Billy Corgan Conducts Fictional Interview With Himself: ‘We Need A Rainbow Player’

Billy Corgan posted a blog a couple of days ago on and conducted an interview with himself:

By the way, Jeff has an announcement. But I’ll let him post that on his social media outlets when he actually has social media outlets to post on. Until then I’ll have to serve as his de facto press agent.

Reporter: “Can you update us on Mr. Schroeder’s status?”

BC: “He’s alive and well. I just talked to him an hour ago.”

Reporter: “Any comment on the rumors?”

BC: “There are rumors?”

Reporter: “Yes. Actually many.”

BC: “If you’re referring to his presence, I can say without a doubt that he is here.”

Reporter: “When you say ‘here,’ what does that mean?”

BC: “Um, that’s he’s here and satisfying the requirements required.”

Reporter: “Which are?”

BC: “Focusing on what he’s choosing to focus on.”

Reporter: “Which is?”

BC: “His group.”

Reporter: “But isn’t the group yours?”

BC: “No. As I’ve said before the group is no one’s; or perhaps everyone’s?”

Reporter: “Then how does that make Jeff different from others?”

BC: “It doesn’t. In fact he’s in the same boat as Mr. Lee.”

Reporter: “And what boat is that?”

BC: “A sinking one.”

Reporter: “That’s kind of grim, isn’t it?”

BC: “Not at all. Because at least a sinking boat can sail on for a bit.”

Reporter: “So who’s the captain of this ‘boat’?

BC: “You are.”

Reporter: “I am?”

BC: “Yes. Can’t you tell? Now, just close your eyes.”

Reporter: “Ok.”

BC: “So what do you see?”

Reporter: “Nothing.”

BC: “Exactly! But wait, I have a question for you.”

Reporter: “Shoot.”

BC: “Can you play rainbows?”

Reporter: “I don’t understand.”

BC: “I asked because we need a rainbow player.”

Reporter: “I thought you guys needed a drummer?”

BC: “No.”

Reporter: “Or a bass player?”

BC: “Nope. Just someone who can play rainbows.”

Reporter: “Sounds kind of weird to me!”

BC: “I say it’s perfectly normal. Because what’s on the other side of the rainbow…?”

Reporter: “Well, it’s either Oz or a pot of gold?”

BC: “Yes, that’s it. See anything yet?”

Reporter: “No. Oh wait, I see a faint image coming in. It’s a, it’s a…”

BC: “Yes?”

Reporter: “It’s a wrestling ring? And above it is a spinning rollercoaster with a drum set!”


Setlist From Pearl Jam’s Show In Berlin

Pearl Jam performed in Berlin, Germany yesterday, see the setlist below.

Low Light
In My Tree
Why Go
Do the Evolution
Lightning Bolt
Mind Your Manners
Gods’ Dice
Hold On
Given to Fly
You Are
Who You Are
Even Flow
Let It Go
(Idina Menzel cover) (Stone Gossard on vocals)
(Van Halen cover)

Sleight of Hand
Sleeping By Myself (Eddie Vedder song)
All Those Yesterdays
Crazy Mary (Victoria Williams cover)

Encore 2:
Bee Girl
I Believe in Miracles (Ramones cover)
Rockin’ in the Free World (Neil Young cover)
Yellow Ledbetter

Metallica Rip KISS For Continuing After Farewell Tour

In a recent interview with Kerrang, James Hetfield was asked about the possibility of Metallica doing a final tour.

“I don’t think that’s fair to anyone,” he replied. “KISS’ farewell tour for the 10th time? Scorpions were done and then they tour? You can’t say that and then not do it. I don’t know what’s in store for us; I don’t want to go on the history of how other bands have done it. We’re unique in our own path and unique in how our path ends.”

Lars Ulrich also discussed if he’d ever considered ending Metallica, “I feel there’s a time I could step away from it. I was very ready to step away from it right there in ’01 and ’02 when all that shit was going down with ‘Some Kind Of Monster’. I have thousands of other things that I can entertain myself with that would be creatively stimulating. Obviously, Metallica’s my love, my priority and first thing, but I’m not afraid of what I’m going to do with my life if this all goes away. I really don’t think I want to do music once Metallica ends. Hopefully, it will last forever.”

The Cute Reason Pearl Jam Played Song From Disney’s Frozen

Tom Tomorrow has revealed the reason that Pearl Jam recently performed “Let It Go” from Disney’s Frozen:

Scott Weiland Says Wildabouts’ Danny Thompson Is ‘The Best Drummer I’ve Ever Played With’

Former Stone Temple Pilots & Velvet Revolver frontman Scott Weiland told San Diego’s 91x Radio in an interview conducted a few weeks ago that his Wildabouts drummer Danny Thompson is the best drummer he’s ever played with. He also discussed how Tom Petty & The Heartbreakers have been influencing he and the Wildabouts recently, and how despite the name they are a real band.

