Tag Archives: garbage

Red Hot Chili Peppers & Garbage Members Rip Guns After California Terrorist Attack

Red Hot Chili Peppers bassist Flea and Garbage frontwoman Shirley Manson had some strong words on Twitter today for the NRA and guns following yesterday’s terrorist attack on a San Bernardino County Department of Public Health holiday party at the Inland Regional Center in San Bernardino, California that killed 14 and injured 21. Flea tweeted, “NRA wants every sick nut job to have an assault weapon.” Garbage frontwoman Shirley Manson tweeted, “What to do about gun violence in America? Write to your senators and members of congress.Actively protest.Let’s galvanize the peacekeepers.”

A remote-controlled bomb was also left at the crime scene. The suspects for the shooting are Syed Rizwan Farook and Tashfeen Malik, who were later killed in a shootout with police. Farook was a food inspector for the San Bernardino County Department of Public Health for the last five years.

The couple had an ‘IED Factory’ in their home, with more than 3,000 rounds of ammunition, 12 pipe bombs and hundreds of tools that could be used to make improvised explosive devices. A neighbor has stated that they saw suspicious behavior going on near the garage, but didn’t want to report anything out of fear of racial profiling.

Farook had ties to at least one person who has been on a terrorist watchlist. The FBI have taken over the investigation and are currently investigating possible links to ISIS and other Islamic extremist groups. Farook was born in the U.S., and he traveled to Saudi Arabia in 2014 and returned with his new wife, Tashfeen Malik. Malik was born in Pakistan, residing in Saudi Arabia until last year. Malik traveled to the U.S. on a K-1 visa (fiancée) on a Pakistani passport. The couple had a 6-month daughter.

The Church of the Woods has shared the name of one of the victims, Mike Wetzel, a father of six. The Church’s website has shared the following, asking for donations to Wetzel’s family: “In the wake of the San Bernardino shootings yesterday one of our own church family, Mike Wetzel, was one of the victims. As his spirtual church family we are doing all we can to help coordinate an effort with his wife Renee and their children. This page is an effort to do just that. At these early stages, these are the ways we can help the family. If more specific needs are made known, we will update you. Please continue to pray for Renee, his children, and his former wife Amy as they process this terrible tragedy and loss of their husband and father.”

Alternative Nation sends its thoughts and prayers to all of the victims and their families. Below is a photo of the Wetzel family.

wetzelfamily

SHIRLEY MANSON SAYS RELATIONSHIP WITH MUSIC TEACHER WAS CONSENSUAL WHEN SHE WAS 15

Shirley Manson reiterated this week on her Facebook page that the sexual relationship she had with her music teacher at age 15 was purely consensual and she was not the victim of sexual abuse from a pedophile.

Manson’s statement read: “I want to make it perfectly clear once and for all that I have never been the victim of a pedophile nor have I ever claimed to be.

“I was a few weeks shy of my 16th birthday, sixteen being the legal age of consent in Scotland, when I engaged in a fully consensual relationship with a teacher whose real identity I have always been careful to protect.”

Manson goes on, “At no point have I ever said this teacher was an employee of Edinburgh Council.” The council began an official investigation after Manson came forward with details of the relationship in a recent interview.

The singer concluded by saying, “There are so many people who have been the true victims of sexual abuse throughout the world and they deserve justice and our compassion.

However I do believe a distinction must be made between a person who is within weeks of the legal age of consent and an innocent child.

Otherwise we all in danger of becoming distracted from the really serious issue at hand which is that of child abuse. An issue which genuinely demands our urgent and focused attention.”

Source

FORGOTTEN ALBUMS OF THE 90′S: CURVE’S DOPPELGANGER

In 1995, Garbage released their self-titled debut album and immediately received acclaim for their unique, hazy, female-fronted blend of pop, rock and electronica. Of course, while audiences latched onto the proverbial teat of Shirley Manson and company, serious rock fans knew that Garbage’s sound was nothing new–years earlier, the British band Curve presented a similar cacophony of evocative guitar-laced tracks, appropriate for either dancing or wallowing in misery, depending on your preference. This is in no way a slight against Garbage, because every great artist’s inspiration is at least partially born out of imitation, but Curve never seemed to benefit from Garbage’s success–while all five Garbage releases hit the Billboard top 20, no Curve album made a dent in the top 200.

Led by Toni Halliday, every bit as sexy as Manson in both looks and vocal style, Curve initially made their mark with three EPs before releasing 1992’s full-length Doppelganger. (Those early EPs were later assembled on the endearingly titled Pubic Fruit.) A quick look at its cover makes it clear that this is not your average shoegaze record: while the collection of naked Barbies and baby dolls–some decapitated, some merely torsos–may not be as inherently disturbing as the fetus-filled back cover of Nirvana’s In Utero, but it’s at least as nightmare-inducing as your average Courtney Love photograph.

The music, though, is a fiery mix that’s both aggressively beautiful and beautifully aggressive. Opener “Already Yours” packs an immediate punch with its staggered beat and hypnotizing “Ooh la la la” backing vocals. The sharp, heavily produced guitars provide a pretty good indication of what you can expect from Doppelganger, though the track eventually washes away into an array of jarring, grinding sounds (file that in the “aggressive” category). That’s followed up with the ethereal intro to “Horror Head,” the album’s second single. Like a sinister version of the Cocteau Twins, emphasizing style over lyrical clarity, you’ll have a tough time trying to rid your mind of its paralyzing chorus, which consists of nothing more than the word “Hey” being repeated thrice.

Perhaps the highlight of the album is “Wish You Dead,” which really showcases the best elements of the band: pulsating beats, jagged guitars, Halliday’s haunting vocal presence and dark, confrontational lyrics like, “You can filter your poison into my sleep / But I know it’s my heart / That you could never reach.” The sentiment may be harsh, but the world would be a better place if all death threats were this catchy.

But the strength of “Wish You Dead” also represents the album’s main weakness: the production and atmosphere hardly varies from track to track. So many songs boast the same intro (a jittery drum beat emerging into sludgy, whirring guitar riffs) that they eventually begin to blend into one another. That’s a problem, because each cut features something interesting on its own that may get lost in the context of the whole record. To truly appreciate what Doppelganger has to offer, listeners should digest each song individually. The start-to-finish experience is certainly worthwhile, but you’d be hard-pressed to point to any specific track afterward without first hearing it stand by itself.

About the only song immune from this is the slow, introspective “Sandpit,” which closes most editions of the album. (The U.S. version includes an additional track, “Clipped,” taken from one of the EPs.) It may not be as instantly appealing to fans accustomed to a rockier sound, but ending with less intense fare is a trademark of 90s alternative rock (see: Nevermind, Purple, Siamese Dream), and its comparatively hopeful lyrics (“I’m just trying to do the right thing”) are a welcome change of pace.

For modern listeners, it’s inescapable: lyrically, musically and sonically, Doppelganger is so uncannily similar to Garbage’s work (particularly their earlier material) that it will pack few, if any, surprises. But that doesn’t make it any less relevant 20 years on, and their later efforts–some of which we’ll undoubtedly explore at GrungeReport.net in the future–are just as valid. Whether Curve was ahead of its time or just never meant to be appreciated on a wider scale, one thing is for sure: though Garbage may have adopted (and, arguably, bettered) its sound, there’s no substitute for the original Doppelganger.