Liars: "Houseclouds" Video
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Liars: "Plaster Casts of Everything"
The video for "Plaster Casts of Everything" is directed by Patrick Daughters, who has directed videos for Beck, Feist ,The Yeah Yeah Yeahs, Kings of Leon, The Shins, Bright Eyes and more. It was shot on location in Los Angeles and features a cameo by The Yeah Yeah Yeahs' Karen O.
?The intensity. The drama. The emotion. The colors. The darkness. The melodies. The anger. The honesty. The drive. The new. All of the above and more.? According to Stone Sour frontman Corey Taylor, those are the things that define Stone Sour?s passionately pulsing second album, Come What(ever) May (Roadrunner). Stone Sour?s first album in four years finds the band firing on all cylinders, and primed to capture the attention and the hearts of the rock ?n roll masses.Stone Sour?s self-titled debut was twice Grammy-nominated and RIAA Certified Gold. It was an eclectic album, propelled by the band?s busy tour schedule, the contemplative smash single ?Bother,? and a series of groovy, melodic metal numbers. In 2002 and 2003, Stone Sour established itself as a multi-faceted hard rock force of nature.While Taylor is one of the most recognized figures in rock music, thanks to his role as the frontman for Slipknot, a Grammy winning, multi-platinum act, Stone Sour is anything but a side project. It?s a full-time band that all members are fiercely dedicated to. Taylor spent much of 2004 and 2005 supporting his other band, but will spend 2006 and 2007 focusing on Stone Sour and Come What(ever) May. Also comprised by guitarist James Root, who does double duty in Slipknot, bassist Shawn Economaki, guitarist Josh Rand and new drummer Roy Mayorga, Stone Sour is armed with an album that expands beyond the palette of its predecessor. The band was afforded more time to craft songs, and it shows. The album, produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver), is tight, crisp, and full of rowdy rockers and melodic numbers.?With Stone Sour, I loosen up and show more of myself,? Taylor reveals. ?As soon as the fans hear this new record, they?ll see it?s different than anything that we have ever done. It gives me a chance to do the singing that I love to do, the type of singing that I do when I?m walking around my house.? Taylor, a self-described extrovert, may be the mouthpiece for Stone Sour, but he insists the band is a truly collaborative effort, and that?s something he thoroughly enjoys. ?I?ve been able to blend into the background if needed, you know? You grow up thinking being recognized all the time will be sweet, but sometimes you just want to be one of the guys. I think I balance it fairly well, without killing people.?Guitarist Josh Rand, who ran 3-5 miles a day during the recording process to clear his mind for each day?s highly creative atmosphere, believes that the diversity of Come What(ever) May, which features guest appearances from The Wallflowers? Rami Jaffee and Godsmack drummer Shannon Larkin, will be what hooks fans, and what keeps them. ?This album?s content will fit any mood you may be in,? the guitarist says. ?If you?ve had a shitty day at work, you could crank ?Hell And Consequences.? If you need a little optimism, you could listen to ?Through Glass.? If you are feeling depressed, you could listen to ?Zzyzx Road.??Obviously, Come What(ever) May is a sensory experience, encompassing a wide spectrum of emotions. ?30/30-150? and ?Reborn? are bruisers that?ll get the blood coursing through listeners? veins, while the first single, ?Through Glass,? takes up real estate in your brain for days at a time, thanks its unforgettable melodic twists and chorus. Try and purge your brain of Come What(ever) May?s melodies, and you?ll fail miserably. Taylor concurs, ?So many bands are so genre-specific these days. No bands cover the middle ground. If they try, it?s lifeless and limp. Our