Weiland said, “The sound would change drastically especially if our bass player Blacky, or Mr. Brown, if they were not present, because they have a very unique style. As does Danny, Danny is the best drummer I’ve ever played with.”

Thompson briefly quit the Wildabouts last year due to a “matter of self-worth” before quickly returning.  Weiland fired Wildabouts guitarist/keyboardist Doug Grean a few months ago.  Weiland’s previous drummers were STP’s Eric Kretz and Velvet Revolver’s Matt Sorum.

Radiohead Drummer Phil Selway Reveals New Single “Coming Up For Air”

While Radiohead takes a brief hiatus, its members have turned their attention to solo efforts and other projects. Drummer Phil Selway is set to release his second solo album Weatherhouse on October 6 via Bella Union Records.

Selway has released the lead single and opening track of his upcoming album, “Coming Up For Air,” which can be listened to below. The album, which is his follow-up to 2010’s Familial, was recorded at Radiohead’s studio in Oxfordshire with collaborators Adem Ilhan and Quinta.

You can pre-order Weatherhouse here. In the meantime, watch Phil Selway perform new compositions in London this summer with the Rambert Dance Company. 

Nicole Fiorentino Reveals Her Status In The Smashing Pumpkins

Following drummer Mike Byrne’s dismissal from The Smashing Pumpkins last week, bassist Nicole Fiorentino has taken to Facebook to give an update on her status in the band with Billy Corgan, Jeff Schroeder, and Tommy Lee reportedly being the only musicians currently recording Monuments to an Elegy:

For those of you asking about my SP status, I would like to give you some clarity. I am not currently working on the next album. I may however be touring with the band some time next year. At the moment I am focusing on my band The Cold and Lovely. I am also open to working with other artists if the right project presents itself. Thank you all for your continued support on this musical journey of mine!

Love, Nicole

Fiorentino currently has a PledgeMusic campaign going to fund The Cold and Lovely’s new EP.

Setlist From Pearl Jam’s Show In Vienna, Austria

Below is the setlist from Pearl Jam’s show in Vienna, Austria tonight.

Long Road
Can’t Keep
Last Exit
Why Go
Spin the Black Circle
Hail Hail
Got Some
Lightning Bolt
Mind Your Manners
Severed Hand
I Got Id
Amongst the Waves
Rain (The Beatles cover)
Even Flow
Public Image (Public Image Ltd. cover)
Do the Evolution

The Needle and the Damage Done (Neil Young cover)
Speed of Sound
Elderly Woman Behind the Counter in a Small Town
State of Love and Trust
Brain of J.

Encore 2:
Fuckin’ Up (Neil Young cover)
Baba O’Riley (The Who cover)

Interview: System Of A Down’s John Dolmayan Talks Band’s Future, These Grey Men Kickstarter, Billy Corgan & EDM

John Dolmayan is mostly known as the silent and ferocious drummer of System Of A Down, but he really opened up yesterday during my 30 minute conversation with him, showing genuine passion when not only discussing his own music, but the state of the music industry.  Dolmayan is currently working on a covers album with James Hazley from Cockeyed Ghost, for his new project These Grey Men. These Grey Men have launched a Kickstarter campaign with numerous rewards, including a behind the scenes look at the recording of the album, drum sticks, and much more.

In this interview Dolmayan candidly discusses the status of System Of A Down’s next album, how he plans to reinvent tracks by artists ranging from Madonna to David Bowie on These Grey Men’s covers album, playing with Billy Corgan in 2009, his hopes to write an album of original material with These Grey Men, and he also talks in-depth about his prediction that EDM will face a backlash like disco.  I’ve also posted the audio for the interview, since in particular the EDM portion of the interview really turns into more of a discussion.  I apologize for my awkward laugh near the and any other annoying behavior!  So you can listen to the audio of the interview below (which starts 1:15 in the first mi, or read the full Q&A session.

So what led to you and your partner James going the independent Kickstarter route over going with a label or a traditional channel?

Well I’m not sure if I might end up going to a label at some point for distribution, but I didn’t want to depend on a label. The bottom line is people really don’t pay for music too much any more in a traditional way. A label is more like the traditional old school way of doing things. I just don’t have the confidence that that’s going to be the right route to go with.

Do you think with declining album sales in general, could you imagine more bands doing [crowd funding], and see it expanding years from now? Is that a model you could see working in the music industry?

I hope not, because there is something to be said about cultivating a band. The production that labels do, the marketing that they have in place, I think it’s still relevant, and it can still be utilized. But if they don’t change, then that model is going to disappear completely. You’re going to have bands, even established bands such as mine, who have no choice but to go through these routes to raise money, because it’s an expensive process recording. I’ve already invested personally over $50,000 myself into this recording.

