#hDVDf8zeeQ0r57Uu.99

Soundgarden are planning another reissue/compilation, this time it’s their debut album Ultramega OK. The Pulse of Radio (via Blabbermouth) reports that Kim Thayil recently stated, “Last year, Jack Endino and I spent a number of weeks remixing ‘Ultramega OK’ and we’re gonna search for a label — it’s no longer on SST — and put it out with a beautiful, heavier, warmer mix from Jack Endino, which is something we always felt we had to correct about that release.”

Kim Thayil discussed Soundgarden’s 80’s rarities in a June interview with AlternativeNation.net, “Any pre Screaming Life material? I don’t think so. Well, if it was something it might be from Deep Six. We were on the C/Z records cassette Pyrrhic Victory, we had “Incessant Mace” on that, but we released that on Ultramega OK. So some of the pre Screaming Life stuff, there’s maybe two dozen songs that were never released. Songs that we liked well enough to record and play live all the time, but we never released in any form. I don’t think those would be included on a B-sides thing. We could re-record them, or take the crude early recordings and have that stand alone as a release on its own.”

Jack Endino discussed the previously unreleased song “Storm” in a June interview with AlternativeNation.net, “In March of 1986 they were recording some tracks at a local studio. They didn’t like how the mixes were coming out so they called me to come in and try and rescue it. The engineer there resented this, I was kind of a nobody as far as he was concerned, and he pretty much stomped out of the control room and left us there on our own. This was three months before I started at Reciprocal Recording, so all I had was some basement studio experience with SG. We tried to rescue the session but it ended up getting shelved and they got Matt Cameron as a drummer a few months later and the rest was, uh, history.

Fast forward to the present, 28 years later, and I found a cassette of that stuff. Every one of those songs got re-recorded later except this one kind of oddball drony psych tune. I reminded Kim about that song and sent him the rough mix, just to jog his memory. A few months ago they asked to me to record it with them, they needed a new song for a movie or TV or something, I’m not sure what it was for, but they thought it would be fun to see what we could do with it now. What was interesting was that Chris and Kim remembered it, but Ben and Matt had never played the song before so they had to learn it from scratch. Chris actually did the final vocals himself at his home studio and sent me the files, and they were all arranged and perfect, I just dropped them into our ProTools session and it was nailed. He’s really, really good at recording himself. I don’t know what’s going to happen with the song, it may just end up as a B-side, but it was pretty cool working with them again, decades after we did Screaming Life.”

Steven Adler revealed in a recent interview with Lucas H. Gordon (via Blabbermouth) at the Rock Against MS event in Los Angeles that he is 9 months sober.

“Right now I’m just taking care of myself. I’ve been having these problems with alcohol, and right now I’m just taking care of it. I have a nice program I’m working, and I’m looking forward to having one year [of sobriety]. Right now I’ve got nine months and eighteen days. And then next year I’m gonna start working and getting the band back together… I’m taking care of [my alcohol addiction] — cutting it off at the neck. I’m looking forward to going out and playing again. I have my record, ‘Back From The Dead’ [released under the Adler band name], which I hope everybody will buy and listen to. And it’s just been very exciting. Having a new life is exciting.”

A Guns N’ Roses film based on the band’s early days is also in the works, based on photographer Marc Canter’s book. AlternativeNation.net recently talked to Canter about the band’s early days, “I met Izzy and Axl in May of 1984, then Slash and Steven joined Hollywood Rose, but Izzy then quit to join a band called London. I met Duff a few months later after Hollywood fell apart while Slash and Steven were trying to put Roadcrew back together. He jammed with them for a few days and then moved on because they didn’t have a singer. Then 6 months later GNR was together with Izzy, Axl, and Duff, and they needed Slash and Steven to join because they lost Tracii Guns and their drummer Rob Gardner and had some gigs booked. They were happy that I cared enough to document them and help pay for things they needed to get them to the next gig.”

Dave Grohl revealed in a new interview with Rolling Stone that he already knows what the concept will be for the next Foo Fighters album, and that he even knows when it will likely come out.

“I don’t think anyone’s ever done it,” he said. “And it’s fucking cool. It will blow everybody’s mind. Nobody has the balls to do it. And that’s three years away.”

Grohl’s time frame means the album will likely come out in late 2017, possibly early 2018. Grohl has already mentioned in a few interviews that he has an innovative concept for the next Foo Fighters album. For the band’s last two records, they have recorded the albums in unique ways and used them as key components of the marketing campaigns for both albums. 2011’s Wasting Light was recorded in Dave Grohl’s garage on tape, with pieces of the tape even being places in copies of the album. The band’s latest album Sonic Highways was recorded in 8 cities.

foofighterssonichighwaysalbum

You can read our Sonic Highways review below:

Foo Fighters released their new album Sonic Highways on Tuesday, and AlternativeNation.net has the first American review of the album. The album’s 8 songs were recorded in 8 different cities, and it’s all documented on the band’s HBO Sonic Highways series.

“Something From Nothing” kicks off the album. The track repeats a couple of melodies/riffs from “I Should Have Known,” and has been heavily scrutinized by fans and critics since it was the album’s lead single. The vocals sound great on the song, and there are great riffs, but the flaw of the song is its somewhat disjointed arrangement. Nate Mendel’s bassline though is one of his best on the album, and the last couple of minutes of the song include some great headbanging moments.

