Weezer have up a hilarious item in their webstore, an Onionesque parody of deluxe/PledgeMusic bundle versions of albums with bonus features. Check out the description below of the ‘ultimate bundle’ version of their upcoming white album.
*THIS IS A PRE-ORDER ITEM*
For $25,000 you’ll get everything in The Ultimate Bundle as well as:
Take a Greyhound to the Galapagos with Rivers where you’ll stay only for a limited time
Once you get to the islands, you’ll go bird watching to try and find the elusive White-cheeked pintail
You’ll go on a catamaran ride to Charles Darwin Research Station
Sing “the British are coming” with Rivers in the Galapagos but replace every lyric about “old king george” to “lonesome george”
Enjoy your complimentary signed copy of the album and a pair of tickets to see the band on their summer tour with Panic! At The Disco
Finally, you will be named King of the World for a day
** You have to pay for Rivers on top of paying the band $25,000
Please note that is a pre-order item with a release date of 4/1/2016. The LP, CD, T-shirt, Hat, Crewneck Sweatshirt, & Frisbee will ship just before the release date of the album.
You will receive a separate email for your digital download on the release date of the album (4/1/2016).
You will be reached out to, by management, to get the sizing of your clothing and to work out the details of the trip!
On Twitter just now, Weezer announced yet another self titled album. For the album, they announced a co-headlining tour with Panic! At the Disco and another track from the album, “King of the World.” The new album will be released on April 1st. Apparently, this isn’t a joke. This is their “White” album, along with the self titled Red (2008) , Green (2001) and Blue (1994) albums.
Another two tracks from the album, “Do You Wanna Get High” and “Thank God for Girls” were leaked in the fourth quarter of 2015. Below is their single and music video, “King of the World”:
Weezer are one of the most confusing acts in rock. At one point seen as alternative, at one point (pop) punk, and at another purely ironic, but what is Weezer? I think I learned what Weezer is, but it’s not so simple to explain, so here are 1,000 words.
Weezer was one of the my seminal bands growing up, both as a person and a musician. My first band at 14 was founded on, among other things, on a common appreciation of Weezer. It’s an exciting time to be a Weezer fan because the new album, Everything Will Be Alright in The End, holds up to the classic Weezer formula, reinventing their sound while sticking close to their roots of emotional integrity and intensity, and staying strong in spirit. Their latest albums, Hurley and Raditude, exhibited Weezer’s most radical departures from their half-comforting, half-self-depreciating muse established by Cuomo in favor more tongue-in-cheek hedonist songs resulting from collaborations of Cuomo with other artists, ranging from Lil Wayne, hit songwriters Desmond Child and Mac Davis, and various producers from distinct genres, a pattern of artistic creation that compromises of most of the songwriting credits for the Hurley and Raditude albums. Everything Will Be Alright in The End also features some artistic collaborations from other artists, but the collaborations plays second to the material composed by Cuomo and the other Weezer members.
This show, at Santa Ana’s Observatory, was extremely packed. The line rounded through the parking lot, and I managed to slip in conveniently through the front with my press and photo pass. No opener, but it was a good hour before Rivers emerged. Most interesting was Rivers’ nonchalant carousing through the bar and surrounding area. Some people in the crowd shouted, “Rivers!”, but to no response, to anyone. I even walked with Rivers for a minute trying to get him to say a word. He didn’t say anything. I politely told him how influential his music was to me growing up, and then decided to leave him alone. He recognized me in the same way a mime blankly half-looks at passer-byers. As the tour program lists Cuomo’s name simply as “Sebastian – Lead vocals, guitars,” Cuomo’s appearance was consistent with the ironic anonymity he was trying to surround the tour with. Of course, when on stage it was clearly Rivers in classic fashion.
