ALEX TURNER DISCUSSES JOSH HOMME’S CONTRIBUTION TO NEW ARCTIC MONKEYS ALBUM

Arctic Monkeys frontman Alex Turner discussed Queens of the Stone Age frontman Josh Homme’s contribution to the new Arctic Monkeys album in an interview last week with Zane Lowe on BBC Radio 1:

“The Josh thing was very much a case of one of us returning a back scratch to the other… he came down and sort of got us out of a little rut. It’s just fun, it’s friends, extended family now – [they] came round, had a fun night. His contribution to our record is really exciting, it’s probably my favorite. The 30 seconds that he’s in there is just, I dunno, it’s like something that I’ve never heard before. Not to blow my own trumpet or anything, but you know what I’m saying.”

SETLIST FROM QUEENS OF THE STONE AGE’S PERFORMANCE AT ROCK A FIELD FESTIVAL

Rock A Field Festival
Herchesfeld, Roeser, Luxembourg
June 30, 2013

Setlist:
You Think I Ain’t Worth a Dollar, but I Feel Like a Millionaire
No One Knows
My God Is the Sun
Burn the Witch
Keep Your Eyes Peeled
First It Giveth
Sick, Sick, Sick
…Like Clockwork
Make It Wit Chu
Little Sister
If I Had a Tail
I Appear Missing
I Think I Lost My Headache
Go with the Flow
A Song for the Dead

SETLIST FROM GREEN DAY’S SHOW AT ULLEVAAL STADION

Ullevall Stadion
Olso, Norway
June 30, 2013

Setlist:
99 Revolutions
Know Your Enemy
Stay the Night
Stop When the Red Lights Flash
Letterbomb
Oh Love
Holiday
Boulevard of Broken Dreams
Stray Heart
Murder City
Waiting
Burnout
Hitchin’ a Ride
When I Come Around
St. Jimmy
Longview
Basket Case
She
King for a Day
Shout/Always Look on the Bright Side of Life/(I Can’t Get No) Satisfaction/Hey Jude
X-Kid
Minority

Encore:
American Idiot
Jesus of Suburbia
Brutal Love

THOM YORKE & FLEA DISCUSS MAKING ELECTRONIC ATOMS FOR PEACE SONGS WORK LIVE

Thom Yorke and Flea discussed the process of rehearsing Atoms For Peace songs from Amok to perform on tour after the album’s release, and trying to make the electronic based tracks work live, in a new interview with the Los Angeles Times.

Yorke said, “You’d think it would be simple because, technically speaking, we’ve played all these songs before. But it’s not. The way Nigel and I chopped everything up and rearranged it, a lot of the stuff on the album is unrecognizable even to the people who originally played it.”

“Every day is full of little triumphs,” Flea said of the rehearsal process. He added, “And every time we come across a successful interpretation, I look around the room and see everyone gone in this groove, feeling the spirit. It’s such a beautiful moment.”

Atoms For Peace 2013 Tour Dates:
6th Jul 2013 – Zenith Paris FRANCE
7th Jul 2013 – Heineken Music Hall Amsterdam NETHERLANDS
9th Jul 2013 – Lotto Arena Antwerp BELGIUM
10th Jul 2013 – Zenith Munich GERMANY
12th July 2013 – Pohoda Festival SLOVAKIA
13th July 2013 – Exit Festival SERBIA
16th July 2013 – Ippodromo delle Capannelle Rome ITALY
17th July 2013 – Ippodromo del Galoppo Milan ITALY
20th July 2013 – Malta Festival Poznan POLAND
21st July 2013 – Melt Festival Germany
24th Jul 2013 – Roundhouse London UK – [SOLD OUT]
25th Jul 201 – Roundhouse London UK – [SOLD OUT]
26th Jul 2013 – Roundhouse London UK – [SOLD OUT]
24th Sept 2013 – Liacouras Center Philadelphia PA USA
27th Sept 2013 – Barclays Center New York NY USA
30th Sept 2013 – Patriot Center Fairfax VA. USA
2nd Oct 2013 – UIC Pavilion Chicago, IL USA
3rd Oct 2013 – WMA, NASHVILLE, TN USA
#TH Oct 2013 – AUSTIN CITY LIMITS MUSIC FESTIVAL, TX USA
9th Oct 2013 – Pepsi Center WTC Mexico City MEXICO
#TH Oct 2013 – AUSTIN CITY LIMITS MUSIC FESTIVAL, TX USA
16th Oct 2013 – Hollywood Bowl Los Angeles CA. USA
17th Oct 2013 – Santa Barbara Bowl, CA USA
19th-20th Oct 2013 Treasure Island Music Festival San Francisco, CA
18th Nov 2013 – Zepp Osaka JAPAN
19th Nov 2013 – Zepp Osaka JAPAN
21st Nov 2013 – Studio Coast Tokyo JAPAN – [SOLD OUT]
22nd Nov 2013 – Studio Coast Tokyo JAPAN – [SOLD OUT]
23rd Nov 2013 – Studio Coast Tokyo JAPAN – [SOLD OUT]

