American punk http://dfbpunk.com/ Sat, 01 Oct 2022 09:18:13 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://dfbpunk.com/wp-content/uploads/2021/10/cropped-icon-32x32.png American punk http://dfbpunk.com/ 32 32 Behind the name of the group: Goo Goo Dolls https://dfbpunk.com/behind-the-name-of-the-group-goo-goo-dolls/ Fri, 30 Sep 2022 17:08:23 +0000 https://dfbpunk.com/behind-the-name-of-the-group-goo-goo-dolls/

The band formed in Buffalo, New York, responsible for the post-grunge hits that marked the soundtrack of the late 90s – originally composed of vocalist and guitarist Johnny Rzeznik, bassist Robby Takac and deceased drummer since George Tutuska – has an unusual name. Goo Goo dolls. Yes, it’s memorable because of its uniqueness, and it’s easy, almost elementary, to pronounce, but strange nonetheless.

However, the group behind “Iris,” the heartbreaking “Name,” the agonizing “Slide,” and many other melodramatic bops, began their careers under an even stranger moniker.

Origin of the name

The Sex Maggots were a tough name to sell on a marquee. Originally joining forces as a cover band, the trio formed under this moniker in 1985. Although the origin of the name The Sex Maggots is unclear, the Goo Goo Dolls were forced to come up with a new name because of it.

“We had a gig and so we had to sort of come up with a name just to play the show,” Rzeznik explained. The trio were, supposedly, leafing through a real detectivea real detective magazine in circulation until 1995, when they came across an advertisement for a toy called Goo Goo Doll.

“That’s how folklore goes,” said bassist, Takac. “[Goo Goo Dolls] it really doesn’t mean anything… The first name was bad, so we moved on to another bad name, we got 15,000 fans, and we were afraid to change it… At the time, we thought [the name] was really inappropriate for what we were doing in this post-punk era that we kind of wallowed in.

What is a goo goo doll? If you Google a slimy doll (try saying that five times faster), the group results will inevitably pop up with terrifying photos of a hand puppet from the 1980s, pictured HERE.

What do you think? Was it the doll the group discovered between the pages of this real detective?

Goo Goo dolls today

Whatever a goo goo doll was or was, the Goo Goo Dolls made a name for themselves with that particular alias. Over their nearly 40-year career, the group has garnered 19 top-ten singles, sold 15 million records worldwide and seen four Grammy nominations.

Revisit the band’s 1998 classic, “Iris,” and let us know which songs you’re having fun with in the comments below.

Photo: Maxine Evans/BBgun Press

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NEWS: Vietnamese-American indie-hyperpop artist Monét Ngo releases new album “After School Club” https://dfbpunk.com/news-vietnamese-american-indie-hyperpop-artist-monet-ngo-releases-new-album-after-school-club/ Mon, 26 Sep 2022 09:00:22 +0000 https://dfbpunk.com/news-vietnamese-american-indie-hyperpop-artist-monet-ngo-releases-new-album-after-school-club/

After a series of highly anticipated singles, Vietnamese-American songwriter, producer and school teacher, Monét Ngo, has released his new album “After School Club”. Released via Unity Records, the new album recalls Monét Ngo’s feelings of feeling like a loser and being stuck on the sidelines. Expressing a deep and heartfelt meaning to its own coming-of-age story, After School Club is the next Hyperpop record you should know about.

With a raw mix of Indie-Rock style elements that mixes with Hyperpop, the new LP is fueled by the sounds of the 2000s era. Throughout, mellow guitar mixes of grunge-like chords and Distant reverbs are a frequent sound, though they have a unique presence with their ability to draw in hyperpop sounds from vocoders and fast drum beats. The first track ‘Summer Winds’ portrays a soft but contrasting side with an electronic punk section – fast guitar strums and energetic drum hits. Each track contains wide and powerful sound, all working together to give you a taste of the heartfelt experiences Monét Ngo has had. With ‘Real Ass Love Story’ you can hear broken down voice sections leaving voicemails on someone’s phone, demonstrating their clear and thoughtful attention to detail. The album is unique with its combination of Indie-pop and Hyperpop, a sound befitting the sunsets of Los Angeles.

Speaking on the new LP Monét Ngo Writes, “The After School club is a mixed bag, it’s basically an accumulation of experiences and lessons I’ve learned, in a collection of music. After a long day at work, there’s so much baggage to unload and your life to live. But here you are stuck in the After School Club. It’s a place to let it all out. All your emotions, good or bad, are there. The After School Club can be all you need. It’s a lesson, a second home, and above all it’s a place where you’re not alone.”

