YOGYAKARTA- A Mild Live Soundrenaline 2008, event musik terbesar di Tanah Air, membuat gebrakan baru dengan mengambil tempat di kompleks Candi Prambanan. Tak tanggung-tanggung, 42 grup band dari dalam dan luar negeri bakal unjuk kebolehan sepanjang Minggu (10/8), siang hingga malam.
Di antara band yang tampil adalah Ungu, Nidji, Peterpan, Sheila on 7, Cokelat, 3 Di va, Samsons, GIGI, Bunga Citra Lestari, dan Jikustik. Selain mereka, ada Club 80'S, D'Masif, Audy, Java Jive, J-Rock, Cangcutter, Letto, PAS, Naif, Afgan, Matta, Mulan Jameela, Dewi-Dewi, Naff, serta Andra & The Backbone. Sedangkan grup luar negeri antara lain Skid Row, Crowned King, Dearest, dan Saw Losser,
Area candi akan dikonsep berbeda, dan membahana dengan dukungan sound system 400.000 watt, dan lightning 450.000 watt. Disediakan juga empat panggung dengan layar raksasa.
Yang unik, event ini juga diisi camping semalam bersama sejumlah artis pengisi acara. Tonny Darrusman, selaku Branch Manager A Mild dalam jumpa pers di Quality Hotel, Sabtu (9/8) mengatakan, artis dan 500 fans yang terpilih akan bermalam bersama.
(Lukas Adi Prasetya)
Minggu, 10 Agustus 2008
Baron' Soulmates Band Emoh Disamakan GIGI
JAKARTA -- Baron' Soulmates Band, grup yang dibentuk Aria Baron Suprayogi (Baron), mantan personel dan pendiri grup Band GIGI, merilis album terbarunya, Flying High. Album tersebut, kata Baron, mengusung genre musik pop modern rock. "Gua pilih hits yang lebih nge'rock (Sumpah Mati-Red) di album ini. Karena, kata produser gua, kalau yang slow kasihan image guenya," tutur di sela peluncuran albumnya tersebut di Pisa Cafe Menteng, Jakarta Pusat, Jumat (8/8). Diakui musisi yang pernah kuliah S2 di New York of Institute Technologi itu, warna musik yang disodorkan di album barunya tersebut memang bukan sesuatu yang baru, namun ia berharap bisa memberikan kesegaran dalam menambah khazanah musik Tanah Air. Ia juga tak menampik hasratnya untuk kembali mengusung rock, lebih karena pasar mulai dinina-bobokan dengan musik yang mendayu-dayu. "Kalau dilihat dari kaum marjinal, kaum buruh sekarang sudah kembali dengerin musik dangdut lagi. Nah, kita ingin memberikan penyegaran lagi," terangnya.Ia pun optimis album pertamanya ini bakal diterima pasar. "Kalau dibandingkan dengan GIGI yang sekarang, jelas beda, tapi kalau GIGI yang dulu masih ada sedikit kesamaan dalam warna musik," papar Baron disinggung soal adanya pengaruh GIGI dalam albumnya tersebut. Dalam kesempatan itu, Baron juga sesumbar bahwa Baron' Soulmate Band, band yang dirintisnya sejak setahun ke belakang itu bersama Ary dan Jimmy, akan menjadi pelabuhannya terakhir. "Gue nggak mungkin keluar karena band ini pakai nama gue," ucapnya. (C-06).
Album Perpisahan Peterpan
Akhirnya sampai juga Peterpan di ujung usia. Setelah berkarya selama delapan tahun, band asal Bandung ini akhirnya memutuskan untuk nggak lanjut.
Bubar?
Nggak juga. Band yang sekarang diperkuat Ariel (vokal), Lukman (gitar), Ukie (gitar), dan Reza (drum) memilih untuk berhenti menggunakan nama Peterpan. Di album selanjutnya, mereka bakal menggunakan nama baru.
Sebagai kado perpisahan, album The Best bertajuk Sebuah Nama, Sebuah Cerita dilepas ke pasaran. Album inilah yang di-launch di Kafe XXI, Jl. Thamrin, Jakpus, Jumat (8/8) sore.
Album ini jadi spesial karena berisikan 22 lagu. Total 4 lagu baru, termasuk sebuah cover version lagu Chrisye termuat di sana. Sisanya, 18 lagu lama yang sempat jadi hit di banyak radio di seluruh Indonesia.
"Album ini spesial kami buat untuk Sahabat Peterpan di seluruh Indonesia. Desainnya pun spesial dengan harga yang nggak mahal. Semoga bisa jadi kenang-kenangan manis buat semuanya," bilang Ariel, sambil tersenyum.
Lantas, ke depannya gimana, Riel? Apa bakal berubah total?
"Kami nggak janji. Karena kami sebenarnya udah punya warna khas yang dikenali. Ini berkah sekaligus kutukan. Jadi, kalo harus berubah total ya susah juga," bilang cowok bernama lengkap Nazriel Irham itu, serius.
Di acara ini, Peterpan sempat manggung juga memamerkan lagu-lagu barunya. Selain itu, mereka juga mengumumkan rencana mereka untuk menggelar world tour yang bakal berlangsung di paruh akhir 2008 sampai paruh awal 2009. Denger-denger sih, London, Sydney, Melbourne, Hong Kong, dan beberapa kota di Amrik bakal jadi tujuan.
Sukses terus deh, jack!(ryo)
Bubar?
Nggak juga. Band yang sekarang diperkuat Ariel (vokal), Lukman (gitar), Ukie (gitar), dan Reza (drum) memilih untuk berhenti menggunakan nama Peterpan. Di album selanjutnya, mereka bakal menggunakan nama baru.
Sebagai kado perpisahan, album The Best bertajuk Sebuah Nama, Sebuah Cerita dilepas ke pasaran. Album inilah yang di-launch di Kafe XXI, Jl. Thamrin, Jakpus, Jumat (8/8) sore.
Album ini jadi spesial karena berisikan 22 lagu. Total 4 lagu baru, termasuk sebuah cover version lagu Chrisye termuat di sana. Sisanya, 18 lagu lama yang sempat jadi hit di banyak radio di seluruh Indonesia.
"Album ini spesial kami buat untuk Sahabat Peterpan di seluruh Indonesia. Desainnya pun spesial dengan harga yang nggak mahal. Semoga bisa jadi kenang-kenangan manis buat semuanya," bilang Ariel, sambil tersenyum.
Lantas, ke depannya gimana, Riel? Apa bakal berubah total?
"Kami nggak janji. Karena kami sebenarnya udah punya warna khas yang dikenali. Ini berkah sekaligus kutukan. Jadi, kalo harus berubah total ya susah juga," bilang cowok bernama lengkap Nazriel Irham itu, serius.
Di acara ini, Peterpan sempat manggung juga memamerkan lagu-lagu barunya. Selain itu, mereka juga mengumumkan rencana mereka untuk menggelar world tour yang bakal berlangsung di paruh akhir 2008 sampai paruh awal 2009. Denger-denger sih, London, Sydney, Melbourne, Hong Kong, dan beberapa kota di Amrik bakal jadi tujuan.
Sukses terus deh, jack!(ryo)
Candil Undur Diri dari Seurieus?
JAKARTA- Vokalis Seurieus, Dian Dipa Chandra atau lebih akrab disapa Candil, dikabarkan berniat mengundurkan diri dari band yang telah membesarkan namanya itu. Disebut-sebut, kesibukannya di dunia akting yang kini tengah dijajalnya menjadi alasan ia memilih undur diri. Ia pun dikabarkan tengah dipersiapkan pihak Musica untuk berkarier solo. Benarkah kabar itu? Pihak Seurieus menampik kabar tersebut. Menurut Ridan, manajer grup yang dibentuk akhir 1994 itu, kabar tesebut tidaklah benar. "Sampai saat ini Seurieus masih dalam formasi selama ini. Seurieus masih baik-baik saja, bahkan masih melakukan promosi album terbaru mereka, Serdadu Rock" katanya.Meski demikian, Ridan tak menampik bahwa Candil belakangan ini, selain sibuk dengan promosi album baru itu, juga asyik dengan kegiatannya di dunia akting. "Mungkin karena Candil sering terlibat syuting dengan sejumlah rumah produksi, jadi terkesan ia tidak bersama-sama lagi," urainya sembari menambahkan bahwa Candil akan menjalani syuting film layar lebar yang lain lagi. (C-01)
Sheila Marcia Tertangkap Basah Pesta Shabu
Jakarta Satu lagi artis ibukota tertangkap basah sedang berpesta narkoba. Bintang sinetron dan film Sheila Marcia Kamis lalu (7/8/2008) tertangkap basah bersama rekan laki-lakinya lagi pesta Shabu."Sheila Marcia sudah kita jadikan tersangka dalam kasus ini," jawab Kapolsek Penjaringan Kompol Asep Adisaputra saat ditanya oleh detikhot soal kasus tertangkapnya Shelia Marcia lewat telefon selularnya Sabtu Malam (9/8/2008).Menurut Kompol Asep Adisaputra, Sheila Marcia tertangkap bersama satu rekan prianya di salah satu kondominium di Pluit, Jakarta Utara.Bintang Film 'Kereta Hantu Manggarai' itu tampaknya harus mengurungkan niatnya untuk untuk dapat segera menikah dengan Roger Danuarta karena ia harus mendapat ganjaran hukum atas ulahnya itu.
Sheila Marcia tertangkap bersama dua teman perempuan dan satu laki-laki ketika sedang berpesta shabu. Walau identitas teman Sheila tersebut masih dirahasiakan, polisi memastikan Roger Danuarta tak terlibat dalam penangkapan itu."Roger nggak ada di situ, yang ada kan AY. Dari inisialnya aja udah beda," ucap Kapolsek Penjaringan Kompol Asep Adisaputra saat ditanya keterlibatan Roger Danuarta oleh detikhot lewat telepon selulernya Sabtu Malam (9/8/2008).Ketika terjadi penangkapan bintang film 'Hantu Jeruk Purut' itu sedang pesta shabu bersama teman laki-lakinya yang berinisial AY dan dua teman perempuannya. AY tak lain adalah pemilik dari apartemen yang menjadi venue pesta barang haram tersebut.Menurut keterangan Kapolsek penjaringan,Kompol Asep Adisaputra, ketika ditemui di Polsek Penjaringan, Sabtu (9/8/2008) malam, terdapat sepuluh orang yang diciduk dalam pesta shabu di apartemen golden sky pluit tersebut. Namun hanya enam yang menjadi tersangka salah satunya termasuk Sheila Marcia. Dalam penggerebekan tersebut polisi menemukan total 6 gram shabu. Dari tangan Sheila Marcia, polisi mengamankan paket shabu seberat 0,2 gram. Dimanakah keberadaan Roger saat itu?
Apartemen Golden Sky, Pluit yang menjadi lokasi penangkapan Sheila Marcia ternyata sudah menjadi incaran polisi. Polisi menggerebek tempat tersebut atas informasi masyarakat. "Kita mengungkap dari masyarakat, setelah diadakan penyelidikan beberapa tempat yang kami curigai. Tempat tersebut adalah apartemen dan kos-kosan," ujar Kapolsek Penjaringan, Asep Adisaputra kepada wartawan di Polsek Penjaringan, Sabtu (9/8/2008). Dalam penggerebekan, Kamis (7/8/2008) sekitar pukul 21.00 tersebut polisi mengamankan sepuluh orang. Tapi setelah pemeriksaan lebih lanjut, hanya enam yang dijadikan tersangka.Barang bukti 6 gram shabu tidak semua berasal dari tempat Sheila dan AY. Barang bukti 6 gram shabu adalah gabungan dari penangkapan di satu tempat lainnya di apartemen yang sama. Polisi mengaku sudah menghubungi keluarga dan kerabat aktris yang kerap berpakaian seksi itu. Tapi hingga kini belum terlihat ada pihak keluarga atau kerabat yang menjenguk di Polres Penjaringan.
Artis muda Sheila Marcia mengaku menyesal telah mengkonsumsi narkoba jenis Shabu. Hal ini ia uangkapkan kepada Rolf, keluarga ayah Sheila.Rolf datang seorang diri untuk lihat keadaan dara kelahiran 3 September 1989 itu. Sekitar 5 menit Rolf masuk kedalam sel tahanan menemui Sheila. Ia pun mengaku sekalian mengambil pakaian kotor keponakannya itu."Sekarang kondisinya sehat, nggak apa-apa. Udah Stabil, nggak batuk-batuk lagi. Dia mengungkapkan penyesalannya. Saya belum bisa ngomong banyak sama dia," ujar Rolf sesaat setelah melihat keadaan Sheila di sel tahanan wanita Polres Jakarta Utara, Minggu (10/8/2008).Orangtua bintang 'Kereta Hantu Manggarai' itu yang berencana datang menjenguk hari ini ternyata batal. Alasannya, keluarga Sheila saai ini masih menetap di Pulau Dewata, Bali. "Pesawatnya susah," lanjut Rolf.Kalau tak ada halangan, katanya, esok mereka akan menjenguk anaknya. Mengenai waktunya, Rolf belum bisa ditentukan. "Mungkin besok, pasti," ungkapnya.
Sheila Marcia tertangkap bersama dua teman perempuan dan satu laki-laki ketika sedang berpesta shabu. Walau identitas teman Sheila tersebut masih dirahasiakan, polisi memastikan Roger Danuarta tak terlibat dalam penangkapan itu."Roger nggak ada di situ, yang ada kan AY. Dari inisialnya aja udah beda," ucap Kapolsek Penjaringan Kompol Asep Adisaputra saat ditanya keterlibatan Roger Danuarta oleh detikhot lewat telepon selulernya Sabtu Malam (9/8/2008).Ketika terjadi penangkapan bintang film 'Hantu Jeruk Purut' itu sedang pesta shabu bersama teman laki-lakinya yang berinisial AY dan dua teman perempuannya. AY tak lain adalah pemilik dari apartemen yang menjadi venue pesta barang haram tersebut.Menurut keterangan Kapolsek penjaringan,Kompol Asep Adisaputra, ketika ditemui di Polsek Penjaringan, Sabtu (9/8/2008) malam, terdapat sepuluh orang yang diciduk dalam pesta shabu di apartemen golden sky pluit tersebut. Namun hanya enam yang menjadi tersangka salah satunya termasuk Sheila Marcia. Dalam penggerebekan tersebut polisi menemukan total 6 gram shabu. Dari tangan Sheila Marcia, polisi mengamankan paket shabu seberat 0,2 gram. Dimanakah keberadaan Roger saat itu?
Apartemen Golden Sky, Pluit yang menjadi lokasi penangkapan Sheila Marcia ternyata sudah menjadi incaran polisi. Polisi menggerebek tempat tersebut atas informasi masyarakat. "Kita mengungkap dari masyarakat, setelah diadakan penyelidikan beberapa tempat yang kami curigai. Tempat tersebut adalah apartemen dan kos-kosan," ujar Kapolsek Penjaringan, Asep Adisaputra kepada wartawan di Polsek Penjaringan, Sabtu (9/8/2008). Dalam penggerebekan, Kamis (7/8/2008) sekitar pukul 21.00 tersebut polisi mengamankan sepuluh orang. Tapi setelah pemeriksaan lebih lanjut, hanya enam yang dijadikan tersangka.Barang bukti 6 gram shabu tidak semua berasal dari tempat Sheila dan AY. Barang bukti 6 gram shabu adalah gabungan dari penangkapan di satu tempat lainnya di apartemen yang sama. Polisi mengaku sudah menghubungi keluarga dan kerabat aktris yang kerap berpakaian seksi itu. Tapi hingga kini belum terlihat ada pihak keluarga atau kerabat yang menjenguk di Polres Penjaringan.
