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On August 3, Australian music lost one of its most loved figures, in Damien Lovelock, vocalist for the iconic Celibate Rifles.
This week writer Kevin Burke looks into the heart of My Bloody Valentine’s sublime classic Loveless
As the festival gets under way, we bring you the most authoritative “must-see” list, based on what 59 participating Psycho artists told us in interviews we published leading up to “America’s rock ‘n’ roll bacchanal.”
This week, writer Kevin Burke reflects and discusses the importance of the Miles Davis masterwork Bitches Brew.
Writer Kevin Burke looks back fifty-years and discusses the connection between Dennis Wilson, The Beatles and convicted murderer Charles Manson
“I’m proud of what we do and how this record turned out. There’s no mystery to what we do and we approach music not with some master plan or ultimate goal, except to take these songs and perform them the best we can. We always hope for some kind of response from people because even though songwriting is very personal to me, I’m still communicating with people.”
Writer Kevin Burke discusses the connection between two of the most remarkable musical statements of the 20th Century.
To give you a taste of the panoply of musical strains in store for the long festival weekend, we’ve assembled video playlists for each day of the festival (including the pre-party).
Kim Deal, Kristin Hersh, Vanessa Briscoe Hay, Kim Gordon and Kat Bjelland, five women who inspired the sound of Riot Grrrl.
On July 15th 1988, the world mourned the loss of Nico, the true gothic princess,
Fifty years after the death of Brian Jones, Kevin Burke looks back at the last surge of brilliance from the original Rolling Stone
Kevin Burke shares his opinion on David Bowie’s game changing album The Man Who Sold The World
“How many people our age can just get out there and become relevant to a new generation? We don’t have any illusions of record deals and we’re thankful just to wake up every day and play rock & roll. How many people can be fortunate enough to say that?” said Molinare
Following the release of the posthumous Originals, Kevin Burke looks back at the unreleased album by Prince that became a cult all of its own.
Kevin Burke tries to make sense of the Lou Reed album Metal Machine Music
“I was moved by the actual words of the Statue of Liberty and was especially drawn to the message of inclusion. Our parents and grandparents came to this country from rougher lives and to start creating something new. People have the basic human right to work and create a better life for themselves and loved ones,” stated Lashley in his hallmark Boston accent.
Poet, essayist, and (music) journalist Noah C. Lekas releases his debut book that explores mysticism and menial labor in contemporary America. The collection of narrative prose arrives April 13th via SoCal label Blind Owl Records, with various artists contributing short films to accompany each poem. The Big Takeover hosts the premiere of one of the videos for poem “Steamroll the Sky” featuring the gritty glory of New York City.
“Guthrie said anything more than two chords and you’re just showing off. That’s a great sentiment because sometimes keeping things simple is the hardest thing to do,” exclaimed Engine.
“I really am grateful for everything. As for the planned tour, I feel that if you’re touring you should be supporting a new record. Kerry and I will continue writing and we’re looking at recording next year. Kerry was the original catalyst for the band and he got my son and I into music. I forever love him like a brother for that,” concluded Bartsch.
“I’ve never been the guy to say the newest record is the best. With Digital Garbage, I’m very happy with it because there has been some new dynamics. Dan (Peters) wrote a track and Guy(Maddison) added some synth. I know there might be a political statement or two in Mark’s lyrics but I don’t consider us a political band,” said Turner.
“I was always raised to fight for my beliefs. My family goes back generations as being involved in unions and I’m still appalled at the ongoing disrespect toward the American worker,” he stated.
“Our sound wasn’t planned or contrived in any way, we just play like we do because it’s all we know. With this lineup I feel this is the one; in it for life because this is really all we do,” stated Lawrence.
“People always ask how my new music will sound and I tell them, it’s me and will always have the power, passion, and energy. It’s a magical time and it fills me with joy to be able to do this every day,” exclaimed Pesch.