Monét Ngo’s After School Club is now available on all streaming platforms.

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Creative metal parody band Mac Sabbath performs for Great American https://dfbpunk.com/creative-metal-parody-band-mac-sabbath-performs-for-great-american/ Sun, 25 Sep 2022 01:33:00 +0000 https://dfbpunk.com/creative-metal-parody-band-mac-sabbath-performs-for-great-american/

SAN FRANCISCO — With their surreal collision of fast food iconography and twisted versions of classic Black Sabbath songs, Mac Sabbath have established themselves as one of the most fiendishly clever parody/metal tribute bands operating today. .

Over the past eight years, the Los Angeles-based band, led by clown-painted vocalist Ronald Osbourne and featuring elaborately costumed members, Slayer MacCheeze on guitar, Grimalice on bass and the Catburglar on drums , went from underground shows to the basements of fast-food restaurants. (at least according to band manager and spokesperson Mike Odd, who oddly sounds a bit like Osbourne without the British accent) to club headliners and big music celebrations like England’s Download Festival and Outside’s own San Francisco Lands Festival.


Mac Sabbath “Frying Pan” by
weird mike on Youtube

Armed with an arsenal of well-designed props – including an onstage “grill” that belches smoke, inflatable cheeseburgers and Osbourne’s giant striped straws that the singer uses to sip drinks from unsuspecting audience members – the band became a popular band with their distorted versions of Black Sabbath gems like “Frying Pan” (“Iron Man”), “Pair-a-Buns” (“Paranoid”) and “Sweet Beef” (“Sweet Leaf “). In 2017, Mac Sabbath released a flexi single of “Pair-a-Buns” which came with a special coloring book (the band also released a clay collaboration video for the melody).


Mac Sabbath “Pair-a-Buns” (Official Video) by
Mac Sabbath on Youtube

The group has continued to create unusual products, this year releasing its limited edition Pop-Up Metal pop-up book they made in collaboration with artist Gris Grimy which includes a “secret vinyl surprise” featuring seven of the band’s recordings of their twisted versions of Sabbath classics.


MAC SABBATH chicken MORC by
Mac Sabbath on Youtube

For this San Francisco show at the Great American Music Hall which is part of their Pop-Up Drive Thru Tour, Mac Sabbath will be joined by high-octane punk/metal band Speedealer. Formed in Lubbock, TX in 1992 as REO Speedealer, the band founded by guitarist/vocalist Jeff Hirshberg put a hardcore spin (and tempo) on ’70s hard rock sounds in a way similar to punk band of Seattle Zeke (whom they would tour with regularly) and the aforementioned Dwarfs.


Speedealer – Dealer’s Choice by
Greg Nordskov on Youtube

The band would release a pair of self-titled collections – one in 1996 for Spanish Fly Records and the second in 1998 for Royalty Records – before classic rockers REO Speedwagon issued a cease and desist letter requiring the band to shorten their name to simply Speedealer. Hirshberg cycled through a number of collaborators, picking up guitarist Eric Schmidt and drummer Harden Harrison along the way as the band moved in a more muddy and metallic direction. The band eventually signed with Palm Pictures after Royalty went bankrupt, re-releasing their third album here is death In 2000.


Speedealer – Bleed by
Greg Nordskov on Youtube

The band toured tirelessly, playing over 250-300 dates a year and supporting the likes of Motorhead, but never achieving more widespread success beyond their fan worship. After releasing Bleed on Dead Teenager Records in 2003, touring fatigue set in and Speedealer went on an extended hiatus only occasionally interrupted by sporadic gigs.


Speedealer Blue Days Black Nights Rheumatism Promo 2019 by
mopeds on Youtube

While Schmidt and Harrison played together in other band projects, it wasn’t until they decided to revisit Speedealer’s back catalog with a performance at a fan’s wedding reception a few years ago. under the name Dealer’s Choice that there was enough interest to stimulate them. to renewed activity. Teaming up with Buck Pets bassist Ricky Peterson (who joined Speedealer in 2012) and Swingin’ D-ks vocalist Daniel Barron, Hirshberg and company released Speedealer’s first album in 15 years. Blue days Dark nights delivers exactly the kind of savage sonic fury fans have come to expect from the band. Cinncanati-based cello and drum duo Lung deliver artful punk to open the show.