Artis muda Sheila Marcia mengaku menyesal telah mengkonsumsi narkoba jenis Shabu. Hal ini ia uangkapkan kepada Rolf, keluarga ayah Sheila.Rolf datang seorang diri untuk lihat keadaan dara kelahiran 3 September 1989 itu. Sekitar 5 menit Rolf masuk kedalam sel tahanan menemui Sheila. Ia pun mengaku sekalian mengambil pakaian kotor keponakannya itu."Sekarang kondisinya sehat, nggak apa-apa. Udah Stabil, nggak batuk-batuk lagi. Dia mengungkapkan penyesalannya. Saya belum bisa ngomong banyak sama dia," ujar Rolf sesaat setelah melihat keadaan Sheila di sel tahanan wanita Polres Jakarta Utara, Minggu (10/8/2008).Orangtua bintang 'Kereta Hantu Manggarai' itu yang berencana datang menjenguk hari ini ternyata batal. Alasannya, keluarga Sheila saai ini masih menetap di Pulau Dewata, Bali. "Pesawatnya susah," lanjut Rolf.Kalau tak ada halangan, katanya, esok mereka akan menjenguk anaknya. Mengenai waktunya, Rolf belum bisa ditentukan. "Mungkin besok, pasti," ungkapnya.
Metallica's James Hetfield Says New Bassist 'Has Already Contributed More' Than Jason Newsted Did
Death Magnetic will be band's first LP to feature 'new' bassist Rob Trujillo.
By Chris Harris, with additional reporting by Todd Brown
Even though he's been in the band going on five years, the talents of bassist Robert Trujillo will be featured on a Metallica album for the first time on their forthcoming LP Death Magnetic, which lands in stores September 12 and features "The Day That Never Comes" as its first single.
Before replacing erstwhile bassist Jason Newsted in 2003, Trujillo played with Suicidal Tendencies, Infectious Grooves, Black Label Society, Alice in Chains' Jerry Cantrell and Ozzy Osbourne. Trujillo, as you might imagine, couldn't wait to contribute to Metallica's newest material, after spending years on the road with the band, playing bass lines someone else came up with. And he's proud of what Metallica were able to accomplish on Death Magnetic.
"I feel there's a lot of life to the tracks and a real solid groove — things feel tight," Trujillo told MTV News last week. "It's a lot of fun — the material is very dynamic, and we can't wait to present it to the world. It's been a great journey.
"Connecting with them onstage was the first phase of the journey, and then being able to create with them has been a great experience," the bassist added. "It was the best school of song-arranging in metal and rock you can ever imagine. It was a wonderful experience. ... There's nothing like it."
But what was it like for frontman James Hetfield and drummer Lars Ulrich, who've been the driving force behind the band for more than two decades? Hetfield summed it up best: "In the studio — and no offense towards Jason — but Rob has already contributed more to this record than Jason did in 14 years."
A rather bold statement, but one that Ulrich echoed: "It's difficult to praise Rob without insinuating that there was something not great about his predecessor, and I've got nothing but respect and love for Jason. But Rob, he's been with us five years now, and it's completely effortless. ... It's never felt this complete."
But the admiration didn't end there. Guitarist Kirk Hammett, who was absent for much of the time Metallica were in the studio following the births of his sons, Angel and Vincenzo, said it feels as though Trujillo has been in the band since its inception.
"Sometimes I look over at him, and he's playing his bass onstage, and it feels like he's always been there — his chemistry, his personality, it just all fits in really, really well," Hammett said. "He's a godsend."
But according to Hetfield, much of the reason why, in his opinion, Newsted didn't contribute all that much to Metallica's previous efforts was that he wasn't always permitted to.
"A lot of it did have to do with our fear of losing some kind of control, no doubt about that," he said. "But Rob has slipped in somehow easier. He has this respect about him. ... We didn't have to haze the fan out of him, or toughen him up somehow."
For Ulrich, Trujillo played several roles in the studio. Not only did he contribute to the material creatively, he acted as the perfect conduit between the drummer and Hetfield and, in the absence of Hammett, stepped up fearlessly, bringing his own fresh ideas to the table — and many of those ideas made it onto Death Magnetic.
"It's effortless," Ulrich said of working with Trujillo. "He is very gifted, very fast, and he kind of just fits in. He's such a gifted musician, and Rob spent a lot of time being the third wheel in the Lars/James songwriting [process], and he just adapted to it super quickly and was great to bounce ideas off of and to come up with a great suggestion when me or James would get stuck. He was right in there with us. It's been incredibly positive to have him around — in the creative process, the way we all connect with each other and the way we connect with our fans."
Being the newest member of Metallica and, more importantly, a fan that became part of the fold, Trujillo's got a unique perspective on the new album, which he compared to a piece of fine art.
"When you listen to this body of work from start to finish, it's like a really cool painting," he said. "There's a lot of dynamics in it, the lyrics definitely have depth, and James really put a lot into them. It's just like looking at a beautiful work of art, and it's taken some time, but man, is it worth it."
By Chris Harris, with additional reporting by Todd Brown
Even though he's been in the band going on five years, the talents of bassist Robert Trujillo will be featured on a Metallica album for the first time on their forthcoming LP Death Magnetic, which lands in stores September 12 and features "The Day That Never Comes" as its first single.
Before replacing erstwhile bassist Jason Newsted in 2003, Trujillo played with Suicidal Tendencies, Infectious Grooves, Black Label Society, Alice in Chains' Jerry Cantrell and Ozzy Osbourne. Trujillo, as you might imagine, couldn't wait to contribute to Metallica's newest material, after spending years on the road with the band, playing bass lines someone else came up with. And he's proud of what Metallica were able to accomplish on Death Magnetic.
"I feel there's a lot of life to the tracks and a real solid groove — things feel tight," Trujillo told MTV News last week. "It's a lot of fun — the material is very dynamic, and we can't wait to present it to the world. It's been a great journey.
"Connecting with them onstage was the first phase of the journey, and then being able to create with them has been a great experience," the bassist added. "It was the best school of song-arranging in metal and rock you can ever imagine. It was a wonderful experience. ... There's nothing like it."
But what was it like for frontman James Hetfield and drummer Lars Ulrich, who've been the driving force behind the band for more than two decades? Hetfield summed it up best: "In the studio — and no offense towards Jason — but Rob has already contributed more to this record than Jason did in 14 years."
A rather bold statement, but one that Ulrich echoed: "It's difficult to praise Rob without insinuating that there was something not great about his predecessor, and I've got nothing but respect and love for Jason. But Rob, he's been with us five years now, and it's completely effortless. ... It's never felt this complete."
But the admiration didn't end there. Guitarist Kirk Hammett, who was absent for much of the time Metallica were in the studio following the births of his sons, Angel and Vincenzo, said it feels as though Trujillo has been in the band since its inception.
"Sometimes I look over at him, and he's playing his bass onstage, and it feels like he's always been there — his chemistry, his personality, it just all fits in really, really well," Hammett said. "He's a godsend."
But according to Hetfield, much of the reason why, in his opinion, Newsted didn't contribute all that much to Metallica's previous efforts was that he wasn't always permitted to.
"A lot of it did have to do with our fear of losing some kind of control, no doubt about that," he said. "But Rob has slipped in somehow easier. He has this respect about him. ... We didn't have to haze the fan out of him, or toughen him up somehow."
For Ulrich, Trujillo played several roles in the studio. Not only did he contribute to the material creatively, he acted as the perfect conduit between the drummer and Hetfield and, in the absence of Hammett, stepped up fearlessly, bringing his own fresh ideas to the table — and many of those ideas made it onto Death Magnetic.
"It's effortless," Ulrich said of working with Trujillo. "He is very gifted, very fast, and he kind of just fits in. He's such a gifted musician, and Rob spent a lot of time being the third wheel in the Lars/James songwriting [process], and he just adapted to it super quickly and was great to bounce ideas off of and to come up with a great suggestion when me or James would get stuck. He was right in there with us. It's been incredibly positive to have him around — in the creative process, the way we all connect with each other and the way we connect with our fans."
Being the newest member of Metallica and, more importantly, a fan that became part of the fold, Trujillo's got a unique perspective on the new album, which he compared to a piece of fine art.
"When you listen to this body of work from start to finish, it's like a really cool painting," he said. "There's a lot of dynamics in it, the lyrics definitely have depth, and James really put a lot into them. It's just like looking at a beautiful work of art, and it's taken some time, but man, is it worth it."
AC/DC: Still Going Strong, 2003, In The Loder Files
The original monsters of rock were still at it — and still are.
By Kurt Loder
Where do old interviews go to die? Since 1988 they've gone into the MTV News vault, but we've been exhuming them to bring you these classic natterings. Here's the latest in the series, which runs every Tuesday.
By the time AC/DC was inducted into the Rock and Roll Hall of Fame in 2003 (along with the Police, the Clash, and Elvis Costello), the Australian band had been together for 30 years, and — remarkably for a riff-based hard-rock act — was still going strong.
Founded by sibling guitarists Malcolm and Angus Young, and fronted from very early on by reprobate singer Bon Scott, the group traced its lineage back into the 1960s, when the Youngs' older brother and future producer, George Young, was a member of the Easybeats (whose 1966 world hit "Friday on My Mind" remains a garage-rock staple). AC/DC broke through in the mid-'70s with a sound that was pure guitar assault, propelling songs that addressed the most primal rock-and-roll interests ("Big Balls," "Love at First Feel"). And that classic sound never changed, even after Scott died of alcohol poisoning in 1980 and was replaced by English bellower Brian Johnson.
Angus, Malcolm and Brian turned up in the MTV studios in August of 2003 — not quite so crazy after all those years (they were then hovering around 50), but still funny and wryly self-deprecating. I forget why they were in town; it must have been for a show, because AC/DC hadn't released a new album since 2000's Stiff Upper Lip — and in fact, still hasn't. That'll be changing soon, though. The band is reported to have a long-in-the-making new record ready to roll out in October, along with a world tour. Always shrewdly marketed, the group must realize that the commercial environment has changed radically in the eight years since its last release. Thus the lack of a traditional label. Instead, the new album — still untitled — will be coming out exclusively through Wal-Mart. Let there be rock, as the band once put it — by any means necessary.
By Kurt Loder
Where do old interviews go to die? Since 1988 they've gone into the MTV News vault, but we've been exhuming them to bring you these classic natterings. Here's the latest in the series, which runs every Tuesday.
By the time AC/DC was inducted into the Rock and Roll Hall of Fame in 2003 (along with the Police, the Clash, and Elvis Costello), the Australian band had been together for 30 years, and — remarkably for a riff-based hard-rock act — was still going strong.
Founded by sibling guitarists Malcolm and Angus Young, and fronted from very early on by reprobate singer Bon Scott, the group traced its lineage back into the 1960s, when the Youngs' older brother and future producer, George Young, was a member of the Easybeats (whose 1966 world hit "Friday on My Mind" remains a garage-rock staple). AC/DC broke through in the mid-'70s with a sound that was pure guitar assault, propelling songs that addressed the most primal rock-and-roll interests ("Big Balls," "Love at First Feel"). And that classic sound never changed, even after Scott died of alcohol poisoning in 1980 and was replaced by English bellower Brian Johnson.
Angus, Malcolm and Brian turned up in the MTV studios in August of 2003 — not quite so crazy after all those years (they were then hovering around 50), but still funny and wryly self-deprecating. I forget why they were in town; it must have been for a show, because AC/DC hadn't released a new album since 2000's Stiff Upper Lip — and in fact, still hasn't. That'll be changing soon, though. The band is reported to have a long-in-the-making new record ready to roll out in October, along with a world tour. Always shrewdly marketed, the group must realize that the commercial environment has changed radically in the eight years since its last release. Thus the lack of a traditional label. Instead, the new album — still untitled — will be coming out exclusively through Wal-Mart. Let there be rock, as the band once put it — by any means necessary.
Metallica Tackle Forgiveness, Resentment In 'The Day That Never Comes' Clipmusi
Frontman James Hetfield cautions video is not a political statement.
By Chris Harris, with additional reporting by Todd Brown
It's a sun-drenched Thursday afternoon in Acton, California, which is about an hour's drive north of Los Angeles, and the air's nothing if not arid.
Here, we find the members of Metallica — frontman James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo. They're all milling about, wearing shades, waiting. All of a sudden, a Hummer painted in desert camouflage and topped with a .50-caliber machine gun rolls by.
The vehicle's carrying a group of what look like U.S. soldiers across the dusty terrain when, out of nowhere, there's an awesome blast. One of the soldiers is wounded; he's bleeding. Another soldier rushes to his aid, with a medic kit in hand, and starts tending to his wounds. Minutes later, a helicopter approaches, and the bloody soldier is flown to safety and into the capable hands of a military medical team.
Of course, this isn't Iraq. It isn't Afghanistan. It's the set of Metallica's video for their track "The Day That Never Comes," the first single from Death Magnetic, the band's first studio effort since 2003's St. Anger (due in stores this September).
But don't let the war-time theme of the video fool you. According to Hetfield, the clip won't be making any lofty political statements about the war in Iraq. Instead, it's a statement on humanity, helmed by acclaimed Danish director Thomas Vinterberg, who, along with Lars von Trier, co-founded the Dogme 95 movement in filmmaking. Hetfield said that when he was writing the song's lyrics, he never envisioned the video would look anything like this.
"That's the beauty, I think, of writing vague but powerful lyrics — that someone like a movie director can interpret it in his own way and obviously, someone creative is able to take the metaphors and apply them to whatever he needs in his own life," the frontman explained. "The main [theme of the video] is the human element of forgiveness and someone doing you wrong, you feeling resentment and you being able to see through that in the next situation that might be similar and not take your rage or resentment out on the next person and basically keep spreading the disease of that through life."
The video's next scene involves the same soldier who assisted his wounded comrade in the previous scene. A group of soldiers pulls up alongside a broken-down car and spots a man in a djellabah, holding a set of jumper cables. The soldier approaches slowly — with gun drawn — fearing the car may contain a suicide bomber, and his crosshairs become fixed on the suspicious man's head. With anger and resentment in his eyes, the soldier debates whether to pull the trigger. Ultimately, he lowers his gun and assists the harmless civilian so that he can make his way home.
"The one thing that I wasn't keen on here was Metallica plugging into a modern war or a current event [that] might be construed as some sort of political statement on our part," Hetfield said. "There are so many celebrities that soapbox their opinions, and people believe it's more valid because they're popular. For us, people are people — you should all have your own opinion. We are hopefully putting the human element in what is an unfortunate part of life. There are people over there dealing with situations like this, and we're showing the human part of being there.
"It's the forgiveness part — that is key," he continued. "Metallica has never plugged into any current event visually, but this one is kind of a hotbed. People have very high opinions about this war, and we're trying to cut through all of that. The politics and the religion tend to separate people, and what we're trying to do is bring it together with the common thread of resentment and forgiveness."
Ulrich said that a father-son relationship inspired the song's lyrics but that the band didn't want the true meaning behind the track to bleed into its visual component.