Shortly after 9PM, Cuomo came on to start the promised 9 song acoustic set. At first it was just Cuomo onstage, opening the show with obscure Pinkerton B-side, ‘You Gave Your Love To Me Softly,’ a perfect choice to start with. At the second song, ‘Why Bother?’, guitarist Brian Bell joined stage, sharing lead vocals with Rivers interchangeably with the verses. Next was bassist Scott Shriner, who sang lead vocals on the Red album bonus track ‘King,’ the next song they performed. Drummer Patrick Wilson emerged for the fourth track, Pinkerton classic ‘El Scorcho.’ During their performance of the last track from Maladroit, ‘December,’ which Cuomo seemed to think no one in the crowd had ever heard of. To my pleasure, they played a lot of my favorites, but ‘Pink Triangle’ was a highlight, as I’ve always wanted to see that song performed live. Dreams do come true (but ‘Only in Dreams’).
The acoustic set was very poignant, closing with staple single now over 20 years old, ‘Buddy Holly’. The band’s chemistry is very tighly knit – as each time a member arrived on stage the show escalated. The vocal parts were largely shared and harmonized, though Cuomo was obviously lead.
After their acoustic set, they performed their new album in entirely, all 13 tracks. During the songwriting process, over 200 songs were considered for the album and the tracklisting they chose is near perfect. The performance crescendoed emotionally as the show went on. ‘Back to the Shack,’ the album’s triumphant lead single, surprisingly had much of the crowd singing along (although large screens had been set up to play pre-recorded footage and displaying lyrics). The crowd seemed to consist largely of committed fans, especially considering the high price of tickets and how fast they initially sold out. ‘The British Are Coming’ also stood out as one of the night’s best and most articulate performances, a humorous yet melodic take on the American Revolution: ‘Punk ass redcoats trying to run the show/Telling me what to do and where to go/Mount your horse ’cause it’s time to tell the world.’ My favorite track from the new album, ‘Go Away’, features Best Coast singer Bethany Cosentino and her vocal presence onstage, combined with the melancholy tone of Cuomo during the song made for a bittersweet performance. The crowd reacted to the new album set as well, if not better, than the acoustic set. Weezer proved themselves to be as musically versatile as they were in 1994, but obviously now far more mature.
Emerging with a cowboy hat, Cuomo urged the crowd to draw up noise as the encore came on, a stunning and roaring performance of ‘The Greatest Man That Ever Lived (Variations on a Shaker Hymn),’ one of the Red album’s most recognizable hits. Cuomo performed the song with his signature, and now well aged, Sonic Blue Warmoth custom Stratocaster with a tortoise pickguard and covered in stickers, the same used during the Blue album sessions. After their jubilant encore, they retreated backstage after a bow.
I’ve had many friends see Weezer and tell me how much of a delightful experience it was for them and I must say, though some of my personal experiences in the Observatory last night were frustrating, their performance was spotless and their crowd interactions were numerous, funny and memorable. It was a privilege and honor to see one of my greatest musical inspirations in such an exclusive setting. God bless Weezer.
Just announced, KROQ has revealed its lineup for Almost Acoustic Christmas. Ticket go on sale this Friday at 12pm. Proceeds will benefit local Los Angeles charities, including Para Los Niños and the Al Wooten Jr. Heritage Foundation. The lineup is below:
Night 1: AWOLNATION, Bastille, Cage The Elephant, Disclosure, Foals, Halsey, Silversun Pickups,The Struts, Twenty One Pilots, Weezer, and X Ambassadors.
Night 2: Andrew McMahon In The Wilderness, Chris Cornell, Cold War Kids, Elle King, Fall Out Boy,George Ezra, James Bay, Of Monsters And Men, Panic! At The Disco, The 1975, and The Neighbourhood.
Tickets, available here at Ticketmaster, are subject to the prices listed below. Tickets limited to 4 a household:
Last year, several prominent bands we cover here at AlternativeNation played at Almost Acoustic Christmas 2014, like Queens of the Stone Age, the Smashing Pumpkins and System of a Down. Let’s see if this lineup can top last year’s performance!
Featured here in our article on the new Temple of the Dog performance footage that surfaced, Chris Cornell recently talked to AV Club about their song “Hunger Strike”:
Chris Cornell discussed Temple of the Dog’s “Hunger Strike” in a new AV Club article.
