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“There won’t be another five year gap between albums. I knocked it down, and now I’m building it back up.”
“I had a spiritual experience in Austin, TX. Long story short, I basically died and was reborn by some dirty old railroad tracks.”
Drawing upon the indie rock of yesteryear, Saskatchewan’s These Estates adds its own distinct voice. Meet the songwriting team behind not one but two of the smartest, most immediate LPs of 2014.
This was in the ‘hood, and you know you’ve got ethnic people; you don’t have “White Riot” on your jacket. They don’t know about The Clash song. You want a white riot? OK!
I think the current constellation of Engineers actually says more about me than any previous members – the other guys in the band both have their own projects but are happy to help realize my ideas and both bring aspects to my songs that I couldn’t achieve.
Back in the early 2000s, Constantines’ emotionally charged, blue-collar rock was a welcome anachronism. As the Canadian five-piece gears up for its first round of U.S. shows in five years, frontman Bry Webb explains why the timing feels right.
“When I found out about bass, D Boon’s mom put me on bass – this is the 70’s. This is where you put the retarded friend, it’s like right field in little league. Punk changed a lot of that shit.”
It’s a classic early 60’s girl group thing to have super snappy/up beat songs with dark lyrics or serious messages. i’m a big fan of that.
The Tesco Vee character I crawl into – if I lived that persona 24/7, I’d either be dead or incarcerated. But it’s like – there’s a certain element of satire and tongue-in-cheek in what I do. I’m going for the throat, I’m going for reaction – I want people to react, if it’s laughter, anger, whatever. I don’t want them to stand there and be bored. That’s where I’ve been coming from my whole career – I want a reaction, thus the song titles like “Crippled Children Suck.” And obviously I don’t think crippled children suck – or as I say on stage, ‘they only suck when they can actually reach my zipper.’
Neil Halstead: I would never write those exact songs at this point in my life. They are songs that come out of being 18 or 19 years old. It’s interesting how they still connect with many younger people. We’ve noticed that when we’ve been doing these shows there are some really young kids that are coming out and really loving the band and the records. We’re aware they are the same age as when we were first recording these tracks.
“I remember the hardships and the frustrations bitterly. I wasn’t mourning Maggie Thatcher’s loss greatly!”
We own all of the rights to our back catalog, so we asked ourselves for permission to use some older tunes, and we generously told ourselves that we would be happy to let ourselves use them (we have a very good relationship with ourselves in that respect)
I love to play with all of these effects pedals and to create sounds. A lot of that stuff is from your country… the whole room flashes like a pinball game.
That’s why a great song, just missing one or two pieces, can lie dormant for a few years before we finally polish it off, complete with icing and a cherry on top.
Daisy House is generous music, and very old school at heart. Who knows? It might even be revolutionary.
You don’t have to go to music school to be a musician and so it’s the same thing. You don’t have to take writing classes to be a writer!
“You always get worried about going too far in one direction, because I don’t want people to think that I only write songs about sleeping around or cheating or being miserable. But those are the moments when I feel compelled to write and are also the moments that I feel compelled to listen to somebody else’s sad song about that shit.”
I’ve talked to Peter and Danny about going back in the studio and making a fresh album. I have songs which I believe are some of the best I’ve written
It’s also very refreshing for us to step out of the hazy gloom and into a different shade of light; it’s still a very melancholy sombre black bulb sort of light.
Negative Degree talks about their favorite Colorado punk bands, their worst night on tour and how it feels to work in the service industry in Colorado.
LOUDsoftLOUD discussion with a master of the form, Stuart Braithwaite of Mogwai
“ I’m never happier than when I’m onstage – I just love playing music. I love the chance to exist in the moment. You reinvent it every night – you either do something great or you fall on your face, and you get another chance the next day to do it again.”
The London-based songwriter talks about his excellent new album Abandoned Apartments, his recent movie work, and his L.A. past.
Mark Arm and Steve Turner of Mudhoney talk about growing up grunge, the shitty tour with Blind Melon, and GG Allin’s dick.
I don’t think anybody in the band is interested in just unfreezing the old Red Herring. What made that band really exciting to be a part of was creating together; I get the feeling that we got back together again because we all believe that the best is yet to come. We just had to take a break for a couple of decades to go gather more skills and experiences to throw into the soup.
