I recognize that there are exceptions to every rule, but parody songs tend to bastardize the original source material beyond the point of recognition.
This isn’t the case for Freddy Scott’s tribute to one of his purported musical heroes, Trent Reznor. Imagination and imitation may very well be the sincerest forms of flattery.
As angry as Reznor was on Pretty Hate Machine or as self-destructive as he sounded on The Downward Spiral, my hunch is that the guy could still find a sense of humor in this. Scott originally posted the lyric video to this song back in January, but recently shot a video for the track (which also features SNL guitarist Jared Blake Scharff), which perfectly encapsulates Reznor’s mannerisms and video production to a ‘T’. My favorite bit is in the opening verse, but when it comes to accurately depicting the Nine Inch Nails videography and Reznor’s blueprint in a less-than-3-minute spoof… well, to paraphrase Scott’s own lyrics: “Yeah, it sounds really awesome.”
With a little more than a month left until Finnish melodic death metal giants Insomnium release their highly anticipated, sixth full-length offering to the world, Sputnikmusic got an exclusive chance to peak behind the covers a bit, as Ville Friman, the band’s guitarist, sat down with me to discuss all things Insomnium. The following interview took place on March 19th and gives insight into the current state of the band, as well as what to expect from their upcoming album Shadows of the Dying Sun. Among other things, Mr. Friman also discussed the current state of the music industry, how nature affects him, and what he himself is excited to hear in 2014.
Good evening! How are you doing on this 19th of March?
I’m doing fine, it has been a busy day at work and I just came back home to do interviews, but it’s going well and it’s very nice to talk with you guys and see that you’re interested in our new album. So, I’m really good.
Has it been very hectic lately in the Insomnium camp? Have you guys been able to take a breather or two before your new stuff is released?
I thought that we would have a bit more spare time in our hands, but it has been quite hectic. When we got out of the studio, we started to mix the album right away, and after that we started with the (album) covers and all kinds…
The first time I saw GWAR I was 18 years old. It was the summer of 2005 and the band were slotted for an hour long, 5 o’clock spot at the Sounds of the Underground festival. I had no idea what I was in for. All I knew was the lore that surrounded their live show. It was supposed to be an event. It was. It was the dead center of the Bush years, a new pope who spent part of his childhood in the Hitler Youth was now sitting atop Christendom, and all that and more would serve as kindling for GWAR’s 60 minute performance piece.
For as much as I remember that show, it is not what happened on stage that resounds the loudest of my memories of GWAR on that July afternoon. An hour before their set, I got the chance to meet Dave Brockie. He was in his full Oderus Urungus regalia, four foot sculpted rubber phallus and all, standing in the back of a makeshift tow cart that was hitched to a boxy looking ATV. As he was being carted though the crowd in his makeshift Kawasaki chariot, for some reason or other it stopped for a few minutes, and as the driver was trying to coordinate his new plans via walkie-talkie, I nervously made my way to say hello. I can vividly remember his bare ass hanging out of the back end of his get up. It was a humorous bright spot in…
Here’s a list of major new releases for the week of March 25, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Animals As Leaders – The Joy Of Motion (Sumerian) – Thompson D. Gerhart
Asia – Gravitas (Frontiers Records/Universal)
The Bad Plus – The Rite Of Spring (Sony Masterworks)
Barry Manilow – Night Songs (Stiletto Entertainment)
The Baseball Project – 3rd (Yep Roc Records)
Big Scary – Not Art (Barsuk)
Boy George – This Is What I Do (Very Me Records)
Chimurenga Renaissance – Rize Vadzimu Rize (Brick Lane Records)
Chuck Ragan – Till Midnight (Side One Dummy)
Circa Zero – Circus Hero (429 Records)
The Colourist – The Colourist (Republic)
Future Islands – Singles (4AD)
Glenn Kotche – Adventureland (Cantaloupe Music)
Grieves – Winter & The Wolves (Rhymesayers)
The Hold Steady – Teeth Dreams (Razor & Tie)
Howler – World Of Joy (Rough Trade US)
Jimi Goodwin – Odludek (Pias America)
Johnny Cash – Out Among The Stars (Legacy)
Karmin – Pulses (Epic)
Kylie Minogue – Kiss Me Once (Warner Bros)
Liars – Mess (Mute)
London Grammar – If You Wait (US Release) (Columbia)
Memphis May Fire – Unconditional (Rise Records)
Mr Little Jeans – Pocketknife (Harvest)
Of Sinking Ships – The Amaranthine Sea (Broken Circles)
Owls – Two (Polyvinyl Records)
Seahaven – Reverie Lagoon: Music For Escapism Only (Run For Cover Records)
Shakira – Shakira (RCA)
Thou – Heathen (Gilead Media)
THYX – Super Vision (Metropolis Records)
There are few better storytellers in music than the late Townes Van Zandt, and few more overlooked, which is why it’s exciting to see more contemporary artists celebrate his timeless music as on the 2012 tribute album, Songs of Townes Van Zandt, featuring Steve Von Vill and Scott Kelly of Neurosis and Scott “Wino” Weinrich of Saint Vitus. Though all the covers contained on the album are exceptional, Von Till’s “Black Crow Blues” might just be the hardest-hitting. The supremely smokey voice that many have come to love from the post-metal titans breathes new life into the simplistic, lament-filled hymn of one of country music’s greatest and most tragic figures.