‘I talk about authenticity a lot and I don’t want to feel the more I mention it the less impacting it gets. There are many versions of someone’s persona when they’re part of the music or art world in general. I know onstage I feel I can settle into a character by using dry humor but I feel a lot of my songs rely on vocal melodies and that is what I don’t hide from,” stated Loveless.
“When you take the time to look around you see the diverse ways people communicate within different cultures. With music, I understood that it didn’t have to have the end goal of being turned into something tangible, like a record but instead be utilized through musical storytelling to preserve a community’s tradition and values.”
“The album title is more or less related to the problems we had, we wanted to face them positively because they were directly affecting our daily life.” – Jazz Rodríguez Bueno on MOURN’s latest LP, ‘Ha, Ha, He.’
Cherry Red Record’s 5-disc box set Silhouettes & Statues encompasses the Gothic revolution of the late ’70s to mid-‘80s, capturing the spirit of an essential era in (musical) history.
“Knowing there are so many hardworking people in every DIY scene makes me grateful for all the opportunities that are handed to me.” – Melina Duterte
“I like to think our music always has darkness but with small rays of hope. The world is a dark place but we do have positive messages without making light of it. If our music makes someone feel less alone then I know what I’m doing is still worth it,” affirmed Vernon.
“I remember how poor we were at certain times. My dad worked hard and he always made sure we had two things, books and music. I grew up listening to anything I could get my hands on, from Cole Porter to African rhythm records. I didn’t care what it was, as long as it sparked something in me.”
“I always felt rock & roll should be raw and dangerous. Playing live is an exorcism and really just a celebration of life; Owning pain, joy and emotion,” affirmed Lewis.
I had formed this band to make everyone in the world suffer for the hell I’d endured back in high school, so this was the perfect setting to unleash my anger.
“Southern Indie” label This Is American Music shows there’s more than meets the eye in their home region and reveals the importance of community in the music business.
Two very short stories: more sludgy rumination on my salad days. 25 years ago today, nerds from New Jersey spent the night wandering around New York City and I check out CBGB for the first time. Then I recount the first time I got onto the radio.
I tried to interview an old Boston band called Dangerous Birds and became thwarted by sinister powers of cunning and treachery. Then a crusty librarian handed me an old photo of a shoe collection from the Korean Airline Disaster of 1983 and their whole lie unraveled, along with my interview.
A post-punk/shoegaze trio from Tel Aviv that exemplifies the notion of music being universal.
“I’m never complacent. I always just try to get better and improve my work, which keeps me hungry and striving for greatness endlessly,” he concluded.
I thought about the Dead Kennedys as I sat silently on the bus. I couldn’t understand a single word the singer was saying, it all just sounded like incoherent babble. He sounded like some kind of depraved nerd. At the end of the day, I shook my head in disbelief about punk rock.
“I still love everything about it. I guess quitting for awhile helped me get even more excited about music.I consider myself very lucky to be able to still write and I feel very free and more creative now than I have ever been. I’m going to ride it as long as I can,” laughed Secich.
“I really don’t feel our rise to fame was that quick. First off, we were still touring in vans and I knew nothing when I went to record. I really have to give props to our producer, Keith Forsey. He taught me so much about music and sound and has been a huge influence on my growth as a musician,” complimented Stevens.
Onstage, with her low-slung bass guitar and trademark bare feet, Finch epitomized grunge era cool.
“Personally, I’m all for the music aspect. I love blending different styles. We’re about music and inspiration and hopefully inspiring others to start creating.”
“Never give up in what you believe in. I just remain true to myself. The newer fans now have a female guitarist they can look to for guidance and leadership. I stand still and the world revolves around me,” stated Ford.
“I was first inspired by Courtney Love. I know she’s not the best person but it wasn’t until I heard Pantera that I knew I wanted to try and make a career from music. I knew I wanted to do something to help people and inspire them and I do feel responsible to be positive,” she reflected.
On the heels of her lovely new solo record, Red Kite—only her second in seventeen years—we have a lovely chat with Saint Etienne frontwoman Sarah Cracknell.