Alternative radio station Q877 recently sat down with Nine Inch Nails’ Trent Reznor on the eve of the band’s stint on the Lollapalooza bill. The following points came up during the interview:

-He states that Nine Inch Nails and touring got stale, and the repetition inspired him to stop touring with the group and work on other projects.

-The tracks on Hesitation Marks are more “minimal”.

-It was easier to write the songs than record them, as it took about six months to mix the album.

-Reznor says that he had a “fanboy moment” over working with Lindsay Buckingham.

-Reznor also says that he wrote Hesitation Marks from a more retrospective angle, looking at the good and the bad in his life.

-Russell Mills actually suggested the album title name.

-Reznor says he couldn’t pick just one cover, so that’s why there are multiple versions available.

-Trent stated that the light show is “super complicated” as is right now and will be re-worked for the full-length tour in the fall.

-Fans can expect at least 90 minutes of material with new and old songs played for the band’s Lolla set.

Listen to the whole interview below:

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Bowling Green, Kentucky rock band Cage the Elephant are releasing the follow up to their 2011 hit album, Thank You, Happy Birthday sometime in the fall. The band have released a small clip of what is presumably the album’s first single, “Come A Little Closer”, featuring the band performing in studio. The song seems alot mellower than their previous material, though considering Cage’s previous effort, one song should not represent the sound of the entire album.

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Chicago, IL, USA
August 1, 2013

Keep Your Eyes Peeled
You Think I Ain’t Worth a Dollar, but I Feel Like a Millionaire
Feel Good Hit of the Summer
No One Knows
My God Is the Sun
Hangin’ Tree
I Sat by the Ocean
Burn the Witch
The Vampyre of Time and Memory
Long Slow Goodbye
If I Had a Tail
Little Sister
Turnin’ on the Screw
Smooth Sailing
I Think I Lost My Headache
Go With the Flow
I Appear Missing

…Like Clockwork
Make It Wit Chu
A Song for the Dead


In a new interview, former Stone Temple Pilots frontman Scott Weiland has claimed that he isn’t angry at Chester Bennington for replacing him in STP. He also claimed he is still an owner of the STP name.

Weiland said, “I’ve known Chester for a long time. I got to be pretty close to him on the (2001) Family Values Tour…I don’t think Chester did it in a spiteful way. I’m sure, I mean, the brothers DeLeo can be pretty persuasive.”

He added, “My feelings were definitely hurt because it wasn’t something that was handled right at all…I don’t think that it was smart for them to do that…I’ve played with them for a long time. But then on another side of it, I can’t say that I’m that surprised. There’s things that have happened in the past that are somewhat similar…so I guess nothing is totally shocking. But I am surprised…at what they did and without checking the legality of it, how they just decided to go and use the (band) name and go and hire another singer and start playing shows with a name that I still am an owner of.”


In a new Danish interview, Smashing Pumpkins frontman Billy Corgan discussed his disillusion with rock today and his desire to stop touring. Below are some translated quotes:

“What I’m thinking right now is it’s the end of an epoch. We’ve almost finished touring with ‘Oceania’, and then I will find something new. For right now, I think rock has lost its vigor, and I no longer feel I am part of it. There are virtually no rock bands that has developed as the Rolling Stones, the Beatles and Led Zeppelin did. And the public has lost the desire to try something new. So fighting in that world is a waste of time to me.”

“Maybe I should start playing for a small audience, but at a higher price. Give them an experience that is 10 times as strong as what people get now. Or maybe I’ll have to stop touring because I can’t afford it. Maybe I’ll settle for five concerts a year. In any case, I think you have to get out of this treadmill. Where you use a year to make an album, release it, wait for the judgment of the reviewers, Twitter and Facebook, and then go on tour to promote the record. I think that’s over. At least for me.”

“I think about [stopping touring] every day. For it is a matter of priorities. How important it is to be home with the dogs, being on vacation, to be in the studio. And I’ve been on tour more than anything in the last 25 years. Right now I live in the same hotel where I was 16 months ago. It’s crazy to think about. It feels endless. So maybe it’s time to get out of it and create something new. ”

“We recently played at a festival where I looked at the program for all three days and saw that I had sold more records than all the other bands combined. And yet I was not headlining. So what do I do then? Why stand there and try to prove something, I have already proven?”