"It's a story about human beings who don't know each other, in a particularly tense situation," Ulrich explained. "It could be a contemporary war setting, but it's really about forgiveness and redemption and understanding what goes on in people's minds. We really feel that this was such a beautiful and epic way to treat the song in something that was really radically different than the specificity of the lyrics."
"Ultimately, the concept of the video deals with humanity and the relationships between human beings and how your basic sense of humanity can override any sort of politicized situation," Hammett added. "It's about being compassionate and humanistic in that sort of situation. So you could call it a microcosm of what's happening in the world today."
By Chris Harris, with additional reporting by Todd Brown
It's a sun-drenched Thursday afternoon in Acton, California, which is about an hour's drive north of Los Angeles, and the air's nothing if not arid.
Here, we find the members of Metallica — frontman James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo. They're all milling about, wearing shades, waiting. All of a sudden, a Hummer painted in desert camouflage and topped with a .50-caliber machine gun rolls by.
The vehicle's carrying a group of what look like U.S. soldiers across the dusty terrain when, out of nowhere, there's an awesome blast. One of the soldiers is wounded; he's bleeding. Another soldier rushes to his aid, with a medic kit in hand, and starts tending to his wounds. Minutes later, a helicopter approaches, and the bloody soldier is flown to safety and into the capable hands of a military medical team.
Of course, this isn't Iraq. It isn't Afghanistan. It's the set of Metallica's video for their track "The Day That Never Comes," the first single from Death Magnetic, the band's first studio effort since 2003's St. Anger (due in stores this September).
But don't let the war-time theme of the video fool you. According to Hetfield, the clip won't be making any lofty political statements about the war in Iraq. Instead, it's a statement on humanity, helmed by acclaimed Danish director Thomas Vinterberg, who, along with Lars von Trier, co-founded the Dogme 95 movement in filmmaking. Hetfield said that when he was writing the song's lyrics, he never envisioned the video would look anything like this.
"That's the beauty, I think, of writing vague but powerful lyrics — that someone like a movie director can interpret it in his own way and obviously, someone creative is able to take the metaphors and apply them to whatever he needs in his own life," the frontman explained. "The main [theme of the video] is the human element of forgiveness and someone doing you wrong, you feeling resentment and you being able to see through that in the next situation that might be similar and not take your rage or resentment out on the next person and basically keep spreading the disease of that through life."
The video's next scene involves the same soldier who assisted his wounded comrade in the previous scene. A group of soldiers pulls up alongside a broken-down car and spots a man in a djellabah, holding a set of jumper cables. The soldier approaches slowly — with gun drawn — fearing the car may contain a suicide bomber, and his crosshairs become fixed on the suspicious man's head. With anger and resentment in his eyes, the soldier debates whether to pull the trigger. Ultimately, he lowers his gun and assists the harmless civilian so that he can make his way home.
"The one thing that I wasn't keen on here was Metallica plugging into a modern war or a current event [that] might be construed as some sort of political statement on our part," Hetfield said. "There are so many celebrities that soapbox their opinions, and people believe it's more valid because they're popular. For us, people are people — you should all have your own opinion. We are hopefully putting the human element in what is an unfortunate part of life. There are people over there dealing with situations like this, and we're showing the human part of being there.
"It's the forgiveness part — that is key," he continued. "Metallica has never plugged into any current event visually, but this one is kind of a hotbed. People have very high opinions about this war, and we're trying to cut through all of that. The politics and the religion tend to separate people, and what we're trying to do is bring it together with the common thread of resentment and forgiveness."
Ulrich said that a father-son relationship inspired the song's lyrics but that the band didn't want the true meaning behind the track to bleed into its visual component.
"It's a story about human beings who don't know each other, in a particularly tense situation," Ulrich explained. "It could be a contemporary war setting, but it's really about forgiveness and redemption and understanding what goes on in people's minds. We really feel that this was such a beautiful and epic way to treat the song in something that was really radically different than the specificity of the lyrics."
"Ultimately, the concept of the video deals with humanity and the relationships between human beings and how your basic sense of humanity can override any sort of politicized situation," Hammett added. "It's about being compassionate and humanistic in that sort of situation. So you could call it a microcosm of what's happening in the world today."
Rage Against The Machine's Lollapalooza Set Turns Ugly; Lupe Fiasco, Ting Tings, Wilco Play Day Two
RATM ask crowd to stop pushing, as fans without tickets add to chaos by hopping fence.
By James Montgomery, Gil Kaufman and John Norris
CHICAGO — There were busted barricades, bruised bodies and backflips on Saturday at Lollapalooza, though only two of those things occurred during Rage Against the Machine's set.
The agit-rock icons capped off the festival's second day with an incendiary, pummeling display of power that proved that they're still at the top of their game — though it probably wasn't Zack de la Rocha's screeds or Tom Morello's fret-bending guitarwork that people were talking about after the set. Instead, it was the ugly turn the night took shortly after RATM began their set.
The reunited group opened with a trio of their bombastic best, including "Testify" and "Bulls on Parade," setting off multiple circle pits in the crowd and sending a stream of bodies — which appeared to be equally comprised of crowd-surfers and panicked fans trying to escape the crush — over the barricade in front of the stage. By the third song, there was a steady, at times frenzied, rush by hundreds of fanson the east side of the stage attempting to leave the area. The relentless fury of the music, combined with the sense of chaos in the crowd, made for some tense moments. Concertgoers trying to go up a set of cement steps were pushed backwards or blocked from exiting as a bull rush of male fans barreled down the steps, knocking people over like dominoes.
The crowd surge got so bad that De la Rocha stopped the show on three separate occasions, pleading with fans to take a step back to avoid crushing the audience members up front, then introducing fist-pumping songs such as "Bullet in the Head." At another point during the set, Lollapalooza's head of security conferred with the members of the band and their team at the front of the stage.
There was also at least one reported security breach of the venue's perimeter fence, according to both the Chicago Tribune and the Chicago Sun-Times, resulting in an unknown number of fans without tickets rushing into the park and reportedly injuring some security personnel in the process. Spokespeople for the festival could not be reached for comment at press time, and a Chicago Police Department spokesperson said that officials had not received calls for help from the festival, despite multiple reports that police on horseback had responded to the fence breach.
Chicago Fire Department spokesperson Larry Langford said that as of 12:30 a.m. Sunday (August 3) his department had not received any calls for assistance from the private firm handling emergency services for the festival; MTV News is attempting to reach that firm. It was unknown at press time how many injuries occurred during the show, but an MTV reporter near the front of the stage witnessed at least a dozen dazed, limping and panicked fans being escorted to the medical tent, including one who was taken out on a backboard.
(Check out our Friday Lollapalooza recap here.)
It was an ugly and unfortunate end to what had been an otherwise idyllic day in Grant Park. The weather cooperated (sunny and breezy, not nearly as brain-melting as had been advertised), and the musical moments shone bright. The Ting Tings bleeped and shimmied in the early afternoon sun, MGMT were their usual psychedelic selves, and Explosions in the Sky coaxed grandeur out of their guitar pedals. Tyke rockers the Tiny Masters of Today blasted away on the Kidzapalooza stage (even working a protest song, "Bushy," into their set), Sharon Jones and the Dap-Kings ground out an hour of pulse-quickening R&B, and Wilco jammed through a good-natured 90 minutes that took place at the same time all the Rage chaos was unfurling.
But the early part of Saturday belonged to Chicago's own Lupe Fiasco, who made a major statement on his third trip to Lollapalooza and emerged as a conquering hero, stepping way outside the shadow of mentor Kanye West, who closes Lolla on Sunday night. And he did it from the get-go.
Taking the stage to the theme from "Rocky" — performed by a fabulously funky nine-piece backing band that included bass, guitar, drums, DJ, three horns, backup singer, hype man and keyboard player - Lupe bobbed and weaved like a prize fighter but dressed like a futuristic Space Gentleman (in impeccable white and silver, down to his shining high-tops). He dropped to the floor to rip through some one-armed push-ups, sprang back to his feet, threw himself into an impressive backflip and welcomed the huge crowd to "Lupepalooza."
And he didn't let up from there. The band turned the normally lazy tempo of "Kick, Push" into an old '70s funk jam as Fiasco ran from one end of the stage to the other, stalking it with a super-sized confidence that surpassed the swagger he displayed at Lolla last year.
The ensemble was later augmented by a children's gospel choir, and during "Hip Hop Saved My Life," Fiasco copped a sly smile as he waved his hand in the air and thousands of converts followed suit. This was a man becoming, well, the man.
It was epic, it was grandiose, and it was all anyone could talk about ... until Rage, of course. Your move, Kanye.
By James Montgomery, Gil Kaufman and John Norris
CHICAGO — There were busted barricades, bruised bodies and backflips on Saturday at Lollapalooza, though only two of those things occurred during Rage Against the Machine's set.
The agit-rock icons capped off the festival's second day with an incendiary, pummeling display of power that proved that they're still at the top of their game — though it probably wasn't Zack de la Rocha's screeds or Tom Morello's fret-bending guitarwork that people were talking about after the set. Instead, it was the ugly turn the night took shortly after RATM began their set.
The reunited group opened with a trio of their bombastic best, including "Testify" and "Bulls on Parade," setting off multiple circle pits in the crowd and sending a stream of bodies — which appeared to be equally comprised of crowd-surfers and panicked fans trying to escape the crush — over the barricade in front of the stage. By the third song, there was a steady, at times frenzied, rush by hundreds of fanson the east side of the stage attempting to leave the area. The relentless fury of the music, combined with the sense of chaos in the crowd, made for some tense moments. Concertgoers trying to go up a set of cement steps were pushed backwards or blocked from exiting as a bull rush of male fans barreled down the steps, knocking people over like dominoes.
The crowd surge got so bad that De la Rocha stopped the show on three separate occasions, pleading with fans to take a step back to avoid crushing the audience members up front, then introducing fist-pumping songs such as "Bullet in the Head." At another point during the set, Lollapalooza's head of security conferred with the members of the band and their team at the front of the stage.
There was also at least one reported security breach of the venue's perimeter fence, according to both the Chicago Tribune and the Chicago Sun-Times, resulting in an unknown number of fans without tickets rushing into the park and reportedly injuring some security personnel in the process. Spokespeople for the festival could not be reached for comment at press time, and a Chicago Police Department spokesperson said that officials had not received calls for help from the festival, despite multiple reports that police on horseback had responded to the fence breach.
Chicago Fire Department spokesperson Larry Langford said that as of 12:30 a.m. Sunday (August 3) his department had not received any calls for assistance from the private firm handling emergency services for the festival; MTV News is attempting to reach that firm. It was unknown at press time how many injuries occurred during the show, but an MTV reporter near the front of the stage witnessed at least a dozen dazed, limping and panicked fans being escorted to the medical tent, including one who was taken out on a backboard.
(Check out our Friday Lollapalooza recap here.)
It was an ugly and unfortunate end to what had been an otherwise idyllic day in Grant Park. The weather cooperated (sunny and breezy, not nearly as brain-melting as had been advertised), and the musical moments shone bright. The Ting Tings bleeped and shimmied in the early afternoon sun, MGMT were their usual psychedelic selves, and Explosions in the Sky coaxed grandeur out of their guitar pedals. Tyke rockers the Tiny Masters of Today blasted away on the Kidzapalooza stage (even working a protest song, "Bushy," into their set), Sharon Jones and the Dap-Kings ground out an hour of pulse-quickening R&B, and Wilco jammed through a good-natured 90 minutes that took place at the same time all the Rage chaos was unfurling.
But the early part of Saturday belonged to Chicago's own Lupe Fiasco, who made a major statement on his third trip to Lollapalooza and emerged as a conquering hero, stepping way outside the shadow of mentor Kanye West, who closes Lolla on Sunday night. And he did it from the get-go.
Taking the stage to the theme from "Rocky" — performed by a fabulously funky nine-piece backing band that included bass, guitar, drums, DJ, three horns, backup singer, hype man and keyboard player - Lupe bobbed and weaved like a prize fighter but dressed like a futuristic Space Gentleman (in impeccable white and silver, down to his shining high-tops). He dropped to the floor to rip through some one-armed push-ups, sprang back to his feet, threw himself into an impressive backflip and welcomed the huge crowd to "Lupepalooza."
And he didn't let up from there. The band turned the normally lazy tempo of "Kick, Push" into an old '70s funk jam as Fiasco ran from one end of the stage to the other, stalking it with a super-sized confidence that surpassed the swagger he displayed at Lolla last year.
The ensemble was later augmented by a children's gospel choir, and during "Hip Hop Saved My Life," Fiasco copped a sly smile as he waved his hand in the air and thousands of converts followed suit. This was a man becoming, well, the man.
It was epic, it was grandiose, and it was all anyone could talk about ... until Rage, of course. Your move, Kanye.
Sabtu, 02 Agustus 2008
Radiohead Soothe Lollapalooza Crowd After Frenetic First Day Of CSS, Black Lips, Cool Kids
Brit rockers close Friday with a light show that feels like a digital rain shower.
By Gil Kaufman and John Norris
CHICAGO — There are basically two ways to close out the first night of Lollapalooza. You can blast off in a glowing, thumping spaceship like Daft Punk did last year, or you can get all moody and sedate like Interpol did.
Then there's Radiohead. The most anticipated act of the 2008 festival's maiden night, as usual, dug its own path, teasing the sold-out crowd of 75,000 with a mixture of pastoral ambiance and slashing guitars accompanied by a light show that felt like a digital rain shower conjured to replace the threatened storms that never materialized.
After a steamy day that yo-yoed from the Beatles-rave-up-inspired blitz of the Black Lips to Duffy's throwback Welsh Motown soul, CSS' Brazilian dance explosion, the Raconteurs' roach-clip rock, the tangled guitar excursions of Stephen Malkmus and Gogol Bordello's unhinged Gypsy punk, Radiohead's set was the perfect capper for a weary, glassy-eyed crowd who needed a bit of a soft landing.
Drawing from nearly every album in their catalog, Radiohead played a two-hour set underneath a forest of aluminum lighting tubes hanging down over their heads and flashing different LED patterns that morphed from a giant stereo equalizer during "All I Need" to a blizzard of radioactive green snowflakes for "The Gloaming."
Even if you couldn't actually see the waves of heat coming off the tightly packed crowd, which stretched as far as the eye could see, you could feel the intense warmth as you waded through it. And, at times, the band's sound approximated a kind of hothouse mirage, as wave pulses of sound on songs like the neo-Victorian "No Surprises" acted as a kind of audio brain massage for weary fans, many of whom spent the day searching for a nice shady spot to rest their thumping heads. But for every soothing track, there was a squall of feedback and a psychedelic test pattern of lights like the one that rained down during an encore of "Paranoid Android." As a cool, relieving breeze blew in unexpectedly during the closing tune, "Idioteque," you almost had to wonder if Thom Yorke and crew's timing was a bit too perfect, as he sang "ice age coming" and icy blue dots of light trickled down from the lighting rig.
The day started off with a man who is all about consciousness, education and nonviolence: Somali singer, MC and musician K'naan. Sporting a '70s-looking print shirt and vest and backed by a band of his countrymen, K'naan, while acknowledging he's not really an early morning person (it was before noon), offered a message of peace from a land that hasn't known a lot of it. He exhorted the ever-growing crowd, many of whom it seemed were discovering him for the first time to sing along with him: "When I get older, I will be stronger/ They'll call me freedom, just like a waving flag."