I think it’s also a great way to market, it brings a lot of attention to your project, people are interested in it. In a rare way they can be a part of it that never existed in the past. I couldn’t imagine investing in a Led Zeppelin album when I was a kid, that would be a dream.


These Grey Men

It’s also a way of pre-ordering an album, or even outside of music. Basically pre-ordering to show that there’s interest, and you can get bonus things in addition to pre-ordering.

Yeah, outside of having the access to getting the music right away, which, let’s face it, most of the fans who are coming to Kickstarter who are fans of mine and donating whatever amount, even if it’s a 5 dollar donation, they probably would have bought the music anyways. But this is also a way for people that enjoy getting it for free, to give back a little bit, to be involved in the process of producing the music they like. Because if they don’t, a lot of that music isn’t going to be produced any more.

If System Of A Down came out today, I don’t know who would sign us, I don’t know how we would have gotten our music out there. I’m not sure if we could have afforded to be in a band and put out stuff. It can’t be free, and it can’t be ridiculous. The label’s have it at a ridiculous price, and free is a ridiculous price. So there’s got to be something in the middle of that, a reasonable and fair amount. Kickstarter lets you determine what that reasonable and fair amount is for you.

On your Kickstarter page you mentioned Radiohead, David Bowie, and Outkast as artists you’d be covering with this project, can you reveal any specific songs your planning to cover or any additional artists and what your new take on the songs will be?

Right now I don’t want to do that, but there’s about 16 songs that I’ve already pretty much done the pre-production on, and I know structurally how they’re going to go, I know what I want to achieve for the end product. The reason I’m not revealing that is because I kind of want to gradually reveal 1 or 2 songs here and there. Plus I was actually considering putting up all the songs at some point, and letting the fans decide what they wanted to hear. What most interested them, to really keep them involved and in the loop, and part of the decision making process, so that’s something I’m considering adding to my Kickstarter program.

Now without revealing the titles or anything or even artists, is it multi genre or multi generational rock wise? Like a wide array of music?

The range is pretty much all over the place. It’s pop, I’ve made no secret that Madonna is one of the artists that I’m covering. [It’s everything] from Neil Young, to David Bowie, to Outkast, I actually took 2 songs from Outkast and kind of made an amalgam. But the result that I’m really looking for with this thing, is for the listener to hear it, and to them it’s going to be a new song, even if they’ve heard the old versions. But there’s going to be a familiarity to it, that they can’t quite pinpoint. They know the song, but they don’t know why they know the song. I’m not a fan of doing covers that just sound exactly like the old song.

Now you mentioned Madonna, which brought up something to me. Have you ever heard a pop song, even if you’re not doing it on this album, have you ever heard a pop song where you thought it’d be interesting to do a rock take on it? Because the band Local H did a version of “Toxic” by Britney Spears which is really good. Has there ever been a song like that, that you wanted to do a take on?

Yeah, that’s one of the reasons that I picked the Madonna song that I did. Because I felt like wow, that’s interesting, there’s something there that I think would also work in a pop rock song. Because basically pop music is just popular music. The Who was pop, the Stones were pop.

It’s all pop melody when you break it down.

There’s a difference between pop music, and merchandised music, in my opinion. Merchandised music for me, is when you have multiple people come in and they craft a song for a certain artist, and the artist has very little to do with the writing process of the song, and they’re basically just a marketing tool used to push the song. There’s a big difference between that, and somebody writing a song and it becoming very popular, regardless of the genre that it’s in, and achieving success. I prefer the latter to the former.

I’m not a big fan of other people coming in and writing stuff for me, and me acting like it’s my song and becoming a marketing tool for it. It’s just not what I got into music for. If somebody else wants to do that it’s fine by me, they may have gone into music for their own reasons, or it’s the only way they could make it, and I totally understand that. But there’s a certain sense of pride – now you’re talking to a guy who doesn’t write songs by the way, but for example in System Of A Down, when somebody brings in a song, like let’s say Daron [Malakian] brings in a song, I feel a certain sense of pride because it’s my band, he’s writing for us. He’s in the band, what can I do to improve on that song and make it a better song, and do the best job we can to make it something special? Not something you’re going to listen to for a month and then forget.

When it comes to touring plans for this album, could you imagine it being kind of a touring act like Kings of Chaos and Camp Freddy who used to do a lot of local shows in Los Angeles, so could you imagine These Gray Men becoming a an established live fixture like that with prominent guest performers?

Not quite the same way that those acts do it. I’m not looking for this to be like a corporate endorsed kind of project where we get in different guys all the time to jam live and play live, I actually want to establish a band that in the future can do originals. I’m doing covers, but that doesn’t mean if we do a second album that it would be covers. The first album is covers because I haven’t written any songs, nor has James brought in any songs that we’ve worked on that are going to make the album. But, I imagine that eventually this will turn into something where it’s original content. Kind of like what the Beatles and Stones did, they played a lot of covers at the beginning of their careers, and slowly but surely that turned into originals and then it was all originals. It’s just going to be that, we’re not going to be as good as them (John and Brett laugh).