Mac Sabbath with Speedealer and Lung
Tuesday, September 27, 8 p.m. $20
Great American Music Hall

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‘Saturday Night Live’ Announces First Three Weeks of Musical Guests https://dfbpunk.com/saturday-night-live-announces-first-three-weeks-of-musical-guests/ Wed, 21 Sep 2022 17:42:37 +0000 https://dfbpunk.com/saturday-night-live-announces-first-three-weeks-of-musical-guests/

The famous weekly variety show, Saturday Night Livemade headlines this fall and summer.

Many cast members, including longtime cast members like Kate McKinnon and Pete Davidson, have announced that they won’t be returning to the show for its upcoming 48th season.

But the show must go on! Right?

To this end, SNL announced new cast members for the upcoming season, which begins Saturday (October 1). But most important for this music-focused publication, of course, is the upcoming slate of musical acts the show has lined up for October.

Yes, while SNL is known for its comedic sketches, the show is also prized and praised for its musical performances, during which a featured musical guest performs twice, once in the middle and once at the end of the program.

This year, during the first three weeks of the show, SNL will host big names including Pulitzer Prize-winning rapper Kendrick Lamar, pop-punk star WILLOW and daring lyricist Megan THEE Stallion.

Kendrick is slated as the show’s opening musical performance on October 1, though despite his celebrity prowess, he won’t be hosting the show in double duty. Willow is next, scheduled for October 8. And Megan THEE Stallion completes the trifecta and she will host her week.

“See you next week!” wrote the show’s Twitter account.

“OCTOBER 15 THEE HOT GIRL COACH HOSTS AND PERFORMS SATURDAY NIGHT LIVE TUNE AT ALL HOTTIES,” added Megan THEE Stallion aka Tina Snow.

Check back with American Songwriter for future updates and recaps of the Saturday Night Live musical performances every week. Until then, enjoy the show.

Do you want to tune in to catch the musical performances on SNL? Comments below

(Photo by Santiago Bluguermann/Getty Images)

]]> Behind the Meaning and History of the Band’s Name: Sublime https://dfbpunk.com/behind-the-meaning-and-history-of-the-bands-name-sublime/ Wed, 21 Sep 2022 17:15:39 +0000 https://dfbpunk.com/behind-the-meaning-and-history-of-the-bands-name-sublime/

For those who grew up in the 90s, the group Sublime probably has a special meaning.

The band were ubiquitous on the radio and boast more hit songs than one can remember, from “What I Got” (and its popular acoustic version), “Santeria” and “Wrong Way”, to ” Pawn Shop”, “Caress Me Down”, and “Badfish”, among many others.

With their signature brand and blend of LA punk, ska and reggae, the band, fronted by frontman, lead vocalist and lead songwriter Bradley Nowell, could be heard at every party from Boston to San Francisco. throughout the decade.

But where does his sublime name come from, and what was the meaning of this specific choice? Let’s investigate here, shall we?

Origins

Sublime hails from Long Beach, California. The band was officially formed in 1988 and consisted of Nowell, bassist Eric Wilson and drummer Bud Gaugh. The group was completed by Nowell’s now infamous Dalmatian dog, Lou Dog, named after Nowell’s grandfather, Louie.

While the band seemed to be on the radio 24 hours a day, they only released three LPs, including 40 oz. to Freedom (1992), Robbin’ the Hood (1994) and the eponymous Gorgeous (1996).

Nowell’s death

Unfortunately for Sublime fans, Nowell died of a heroin overdose in 1996 before the release of the band’s third (and most successful) album. The group broke up and later reformed as the Long Beach Dub Allstars, which enjoyed some success in subsequent years.

The sound of the group

Known for their mix of reggae rock, ska punk, and even a bit of hip-hop sprinkled in, the band enjoyed both critical and popular success. Gorgeous peaked at No. 13 on the Billboard 200 and spawned the group’s only No. 1 hit, “What I Got”.

As of 2022, the band has sold over 20 million albums worldwide.

The name

There isn’t much information about where the band’s name came from, probably because it was a simple decision to begin with. The word is an adjective which, according to the Merriam-Webster dictionary, means “high, grand, or exalted in thought, expression, or manner.” Also: “exceptional spiritual, intellectual or moral value”.

It is a descriptive word that is equivalent to praise. So why wouldn’t a band be called that? Similar to Nirvana, another high quality word.

But beyond the name itself, there are stories about what happened to her after Nowell’s death.

