Marylin Manson and Interscope Part Ways

Manson’s last album, The High End of Low, didn’t do as well as he, or his record company Interscope had hoped. It isn’t clear if that is the reason behind the split, but Manson, and his long time record company will be parting ways.

After debuting at number four, The High End of Low went on to record the lowest record sales for Manson in over a decade. But perhaps it’s good news for the aging shock rocker.

Read more at Xtrememusic.net

On The Road With Port O’Brien

I had been listening to Port O’brien for an entire week. I had gotten their album, All We Could do Was Sing, the previous year and was enamored with the eclectic mix of acoustic guitars, ancient rhythms, and choir like singing that reminded me of the Polyphonic Spree. Every track was a celebration, a group of friends who had the best time creating music. I could see them singing, dancing, playing, drinking.

Their latest album, Threadbare, has a more somber feeling to it. It is still a celebration, but in a calmer, more adult light. The songs are more lyrically focused, more mature, more structured. I listened to the album and heard an entirely new band.

When I called Van I was promptly told to hold and wait until my party was reached, and then, Usher. Well, to be fair, it was R. Kelly featuring Usher.

Van – Hello?

CMP – Yes, Van. Is that your ring tone?

He laughed to himself and rolled up the window. They were on tour along the east coast. Driving together as a band, as a family, on the road to their next gig.

CMP – So where are you guys now?

Van – We are, where are we right now? Just outside Philadelphia. We played Philadelphia last night. Yeah we stayed a little bit out of town, we stayed at Bob Evans.

I was caught off guard again. First by the R&B, and now by the Chain restaurant that, apparently offers hospitality to bands on the road.

CMP – wait, the restaurant?

Van – yeah, it was, it was interesting but, yea, it was good.

CMP – You guys are on tour right now promoting your new album, which is a little bit slower then your last one. Is it being received well?

Van – Yeah definitely, most of the songs we’re playing are off the new record, and well, it’s a supporting tour for Sea Wolf. So most of the people we’re playing for have never heard of us. Which actually makes it a good opportunity to roll out new songs.

CMP – Yeah Sea wolf is another one of my favorite artists. How did you guys end up hooking up with him?

Van – He’s kind of a friend of a friend actually, and we’ve been talking about doing a tour for a while, a couple of years now, and it just never happened. You know, we were either going to Europe, or he was doing something, and whatever, but its been in the works for a while now.

CMP – You guys head to Europe again in a couple of weeks.

Van – Yeah, for like the 6th time in two years or something like that.

CMP – You guys have a following over in Europe?

Van – Yeah, definitely. More so then hear actually.

CMP – You guys have a new album out. And there is definitely a different feel to it then your last album. Is this attributed to recording with Jason Quever in his living room studio.

Van – Yeah, he actually recorded parts of our last album too, and he’s a good friend, and a great engineer. a really great producer.

CMP – He gets a very intimate sound.

Van – Yeah, we started recording in a really big space, but it just wasn’t working. So we went back to his place. And it’s a full on recording studio, its just at his house. So it’s a lot more intimate, and personal then other studios.

CMP – How did you guys form a band? I did some research and it almost seems like this all happened on accident. You guys were just playing music together, and people wanted to hear more and more of you.

Van – Yeah, that’s pretty accurate, I mean it started I don’t know, maybe three or four years ago, and Cambria and I were writing songs together and recording. We would play little shows, like impromptu shows, stuff like that. We weren’t really trying to climb the ladder, or anything like that. But we started getting more and more opportunities. So yeah, it formed really naturally.

CMP – When was the last time you were in Alaska?

Van – It’s been a couple years now. Cambria went up this summer.

CMP – Is there any desire to get back?

Van – Yeah I just haven’t been able too. Touring and everything, it’s just hard to take time off. Hold on one sec. I’m coming up to a toll here.

He puts the phone down and I can hear him ruffling around in the car. There are voices in the background. They are really on tour. Squeezing in interviews, constantly working.

CMP – Your driving right now?

Van – Yeah, always driving.

CMP – Is the whole band in the van right now?

Van – Yeah, the whole band and our sound guy Jake. All bundled up here, heading down to, we play tonight in Baltimore, Maryland.

CMP – Your last album was influenced a lot from the Alaskan life, fishing, things like that. Is this life of touring changing your songwriting at all.

Van – In a way I guess, I mean the subject matter and the lyrics are different. It’s not about fishing or Alaska or any of that shit. But we’re not writing about touring either. It’s hard to pinpoint it.

CMP – Do you guys start with lyrics, or how do you go about your writing process.

Van – It changes, I guess you usually start with the melody. I guess the only time you really start with the lyrics is if you had like one good line.

Van has the strange habit of using “you” instead of “I“. He talks collectively, as the group and for the group. But with a selflessness that is apparent through his music.