STONE TEMPLE PILOTS PERFORM ACOUSTIC SET AT CHILDREN’S HOSPITAL

Stone Temple Pilots performed “Pretty Penny” and “Big Empty” at the opening of a musical therapy room for kids at Primary Children’s Medical Center in Phoenix, Arizona on Friday. The room was created in honor of 17 year old Sophie Barton who would often perform music for the children at the hospital.

Stone Temple Pilots frontman Chester Benningtold told Fox 13, “To see it happen today and the opening of the first Sophie’s Place is really an honor and a privilege to be a part of,” Bennington said. “So thanks for having us and we’re going to play some music.”

STP are also scheduled to perform at the Cardon Children’s Medical Center’s Stars Of The Season fundraising show in Mesa, Arizona on October 26th.

VIDEO OF COURTNEY LOVE PERFORMING ‘DYING’ AND ‘HOW DIRTY GIRLS GET CLEAN’

Below is two videos of former Hole frontwoman Courtney Love performing two deep cuts at recent solo shows. The tracks are “Dying” off of the 1998 Hole album Celebrity Skin and “How Dirty Girls Get Clean” off of the 2010 Hole album Nobody’s Daughter.

“Dying”- June 28, 2013 – Asbury Park, New Jersey

“How Dirty Girls Get Clean” – June 27, 2013- Port Chester, New York

STONE TEMPLE PILOTS: A LOOK BACK

It may be hard to believe for some that this week marks the twentieth anniversary of “Plush”’s  journey to the top of the Billboard rock charts, effectively propelling the band to stardom. It was the height of the alternative rock movement of the early 90’s, and the band quickly amassed a giant fanbase; it is said that they managed to turn alternative rock into arena rock.

However, many to this day still write them off as nothing more than a grunge clone, riding on the coattails of Pearl Jam with Weiland’s throaty vocals. Is this really the case? Given recent events surrounding the band’s name that have left its future in jeopardy, now may be the perfect time to reflect on what the band truly was.

All quotes are taken from Stone Temple Pilots: Written & Illustrated Book and Interview Disc by Ian Gittins. 1994. Carlton Books. The book provides a unique insight into the early days of the band, up to the release of Purple.

THE SPARK

“We never argued,” clarified guitarist Dean DeLeo, who left the construction materials industry for the world of rock music. “Bands that spend their time fighting are counter-productive. We just found quite naturally that everyone pitched in and there was a lot of love between us. Like a family.” In context with recent events surrounding the STP camp, the quote has a bit of a depressing connotation. Those were the words of a band with spirit, with the attitude to seize the music industry by storm.

Left to rigiht: Kretz, Weiland, Robert DeLeo, Dean DeLeo
Left to right: Kretz, Weiland, Robert DeLeo, Dean DeLeo

Back then, Scott Weiland (who performed under the moniker “Weiland”, completely eschewing his first name) was a filled out man with crimson-spiked hair and a prominent goatee. He was charismatic and eager to show the world what he had in store, long before the days of The Wildabouts, lawsuits, and child support. “It would be really nice to have it go well and sell,” claimed Weiland, “but I’d really be happy to be successful enough to have a nice little humble place to live and be able to take my girlfriend out to an all-you-can-eat shrimp every once in a while!”

“[Weiland’s] one of the most intense guys I’ve ever met,” Dean said. “There’s definitely a comparison to Henry Rollins. Weiland is getting to be as real as Rollins.” Though early on, STP were designated as “grunge” by many, the band strived to make music that resonated on a deeper level, rather than slapping a label on themselves.