“The Feast and the Famine” sounds like a classic Foo Fighters radio song, carried by a hook laden riff like the past hit “Monkey Wrench.” It’s pretty much Foo Fighters by numbers with standard lyrics, but it’s catchy as hell.

“Congregation” has a killer chorus and is the most inspired track on the album 3 songs in. It’s a very tightly structured song, and the lyrics sound more natural and less forced than the first two songs. The instrumental breakdown featuring Zac Brown also adds to the song and doesn’t feel thrown in.

“What Did I Do/God As My Witness” opens up with Dave Grohl singing alone only accompanied by a quiet guitar and piano, ‘There you go again putting words into my mouth/this one’s for you to know/and for me to find out/all that trouble you went about/how you gonna know til you hear it out loud?’ Then the band comes in for a southern tinged verse, with some hints of Lynyrd Skynyrd’s “Sweet Home Alabama.” 3:30 in it shifts into “God As My Witness.” Grohl sings, ‘God as my witness/it’s gonna heal my soul tonight.’ “God As My Witness” is definitely better than “What Did I Do,” which leans on the cheesy side at times. “God As My Witness” leaves you wanting more.

“Outside” sounds like it could have fit in on One by One. The song is about Los Angeles, where it was recorded. Grohl sings, ‘There you are dancing at your altar/beautiful earthling/dressed in kashmir/all of your sound echoes in the canyons/down below they’re dreaming/hear the sirens screaming/another time/another world/girls were boys/and boys were girls/find the glitter/in the litter.’ There is a breakdown part where Joe Walsh comes in that definitely has a late 70’s/early 80’s Pink Floyd vibe. “Outside” is one of the weaker tracks on the album, there really aren’t any memorable melodies and the lyrics are generic.

“In The Clear” opens with an upbeat intro with horns that sounds different from anything on the album before going to a verse riff that sounds like “All My Life.” The chorus is pretty poppy, ‘You know I’m not in the clear/you are not in the clear.’ There are some interesting ideas here, including the inclusion of some instruments not usually used on Foo Fighters songs, but it’s a middle of the road song.

“Subterranean” opens with an acoustic guitar and adds in some beautiful electric guitar lines and keys as the track goes on. The sonic landscape of the song is different from the rest of the album, and doesn’t ever devolve into the ‘classic rock’ tribute moments that many of the other tracks do. The song is clearly about Kurt Cobain and Nirvana. Grohl sings, ‘Nothing left within/I’ve been mined/hell and back again/subterranean/I’ve been digging in down inside/I will start again/subterranean/but the truth is so unkind/what do you know/how low the sky.’

Grohl also sings, ‘You might think you know me/I know damn well you don’t’ followed by a beautiful ‘Oh no/you don’t’ refrain. The songs gets even darker with lines like ‘Buried my heart/cannot go this alone’ and ‘I might think you love me/but I know damn well you don’t/Oh no/you don’t.’

The song reaches a crescendo with, ‘Bring all your lies leave them deep in the dirt/Oh no/you don’t/Pull down my eyes/lay me deep in the earth.’ There’s a beautiful moody guitar lead at the end that sounds a bit like Nirvana and The Smashing Pumpkins’ Adore. This is definitely the best song on the album, the lyrics are great and personal. It’s not one of those big ‘stadium’ Foo Fighters songs but it’s beautiful, kind of in the vein of “February Stars.”

“Subterranean” seamlessly transitions into “I Am A River.” “I Am A River” is a song that builds up throughout. Early on Grohl sings, ‘I found a reason/beneath the subway floor/I found the water/the devil’s water/and walked along its shore/is that what you want/the channel’s changing/the heart is racing/from voices on the wire/the soul is yearning/the coal is burning/the ember starts a fire/can we recover/love for each other/the measure of your life/is that what you want.’ The song then hits the chorus, one of the most epic ones on the album, ‘I am a river.’

“Subterranean” and “I Am A River” are the best tracks on the album, they’re just beautiful songs and don’t sound like the band retreading past ground. “Congregation” and “God As My Witness” are other album highlights, and while “The Feast and the Famine” has ‘rawkish’ lyrics, it’s an incredibly catchy song. The flaw of the album is that there are some middle of the road songs with generic lyrics and mediocre hooks, and with only 8 songs they stick out more than on a 10-13 track Foo Fighters album. This album isn’t on the same level as 2011’s Wasting Light, as it really lacks that album centerpiece, which that album had with “Walk.” This album definitely has some memorable songs though like “Subterranean” and “I Am A River” and has phenomenal production, but this isn’t one of Foo Fighters’ best albums. Despite this, it is definitely a worthy addition to their stellar catalog.

Rating: 3 ‘February’ Stars

Despite all his rage, he was a cute baby boy.

The Smashing Pumpkins have released the artwork of their new song “Drum + Fife” set for release tomorrow, and it features a photo of a cute photo of Billy Corgan as a chubby baby drumming. Enjoy Baby BillCo below.

billycorgandrumming

The Smashing Pumpkins will release Monuments to an Elegy next month. Billy Corgan discussed the album in an interview with AlternativeNation.net in September.

“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.”