Similar to Nirvana, in fact, the members of the group did not want to continue performing under the name Sublime without their leader. In fact, Jason Westfall, one of Sublime’s managers, reportedly stated that “the surviving members of Sublime had no interest in continuing to perform and record under the name ‘Sublime.’ Much like Nirvana, Sublime died when Brad died.

Later incarnations

In 2009, the surviving members decided to reform the band with frontman Rome Ramirez, a young guitarist and fan of the band from California. However, that effort was shattered shortly after performing at Cypress Hill’s Smokeout Festival when a judge in Los Angeles banned the roster from using the nickname as they needed permission from the estate of Nowell, who officially owns the rights to the name.

This led to the lineup of Wilson, Gaugh and Ramirez changing the name to “Sublime with Rome”. Since then they have released three albums (although Gaugh left the band after the band dropped their 2011 debut, Yours sincerely).

Final Thoughts

Although Nowell has been dead for over 25 years now, the band still lives on with their many hits. A quick look at YouTube, for example, shows songs with tens of millions of views, probably totaling over a billion streams by now, even though Nowell died before people even knew what he was doing. was the internet.

It’s stamina. It is, yes, name recognition.

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The stages and studios that shaped American music https://dfbpunk.com/the-stages-and-studios-that-shaped-american-music/ Tue, 20 Sep 2022 21:11:36 +0000 https://dfbpunk.com/the-stages-and-studios-that-shaped-american-music/

Among the best of my many US road trips, destinations that spotlight the roots and raves of American music shone memorably. Driving through Austin, Detroit, Los Angeles, Memphis, Nashville and more, I happily sang in the car while listening to songs from masterful musicians en route, fantasizing that “we” were duets together. (do you do that too?) At each stop, I was delighted to enjoy behind-the-scenes tours of arenas and auditoriums, ballrooms and bars, stadiums, stages and studios. For example, on Music Row in Nashville – the pulse center for record company offices, recording booths and radio stations – I had the opportunity to play the piano (one song, just for fun!) in the legendary Studio B of RCA Victor Studio (now listed on the National Register of Historic Places), where artists such as Chet Atkins, David Bowie, Waylon Jennings, Willie Nelson, Roy Orbison, Dolly Parton, Elvis Presley, Charley Pride and Hank Williams had performed, cutting singles and albums. It is therefore with enthusiasm that I welcome the forthcoming October release of Rhona Bitner’s new hardcover book, Listen: The Stages and Studios That Shaped American Music (Rizzoli New York).

Motivated by the 2006 closure of New York’s famed CBGB club – which had attracted an eclectic range of musicians and magnetic fans, giving rise to new musical revolutions dubbed punk and new wave – Bitner embarked on an ambitious 13-year project to photograph 395 noteworthy locations. “I realized that the inner architecture of American music history needed its own record,” says Bitner. “Living music, listening to it, is both a collective and personal act. I stood alone in the spaces. The place is freed up for memory, which in turn accepts time. And time is at the heart of all music. This quest has taken Bitner to 89 cities in 26 states to visually document these uplifting places in music, such as Elvis Presley’s Graceland Music Hall in Memphis; Jimi Hendrix’s recording studio in New York’s Greenwich Village; Aretha Franklin’s New Bethel Baptist Family Church in Detroit; The Macon City Auditorium in Georgia, where 14-year-old Little Ritchie was discovered sending his career trajectory skyward (as well as where James Brown, Ray Charles, Sam Cooke and Otis Redding wowed crowds); and Minnesota’s Hibbing High School Auditorium, where student Bob Dylan (then still Zimmerman) rocked the rafters.

A multitude of sites – ravaged by time and disrepair – are shells of their glorious past: “the ghost ships of American music”, as perceptively writes “the godfather of punk” Iggy Pop (singer, songwriter, producer and actor) in the foreword to the book. “Can you see into the past by gazing long enough at these eloquent photographs…? Yes, yes you can. Here are the places where love is found.