On the other hand, from the cerebral to the ... visceral. A half-hour and 50 yards away, on the AT&T stage, it was "And, do you really want to hold my dirty hands?" "Good morning!" said Jared Swilley, lead singer of Atlanta gutter flower punks the Black Lips, who ripped through an hour of songs that are as fun on the hundredth listen as the first: "Buried Alive," "O Katrina," "Bad Kids" and "Hippie Hippie Hooray."
CSS put on one of the most entertaining sets of all of Lolla day one. It was a full-on dance party, with silver balloons flying and singer Lovefoxx jumping rope with her mic cord in her Sao Paulo-meets-Björk getup festooned with flowers. The four women and two men in the band were joined by their dancer friend in Day-Glo for "Left Behind" and taught the audience a backward hand wave to go along with the song. Then came "Off The Hook," "Music Is My Hot Hot Sex" and "Rat Is Dead."
Hands in the air were called for further down the park too, as Chicago's own Cool Kids ripped through an hour of party-hearty hip hop. Watching the Windy City fellas on a stage with Lake Michigan in the background was quite a sight, as they played tunes from their new album, The Bake Sale, including "Black Mags" and the good-time rhymes of "Bassment Party." The Kids did their city proud and ended Friday on a good note as the giant amoeba of a crowd began its mass exodus toward the south stage to check out Radiohead.
By Gil Kaufman and John Norris
CHICAGO — There are basically two ways to close out the first night of Lollapalooza. You can blast off in a glowing, thumping spaceship like Daft Punk did last year, or you can get all moody and sedate like Interpol did.
Then there's Radiohead. The most anticipated act of the 2008 festival's maiden night, as usual, dug its own path, teasing the sold-out crowd of 75,000 with a mixture of pastoral ambiance and slashing guitars accompanied by a light show that felt like a digital rain shower conjured to replace the threatened storms that never materialized.
After a steamy day that yo-yoed from the Beatles-rave-up-inspired blitz of the Black Lips to Duffy's throwback Welsh Motown soul, CSS' Brazilian dance explosion, the Raconteurs' roach-clip rock, the tangled guitar excursions of Stephen Malkmus and Gogol Bordello's unhinged Gypsy punk, Radiohead's set was the perfect capper for a weary, glassy-eyed crowd who needed a bit of a soft landing.
Drawing from nearly every album in their catalog, Radiohead played a two-hour set underneath a forest of aluminum lighting tubes hanging down over their heads and flashing different LED patterns that morphed from a giant stereo equalizer during "All I Need" to a blizzard of radioactive green snowflakes for "The Gloaming."
Even if you couldn't actually see the waves of heat coming off the tightly packed crowd, which stretched as far as the eye could see, you could feel the intense warmth as you waded through it. And, at times, the band's sound approximated a kind of hothouse mirage, as wave pulses of sound on songs like the neo-Victorian "No Surprises" acted as a kind of audio brain massage for weary fans, many of whom spent the day searching for a nice shady spot to rest their thumping heads. But for every soothing track, there was a squall of feedback and a psychedelic test pattern of lights like the one that rained down during an encore of "Paranoid Android." As a cool, relieving breeze blew in unexpectedly during the closing tune, "Idioteque," you almost had to wonder if Thom Yorke and crew's timing was a bit too perfect, as he sang "ice age coming" and icy blue dots of light trickled down from the lighting rig.
The day started off with a man who is all about consciousness, education and nonviolence: Somali singer, MC and musician K'naan. Sporting a '70s-looking print shirt and vest and backed by a band of his countrymen, K'naan, while acknowledging he's not really an early morning person (it was before noon), offered a message of peace from a land that hasn't known a lot of it. He exhorted the ever-growing crowd, many of whom it seemed were discovering him for the first time to sing along with him: "When I get older, I will be stronger/ They'll call me freedom, just like a waving flag."
On the other hand, from the cerebral to the ... visceral. A half-hour and 50 yards away, on the AT&T stage, it was "And, do you really want to hold my dirty hands?" "Good morning!" said Jared Swilley, lead singer of Atlanta gutter flower punks the Black Lips, who ripped through an hour of songs that are as fun on the hundredth listen as the first: "Buried Alive," "O Katrina," "Bad Kids" and "Hippie Hippie Hooray."
CSS put on one of the most entertaining sets of all of Lolla day one. It was a full-on dance party, with silver balloons flying and singer Lovefoxx jumping rope with her mic cord in her Sao Paulo-meets-Björk getup festooned with flowers. The four women and two men in the band were joined by their dancer friend in Day-Glo for "Left Behind" and taught the audience a backward hand wave to go along with the song. Then came "Off The Hook," "Music Is My Hot Hot Sex" and "Rat Is Dead."
Hands in the air were called for further down the park too, as Chicago's own Cool Kids ripped through an hour of party-hearty hip hop. Watching the Windy City fellas on a stage with Lake Michigan in the background was quite a sight, as they played tunes from their new album, The Bake Sale, including "Black Mags" and the good-time rhymes of "Bassment Party." The Kids did their city proud and ended Friday on a good note as the giant amoeba of a crowd began its mass exodus toward the south stage to check out Radiohead.
The Titans: Melayang Lagi
Saat mendengarkan trek pertama album ini, langsung timbul prasangka kalo band ini berusaha memaksimalkan peran Imot di synthesizer. Ternyata dugaan itu benar. Imot memang lebih berperan. Membuat lagu-lagu di album ini jadi lebih berwarna dan punya karakter sendiri.
Ini penting. Mengingat The Titans bermain di jalur pasaran. Dengan sentuhan Imot, notasi yang sebenarnya nyaris senada dengan band pop lainnya jadi terasa beda. Lantas, bagaimana materinya?
Jujur aja nih, kok sepertinya lebih kuat album pertama, ya? Ada sih beberapa lagu yang menjanjikan. Menangis (Jauh Darimu) boleh dianggap salah satunya. Lantas, ada Dapatkah Waktu, Lepas Semua, dan Untukmu yang cenderung straight. Tapi, kurang menohok kayak hit album sebelumnya. (ryo)
Ini penting. Mengingat The Titans bermain di jalur pasaran. Dengan sentuhan Imot, notasi yang sebenarnya nyaris senada dengan band pop lainnya jadi terasa beda. Lantas, bagaimana materinya?
Jujur aja nih, kok sepertinya lebih kuat album pertama, ya? Ada sih beberapa lagu yang menjanjikan. Menangis (Jauh Darimu) boleh dianggap salah satunya. Lantas, ada Dapatkah Waktu, Lepas Semua, dan Untukmu yang cenderung straight. Tapi, kurang menohok kayak hit album sebelumnya. (ryo)
Bunga Citra Lestari: Tentang Kamu
Kalo dibanding dengan sampul album perdana BCL, sampul album ini terkesan murah. Kurang lux. Tapi, esensi dari album adalah musiknya. Jadi, lupain aja soal cover dan langsung mengulik musik.
Ternyata, BCL masih pintar dalam memilih lagu. Tentang Kamu bikinan Dewiq yang dijadikan gacoan masih mampu membuat pendengar terbius. Begitupun Kecewa, Aku dan Dirimu, dan Tak Mungkin. Semuanya adalah lagu balada yang potensial dicintai masyarakat Indonesia.
Tapi, lagu-lagu itu nggak cukup buat seorang BCL yang sempat bikin heboh lewat album perdana. Perlu ada sentuhan lainnya.
BCL pun sepertinya tahu. Makanya, dia mencoba untuk menyanyikan nomer swing di lagu Luillicious yang sebenernya rada gagal. Untung ada lagu Pernah Muda yang cukup unik. Sehingga BCL sukses menghadirkan sesuatu yang lumayan menyegarkan di abum in.
Worth to buy! Apalagi harganya cuma 30 ribu perak! (ryo)
Ternyata, BCL masih pintar dalam memilih lagu. Tentang Kamu bikinan Dewiq yang dijadikan gacoan masih mampu membuat pendengar terbius. Begitupun Kecewa, Aku dan Dirimu, dan Tak Mungkin. Semuanya adalah lagu balada yang potensial dicintai masyarakat Indonesia.
Tapi, lagu-lagu itu nggak cukup buat seorang BCL yang sempat bikin heboh lewat album perdana. Perlu ada sentuhan lainnya.
BCL pun sepertinya tahu. Makanya, dia mencoba untuk menyanyikan nomer swing di lagu Luillicious yang sebenernya rada gagal. Untung ada lagu Pernah Muda yang cukup unik. Sehingga BCL sukses menghadirkan sesuatu yang lumayan menyegarkan di abum in.
Worth to buy! Apalagi harganya cuma 30 ribu perak! (ryo)
Ahmad Dhani Mencari Penyanyi Rock-Ndut by KRISTIANTO PURNOMO
Ahmad Dhani, salah satu juri Kompetisi Sprite D’Plong Sensasi Rock’n’dut 2008 mengatakan, sulit mencari penyanyi yang mampu memadukan irama rock dan dangdut sekaligus sehingga kompetisi perdaduan rock dan dangdut merupakan sebuah tantangan untuk mencari penyanyi muda yang berbakat.
"Tak banyak yang bisa rock dan dangdut sekaligus. Dangdut hanya bisa dibawakan oleh orang yang benar-benar mampu menyanyi, apalagi ditambah dengan sentuhan rock pasti tidak akan mudah," katanya yang menggelar jumpa pers bersama Mulan Jamella, di Santika Hotel Cirebon, Sabtu sore.
Ia menilai, dangdut mempunyai tehnik yang lebih sulit dibandingkan menyanyi pop, sehingga banyak penyanyi yang beralasan tidak suka dangdut padahal sebenarnya mereka tidak mampu membawakannya.
Menurut Dhani, pada kompetisi Rock’n’dut tahun 2007 lalu sebenarnya banyak peserta yang berbakat yang jika dipoles lagi akan bisa menjadi penyanyi terkenal, namun karena ada dua juri selain dirinya akhirnya yang berbakat itu tidak lolos seleksi selanjutnya.
Terkait kurang dikenalnya finalis kompetisi Sprite D’Plong, Dani menjelaskan, sangat dimaklumi karena kompetisi itu hanya sekali ditayangkan di televisi saat Grand Final, sementara finalis ajang kompetisi lain yang ditayangkan hampir tiap hari juga banyak tidak langsung bisa menjadi bintang.
Ke depan, Dhani mengusulkan, agar tahun depan Sprite menjadi sponsor Republik Cinta Source Talent sehingga makin banyak potensi muda yang terjaring dan tidak terpaku pada kriteria rock dan dangdut. "Ini usulan saya pada manajemen supaya lebih banyak menjaring peserta," katanya.
Sementara Weitarsa Hendarto, Merketing Manager Flavor PT Coca-cola Indonesia, empat finalis tahun 2006 diberi kesempatan untuk membuat video klip dan dan album setelah sebelumnya dikarantina untuk menambah kemampuan vokal dan tari. "Abel Baraba pemenang Sprite D’Plong tahun 2007 pernah masuk di KDI dan di beberapa acara tevelisi, dan kita berharap mereka bisa terus mencari popularitas menjadi bintang," katanya yang hadir pada acar jumpa pers itu.
Terkait pengambilan kompetisi jenis rock dan dangdut, Wietarsa mengatakan, musik rock dan dangdut mencerminkan jiwa yang dinamis dan energik, apa adanya dan tanpa pura-pura, membuat diri bersemangat dan memberikan perasan plong. "Semua itu sejalan dengan spirit Sprite," katanya.
Sabtu malam ini bertempat di Lapangan Arhanudse Cirebon, enam orang semifinalis Kompetisi Sprite D’Plong Sensasi Rock’n’dut 2008 dari wilayah Jawa Barat akan berkompetisi untuk meraih juara pertama yang akan mewakili wilayah Jawa Barat dalam Grand Final yang akan diselenggarakan di Jakarta, akhir Agustus 2008.
Keenam finalis itu Reza (24) dan Dedi KP (22), semifinalis dari Cirebon, Haikal MH (25) dan Argi G (23) semifinalis dari Bandung, Shinta NW (28) dan Sendi (22) semifinalis Tasikmalaya.
Weitarsa mengungkapkan, persaingan tahun ini lebih ketat karena peserta audisi mencapai 3.200 orang yang berasal dari 18 kota di Jawa dan Sumatera, sementara tahun sebelumnya hanya 2.320 peserta dari 15 kota di Jawa dan Sumatera. (ANT)
"Tak banyak yang bisa rock dan dangdut sekaligus. Dangdut hanya bisa dibawakan oleh orang yang benar-benar mampu menyanyi, apalagi ditambah dengan sentuhan rock pasti tidak akan mudah," katanya yang menggelar jumpa pers bersama Mulan Jamella, di Santika Hotel Cirebon, Sabtu sore.
Ia menilai, dangdut mempunyai tehnik yang lebih sulit dibandingkan menyanyi pop, sehingga banyak penyanyi yang beralasan tidak suka dangdut padahal sebenarnya mereka tidak mampu membawakannya.
Menurut Dhani, pada kompetisi Rock’n’dut tahun 2007 lalu sebenarnya banyak peserta yang berbakat yang jika dipoles lagi akan bisa menjadi penyanyi terkenal, namun karena ada dua juri selain dirinya akhirnya yang berbakat itu tidak lolos seleksi selanjutnya.
Terkait kurang dikenalnya finalis kompetisi Sprite D’Plong, Dani menjelaskan, sangat dimaklumi karena kompetisi itu hanya sekali ditayangkan di televisi saat Grand Final, sementara finalis ajang kompetisi lain yang ditayangkan hampir tiap hari juga banyak tidak langsung bisa menjadi bintang.
Ke depan, Dhani mengusulkan, agar tahun depan Sprite menjadi sponsor Republik Cinta Source Talent sehingga makin banyak potensi muda yang terjaring dan tidak terpaku pada kriteria rock dan dangdut. "Ini usulan saya pada manajemen supaya lebih banyak menjaring peserta," katanya.
Sementara Weitarsa Hendarto, Merketing Manager Flavor PT Coca-cola Indonesia, empat finalis tahun 2006 diberi kesempatan untuk membuat video klip dan dan album setelah sebelumnya dikarantina untuk menambah kemampuan vokal dan tari. "Abel Baraba pemenang Sprite D’Plong tahun 2007 pernah masuk di KDI dan di beberapa acara tevelisi, dan kita berharap mereka bisa terus mencari popularitas menjadi bintang," katanya yang hadir pada acar jumpa pers itu.
Terkait pengambilan kompetisi jenis rock dan dangdut, Wietarsa mengatakan, musik rock dan dangdut mencerminkan jiwa yang dinamis dan energik, apa adanya dan tanpa pura-pura, membuat diri bersemangat dan memberikan perasan plong. "Semua itu sejalan dengan spirit Sprite," katanya.
Sabtu malam ini bertempat di Lapangan Arhanudse Cirebon, enam orang semifinalis Kompetisi Sprite D’Plong Sensasi Rock’n’dut 2008 dari wilayah Jawa Barat akan berkompetisi untuk meraih juara pertama yang akan mewakili wilayah Jawa Barat dalam Grand Final yang akan diselenggarakan di Jakarta, akhir Agustus 2008.