“I don’t really remember it. [Laughs.] I kind of remember the basics but singing on that album happened so quickly. The song itself, it really wasn’t much of a song. It was a verse with just a kind of repeating chorus. It was just where we needed one more song for the album, and I had that down, but I hadn’t played it for anybody yet because I didn’t feel it was a complete song. But I knew we had nine songs, and I thought 10 would be a nice, even round number. I just figured that this would be the 10th song that would wrap up the album, and it would just be what it was, verse for verse and then repeating chorus sort of like a coda for the album listening experience. In rehearsing it, and I think we only rehearsed for two days for that album, but I was singing both parts of the song. I sang the high verse part and then the low chorus part and then the high chorus part and so on.
Eddie and the rest of them were waiting for us to finish because they were about to have one of their first rehearsals as Pearl Jam, and he saw me sort of struggling with it, so he just walked up to the mic and started singing the low part, and I started singing the high part. I immediately got this idea that his voice sounded so rich in that low register that it would become more of a song if I sang the first verse, then the whole band kicks in, and then he sings that verse again, but in effect it becomes a different verse. It’s a different person. It’s a different voice and a different everything. And I think I had that idea right there on the spot; we did it that way, and suddenly it was a real song. I hate to use that term “real song” but to me it was like: Okay, in just a moment this has become an arrangement that changes everything.
I never thought about it as being singular or anything because there were a lot of really well written songs that lent themselves to the notion of a single, but once we played it for other people, that was the choice that was made. But my memory of us singing it together is I just went in and sang my part, he went in and sang his part, and it took probably 40 minutes, and that was it. That was back in the day where you had no record budget, and that album in particular was recorded and mixed in a total of 14 days, not in a row.”
“Buddy Holly,” the popular Weezer single, is featured in a new Honda commercial. The ad is promoting the car company’s 2016 edition of their popular mid-size crossover SUV, the Honda Pilot. In the advertisement, the song is sung as an impromptu acapella family sing-along. As you can imagine, like most commercial tie-ins, this is done very, very, awkwardly and borderline cringe-worthy for the viewer.
The track was first released on September 7th, 1994 on what would of been Buddy Holly’s 58th birthday. “Buddy Holly” was a single on Weezer’s debut album entitled The Blue Album. You can view the commercial below:
AlternativeNation.net reporters Brett Buchanan, Mike Mazzarone, Doug McCausland, and Riley Rowe sat down for a roundtable track-by-track review of the album. No tables were harmed during this roundtable review.
1. Ain’t Got Nobody
Mike Mazzarone: Ain’t Got Nobody is really catchy. I was really digging it. The poppier side of early Weezer. It sounds like it could fit off of the Blue Album. I’m gonna be humming this tomorrow.
Doug McCausland: Ain’t Got Nobody is a catchy song with a driving beat. Sounds like classic Weezer! Cool guitar solo.
Riley Rowe: The creepy intro sample hooks you right off the bat. The chugging guitar and rhythm section smoothly transitions into the easy sing-along melody. The slow and fast parts shows off the song’s overall dynamics with a sassy guitar solo thrown in there for safe measures.
Brett Buchanan: Ain’t Got Nobody is the perfect opener. There is actually a spoken word part at the beginning where the words ‘Fuck, rock is dead, guitars are dead’ is spoken followed by a big riff. It actually reminds me of Pinkerton a bit, with Green Album production and a little more upbeat. This is one of the stronger songs on the album.
Doug: There’s something about the classic Weezer melody that just really hit home.
2. Back To The Shack
Mike: Back To The Shack. The main single off of this album. What a song. It’s basically Weezer’s “fuck you” to the modern and hipster music scene. No “Pork and Beans” vibes here. This is more gritty. What I love about Weezer is that they create catchy hooks and melodies without compromise and that is evident here.
Doug: Back To The Shack has a fuzzy vibe that definitely harkens back to the band’s early days, though the lyrics filled with cheese and the song in general is too on-the-nose about how much the band wants to emulate their early sound. But, at the same time, its classic Weezer awkwardness.