A perfect collaboration: Natalie Bell (art world curator), Jon Hammer (writer, researcher, painter, musician), Greil Marcus (author, music journalist, cultural critic) and Jason Moran (jazz pianist, composer, educator ) have also provided an evocative, illuminating commentary on the book. Editing was fine-tuned by Éric Reinhardt (novelist, editor), who oversaw crisp, detail-rich annotations on each location, which stand out from Bitner’s photographs, on contrasting paper, as a useful organizational format. Plus, dozens of moving images of famous and beloved musicians, songwriters, singers and producers (from other photographers and archives) – such as Chuck Berry, David Bowie, James Brown, Johnny Cash, Ray Charles , Nat King Cole, Dizzy Gillespie, Berry Gordy, Elton John, BB King, Carole King, Freddy Mercury, Joni Mitchell, Lou Reed, Patti Smith, Bruce Springsteen, James Taylor, The Beatles, The Grateful Dead, The Mamas and The Papas , The Rolling Stones, The Sex Pistols, The Temptations – are included, dotting the pages with human vitality.

“Let’s say it’s First Avenue in Minneapolis…you’re on stage and you realize that your right foot, just a step in front of your left, is where Prince put his. You can almost imagine that there is an imperceptible depression on stage. That he left a mark. And so you press harder, as if you would too,” writes Greil Marcus. “This book is a public history of those private moments. It’s absolutely ephemeral – there are no people in the places Rhona Bitner photographed, no ecstatic faces, no whirling bodies. You must imagine yourself in these places… If you listen carefully enough, [the walls] will tell you what they heard.

“Bitner’s series, as much as it is about sound, music and listening, is also about absence and silence,” writes Natalie Bell. “It’s the photographer who throws the fabric over her head to take the picture, then also invites us under… Sit with the calm and stillness of these spacesBitner seems to say. Now what do you hear? In the silence, the image becomes more radiant, and unlike the cacophony of a concert or performance photo, in the silence of Bitner’s spaces we can hear our memories emerge.

“You have to act in the play,” says Jason Moran in the book’s afterword. “It’s a phrase touring musicians often use because they spend countless hours performing in venues they don’t quite know. If a heavy metal band walks into a concert hall like Carnegie Hall, they will find that the acoustics of a stadium and a hall built for acoustic music are vastly different. The artist is tasked with finding a way to “play the part”. This usually means: Learning the parameters of the room just enough so that your music can be felt by the audience. Throughout Rhona Bitner’s portrayal of these spaces, we see the often vacant – yet fully dynamic – rooms.

In each of these spaces Bitner photographed, there is a deeper duty and trust. “It is no coincidence that the letters of the words quiet and Listen are the same,” Moran continues. “Reminders of the power of silence and thanks for the sounds listeners pick up in their bodies…From the porch to the concert hall, find the vibration.”

Already thinking about your upcoming holiday gifts? Listen: The Stages and Studios That Shaped American Music could be a thoughtful gift for your own American music aficionado, who appreciates its colorful history and meaningful sense of place.

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Magnificent Bastards of Reed City make American music for everyone https://dfbpunk.com/magnificent-bastards-of-reed-city-make-american-music-for-everyone/ Sat, 17 Sep 2022 15:14:50 +0000 https://dfbpunk.com/magnificent-bastards-of-reed-city-make-american-music-for-everyone/ REED CITY – Residents of Reed City may not know of a touring rock band formed in their backyard.

Ernie Clark and the Magnificent Bastards formed in 2017, and since then the band has played all over Michigan, Chicago and even Clark’s hometown of London, Kentucky.

The group was formed by frontman Ernie Clark, who has lived in Reed City for 15 years.

It all started with an ad on Craigslist.

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Fountains DC Preview North American Tour with Stop on ‘Corden’ https://dfbpunk.com/fountains-dc-preview-north-american-tour-with-stop-on-corden/ Thu, 15 Sep 2022 15:52:59 +0000 https://dfbpunk.com/fountains-dc-preview-north-american-tour-with-stop-on-corden/

Fontaines DC brings Irish post-punk styles to ‘Corden’ to play ‘Roman Holiday’; North American tour soon




Irish post-punk/indie band DC fountains is set to embark on a major North American headlining tour, with the band’s return to the United States in support of last May’s Lean fia.

The third album released by the Dublin-based band, Lean fia came on the heels of the 2020s The death of a herowhich earned the band a Grammy nomination for Best Rock Album.

There’s a consistent intensity to the music of Fontaines DC, courtesy of singer Grian Chatten and his lyricism, rooted in working-class angst and a call for social conscience. Musically, Fontaines DC bathes most songs in a cascade of ethereal guitars and melodies, blending it all into a particularly compelling sound that shines on songs such as “Roman Holiday,” which the band performed on. The Late Late Show with James Corden Wednesday night :

Click here to pick up Lean fia on CD from our Rock Cellar store
Click here to pick up Lean fia on LP from our Rock Cellar shop

This weekend, Fontaines DC will take part in Primavera Sound Los Angeles, a weekend festival featuring Arctic Monkeys, Lorde and Nine Inch Nails, three disparate acts rounding out an eclectic roster of talent slated for this weekend, from the 16th to September 18.