“Its all down to basing your performance on gut instinct,” Dean said, “getting those honest feelings out as an expression of art, instead of relying on image like fucking Poison-type bands.”

“You know how when you listen to a Led Zeppelin album you listen to the entire album, not just to the odd song?” explained Robert. “We wanted to make a record like that. We wanted to create a vibe which would run right through the whole album.”

Weiland elaborated, “We want to display a very intense musical and emotional power, but that doesn’t mean just playing as loud and heavily as we can from the first song to the last. We don’t want to sound just one way. We like to paint different soundscapes to create different moods. We’re not just a ‘plug in, crank it up to ten, let’s rock’ band. Our music has more sides to it.”

Before drugs overcame Weiland’s life and became the focal point of his lyrics, his world views dominated much of his lyrical content. “I guess I tend to find the darker sides of life more attractive than the yellows and oranges.”

Regarding Core‘s mysterious album cover, bassist Robert DeLeo said, “The picture on the sleeve is a surreal Garden of Eden, where the woman beneath the tree is holding a sphere of the world representing women’s rights and the condition of the planet.”

Weiland chipped in, “The whole concept is pretty phallic. In our opinion women are actually at the core of humanity’s existence and closest to what is God-like because of the fact that they are strong, resilient, and have the ability to create life. But the picture also represents the idea of trying to dominate Woman throughout history.

I’m putting myself in the mind of the typical American jerk with the wholly unoriginal attitude about women,” Weiland said of his controversial “Sex Type Thing” lyrics, which were misinterpreted by many as advocating date rape. Though feminism often found its way into his writing, Weiland claimed that didn’t mean he himself was a cookie-cutter feminist.

“It’s not even a political song. I don’t want to be thought of as a poster boy for the feminist movement. I respect feminism, but that doesn’t mean that that’s all I am. That kind of objectification can ruin even sex.”

The blend of Zeppelinesque alternative rock music with contemporary social ideas obviously worked well for the band; to this day, Core has sold at least 8 million copies worldwide.

THE CRITICS

Of course, the media, grunge fans, and other artists were quick to jump on the band; they came into the music industry at just the right time, and naturally, they were easy targets. Voted “Worst New Band” by Rolling Stone (and “Best New Band” by readers of the same publication), the band endured an unreal amount of criticism. Iggy Pop accused them of being MTV fodder, and the band became the butt of a joke in a Pavement song (alongside Billy Corgan, who refuses to let that go even today). Robert Christgau went even as far as to say that the band should “catch AIDS and die” due to his misinterpretation of the lyrics to “Sex Type Thing”. They were Stone Temple Pirates, Stone Gossard Plagiarists, so on and so forth… as if the band cherry picked the sound of the Seattle bands and wrote it off as their own.

With that said, what exactly was the Seattle sound? If you were to take Alice in Chains, Soundgarden, Pearl Jam, and Nirvana and put them side by side, they would have little to no similarities. The supposed similarities between STP and those bands aren’t really in the music. Robert DeLeo’s funky, classically influenced bass-work has no place in a song by Alice in Chains or Soundgarden. Stacking his brother Dean’s guitar work next to Mike McCready’s, one who is informed could easily distinguish Dean’s crunchy, psychedelic flavor from McCready’s signature style.

Of course, it was Weiland’s baritone vocal style that drew comparisons to Eddie Vedder. “I have a lot of respect for Eddie Vedder and the ideals and things he stands for. As an artist, he’s very valid,” Weiland clarified. “But I never really thought if you put us next to each other we looked like Siamese twins!”

Back in those more innocent days before bands like Creed took center stage, Weiland’s defense could have some merit. Most musical artists at the time were children of the 70’s and 80’s, and, as such, they absorbed the same idols as they grew up: Led Zeppelin, The Doors, Kiss, The Who, just to name a few. Would it not be natural for them to sound alike? Both Weiland and Vedder professed to idolizing Jim Morrison, and Weiland had once said that he was afraid of Doors comparisons due to him listening to them around the time of Core‘s recording.

According to Dean DeLeo, “If we model ourselves on anybody, I’d like to make a reference to Led Zeppelin or Queen. All the bands who are around right now were in their grages not so long ago, jamming and playing along to Aerosmith and Zeppelin and Kiss!”