Listen to the unreleased Soundgarden song “Kristi” below (via Stereogum).

See our review of Soundgarden’s other unreleased song, “Storm,” below:

Cornell’s shriek of “restraint” leading into the chorus are definitely reminiscent of his Screaming Life/FOPP-era vocals, specifically reminding me of his screams on the Screaming Life opening track “Hunted Down”. The rest of the tune sounds pretty unique, possessing an almost goth-rock vibe similar to The Cure or Phantasmagoria-era The Damned. Cornell’s vocals are also very subdued to the point of almost sounding like Mark Lanegan, or even Jim Morrison in certain sections.

Cornell croons cryptic lyrics: “The storm has weakened minds of steel, The rain to capture hopeless ones, This fear has passed them incomplete, Those words unspoken with no restraint.” However, his subdued vocals also make for a lack of any real vocal hooks, the worst quality of the song. What “Storm” lacks in having a memorable melody it makes up with unique textures and musicianship, with different guitar parts throughout the three minutes that can be compared to any era of the band’s existence.

Kim Thayil also discussed Soundgarden possibly getting into the Rock and Roll Hall of Fame earlier this year in an interview with AlternativeNation.net:

“It’s not a particular objective or goal of mine, so I could take it or leave it. I imagine from what I’ve heard from friends, they say it’s really a lot of fun for fans, they say the fans get excited about it. The opportunity to meet and play with your peers, and maybe some heroes. That is probably the exciting thing about it, but seriously it’s kind of a strange accolade. It’s not like you have achieved something superior in performance like a baseball player, like the baseball Hall of Fame. [The Hall of Fame is kind of like] where you achieve commercial success, durable commercial success. Well that already is rewarded monetarily, and it’s rewarded with plaques or whatever. So you have a Hall of Fame for people who made a lot of money for other people?”

“That’s what it ends up being, but people I know who have experienced this say the best part about it is working with other musicians, to be able to play with those musicians, and they regard the enthusiasm that the fans have for that experience. So, I think for that reason, you make a lot of people happy and you can have some new experiences, that would be a great thing for us to do. But I’m not going to lose sleep over it, because I think [of] our days [as] make music, make records, and play our songs.”

Billy Corgan posted a long blog last night on SmashingPumpkinsNexus.com where he discussed Mark Stoermer (The Killers) and Brad Wilk (Rage Against The Machine) joining The Smashing Pumpkins for their upcoming tour dates, and why he left Resistance Pro Wrestling.

Dateline: Rock and Roll, Stairway to Heaven…

So in practice, as we have been for the past 4 days, one wonders at the marvel that is alternative rock whence played with power; or as a band I knew once spelled it: ‘powa’. And there’s powa abounding with Mr. Will on drums, and filigreed finesse in thrown slabs with Herr Stoermer. To say I’m excited undercuts what’s obvious; which is we’re blessed they’re both here. Simple as that.

Other news indicates they’ll soon be more shows added to. Some possibly sooner than you’d think. ‘Not so simple’, says I, for there are lyrics to learn/re-learn.

And for those that troll this website a) I haven’t RETIRED from anything; and that includes professional wrestling and b) I’ve been pursuing work with musicals FOR YEARS. Shock, a’int it, that a songwriter such as I would write music? So let’s move on that…

Howard, having departed for sunnier climbs, left just as I was dusting up the essential materials for PRETTY PERSEPHONE; which will debut in December at The Music Theatre Company of Highland Park. I expect that will to be done tomorrow. And of course there’s been all these demos which I’ve neglected to write about for reasons such as: business, boredom (my own), struggles (repeat), and an uncertain sense of where DAY FOR NIGHT might go.

But that destination is clear now. Album sessions to resume in January.

Wrestling. Resistance Pro. Let’s start here: I was asked the other day, ‘do you worry about what people will think because you are involved with BLANK? (Blank being pro wrestling, synthesizer music, or CHARITY animal shelter magazines).

Answer: NO. Because if those things make someone dislike my musical life/output then they are marks FOR THEMSELVES.

Answer: I am not here to serve anyone but G-O-D. (Happiness being but one way by which ‘to serve’)

Love abounds, always. So let me say for those of you that don’t know those in my life, I love them all. And if you don’t know Jacques and Gabriel Baron, you should. Family men. Love their kith and kin. Beautiful children. And my brothers through and through.

Around Resistance Pro Wrestling Jacques would always say to the roster, ‘we are family'; and I believed that. Still do.

But there’s a time where you might split too from the family home because you disagree with what’s going on. Just as I did when I was kid from my own. And you don’t always have to know ‘why’ or even define what it is that’s bugging you out. You just know something’s amiss.

It’s hard leaving, I’ll admit. For I put more into the company than I should have, so strong was my belief. And perhaps that blinded me. But I am forever grateful for the opportunity to lead, to share, to execute a vision which it would be easy to argue was not successful where it mattered most: at the gate. Yet my focus was to build a futuristic promotion that could run on every level in the 21st century. And that got us as far as a contract with the vaunted AMC Network.

All things come with a cost, and the cost of that commitment was watching a decently balanced company with a dream devolve into something I considered beneath my place in the world. For it isn’t wise to make someone like me the foil when the upside is so unseen, and small, and counter-intuitive to that future as planned. And it wasn’t like this disintegration wash’t transparent, for there were cameras everywhere.