Had to throw that in so no one would misinterpret that!

Yeah, the Beatles and Stones are on a pedestal that very few people will ever even hope to reach. But what I’m saying is they started [with the same idea], something inspired them, they took them and re imagined them their way, and then they took that inspiration and created their own thing out of it, then they grew from there.

A lot of songwriting is done that way, like I saw you mention on your Kickstarter page you hear songs on the radio and think about reinterpreting it, that’s how a lot of original songs happen to be written. Even ones that aren’t necessarily ripoffs, you get an influence from a few songs, and you’re like, well maybe this is where I would go with a melody like that. So I think that’s a good point.

After you hear this project when it’s finished, you might think I did write these songs, because they’re so different from the originals that they were basically rewritten. But they are completely inspired by the original creators of the songs. It has taught me a lot, and going into the future, if I do end up writing some songs with James or anyone else, I’ve learned a lot from this process of taking great songs, and dissecting them, turning them on their ass, and making something completely different and moving forward from there.


System Of A Down

When you’re on tour with System Of A Down, how you prepare for shows? Because I read a quote when I was researching, you said awhile ago that you play best when you’re angry. Has that changed over the years, or is that still the same?

Well, I just don’t get as angry as often (John and Brett laugh). There’s less and less to be angry about. We’ve always been kind of an honorable band. We always go on stage at time, we end our set on time, we do everything we can to accommodate the other bands, we make sure to get our equipment off quickly. We try to be as much of a class act as possible. That hasn’t always been the case with other bands that have played on the same bills, and that’s what I really meant by getting angry. It’s that if I felt we were being disrespected by anybody, I took it out on them. Because once we got off the stage, they were an afterthought.

When it comes to the future of System Of A Down, I asked the fans and 90% of them asked the same thing, so I have to ask. What’s next for System Of A Down? When do you think there might be a new album, and I know that while the other guys are the primary songwriters, have you thought about what you’d want some of the sounds or lyrics to be on the album especially with all of the time that’s passed?

I’ve actually asked where their heads were at, where they were going musically. Because it’s important for me to know that, then I can do some research on either the bands that were inspiring them at the time so that I could kind of get in the same head space, or even maybe hear some of the material. But to date, I haven’t heard any songs, with the exception of a few here and there, that I could really start kind of pointing the direction of my drumming in the future to meet.

The other question of when we’re going to be doing something, your guess is as good as mine. I’m in a band of four very unique individuals, they are eccentric at times, they are artists. All artists are a little bit cooky I guess, and they’re going to do things on their timeline of whenever that works out for them, I guess. I couldn’t tell you, that’s why I’m making this album, because I don’t feel like waiting. I want to make music, I want to contribute artistically, and I haven’t done it since 2008, so I don’t want to wait any more. Even if System said tomorrow we’re going to start working on an album, I would still complete this album, first.


Billy Corgan and John Dolmayan in 2009.

About 5 years ago you played with Billy Corgan for a time, and there was a lot of talk that you might join The Smashing Pumpkins. What was it like playing with Billy, and why don’t you think it worked out?

I don’t really know. I think it was Rick Rubin that called me, and said Billy needed a drummer. So I said, ‘Okay, well he had one of the best drummers over the last 30 years, why would he need a drummer?’ But I said, ‘Okay I’ll give it a shot, I’ll go in.’ I hadn’t even really been playing that much at the time, but I do respect Billy, and I respect The Smashing Pumpkins. So I said let me go give it a shot, maybe we can create something new that isn’t Smashing Pumpkins, and develop something out of that. When I went into the studio I was a little shocked, but there was almost like a cattle call of drummers. There were other drummers, you had multiple studios. It wasn’t exactly what I had envisioned, I don’t work that way. I have to have a one on one interaction with the songwriter, I have to hear where he’s going with the songs, so I can craft something that is tailor made for those songs, to the best of my ability. So it wasn’t the ideal situation, I don’t know if that was a misinterpretation from my end, or what it was. But it wasn’t exactly a positive experience for me, we played for a total of maybe a couple of minutes, and then that was it. He went with somebody else, I never heard the other kid play but I understand he’s a very good drummer.

[Billy] fired him just a week or two ago, actually.

Well, it is what it is. I think Billy should probably get Smashing Pumpkins back together with its original members, and put aside whatever problems he’s got with them. Because that was really when he was at his best, and they were a great band. That’s the advice I would give him if he called me today and asked me to play for him.

Yeah, Jimmy’s a great drummer.

Yeah, you can’t get better than that guy. I’m a good drummer, he’s a good drummer, we’re very different. But he’s the best drummer for Smashing Pumpkins.