CMP – Where did you guys get the name Port O’Brien

Van – Port O’brien is a place up in Alaska. My parents met there, in 1969. My dad, came up from La, to work on a boat, and my mom, came up with her friends,

CMP – Did you grow up there, or in California. Or kind of moving back between the two.

Van – I grew up in Cambria, in California. But we’d go up, like four months a year, so I guess in a way both were home in a way.

CMP – Okay. I saw on your Myspace a bunch of music videos. Who’s making those videos? It seems like you guys are having a pretty good time.

Van -Two of them were made by our friend Joey Izzo, from San Francisco. And the other two were done by some friends in LA.

CMP – They have almost like a Stephen Gondry feel to them. Do you have any other creative outlets, besides music?

Van – No, not really. I’ve never really been good at anything else. Cambria has baking, which is her main passion. I really like baseball, the Dodgers. I guess, that that would be my other outlet.

CMP – So what do you guys have planned next?

Van – Well we got about three weeks left of this tour. Then we go to Europe for like four weeks. Then we’ll take a break for the Holidays. We’ll be back on the road in early Spring in the states, Then probably another Europe tour.

Life on the road is endless. Van and Port O’brien have moved on from the harsh weather, and endless summers of the Alaskan wilderness, but have found a new life, and a new voice on the open road. Port O’brien’s latest album Threadbare, opens up a new chapter for this very impressive band.

Mississippi Man – Snake Oil Salesman

First listen to Mississippi man’s debut EP The Snake Oil Salesman will clear up any doubts of how five west coast kids from L.A. came to be called Mississippi Man. The album is infused with the feel of old time southern blues both in melody and tone as the band reaches deep into the storied south to pull inspiration.
The album starts with a ghostly carnival melody above the atmospheric hiss of an old record. The nostalgia quickly ends as the band enters and the ghostly melody transforms into a quick toe tapping swing accented by the shrill but melodic voice that drips into the music with grace.
Bonjour Le Monde, the second track, is reminiscent of bands like the Cold War Kids, where as the Jester sounds like a lost Beatles tracks. Yet despite the familiarity Mississippi Man creates a unique and enjoyable sound that carries through the entire EP.
The strongest track on the album, ricochet, plays like The Bands Long Black Veil. It is a slow story driven song that could easily cause spontaneous barroom sing alongs.
The last track on the EP is a wonderfully executed, and beautifully written heart felt song about war. It is a simple song that showcases all of the bands talents. The music is sparse at first, but slowly all of the elements are added. The unique voice that for this song, restrains itself to be a quiet storyteller, the simple but steady percussion, the piano, the bass, and then it all disappears as the band uses broken glass, clapping, and their voices to transition the song into a new phase. The song ups the tempo and a graceful and quotable solo brings the album to an end.

Performer Magazine

Mississippi Man – Myspace

 

 

Shadows Fall – Still I Rise

Shadow’s Fall fifth studio album is due out for release later this month. Retribution will hit stores on today September 15th, and if the recently ireleased “Still I Rise” video is any indication of what is on the record, get ready to get your ass kicked.

The “Still I Rise” video is as violent as the machine gun drums that open the track. Two fighters prepare for a cage match battle as the band thrashes through their new song. A crowd stands around the cage, cheering on the battle, losing themselves in the violence.

Retribution follows the 2007 release of Threads of Life on Atlantic Records. Threads of Life was a critical success and earned the band a Grammy nomination for their song “Redemption.” Their newest release will introduce the bands own label, Everblack Industries, which will help the bands sound expand. They have also taken on Zeuss, (Hatebreed, Municipal Waste) to handle the music Production, and Elvis Baskette (Incubus, After Bridge) to take on the vocal production. This gives Brian Fair a new range of vocal tools that let him growl, scream, and sing at new heights.

Shadows Fall have been around for more then a decade and have finally earned the right, and gained the position to take full control of their music. On their own label they are able to push themselves to new ground. Retribution will be heavier, beefier, and louder then ever before. On “Still I Rise,” the guitar is wildly in control and the chorus begs the audience to cheer along.

Shadows Fall is also ready to promote their new album. They are currently booked from now until the new year. They will tour the United States for the next few months until making the jump over seas in mid November. The “Still I Rise” video is a precursor of that coming tour. So Prepare yourself for battle and check out “Still I Rise” on their Myspace page, and get ready to jump into the cage as Shadows Fall pumps aggression, hate, and release into the eager audience.

XtremeMusic.net

The End of Nine Inch Nails

For over twenty years Nine Inch Nails has rocked the music world with their incredibly energetic and visually stunning shows, and in less then two weeks, after over 20 years since the release of Pretty Hate Machine, they will call it quits.

