SETLIST FROM SMASHING PUMPKINS’ SHOW TODAY IN MELBOURNE, AUSTRALIA

Setlist:

1. Quasar
2. Panopticon
3. The Celestials
4. Violet Rays
5. My Love Is Winter
6. One Diamond, One Heart
7. Pinwheels
8. Oceania
9. Pale Horse
10. The Chimera
11. Glissandra
12. Inkless
13. Wildflower
14. Space Oddity
15. X.Y.U.
16. Disarm
17. Tonite Reprise
18. Tonight, Tonight
19. Bullet With Butterfly Wings
20. Soot and Stars
21. Luna
22. Today

Encore:
23. Zero
24. Ava Adore
25. Cherub Rock

If anyone has any revisions let me know.

NIRVANA’S KRIST NOVOSELIC & DAVE GROHL HAVE RECORDED NEW MATERIAL

Founding Nirvana bassist Krist Novoselic said this in a new interview with Matt Pinfield on the Hivecast:

“You know what was cool, I did some work with Dave [Grohl], you’ve got to ask Dave what we did though because he told me not to tell anybody. It’s around the Sound City Documentary. I went to Pasadena to go see Ben and Kim, because they were in L.A. making a video for [Soundgarden’s new Avengers single] Live to Rise. And so like we went to this hotel room, and we were like having some beers, and like they were playing their new song and I was playing our new song. It was kind of like the old days, like wow we haven’t done this in 20 years.”

KRIST NOVOSELIC DISCUSSES HE & KURT COBAIN SEEING SOUNDGARDEN DURING THEIR EARLY DAYS

Founding Nirvana bassist Krist Novoselic said this in a new interview with Matt Pinfield on the Hivecast:

“Soundgarden was already huge, they were the big band. We went to see Soundgarden at the Central Tavern, they had just released Screaming Life. They did that song Nothing to Say and it was just like wow, Cornell is just like intense. But I remember, they had gorilla gardens, and I just remember seeing Soundgarden before that. Chris had like a Flock of Seagals New Wave hair do, and he was on drums. Kim just had really short hair, he was like this Indian dude he had this gretch guitar that was totally dripping with chorus, he had so much chorus on that pedal. But they were cool, they had these riffs and they were kind of spooky they were rock and their drummer had the pipes. Then I saw them again, and they had Matt on drums and then Chris was out front, and he grew his hair out, and he would like never wear shirts. We would call that the Full Cornell. I’m so glad they are back together, I’ve heard one [new] song. Live to Rise is amazing, thank you Soundgarden for making great rock music.”

KURT COBAIN USED TO DRAW PORNOGRAPHIC IMAGES OF SCOOBY DOO

Founding Nirvana bassist Krist Novoselic said this in a new interview with Matt Pinfield on the Hivecast:

“He was an artist, and he drew these Scooby Doo cartoons. He lived in this apartment for a while where he defaced the hallways with these pornographic Scooby Doos. It was, like, penises and Scooby and Shaggy, it was really bad, but it was well-done. It was Shaggy! He was an amazing illustrator.”

“Kurt would do sculptures, and paintings, he was obsessed with writing songs.”

NEW CARTOON FEATURING MELVINS’ KING BUZZO, THE MELVAN & NIRVANA’S KRIST NOVOSELIC


Above is a video interview with Buzz Osbourne from the Melvins from last month.

Pitchfork TV has up a funny new cartoon where King Buzzo of the Melvins tells the story of the bands ill fated 1986 tour. He describes a woman using crystal method in front of her house right in front of them, a groupie pissing herself, their van breaking down, Krist Novoselic in his pre Nirvana days, and much more.

GRUNGEREPORT.NET REVIEW OF NEW TOADIES ALBUM PLAY.ROCK.MUSIC.

Two GrungeReport.net readers, Ben Walton and Elijah Phillips, sent in reviews of the Toadies’ new album Play.Rock.Music.

BEN WALTON’S REVIEW OF PLAY.ROCK.MUSIC.