I was looking on your Facebook, and I saw an interesting post you made earlier this year comparing EDM to disco and wanting to see it end, and Chris Cornell basically said the exact same thing last week, which I really found interesting.

Yeah, I heard him on Howard Stern. I was like fuckin’ aye, now people are going to think that I copied him!

You said it first!

I’ve been saying it for years, I’m not sure if I said it first. I think a lot of people are having that same thought.

Oh yeah, definitely.

I’m not talking about the people creating the music. I’m talking about the idiotic notion of going to a festival, where it’s the same 8 or 10 or 20 songs played by every single act. Can you imagine going to a rock festival and having every single band play Black Sabbath?

Hell no.

No, you wouldn’t waste your time. I think I’ve got a pretty good idea of why people are going to these festivals, they’re doing a ton of drugs. They’re dancing and they’re having a good time, and I think more power to them if that’s what they want to do. But I also see a backlash starting, and it’s going to hit the same way, in my opinion, as disco did. Disco was very popular, I don’t know if people forget that history tends to repeat itself. But disco was very popular until it died, and when it died it was devastating, but out of the ashes of disco was a rebirth of rock music in different ways. You had new wave that was emerging as disco was fading, then you had 80’s rock that then transferred into 90’s rock, then transferred again. You had everything from Duran Duran to Tool come out in the 20 years after disco died. And by the way, I like disco. System Of A Down is disco, in a lot of ways. But when it becomes played out, and you have like four cook (Note: may have misheard that) commercials with EDM music and all that stuff. The next generation is going to be looking at that and they’re going to say: that’s not for me. What’s for me? There’s got to be something that comes and takes that place.

I’m 22 years old, and I can’t imagine people my age still listening to that at 30. At 30 they’re going to be off drugs, or maybe they’ll still be on it I don’t know.

I live in Las Vegas, I see people dress up worse than Halloween costumes, mostly girls. They look like complete idiots, I’ve got to tell you.

I agree.

And I have friends that do it!

Same here.

But again, they’re not hurting anybody, they’re having a good time. Maybe they’re hurting themselves in some cases when they’re not careful with the drug use. Fans are dancing, it is what it is. If they want to listen to the same music over and over again, ‘performed,’ and I use quotation marks, ‘performed’ by different DJ’s then that’s their business. If they want to pay 200 dollars for that privilege, they can do that. But I’m telling you, the backlash is going to come, and it’s not going to take long. I’m not saying it’s right or wrong, I’m just saying it’s going to happen. So I know how people are going to look at me, I know how I’m going to be looked at for saying this stuff by a lot of people who are into it.

Yeah, I 100% agree [with what you’re saying]. But rock’s going to have to knock off the hipster community too, in addition to EDM.

Well fuck those people (Brett laughs). They’ve always irritated me, they irritated me back when they were hippies. They’re just a little cleaner now. But again, whatever they want to do is fine! If you have to associate with some kind of social group to feel like you belong to something, then that’s fine. To me that’s the gang mentality, and I don’t like gang mentalities. I think if you need to be in a gang, then you’re kind of weak willed. I know it’s going to sound strange coming from me right now, because of the way I sound, which is closed minded. If you need to put down other things to feel good about yourself, you have a problem. So I listen to Daft Punk as if that was my religion. I love that last album, I think I wore the fucking thing out in my car for 8 months. That’s EDM, but it’s great. So if it’s great to me, it doesn’t matter what genre it is. The only thing I don’t understand is going to a concert where they’re playing the same songs for 3 days, and they act like it makes a difference which DJ is up there. If you think you can go play a concert with your iPhone or some kind of disc drive or something like that, I’m not sure you’re a musician.

Right, to me the difference is even if it’s not music I’m into, but if an EDM artist is writing song, they’ve got a keyboard hooked up, I can respect it.

That’s very different.

But if they’re just twisting knobs, there’s just a huge difference.

I’m not really 100% sure that the on stage twisting knobs is doing anything, I’m not 100% sure. I’m not saying I know much about it, what I’m saying is I question it, because I’ve seen DJ’s. I live in Vegas, I see DJ’s all the time, and I’ve seen them go take a break for 20 minutes, bathroom break or talking to some chicks on the side of the stage, and I don’t notice a fucking difference.


I agree because I’ve seen people do it on their computers, and they’ll just turn one little loop into a whole 3 minute thing (laughs).

Right. In the original days, when people were spinning records, and they had to match records, they were just basically doing turntables, now that to me is somewhat of an art form. It’s still not creating music, but it’s still artistic. There’s some talent involved in that, I’m not sure the same talent is necessary [in EDM]. To me it’s just marketing. That’s why I say it’s going to die the same death as disco, and that’s probably why Chris Cornell looks at it the same way. We’ll see what happens I guess, if it’s going to happen it’s going to happen in the next couple of years.

