It’s a beautiful time to live in Brisbane for live music fans. Another live music venue has opened up in Fortitude Valley and the best bit? They’re promising live gigs from local artists every night of the week.
Yup, The Sound Garden has opened its doors on Brunswick Street, just next door to the new Fortitude Music Hall. The new venue has a 770 person capacity — a similar size to The Triffid.
The Sound Garden’s venue manager, Davor Djuric said, “We have worked tirelessly on this project for months and are very proud to finally open the doors and offer Brisbane a new space to find fantastic food, drinks and music every day of the week.”
“The Sound Garden is such a significant development for Brisbane and will bring new life to Fortitude Valley, supporting the existing nightlife and live music scene.”
He says they’re not necessarily trying to complement the Fortitude Music Hall next door, but rather to add to the local scene.
“When you mention the Valley to people, it’s Friday nights and Saturday nights and sometimes messy nights,” Djuric says.
“We want to be able to bring people here on the Friday afternoons, the Saturday afternoons, the Sunday afternoons – giving people that option to come and enjoy a venue like this during the day. We’re not all 21 anymore.”
NewsWritten by Alex Gallagher on February 11, 2020
Melbourne’s Rolling Blackouts Coastal Fever have shared new single ‘Cars in Space’ alongside a video set in an old-school Australian drive-in, directed by Nick McKinlay.
The song, which the band’s Fran Keaney explains is about “the swirling words and thoughts before a breakup”, feels consistent with their general jangly oeuvre. It’s packed full of the ultra-hooky, layered guitar-work that earned them acclaim with debut album Hope Downs.
Whether the new track signals an album is on the way we’re not 100% certain, but given that they released 7″ single ‘In the Capital/Read My Mind’ last year, hopefully it’s a sign they’re cooking up something good.
Check out the video for ‘Cars in Space’ below. RBCF have a few Australian dates over the next month or so, including their upcoming Sydney shows supporting Pixies at the Opera House. You can check those out below too.
Rolling Blackouts Coastal Fever Australian Dates
Friday, 14th February Perth Festival, Perth
Sunday, 1st March Nine Lives Festival, Brisbane
Saturday, 14th March Sydney Opera House (w/ Pixies), Sydney
Sunday, 15th March Sydney Opera House (w/ Pixies), Sydney
Wednesday, 18th March Brunswick Music Festival, Melbourne, Australia
Overnight, rapper Denzel Curry (fresh from scoring the #5 slot in this year’s Hottest 100) along with producer Kenny Beats have dropped a surprise collab album entitled Unlocked.
The project sees the pair teaming up more extensively, after Curry first appeared on the producer’s YouTube show, The Cave.
The album, produced entirely by Kenny, launched with an accompanying (and hilarious) animated film starring the pair, featuring individual music video for each song from the project as the pair navigate different animated worlds, each in a different artistic style.
Denzel and Kenny rolled out the surprise project in classic stitch-up fashion, orchestrating a fake Twitter “beef” that saw Denzel take to Twitter to accuse Kenny of leaking the project as an ostensibly unaware Kenny goes live on Instagram. The film starts with Denzel rocking up to the studio to accuse Kenny of leaking the project. That’s where things get interesting.
It’s been a pretty massive year for both artists. Last year saw Curry release fourth studio album Zuu, while KB dropped his collab album Rico Nasty, Anger Management, and co-produce tracks for Gucci Mane, FKA twigs, DaBaby and more.
Unlocked was the result of a 3-day studio session between Curry and KB. According to a press release, Denzel drew influence from The Wu-Tang Clan for the release, while Kenny says he was inspired by Madlib, Dilla and MF Doom.
Hayley Williams isn’t wasting any time here. It was just one week ago that we received the Paramore lead vocalist’s debut solo single ‘Simmer’. Now, she’s already backed it up with another, ‘Leave It Alone’.