album has such a pulse. The cool thing is that when we write stuff, it turns out catchy whether we want it to or not. It?s just something that we do.? He?s right. Crafting melody and mixing it with metallic maelstrom is definitely something that Stone Sour does better than most.Jim Root, who contends that ?life? itself influenced this album and who claims he consumed nerve-shattering, tooth-staining amounts of coffee during the recording process, sees Come What(ever) May as a necessary evolution in the band?s sound. ?We?re taking every aspect to the next level. As an artist, no matter what you do, you must evolve. That?s very important to me. Some people fear change. I embrace it. This record is a testament to where I am at, musically and spiritually. Life is a learning experience and so is song writing. As with everything I try to improve. I can sit back and listen to these songs and know that I have.?Taylor understands that as his career goes on, he will be less and less understood and he likes it that way. ?I?ve lost a little sleep over the fact that people don?t get what I do and how I do it. I do everything I can to entertain, educate and infuriate the status quo. If I give the mainstream a headache once in a while, that works for me.? It?s that attitude that attracts the disaffected youth, the kids, the anti-conservative thinker, as well as the casual rock fan to Stone Sour. ?I have a conscience,? Taylor says about his songwriting style. ?I have a respect for the music and I have an agenda. I have an individualistic mind to botch the ?product? mentality, and I am not out to further myself in a spotlight that knows no favorites. This could all be gone tomorrow. If all you?re doing is trying to build your Q points, what are you going to do when no one wants to see you anymore? At least I?ll be happy about the music I left behind.?The songs and music on Come What(ever) May ensure that Stone Sour?s legacy will endure for a long time to come.
Girls Against Boys: "Basstation"
Formed in 1990 from the ashes of legendary DC hardcore bands (most notably Soulside), Girls Against Boys have released six albums on such varied labels as Adult Swim, Touch & Go and Geffen, in addition to numerous singles and EPs. They have also contributed to soundtracks for the movies: Clerks, Mallrats, Permanent Midnight, Hedwig and the Angry Inch, Suburbia and 200 Cigarettes. GVSB have toured the world extensively by themselves and with bands such as Fugazi, the Jesus Lizard, Rage Against the Machine, Garbage, Hole and Jawbox, as well as appearing in such festivals as Lollapalooza, Reading, Mt. Fuji and SXSW
The Roots, known for their innovative album concepts, return after a two year break to release their new album, ‘Game Theory’.‘Game Theory’ is The Roots’ most thought-provoking, incitive album since their 1999 breakthrough ‘Things Fall Apart’ and will be the group’s debut for Def Jam Recordings, home to the world’s premiere Hip-Hop artists. The band addresses everything from their uneasiness about society on, “It Don’t Feel Right,” to troops at war on “False Media” and government monitoring on “New World.” The band also honors their fallen friend and producer James Yancey a/k/a J-Dilla whose death from kidney failure in February devastated the Hip-Hop world. All tracks are wrapped around hard hitting beats and murky grooves deploying samples from Sly Stone, the Ohio Players and the Jackson 5 among others. It’s been nearly 20 years since Ahmir ‘?uestlove’ Thompson and Tarik “Black Thought” Trotter met on a fateful date in 1987 at the Philadelphia High School for the Creative and Performing Arts. Since then, The Roots have become popularly regarded as among today's most innovative, adventurous and influential bands. The Roots are: ?uestlove (drums), Black Thought (emcee), Leonard “Hub” Hubbard (bass), Kamal Gray (keyboards), Kirk “Captain Kirk” Douglas (guitar) and Frank Knuckles (percussion).