Here is also the North American tour schedule for the coming weeks:

SEPTEMBER 2022

Fri-Sep-16 San Diego, CA @ The Observatory North Park
Sat-Sep-17 Los Angeles, CA @ Primavera Sound Festival
Mar-Sep-20 Tucson, AZ @ 191 Toole
Thu-Sep-22 San Antonio, TX @ Paper Tiger
fri-sept-23 Dallas, TX @ The Studio at the Factory
sat-sept-24 Austin, TX @ Scoot Inn *SOLD OUT*
Mon-Sep-26 New Orleans, LA @ One Eyed Jacks
Tue-Sept-27 Atlanta, Georgia @ Variety Playhouse
Thu-Sept-29 Asheville, NC @ The Orange Peel

OCTOBER 2022

Sat-Oct-1 Nashville, TN @ Brooklyn Bowl
Mon-Oct-3 Baltimore, MD @ Rams Head Live
Tue-Oct-4 Pittsburgh, PA @ Spirit Pittsburgh
Wed-Oct 5 Asbury Park, NJ @ Stone Pony [rescheduled show, tickets remain valid]Thu-Oct-6 Boston, MA @ House of Blues [rescheduled show, tickets remain valid]




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Jimmy Eat World’s Zach Lind Talks About An American Who’s Bleeding For 30 Years And The Band’s Future(s) https://dfbpunk.com/jimmy-eat-worlds-zach-lind-talks-about-an-american-whos-bleeding-for-30-years-and-the-bands-futures/ Tue, 13 Sep 2022 19:39:27 +0000 https://dfbpunk.com/jimmy-eat-worlds-zach-lind-talks-about-an-american-whos-bleeding-for-30-years-and-the-bands-futures/

Jimmy Eat World. // photo courtesy of the artist

Next year rock ‘n’ rollers Jimmy Eat World will celebrate their 30th anniversary as a band. However, the group is not resting on its laurels. Instead, they’re forging a new path that sees the longtime act release music through their label, Exotic Location. Beginning with Jimmy Eat World’s latest single “Something Loud”, the band are once again independent and doing things on their own terms.

Ahead of Jimmy Eat World’s gig at The Uptown on Wednesday, September 14, we spoke with drummer Zach Lind about the band’s new direction.


The pitch: During lockdown, the Phoenix Sessions saw the band dive into your back catalog and perform every song from Survivor, Futures contractsand Clarity, but it seems like the end result of that is that you came out with a lot of excitement about doing new things. Did doing those Phoenix sessions and tackling those albums in their entirety help keep you sane?

Zack Lind: Yeah, I thought it was good for us to do something like the Phoenix Sessions. It was a lot of work. We worked hard on these, but the end result was something we were really, really proud of. I think anytime you can get away from generating new material – and weirdly, that’s kind of like touring. The tour is on the road, and yes, you’re playing new material, but you’re also playing older material, and you kind of take your foot off the gas pedal to think of new ideas or write and record new songs.

It is important to make room for new things. Usually, touring for a year and a half on an album is enough risk, finding new material and coming up with something new, so we kind of needed to incorporate that time, in a way. The Phoenix Sessions were a good opportunity for that.

Every time we talk to a band that comes back and covers an album in its entirety, it always seems like they find out there’s songs like “Oh, we never played that live”, and the work required is almost like a new song.

In fact, we were looking for people who were filming us, playing something live for a long time, of which we had forgotten how we had done it. We would watch a YouTube video of someone while filming our concert, and that person doesn’t know that at the time of filming, we’ll be watching your video in the future, trying to figure out what we were doing to like playing that song .

Sometimes it is understandable for groups. You’re not going to play every song on an album, every concert. You lose the habit of doing something you haven’t done very often or you haven’t done everything and you have to go back and relearn it, you know? And not only relearn the song, but find a way to play it live. So that’s a whole other thing.

The new single, “Something Loud”, is the first single from your label. I feel like the band goes back to your early days, where you released something on an independent label, but this time it’s yours. How does it feel to make that leap, almost 30 years later?