I agree. Well hopefully this will be a good rallying cry for other people my age.

Again, if you’re into it, that’s great. If you’re into the artists that are creating it, that’s great. Whatever you want to do with your time and money is your business, but one of the reasons why bands have to look for alternative ways of funding things is because the interest level is just at a low right now for that genre of music.

Labels aren’t willing to take any risks. I got in a discussion with somebody about this recently, they’re not willing to take risks on anybody that sounds different.

They can’t afford it.

I think if a band wrote a pop hit out of the gate, they could still make it, but that’s not every band, that’s not every good band. A lot of bands take a couple albums to get going to get there, and that’s the big challenge.

If System Of A Down released an album next year, it would do well. It wouldn’t do the numbers that in the past happened, but it would do well and the label would put money into that. But if System Of A Down was just coming out, I’m not sure anybody would be interested in putting any money into it, because it is a gamble for them. They’re in the business of making money, not just making records. And by the way part of the problem is they are too big, these labels.

There’s only two major companies now running everything.

They’re too big. Don’t get me started on the corporate structure in the United States, but whenever you have a few companies that are responsible for everything, you’ve got a problem.

A monopoly.

We have anti-trust laws in place to prevent that, but their argument is look there’s two of us. People have an option. But before there were hundreds of options. I remember back in the old days, I would buy every album that came out out on certain labels, because I knew they were going to put out great music. Would you buy every album that came out on Sony?


I wouldn’t and I’m signed to them.

(Laughs) But if you even go back to the 90’s you had like Sub Pop, and people would buy everything if they saw that label, and SST.

That’s what I’m saying, it’s labels like that. It’s just not the way the world works any more, and that’s fine you have to roll with the punches. Nobody is buying phonographs for a reason, they have CD players now. You have to roll with the times, you can’t be stuck in what it was, you have to be realistic about what it is.

But like you said the EDM backlash is hopefully coming in the next couple of years, so hopefully bright times ahead.

Yeah I mean look I go to these clubs, and I’m laughing. You’ve got to see the attitude of some of these DJ’s, as if they’re doing something that’s mind blowing. Sit behind a drum set if you’re so drum set if you’re so mind blowing, see what you can do there. Because I can almost guarantee you that if you gave me a couple of years, I could figure out how to be a DJ just as good as them, a lot of them.

I think a perfect example is like I’ve been over to somebody’s house, they’re twisting around on the DJ thing, and I see a drum set collecting dust, and I’m just [amazed].

The difference is that a real instrument takes time, real time, I’m not talking about a year or 6 months, I’m talking about decades to master. People don’t invest time. Think about the difference in watching porn from now to 15 years ago. 20 years ago they used to make movies, the storylines were horrible, but there used to be storylines, plot development, poor acting and whatever. It was laughable, but they tried. Now, you’ve got about a minute and a half before they tune out, and that’s in porn. So for somebody to pick up an instrument and say okay, I’m not good at this in a week. I’m bored now, what else is there?

I saw a commercial on TV that literally almost made me throw up. It was some guy in an urban setting, it must have been New York or something like that, you know those street performers who used to play with pot and pans, different instruments. This guy had an iPad as his instrument. He’s like flicking the iPad and dancing as if he’s doing something. Meanwhile you can just program it to play whatever you want, you might actually hit the power button and turn it off by accident, but other than that really there’s no effort into it, and it made me sick. If people think that’s a musical instrument, they’re very wrong. You can program something, they’ve been doing drum programming for the last 30 years, it hasn’t taken away the need to have a drummer, because you can not program feel. That commercial, go check it out honestly, it’s awful.

I’m sure I’ve seen it. I see the haircut ones where it shows the DJ, glorifying the whole culture where it used to show a rock star.

Yeah, but that one really made me sick. Because here’s a guy dancing around like a fool and kids are seeing this going: ‘Wow I want to do that, that I can do.’ Anybody can buy an iPad and download some kind of program and think they’re creating something, but I’m not sure that’s music though.

What you need to do is if you have an iPad [or iPhone], go to the Voice Memo thing, click record, pull out your guitar, and start playing. That’s what you do, don’t create the crap on there, use it to record the real stuff. That’s how I look at it.

Right, I mean look, the technology is there you can really benefit from it, and do amazing things with it, but let’s not pretend that replaces art.

They’re completely different things, and one shouldn’t be seen as equal to the other with artistic merits.

I can’t help but feel like I look like the old crotchety artist who is not with the times, but the bottom line is I have every technology known to man available to me, and I utilize almost all of it, but I spent almost 20 years honing my craft.

Well you’re not out of touch, because I’m 22, and I agree with you (laughs).

And by the way, when 22 year olds start thinking this way, you know the end is near.