Thou – “Something in the Way”
As influential as early sludge was on a young Kurt Cobain, it seems fitting that Nirvana’s somber acoustic number from the seminal Nevermind was given the down-tuned treatment from modern day sludge masters Thou. Their rendition begins pretty straightforward and true to the original before erupting into something seething and relentlessly heavy, conveying just as much emotion as the original—even if that emotion happens to be crushing hatred rather than depression. If their really was “something in the way,” that’s no longer a problem, because Thou’s cover smashed it into tiny bits.
Here’s a list of major new releases for the week of March 18, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Black Lips – Underneath The Rainbow (Vice Music)
The Coathangers – Suck My Shirt (Suicide Squeeze)
Dead Rider – Chills On Glass (Drag City)
Earth Crisis – Salvation Of Innocents (Candlelight/Universal)
Eliza Gilkyson – The Nocturne Diaries (Red House Records)
Enrique Iglesias – Sex & Love (Universal Republic)
Foster The People – Supermodel (Columbia)
Freddie Gibbs & Madlib – Pinata (Madlib Invasion)
Gus G. – I Am The Fire (Century Media) Hark – Crystalline (Season Of Mist) – Greg Fisher
Hauschka – Abandoned City (Temporary Residence)
I Am The Avalanche – Wolverines (I Surrender Records)
JT Woodruff – Field Medicine (InVogue Records)
Kevin Drew – Darlings (Arts & Crafts) La Dispute – Rooms Of The House (Workhorse Music Group)
Lyla Foy – Mirrors The Sky (Sub Pop Records) Motorpsycho – Behind The Sun (Rune Grammofon) – Raul Stanciu
Perfect Pussy – Say Yes To Love (Captured Tracks)
The Pretty Reckless – Going To Hell (Razor & Tie)
Riley Etheridge Jr – The Straight And Narrow Way (Rock Ridge Music) Ringworm – Hammer Of The Witch (Relapse)
Sisyphus – Sisyphus (Secretly Canadian) Skrillex – Recess (Atlantic) – Will Robinson Taking Back Sunday – Happiness Is (Hopeless Records) – Adam Thomas
Therion – Theli (Deluxe Edition) (Nuclear Blast America) …
Elitism is part of being human. There is literally no way to escape from the fact that people are constantly, perpetually looking down on others for reasons that have little practical merit while simultaneously holding themselves above others using reasons that are equally hollow. It’s the ever-pressing desire to distinguish oneself from those around them; a cry for individuality in a world where individuality is no longer possible. In a world where you have to stand well above the crowd to achieve even slight success (definitions of what success means aside), is it really that shocking that people look at art, music, food, video games, cars, clothing, possessions, obsessions, politics, philosophies, and lifestyles as ways to further their own sense of self-superiority? It’s all relative, too. Someone can think themselves as superior because they listen to Band X which is somehow artistically superior to Band Y, yet at the same time proponents of Band Y think the same about listeners of Band X. Let’s face it: it is elitist to even say that one is above elitism, as it is just another way to assert your superiority over others.
Perhaps nowhere is this superiority complex more prevalent than heavy metal. It is the embodiment of musical elitism, a place where you can be dismissed as a credible “true metal” fan for liking one band deemed so delicately as “complete shit” by the larger crowd. We’ve all seen it, and we’ve all done it. Anyone who has listened to metal has…
Living in the sub-tropics means that spring comes both early and ends quickly. Not two weeks ago we missed 5 days of university because of snow (admittedly it was kind of a fluke) and now for the past few days the weather has been dominated by mid-70’s temperatures and a lot of sun. Pretty soon those mid-70’s will be phased out by mid-90’s and a whole lot of humidity, but the cool thing about such a short spring is that you become all the more aware of how you’re environment changes and grows with the coming of the heat. You can physically see wildlife burst into periods of growth and begin to spread through the dormant landscapes of winter and watch the progression from the infancy of seedlings into the lush greens and browns that were painfully absent in the frigid temperatures.