Aside from the song Possum Kingdom, and to some, the rest of their debut album Rubberneck, not many people appear to be aware of the rich back catalogue of Texas’ very own Toadies. Having released and toured their successful debut, Toadies suffered at the hands of record industry politics, having to scrap their first attempt at a follow up album. When their second album Hell Below/Stars Above finally limped out in 2001, 6 years after Rubberneck, they failed to replicate their early success with a confused and unfocused set of songs, and eventually split up.

In 2008 however, Toadies put out their first album of new material in 7 years, No Deliverance, signaling the beginning of a new period of activity, finally and officially putting out a re-recording of the initial sessions for their aborted second album in 2010. Play. Rock. Music. is therefore the first proper new Toadies album since No Deliverance, and where that album felt a little safe, and a little like Toadies-by-numbers, Play. Rock. Music. really hits the spot in delivering a brilliant collection of songs. In an interview recently, guitarist Clark Voegler stated that the band was originally going to do two EPs but decided to follow the momentum of these sessions and make it a full album. And thank God they did. This album is a powerhouse.

The album kicks off with the full tilt rocker Rattler’s Revival, a song that packs more balls and pure rock fury than most bands half their age. It feels like the Toadies are once more hungry and eager to make a mark. Then follows Get Low, another very anthemic tune which is heavy on bass. These songs kick the album off to stunning effect, and while it sounds like a Toadies album, there is something slightly different about it.

The next track on the album is Summer of the Strange, a song which comes closest to that classic Pixies-meets-grunge sound, with wailing guitars and a slow burning groove, before finally exploding into a furious, distorted conclusion. This is a band at the top of their game.

Elsewhere on the album, the slower moments also shine. Beside You is a slow burning tune with sweet lyrics. It is once again, slightly different to that classic Toadies sound, but not really enough to gain any new fans, or indeed alienate any of the old ones. The final track on the album, The Appeal is the biggest departure, a slow, bluesy number which in places calls to mind songs like Doll Skin and Pressed Against the Sky. It ends the album on an absolute high.

Play. Rock. Music. shows Toadies finally, 18 years after their debut, hitting their stride. This album is the strongest, most cohesive body of songs since Rubberneck, and could, with time even come to surpass that album. We can only hope that Toadies stay with us for longer this time.

ELIJAH PHILLIPS’ REVIEW OF PLAY.ROCK.MUSIC.

Toadies, the band responsible for one of the most prolific and enduring hard rock singles of the 90s, came roaring back into record stores this Tuesday with their new album: Play. Rock. Music.

Any GrungeReport frequenter is familiar with a kid named Jeremy, has felt the rhythm with their hands and understands the pent up rage of caged rodents. Outside alternative anthems from Seattle giants, one-hit-smashes from bands like Silverchair, Harvey Danger and Fastball helped shape the decade’s alternative airwaves. Toadies’ “Possum Kingdom” off their 1994 debut Rubberneck made it to the US Top 40, is a playable track on Guitar Hero and is still butchered regularly by cover bands across the nation.

Toadies formed in Ft. Worth, TX in the late 1980s. The success of their debut EP Pleather, their dynamite stage presence and distinctly Texan feel and sound quickly earned them a strong regional following and attention from national labels.

The track that broke the band ultimately proved to be the apex of their popularity. Toadies’ 1997 follow up attempt to Rubberneck, Feeler, was scrapped by Interscope (and eventually released a couple years back through the band’s current indie label: Kirtland). Their 2001 release Hell Below/Stars Above was released to positive critical and fan reception, yet again was largely shoved under the table by the band’s label. Toadies dissolved shortly thereafter.

Since their reunion in the middle part of the naughts, Toadies have gotten by through relying on the autonomy afforded to them by Kirtland (which fostered a fine hard rock album: 2007’s No Deliverance), the undying support of its ravenous underground fanbase and a stellar track record of live performances.