Indeed, the band had pieced together a demo under the name Mighty Joe Young in 1990, a year or two ahead of the grunge revolution, which still contained their trademark throaty vocals and gritty guitar riffs; early versions of “Wicked Garden”, “Naked Sunday”, and “Where the River Goes” appear on the album, alongside legendary track “Only Dying”, which was slated to appear on the soundtrack to the 1994 film The Crow until star Brandon Lee’s untimely death, and funky tracks such as “Dirty Dog” and “Love Machine”.

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The negative press did not bode well with Weiland. “In my lyrics I’m constantly questioning myself and my world. I’m constantly questioning who I am. So to have people telling me that I’m a loser, or I’m not worthy of success- I mean God, yeah, that hurt!” He continued, “I think rock journalists get some form of sadistic pleasure out of breaking down and injuring someone else’s spirit and their emotional self.”

THE EVOLUTION

“It had got to the point where we didn’t want to play ‘Plush’ because of the Pearl Jam comparisons. The rock press unfortunately managed to ruin our first album for us.” These were the bemoaning words of Weiland, battered and beaten despite still going strong. Whether the abuse from the press led to the band’s constant reinventions is unknown, but the band’s sophomore album Purple displayed something of a conscious effort to move forward sonically. Though still containing traces of the ferocity of Core, most notably on album opener “Meatplow”, the album was a much more diverse affair, from the country tinge of “Interstate Love Song” to the psychedelic barrage of “Army Ants”.

According to Weiland, “the making of Purple was a rebirth. It gave us the chance to live again and start to enjoy things instead of feeling like trapped animals. You either made a decision that you’re going to move on, or you decide it’s too difficult and say ‘Fuck it!’ and give up.”

Of course, as time went on, Scott’s personal habits also evolved, and his newly budded heroin addiction seeped its way into his music, his appearance, and his personality. Gone was the young man whose only concern was to make a statement, in was the emaciated being who had molded himself in the sense of a traditional rock star: leather, financially unsuccessful solo careers, arriving late to shows, arrests, media attention, and every other trope that often comes with the rock star connotation. However, that didn’t stop STP from churning out quality records. Tiny Music… Songs from the Vatican Gift Shop, was a sonic barrage nothing short of pure creativity. In a sense, it was STP’s Low, or at least their In Utero or Kid A: it alienated the casual fans of the previous material.  Tiny Music dabbled in various genres, such as bossa nova on “And So I Know” and jazz fusion on “Adhesive”. Completely gone was the band present on Core; they no longer felt the need to churn out material critics or the media expected out of them.

Their fourth album, No. 4, released after a brief hiatus that encompassed the Talk Show and Weiland solo projects, saw kind of a return to the hard rock format of Core, balanced with airy, psychedelic ballads like “Glide” and “Sour Girl”the latter being the highest charting single of their career. Their last album before the breakup, the critically underrated Shangri-La Dee Da, was a sonic journey for the band, who have come a long way since the grungey days of Core. There were some traces of that era left in the record: album opener Dumb Love and Coma are two of the heaviest recordings the band has put out. However, the rest of the album has a serene air to it. This atmosphere is only complemented by the equally surreal videos the band put out to promote the songs. The unofficial music video to “Hello, Its Late”, an acoustic ballad, finds the band playing music by the fire on an autumn afternoon, with Robert DeLeo on piano and Weiland looking nothing short of the second coming of Jesus. Easily their most meditative album, Weiland’s lyrics dealt with themes such as his newfound fatherhood, death, and personal rebirth.

THE FUTURE

As you all should know, the band infamously fired Weiland after putting up with his antics for twenty years, replacing him with the younger and more vital Chester Bennington from Linkin Park. This has generated much discussion. Does the band have the right to use the name? Are they ruining the band’s legacy by continuing without the original lineup that has persevered for twenty years? Is Scott damaging their legacy even further by using the band’s catalogue to promote his solo career? In my opinion, none of that should matter right now. Recent events should do nothing to dampen what the band has offered us.

They showed us that they could persevere even under the heaviest fire. They have given us a catalogue unparalleled in its sonic diversity. Many of us grew up with them, some alongside the band, and others, such as myself, who discovered them after the fact. No matter what comes out of this, we should wish the best for both parties. Deep down, Weiland is still the gruff looking man in the 7-up jacket, hair dyed deep red.

And hey, I’m just saying, Zeppelin were hated by critics too.