Keenam finalis itu Reza (24) dan Dedi KP (22), semifinalis dari Cirebon, Haikal MH (25) dan Argi G (23) semifinalis dari Bandung, Shinta NW (28) dan Sendi (22) semifinalis Tasikmalaya.
Weitarsa mengungkapkan, persaingan tahun ini lebih ketat karena peserta audisi mencapai 3.200 orang yang berasal dari 18 kota di Jawa dan Sumatera, sementara tahun sebelumnya hanya 2.320 peserta dari 15 kota di Jawa dan Sumatera. (ANT)
Sabtu, 26 Juli 2008
Soundrenaline Batam Antisipasi Badai Kiriman Cina
Jakarta Soundrenaline 2008 sampai ke Batam, tiket sudah terjual ribuan. Namun badai Elnino kiriman dari Cina diramalkan akan menghambat event terbesar di Batam yang akan berlangsung esok (27/7) itu.Informasi yang didapatkan detikhot dari beberapa media lokal Batam, hujan deras mengguyur kota Batam minggu ini. Puncaknya adalah kemarin (25/7) hingga menyebabkan banjir di beberapa ruas jalan di kota Batam.Mendengar akan datangnya hujan badai, panitia acara langsung sigap mengantisipasi jauh-jauh hari. Misalnya dengan milih tempat pegelaran dengan dataran tinggi di Stadion Tumenggung Abdul Jamal. Tak hanya itu di area acara telah disiapkan 50 tenda besar yang khusus diberangkatkan dari Jakarta."Tapi ya siapa yang bisa melawan alam, kalau hujan deras banget, terpaksa akan kita hentikan dulu sementara jalannya acara. Tapi kalau hujan rintik-rintik, masih berani lah kita," ujar Harry 'Koko' Santoso bos Deteksi saat berbincang dengan detikhot seusai konfrensi pers di Galaxy Ballroom Hotel Planet Hollyday, Pulau Batam, Sabtu (26/7/2008)Meski perkiraan cuaca buruk, 20 musisi papan atas tak gentar menghiburmasyarakat Batam. Kapasitas 250 ribu watt sound system dan 750 ribu watt pencahayaan akan mendukung penampilan Dewa, Ari Lasso, Ungu, Mulan Jameela, Samsons, Afgan dan lain-lain. Tidak hanya musisi dalam negeri yang tampil di Batam, grup band Dearest dari Kanada pun akan menggemparkan Batam.Soundrenaline 2008 batam akan dimulai esok dari pukul 11 siang hingga 11 malam. Selain hiburam musik dari musisi papan atas, mereka juga akan ditawarkan sejumlah permainan yang menguji adrenalin.Jadi tunggu apa lagi, keluarkan suaramu di Soundrenaline 2008 Batam 'Free Your Voice'. Jangan lupa bawa payung ya!(ebi/yla)
Andi '/rif' Mendadak Nyanyi Jazz
Jakarta Belasan tahun vokalis /rif, Andi, menyanyi rock. Namun kini ia jadi penyanyi jazz dadakan. Andi akan tampil dalam acara Urban Jazz Crossover bersama Glenn Fredly.Dalam acara yang digelar di Kamasutra, Crown Hotel Plaza, 26 Juli besok, ia akan menyanyikan dua buah lagu berirama jazz. Pertama adalah lagu /rif, Raja yang diubah aransemennya menjadi jazz. Sedangkan yang kedua, ia menyanyikan lagu 'Smells Like Teen Spirit' milik Nirvana dengan irama swing.Bagaimana rasanya menyanyi jazz? "Nggak seperti musik rock gue harus teriak-teriakan sampai kecapkean. Tahu gini, dari dulu gue nyanyi jazz aja ya, nggak usah capek-capek teriak di rock," aku Andy saat ditemui di acara Dji Sam Soe Urban Jazz Crossover di Kamasutra, Crown Hotel Plaza, Jakarta, Jumat (25/7/2008).Andi kini rupanya merasa nyaman menyanyi lagu selain rock. Apakah ia berminat pindah aliran musik?"Nggak lah itu cuma sambilan aja. Selain itu mau ngerasain nyanyi lagu jazz," pungkasnya.Selain Andi dan Glenn Fredly, Urban Jazz Crossover juga diramaikan Audy, Dj cream, dan Maliq & D'essentials.(ebi/eny)
Tour Preview : Nine Inch Nails Power Up the "light"
The Forum used to be the home arena of the Los Angeles Lakers, but last Saturday, it hosted a very different type of drama: 500 invited guests in a largely empty building got to see the dress rehearsal for Nine Inch Nails’ “Lights in the Sky” tour debuting tonight at the Pemberton Festival in British Columbia, and having its full opening show tomorrow in Seattle at the Key Arena. (Rock Daily will be live at both shows, so stay tuned for coverage).
Before the show, Trent Reznor came out in a gray hooded sweatshirt and addressed the crowd, explaining that they were trying out various material, so some parts of the show might not ultimately make it on tour, and that there might be some technical glitches: “Lots of things are going to happen that aren’t, let’s say, intentional.” He concluded, “I’m going to go backstage and throw up, and then I’ll see you guys.”
The two-hour show was astonishing, covering a wide range of Nine Inch Nails’ material, from “Head Like a Hole” through new songs from The Slip and instrumental pieces from Ghosts, which Reznor had never planned to play live. About a third of the way through the concert, Reznor deployed some video screens, but not to enlarge his face for the cheap seats: sometimes the band played in front of a desert backdrop, sometimes the screens responded to the music with colored bubbles (like Guitar Hero in reverse), sometimes the musicians vanished behind a wall of static.
“On stage, it’s very easy to tell when you lose people’s attention,” Reznor told RS later. “Generally at a rock show, the sound is not that great, and the guy next to me is an asshole and I have to pee and okay, that’s what these guys look like and that’s what’s going to happen for the next couple of hours. The world has gotten pretty lazy. It’s easy to go out and do a safe show that is all about guys just rocking. I say, ‘Fuck all that.’”
Check out the set list from the July 19 rehearsal below, which will probably change. As Reznor put it, “I think too much about this shit.”
Nine Inch Nails rehearsal setlist:“1,000,000″“Letting You”“Discipline”“March of the Pigs”“Head Down”“The Frail/The Wretched”“Closer”“Gave Up”“The Warning”“The Great Destroyer”“Ghosts 1″“Ghosts 25″“Ghosts 19″“Piggy”“Wish”“Terrible Lie”“Survivalism”“The Big Come Down”“Ghosts 31″“Only”“The Hand That Feeds”“Head Like A Hole”
Encore:“Echoplex”“The Beginning Of The End”“The Good Soldier”“Hurt”
Gavin Edwards
Before the show, Trent Reznor came out in a gray hooded sweatshirt and addressed the crowd, explaining that they were trying out various material, so some parts of the show might not ultimately make it on tour, and that there might be some technical glitches: “Lots of things are going to happen that aren’t, let’s say, intentional.” He concluded, “I’m going to go backstage and throw up, and then I’ll see you guys.”
The two-hour show was astonishing, covering a wide range of Nine Inch Nails’ material, from “Head Like a Hole” through new songs from The Slip and instrumental pieces from Ghosts, which Reznor had never planned to play live. About a third of the way through the concert, Reznor deployed some video screens, but not to enlarge his face for the cheap seats: sometimes the band played in front of a desert backdrop, sometimes the screens responded to the music with colored bubbles (like Guitar Hero in reverse), sometimes the musicians vanished behind a wall of static.
“On stage, it’s very easy to tell when you lose people’s attention,” Reznor told RS later. “Generally at a rock show, the sound is not that great, and the guy next to me is an asshole and I have to pee and okay, that’s what these guys look like and that’s what’s going to happen for the next couple of hours. The world has gotten pretty lazy. It’s easy to go out and do a safe show that is all about guys just rocking. I say, ‘Fuck all that.’”
Check out the set list from the July 19 rehearsal below, which will probably change. As Reznor put it, “I think too much about this shit.”
Nine Inch Nails rehearsal setlist:“1,000,000″“Letting You”“Discipline”“March of the Pigs”“Head Down”“The Frail/The Wretched”“Closer”“Gave Up”“The Warning”“The Great Destroyer”“Ghosts 1″“Ghosts 25″“Ghosts 19″“Piggy”“Wish”“Terrible Lie”“Survivalism”“The Big Come Down”“Ghosts 31″“Only”“The Hand That Feeds”“Head Like A Hole”
Encore:“Echoplex”“The Beginning Of The End”“The Good Soldier”“Hurt”
Gavin Edwards
Kid Rock Sentenced to Probation, Slayer Quits, and More!
By News Desk Russia To Outlaw Emo The term "emo" isn't exactly the most flattering thing to call someone, but Russia has taken things one step further. The Russian government is considering a law to outlaw emo, making it illegal to dress in goth clothing while in schools and government buildings. They also plan to heavily regulate emo websites. Legislators have said that emo is a negative influence and promotes anti-social behaviour and suicide. Slayer Calling It Quits? Is one of the most influential bands in metal about to hang up their guitar straps? Slayer frontman Tom Araya has hinted in an interview that the band's next album might just be their last. Slayer is currently writing material for said record, and will decide their future after that. Araya also added that old age and metal don't mix, and watching a 50-year old headbanging on stage makes him cringe. I'm sure metal fans out there beg to differ, so do keep your fingers crossed. Updates On Kele's AssaultA few days ago, we reported that Bloc Party frontman Kele Okereke accused Johnny Rotten of assaulting him, which the Sex Pistol man denied. However, other artists who were witnesses to the incident have come fprward to vouch for Okereke. Gruff Rhys of Super Furry Animals, and Neon Neon have both said that every thing Okereke said was true. Metallica Track List After an internet leak, Metallica has officially released the track listing of their upcoming album, and it certainly contains an interesting song. The album, Death Magnetic, will contain "The Unforgiven III." It follows 1991's "The Unforgiven" and 1998's "The Unforgiven II." This might be an indication that Metallica Is returning to their old sound. That should certainly be something to look for. Kid Rock Sentenced To A Year's ProbationKid Rock has been sentenced to one year's probation for his involvement in a fight at a Waffle House. The incident occurred last year when Kid Rock and his entourage were involved in a scuffle with a man who got into an argument with one of Rock's group. As part of his sentence, Kid Rock was fined $1000 and will have to undergo anger management therapy.
Minggu, 01 Juni 2008
Neurologist, choir explore music's healing power By KAREN MATTHEWS, Associated Press Writer
NEW YORK - Noted neurologist Oliver Sacks has found common ground with the pastor of Harlem's Abyssinian Baptist Church: Both men believe in the healing power of music.
Sacks, the best-selling author of "Awakenings" and "The Man Who Mistook His Wife for a Hat," shared the church stage Saturday with the famed gospel choir as part of the inaugural World Science Festival, a five-day celebration of science taking place in New York this week.
"It should be an exciting and unusual event," Sacks said in an interview this week. "I will talk about the therapeutic and beneficent power of music as a physician, and then their wonderful choir will perform. ... And the audience will make what they can of it."
Sacks' most recent book is "Musicophilia: Tales of Music and the Brain," which examines the relationship between music and the brain, including its healing effect on people suffering from such diseases as Tourette's syndrome, Parkinson's, autism and Alzheimer's.
"Even with advanced dementia, when powers of memory and language are lost, people will respond to music," he said.
A Baptist church is an unusual venue for Sacks, a professor of clinical neurology and clinical psychiatry at Columbia University Medical Center who was brought up Jewish but is not a religious believer.
But the central role of music in church makes Abyssinian a good place to discuss the myriad ways that music affects the human brain, said Sacks, who was played by Robin Williams in the movie version of "Awakenings."
Abyssinian's pastor, the Rev. Calvin O. Butts III, said the choir is looking forward to performing with Sacks. He noted that music plays a central role in the healing power of prayer.
"What we have been studying ... is that when you pray, there's actually a physiological change in the body," he said. "Music is very much a part of this. There are certain notes that generate in the human body a kind of peacefulness."
Abyssinian was founded by Ethiopian sea traders in 1808 and is celebrating its bicentennial. It is a popular destination for European tourists, who line up around the block in Harlem for Sunday services.
The event there is one of two Sacks is participating in during the World Science Festival. The other focuses on vision and the brain.
The festival was conceived by Columbia University physicist Brian Greene and his wife, Tracy Day, a broadcast journalist.
"Our intent is to help shift the public perception of science, so that people realize that science is as important as art, literature, film, theater," Greene said.
Panelists include Nobel laureates, as well as actors, dancers, philosophers and science journalists.
Greene said he hopes the festival will spread to other cities.
___
On the Net:
http://www.worldsciencefestival.com/
http://www.abyssinian.org
Sacks, the best-selling author of "Awakenings" and "The Man Who Mistook His Wife for a Hat," shared the church stage Saturday with the famed gospel choir as part of the inaugural World Science Festival, a five-day celebration of science taking place in New York this week.
"It should be an exciting and unusual event," Sacks said in an interview this week. "I will talk about the therapeutic and beneficent power of music as a physician, and then their wonderful choir will perform. ... And the audience will make what they can of it."
Sacks' most recent book is "Musicophilia: Tales of Music and the Brain," which examines the relationship between music and the brain, including its healing effect on people suffering from such diseases as Tourette's syndrome, Parkinson's, autism and Alzheimer's.
"Even with advanced dementia, when powers of memory and language are lost, people will respond to music," he said.
A Baptist church is an unusual venue for Sacks, a professor of clinical neurology and clinical psychiatry at Columbia University Medical Center who was brought up Jewish but is not a religious believer.
But the central role of music in church makes Abyssinian a good place to discuss the myriad ways that music affects the human brain, said Sacks, who was played by Robin Williams in the movie version of "Awakenings."
Abyssinian's pastor, the Rev. Calvin O. Butts III, said the choir is looking forward to performing with Sacks. He noted that music plays a central role in the healing power of prayer.
"What we have been studying ... is that when you pray, there's actually a physiological change in the body," he said. "Music is very much a part of this. There are certain notes that generate in the human body a kind of peacefulness."
Abyssinian was founded by Ethiopian sea traders in 1808 and is celebrating its bicentennial. It is a popular destination for European tourists, who line up around the block in Harlem for Sunday services.
The event there is one of two Sacks is participating in during the World Science Festival. The other focuses on vision and the brain.
The festival was conceived by Columbia University physicist Brian Greene and his wife, Tracy Day, a broadcast journalist.
"Our intent is to help shift the public perception of science, so that people realize that science is as important as art, literature, film, theater," Greene said.
Panelists include Nobel laureates, as well as actors, dancers, philosophers and science journalists.
Greene said he hopes the festival will spread to other cities.
___
On the Net:
http://www.worldsciencefestival.com/
http://www.abyssinian.org
Alternative band Seether accepts "Chopper Challenge" by By Kamau High
NEW YORK (Billboard) - Consider it the latest case of a band becoming a brand. When the producers of "Chopper Challenge" needed a brand to feature in an upcoming episode of the motorcycle-building reality show on CMT, they opted for a different approach from the cable and insurance companies they had already used.
Every week, the 10-episode prime-time series presents a different bike builder constructing a custom motorcycle that incorporates a brand into the vehicle design. Previous shows included the Incredible Hulk, insurance company Geico and Time Warner Cable's RoadRunner broadband service.