A change in seasons also brings with it an entirely new environment in which to listen to music. I’ve always listened to music for its impressionistic and expressionistic qualities, so the environment I choose to listen to music in has to be evocative in some way of the world the music is trying to build. Winter has its strengths no doubt, but humans were designed by nature to exist in nature, and winter all too often forces man to break that connection with walls of comfort. Spring is the natural relief from this state, an invitation for us to come out of our warm houses…
Here’s a list of major new releases for the week of March 11, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
311 – Stereolythic (311 Records)
Aloe Blacc – Lift Your Spirit (Interscope Records)
Angel Vivaldi – Away With Words – Part I (Indiegogo/Big Cartel) Architects – Lost Forever // Lost Together(Epitaph)
Charlie Oxford – Charlie Oxford (Rock Ridge Music)
Dean Wareham – Dean Wareham (Double Feature)
Don Williams – Reflections (Sugar Hill/Universal)
Elbow – The Take Off And Landing Of Everything (Concord)
God Module – False Face (Metropolis Records)
Juanes – Loco De Amor (Universal Latino)
Laibach – Spectre (Mute)
Ledisi – The Truth (Verve)
Max Cooper – Human (Fields)
Metronomy – Love Letters (Elektra)
MØ – No Mythologies To Follow (RCA) Nervosa – Victim Of Yourself (Napalm Records) – Brendan Schroer
Qui – Life, Water, Living… (Cobraside)
Sara Evans – Slow Me Down (Sony Nashville/RCA)
September Girls – Cursing The Sea (Fortuna Pop)
Young Money – Rise Of An Empire (Universal Republic)
Have you ever been nervous before a gig that you have attended? Sure, there’s always some nervous energy, or even some nervous form of excitement if you’re looking forward to the act(s)… But I’m talking genuine nerves here. Because it happened to me for the first time a week or so back. New York funk-metal quartet Living Colour have always been one of my favourite bands, and I unfortunately was not in a position to have seen them live during their ‘90s heyday. So I was never going to miss them on their first visit to Australia in well over a decade.
To put it bluntly, however, Living Colour are now old. Lead vocalist Corey Glover especially looks it; having transformed from the spandex-wearing, dreadlocked front-man of yesteryear into the grey-haired, grandpa cap wearer of today. The very little I had seen of them playing via YouTube and the like seemed to suggest an overly earnest show which lacked energy and relied on high – but faltering – technicality. Those around me didn’t help the predicament, with a higher than usual drunk factor and many a googling youngster asking “Who’s Living Colour”?
Well, I must have seen the wrong videos, because Living Colour thankfully blew my mind. And it didn’t take long for the nerves to be shaken out of me, with the earth-rattling low end of their set opener – Robert Johnson cover ‘Preachin’ Blues’. Talk about a band in sync! These four could all…
So, last week I had the fortune of talking to one of my absolute favourite musicians, Paul Masvidal of Cynic. Cynic is a band that needs no introduction among the metal and progressive rock communities, having released two highly influential and respected albums that amalgamated both genres into a unique sound that has aged like wine through the years. The nature and origin of their third full-length album, Kindly Bent to Free Us, reveals a new side of the band and portrays a sound that is uncharacteristically calmer, and more slow-burning than anything we’ve heard from them in the past. Luckily, I got a chance to speak with the legendary frontman himself, and had him dissect the album in his own words, as well as discuss what he foresees to be the next big journey for the band.
Anyway, without further ado, here is my interview (hey, that rhymed!):
Ever since Traced In Air came out, you guys have kind of been steadily peeling away the death metal sounds that were present in Focus, and evolved into a band with a far more abstract sound. Every thing you guys have been doing since the release of Focus, has become more experimental, more melodic, and you guys have even been emulating the cosmic sounds of the ’60s and ’70s a lot more as well. What inspires you guys to direct the music of the band into new…
Here’s a list of major new releases for the week of March 3, 2014. Please feel free to request reviews for any of the following albums from staff or contributors.