Interview: Tegan and Sara Talk Success Of “Closer” & Attending BBQ With Neil Young & Dave Grohl reporter Doug McCausland interviewed Tegan and Sara at the Firefly Music Festival over the weekend, and the duo discussed the success of “Closer” and attending Neil Young’s BBQ with Dave Grohl, Beck, and many others. We’ll also have up interviews with Cage The Elephant, KONGOS, Kaiser Chiefs, and many other acts from Firefly going up soon.

Metallica’s Lars Ulrich: ‘People Look At Hard Rock As Inferior Or Lower Class In England’

Metallica’s drummer Lars Ulrich recently spoke to BBC 6 Music about the controversy regarding the band’s appearance at the Glastonbury festival. Ulrich quoted, “People have short attentions spans in 2014, and so when people have attention short attention spans, they sometimes like things broken down in easy, digestible soundbites. It’s sort of, like, ‘OK, now, Metallica at Glastonbury. What’s the soundbite? Here comes the big, bad heavy metal metal and our precious little festival.’ I don’t think that it’s generally really like that.”

He continued: “Rock and roll goes back a very long time in England, and there’s a tradition with British music journalism that maybe has a little bit more of a need to, sort of, categorize, pigeonhole, label… I don’t really know what it is about hard rock in England, but there obviously is people that snub their nose a little bit at hard rock and look at hard rock as inferior or lower class, some sort of lower music form or something, and people that listen to hard rock are less educated or than all these people on their indie precious thesholds. I’m certainly not slagging it… I’m observing.”

“We’ve been dealing with various versions of this for 30 years. We’re fairly used to everybody having an opinion about Metallica. For me, the fact that people still talk about Metallica 33 years later, I think, is pretty great. We’re not much for categorizing rock music. We enjoy and engage in and listen to and appreciate all different types of wonderful music. As far as I’m concerned, there’s only two kinds of music: there’s great music and less great music, and beyond that, I’m not sure it needs to be pigeonholed.”

“At Glastonbury, there’ll be probably some people who have never experienced hard rock the particular way that we play it, but I don’t think they need to brace themselves. Show up and be ready to have a good time and free your mind and the rest will follow. We basically had played every country in the world’s version of Glastonbury [laughs] and nobody bats an eye, and this is sort of what we do. I understand and appreciate that Glastonbury is a British institution. Not only did they survive when Jay-Z showed up a few years ago, but they, I think, even enjoyed it, and I see no reason that the same shouldn’t happen when Metallica takes the stage. Everybody’s happy and we’re in good shape and fit to fight and ready to go. We’re still looked upon as being the underdogs. I think it’s great. Sometimes it’s kind of fun to stand in the middle of all the hoopla. Here comes the big, bad hard rock band to our precious little festival.”

Metallica will headline the event on Saturday, June 28, with Arcade Fire in the slot the previous night, June 27, and Kasabian playing on June 29.

Billy Corgan Discusses ‘Bowie Bridge’ In New Smashing Pumpkins Song

Billy Corgan posted the following blog on

Coming in today the plan was that I have a practice sing through MONUMENTS, and then we’d move on to finishing the remaining musical components (synth/bridge guitars, etc). But after a single take Jeff and Howard agreed that I should try to cut the vocal then and there. Three hours later or so I’d succeeded (or so they thought), and I plopped myself down to watch the World Cup.

The rest of the session (once I’d re-animated) was Jeff and I trying to fill what we call the ‘Bowie Bridge’ with dueling guitars (fail), and then adding one of my favorite synths of all-time: The Gleeman Pentaphonic (success). Legend has it they only produced a few (depending on who you ask), and considering it’s beautifully idiosyncratic tones I can kind of understand why it’s such a rare specimen.

But wait! We weren’t done. To play the counter melody I’d tinkle the fake ivories on a Freeman String Symphonizer (another rarity), and then we’d double that with a Polymoog. Holy Gary Numan! We got ourselves a rocker.

What’s left should be done by tomorrow. DRUM next.


Lana Del Ray Responds To Frances Bean Cobain’s Criticism, Talks Kurt Cobain

Lana Del Ray recently said “I wish I was dead” when discussing Kurt Cobain and Amy Winehouse’s premature deaths, which led to a Twitter rant from Cobain’s daughter Frances Bean Cobain. Del Ray has back tracked from her comments on Twitter:

Courtney Love: Kurt Cobain Was “Desperate To Be The Biggest Rock Star In The World”

National Geographic’s upcoming TV mini-series The ’90s: The Last Great Decade? examines the popularity of Nirvana and its frontman Kurt Cobain. In a new interview, Cobain’s widow Courtney Love attempts to dispel the “myth” of Cobain’s reluctance to become famous and his avoidance of the spotlight.

Love states that Cobain: “wanted [fame] bad. He wrote to every major, minor, any label, ‘We’ll pay. Let us be on your label.’ He was desperate to be the biggest rock star in the world. Absolutely desperate. But he made it look like it was thrust upon him.”