Williams announced she’d be releasing her debut solo album on Friday, 8th May. The album PETALS FOR ARMOR is a little experimental, leaving that punk-rock sound she pulls off so well to the side for a bit.
It was clear on ‘Simmer’ that this new sound wasn’t the Hayley Williams we’re familiar with. But it’s abundantly obvious on ‘Leave It Alone’. The track has dark, ethereal vocals layered over upbeat percussion for a really cool indie-pop sound.
It comes with a film clip too, full of these cinematic but creepy shots. On top of that, we’ve also received a ‘Simmer Interlude’ with a video. The video precedes the ‘Leave It Alone’ clip.
On the forthcoming album, Hayley Williams says, “Now that it’s time to put it all out there, I can finally exhale. I’m excited to let people in to experience a different side of myself that I’ve only very recently become familiar with.”
NewsWritten by Jackson Langford on January 17, 2020
Rap legend Eminem has made his unexpected return with the surprise release of his new album, Music To Be Murdered By.
This marks the rapper’s first release since his huge, and hugely controversial, 2018 album Kamikaze, where he came under fire for referring to Tyler, The Creator with a homophobic slur.
Music To Be Murdered By is a staggering 20 tracks long, with a number of features from other artists. These artists include Ed Sheeran, Anderson .Paak, Q-Tip and Young M.A. as well as the late Juice WRLD.
On top of the album release, Eminem has also dropped a video for the song ‘Darkness’ – a politically charged and haunting video referencing gun violence, with Eminem encouraging his US fans to register to vote and help change gun laws in America.
Lizzo and Billie Eilish will be making their Grammy stage debut at this year’s awards. Gwen Stefani, on the other hand is no stranger to performing at the Grammys, but it will be her and Blake Shelton’s first Grammy performance together.
Lizzo is leading the nominations, with eight total, including: Record Of The Year and Song Of The Year for ‘Truth Hurts’, Album Of The Year for Cuz I Love You (Deluxe) and Best New Artist.
Billie Eilish managed to rack up six nominations. Album Of The Year for When We All Fall Asleep, Where Do We Go?, Record Of The Year and Song Of The Year for ‘Bad Guy’, and Best New Artist.
Aerosmith will also be performing a medley of their biggest hits on the night.
You can check out all of the nominations for the 2020 Grammy Awards over here.
This year’s 2020 Grammy Awards will be broadcast from LA’s Staple Center on Sunday, 26th January.
The last album we heard from Grouplove was 2016’s Big Mess (and its companion 2017 EP Little Mess), and now the indie-rock outfit have marked their return with new song ‘Deleter’.
Recorded in El Paso, Texas with producer Dave Sitek (of TV on the Radio), the energetic new cut channels the anxieties of modern life, and calls into questions the current institutional systems in place.
“All this time I thought you were a leader / It turns out you’re only a deleter,” sings the band’s Christian Zucconi and Hannah Hooper.
The song’s chaotic video was directed by Chris Blauvelt, and sees the band perform the song clad in some very snazzy jumpsuits before getting soaked in paint.
The new single is set to be released on the band’s as-yet-unannounced fourth studio album. It’s slated for a release sometime later this year, but details are relatively scant otherwise.
NewsWritten by Jackson Langford on January 3, 2020
Here it is, guys. The big one. The music festival to end all music festivals, Coachella, have announced their 2020 lineup and looks like the rumours were true – Rage Against The Machine, Travis Scott and Frank Ocean will indeed be headlining.
Joining those three massive acts will be other superstars like Lana Del Rey, Thom Yorke, Disclosure, Calvin Harris, Run The Jewels, FKA Twigs, DaBaby, Lil Uzi Vert, Rex Orange County, Megan Thee Stallion, Fatboy Slim and more.
On top of that, the California festival has a stack of Aussies on the bill too. Flume, King Gizzard & The Lizard Wizard, Sampa The Great, The Chats, Skegss, Dom Dolla, Hayden James and Amyl & The Sniffers will all be taking to Indio this coming April.