It’s funny because we’ve done this thing before – done something along those lines. Technically, we licensed our last three albums on RCA, so those are technically also on our own label. But yeah, I mean, I think it was something that was right for us – having the freedom and not having any sort of connection to a label, we can kind of do whatever we want. I think it’s something we leaned into in a fun and freeing way.

It feels good to be able to not only do that, but do it in a way that “Something Loud” has started to have some momentum, even without a label. It’s good that we can do this and it makes us excited for things in the future.

Reading Dan Ozzi Sold last year was a reminder that Jimmy Eat World was at the heart of this major-label underground punk rock boom that took place at that time. It’s fascinating to see how some of the bands featured in this book really managed to keep going, and others struggled. What was it like for all of you to be an independent band, then on a major label, then on another major label and all that? It seems like it’s been a whirlwind almost the whole time you’ve been in a band.

We had to be flexible and overcome the different circumstances leading up to it. I think the thing for us is that we always had to go through those things with that. It’s easier. You know not all bands have the same thing [dynamic]. Sometimes stressful times and changes can be upsetting, but it’s much more upsetting when you don’t have a solid relationship between the group members.

When we left Capital Records, instead of feeling flaunted, we felt emboldened. We said to ourselves: “Fuck, we’re going to seize an opportunity”, you know? I think that mindset helps in those little moments of change or when you’re where you might be interpreting something that would give you a sense of doubt. We all kind of did the opposite.

You are not a group that wants to stand and rest on your laurels.

Yes, I think it certainly is. I mean, I think there were times when we took our eyes off the ball and maybe we didn’t do as good a job as others, but it wasn’t because a lack of record or resting on our laurels. But I think there’s a point where, every time you release a new song or a new album, you’re competing against your own back catalog. I think for us, I find that anything we release that’s new has to earn its way into our catalog in a way that we feel confident in, or we shouldn’t release it. With this mindset, we get better results instead of making albums or something that someone expects from us.

You have to be able to release new music to prove to yourself that you should still make music or what’s the point? We always felt like that. At this point, we’re in deep water, what if we stop treading water? That’s it.


Jimmy Eat World plays Uptown on Wednesday, September 14, with fly-half Charly Bliss. Details about this show here.

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Heavy Music Mavericks The Melvins Return to Mystic Theater https://dfbpunk.com/heavy-music-mavericks-the-melvins-return-to-mystic-theater/ Sat, 03 Sep 2022 18:53:00 +0000 https://dfbpunk.com/heavy-music-mavericks-the-melvins-return-to-mystic-theater/

SAN FRANCISCO — In a career spanning more than 35 years playing by their own rules, guitarist Buzz Osborne and monster drummer Dale Crover co-piloted founding underground rock band The Melvins through a hugely diverse exploration of heavy music. . Inspired by the slow tempos and down-tuned guitar sludge of Black Sabbath as well as the dissonance of punk iconoclasts Flipper and my war-era Black Flag, the Melvins became legends in Washington State during their formative years in the early to mid-1980s after being founded in the small town of Montesano.


melvins – television studio 1984! by
deadguy138 on Youtube

The band’s combination of crushing riffs and heavy grooves would eventually influence the entire North West music scene. Aberdeen natives and early fans Kurt Cobain (who at one point auditioned for the band) and Krist Novoselic were inspired to form Nirvana, while other grunge heavyweights like Alice In Chains and Soundgarden also updated Sabbath model. The Melvins have been recognized as a fundamental inspiration for a number of heavy rock subgenres, providing the template for stoner-rock bands and experimental drone terrorists.


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With a rotating cast of bassists, the Melvins produced a veritable landslide of experimentally-minded releases that consistently pushed the boundaries of alternative rock. Whether recording for the Atlantic major in the early 90s or releasing records on numerous independent labels, the group has forged a singular sound, immediately recognizable, without ever being afraid to take great experimental detours. The band have received numerous critical accolades since they began collaborating with the equally heavy duo Big Business of bassist Jared Warren and drummer Coady Willis a decade ago with the celebrated effort (A) Senile animal in 2006.


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Powered by a massive two-drum attack (both players used a huge overlapping kit that shared some drums), this album and follow-up recordings nude with boots and The bride cried murder twisted, melodious riffs from Osborne and some of the band’s most catchy production to date. The band would also branch out with other collaborators, partnering with famed avant-rock bassist Trevor Dunn (Mr. Bungle, John Zorn) on a record-breaking album and tour that saw the trio play in 50 states and Washington. , DC in 51 days. with Dunn sticking exclusively to acoustic bass, reuniting with original drummer Mike Dillard (with Crover moving to bass), releasing a guest-packed cover collection (Everybody loves sausages in 2013) and recorded with Butthole Surfers members Paul Leary and bassist JD Pinkus (who had previously been a frequent member of the band on tour).