Riley: Back to the Shack – This is a great choice for the single and will undoubtedly have some major radio airplay, it’s already getting a fair amount. The tongue-in-cheek humorous lyrical content and friendly rock-out sound is a perfect example of old-school Weezer. There’s also a total Jack White/White Stripes influenced riff throughout this song, but Weezer definitely make it their own.
Brett: I think Back To The Shack has some interesting self-aware lyrics, admitting that they took some missteps in the late 2000’s and early 2010’s. It’s got a good hook, a nice song, but the verse melody gets a bit repetitive and like Doug said at time the lyrics get too on the nose, but I like the song.
3. Eulogy For A Rock Band
Riley: With Rivers Cuomo’s more calm singing style, the track comes off a bit as a subtle rock anthem. Unfortunately, the melody doesn’t quite reach the catchy, hooky standards that Weezer normally holds.
Doug: Great drum work on “Eulogy For A Rock Band”, and the album in general. Lyrics seem to reflect the current state of rock music, perhaps the reason why the band is so eager to make a no-holds-barred pop rock album again.
Mike: Eulogy For A Rock Band sounds like something that I can’t put my finger on. I really dig it though. Great production work on that track. Everything is very slick and tight. However, there is some potential that isn’t quite reached. You are listening to this track and it just feels like: “This is really good, but something is missing.”
Brett: This song is another self-aware track like “Back to the Shack” but not as creative lyrically or melodically. Lyrics include, ’15 years of ruling the planet/but now your light is fading’ and also ‘This is a toast to what you did and all that you were fighting for/who could do more as time marches on/words come and go/we will sing the melodies.’ I just prefer “Back to the Shack.”
Doug: I agree, Brett.
4. Lonely Girl
Doug: The lyrics are the strongest part of the song, and are a lot more personal than the first few songs.
Riley: Similar to the previous track, Lonely Girl lacks the hook that Weezer fans expect. The song gets a bit repetitive as well.
Mike: Remember when I said all of this sounds like something that I can’t put my finger on? Hard surfer rock. Reminds me of The Beach Boys and bands along those lines a bit, with a harder edge. That is very prominent on “Lonely Girl”
Doug: The song is about two troubled souls finding comfort in each other, for better or worse. The lyrics hit home for me, I’ll just leave it at that.
Brett: Fortunately they didn’t tack on ’15’ to this and make this one of their 2000’s pop culture songs, for those of you who remember those LonelyGirl15 videos. This is the first song with some real emotional sincerity, after a few tracks that are mainly about Weezer’s career. The riff actually gets kind of Nirvanaesque during a brief breakdown near the end, another one that has a hint of Pinkerton with modern Weezer production.
5. I’ve Had It Up To Here
Doug: Pure pop rock fluff, upbeat, catchy verses. Sounds like a cross between Rivers Cuomo and Michael Jackson. Well, not really. Anyway, the breakdown later in the song has kind of a doo-wop vibe.
Riley: Sound and riff experimentation would be the highlights of this song. Rivers even seems to raise the pitch of his voice a bit higher than usual, which surprisingly works! The song is finished off with a short, but sweet guitar solo with some Queen-like harmonies.
Brett: There’s Beatlesque harmonies (I know, an overused term), with kind of dancey classic rock verses. This is one of the most melodically interesting songs on the album. Riley is right that at about 1:30-1:40 in there is a total Queen part where Rivers kind of tries to channel Freddie Mercury. Overall though enjoy this track.
Doug: Cuomo goes into falsetto range quite a few times in this tune.
Mike: I’ve Had It Up to Here reminds me of a song that could of been released off of Weezer’s self titled. It has an “Island In The Sun” vibe as well, as this really has a cool classic rock feel to it. Which I enjoy.
Brett: There’s three self-titled Weezer albums you moron.
Brett: Edward R. Murrow you are not.
Riley: I assume he means the first.
Brett: I assume he doesn’t know shit.
Mike: No, the 01 album.
Mike: Fuck, you assholes are harsh
Doug: Mike’s been hitting the hash pipe.