While tickets for first weekend have all been snapped up, you can register for pre-sale of weekend 2 tickets here.
The metal legends’ longtime producer Kevin “Caveman” Shirley has hinted that the follow up to their 2015 Book Of Souls LP will be released next year.
Posting an end-of-year recap on his Facebook page, the metal producer insinuated that Bruce Dickinson & co had spent significant time in the studio in the first half of 2019, working on their next record.
“I left my family for Paris, where I spent the next three months working very hard on an unnamed but not-very-secret project,” he writes. “I finished with a loud ringing in my ears.”
As Consequence Of Sound points out, Shirley’s “not-very-secret” line likely refers to a report from the Italian website Maiden Concerts from back in April, which collated a bunch of social media links to prove that all six Iron Maiden members had been with Shirley in Paris over a period spanning several weeks.
If the rumours are true, the new record will mark Maiden’s 17th studio album, and the sixth with Shirley at the helm (read his full statement below).
CultureWritten by Augustus Welby on December 20, 2019
Australians really love Arj Barker. No, seriously: his wife’s Australian. But it goes way deeper than that – across two decades of regular Australian tours, we’ve embraced Barker as a national treasure. Hell, he even snagged an ARIA award this year. It’s all wholly justified, other than for the fact he’s Californian.
So what explains our abiding affection for the shouty stand-up and sometime actor? Nick Cave might be able to help us find the answer. In a recent blog post, the now routinely soft-centred Cave expounded the virtues of great comedy:
“Comedians are the canaries in the coal mine of ideas, often saying things that cannot safely be said elsewhere and taking significant personal risk to speak truth, not just to power, but to stupidity too, to outrage and self-righteousness,” wrote Cave.
Anyone familiar with Barker’s stand-up – which, given he’s been performing here since 2000 and features annually on the televised Melbourne Comedy Festival Gala, should be all of us – will know he’s not a controversial comedian, per se. He does, however, offer philosophical insights into everyday matters that we’ve either been struggling to articulate or dying to say ourselves.
We’re held back from doing the latter for the reasons Cave identifies. Our social norms are often buttressed by stupidity, while contravening them precipitates a spiral of outrage and self-righteousness. That’s why we need people like Arj Barker in our lives. He reminds us that things don’t need to be this way; that the expression “it is what it is” blinds us to an alternative reality.
More crucially, however, Barker lets us laugh at our own stupidity and the absurdity of our circumstances. The significance of this cannot be understated. In Cave’s words, “between the joke and the laughter resides our common humanity and as our laughing bodies relax, our hearts and minds open and serious ideas can penetrate.”
Barker’s schedule for the first half of 2020 includes more than 70 dates spread wide across Australia. Ahead of this monster run, let’s revisit five of the US comedian’s funniest stand-up routines.
Melbourne International Comedy Festival Gala 2010
“I’m just having a little squidgeri-didge.”
Spending so much time over here has introduced Barker to a wide assortment of Australian cultural and linguistic quirks. In this spot from the 2010 Gala, he contrasts his panicked attitude towards Australia’s deadly fauna with that of his unruffled companions. The routine’s high point comes when Barker points out the uniquely Australian propensity for making up words on the fly and expecting others to easily decipher their meaning.
Melbourne International Comedy Festival Gala 2018
“Giving yourself your own bike would never cost $57,000.”
By 2018, Barker was a married man. It’s refreshing to hear him speak about hetero marriage with such positivity and optimism, rather than following the erstwhile tack of male comedians and waving the flag of chauvinism. Of course, the routine isn’t just a sentimental toast to his soul mate – he underlines the selfish gains that come with being married while offering some questionable relationship advice.
Live at the Apollo, 2016
“You spoil enjoyable conversations for other adults because you’re too goddamn lazy to sit around and watch TV all day like the rest of us.”