So when the show was cast into purgatory by AMC’s decision to cut the majority of their unscripted (nice word for reality) programming, many (and I heard this) felt relief, while others celebrated as if it was any other day in the life of a circus; our greatest opportunity possibly squandered with the stroke of a pen.

Personally, I didn’t see much accountability on the part of those who’d fallen off the company mantra, and I found this puzzling. And so began an investigation as to those ‘whys and wherefores.’

Some suggested that there were other intentions afoot, which may or may not have involved my being used, or worked, or manipulated to create short-sighted opportunities for the company even should those efforts harm me in a number of ways; with the biggest victim, beside my ‘name’ being so readily used and abused, a diminishing enthusiasm. But still, this made no sense; for why would anyone want me out of the company when all I’d ever been told was how welcome I was? Or even the simple idea that my presence opened doors that wouldn’t have been otherwise opened?

Make no mistake, I’ve committed a tremendous amount of time to R Pro and the advancement of the roster in particular. For we had a lot of talent under the roof; all of which deserve a call and more open explanation from me than I’d offer here. So don’t let anyone tell you I wasn’t in all the way.

And the additive of what I heard, saw, learned was that my partners didn’t have my back in the way I thought they should; and by extension, were working against what I saw as their once-in-a lifetime lottery ticket for success in television. BUT: not everyone wants to win the lottery.

What’s this really mean? That the company will soldier on without me. Perhaps they’ll thrive, or survive? I hope they do. And the best thing I hope for is that The Baron’s as a family get out of their promotion what they think is best. It’s clear to me now that’s probably what they wanted all along.

Remember, I was never an owner in any capacity. This was by my suggestion. Even though under various circumstances and guises it was offered. I simply headed up the creative focus in story-lines and in some cases developed characters.

But wait, there’s a swerve! The tv show is still being shopped, with 4 shows in the can. AMC having given their assistance with the possibility that what’s there can be picked up by an interested network. And I for one believe that the show AS CONCEIVED would draw fantastic ratings. Should that happen, I’d deal with how to pick up from where it all left off: by telling the story of these various implosions from those who lived it, and who’d carry on as well. And that, my friends, IS wrestling….

As an executive producer, would I include R Pro management in that? That’d depend. But the trust where it’s needed (in business) is long gone.

How about anyone from the roster? Absolutely. Whether or not it’s this as-yet-unfinished tv show, or a new version of it, or the new promotion I’d start forthwith, I believe-believe-believe in the talent of that roster. And as anybody who is in wrestling knows, there are some incredible souls out there who deserve a different kind of shot, and I aim to be one of those people building to something different for that exact purpose.

For as with someone like me, the business often overlooks talent in seeking the obvious. See every pop-singer-blah blah show for evidence of that.

So, to be clear: I left because Resistance Pro was no longer the company I thought I’d helped build from the ground up. And maybe, one might say, it never was…

The shows, the fans, the wrestling injuries, the heartaches, those I know were all real. The rest, I couldn’t say. Time will tell who’s friend or foe, and who thought me another easy touch.

Last thing: don’t let anyone tell you wrestling’s fake. The world is no more real.

W.P.C.

Jonny Greenwood revealed in a new interview with BBC Radio 1 (via Consequence of Sound) that Radiohead are back in the studio working on their ninth studio album. Greenwood said sarcastically, “I’m late, they’ve all gone there now.” Greenwood said the band is ‘playing and recording’ without an exact release date or sonic direction.

“I always feel as when we start up like we still don’t know really how to do it, and we don’t know quite what to do. ‘Looking down avenues’ is a very kind way of putting the kind of fumbling that we do, mainly because every time we try and do it like the last time because that worked, it never seems to work. So we talk about different approaches and we’re currently trying a bunch out.”

In other news from last month, Billboard reported that Oxford business students were among those who worked with Radiohead frontman Thom Yorke on the BitTorrent release of his new solo album Tomorrow’s Modern Boxes. The MBA Said Business School students planned multiple aspects of the Yorke solo release, and also strategized how the next Radiohead album could be released, in seemingly another non conventional format.

Radiohead revolutionized the release of albums in 2007 with In Rainbows, which they released in a format where users could choose how much they paid, including a free option. In 2011 they released The King of Limbs are a variety of prices online.

Philip Selway said in a recent Italian interview that the record is still a long ways away, and that it could take 8 months for the album to come together.

In an interview with NME in early September, Selway discussed why the band returned to the studio: “We’ve decided that now feels right to start making music and we’ve got the first week booked in together so we’ll see how it goes.”

Selway also noted that he’s not sure what the new record will sound like. “I have absolutely no idea,” the drummer stated. “And that’s what keeps us all there until the end.”

In a different interview, with BBC‘s Mary Anne Hobbes, Selway said that Radiohead has “got [their] best record still to come” and that the hiatus, which was filled with the band members’ solo projects, will enhance their creativity. In July, guitarist Jonny Greenwood revealed that he had been sending song ideas to Thom Yorke.

Hits Daily Double is reporting that Nickelback’s new album No Fixed Address will sell 60-65,000 copies in its first week on sale. Every Nickelback album in the last 15 years has gone Platinum or multi-Platinum, with high first week sales.