In 2016, the group succeeded in further accelerating its already prolific production. In addition to Sub Pop releasing a set of longtime recordings with GodheadSilo bassist Mike Kunka that were recorded in the late 90s (credited to Mike and the Melvins and titled three men and a baby), the band toured extensively with newest bass recruit Steven McDonald of Redd Kross and OFF! fame to promote their other newer release. The Ipecac Records effort loaded bass featured newer material recorded with McDonald as well as songs featuring a variety of recent bassists and a guest spot from Novoselic himself.

As well as playing a few shows in conjunction with screenings of the documentary The Colossus of Fate: A Melvins Tale by co-managers Bob Hannam and Ryan Sutherby, the band members also found time to collaborate with vocalist Terri Genderbender (The Butcherettes) and Omar Rodríguez-López (The Mars Volta, At the Drive-In) in the new group Crystal Fairy for a self-titled effort on Ipecac as well as the recording of their first double album, A walk with love and death.


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The 2017 collection matched an album’s worth of more traditional Melvins material with a second set of experimental recordings that serve as the score for an avant-garde short titled To like directed by band friend and director Jesse Nieminen. Crover also released his first solo The wayward finger of fate through Joyful Noise Recordings. While he had already made a number of albums as the frontman of his side project band Altamont, the endeavor gave Crover a chance to expand on everything from drumming experiments to fractured pop tunes.


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Having already introduced fans to the band’s explosive two-drummer line-up, the Melvins introduced another mutant version of the band with their 2018 album. Pinkus Abortion Technician which features both Pinkus and McDonald playing bass. A rare exception to Melvins’ releases that are usually dominated by Osborne-penned songs, the new effort features some reworked Butthole Surfers songs (including a twisted mash-up of the R&B/rock standard “Stop” with the Surfers song “Moving to Florida”), a distorted cover of the Beatles standard “I Want To Hold Your Hand” and a mix of originals written by Crover, Pinkus and McDonald.


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Although the prolific band didn’t release a new album in 2019, the Melvins performed at an all-star tribute to the late Soundgarden frontman Christ Cornell at The Forum in Los Angeles in January before an extensive tour with the line. -up to two bass players. . They also released a new four-song collaborative EP recorded with the avowed inspiration Flipper which featured the Melvins covering a pair of Flipper songs as well as two tracks with members of both bands performing together. The Melvins also released a second collaborative EP with Swedish artist Sh-tKid (the stage name of punk songwriter Åsa Söderqvist).

The Melvins coped with the non-touring downtime during the pandemic by ramping up their work in the studio which released in 2021. In addition to releasing a new effort Work with God which featured the 1983 version of the group reuniting again, the trio also released five legged dogan extensive double-disc acoustic collection featuring new recordings of songs from across the band’s career plus new and reimagined covers of songs by the Rolling Stones, Harry Nilsson, the Turtles and Alice Cooper.


Melvins “Night Goat (Acoustic)” by
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While December’s COVID surge forced the band to cancel a pair of shows in San Francisco that would have included a New Year’s concert, the Melvins hit the road again in 2022, joining Ministry and openers Corrosion of Conformity on a tour celebrating the landmark’s 30th anniversary The mind is a terrible thing to taste album. The band also released the first of new recordings they made during the hiatus, releasing the limited number lord of the flies EP featuring two new songs and a pair of covers (a version of Soundgarden’s “Spoonman” featuring Matt Cameron on drums and a medley of Led Zeppelin’s “Misty Mountain Hop” and Devo’s “Uncontrollable Urge”) ahead of their final album Rising bad mood. For this show at the Mystic Theater in Petaluma, the Melvins are joined by Austin, Texas-based “freak rock” power trio WE Are the Asteroid – which features former members of such notable bands as the Butthole Surfers, Ed Hall and Daddy Longhead — and Taipei Houston, a new local duo of drummer/guitarist Myles Ulrich and his bassist/vocalist brother Layne (they are the sons of Metallica drummer Lars Ulrich) that formed during the pandemic.

Melvins with WE Are the Asteroid and Taipei Houston
Thursday, September 8, 8 p.m. $23-$29
mystical theater

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