Barker skirts the line of bad taste with a bit about how living with his partner gives him privileged insight into the mind of a serial killer. He realises it’s sensitive territory and makes a point of separating himself from stand-up comedy’s misogynistic wing. This is something that gives Barker such wide appeal – he’s never too convinced of himself to speak honestly with the audience.
This routine, filmed at London’s Hammersmith Apollo, takes flight when he turns his attention to the cultural taboo of spoiling popular TV show endings.
Melbourne International Comedy Festival Gala 2009
“Don’t smoke pot, otherwise you could become the greatest Olympian athlete ever.”
When’s the last time you thought about 23-time Olympic gold medallist Michael Phelps getting punished for smoking a bong? Barker opens his routine with this then-topical observation, but it’s aged well thanks to the comedian’s neat juxtaposition of Phelps’ indiscretion and his achievements.
Barker’s a long-time environmentalist and this routine includes one of his renowned gags about the environment, where he identifies who (or what) is really to blame for the climate crisis.
Get in My Head DVD, 2015
“You better delete this shit.”
In a clip from Barker’s Get in My Head stand-up special, he posits that we’ve witnessed more change in our lifetimes than any previous generation. Technological innovation is the driver, but the way humans behave is also undergoing a drastic change, he says.
But rather than continuing to make sweeping declarations, Barker zeroes on a particular example of how things have changed. The comedian’s expertise is on full display as he cross-examines the newfound complexity of taking a photo with mates at the pub. He excavates narcissism, impetuousness and our increasing inability to exist in the moment. It’s quintessential Barker, and it’s ragingly funny.
Arj Barker will tour Australian from January 2020, including sets at Perth Fringe World, Adelaide Fringe Festival and Melbourne International Comedy Festival. Head here for dates and details.
A Day To Remember are hoping to release their new album You’re Welcome by the end of March next year.
The new album will be their fifth studio album and the follow up to their huge 2016 release Bad Vibrations. Initially the album was planned to drop in November, but its release has been pushed back with no date as of yet.
A Day To Remember boys: frontman Jeremy McKinnon and guitarist Kevin Skaff appeared on TheMusic‘s podcast The Green Room with Neil Griffiths. They told Griffiths that the new album would be out in the first quarter of next year.
McKinnon joked about Skaff being the pusher of the group. “Kevin is the guy where he’s like, ‘Guys, what the hell are we doing?’ Not the label. He’s like, ‘Can we get this done?’”
The pair also confirmed that the album’s final mixes are being sorted currently and the main focus is now on the album artwork.
“I actually saw some fans online, like, ‘You know, fans named the record so why don’t you ask fans to do the artwork?’. I’m like, that sounds great,” said McKinnon. “Send it in!”
A Day To Remember have just wrapped up their run of shows for with Good Things Festival in Melbourne, Sydney, and Brisbane.
They’ve put out two singles since Bad Vibrations: ‘Degenerates’ and ‘Resentment’. Listen to ‘Resentment’ below.
Gig ReviewsWritten by Jackson Langford on November 29, 2019
They say Mardi Gras is the biggest celebration of gaydom in Sydney every year, but that’s only because Carly Rae Jepsen had not yet played a show here. Her highly anticipated sideshow at the Enmore Theatre, as part of the ill-fated SandTunes festival, felt like something the whole of Sydney’s inner west was talking about. To the untrained mind, CRJ is just the artist behind that one song in 2011, but in reality she is partly responsible for influencing the sound and the direction many pop albums would take throughout the decade.
Naturally, once it was time for Jepsen to take the stage, eyes were wide, hearts were full and the air was rife with the scent of poppers. Carly took the stage and gave us a powerful and poptimistic performance, but that was also part of the problem.
Once the opening notes of 2015 (and the whole decade) stand out ‘Run Away With Me’ began, the love for CRJ would not stop pouring out from the crowd until she left. With a flawless and unshakeable voice, and wearing a delightful blue and white tulle number, Jepsen made the Enmore hers. At first, it felt like she was traversing through all her biggest bangers early on. ‘E-MO-TION’ and ‘No Drug Like Me’ made for a full hat trick of set opening bangers, followed by Dedicated highlight ‘Julien’.