Brett: It’s the Green album, you color blind bub?
Mike: Green, Blue, Red, Purple, who gives two shits.
Doug: Mike, don’t ever get involved in bomb disposal.
Brett: Purple is a Stone Temple Pilots album. Lester Bangs would be ashamed of your rock knowledge.
6. The British Are Coming
Mike: The British Are Coming smells like album filler. If you can get over Rivers Cuomo screeching out the title of the song for what seems like twenty times over then it’s just average at best. If I was a soldier in the war and Rivers Cuomo replaced Paul Revere, maybe I could feel more enthusiastic about it. Sadly, this is 2014 and we are “treated” to Rivers Cuomo saying the title of the track until you want to rip your hair out.
Riley: Leaping a bit out of their comfort zone, Weezer attempt a twangy, acoustic intro, yet jump right back into their comfort zone for a typical verse-chorus-verse medley featuring the longest guitar solo so far.
Doug: The extended guitar solo is the best part of the song. Between that section and the opening drumroll straight out of a Revolutionary War reenactment, it’s all pretty generic.
Brett: I agree, I love the solo, it’s one of my favorite parts of the album. The song has some really interesting melodies and instrumental work, this one keeps growing on me, though the lyrics aren’t as strong as some of my favorite tracks, the chorus itself is kind of dumb. I’d be interested in seeing a music video for this though.
Mike: Cuomo in full uniform and a powdered wig as he passes through gun fire on the battle field, or riding a horse warning soldiers. Pretty much the only directions you could go for that.
Doug: The British will be portrayed by every other band that’s currently popular on rock radio.
7. Da Vinci
Riley: Even more weird experimental intros! Whistling and a down-tuned-acoustic actually works.
Mike: Da Vinci. Another filler sounding track but definitely better then “British”. You’ll be humming that whistling part. This song seems a minute or so too long though.
Doug: After having The Walker by Fitz and the Tantrums forever poisoning my eardrums, its good to hear a song that actually employs whistling in an effective/not grating way.
Brett: Da Vinci is the worst song on the album to me. Just boring melodically and instrumentally, especially the whistling and the verses. The lyrics aren’t impressive. Stuff like, ‘Tried taking a picture of you/when I look at it nothing comes through,’ ”Rosetta stone could not translate you/I’m at a loss for words,’ and ‘I looked you up on Ancestry.com’
Brett: Imagine somebody listening to this in 100 years, ‘Grandpa, what the hell was Ancestry.com? I’ve got my whole family history on my iPhone 150.’
Mike: Dat product placement.
Doug: Also, “Stephen Hawking can’t explain it” is another lyric.
8. Go Away
Mike: Oh. The song.
Mike: The only thing I want to “Go Away” is this song. Completely forgettable. Another track where Cuomo repeats the title twenty or so times. Not for me.
Riley: Guest vocalist Bethany Cosentino from Best Coast saves this track. Without her it was going to be another typical garage-punk-pop song.
Brett: I prefer this over “Da Vinci” due to Cosentino adding some variety, but this is still a pretty generic uninspired song compared to the stronger stuff on the album.
Doug: The Best Coast frontwoman saves the track. Honestly, didn’t know it was her when I was listening to the album. That’s a band with some great songs.
Doug: “Da Vinci” and “Go Away” are the two glaring filler tracks to me.
Mike: See. I feel the opposite. Well, in a way. I think she does a great job on the track but the song itself
Brett: You mean you feel the same as me.
Mike: If Randy Jackson were reviewing this, it would “just be a’ight dawg.”
Doug: I may say the same about The British Are Coming, but in that song’s case, the same with Go Away, it does have an element that makes it stand out: the guitar solo and the Costino guest appearance, respectively.
Riley: Finally some songwriting that is actually original. And wow, Weezer gets kinda heavy metal halfway through with some chug-chug-chugs and harmonic lead guitar riffs.
Brett: This is the best song on the album to me, and the best Weezer song since the Red album. Lots of interesting melodies and riffs. The lyrics are sincere too, this one reminds me the most of the Blue album, and a little bit Maladroit. Some interesting middle eastern type riffs mixed in there.