Now, Billboard has learned, "Chopper Challenge" will for the first time use a band as the featured brand. The band in question is South African post-grunge alternative act Seether.
The band's image and logo will appear on the June 4 episode's custom bike, and three of its songs will be played during the show. The finished Seether bike will be donated to a charity of the band's choosing. Band members will appear in the episode to chat about motorcycles.
Reuters/Billboard
Every week, the 10-episode prime-time series presents a different bike builder constructing a custom motorcycle that incorporates a brand into the vehicle design. Previous shows included the Incredible Hulk, insurance company Geico and Time Warner Cable's RoadRunner broadband service.
Now, Billboard has learned, "Chopper Challenge" will for the first time use a band as the featured brand. The band in question is South African post-grunge alternative act Seether.
The band's image and logo will appear on the June 4 episode's custom bike, and three of its songs will be played during the show. The finished Seether bike will be donated to a charity of the band's choosing. Band members will appear in the episode to chat about motorcycles.
Reuters/Billboard
Java Festival: Diramaikan Empat Band Nagri!
Siap-siap New Found Glory, Simple Plan, One Republic, Lost Prophets akan mampir ke Jakarta. Mereka akan tampil berbarengan, jack!
Empat band internasional itu akan tampil sebuah festival musik baru bertitel Java Festival yang dipromotori Java Muskindo. Kalo nggak ada halangan festival musik ini akan digelar tanggal 31 Juli-1 Agustus 2008 mendatang.
New Found Glory dan Simple Plan akan tampil di hari pertama. Sementara One Republic dan Lost Prophets akan main ditanggal 1 Agustus. Selain empat performance nagri,ada Andra and The Backbone dan Melanie Subono yang akan mendampingi. Masing-masing di hari pertama dan hari kedua.
Sejauh ini Java Festival udah lebih dari sekadar gosip. Pihak Java Musikindo melalui situs mereka, mengklaim baik band nagri ataupun band lokal udah menandatangani kontrak. Jadi mereka memang udah siap untuk tampil di Java Festival.
Tiketnya 650 ribu perak, per satu hari. Festivalnya sendiri rencananya akan dimulai pukul 18.30 dan berakhir pukul 23.00. Venue yang dipilih adalah Tennis Indoor Senayan, Jakarta. Siap-siap nabung, jack! (boim)
Empat band internasional itu akan tampil sebuah festival musik baru bertitel Java Festival yang dipromotori Java Muskindo. Kalo nggak ada halangan festival musik ini akan digelar tanggal 31 Juli-1 Agustus 2008 mendatang.
New Found Glory dan Simple Plan akan tampil di hari pertama. Sementara One Republic dan Lost Prophets akan main ditanggal 1 Agustus. Selain empat performance nagri,ada Andra and The Backbone dan Melanie Subono yang akan mendampingi. Masing-masing di hari pertama dan hari kedua.
Sejauh ini Java Festival udah lebih dari sekadar gosip. Pihak Java Musikindo melalui situs mereka, mengklaim baik band nagri ataupun band lokal udah menandatangani kontrak. Jadi mereka memang udah siap untuk tampil di Java Festival.
Tiketnya 650 ribu perak, per satu hari. Festivalnya sendiri rencananya akan dimulai pukul 18.30 dan berakhir pukul 23.00. Venue yang dipilih adalah Tennis Indoor Senayan, Jakarta. Siap-siap nabung, jack! (boim)
Seurieus mengeluarkan Serdadu Rock!
Album ke empat Seurieus akhirnya keluar. Itu pun diwarnai dengan perkelahian. Tapi isinya bisa bikin kita ketawa. Bingung kan?
Penggarapan album Serdadu Rock termasuk lama. Butuh waktu sekitar dua tahun untuk merampungkannya. Karena apa? Karena berantem, jack!
Bukan berantem secara fisik juga. Tapi lebih kepada brainstorming bagaimana musikalitas Seurieus di album ini. "Dulu sih, salah dikit, hajar aja. Sekarang nggak begitu lagi. Malah kebanyakan berantem," bilang Candil, vokalis berambut kribo palsu itu.
Pada album Serdadu Rock terdapat 12 lagu bervariasi. Nggak melulu rock. Dan menurut Seurieus, album ini lebih "berisi" ketimbang album sebelumnya. Beberapa lagunya akan membuat kita tertawa. Tapi sekaligus membuat kita berpikir mengenai dunia yang kita tinggali ini.
Mau bukti? Hayati aja singel Gelap Mata. Lagu ini mengusung balada romantis. Gimana seseorang begitu mencintai kekasih impiannya. Pokoknya akan menyadari apa arti cinta yang kita miliki. Siap! (reza)
Penggarapan album Serdadu Rock termasuk lama. Butuh waktu sekitar dua tahun untuk merampungkannya. Karena apa? Karena berantem, jack!
Bukan berantem secara fisik juga. Tapi lebih kepada brainstorming bagaimana musikalitas Seurieus di album ini. "Dulu sih, salah dikit, hajar aja. Sekarang nggak begitu lagi. Malah kebanyakan berantem," bilang Candil, vokalis berambut kribo palsu itu.
Pada album Serdadu Rock terdapat 12 lagu bervariasi. Nggak melulu rock. Dan menurut Seurieus, album ini lebih "berisi" ketimbang album sebelumnya. Beberapa lagunya akan membuat kita tertawa. Tapi sekaligus membuat kita berpikir mengenai dunia yang kita tinggali ini.
Mau bukti? Hayati aja singel Gelap Mata. Lagu ini mengusung balada romantis. Gimana seseorang begitu mencintai kekasih impiannya. Pokoknya akan menyadari apa arti cinta yang kita miliki. Siap! (reza)
Kamis, 22 Mei 2008
new metallica album
Lars Ulrich Talks New Metallica Album: 'It's More Like Some Of Our Earlier Records'
By Chris Harris
For well over a year, Metallica have been working on material for their yet-untitled ninth studio offering. And in all that time, the boys have managed to keep a lid on any information regarding the effort, which they've decided to work on with producer Rick Rubin (Red Hot Chili Peppers, Slayer), severing their ties to longtime producer Bob Rock.
On Thursday, Metallica's outspoken drummer Lars Ulrich spoke about the record, which the band expects to finish recording next week.
He said there will be "a couple of nips and tucks next week, and then we should be done with it — hopefully by Wednesday or Thursday." The album will be in stores "in mid-September, and literally, just yesterday, our graphic designer came down from San Francisco and showed us a few things. We should have an album title very, very soon, and all our songs — which are [currently] entitled 'German Soup,' '19,' '10' and 'Casper, Wyoming,' and whatever else they've been called over the last year — are going to get some real song titles attached to them."
However, Ulrich said the band probably won't be previewing the new material during its set next month at the 2008 Bonnaroo Music & Arts Festival in Manchester, Tennessee. The group also recently signed on for the one-day Ozzfest this summer.
After spending the past year in the studio honing the material, Metallica are about to enter album-promotion mode. "It's all just starting right now," he said. "We sort of promised ourselves that, unlike all the records we made in the '90s that were just completely f---ing stressed out and nutty, that we were going to try and have a little bit of a more sane environment. And surprisingly, mostly for ourselves, we've been able to keep that."
Ulrich said the band entered the studio with 26 songs written, and had to whittle that down to 14. In all likelihood, the record will feature 10 cuts, because "they haven't made a CD yet that can contain more than 80 minutes of music." He said most of the songs are epic in length — "they're long songs, maybe seven-, eight-, nine-minute, nutty-ass songs" — and are as diverse as the band's albums.
"It's definitely pretty all over the place: a lot of variation, a lot of fast, slow, melodic, hardcore, nutty, super-fast speed stuff," he said. "It's more like some of the earlier records, which were a little more dynamic within the songs. And on those records, there were a lot of long songs that were — without sounding too corny — journeys. You'd go here and then you'd go over here and then this, and then that would happen. It feels like kind of a lot of that stuff. It's difficult for me to sit down and brand it yet, because I'm still so close to it."
Ulrich said that the release of their next one would be followed in October with a full U.S. tour, but had no additional information about the run.
Aerosmith's Steven Tyler Checks Into Rehab Facility by Chris Harris
Aerosmith's Steven Tyler Checks Into Rehab Facility: Report
The 60-year-old Aerosmith frontman has reportedly entered the treatment center where Dr. Drew's "Celebrity Rehab" was staged.
Steven Tyler, the charismatic 60-year-old frontman for longtime Boston rockers Aerosmith and father of actress Liv Tyler, has reportedly checked himself into Las Encinas Hospital's drug rehabilitation clinic in Pasadena, California, according to TMZ.com. At press time, a spokesperson for the band could not be reached for comment.
The treatment center is where noted addiction medicine specialist and radio talk-show host Dr. Drew Pinsky practices. It also served as the stage for Pinsky's "Celebrity Rehab" reality series.
While the report wasn't specific, Tyler, who once said, "Four rehabilitation centers for drug abuse later, I've been able to take a long, hard look at my behavior," is said to be receiving treatment for substance abuse.
The news comes just two years after Tyler publicly revealed he'd been diagnosed with hepatitis C, a dangerous liver disease that claims 8,000 to 10,000 lives a year in the United States. Tyler claims he has since cleared the disease from his bloodstream, and while it's not known how he contracted it, users who inject illicit drugs can transmit the disease by sharing needles or other drug paraphernalia.
Of course, Tyler's no stranger to addiction. In the 1970s and early 1980s, "the Demon of Screamin' " was known for his drug and alcohol abuse both on- and offstage, which garnered him and lead guitarist Joe Perry the nickname "the Toxic Twins." Tyler successfully received treatment for his disease and was going on over 20 years of sobriety before this alleged setback.
dream theater: biography
The technically proficient guitar playing of John Petrucci elevated Dream Theater to the upper echelons of contemporary heavy metal. While its lineup has continuously evolved, the Long Island-based quintet has consistently delivered sharp-edged music. Dream Theater is known for its high-energy concert performances. While they've released several live albums -- Live at the Marquee, recorded at the London club; Live in Japan, recorded during the Music in Progress tour in 1993; and a triple CD and DVD, Live Scenes from New York -- they remain one of heavy metal's most bootlegged bands.
Originally named Majesty by Berklee College of Music students Petrucci, bassist John Myung, and drummer Mike Portnoy, the band soon expanded with the addition of keyboard player Kevin Moore and vocalist Chris Collins. Releasing an eight-tune demo, Majesty Demo, as Majesty, the group sold 1,000 copies within six months. The departure of Collins in late 1986 left Majesty without a vocalist, and after a long period of auditioning possible replacements, the group settled on Charlie Dominici in November 1987. Changing its name, the group agreed on "Dream Theater," inspired by a now-demolished California movie theater. Signing with Mechanic Records, the group began working on its first full-length album. Delays caused by label mismanagement limited the group to performing at small clubs and bars. Frustrated by its experiences with the label, Dream Theater finally severed its ties with Mechanic.
This was only one drastic change in the band's course of action. Firing Dominici, the group spent the next couple years searching for a vocalist. The search ended in late 1991 when a demo tape from Canadian vocalist James LaBrie, formerly of Winter Rose, arrived. After flying to New York to audition, LaBrie was invited to join the band. Signing with Atco Atlantic (which came to be known as East West), Dream Theater released its second album, Images & Words, in 1992. One of three videos based on songs from the album, "Pull Me Under," became an MTV hit. Although Theater showed considerable growth with their third studio album, Awake, recorded between May and July 1994, the group continued to be hampered by personnel changes. Before the album was mixed, keyboardist Moore left the group to focus on his solo career. Hired as a temporary replacement for the band's Waking Up the World tour, Derek Sherinian later became a permanent member. His first recording with Dream Theater was a 23-minute epic, "A Change of Seasons," written in 1989 and released in September 1995 on the album of the same name.
Following a mini tour, Fix for '96, the members of Dream Theater separated for several months and became involved with a variety of outside projects. Petrucci was the busiest. In addition to joining Portnoy and keyboard player Jordan Rudess in the Liquid Tension Experiment -- a group that included influential bassist/stick player Tony Levin -- Petrucci played guitar with Trent Gardner's Explorers Club and made a guest appearance on Shadow Gallery's Tyranny album. Myung and Sherinian collaborated with King's X vocalist Ty Tabor in the band Platypus. LaBrie worked with Mull Muzzler, a group formed with Matt Guillory and Mike Mangini.
Dream Theater experienced yet another change when Rudess was tapped to replace Sherinian, who had been fired in 1999. The band released the progressive rock-heavy Scenes from a Memory that year, a conceptual piece that followed the story of a 1928 murder of a young woman and how a modern man is haunted by the crime. It was followed by Live Scenes from New York in 2001, which suffered from an unintentional bout with controversy when its original cover featuring the city of New York in flames was pulled due to the events of September 11. The group continued in the progressive metal vein in 2002 with Six Degrees of Inner Turbulence, followed by the leaner Train of Thought in 2003 and Octavarium in 2005. The live album Score: XOX was released in 2006 and featured the band backed by a 29-piece orchestra. It was followed a year later by the new studio album Systematic Chaos.
Sherinian went on to record as a soloist and to play with a prog and jazz fusion band, Planet X. Petrucci released an eponymously titled solo album in 2003, featuring accompaniment by Dave LaRue of the Dixie Dregs and Boston-based drummer Dave DeCenso. ~ Craig Harris, All Music Guide
nirvana: full biography
Prior to Nirvana, alternative music was consigned to specialty sections of record stores, and major labels considered it to be, at the very most, a tax write-off. After the band's second album, 1991's Nevermind, nothing was ever quite the same, for better and for worse. Nirvana popularized punk, post-punk, and indie rock, unintentionally bringing it into the American mainstream like no other band to date. While their sound was equal parts Black Sabbath (as learned by fellow Washington underground rockers the Melvins) and Cheap Trick, Nirvana's aesthetics were strictly indie rock. They covered Vaselines songs, they revived new wave cuts by Devo, and leader Kurt Cobain relentlessly pushed his favorite bands -- whether it was the art punk of the Raincoats or the country-fried hardcore of the Meat Puppets -- as if his favorite records were always more important than his own music. While Nirvana's ideology was indie rock and their melodies were pop, the sonic rush of their records and live shows merged the post-industrial white noise with heavy metal grind. And that's what made the group an unprecedented multi-platinum sensation. Jane's Addiction and Soundgarden may have proven to the vast American heavy metal audience that alternative could rock, and the Pixies may have merged pop sensibilities with indie rock white noise, but Nirvana pulled at all together, creating a sound that was both fiery and melodic. Since Nirvana was rooted in the indie aesthetic but loved pop music, they fought their stardom while courting it, becoming some of the most notorious anti-rock stars in history. The result was a conscious attempt to shed their audience with the abrasive In Utero, which only partially fulfilled the band's goal. But by that point, the fate of the band and Kurt Cobain had been sealed. Suffering from drug addiction and manic depression, Cobain had become destructive and suicidal, though his management and label were able to hide the extent of his problems from the public until April 8, 1994, when he was found dead of a self-inflicted shotgun wound. Cobain may not have been able to weather Nirvana's success, but the band's legacy stands as one of the most influential in rock & roll history.