The lead single off Play. Rock. Music, “Summer of the Strange,” was released last May, and is the third track on the record. Doni Blair’s pulsating, hypnotic bassline lures one in at first listen. The track is everything a Toadies fan could hope for, complete with frontman Vaden Todd Lewis’ signature Bon Scott-meets-Chris Cornell shriek, squalls of feedback courtesy of guitarist Clark Vogeler and the bass-heavy pound of dummer Mark Reznicek. It’s a standout from 2012 and already a standard in Toadies’ catalogue.

“Sunshine,” track seven off the album, follows a classic formula for the band. Beginning softly and driven by a low, steady beat on the toms, the track gradually builds intensity. Lewis twists the knife with his vocal line, turning a catchy riff into a menacing howl and sends the song to a burning crescendo.

The next track, “Laments of a Good Man,” is one of Toadies‘ most inventive. It features two distinct parts. One: a maniacal, vaudevillian, even cartoonish shuffle about the drags of everyday life. Two: a grind that would’ve felt right at home on Alice in Chains’ “Three-Legged Dog” album. It doesn’t gel on paper, but seems natural in the context of the record.

Track ten on the record, “We Burned the City Down,” showcases some of Toadies’ Texan roots. Its country thump and acoustic guitar intro are reminiscent of Led Zeppelin’s “Bron-Y-Aur Stomp.” The guitar work is excellent throughout the song, and Lewis lays one of his strongest vocals on top of it. As the song grooves to a rollicking end, it forms a nice segue into the album’s closer: the Beatlesque ballad “The Appeal.”

Play. Rock. Music does exactly what its title promises; it’s a solid rock record from one of the most intense bands going. Though it still carries Toadies’ trademark growl, it’s by far some of the band’s most accessible work. The Pixies-flavored guitar riffs present in much of Toadies’ past catalogue have never been more prevalent, and Reznicek’s beats carry the same Southern-style groove often laid down by Frank Beard of ZZ Top. The feel of the record as a whole is conveyed very adequately in its first track: “Rattler’s Revival.” Lewis implores listeners to “shake your tail, shake it like a rattler” over a catchy, fast paced melody. The song is still unmistakably Toadies, yet may be more suitable for new listeners than the old guard.

In a world going increasingly devoid of real-deal rock bands—shit-stomping, cussing, mean, bluesy, mofos—the world needs the Toadies. Play. Rock. Music., while not the strongest work in the band’s catalogue, and certainly not the heaviest, is a solid entry into their discography and a breath of fresh air for the music scene of 2012. At its worst: it’s solid car stereo fodder. At its best: it’s sheer brilliance.

Toadies are currently on tour with Helmet, another standard bearer of the 90s one-hit-wonder (and an underappreciated progenitor of the decade’s alt-metal movement), in a city near you. If you want to see a legit rock show, pick up a ticket. If you want to hear a legit rock album, pick up Play. Rock. Music.

CHRIS CORNELL DISCUSSES BLOOD SQUIRTING OUT OF HIS KNEE DURING SOUNDGARDEN MUSIC VIDEO SHOOT

-wishes he’d written “Dear Prudence” by The Beatles
-broke mic stand during filming of Louder Than Love video, it was a metal stand and the broken end went through his knee and blood was squirting out. He said the director tried to keep medics away so he could film it, and Chris was disappointed it didn’t make it into the video.
-musical hero is John Lennon
-being with his wife and kids makes him happy

SOUNDGARDEN FAN-BASED BOOK TO HIT SHELVES IN DECEMBER

UPDATE FROM BRETT: We reported this a few days ago already, but Nicole is a new reporter and must have missed it.

Soundgarden fans, rejoice, as the band is planning on releasing its first book, which is being described as a “fan-based photo journal over two years in the making documenting Soundgarden’s reunion”, to be published by Photofantasm Books.

Photofantasm is in the process of gathering pictures for the book and is still looking for more content via Facebook (https://www.facebook.com/groups/332633590157572) or email (info@SpoondogEntertainment.com).

The book is expected to hit shelves in December. Source.