JOSH HOMME TALKS CAMEOS FROM OTHER ARTISTS ON “LIKE CLOCKWORK”

Queens of the Stone Age’s latest opus, Like Clockwork, had no shortage of guest appearances from various musicians; QOTSA alumni Mark Lanegan, Dave Grohl, and Nick Oliveri appear on a number of tracks, while the legendary Elton John, Alex Turner of the Arctic Monkeys, and Jake Shears of the Scissor Sisters appear on various tracks. Speaking with Radio.com, band frontrunner Josh Homme clarified the band’s use of guest appearances, assuring that he isn’t using their names to reap the benefits.

The collaborations, many of them with familiar faces, start to take on a different meaning when one knows the back story: Frontman Josh Homme had a near-death experience during routine knee surgery before the band went to work on the album. When asked if the cameos were a way of surrounding himself with friends, Homme replied, “Yes, absolutely.”

“It dawned on me after we did the first interview [for the new album], people were so kind of like entranced by the marquee value of all these [guest artists],” Homme told Radio.com. “I didn’t think about that, you know? We forget that for you it’s Dave Grohl, Nick Oliveri, Alex Turner, but for us it’s just Dave, Nick and Alex. There comes a time when you need your friends, and so you call them. You don’t really know somebody until everything around you goes wrong. So what was great was to realize in these tougher moments who is really there.”

JERRY CANTRELL DISCUSSES SIMILARITIES BETWEEN ALICE IN CHAINS AND AC/DC

Alice In Chains singer/guitarist Jerry Cantrell discussed the similarities between Alice In Chains and AC/DC’s careers in a new interview with The Quietus, with both bands moving on after the deaths of their original lead singers:

“Oddly enough we went through a few things that they had to. Down the road we would go through the loss of a member and make a decision to continue on and do it successfully. I thought it was such a brave thing for AC/DC to triumph over that sort of tragedy [the death of singer Bon Scott in 1980], to continue to have their sound, and also to have Brian on such a fucking impactful record – it’s obviously charged with a ton of emotion from losing Bon. That process, it was a fairly quick change. Brian wasn’t trying to sound like Bon, but it’s still AC/DC. Our band is a kind of parallel in a way.

When I started I was more of a rhythm player in whatever band I played in, so I really identified with Malcolm [Young], yet I was wanting to play lead like Angus. He’s a phenomenal lead player, but I’ve always thought the backbone of band is the rhythm guitar. I guess a lot of the bands that I like are dual guitar bands. And I actually really wanted another guitar player in this band when we first started, but the other guys didn’t want one, so I had to learn to play a little bit [laughs].”

BLACK FRANCIS DISCUSSES PIXIES’ COMEBACK SINGLE “BAGBOY”

blackfrancisacoustic

Pixies frontman Black Francis discussed the origins of the band’s comeback single “Bagboy” in a press release yesterday:

“The lyrics, coincidentally, were composed at a Starbucks Coffee in Harvard Square in Cambridge, about a hundred feet from where, 25 years ago, I composed some of the lyrics to an old Pixies song called ‘Break My Body.’ Twenty-five years later, some Starbucks in Harvard Square…I thought that was kind of interesting. The music for the song has been around for a few years. There are some demos I made with Joey and David a few years ago in Los Angeles, related to a film idea that still has yet to see the light of day, although work on the music continued. So a lot of the musical idea had been kicking around for awhile. It’s pretty simple, kind of a blues-based, two-note kind of thing, really.”

REVIEW OF NEW PIXIES SINGLE “BAGBOY”

There has been speculation over the last year or so that the Pixies have secretly been working on new material, with Black Francis speaking of writing new songs that had to be great, and also rumors of the band scheduling recording time last year. Just a few weeks ago bassist Kim Deal quit the band, further fueling rumors that new material could be coming as Deal was rumored to be a hold out when it came to making a new album. Yesterday the band unveiled “Bagboy,” their first new track since the Kim Deal penned reunion track “Bam Thwok” in 2004, and the first Pixies track written by the band’s driving creative force Black Francis in over 20 years.

This is the perfect comeback track, it sounds like the Pixies but it doesn’t sound like a forced rehash. The song starts out with a modern feel and the chorus has a classic Pixies sound. The song clocks in at nearly 5 minutes, very long for a Pixies track, but the song does not let up. The song is hook laden and Black Francis’ lyrics are the perfect mix of sarcasm and rage including the line: ‘Cover your breath, polish your teeth’. When I first heard the song I thought it was Kim Deal singing during the chorus, which proves that stand in Jeremy Dubs was definitely able to fill the void for her sonically. Dubs and Francis’ voices sounds fantastic together, particularly during the 2nd chorus.