Kurt Cobain (vocals, guitar) met Chris Novoselic (born Krist Novoselic) (bass) in 1985 in Aberdeen, WA, a small logging town 100 miles away from Seattle. While Novoselic came from a relatively stable background, Cobain's childhood had been thrown into turmoil when his parents divorced when he was eight. Following the divorce, he lived at the homes of various relatives, developing a love for the Beatles and then heavy metal in the process. Eventually, American hardcore punk worked its way into dominating his listening habits and he met the Melvins, an Olympia-based underground heavy punk band. Cobain began playing in punk bands like Fecal Matter, often with the Melvins' bassist Dale Crover. Through the Melvins' leader Buzz Osborne, Cobain met Novoselic, who also had an intense interest in punk, which meant that he, like Cobain, felt alienated from the macho, redneck population of Aberdeen. The duo decided to form a band called the Stiff Woodies, with Cobain on drums, Novoselic on bass, and a rotating cast of guitarists and vocalists. The group went through name changes as quickly as guitarists, before deciding that Cobain would play guitar and sing. Renamed Skid Row, the new trio featured drummer Aaron Burkhart, who left the band by the end of 1986 and was replaced by Chad Channing. By 1987, the band was called Nirvana.
Nirvana began playing parties in Olympia, gaining a cult following. During 1987, the band made ten demos with producer Jack Endino, who played the recordings to Jonathan Poneman, one of the founders of the Seattle-based indie label Sub Pop. Poneman signed Nirvana, and in December of 1988, the band released their first single, a cover of Shocking Blue's "Love Buzz." Sub Pop orchestrated an effective marketing scheme, which painted the band as backwoods, logging-town hicks, which irritated Cobain and Novoselic. While "Love Buzz" was fairly well-received, the band's debut album, Bleach, was what began the ball rolling. Recorded for just over 600 dollars and released in the spring of 1989, Bleach slowly became a hit on college radio, due to the group's consistent touring. Though Jason Everman was credited as a second guitarist on the sleeve of Bleach, he didn't appear on the record; he only toured in support of the album before leaving the band at the end of the year to join Soundgarden and then Mindfunk. Bleach sold 35,000 copies and Nirvana became favorites of college radio, the British weekly music press, and Sonic Youth, Mudhoney, and Dinosaur Jr., which was enough to attract the attention of major labels.
During the summer, Nirvana released "Sliver"/"Dive," which was recorded with Mudhoney's Dan Peters on drums and produced by Butch Vig. The band also made a six-song demo with Vig, which was shopped to major labels, who soon began competing to sign the group. By the end of the summer, Dave Grohl, formerly of the D.C.-based hardcore band Scream, had become Nirvana's drummer and the band signed with DGC for $287,000. Nirvana recorded their second album with Vig, completing the record in the summer. Following a European tour supporting Sonic Youth in the late summer, Nevermind was released in September, supported by a quick American tour. While DGC was expecting a moderately successful release, in the neighborhood of 100,000 copies, Nevermind immediately became a smash hit, quickly selling out its initial shipment of 50,000 copies and creating a shortage across America. What helped the record become a success was "Smells Like Teen Spirit," a blistering four-chord rocker that was accompanied by a video that shot into heavy MTV rotation. By the beginning of 1992, "Smells Like Teen Spirit" had climbed into the American Top Ten and Nevermind bumped Michael Jackson's much-touted comeback album Dangerous off the top of the album charts; it reached the British Top Ten shortly afterward. By February, the album had been certified triple platinum.
Nirvana's success took the music industry by surprise, Nirvana included. It soon become apparent that the band wasn't quite sure how to handle their success. Around the time of Nevermind's release, the band was into baiting their audience -- Cobain appeared on MTV's Headbanger's Ball in drag, the group mocked the tradition of miming on the BBC's Top of the Pops by Novoselic constantly throwing his bass into the air and Cobain singing his live vocals in the style of Ian Curtis, and their traditional live destruction of instruments was immortalized on a Saturday Night Live performance that ended with Novoselic and Grohl sharing a kiss -- but by the spring, questions had begun to arise about the band's stability. Cobain married Courtney Love, the leader of the indie rock/foxcore band Hole, in February of 1992, announcing that the couple was expecting a child in the fall. Shortly after the marriage, rumors that the couple were heavy heroin users began to circulate and the strength of the rumors only increased when Nirvana canceled several summer concerts and refused to mount a full-scale American tour during the summer. Cobain complained that he was suffering from chronic stomach troubles, which seemed to be confirmed when he was admitted to a Belfast hospital after a June concert. But, heroin rumors continued to surface, especially in the form of a late-summer Vanity Fair article which implied that Love was using during her pregnancy. Both Love and Cobain denied the article's allegations, and publicly harassed and threatened the article's author. Love delivered Frances Bean Cobain, a healthy baby girl, on August 18, 1992, but the couple soon battled with Los Angeles' children's services, who claimed they were unfit parents on the basis of the Vanity Fair article. The couple was granted custody of their child by the beginning of 1993.
Since Cobain was going through such well-documented personal problems, Nirvana was unable to record a follow-up to Nevermind until the spring of 1993. In the meantime, DGC released the odds-and-ends compilation Incesticide late in 1992; the album reached number 39 in the U.S. and number 14 U.K. As the group prepared to make their third album, they released "Oh, the Guilt" as a split-single with the Jesus Lizard on Touch & Go Records. Choosing Steve Albini (Pixies, the Breeders, Big Black, the Jesus Lizard) as their producer, Nirvana recorded their third album, In Utero, in two weeks during the spring of 1993. Following its completion, controversy began to surround Nirvana again. Cobain suffered a heroin overdose on May 2, but the event was hidden from the press. The following month, Love called police to their Seattle home after Cobain locked himself in the bathroom, threatening suicide. Prior to debuting In Utero material during the New Music Seminar at New York's Roseland Ballroom in July, Cobain had another covered-up overdose. By that time, reports began to circulate, including an article in Newsweek, that DGC was unhappy with the forthcoming album, accusing that the band deliberately made an uncommercial record. Both the band and the label denied such allegations. Deciding that Albini's production was too flat, Nirvana decided to remaster the album with R.E.M.'s producer, Scott Litt.
In Utero was released in September of 1993 to positive reviews and strong initial sales, debuting at the top of the U.S. and U.K. charts. Nirvana supported it with a fall American tour, hiring former Germs member Pat Smear as an auxiliary guitarist. While the album and the tour were both successful, sales weren't quite as strong as expected, with several shows not selling out until the week of the concert. As a result, the group agreed to play MTV's acoustic Unplugged show at the end of the year, and sales of In Utero picked up after its December airing. After wrapping up the U.S. tour on January 8, 1994, with a show at Center Arena in Seattle, Nirvana embarked on a European tour in February. Following a concert in Munich on February 29, Cobain stayed in Rome to vacation with Love. On March 4, she awakened to find that Cobain had attempted suicide by overdosing on the tranquilizer Rohypnol and drinking champagne. While the attempt was initially reported as an accidental overdose, it was known within the Nirvana camp that the vocalist had left behind a suicide note.
Cobain returned to Seattle within a week of his hospitalization and his mental illness began to grow. On March 18, the police had to again talk the singer out of suicide after he locked himself in a room threatening to kill himself. Love and Nirvana's management organized an intervention program that resulted in Cobain's admission to the Exodus Recovery Center in L.A. on March 30, but he escaped from the clinic on April 1, returning to Seattle. His mother filed a missing persons report on April 4. The following day, Cobain shot himself in the head at his Seattle home. His body wasn't discovered until April 8, when an electrician contracted to install an alarm system at the Cobain house stumbled upon the body. After his death, Kurt Cobain was quickly anointed as a spokesman for Generation X, as well as a symbol of its tortured angst.
Novoselic and Grohl planned to release a double-disc live album at the end of 1994, but sorting through the tapes proved to be too painful, so MTV Unplugged in New York appeared in its place. The album debuted at the top of the British and American charts, as a home video comprised of live performances and interviews from the band's Nevermind-era, titled Live! Tonight! Sold Out!, was issued at the same time (the project began prior to Cobain's passing and was completed by surviving bandmembers).
In 1996, its electric counterpart, From the Muddy Banks of the Wishkah, was released, debuting at the top of the U.S. charts. Following Cobain's death, Grohl formed the Foo Fighters (early rumors that Novoselic would also be a member of the band ultimately proved to be false) -- releasing their self-titled debut album in 1995, followed by The Colour and the Shape in 1997 and There Is Nothing Left to Lose in 1999. Novoselic formed the trio Sweet 75, releasing their debut in the spring of 1997, and also appeared along with former Dead Kennedys' frontman Jello Biafra and former Soundgarden guitarist Kim Thayil on the 2000 live set Live From the Battle in Seattle under the name the No W.T.O. Combo.
By the late '90s, research began by Novoselic for a proposed box set of previously unreleased songs from throughout Nirvana's career. The project was supposed to surface in the fall of 2001 (to coincide with the tenth anniversary release of Nevermind), but legal problems began to surface. In 1997, Grohl and Novoselic formed the Nirvana L.L.C. partnership with Courtney Love (who manages Cobain's estate) -- a company that required a unanimous vote by all three regarding future albums, photos, and anything else Nirvana-related. When all three couldn't agree on the songs to be included on the box set, the matter was taken to court as Love attempted to dissolve the partnership. The project was ultimately shelved indefinitely as any legal decision was tied up in court. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide
blind melon: full biography
Whereas most up and coming alternative bands of the early '90s borrowed from the leaders of the pack (Nirvana, Soundgarden, Nine Inch Nails, etc.), Blind Melon was an exception to the rule -- their roots lay in classic rock (Lynyrd Skynyrd, Grateful Dead, Led Zeppelin). And while a promising career lay ahead of them, tragedy would ultimately end the band abruptly. The group came together in 1989 in Los Angeles, although all their respective members had migrated there from other U.S. locales (singer Shannon Hoon from Indiana; guitarist Christopher Thorn from Pennsylvania; and guitarist Rogers Stevens, bassist Brad Smith, and drummer Glen Graham all hailed from Mississippi). The complete opposite of all the glossed up glam metal that was permeating the Sunset Strip at the time, the quintet used a refreshing back-to-basics approach, both musically and visually (giving off a heavy retro vibe early on). The band considered several names -- Brown Cow, Mud Bird, Naked Pilgrims, and Head Train -- before agreeing on Blind Melon, a phrase that Smith's father would use to describe a couple of hippie neighbors from back home in Mississippi.
With their lineup and name solidified, Capitol Records became interested solely on the strength of a four-song demo, titled The Goodfoot Workshop. Although the band only had a limited repertoire of songs at the time, they managed to convince Capitol that they had a healthy backlog of compositions, and were signed in 1991. The band set out shortly thereafter to work on an EP, produced by longtime Neil Young producer David Briggs and titled The Sippin' Time Sessions. But when the end results came out surprisingly slick and doctored, the project was shelved. Hoon, in the meantime, became re-acquainted with an old friend of his sister's from back home in Indiana, Guns N' Roses' frontman Axl Rose, who invited Hoon to sing backup on several tracks for Guns N' Roses' Use Your Illusion set. Hoon lent his vocal talents to several tracks, the best-known being the ballad "Don't Cry," even appearing along with G N' R in the song's epic video. Doubled with a high-profile appearance on MTV's 120 Minutes Tour in the spring of 1992 (along with Live, Big Audio Dynamite, and Public Image Limited), a buzz began to emerge regarding Blind Melon. The only problem was, they still didn't have an album in the racks.
The band had gone back into the studio earlier in the year with Temple of the Dog/Pearl Jam producer Rick Parashar, and although the sessions were completed by springtime, their self-titled debut didn't see the light of day until September 1992, by which time their springtime industry buzz had long since dissipated. For the remainder of the year and the early part of 1993, the quintet toured U.S. clubs nonstop (as well as landing arena opening slots for their pals Guns N' Roses). Although several videos/singles came and went without much MTV/radio fanfare, the Samuel Bayer-directed clip for their upbeat ditty "No Rain" (in which Blind Melon's album cover that included an old picture of Graham's sister dressed in a bumble bee-like outfit, came to life) became a smash and catapulted the single and the album to the top of the charts (Blind Melon would eventually go platinum four times over).
Blind Melon spent the remainder of 1993 on the road opening for Neil Young and Lenny Kravitz, before embarking on their own headlining tour of theaters in 1994 (during which time they were nominated for a pair of Grammy awards, for Best New Artist and Best Rock Performance). But it was during this time that drug use spiraled out of control for Hoon, and the band was forced to pull the plug on the remainder of the tour as Hoon sought treatment. Blind Melon managed to play a few more shows later in the year -- handing in a memorable appearance at Woodstock '94, and opening up for the Rolling Stones on select dates in September. Recording sessions began in the fall of 1994 for their sophomore effort in New Orleans, with renowned producer Andy Wallace behind the boards.
The sessions were productive but not without some turbulence -- Hoon was still indulging in substances, leading to an arrest for drunkenly fighting with an off-duty policeman (Hoon would later admit that he had no memory of most of the recording sessions). Once the album was completed in the spring of 1995, Hoon checked himself into another rehab facility at the insistence of his bandmates, which pushed the release date of the album, titled Soup, to late summer. A month before the album appeared in August, Hoon's girlfriend gave birth to the couple's first child, which Hoon said in interviews had given him a new lease on life and a reason to straighten out once and for all. The dark and challenging Soup was a true diamond in the rough, but when it was finally released, the album was savagely bashed by fickle critics everywhere, which in turn led to a cool reception by the record-buying public (peaking at number 28 on the Billboard album charts).
Concerned but anxious to get back on tour, the band hit the road once again. Drug counselors at the facility that Hoon had been admitted to warned the band's management that Hoon wasn't ready for the temptations of the road just yet. But Hoon convinced everyone that he was and a drug counselor/caretaker was hired to accompany him. After a month and a half of dates, the counselor was sent packing and Hoon returned back to his dangerous ways. Just a few days later, on October 21, Hoon was found dead on Blind Melon's tour bus from an apparent drug overdose, at the age of 28.
Blind Melon took an extended break to try and pick up the pieces and decide what they would do next. During the interim, the bandmembers finished off some rough tracks Hoon had completed his vocal parts for, resulting in the release of Nico in November of 1996 (the album was named after Hoon's infant daughter, with a portion of the proceeds being donated to Musicians Assistants Program (MAP), an organization that helps artists recover from drug and alcohol addiction). In conjunction with the album's release came the home video Letters From a Porcupine, which chronicled Blind Melon's history via interviews and live performances (the video was nominated for a Grammy Award in 1998 for Best Long Form Music Video).