Previous Nickelback album first week sales:

2003’s The Long Road – 200,000
2005’s All The Right Reasons – 323,350
2008’s Dark Horse – 326,000
2011’s Here and Now – 227,000

While 60-65,000 would be seen as a good/alright number with many midlevel rock acts, it has to be a disappointment to Chad Kroeger and company.

Kroeger recently discussed people disliking him and Nickelback, and how he actually relates to Metallica’s James Hetfield, in an interview with Radio Nova (via Blabbermouth).

“My brother, Mike, the bass player in the band, he hangs out with [METALLICA frontman] James Hetfield a lot in Maui. So the two of them are hanging out a lot together. And right when you think that you’re the only one who gets it — the backlash — Mike’s, like, ‘Oh no. James pretty much thinks the entire world hates him.’ I’m, like, ‘Really?’ Suddenly I don’t feel so bad anymore.”

He added, “”A friend of mine was saying, ‘As long as there is music being played, your music will now be forever in the history of music. How does that feel?’ And that was just, like… I was thinking to myself, I can’t imagine, like, a hundred years from now somebody enjoying one of our songs. But I’m sure Beethoven thought the same thing. No [I’m not comparing us to Beethoven], I’m talking about someone who has been around for that amount of time. I didn’t compare myself to the greatness of Beethoven. But it’s daunting. It makes you feel small to have created something that could be enjoyed-slash-hated for hundreds of years. And I would love to somehow hear what somebody would say about some of the songs that we’ve written a hundred years from now, how they would respond to it or think about it. I think that’s wonderful.”

AlternativeNation.net was in attendance at last night’s Dead Sara show in Santa Ana, CA at the Constellation Room at the Observatory, and the band performed several new songs. Watch video below of 5 new tracks, shot by AlternativeNation.net. The band finished recording their second studio album months ago, but had to hold off on releasing it due to label issues. The band are now ready to release the album, and will be shooting a video for “Mona Lisa” next week. We will have an exclusive interview with Dead Sara frontwoman Emily Armstrong up on AlternativeNation.net next week.

The show was incredible, and there was definitely a sense of Dead Sara being a band that felt bigger than the size of the venue they were performing in, with the band poised to explode in 2015. The band’s cover of Rage Against The Machine’s “Killing In The Name Of” was a highlight of the show, with bassist Chris Null playing in the crowd around moshing fans. See photos of the show below the videos.

Mr. Mr.

Lovesick

Radio 1 2

Mona Lisa

California Hombre


Photos

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Chris Martin discussed some of his influences behind the Coldplay song “Sky Full of Stars” in a new interview with Rolling Stone, saying that Katy Perry was an initial influence. He said he was fascinated by the way many of her songs repeat a single chord sequence while the vocal melody keeps things interesting.

“Then I realized all these other people that have done that,” Martin says. “Nirvana being a classic example — ‘Smells Like Teen Spirit’ is the same chord sequence basically the whole time. There’s a simplicity to that. I needed to find a sequence that I could play for ages and ages and ages.”

Martin added that he also loves EDM, and that the genre was a huge influence on the song.

AlternativeNation.net did an article about the story behind Nirvana’s “Smells Like Teen Spirit” in September.  You can read it below.

Kurt Cobain (The Seattle Times 1991, Patrick MacDonald): It’s basically about friends.  The friends that I have now, in a way.  We still feel as if we’re teenagers because we don’t follow the guidelines of what’s expected of us to be adults.  We still screw around and have a good time.  It also has kind of like, a teen revolutionary theme to it, too.

Kathleen Hanna (2010 Concert): [There was a] teen pregnancy center that had just opened in our town, but it wasn’t really a teen pregnancy center.  It was a right wing con, where you got teenage girls to go in there, and they told them they were going to go to hell if they got abortions.  Since Kurt and I were angry young feminists in the 90’s, we decided we were going to do a public service that night.  We drank our Canadian Club, and he watched out while I went across the street and wrote: ‘Fake Abortion Clinic Everyone.’  Because I was kind of the pragmatic one or whatever, but he was more creative, and he wrote ‘God is gay.’

Kurt Cobain (New Musical Express 1991, Keith Cameron): People just don’t do things very often any more.  I’m kinda disturbed by it.  It’d be just as easy to spray paint ‘Kill George Bush’ over and over.  Whether that would have an impact on anything or not, it doesn’t matter, it’s still fun to do.  Which is one of the lines in ‘Smells Like Teen Spirit': ‘It’s more fun to lose than to pretend.’

Kathleen Hanna (2010 Concert): We ended up in Kurt’s apartment, and I smashed a bunch of shit, and I took out a sharpie marker and I wrote a bunch of shit over his bedroom wall.  It was a rental, so it was really kind of lame that I did that.  Then I passed out with the marker in my hand, and I woke up, and I had one of those hangovers, where you think if you walk in the next room there could be a dead body in there.