Mike: Another filler track. Nothing stood out to me at all.
Doug: The riffs are definitely something in this tune. One of the riffs in the song reminds me of “Nimrod’s Son” by the Pixies.
10. Foolish Father
Riley: While this track lacks a clear direction in some parts, it develops it’s identity about halfway through and ends on a high note with a choral finale of “Everything will be alright in the end.” I can imagine it being played live and everyone singing along.
Doug: The opening is atmospheric, and the chanting of the album title towards the end is a nice touch.
Brett: I love the ending melody too with ‘Everything will be alright in the end,’ that’s anthemic to me, I wish they did it earlier. It reminds me a bit of The Killers. Overall this is a good song.
Mike: Foolish Father has a pretty strong opening and solo but the lyrics aren’t really doing it for me. I could really dig an instrumental version of this. Fun fact: When you have to sing-song the title of the album, you know you’ve reached the peak of self-indulgence. Getting more annoyed with the track by the second.
11.The Futurescope Trilogy (The Waste Land, Anonymous, and Return to Ithaka)
Riley: A perfect example of Weezer’s side of musicianship that hardly gets showcased. The production and song-writing is enjoyable, shows off each instrumentalists actual talent, and doesn’t rely on forceful melodies. Both instrumentals that sandwich this 7-minute piece are quite impressive for Weezer along with the piano intro on “Anonymous.” I hope to hear more material from the band that sound as mature as this.
Doug: Anonymous is an epic sounding song, possessing a theatrical feel similar to Queen and Foxy Shazam. The song segues into the instrumental track “Return to Ithaka”, reprising the vocal melodies from “Anonymous” on guitar. The whole thing just feels really climactic.
Brett: I prefer “The Waste Land” and “Anonymous” to “Return to Ithaka.’ There’s a real classic rock vibe to this section of the album. It’s nothing amazing though, but interesting experimentation.
Mike: The Waste Land/Anonymous/Return To Ithaka is this real clever “one song in three” trilogy. I can see people being very disappointed if thinking these tracks are separate but if you listen to all of it, one at a time you’ll hear brilliance. It flows perfectly and should sound even more fantastic live.
Overall Album Thoughts
Doug: After a really strong opening, the album becomes a bit saturated with filler in the middle before reaching an epic sounding end with the Futurescope Trilogy. Its a solid album, though I am not historically a huge Weezer fan so I cannot make comparisons.
Brett: This is far better than any of their post Red album/2008 work. It is not as good as the Blue album, Pinkerton, or the Green album, but this album re-establishes Weezer as a respectable alternative rock band to me after some questionable albums and collaborations from 2009-2010. My favorites are Cleopatra, Ain’t Got Nobody, I’ve Had It Up To Here, and Back to the Shack.
Doug: “Ain’t Got Nobody”, “Lonely Girl”, and parts 2 and 3 of “The Futurescope Trilogy” are my standout tracks.
Mike: The album starts off really strong and by song six you are hit by song after song of repetition and filler. The Trilogy is where things end on a real strong note, so at least there is that. Amazing beginning. Meh to mediocre middle, and a really good ending. If songs six through ten were of the same quality of songs one through five this album would be in contention for one of Weezer’s best. At least in a while. But the middle of the album ruins that.
Riley: Just like the past two albums (“Raditude” and “Hurley”), this LP unfortunately most likely won’t be remembered for anything farther than it’s singles. While some tracks showcase the band’s maturation through experimentation (such as the intros) or impressive musicianship (like the guitar solos & instrumentals), Weezer is becoming too comfortable in their 4/4 structure, no-risk songwriting world.
Doug: No, we need more simple rock songs out there. Long eight minute complex and technical songs won’t save mainstream rock radio. But we need them from newer artists, not established 90’s rock stars.
Brett: I think a strength of the album is the music. The band sound like they showed up to play, even when the songs lack. Overall this is an alright album, with good songs. Everything will be ‘alright’ in the end I guess.