But her power never soared higher than when she said “one of the biggest moments of my career was when this song hit Australia” and the instantly recognisable notes of ‘Call Me Maybe’ began, just five songs into her set. The theatre erupted with screams and the amount of “oh my gods” exceeds any known number. The fact that she was able to play not only her biggest song, but one of the biggest songs of the past ten years, so early on her set and the crowd got no smaller speaks volumes of Jepsen’s impact on her audience and the community. They were ready and willing to hang off her every word.
Yet, for an artist who was receiving so much adoration from her crowd, it also felt like she was on autopilot. To her credit, touring must take it out of you, and flying all the way out to Australia to play an energetic and electrifying show while jet lagged is more than I could do. But you could tell this show wasn’t as special for her as it was for the crowd, and that’s a little disheartening. This is an artist that the local LGBTQ+ community begged to happen for years, and a little acknowledgement of the impact she has would’ve gone such a long way. In contrast, Charli XCX’s Pop 2 show in Sydney last year included a monologue from Charli about how the queer community helped her career and helped her feel like she had a “home”.
The tidbits were scripted and the banter minimal yet the applause that echoed the room after each song was almost excessive. Now, the crowd isn’t automatically entitled to anything besides CRJ performing the songs they love so much – which she did flawlessly. On top of that, being in Australia means that the world’s biggest superstars seldom tour here while they tour elsewhere much more often which automatically means the crowd is going to be much more excited than the person on stage. Maybe CRJ is just a little shy and that’s why this gig didn’t feel personal? Maybe she is just a little oblivious to just how much the crowd loved her? All of which is totally fine, but it’s hard to ignore that there was just a tiny bit of unrequited love in the air.
No one is going to tell you that it was a bad concert by any means, because it wasn’t. The energy was high, the songs were delivered perfectly and Carly kept a giant smile on her face the whole time. The setlist traversed through hits like ‘I Really Like You’, ‘Party For One’ and the anthemic closer ‘Cut To The Feeling’ and not once did she let her electricity disappear. Carly has nailed being an artist, a songwriter and a performer – but maybe she’s just gotta work on connecting with specific audiences a little bit more?
Or may be the second hand smell of amyl had gone to my head. Who knows?
Carly Rae Jepsen will finish up her Australian visit with a show in Melbourne next Monday, 2nd December. Details here.
FeaturesWritten by Thomas Bleach on November 15, 2019
Tove Lo is an artist that has made a career out of being unapologetically honest and authentically herself through her poignant boldness and her forward-thinking songwriting.
Her fourth studio album, Sunshine Kitty, hears the Swedish singer-songwriter stepping into a heavier electronic soundscape as she immerses herself into the sonic layering of dance music while also holding onto her emotional storytelling roots.
“Sunshine Kitty is a bit more playful and even more vulnerable at times. It’s a love record, and it’s also everything that comes with that; fear, vulnerability, being romantic, naive, happy, sad and all of the feelings you get when you’re in that space,” she tells Music Feeds.
Lo’s experimentation with dance music doesn’t completely come as a shock following the success of singles ‘Disco Tits’ and ‘Cool Girl’, as well as her inclusion on some very diverse festival lineups across the world which has opened her eyes to the complexities of the genre.
“I love the contrast of something vulnerable and a little bit sad but having that strong dance beat pushing through those emotions. I like there to be a bit of darkness and melancholy in everything I do, so I think that’s why I was drawn to dance music. Even when you’re singing about happy things and contrast it with pretty heavy industrial and darker beats, it immediately becomes more interesting.”
“I have a hard time making a straight-up ballad. It still needs to have a contrast of something that gives it an edge like with ‘Hey You Got Drugs’ and ‘Thousand Miles’.”