Though there has been no confirmation of a new album as of yet, hopefully this isn’t the last we’ve heard from the Pixies.

DOWNLOAD FREE RADIOHEAD LIVE CONCERT FROM 1995

Radiohead has currently been taking a break while lead vocalist, Thom Yorke, and producer, Nigel Godrich have been working on the supergroup, Atoms for Peace. Earlier this year, Radiohead bassist, Colin Greenwood, stated, “We’re taking some time out whilst people are doing some other stuff, doing their own things, and the plan is to get back together again [at the] end of the summer.” A couple months later, Yorke responded, “I’m sure it’ll probably be slightly longer than that, ’cause I am actually going to have to have a break. […] I really haven’t got a clue, which I quite like. We didn’t, like, say, ‘Fuck you, I’ll see you whenever.’ But it was quite exciting to actually finally decide to take a proper, proper break. We’d never really done that, not by choice.”

Paste Magazine is now allowing fans to download Radiohead’s Live At Tramps June 1, 1995 live recording for free with an option of a donation towards amnesty international. At this concert, Radiohead play The Bends in it’s entirety with the exception of “(Nice Dream)” and “Sulk” as well as some songs from their debut, Pablo Honey.

Click here to download

AlternativeNation.net’s Review Of Middle Class Rut’s “Pick Up Your Head”

Sometimes I have to ask myself: what happened to rock radio? It seems as though the days of “post-grunge” (I never really liked that term) schlock are long behind us (did anyone even know about Nickelback’s last album?), but since then, folk rock and electro pop seem to have taken the empty throne. The music these bands play seems decent enough, but, in my opinion, they don’t belong. Sometimes, during car rides, I find myself tuning into the local rock radio station. I’m not generally expecting anything new or interesting, but I remain hopeful that a new band will come in and help kickstart a radio rock revolution. After all, FM rock radio has introduced me to some recent gems, like Dead Sara, and a little two piece band named Middle Class Rut, who had a minor hit in “New Low” a few years back.

A duo consisting of Zack Lopez as the band’s primary lyricist and guitarist and Sean Stockham on drums, with the two sharing vocal duties, MCRut (the acronym used to distinguish themselves from the other MCR that I’d rather not mention here) are one of the heaviest hitting mainstream rock bands of the past few years. Their latest LP, Pick Up Your Head, is a straight up hard rock record, the kind that we’ve been mostly lacking for quite a while. The album kicks off with the chaotic rocker “Born Too Late”; the title and lyrics are quite fitting for a band who naturally seem like they could have made the waves on MTV alongside Jane’s Addiction and Rage Against the Machine in 1992. “Leech” slows things down to a snakey percussive crawl, one that is integral to many of the band’s songs, both on Pick Up Your Head  (notably the fifth track “Cut the Line) and their debut album, No Name No Color. The song is slower and more psychedelic than the album opener.

“Weather Vein” is built around a funky bass groove provided by session player Nate Perry, a very catchy but aggressive song. “No More”, one of the album’s three probable radio singles, clearly demonstrates the Jane’s Addiction influence in the band; while they certainly borrow elements from the band, MCRut manage to make it their own and are more of a natural continuation of the band’s sound, like how early 90’s bands were clearly influenced by 70’s metal and hard rock bands they grew up on.

“Dead Eye” marks a departure from the aggressive sound already established on the album, instead opting for a fuzzy aura and melodic vocals, I believe from drummer Sean Stockham. The song’s lyrics are the only ones contributed by Stockham, and its certainly the poppiest tune on the album. The lyrics deal with feelings of regret and the ever looming presence of death; Stockham urges the listener to “not waste your life thinking about the end”. I can see this song getting alot of airplay and propelling the band to popularity. On the other hand, the penultimate track and the album’s lead single, “Aunt Betty”, is built around a monster guitar riff and drumbeat.

The album is certainly a refresher in this day and age of repetitive electro-pop tunes being marketed on rock radio, and catches the spirit of bands that came before while not being stuck in any previous decade. This is exactly what aspiring artists should do: choose their influences and build upon that sound instead of completely rehashing it.

Overall score: 9 out of 10

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