SETLIST FROM SMASHING PUMPKINS’ SHOW YESTERDAY IN SYDNEY, AUSTRALIA

Setlist:
1. Black Diamond
2. Quasar
3. Panopticon
4. The Celestials
5. Violet Rays
6. My Love Is Winter
7. One Diamond, One Heart
8. Pinwheels
9. Oceania
10. Pale Horse
11. The Chimera
12. Glissandra
13. Inkless
14. Wildflower
15. Space Oddity
16. X.Y.U.
17. Disarm
18. Tonite Reprise
19. Tonight, Tonight
20. Bullet With Butterfly Wings
21. Soot and Stars
22. Today

Encore:

23. Cherub Rock
24. Ava Adore
25. Zero

melvins

MELVINS TO KICK OFF 51 DATE UNITED STATES TOUR NEXT MONTH

Melvins Lite United States Tour:

September 5, 2012 – Anchorage, AK – Bear Tooth Theatre and Pub
September 6, 2012 – Seattle, WA – Showbox at the Market
September 7, 2012 – Portland, OR – Hawthorne Theatre
September 8, 2012 – Boise, ID – Neurolux
September 9, 2012 – Missoula, MT – Top Hat Lounge
September 10, 2012 – Salt Lake City, UT – Club Sound
September 11, 2012 – Cheyenne, WY – The Depot
September 12, 2012 – Denver, CO – Bluebird Theatre
September 13, 2012 – Lawrence, KS – The Bottleneck
September 14, 2012 – Columbia, MO – The Blue Note
September 15, 2012 – Omaha, NE – The Waiting Room
September 16, 2012 – Des Moines, IA – House of Bricks
September 17, 2012 – Sioux Falls, SD – The Vault
September 18, 2012 – Fargo, ND – The Aquarium
September 19, 2012 – Minneapolis, MN – Grumpy’s
September 20, 2012 – Madison, WI – High Noon Saloon
September 21, 2012 – Chigaco, IL – Double Door
September 22, 2012 – Indianapolis, IN – The Vogue Theatre
September 23, 2012 – Louisville, KY – The Vernon Club
September 24, 2012 – Detroit, MI – Smalls
September 25, 2012 – Cleveland, OH – The Grog Shop
September 26, 2012 – Morgantown, WV – 123 Pleasant Street
September 27, 2012 – Allentown, PA – Crocodile Rock Cafe
September 28, 2012 – South Burlington, VT – Higher Ground
September 29, 2012 – Dover, NH – Dover Brickhouse
September 30, 2012 – Portland, ME – Asylum
October 1, 2012 – Boston, MA – Paradise Rock Club
October 2, 2012 – Pawtucket, RI – The Met Cafe
October 3, 2012 – Newhaven, CT – Toad’s Place
October 4, 2012 – Brooklyn, NY – Music Hall of Williamsburg
October 5, 2012 – Hoboken, NJ – Maxwell’s
October 6, 2012 – Wilmington, DE – Mojo 13
October 7, 2012 – Baltimore, MD – Ottobar
October 8, 2012 – Washington, DC – Black Cat
October 9, 2012 – Charlottesville, VA – Jefferson Theatre
October 10, 2012 – Carrboro, NC – Cat’s Cradle
October 11, 2012 – Knoxville, TN – The Square Room
October 12, 2012 – Greenville, SC – The Handle Bar
October 13, 2012 – Athens, GA – 40 Watt Club
October 14, 2012 – Birmingham, AL – Bottle Tree
October 15, 2012 – Pensacola, FL – Vinyl Music Hall
October 16, 2012 – Jackson, MS – Duling Hall
October 17, 2012 – Little Rock, AR – Juanita’s Cantina
October 18, 2012 – Baton Rouge, LA – Spanish Moon
October 19, 2012 – Austin, TX – Mohawk
October 20, 2012 – Norman, OK – Opalis Production
October 21, 2012 – Albuquerque, NM – Launchpad
October 22, 2012 – Phoenix, AZ – Crescent Ballroom
October 23, 2012 – Las Vegas, NV – Artifice
October 24, 2012 – Los Angeles, CA – Hollywood Forever Cemetery
October 25, 2012 – Honolulu, HI – The Republik