Nine Inch Nails has released some ground breaking albums. They helped establish alternative music and have always been at the forefront of industrial music. They pioneered the use of digital distribution and last Saturday, they embarked on their final tour, aptly titled, the Wave Goodbye Tour.

The Wave Goodbye Tour will hit three major US cities. But don’t expect the extravagance of The Lights in the Sky Tour. Their ditching the laser lights and big screens for a more intimate, and raw show. This last weekend NIN played shows at the Bowery Ballroom, and Webster Hall in New York city, and the minuscule audience of 1400 people at Webster hall listened to the entirety of The Downward Spiral album, along with other NIN favorites.

After New York, NIN will travel to Chicago where they will play at the legendary Aragon Ballroom for two consecutive nights, august 28th and 29th, before they head to L.A. They will play shows at the Hollywood Palladium, The Henry Fonda Theatre, The Wiltern Theatre, and their final show will be in Los Angeles, at the Echoplex on September 6th.

But is this the end of NIN? It doesn’t seem likely. The Lights in The Sky Tour obviously took a lot out of the band and this tour will bring the band back to it’s roots. On the NIN website, www.nin.com, Trent Reznor writes, “It’s time to make NIN dissapear for a while.” And they will. And who knows how long it will be until Trent crawls back out into the limelight to shock us, to awe us, and to drag us back into the world of Nine Inch Nails.

Xtrememusic.net

Woody Guthrie – “My Dusty Road”

Woody Guthrie Rediscovered

It isn’t often that a legend gets the chance to be reborn, but listening to these four disks is like hearing Woody for the first time. His voice is clear on all of the tracks. The hiss and background noise that is so familiar to any Guthrie recording is virtually unnoticeable. My Dusty Road presents Woody Guthrie in an all new natural light that uncovers nuances never noticed before. But if the pristine recordings aren’t enough, the four disk box set unveils never released, and practically never before heard tracks, which for an artists as widely covered as Guthrie, is a very rare find.

In April of 1944 Woody Guthrie, along with Blind Sonny Terry and Cisco Houston recorded over 250 songs. These are the songs on these disks. These are the songs that lay buried for nearly 60 years. Some of the songs are informal, some are rehearsed, and all of them transport you to an earlier era.

The first disk is a collection of Woody’s greatest hits including “This Land is Your Land,” “Going Down the Road,” and “Hard Traveling.” And although some songs, like “This Land is Your Land,” is played traditionally with Guthrie accompanying himself on the guitar, he also picks up the mandolin, let’s Cisco take the lead, and is never afraid to let Sonny blow that harp.

The songs on this disk cover the dust bowl and the depression. They hit on legends like Pretty Boy Floyd, and the Reuben James. Guthrie also demonstrates his prowess at the talking blues, a technique that is musically sparse, and lyrically poignant.

The second disk concentrates on Woody’s ability to document folk songs. Woody was an encyclopedia of songs. He plays here, traditional songs that he heard on old 78’s. He plays songs from the Carter family. He plays songs that he learned from his mother Nora, and from George, the shoeshine in Pampa.

This disk demonstrates Woody’s vast knowledge of folk music and uncanny ability to tell stories through song. On “Buffalo Skinners,” a dramatic ballad that sings like a novel, Woody mournfully works his way through accompanied only by his guitar, to tell the sad tale of the American Indian and the lonesome great plain Cowboy.

Woody The Agitator, the third disc in the set concentrates on Woody’s ability to write protest songs. Woody rallied for workers rights, the equality of African Americans, and helped stage strikes and organize unions. He wrote songs like “I’m Gonna Join That One Big Union,” “Hangknot Slipknot,” and “Tear the Fascist Down.” The last of which is a virtually unheard song about the second world war.

Woody Guthrie is as influential as a singer can be. Without him there’d be no Cash, no Prine, no Dylan. He was a cowboy troubadour, and a poet balladeer. He represents an almanac of work, a library of songs that documents the past, and inspires the future. My Dusty Road presents a rich history of early America, that can, of course, be hummed along too.

County Music Pride

 

A.A. Bondy

When The Devil’s Loose
Water Valley, MS

Tracks 2-9 recorded by Bruce Watson at Money Shot Studio in Water Valley, MS
Tracks 1 and 10 recorded in New Paltz, NY by Jeremy “Searcher” Backhofen