Arthur Beatrice – Working Out (Harvest Music)
Ashanti – Braveheart (Written Entertainment/eOne Music)
Axxa/Abraxas – Axxa/Abraxas (Captured Tracks)
Bart Davenport – Physical World (Lovemonk)
Bruised But No Broken – Fragment (Standby Records)
Carla Bozulich – Boy (Constellation) Carnifex – Die Without Hope (Nuclear Blast America) – Brendan Schroer CHON – Woohoo! (Equal Vision Records) – Jacob Royal
Color War – It Could Only Be This Way (Four Horsemen Records) Comeback Kid – Die Knowing (Victory Records) – Adam Thomas
Damaged Bug – Hubba Bubba (Castleface)
Drive-By Truckers – English Oceans (ATO Records) Eternal Summers – The Drop Beneath (Kanine Records) – Irving Tan
Fuel – Puppet Strings (MRI Associated)
Imogen Heap – Sparks (RCA)
Information Society – Land Of The Blind (Hakatak International)
Jupe Jupe – Crooked Kisses (Jupe Jupe Music)
Kandle – In Flames (Dare To Care Records)
Kimono Kult – Hiding In The Light (Neurotic Yell Records)
Lea Michele – Louder (Columbia)
Linda Perhacs – The Soul Of All Natural Things (Asthmatic Kitty)
Love American – Hollow Crosses (Love American/Bandcamp) The Men – Tomorrow’s Hits (Sacred Bones) – Adam Downer
The Mighty Fine – Brothers And Smugglers (Creator-Destructor Records) Morbus Chron – Sweven (Century Media) – Hyperion
Morning Glory – Was Psalms (Fat Wreck Chords) …
I was playing pub trivia earlier this week with some friends, and one of the rounds was “Disney by Decade”. I knew this was coming because the ultra-shitty hostess was playing “A Whole New World” and “Part of Your World” and probably some other songs with “World” in them (perhaps “Two Worlds” was played, but Phil Collins gets a pass from me because it’s better than listening to 3 hours of Lilith Fair music, as is tradition in the hostess’ usual playlist).
Como si dijiera una palabraaaaaaaaaaa!
Anyway, we aced the round (Can you name 3 out of the 5 animated films Disney released in the 1980s? How about the 2 animated films from the 1970s where a lion is depicted as royalty? I can’t remember the other questions because, you know, it’s a bar), simply because the girls on our team know their shit (my contributions rely solely on sports, music, and maybe books; in other words, I would get my ass kicked on Jeopardy! in every direction imaginable).
Speaking of which, fuck this guy:
What the hell is a 'compliance analyst', anyway?
If you don’t recognize him, take a listen to this smarmy asshole. Hunting for the Daily Doubles is brilliant, but only wagering just enough to advance to the next day is a bitch move (in my opinion, you play to win the game).
One of the most difficult things about becoming an emeritus of sputnik is discovering amazing new artists and lacking any time whatsoever to communicate that interest to others who care about music. Since “graduating” from sputnik, or “becoming part of the force” (or whatever silly analogy makes sense to you), music has become an increasingly intimate thing to me. I don’t spend as much time searching for new artists, analyzing them, and especially writing about them. But when I encounter something I have a true admiration for, I typically find myself desperately striving to achieve five hours of sleep while finishing up lesson plans, grading papers, planning a wedding, and performing household duties. And all so I can wake up and go to work exhausted again. Needless to say, it’s a busy time for me and I regret that I don’t have ample time to review everything that I feel passionate about (i.e. Snowmine’s new record Dialects, which I heartily recommend to all fans of atmospheric alt/indie). So, in lieu of two reviews that I really want to write but have absolutely no time to, I present you with the first of what may be a continuing string of brief passages concerning artists and new albums that I have found to be exceptional.
Run River North – Run River North
At first I wasn’t sure what to make of this band – they clearly have a knack for accessible songwriting akin to Of Monsters and Men,…
Following a record that set out an impressive stall isn’t easy. Late Love was an invigorating debut that saw Oslo-based Wolves Like Us delving into dark post-hardcore with massive riffs, angular melodies and commendable tightness. It effectively revived the spirit of such acclaimed 1990s collectives as Quicksand and Drive Like Jehu, ditching the trends that have subverted the genre in the last 15 years. Black Soul Choir manages to sidestep the dreaded second album slump by expanding the quartet’s winning formula. The skeleton of the tracks still revolves around traditional post-hardcore attributes like throbbing bass lines and frenetic drum-beats, yet the focus is shifted towards atmospheric soundscapes that make the group’s brand of post-hardcore even more brooding. This shift also informs a more expansive approach to songwriting. The tracks usually take more time to unravel, which makes for a significantly more nuanced and moodier effort. Here’s my interview with the act’s charismatic frontman, Larsh Kristensen.
You’d played in lots of groups before forming Wolves Like Us. What compelled you to play together and form the band?
I think we all still had the desire to play. We all love playing music, and to a certain extent is is the only factor that has remained constant in my life. I’ve always played, and this band is just an extension of that. I don’t think I’ll ever stop playing music. So…