The upcoming mini-series also documents Cobain’s stances on sexism and homophobia and the pressures of the media on the marriage of Love and Cobain. Legendary Nevermind producer Butch Vig discusses Nirvana’s idealistic themes in the post-Reagan era. The three-night series will premiere on Sunday, July 6.

Below, watch a preview of The ’90s: The Last Great Decade?, including archived interviews of Cobain as well as new interviews of Love and Vig:

Jack White Announces New 2014 North American Tour Dates

Jack White has announced new tour dates behind his No. 1 solo album Lazaretto.

Jack White 2014 Tour Dates:
06/26 – Dublin, IE @ Royal Hospital Kilmainham ^
06/28 – Pilton, UK @ Glastonbury Music Festival
06/29 – Paris, FR @ L’Olympia
06/30 – Paris, FR @ L’Olympia
07/01 – Amsterdam, NL @ Heineken Music Hall
07/03 – London, UK @ Eventim Apollo
07/04 – Gdynia, PL @ Open’er Festival
07/19 – Louisville, KY @ Forecastle Festival
07/20 – St. Louis, MO @ Fox Theatre &
07/21 – Milwaukee, WI @ Eagles Ballroom &
07/23 – Chicago, IL @ Chicago Theatre &
07/24 – Chicago, IL @ Auditorium Theatre &
07/26 – Newport, RI @ Newport Folk Festival
07/27 – Pittsburgh, PA @ Stage AE Outdoors &
07/28 – Detroit, MI @ Fox Theatre &
07/30 – Detroit, MI @ Masonic Temple Theatre &
07/31 – Toronto, ON @ Air Canada Centre &
08/01-03 – Montreal, QC @ Osheaga Music & Arts Festival
08/18 – Kansas City, MO @ Midland Theatre
08/20 – Morrison, CO @ Red Rocks Ampitheater
08/23 – San Francisco, CA @ Bill Graham Civic Auditorium
08/25 – Seattle, WA @ Paramount Theater
08/26 – Seattle, WA @ Paramount Theater
08/27 – Troutdale, OR @ Edgefield
08/28 – Vancouver, BC @ Deer Lake Park
08/30 – Calgary, AB @ X-Fest
08/31 – Edmonton, AB @ Sonic Boom
09/14 – Columbia, MD @ Merriweather Post Pavilion
09/15 – Cleveland, OH @ Cleveland State Wolstein Center
09/17 – Boston, MA @ The Bleacher Theater at Fenway Park
09/19 – Atlanta, GA @ Music Midtown
09/20 – Jacksonville, FL @ Moran Theater
09/21 – Miami, FL @ The Fillmore
09/22 – Miami, FL @ The FIllmore
09/24 – Columbia, SC @ The Township Auditorium
10/11-12 – Mexico City, MX @ Corona Capital Festival
11/16 – Brussels, BE @ Forrest National
11/17 – Leeds, UK @ Leeds Arena
11/18 – Glasgow, UK @ Hydro Arena
11/19 – London, UK @ O2 Arena

& = w/ Benjamin Booker
^ = w/ The Kills

Paul McCartney Gives Fans Update On His Health & World Tour

Paul McCartney has released a new video announcing that he feels ‘great’ and that his postponed shows have been rescheduled.

McCartney has also added another date to summer’s hottest ticket: The ‘Out There’ world tour will touch down at the Greensboro Coliseum in Greensboro, North Carolina—marking Paul’s historic first ever performance in the city of Greensboro.

Paul McCartney 2014 Tour Dates:
07/05 – Albany, NY @ Times Union Center
07/07 – Pittsburgh, PA @ Consol Energy Center
07/09 – Chicago, IL @ United Center
07/12 – Fargo, ND @ Fargodome
07/14 – Lincoln, NE @ Pinnacle Bank Arena
07/16 – Kansas City, MO @ Sprint Center
08/02 – Minneapolis, MN @ Target Field
08/05 – Missoula, MT @ Washington-Grizzly Stadium
08/07 – Salt Lake City, UT @ EnergySolutions Arena
08/10 – Los Angeles, CA @ Dodger Stadium
08/12 – Phoenix, AZ @ US Airways Center
08/14 – San Francisco, A @ Candlestick Park
10/02 – Lubbock, TX @ United Spirit Arena
10/11 – New Orleans, LA @ The Smoothie King Center
10/13 – Dallas, TX @ American Airlines Center
10/15 – Atlanta, GA @ Philips Arena
10/16 – Nashville, TN @ Bridgestone Arena
10/25 – Jacksonville, FL @ Jacksonville Veterans Memorial Arena
10/28 – Louisville, KY @ KFC Yum! Center
10/30 – Greensboro, NC @ Greensboro Coliseum