Blind Melon decided to carry on under a different name and with a new singer -- placing ads in music papers and auditioning several prospective frontmen. But it didn't click, and after an attempt at having Smith double as the lead signer in addition to his bass playing duties, the band ultimately decided to go their separate ways. Stevens formed the New York-based band Extra Virgin with singer Rene Lopez (one of the vocalists who had recently tried out for Blind Melon), who issued the album Twelve Stories High in 1999, while Smith and Thorn formed Unified Theory with singer Chris Shinn -- signing with Universal and issuing a self-titled release in 2000. In addition, Thorn has produced other artists (Amy Correia, Zen Mafia, Gus, Jonny Kaplan) and played guitar on Live's 1999 release The Distance to Here. 2001 saw the release of Smith's solo debut (under the alias Abandon Jalopy), titled Mercy, an album he began writing and recording shortly after Hoon's death (several tracks are about his late bandmate). Later the same year, Blind Melon was featured on an episode of VH1's popular Behind the Music series, and Letters From a Porcupine was reissued as a DVD. The Classic Masters retrospective appeared in 2002, but 2005's Best of Blind Melon was more in-depth, offering previously unreleased live material, songs culled from soundtracks, and a bonus DVD of music videos and more live material. ~ Greg Prato, All Music Guide
guns n' roses: biography
At a time when pop was dominated by dance music and pop-metal, Guns N' Roses brought raw, ugly rock & roll crashing back into the charts. They were not nice boys; nice boys don't play rock & roll. They were ugly, misogynist, and violent; they were also funny, vulnerable, and occasionally sensitive, as their breakthrough hit, "Sweet Child O' Mine," showed. While Slash and Izzy Stradlin ferociously spit out dueling guitar riffs worthy of Aerosmith or the Stones, Axl Rose screeched out his tales of sex, drugs, and apathy in the big city. Meanwhile, bassist Duff McKagan and drummer Steven Adler were a limber rhythm section who kept the music loose and powerful. Guns N' Roses' music was basic and gritty, with a solid hard, bluesy base; they were dark, sleazy, dirty, and honest -- everything that good hard rock and heavy metal should be. There was something refreshing about a band who could provoke everything from devotion to hatred, especially since both sides were equally right. There hadn't been a hard rock band this raw or talented in years, and they were given added weight by Rose's primal rage, the sound of confused, frustrated white trash vying for his piece of the pie. As the '80s became the '90s, there simply wasn't a more interesting band around, but owing to intra-band friction and the emergence of alternative rock, Rose's supporting cast gradually disintegrated, as he spent years in seclusion.
Guns N' Roses released their first EP in 1986, which led to a contract with Geffen; the following year, the band released their debut album, Appetite for Destruction. They started to build a following with their numerous live shows, but the album didn't start selling until almost a year later, when MTV started playing "Sweet Child O' Mine." Soon, both the album and single shot to number one, and Guns N' Roses became one of the biggest bands in the world. Their debut single, "Welcome to the Jungle," was re-released and shot into the Top Ten, and "Paradise City" followed in its footsteps. By the end of 1988, they released G N' R Lies, which paired four new, acoustic-based songs (including the Top Five hit "Patience") with their first EP. G N' R Lies' inflammatory closer, "One in a Million," sparked intense controversy, as Rose slipped into misogyny, bigotry, and pure violence; essentially, he somehow managed to distill every form of prejudice and hatred into one five-minute tune.
Guns N' Roses began work on the long-awaited follow-up to Appetite for Destruction at the end of 1990. In October of that year, the band fired Adler, claiming that his drug dependency caused him to play poorly; he was replaced by Matt Sorum from the Cult. During recording, the band added Dizzy Reed on keyboards. By the time the sessions were finished, the new album had become two new albums. After being delayed for nearly a year, the albums Use Your Illusion I and Use Your Illusion II were released in September 1991. Messy but fascinating, the albums showcased a more ambitious band; while there were still a fair number of full-throttle guitar rockers, there were stabs at Elton John-style balladry, acoustic blues, horn sections, female backup singers, ten-minute art rock epics with several different sections, and a good number of introspective, soul-searching lyrics. In short, they were now making art; amazingly, they were successful at it. The albums sold very well initially, but while they had seemed destined to set the pace for the decade to come, that turned out not to be the case at all.
Nirvana's Nevermind hit number one in early 1992, suddenly making Guns N' Roses -- with all of their pretensions, impressionistic videos, models, and rock star excesses -- seem very uncool. Rose handled the change by becoming a dictator, or at least a petty tyrant; his in-concert temper tantrums became legendary, even going so far as to incite a riot in Montreal. Stradlin left by the end of 1991, and with his departure the band lost their best songwriter; he was replaced by ex-Kills for Thrills guitarist Gilby Clarke. The band didn't fully grasp the shift in hard rock until 1993, when they released an album of punk covers, The Spaghetti Incident?; it received some good reviews, but the band failed to capture the reckless spirit of not only the original versions, but their own Appetite for Destruction. By the middle of 1994, there were rumors flying that the band was about to break up, since Rose wanted to pursue a new, more industrial direction and Slash wanted to stick with their blues-inflected hard rock. The band remained in limbo for several more years, and Slash resurfaced in 1995 with the side project Slash's Snakepit and an LP, It's Five O'Clock Somewhere.
Rose remained out of the spotlight, becoming a virtual recluse and doing nothing but tinkering in the studio; he also recruited various musicians -- including Dave Navarro, Tommy Stinson, and ex-Nine Inch Nails guitarist Robin Finck -- for informal jam sessions. Remaining members were infuriated by Rose's inclusion of childhood friend Paul Huge in the new sessions when both Stradlin and Clarke were excluded from rejoining the band. And a remake of the Rolling Stones' "Sympathy for the Devil" was essentially the straw that broke the camel's back, as Rose cut out some of the other member's contributions and pasted Huge over the song without consulting anyone else. By 1996, Slash was officially out of Guns N' Roses, leaving Rose the lone remaining survivor from the group's heyday; rumors continued to swirl, and still no new material was forthcoming, though Rose did re-record Appetite for Destruction with a new lineup for rehearsal purposes. The first new original GNR song in eight years, the industrial metal sludge of "Oh My God" finally appeared on the soundtrack to the 1999 Arnold Schwarzenegger film End of Days. Soon after, Geffen issued the two-disc Live Era: '87-'93.
2000 brought the addition of guitarists Robin Finck (of Nine Inch Nails) and Buckethead. 2001 was greeted with Guns N' Roses' first live dates in nearly seven years, as the band (who consisted of Rose plus guitarists Finck, Buckethead, bassist Stinson, former Primus drummer Brian "Brain" Mantia, childhood friend and guitarist Paul Huge, and longtime GNR keyboardist Dizzy Reed) played a show on New Years Eve 2000 in Las Vegas, playing as well at the mammoth Rock in Rio festival the following month. On New Years Eve 2001, the band played almost the exact same set as the year before.
An appearance at MTV's 2002 Video Music Awards helped garner interest in the new lineup, but a rusty performance from Rose and an interview where he said his new album wasn't coming out anytime soon didn't do much to further their cause. That summer, the band started on their first tour in almost eight years, and they managed to fulfill all of their commitments in Europe and Asia. Sadly, they caused a violent and destructive riot in Vancouver when Rose failed to show up for the first date of their North American tour. While he was up to his old shenanigans with the retooled lineup, former Stone Temple Pilots vocalist Scott Weiland, Slash, Sorum, and McKagan formed the successful Velvet Revolver in spring 2002.
And so years passed and still no new GNR album, to the point where it became a joke to many. The album was long billed as Chinese Democracy, and occasionally session recordings would leak and make their way onto Internet file-sharing networks. A fascinating article written by Jeff Leeds for The New York Times, published March 2005, revealed how tangled and costly the making of the album had become. According to the article, titled "The Most Expensive Album Never Released," Rose began work on the album in 1994 and racked up production costs of at least 13 million dollars. Producers involved with the album at one time or another include Mike Clink, Youth, Sean Beavan, and even Roy Thomas Baker. (Curiously, Moby claimed to have been offered the job as well.) Marco Beltrami and Paul Buckmaster were allegedly brought in for orchestral arrangements, and there was a revolving door of guitarists. In 2006, the album seemed closer to release, as Rose began surfacing in public and even took his band on the road for some shows. ~ Stephen Thomas Erlewine & Greg Prato, All Music Guide
queen: full biography
Few bands embodied the pure excess of the '70s like Queen. Embracing the exaggerated pomp of prog rock and heavy metal, as well as vaudevillian music hall, the British quartet delved deeply into camp and bombast, creating a huge, mock-operatic sound with layered guitars and overdubbed vocals. Queen's music was a bizarre yet highly accessible fusion of the macho and the fey. For years, their albums boasted the motto "no synthesizers were used on this record," signaling their allegiance with the legions of post-Led Zeppelin hard rock bands. But vocalist Freddie Mercury brought an extravagant sense of camp to the band, pushing them toward kitschy humor and pseudo-classical arrangements, as epitomized on their best-known song, "Bohemian Rhapsody." Mercury, it must be said, was a flamboyant bisexual who managed to keep his sexuality in the closet until his death from AIDS in 1991. Nevertheless, his sexuality was apparent throughout Queen's music, from their very name to their veiled lyrics -- it was truly bizarre to hear gay anthems like "We Are the Champions" turn into celebrations of sports victories. That would have been impossible without Mercury, one of the most dynamic and charismatic frontmen in rock history. Through his legendary theatrical performances, Queen became one of the most popular bands in the world in the mid-'70s; in England, they remained second only to the Beatles in popularity and collectibility in the '90s. Despite their enormous popularity, Queen was never taken seriously by rock critics -- an infamous Rolling Stone review labeled their 1979 album Jazz as "fascist." In spite of such harsh criticism, the band's popularity rarely waned; even in the late '80s, the group retained a fanatical following except in America. In the States, their popularity peaked in the early '80s, just as they finished nearly a decade's worth of extraordinarily popular records. And while those records were never praised, they sold in enormous numbers, and traces of Queen's music could be heard in several generations of hard rock and metal bands in the next two decades, from Metallica to Smashing Pumpkins.
The origins of Queen lay in the hard rock psychedelic group Smile, which guitarist Brian May and drummer Roger Taylor joined in 1967. Following the departure of Smile's lead vocalist, Tim Staffell, in 1971, May and Taylor formed a group with Freddie Mercury, the former lead singer for Wreckage. Within a few months, bassist John Deacon joined them, and they began rehearsing. Over the next two years, as all four members completed college, they simply rehearsed, playing just a handful of gigs. By 1973, they had begun to concentrate on their career, releasing the Roy Thomas Baker-produced Queen that year and setting out on their first tour. Queen was more or less a straight metal album and failed to receive much acclaim, but Queen II became an unexpected British breakthrough early in 1974. Before its release, the band played Top of the Pops, performing "Seven Seas of Rhye." Both the song and the performance were a smash success, and the single rocketed into the Top Ten, setting the stage for Queen II to reach number five. Following its release, the group embarked on its first American tour, supporting Mott the Hoople. On the strength of their campily dramatic performances, the album climbed to number 43 in the States.
Queen released their third album, Sheer Heart Attack, before the end of 1974. The music hall meets Zeppelin "Killer Queen" climbed to number two on the U.K. charts, taking the album to number two as well. Sheer Heart Attack made some inroads in America as well, setting the stage for the breakthrough of 1975's A Night at the Opera. Queen labored long and hard over the record; according to many reports, it was the most expensive rock record ever made at the time of its release. The first single from the record, "Bohemian Rhapsody," became Queen's signature song, and with its bombastic, mock-operatic structure punctuated by heavy metal riffing, it encapsulates their music. It also is the symbol for their musical excesses -- the song took three weeks to record, and there were so many vocal overdubs on the record that it was possible see through the tape at certain points. To support "Bohemian Rhapsody," Queen shot one of the first conceptual music videos, and the gamble paid off as the single spent nine weeks at number one in the England, breaking the record for the longest run at number one. The song and A Night at the Opera were equally successful in America, as the album climbed into the Top Ten and quickly went platinum.
Following A Night at the Opera, Queen was established as superstars, and they quickly took advantage of all their status had to offer. Their parties and indulgence quickly became legend in the rock world, yet the band continued to work at a rapid rate. In the summer of 1976, they performed a free concert at London's Hyde Park that broke attendance records, and they released the hit single "Somebody to Love" a few months later. It was followed by A Day at the Races, which was essentially a scaled-down version of A Night at the Opera that reached number one in the U.K. and number five in the U.S. They continued to pile up hit singles in both Britain and America over the next five years, as each of their albums went into the Top Ten, always going gold and usually platinum in the process. Because Queen embraced such mass success and adoration, they were scorned by the rock press, especially when they came to represent all of the worst tendencies of the old guard in the wake of punk. Nevertheless, the public continued to buy Queen records. Featuring the Top Five double-A-sided single "We Are the Champions"/"We Will Rock You," News of the World became a Top Ten hit in 1977. The following year, Jazz nearly replicated that success, with the single "Fat Bottomed Girls"/"Bicycle Race" becoming an international hit despite the massive bad publicity surrounding their media stunt of staging a nude female bicycle race.
Queen was at the height of their popularity as they entered the '80s, releasing The Game, their most diverse album to date, in 1980. On the strength of two number one singles -- the campy rockabilly "Crazy Little Thing Called Love" and the disco-fied "Another One Bites the Dust" -- The Game became the group's first American number one album. However, the bottom fell out of the group's popularity, particularly in the U.S., shortly afterward. Their largely instrumental soundtrack to Flash Gordon was coldly received later in 1980. With the help of David Bowie, Queen was able to successfully compete with new wave with the 1981 hit single "Under Pressure" -- their first U.K. number one since "Bohemian Rhapsody" -- which was included both on their 1981 Greatest Hits and 1982's Hot Space. Instead of proving the group's vitality, "Under Pressure" was a last gasp. Hot Space was only a moderate hit, and the more rock-oriented The Works (1984) also was a minor hit, with only "Radio Ga Ga" receiving much attention. Shortly afterward, they left Elektra and signed with Capitol.
Faced with their decreased popularity in the U.S. and waning popularity in Britain, Queen began touring foreign markets, cultivating a large, dedicated fan base in Latin America, Asia, and Africa, continents that most rock groups ignored. In 1985, they returned to popularity in Britain in the wake of their show-stopping performance at Live Aid. The following year, they released A Kind of Magic to strong European sales, but they failed to make headway in the States. The same fate befell 1989's The Miracle, yet 1991's Innuendo was greeted more favorably, going gold and peaking at number 30 in the U.S. Nevertheless, it still was a far bigger success in Europe, entering the U.K. charts at number one.
By 1991, Queen had drastically scaled back their activity, causing many rumors to circulate about Freddie Mercury's health. On November 23, he issued a statement confirming that he was stricken with AIDS; he died the next day. The following spring, the remaining members of Queen held a memorial concert at Wembley Stadium that was broadcast to an international audience of more than one billion. Featuring such guest artists as David Bowie, Elton John, Annie Lennox, Def Leppard, and Guns N' Roses, the concert raised millions for the Mercury Phoenix Trust, which was established for AIDS awareness. The concert coincided with a revival of interest in "Bohemian Rhapsody," which climbed to number two in the U.S. and number one in the U.K. in the wake of its appearance in the Mike Myers comedy Wayne's World. Following Mercury's death, the remaining members of Queen were fairly quiet. Brian May released his second solo album, Back to the Light, in 1993, ten years after the release of his first record. Roger Taylor cut a few records with the Cross, which he had been playing with since 1987, while Deacon essentially retired. The three reunited in 1994 to record backing tapes for vocal tracks Mercury recorded on his death bed. The resulting album, Made in Heaven, was released in 1995 to mixed reviews and strong sales, particularly in Europe. Crown Jewels, a box set repackaging their first eight LPs, followed in 1998. Archival live recordings, DVDs and compilations kept appearing through the new millennium. In 2005 the Queen name was revived but this time with "+ Paul Rodgers" appended to it. Rodgers, the former lead singer of Free and Bad Company, joined Brian May and Roger Taylor -- John Deacon remained retired -- for some live shows, one of which was documented on 2005's Return of the Champions, a double disc on the Hollywood label. ~ Stephen Thomas Erlewine, All Music Guide
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