Kurt Cobain (The Seattle Times 1991, Patrick MacDonald): Well, my friend [Kathleen Hanna] and I were in my bedroom, drunk. (Laughing) We’re having a real fine time talking about all kinds of revolutionary things, and we ended up destroying my bedroom.  We ended up throwing my art supplies all over, and paint, and breaking the mirror and tearing my bed up.  It was a lot of fun.  And so we were writing all over the wall with paint, and my friend wrote ‘Kurt smells like Teen Spirit,’ and I took that as a compliment, and what she actually meant by it was that I smelt like this deodorant that is for teenagers called Teen Spirit.  She’s seen that on television, and I guess I stunk that night.

Kathleen Hanna (2010 Concert): So I wasn’t that happy when six months later, Kurt called me up and said, ‘Hey, do you remember that night?’  I was like ehh, because even though I fell asleep with my clothes on, every time in my head when I thought about my night, this is what I saw (points at ugly picture), yeah it’s not pretty is it?  Then Kurt is like, ‘There’s this thing you wrote on my wall, and it was actually kind of cool, I want to use it as a lyric in one of my songs.’  I was like, ‘As long as I can get out of this conversation and not think about [that night] any more, I’m totally cool, so you can use whatever you want.’  Then I hung up, and I was like, how the fuck is he going to use ‘Kurt Smells Like Teen Spirit’ as a lyric?

Dave Grohl (Kerrang 2002): We wrote that song in January or February of 1991. We’d been rehearsing in this shed behind a house in Tacoma Washington. At the time we were really experimenting with that quiet verse, loud chorus dynamic, and a lot of it was derivite of the Pixies and Sonic Youth. Rather than talking about arrangements we just jammed – you just knew when the chorus was supposed to get bigger, and you just knew when to push songs one step higher.

Kurt Cobain (Rolling Stone 1994): I was trying to write the ultimate pop song. Basically, I was trying to rip off The Pixies.

Dave Grohl (Kerrang 2002): That song definitely established that quiet/loud dynamic that we fell back on a lot of the time. It did become the one song that personifies the band. Whether that was down to the imagery of the video I don’t know. At the time the video was the most key element in the song becoming a hit. People heard the song on the radio and thought, ‘This is great’, but then the kids saw the video on MTV and thought, ‘This is cool, these guys are kinda ugly and they’re tearing up a fucking high school’, and I think that had a lot to do with it’s success.

Kurt Cobain (New Musical Express 1991, Keith Cameron): It’s about hey, brother, especially sister, throw away the fruit and eat all the rind…No longer is it taboo for the tattooed to take their generational solidarity and shove it up the ass of The Byrds and Herman’s Hermits – loving disgraces we call parents.. posing as the enemy to infiltrate the mechanics of the system, to slowly start its rot from the inside.  It’s an inside job, it starts with the custodians and the cheerleaders.

Courtney Love discussed her reconciliation with Dave Grohl on Jimmy Kimmel Live last night, and said she has recently bonded with Grohl by discussing an actress’ boobs.

“Krist kind of herds goats. I’ve talked to Krist, and we’re cool, but a lot of people saw the Rock and Roll Hall of Fame where Dave and I hugged it out. We hugged it out, and it was all good. We used to really like each other, then there were 20 years where we sued each other, then we stopped. The other night we just started talking about this one actress’ boobs, and we’d both seen them, and at one point, when she was 20, they were the sexiest boobs in Hollywood. He’d seen them, I’d seen them, and we just picked up where we left off, after 20 years of suing each other.”

Courtney then said she was unsure if she’d want to recording with Foo Fighters. She said she thinks they have a different demographic, but would want to record the Kenny Rodgers and Dolly Parton song “Islands In The Stream” with Grohl.

Faith No More have released their first new song in 16 years, “Motherf**ker,” which will officially be released next Friday. You can listen below via Rolling Stone.

SAN FRANCISCO, Sept. 2, 2014 – Faith No More, who reunited in 2009 for a series of sold out performances and international festivals, is currently recording their first full-length album since 1997’s Album of the Year.

A limited edition (5000 copies) 7-inch single of the song “Motherfucker” will precede the April 2015 release, available via Record Store Day’s Black Friday event (Nov. 28). The single will be released digitally on Dec. 9.

“We’ve always shared a chemistry between ourselves that’s unique to this band, but these past few years of touring together have made us aware that we not only play better as a unit, but we like the new stuff we’re coming up with,” explained Faith No More founder and bass player, Bill Gould, who also spoke with Rolling Stone in more detail. “So we’ve decided: we’re going to get busy in 2015…make an album we’re proud of, kick things up a notch, get out there and perform it and maybe even dedicate a little more focus to our fans in the States this time.”

The as-of-yet untitled album is being recorded in an Oakland, Calif. studio with Gould handling production. The release will be the first from Faith No More’s newly formed imprint, Reclamation Recordings, which will be distributed by Ipecac Recordings.

Prior to the new album’s release, Faith No More will headline Australia’s Soundwave Festival in February 2015. Worldwide tour dates will be announced soon.

Faith No More is Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jon Hudson (guitar) and Mike Patton (vocals).

Noel Gallagher responded to rumors of Oasis reuniting for Glastonbury in a new interview with Absolute Radio. Gallagher jokingly stated that the band would reunite on February 16, 2015, and followed that up by saying he should just say the band is reuniting because it might stop reunion stories from coming out. Gallagher then stated that Oasis would not reunite for Glastonbury. In other Oasis news, Andy Bell’s band Ride announced that they were reuniting yesterday.