The audience is there simply to observe. It doesn’t matter whether they applaud every song or at the end or at all. It has nothing to do with the music. We are not on stage for them. We are there to make music in the presence of an Observer. This is all made clear if you have a fundamental understanding of Einsteinian Relativity.
Dave Davies’ lofty position in the pantheon of popular music would be secure even without the existence of a Rock and Roll Hall of Fame or the Kinks’ extensive body of work. His upcoming tour will feature songs from new album “I Will Be Me” alongside Kinks favorites. Davies discusses family foundations, sibling rivalry, and inspiration drawn from good times and hard times.
JACCO GARDNER: Everything that is beautiful is sad at the same time, just because it’s so beautiful. I think that’s what melancholy is. Even beautiful memories can make you feel really sad at the same time so it seems very natural to me to combine them.
We speak to the always-funny James Greer about his band DTCV’s stunning new album, Hilarious Heaven.
We want to suck you in and take over your body!
From 1987 to 2005, Silkworm made records for a small yet dedicated audience, and seemed like a good bet to continue into old age before senseless tragedy struck. With the alternative-nation era as its backdrop, Seth Pomeroy’s documentary ‘Couldn’t You Wait?’ chronicles the trio’s existence and legacy. Here, the Nashville-based director discusses filmmaking, music, and — naturally — his favorite band.
I really liked collaborating but it became really clear that I just needed to put out something on my own for sure and have as my vision. It can be more difficult and bittersweet because there’s no one to bounce ideas off of and no shared responsibility. There’s only you and there’s high risk and high rewards but it’s my name on it and it’s mine for better or for worse.
Singer, songwriter and Gothstar Chelsea Wolfe talks candidly about her new album, Black Metal and S&M.
Most of the melodies were made walking down the street, riding on the train, at random, and then recorded onto cell phones. You then have an idea that turns into a song skeleton and we build a shape around that. I believe that most of the best songs are written spontaneously.
When I began the process, I thought I’d have a 200 page manuscript by the end of that summer. Gary Klebe said, “No, this is going to be like a Shoes record. It’s going to take longer than you thought, but it’s going to be better than you thought.” He was right. Three years later, it’s a 500 page, wide-ranging consideration of the entire music industry over the last 40 years. Not what I envisioned at first, but much better.
JULIA HOLTER: It’s usually pretty intuitive but it’s hard to know at one point when my brain is doing what. I change things depending on the song sometimes..there are certain things you have to do quickly like getting ideas out. You have to catch in real time what your brain is trying to get out and it’s hard to know how much of that is your thoughts and how much is actually something you are consciously figuring out
Six years back, San Francisco’s LSD and the Search for God released a five-song EP of top-shelf shoegaze, then went quiet. Now, with a series of new singles on the horizon, singer-guitarist Andy Liszt called to discuss LSD’s past and future trips.
Zac Carper of FIDLAR talks to The Big Takeover about their new self-titled LP, getting high, and a world minus Chris Brown.
The ex-Stranglers front-man discusses his new album Totem & Taboo, God, Arthur Lee, Jan Svankmajer, Manuel de Falla, Henry Moore and more.
I’m not into shoegaze music so much, it’s kinda boring. I want to hear a song. I think shoegaze was a great thing at one time, but now it’s all about delay and what pedals you have. I love crazy sounds and feedback, but there has to be a song.
After an 8-year hiatus, the influential “ex-singer of Miracle Legion” has overcome tragedy, revisited his roots, and redefined himself on new LP.
We have a nice, brief chat with Vinny Peculiar and Paul “Bonehead” Arthurs about their debut album, their new project, and the specter of the past.
For the first time in 16 years, the Stranglers are returning to tour North America, where today they are releasing “Giants,” their 17th studio album. J.J. Burnel: “There are ups and downs. At the moment, we are in a very big up.”
We have a chat with Matt Baber and Joff Winks of British-based Sanguine Hum, wherein we discuss the band’s recording process, their latest album, and the continuum of their friendship and musical collaborations.
Our future plans are to crush the pop world, make it bend to our will, and install Tatiana as the new un-spoilable, folk-rock, high priestess of pop.
When people receive you quite well and like what you do, you can’t help but be influenced by that, and feel like you want to make something people will like. But we tried to do what we do, and make songs that we like, and not think about it too much.