With 2014 more than halfway in the books, AlternativeNation.net takes a look at many of the most anticipated rock releases of the rest of the year. From punk rock to acoustic rock, noise rock to indie rock, and more, the alternative rock scene has a varied group of promising upcoming releases.
AntemasqueAntemasque July 15
Fans of The Mars Volta were pleasantly surprised when Antemasque, consisting of ex-Mars Volta vocalist, guitarist, and drummer, released their punkish single “4AM” earlier this year and announced a new LP. Red Hot Chili Peppers bassist Flea played on a few tracks of their self-titled debut, which will be backed by tour dates in California, Texas, and Arizona this August. Listen to Antemasque’s lead single “4AM” below:
MorrisseyWorld Peace Is None Of Your Business July 15
Influential artist and former The Smiths vocalist Morrissey is set to release his Joe Chiccarelli-produced (Beck, The Strokes) tenth studio album this July via Harvest/Capitol. Ahead of its release, Morrissey has revealed several spoken word performances of his new tracks with music videos featuring cameos from Nancy Sinatra and Pamela Anderson. Below, listen to a non-spoken word version of “Earth Is The Loneliest Planet”:
[youtube id=”VaXKGu3ecnQ” width=”620″ height=”360″] TuataraUnderworld August 5
Seattle instrumental group Tuatara, led by Barrett Martin (Screaming Trees, Mad Season) and includes Mike McCready (Pearl Jam, Mad Season), Peter Buck (R.E.M.), and saxophonist Skerik (Mad Season), are releasing a new double album this August. The new LP was mixed by Jack Endino and is the group’s first record in six years. Stream Billboard’s exclusive premiere of Tuatara’s “The Skeleton Getdown” here, and read Barrett Martin’s interview with AlternativeNation.net contributor Greg Pratohere.
Naomi PunkTelevision Man August 5
Olympia, Wash. rock group Naomi Punk is set to release their sophomore album on independent Brooklyn label Captured Tracks next month. The punk trio’s “visceral” debut LP was hailed by Pitchfork in 2012 for its “emotional resolve.” Naomi Punk blends a driving beat with heavy, sludgy guitars inspired by its Washington predecessors. Their work is aggressive, abrasive, and deceivingly catchy. Listen to their lead single “Television Man”:
The Gaslight AnthemGet Hurt August 19
New Brunswick, NJ group The Gaslight Anthem will release their fifth studio album via Island Records. The group recorded their follow-up to 2012’s Handwritten in Nashville and will tour the United States and Europe this fall. Listen to the album’s lead single “Rollin’ and Tumblin'” below:
[youtube id=”1-l4Z23ELd8″ width=”620″ height=”360″] J MascisTied to a Star August 26
Dinosaur Jr. frontman and accomplished solo artist J Mascis will reveal his follow up to 2011’s Several Shades of Why this August on Sub Pop Records. The new album, which Mascis calls “acoustic, mellow stuff,” will be backed up by an extensive United States tour this fall. Listen to J Mascis’ “Every Morning”:
EarthPrimitive and Deadly September 2
Dylan Carlson’s drone band Earth returns this summer with its tenth album, distributed by Southern Lord. Although the band will maintain its heavy sound, Earth’s new album will feature more vocals and will include guest appearances from Mark Lanegan and Built to Spill’s Brett Nelson. Earth will tour Europe and the United Kingdom in October. Below, listen to Earth’s “From the Zodiacal Light”:
Robert Plantlullaby and … The Ceaseless Roar September 9
Legendary artist and former Led Zeppelin vocalist Robert Plant recently released a poignant trailer on YouTube introducing his new album, which will be released later this year via Warner Bros. “These songs are an ode to life and love, and the fragile adventure that you set out upon unknowingly and unwittingly,” Plant says. The vocalist will tour Europe, the UK, and Japan with his Space Shifters band for the rest of the year. Below, listen to his new song “Rainbow”:
[youtube id=”F3L0EUbRJGk” width=”620″ height=”360″] Shellac Dude Incredible September 16
Shellac, the noise rock group fronted by Steve Albini (Big Black, Rapeman), will release their long-awaited fifth LP this September via Touch and Go Records. The nine-track album is Shellac’s first output since 2007. The band notes in a press release that there is “no correlation between shows and record releases.” Read Steve Albini’s interview with AlternativeNation.net’s Doug McCausland’s here.