Foo Fighters frontman Dave Grohl discussed Oasis in a recent interview with XFM.

“The whole Oasis thing is a shame,” Grohl said. “We all love Oasis. We’ve played shows with them before, where I look at them and think ‘That’s the greatest rock band I’ve ever seen in my life’.

“To know that they’re out there somewhere but they won’t come together to do the thing that everybody would love so much…”

Grohl later added: “They’re fun. They have such a crazy reputation of being ‘the Oasis guys’, and then you see them at the bar and they show you pictures of their kids. And you’re like, ‘Wow, they’re just normal dudes’, y’know?”

Liam Gallagher recently announced the break up of Beady Eye over the weekend on Twitter. Beady Eye featured former Oasis members Liam Gallagher, Gem Archer, Andy Bell, and Chris Sharrock. Kasabian’s Jay Mehler also joined the band playing bass on tour last year. Beady Eye formed following Oasis’ breakup and released two albums: 2011’s Different Gear, Still Speeding and 2013’s BE.

Liam has claimed that he would be opening to reuniting Oasis with his brother Noel for a lot of money, but the brothers have trashed each other in the press in recent years, though they apparently made up earlier this year. Here are some of the Gallagher Brothers’ quotes regarding Oasis’ breakup.

Liam Gallagher (Daily Star, 2011):

“The people that go: ‘Oh, Beady Eye is not Oasis,’ well, Noel’s music ain’t Oasis either,” he said. “It might remind you of it but there’s something missing – fucking me.”

Liam Gallagher (Q 2011):

“Listen, [Noel]‘s a mouthy fuck too. He said we had a year to come up with a band name and came up with Beady Eye. He had three and came up with the High Flying Turds. I don’t know who dressed him but he looks like something out of Westlife.”

Liam Gallagher (The Guardian 2011):

”That’s the thing that makes me want to throw up. I just look at him now and think, ‘You’re a fucking fake’.”

Noel Gallagher (Press Conference 2011):

“On the way out [of the dressing room in 2009, Liam] picked up a plum and he threw it across the dressing room and it smashed against the wall. Part of me wishes it did end like that, that would have been a great headline. Then he kind of leaves, he goes out the dressing room, for whatever reason he went to his own dressing room and he came back with a guitar and he started wielding it like an axe and I’m not fucking kidding. And I’m making light of it because it’s kind of what I do, but it was a real unnecessary violent act, and he’s swinging this guitar around, he nearly took my face off with it.”

Liam Gallagher (Twitter 2011):

“[In respond to press conference quote] SHITBAG!”

Liam Gallagher (Daily Mail 2011):

“I’m quite prepared to go head to toe (sic) verbally, physically, musically, mentally with Noel Gallagher.”

Liam Gallagher (Lawsuit Statement 2011):

“I am used to being called all sort of things by Noel and I have in the past said things about him, but what Noel has alleged this time went way beyond rock-and-roll banter and questioned my professionalism.” He added, “This is not about money, all I want is a full apology from Noel.”

Noel Gallagher (NME 2012):

“[I wouldn’t reunite Oasis], not even if all the starving children in the world depended on it.”

Noel Gallagher (BBC6 2012):

“[Liam]‘s like a squeaky toy that swears a lot… in a blazer.”

Liam Gallagher (Q 2013):

“Fuck Oasis as far as I’m concerned and fuck Noel Gallagher. The thought of going onstage with that fucking idiot and hanging out with his daft mates, the pretend drug addicts and all his snobs from Sloane Street. Fuck that, not interested, mate.”

Liam Gallagher (NME 2013):

“If you want to play fucking Oasis songs put the band back together and stop being a fucking gobshite.”

Liam Gallagher (Clash Music 2013):

“The fuckin’ geezer that’s in the band? I fuckin’ absolutely fuckin’ despise [Noel when he’s in the band]. And I guess he feels the same way. But if you speak to him, he’ll probably go: ‘Yeah, I know; I hate both the cunts’. But yeah, I love our kid when he’s not surrounded by the bullshit.”

Dave Grohl reacted to an angry parrot singing Foo Fighters’ 1997 classic “Monkey Wrench” in a recent interview with Absolute Radio. Watch video below!

Taylor Hawkins discussed Foo Fighters’ nearly splitting up in 2002 in a recent interview with NME.

“A high point in a way, I would say for me, would be when we finished One by One, because it almost ended, and it was a rebirth for us. We almost ended, Dave almost busted it all up, and we almost busted it all up, I was going to quit, we were over it. I remember meeting Nate and having long conversations, ‘Well, it’s a bummer. It’s going to be over for sure.’ It was done. When we went and played Coachella, as a broken band about to disband, and got up there and played, and did what we could do best, have a great great show. Just that period, that One by One period, that rebirth, I think that solidified us as a band that was going to be around for more than a couple records.”

Foo Fighters also discussed their new album Sonic Highways in another recent interview with NME.

Nate Mendel discussed how the album is not a huge departure from past material, “It’s not a radical departure from things that we’ve done in the past. Probably the thing that’s the most different is we had these guests in every city, so the middle sections would get a bit more improvised, and we had people who are not in the band playing on them, so that’s where the songs spread out a bit, and maybe sound different than things we’ve done in the past. But this isn’t a reinvention type record.”