On this new record, ‘Mistaken’ and ‘Really Don’t Like U’ (featuring Kylie Minogue) offer some of the most vulnerable moments as they deal with admitting that you’re not proud of your feelings.
“It’s the feelings that you don’t even want to admit to your friends because you feel like it’s embarrassing and doesn’t make you a good person. On ‘Mistaken’ you’re admitting to the person you love that you think that there is someone out there who is better for them than you,” she says.
“’Really Don’t Like U’ is about when you direct your hate towards your ex to their new boyfriend or girlfriend. It’s a shitty thing to do but it’s a very natural thing to do. We all do it. We all hate the new person, even though they have nothing to do with it,” she confesses, before laughing.
Within the foundations of Sunshine Kitty there is a lot of experimental contrasting that layers raw storylines with innovative production. ‘Shifted’ is a song that immediately stands out within the collection as it’s sonically bold and hears her getting quite gritty within the production.
“I wrote this with Jack & Coke, who were a major part of this whole record. They had the bass line synth layered down and I was just standing by the microphone and layering breathy vocal takes. The vocal production is quite heavy like on ‘Flashes’ and ‘Keep It Simple’ as it uses my vocals as percussion and we just roll straight into the choruses.”
“It really adds to the attitude of the song as it’s about being sick of trying and feeling like you’re too good for this. There’s something about the repetitiveness in the main sound of the song that just made the story ooze out,” she explains.
But Lo admits that the actual structure and delivery of the song took a little while to nail as she learnt to allow herself to be a bit offbeat with her synchronisation.
“When we were playing with the melodies we knew we had to do something that complimented the attitude and music. Recording that chorus was really funny because technically you want to be on the beat and in time, but I had to learn to hold it back and be a bit behind to really make it groovy.”
With the album now out in the world, Tove Lo is currently in rehearsals to bring the album to the live stage on her upcoming world tour, which kicks off in early 2020.
Creating the structure of the show, she’s figuring out how to make sure she includes a good mix of the new tracks as well as have all of the hits and fan favourites from her growing discography.
“The show is almost two hours long because I want to fit as many new songs into the set, as well as play heaps of old songs,” she explains.
“I’m trying to think of the set as a ‘sunset to sunrise’ structure. I’ve built it in arcs. We start the show with some of the sappy songs that are more emotionally confident and hold pride, then go into this big dance section with songs that are a bit more club-focused and we’re even doing some remixes of old songs! Then I do some of the more vulnerable ones, stripped down, with just me on keys and guitar before going into the energetic ego pop part of the set.”
Working with a lighting designer from New Zealand as well as her personal lighting guy and creative director, they’ve been trying to build the right set that can adjust to the different sized venues they are playing.
“We’ve decided that the show has to have [an] essence of light beams and sun but in a really trippy way. So he’s created this light fixture which is absolutely amazing. I can’t wait!” she exclaims.
With no dates confirmed yet for Australia, she’s hoping to have some tour news for her Australian fans very soon, so stay tuned.
NewsWritten by Jackson Langford on October 26, 2019
It’s only been a bit over a month since BIGSOUND 2019 came to a close, but we already know when the 2020 event will be taking place so pop it in your diaries.
BIGSOUND 2020 will officially take place from Tuesday, 1st – Friday, 4th September next year, so get bloody keen.
2020’s event will surely be huge, if 2019 is anything to go by. The likes of Tones & I, Miiesha, Tasman Keith, Milan Ring, Bad//Dreems and many, many more took to Fortitude Valley for the annual conference.
The speakers lineup was equally as big, with Bethany Cosentino of Best Coast, Terry McBride of Nettwerk Music and Andy King of Fyre Fest Fellatio Fame all made the trek to Brissy.
It’ll be a little while before we hear who is playing BIGSOUND 2020 but you can be sure we’re pumped.
Tuesday, 1st – Friday, 4th September Fortitude Valley, Brisbane
Marilyn Manson has given us his unexpected take on an outlaw folk classic, ‘God’s Gonna Cut You Down’. The decade-spanning folk song has been recorded by a bunch of artists and with varying song titles.