BUSH RE-RELEASE ‘THE AFTERLIFE’ AS A SINGLE

Bush have re-released “The Afterlife” as a single. I’ve already heard it playing a few times at Wahoos Fish Tacos here in The OC, California so it could have some potential this time around.  The song was originally released as a single in summer 2010 as the lead single off of Everything Always Now, and has been reworked a bit now. Bush scrapped that album after a falling out with their label, reworking some songs and writing new ones, including the massive 2011 rock radio hit “The Sound of Winter.” The Sea of Memories was released in September 2011. The band have released a radio edit of The Afterlife and a pop remix featuring Cecile (the Remix by Washroom and Bass Over Babylon) on iTunes.

Also, yes, we’re covering Bush (general stories about the band). I was very on the fence but I’ve seen fans request that we cover them on Twitter, and also I looked and Bush’s official Twitter account actually follows GrungeReport.net on Twitter along with the Bush fan sites. So I thought fuck it, why not?  I’m a fan, regardless of how they may or may not have formulated their sound, I think Sixteen Stone is an awesome album. If you don’t like them don’t read the articles about them.


KYUSS LIVES SIDELINED DUE TO JOSH HOMME LAWSUIT

Corrosion Of Conformity posted on Kyuss Lives’s Facebook wall. For those who don’t know, Josh Homme and Scott Reeder are suing their ex-bandmates John Garcia and Brant Bjork for reuniting and using the Kyuss name:

“So disappointing not to be doing the tour with you all and to see you sidelined by this legal stuff. Sending some love and good wishes. Please tell me y’ all will go ahead and make an album no matter what you call your band. That set in Madrid really showed off the chemistry and potential of this line-up. All the best.”

ERIC AVERY DISCUSSES HIS BASS PLAYING IN JANE’S ADDICTION, TOURING WITH GARBAGE

Eric Avery did an interview with Frederic Suard of Radio 666 a few weeks ago where he discussed Jane’s Addiction and Garbage. Avery was the original bassist for Jane’s Addiction (he and Perry Farrell co-founded the band), from 1985 to 1991. Avery refused to participate in the band’s 1997, 2001, and 2003 reunions but finally budged in 2008. The original Jane’s Addiction lineup toured throughout 2009 and 2010, including a North American tour with Nine Inch Nails. The band attempted to record new material with Trent Reznor in 2009, and managed to get in the still unreleased “Embrace The Darkness,” but Avery and Farrell butted heads in the studio. Avery thought Farrell came in unprepared, and was only motivated to work on his own uninspired ideas rather than collaborating with the band. Avery and Farrell couldn’t work out their differences, and in spring 2010 Avery left the band again. These two should really cut through the bullshit/bruised egos, and make another album together. It’s such a waste that they didn’t during Avery’s latest run with Jane’s Addiction. They need each other to truly create great art. End of rant. Here are some quotes from the interview.

On his bass playing in Jane’s Addiction, his solo career, and with Garbage:
“In the beginning of Jane’s Addiction I was writing basslines that would end up sort of playing the role of a rhythm guitar. A lot of those songs are I think distinctive in that way, because they’re sort of built on that so Dave can riff on it and Stephen also can riff on it. On my solo stuff, I basically abandoned the bass for awhile because I just really got focused on doing other stuff. I was really focused on gadgets and keyboards and guitars and vocals and lyrics and other things like that. It wasn’t until the record that somebody pointed it out to me, that I had sort of forgotten the bass in a way. That’s changed on the record I just finished. Then with Garbage, Butch and I are working really tightly on tightening up the kick drum and the bass in very fundamental basic ways. It’s sort of new for both of us, to really be focusing on the kick drum and bass together and playing a more traditional bass role in a rock band, I had never really done that before.”

On his influences: “I definitely have a bass hero that started me in the direction that I’ve been in as a bass player and that’s Peter Hook from Joy Division. Because I think that I was much more influenced by generally the English experience of the bass rather than the American rock bass. The American rock bass is kick drum, it’s just kick drum and then the root note of what the guitar player is doing.