Dave Grohl claimed the coolest Foo Fighters song of all time is on Sonic Highways, “The song that we recorded in Chicago, ‘Something From Nothing,’ is the coolest thing we’ve ever recorded. I love it.”

Taylor Hawkins said, “We like the way our band sounds, naturally. I want drums to sound like drums, as opposed to a drum machine. We kept it as humanly perfect as possible but nothing more. It’s as perfect as we can be, which is not perfect.”

THE SMASHING PUMPKINS ANNOUNCE SPECIAL
ONE OF A KIND LAUNCH DATES IN SUPPORT OF NEW ALBUM

BRAD WILK (RAGE AGAINST THE MACHINE) AND MARK STOERMER (THE KILLERS) WILL JOIN THE SMASHING PUMPKINS LINEUP FOR THE INTIMATE SHOWS

MONUMENTS TO AN ELEGY AVAILABLE DECEMBER 9

November 18, 2014; New York, NY – In support of their eighth studio album Monuments to an Elegy, available December 9, The Smashing Pumpkins will play a series of special shows in select cities around the globe. The tour will begin in Berlin at Kesselhaus on November 30th, and make stops at Koko’s in London on December 5th, Le Trabendo in Paris on December 6th and New York’s Webster Hall on December 8th (see below for list of current tour dates). Tickets for the New York date go on sale tomorrow November 19th at 12pm EST via Ticketweb. The band wishes to inform fans to look for additional dates to be added very soon in Chicago, San Francisco, and other select markets.

The special lineup for these performances will include Brad Wilk (Rage Against The Machine) on drums and Mark Stoermer (The Killers) on bass joining The Smashing Pumpkins’ Billy Corgan and Jeff Schroeder. “We’re absolutely thrilled and humbled to have Brad and Mark helping us out with these shows,” said Corgan “and if our rehearsals are any indication they should be one-of-a-kind.” The Smashing Pumpkins have also been confirmed to play a special outdoor stage performance on ABC’s Jimmy Kimmel Live! on Wednesday December 10th as well as a performance at KROQ’s Almost Acoustic Christmas concert on Sunday December 14th.

The Smashing Pumpkins were recently announced as headliners for South American Lollapalooza Festival dates which include March 14/15 in Santiago, Chile, March 21/22 in Buenos Aires, Argentina and March 28/29 in Sao Paolo, Brazil. Anticipation and praise already surround the December 9th release of Monuments to an Elegy, with Huffington Post calling it “the band’s super-album.” Yesterday, Vice.com premiered the new track, “Tiberius” which they called “intimate” and “expansive” while Noisey.com declared the track “sounds like a return to form—a nod to the beloved Pumpkins sound of old with a modern twist.” Monuments To An Elegy features Tommy Lee on drums and was recorded in Chicago. The album is produced by Howard Willing, along with Corgan and Schroeder. Monuments to an Elegy is “an album within an album,” part of their ongoing work-in-progress Teargarden By Kaleidyscope (with Day For Night as the project’s last work).

The Smashing Pumpkins tour dates:

November 30 Berlin, Germany Kesselhaus
December 5 London, UK Koko’s
December 6 Paris, France Le Trabendo
December 8 New York, NY Webster Hall

Link taken down by the request of Pearl Jam

Eddie Vedder performed a Heal EB Seattle charity show on October 30th. The setlist is below.

Setlist:
Trouble (Cat Stevens cover)
Dead Man (Pearl Jam song)
Girl From the North Country (Bob Dylan cover)
Soon Forget (Pearl Jam song)
Can’t Keep (Pearl Jam song)
Sleeping By Myself
Without You
The Needle and the Damage Done (Neil Young cover)
Far Behind
Setting Forth
Guaranteed
Take it with Me
Better Man (Pearl Jam song)
Just Breathe (Pearl Jam song)
Immortality (Pearl Jam song)
Ukulele Anthem (Amanda Palmer & The Grand Theft Orchestra cover)
Porch (Pearl Jam song)
Hard Sun (Indio cover)

Encore:
Imagine (John Lennon cover)
Rockin’ in the Free World (Neil Young cover)

Jill & Eddie Vedder also discussed EB on EBResearch.org, “We are thrilled to be able to support the brilliant work of leading doctors and researchers committed to identifying better treatments and ultimately a cure for this cruel disease. Our close family friends have a son with EB and we want to do everything we can to ensure a better quality of life for him and all children living with those types of genetic disorders.”

In partnership with Microsoft, Jill and Eddie Vedder were instrumental in creating the “Heal EB: Cause the Wave” campaign to raise $5 million for EB research. To learn more, visit causethewave.org.

Also according to EBResearch.org, “An individual with EB lacks a critical protein that binds the layers of skin together. Without this protein, the skin tears apart, blisters and sheers off, leading to severe pain, disfigurement, and wounds that never heal. EB affects the body inside and out. Blisters occur all over the body, as well as in the eyes, mouth, esophagus, and other internal organs. EB causes severe pain, disfigurement, and in too many cases, an early death from an aggressive form of skin cancer. It is estimated that EB affects at least one in every 20,000 births. EB is not specific to any ethnicity or gender. Given that EB affects only 30,000 people in the US, advancing this research relies on the generosity of individuals and corporations.”