Julian Casablancas + The VoidzTyanny September 23
The Strokes lead vocalist Julian Casablancas is set to release his new album with The Voidz this fall on his indie label Cult Records. While The Strokes will headline festivals in Los Angeles and Las Vegas this August, Casablancas and The Voidz will tour the United States in October. View an album preview for Tyranny below:
[youtube id=”2aX4ohIN4UA” width=”620″ height=”360″] The VaselinesV For Vaselines September 29
Influential Scottish pop rockers The Vaselines are back with their first release since 2010. V For Vaselines takes on a more energetic, punk-inspired sound than the duo’s previous work, and will feature appearances from Belle & Sebastian’s Stevie Jackson, Teenage Fanclub’s Frank Macdonald, and more. Nirvana famously covered The Vaselines on their albums Incesticide and MTV Unplugged in New York. Below, listen to their lead single “One Lost Year,” which is also available as a free MP3 download:
Philip SelwayWeatherhouse October 7
Radiohead is currently on a brief hiatus, so drummer Phil Selway will release his second solo album on Bella Union Records. In addition, Selway is currently performing new compositions this summer with London’s Rambert Dance Company. Listen to Phil Selway’s Radiohead-esque “Coming Up For Air”:
The Flaming LipsWith a Little Help From My Fwends October 28
The Flaming Lips have announced a track-by-track cover album of The Beatles’ legendary 1967 Sgt. Pepper’s Lonely Hearts Club Band, which will be released this October on Warner Bros. Fans that pre-order the album can download the band’s cover of “Lucy in the Sky With Diamonds,” featuring Moby and Miley Cyrus, which you can listen to below:
[youtube id=”h_apJCGd2Po” width=”620″ height=”360″] To Be Announced Foo FightersTBA Fall 2014
The Foo Fighters are returning with their eighth studio album this fall via Roswell/RCA Records. The album’s release will coincide with the band’s 20th anniversary and Dave Grohl’s new HBO series, which will document the album’s recording process. Each song on the album was recorded in a different city with “local legends.” Cities visited by the band include New York and Seattle, while studios visited include Steve Albini’s Electrical Audio and Rancho De La Luna in California. Below, watch the teaser trailer for Dave Grohl’s upcoming HBO series “Sonic Highways”:
[youtube id=”f-z8A9P5ziA” width=”620″ height=”360″] Mark LaneganTBA Summer/Fall 2014
Singer-songwriter Mark Lanegan is set to release a new album later this year. It is rumored to be called No Bells on Sunday and is said to be an EP with a release date in August. Lanegan premiered two songs at London’s Meltdown Festival, “Judgement Time” and “I Am The Wolf.” It’s possible that the album will feature Duke Garwood, who collaborated with Lanegan on 2013’s Black Pudding. A press release from Vagrant Records and Heavenly Recordings is expected soon, and we’ll update you when it arrives.
WeezerEverything Will Be Alright in the End 2014
Weezer’s new album and follow-up to 2010’s Hurley was produced by the Cars’ Ric Ocasek and is due by the end of the year. The band has been teasing the album with snippets released every Wednesday, which you can find on their official Tumblr page.
The Smashing PumpkinsMonuments to an Elegy, Day For Night, additional releases 2014-2015
Billy Corgan and The Smashing Pumpkins are currently busy at work on their ninth album Monuments to an Elegy, which will enlist the drumming talents of Mötley Crüe’s Tommy Lee. The album’s lead single is expected by the end of 2014, with album releases coming in 2015 via BMG. The band is also expected to release reissues for 1998’s Adore and 2000’s Machina/The Machines of God by the end of the year.
Did we leave any album releases out? Let us know in the comments below.