SETLIST FROM EDDIE VEDDER’S 2ND SHOW IN LONDON

From the Ten Club Board on PearlJam.com:

July 31, 2012 Setlist:

01. Sometimes
02. Picture In A Frame-(Kathleen Brennan/Tom Waits)
03. Just Breathe
(Ed talks about Willie Nelson’s great cover “Just Breathe” and how Willie’s vocal style is all Ed can hear now while he sings the song. He also talks about what an underrated background singer and singer in general Matt Cameron is. He mentions having to correct a line Matt was singing that dramatically changed the meaning of the song.)
04. Thumbing My Way
(Ed wordlessly holds up his ukulele that has ‘Clarence’, (for Clarence Clemons) written on it and the audience cheers)
05. Can’t Keep
06. Without You
(Ed talks about the West Memphis Three and the influence on writing the song “Satellite” about the physical distance between his then girlfriend that was later to become his wife and the separation between Damien Echols and his wife Lorri.)
07. Satellite
08. You’re True
(Ed talks about a band called “Yeastie Girls” and recites part of one of their raps. He realizes his daughters are at the show tonight and regrets that he is going to have to explain the rap. He then talks about Russian band “Pussy Riot’ being imprisoned and reads a petition asking that Prime Minister Putin let the band free.)
Amnesty International: http://www.amnesty.org/en/library/asset … 012en.html

09. Driftin’
10. Unthought Known
11. No Ceiling
12. Far Behind
(Ed tells a story about the time he almost accidentally killed The Kings Of Leon while skeet shooting. He then talks about not understanding how shooting is an Olympic sport but isn’t surprised that the Americans are winning at it.)
13. Guaranteed
(Ed mentions that PIL have a song called “Rise” as well and that he recently spotted John Lydon in an airport but of all the words you could use to describe John like, singer, punk rock archetype and genius, approachable might not be the most obvious especially at an airport but Ed had met John before several years ago so he went up to him and said hello. John smiled, threw open his arms and said “Eddie”. Ed said it was as exciting as catching a big wave)
14. Rise (Dedicated to John Lydon)
15. Long Nights w/ Glen Hansard
(Ed’s daughter Olivia brings out a guitar for her dad. Ed talks about his recently passed friend Dennis Flemion from the band “The Frogs”. He quotes one of their songs and realizes he will have more explaining to do to his daughters. He talks about Dennis’ life and family and dedicates the next song to him)
16. Man Of The Hour-(dedicated to Dennis Flemion)
17. Masters Of War-(Dylan)
18. Porch
Encore Break 1
(Ed thanks the crowd. Talks about the building and all the friends he didn’t know he had in London. He then holds up a copy of The Who’s “Quadrophenia” and talks about how much the album means to him. He talks about the picture inside that shows the Hammersmith.)
19. I’m One-(Townshend)
20. Parting Ways
21. Society w/ Glen Hansard-(Jerry Hannan)
22. Sleepless Nights w/ Glen Hansard-(Boudleaux Bryant, Felice Bryant) [performed without mics or PA]
23. Falling Slowly w/ Glen Hansard-(Hansard, Irglová)
24. Throw Your Arms Around Me w/ Neil Finn-(Archer, Falconer, Howard, Mills, Seymour, Smith, Waters) {Hunters & Collectors}
25. Blue, Red and Grey w/ Roger Daltrey singing and playing ukulele-(Townshend)
26. Naked Eye w/ Roger Daltrey-(Townshend)
Encore Break 2
(Ed mentions the hard working athletes of the Olympics and then holds up a gift from Zack Starkey which Ed describes as his gold medal. A large target that The Who often used as a symbol. Ed’s daughter Harper hits the play button to start the tape for ‘Hard Sun’
27. Hard Sun w/ Neil Finn, Elroy Finn, Myles Robinson(sp), Glen Hansard and others-(Peterson)
28. So You Want To Be A Rock And Roll Star w/ Neil Finn, Elroy Finn, Glen Hansard, Miles Robinson(sp)-(Hillman. McGuinn)
29. Dream A Little Dream-(Gus Kahn, Wilbur Schwandt, Fabian Andree)