‘God’s Gonna Cut You Down’ has been performed by the likes of folk-blues artists and civil rights activist Odetta, country rock legend Johnny Cash, and as ‘Run On’, Elvis Presely, among others. In 1999, a version of ‘Run On’ by Bill Landford & The Landfordairs was sampled heavily for Moby’s ‘Run On’.
Now, we have a Marilyn Manson rendition. This one definitely has Marilyn Manson’s goth sound but it’s still very Johnny Cash with all that lo-fi and dark, thematic production.
The new track has come with a very Marilyn Manson film clip as well. The clip sees him transport and bury a dead body, and is full of other general dark things like crosses and spooky shots.
Manson is also set to star in the upcoming miniseries adaptation of The Stand by Stephen King. He’s also apparently written music for the 10-episode series. You can read about it here.
NewsWritten by Jackson Langford on October 12, 2019
The end of the decade is fast approaching, and much faster than we or anyone would like. With only mere weeks left until we enter the 2020s, music publications and music lovers are looking back fondly on the best music moments of the decade. And, now, we’ve turned attention to the decade’s best lyrics, and there have been some good ones.
The conversation was started by writer Ilana Kaplan, who tweeted “what’s the best song lyrics of the decade?”
A whole stack of others have been referenced, like Lorde’s ‘Sober II (Melodrama)’, Courtney Barnett’s ‘Nobody Really Cares If You Don’t Go To The Party’, Vampire Weekend’s ‘Harmony Hall’, Jason Isbell’s ‘Cover Me Up’, Sufjan Stevens’ ‘Should Have Known Better’ and plenty bloody more.
What’s your favourite lyric of the past decade? Let us know on Twitter at @musicfeeds.
NewsWritten by Allison Gallagher on October 10, 2019
Metallica‘s Lars Ulrich has reflected on opening for AC/DC on their 1991 Monsters of Rock European tour during an interview with Brian Johnson for the singer’s AXS TV show, Brian Johnson’s A Life on the Road.
In the interview, Johnson compliments the drummer on his unique playing style – “It was the drums, it had a swing to it that regular thrash metal didn’t have.”
“You’ve got to remember, our musical roots were much more in you guys, Deep Purple, Led Zeppelin,” responds Ulrich.
“We were much more in blues-based, harder rock and roll stuff. We just started playing it a little faster as we went along.”
Ulrich also discusses the impact watching AC/DC had on Metallica’s growth as a band. At that point, ‘tallica had already been regularly on the road for about eight years, but the tour served as a jumping off point into the next stage of their careers – the last time they really served as a support act on tour.
“Playing with you guys on that run in 1991, which was the last time we really sort of supported anybody, we were in heaven getting a chance to be close to you guys and watching you every night for six weeks,” Ulrich says during the interview.
Last year, Kurt Vile released his eighth studio record, Bottle It In. About a month before the record’s release, he took some time off and headed to the Catskills in Upstate New York for a weekend of R&R.
While he was there, he spent some time in a 20-bedroom Victorian Estate called Big Indian Springs. This is where he prepared himself for the release of the record and the extensive tour he was about to embark on in support of it.
His record label, Matador Records, followed him up there with a camera and put together the (bottle back) mini documentary. “This was the perfect lost weekend,” he told Rolling Stone.
Directed by Ryan Scott, the doco serves as an intimate glimpse into Vile’s creative process. There are live versions of his tracks peppered throughout, including a solo rendition of ‘Bassackwards’ and a backyard performance of ‘Baby’s Arms’ with The Sadies.
Este sitio web utiliza cookies para que usted tenga la mejor experiencia de usuario. Si continúa navegando está dando su consentimiento para la aceptación de las mencionadas cookies y la aceptación de nuestra política de cookies, pinche el enlace para mayor información.plugin cookies