“When I started The Smashing Pumpkins in 1988, I didn’t think I would sell a lot of records. It was just to get a reaction from the friend who sat and listened. My world was that small. And maybe it’s time to pull me into a world that is smaller, but more dangerous. Because if you create something with great force and integrity, then perhaps the world comes looking for you. And I have shown that I can do that. “


Smashing Pumpkins guitarist Jeff Schroeder discussed criticism of the Pumpkins’ current lineup not featuring 3/4 of the original lineup and meeting Eddie Van Halen in a new interview with

On criticism of Billy Corgan being the only original member left in the Smashing Pumpkins: “In the U.S., we’ve had to do a lot of work, even since 2007. I was there during the initial reformation. We had to deal with the first wave of James and Darcy not being here. We had to prove ourselves to show that you play with the same intensity. When Jimmy left, we got Mike. Then we got Nicole…etc. We’ve done some really great shows in the U.S. and proved to people that the band is legitimate. I would just urge fans to come, listen to it and judge for yourselves. We bring our own intensity and fervor that recalls the past, but is also very different as well. I’m a fan of bands. I would look at it as something akin to Deep Purple or Black Sabbath. Do you like Ronnie or do you like Ozzy? This version of the Pumpkins is very, very good. I can confidently say that!”

On meeting Eddie Van Halen: “That was in October. It was amazing! What happened was, the guitar tech I had at the time couldn’t finish the tour. He had to go home and so we had to bring in a guitar tech. We suddenly had one day to find somebody. Through the divine grace of God, Van Halen had just finished their tour and their tech was doing something at their house. So I got Eddie Van Halen’s guitar tech. After I got the message and looked him up, he just opened the door.”
Billy invited Eddie to the show. He was unbelievably nice, gave us a guitar and was just really, really great. He knew Billy from before, but Eddie was so wonderful and gracious. It’s really embarrassing and scary to play guitar in front of him. When I was warming up, he was watching me. It’s pretty humbling. When you really think about it, at that level of guitar—paradigm shifting—he’s one of them. He’s on a Hendrix level. It’s pretty amazing.”


Danny Carey of Tool and John Ziegler of Pigmy Love Circus and Volto! recently sat down to discuss what the future holds in store for them and share some stories on the road.

The two discussed such things as their bands, improv, and Rick Springfield.

Questions include:

Danny, was improvisation something you really wanted to explore as a contrast to Tool?

Carey: Definitely. That’s one of the biggest reasons for me to do it; I wanted to work on my improv. It broadens your horizons anytime you play with somebody new. John and Lance and Matt are all great musicians in a whole different way from the guys in Tool. I learn something new every time I play with them.”

Even though the music is improvisational, does somebody in the band start to tunes? Who brings in raw sketches of songs?

Ziegler: “I might come in with the ideas, but I consider Danny to be the real writer. Playing with him for a long time now, I won’t bring him something that won’t fit his skills. I know what his strengths are, and so when bring him something, I have his playing in my head. He’s got his own voice on the drums, so that’s something you want to use.”

Check out the full interview here.


J Mascis stopped by the Jimmy Fallon show this week to play a  teaser from the new Dinosaur Jr. album I Bet on the Sky. More than just a preview of new cut “Just Like Heaven”, Mascis was also quite busy playing alongside Fallon mainstay band the Roots, as they covered the hot Daft Punk single “Get Lucky” and the Black Sabbath classic “War Pigs” later in the show. Watch all those tunes below.

558492_10153044078655702_818927899_n’s Review Of John Frusciante’s “Outsides”

Former Red Hot Chili Peppers guitarist/Jedi Knight John Frusciante probably has the single most interesting career of any rock star of the past thirty years, being a childhood fan of the band he would later join and whose mainstream success is mostly attributable to his songwriting influence, even after a seven year split with them due to a reluctance to being famous. Frusciante has the ability to consistently churn out rock tunes that sell diamond records, yet instead chooses to consistently release commercially disastrous avante-garde material, even quitting the Chili Peppers (for a second time) in order to focus on his solo career. Outsides is his third release in the span of a year, and is yet another attempt by Frusciante to churn out an innovative record.

The majority of the twenty-two minute EP is taken up by “Same”, an extended jazz-fusion solo featuring his signature guitar work mingling perfectly with a grooving drumbeat. Its easily the centerpiece of the album and a testament to his brilliance. However, from the end of the solo, the album evolves (devolves?) into an overwhelming hodge-podge of electronica sound effects and drum beats. Its nothing really… listenable, at least from a casual perspective. Frusciante himself described the second half of the record as being “out” music, as in abstract and being a modernized version of free form jazz. The only segment of the album after “Same” that really has any semblance of order is a brief section of “Shelf” featuring his vocals, which are historically underutilized in his RHCP career outside of his creative and beautiful harmonies.

Its sort of an industrial stream of consciousness, though I suppose Frusciante’s consciousness is in another spiritual plane of existence, and we’ll never truly understand his motives. I can’t picture ever listening to this material for leisure. Frusciante seems to be doing what he loves, but at the same time is depriving the world of his brilliant pop rock songwriting abilities.

Overall score: 2 out of 10

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