Roger O'Donnell, long known as the man behind the keys for legendary bands like the Cure and earlier for The Psychedelic Furs, steps out on his own with his beautiful new album The Truth in Me. A collection of songs composed and recorded using a single instrument, the Moog Voyager. An instrument with it's own cult following, the Moog is generally not known for the very warm and undeniably human sounds that become immediately apparent upon listening to this fascinating work. Always an artist of unique vision, Roger O'Donnell's playing and songwriting can be found on era defining records and he has performed on some of the biggest tours and festivals all over the world. His contributions have always had an amazing influence on the bands he played and wrote with. Following the inclusion of his song "Another Year Away" on the soundtrack for the Moog Documentary, Roger was encouraged by one of the film's producers to do an entire album orchestrated with a Moog Voyager. Since Roger had enjoyed working with the Voyager on the soundtrack, the idea appealed to him: "My initial idea (for the soundtrack) was to try and write a song and record it using only a Moog and that's what happened. I knew from my early days that I could orchestrate using mono analogue synths so in a way I was revisiting my roots." "Definitely not a concept album, more of an album concept, it was a re-visiting of my early days of composing using limited instrumentation. Consciously un-compromised or commercial, it's a mainly instrumental journey through my musical influences and where I am now (vocalist Erin Lang sings 3 songs). I was also inspired by Bjork's use of a single instrument, the voice, on her record Medulla. I found the Voyager really easy to work with and thought that maybe I had found my own voice and could do something that was entirely original. Finally, music that I am satisfied with and that satisfies me, The Truth In Me says what I have been trying to say for a long time." The Truth In Me has inspired a number of musicians to join Roger in his exploration. Remixes have already been done of a number of the album's tracks by such luminaries as Jimmy Tamborello of The Postal Service/Dntel/Figurine, Kieran Hebden of FourTet, The Notwist/Console, and Jimmy LaValle of The Album Leaf. Roger O'Donnell will be touring the US through the Fall of '06 and beyond with an appearance at this years CMJ festival in New York. "...a collection of songs that shows the sensuous and moody side of the Voyager." Electronic Musician
!!! (Chk Chk Chk): "Heart of Hearts"
Music video for !!!'s Heart Of Hearts. It's the first single taken from the upcoming album Myth Takes out 5th March 2007.
The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage. Indie-pop band Spoon's got a brand-new album, "Ga Ga Ga Ga Ga," and this is the first single. Chin Up Chin Up: "We Should Have Never Lived Like We Were Skyscrapers" Look beyond the steely skyscrapers jutting into Chicago's grey sky, past the potholed streets and shadowed alleys, and you might be able to find something beautiful in this scuffed-up metropolis. Something like a cornflower pushing through a cracked sidewalk, struggling its way toward sunshine. Or the sun glinting off choppy lake waves at dusk. Or the sounds of Chin Up Chin Up, whose disarmingly resonant debut album "We Should Have Never Lived Like We Were Skyscrapers" is ready to carry you through autumn and beyond. Recorded by John Congleton (90 Day Men, The Roots, The Paper Chase) at Electrical Audio and Soma studios throughout July, "We Should Have Never Lived Like We Were Skyscrapers" proves that sentimental pop songs don't have to be cloying or trite. Meticulously layered with solid drums, keyboards, and warm guitar, these ten songs will wrap themselves around your mind and stay there all day. The band's history reaches back to 2001, when Jeremy Bolen and Nathan Snydacker formed Chin Up Chin Up (think optimism and perseverance, not exercise). The two guitarists were joined shortly thereafter by percussionist Chris Dye and bassist Chris Saathoff. In January 2002, the band released a self-titled EP, which inspired MOJO's call for readers to "meet your new favourite Chicago art-pop band." Later joined by keyboard player Greg Sharp, Chin Up Chin Up toured extensively, playing shows with the likes of the Appleseed Cast, the Mercury Program, Pedro the Lion, the American Analog Set, Broken Social Scene, Smog, and Pinback. Our Love To Admire is at once unmistakably Interpol and undeniably new. The witty and perverse "No I In Threesome" is an upbeat ode to shaking up a staid relationship propelled by Carlos D's peerless bass melody while the tenderly observant "Pace Is the Trick" proves that the band are still the masters of the dramatic – check the painful pause right before the sinfully satisfying return of Sam's thundering drums and Daniel's ringing lead guitar. The band's impressively seductive evolution is obvious all over the record, but never more so than on tracks like "Mammoth," "Who Do You Think" and on the album's lyrical centerpiece, the ghostly "Rest My Chemistry." While Daniel is understandably proud of the song he cautions against reading too much autobiography into its lyrics. "We always leave the interpretation to the listener," he says. "I mean, you shouldn't watch a movie for the first time listening to the director's commentary!"