When The Devil’s Loose is an album that sneaks up on you. It is a quiet album, and A.A. Bondy’s voice never gets above a polite conversational tone. But it doesn’t need too. The lyrics are passionate, poignant, and powerful, hitting a personal chord that is uncommon among most modern music, and this is what will, and does set A.A. Bondy apart from the rest.
The song structure for most of the album is quite straight forward and simple. The songs are not cluttered with a lot of unneeded instrumentation. Many songs are just the guitar, some light percussion, and a soulful voice which holds the focus and attention of the listener.
“To The Morning,” the fourth track on When The Devil’s Loose, is as sparse as a song with pop appeal can get. The song is based around a simple four note riff that hides behind a mournful voice. When the voice disappears, and the percussion kicks in, a melodic and thought out solo demonstrates, briefly, A.A. Bondy’s musical abilities. But soon thereafter the percussion drops out to a simple heartbeat rhythm, and the focus remains the beautiful lyrics.
The most folk driven song of the album “Oh The Vampyre” is a simple tune complete with alternating bass line and a twangy electric guitar. A.A. Bondy gets no help in this song from percussion, or atmospheric noise. Instead, this song demonstrates the songwriter in his most natural form. The guitar, the voice, and the story.
When The Devil’s Loose is a prime example of a songwriter’s talent. A.A. Bondy’s music is simple but provocative, sad but beautiful, and thoroughly enjoyable the whole way through.

www.myspace.com/aabondy
Performer Magazine

The Complete Recordings of The Red Fox Chasers

Features, Record Reviews — By Dan Evon on October 12, 2009 at 8:18 pm

Sitting around a camp fire in the woods of North Carolina, Guy Brooks and Paul Miles begin to play. They play songs they learned from their fathers, from hunters, from farmers, from the people of the mountains. The fire crackles and they play real appellation mountain music. It’s been a long day hunting foxes along the blue ridge mountains and the two men drink, smoke, and share their songs. This is the beginning of the Red Fox Chasers. A band that not only played memorable music, but were the embodiment of the mountain men that they sang about. They were, in fact, red fox chasers.

The Red Fox Chasers had a very short, but lasting, life span as a band. They were only together for three short years, between 1928 and 1931 and these two disks document the bands entire history. The music hisses like the fire crackled, and the songs are as authentic as they can be.

In 1928 Miles and Brooks attended the Union Grove Fiddlers Convention. After hearing A.P. Thompson and Bob Cranford, the four decided to form a band and make a record. In the next two years, the band put down the forty two tracks that you hear on these recordings. The banjo, fiddle, guitar and harmonica gracefully play classic tunes like “Arkansas Traveler,” Honeysuckle Time,” and “Turkey in the Straw.”

But The Red Fox Chasers did more then play traditional songs, in fact, they were considered a little reckless for the time that they were playing. They performed skits, which can be found on these recordings, about bootlegging liquor and recorded songs like “Virginia Bootlegger,” and “Makin’ Licker in North Carolina.” These songs caused controversy, and even got Brooks, a Baptist preacher, kicked out of his church.

The Red Fox Chasers were shortly lived, but their music leaves a lasting impression. It not only tells the story of the time, but it is told by the people who lived it. Listening to the album makes you feel the warmth of the fire, and the cold of the night. You can hear the laughter between friends, and the genuine love for the music.

I’m Going Down to North Carolina: The Complete Recordings of the Red Fox Chasers is a documentation of mountain life in the 1930’s. From moonshine to hunting, from traditional ballads new age comedy skits. The Red Fox Chasers are a band that should not be forgotten.

Countrymusicpride.com

Chris Wyse Talks About Owl, The Cult, and Creative Freedom

After returning from a string of shows in New York, Chris Wyse still can’t stop talking about his new band, Owl. Wyse, who is most famously known for his work with The Cult, has played with an impressive list of artists. From Ozzy Osbourne to Metallica, Wyse has made a name for himself as one of today’s premier bass players. But now, with the recent emergence of Owl, Wyse finds himself in a place of unparalleled creative control, where he can let the music just be music.

Wyse is modest though about his creative influence on the album. Dan Denismore, drums, and Jason Mezilis, guitar, played equal parts in thee band, and albums creation.

So what made you want to start your own band?

“One of the big advantages is that I just don’t get to do this kind of music, playing upright bass, and kind of experimental, in any other kind of band. Owl just gave me a whole new opportunity to make my own concept, and just go for it.”

Both writing and producing, Owl’s self titled debut is truly his creation.

“It was a really great experience. I kind of knew the vision, and had the sound in my head already. And I would think that at this point, after having worked with some of the worlds greatest producers that it was time for me to just do this. It gets complicated working with other people because they have other schedules, other bands, and all that. So I just went for it. I’m really happy with it too.”

So do you consider this your band, or did the other members contribute a lot to it as well?

“Well I was sort of the seed planter. Dan and I got back together. I had moved out to Los Angeles, and he stayed in New York where we had grown up playing together and we were super competitive, and fiery. He’s one of the best in the world, and I’ve always wanted to get back together with him. It’s really just us getting back together, and Jason, who’s a close friend who plays guitar and was really into the band anyways. We’d all just go hanging out, and having beers together and I’d always talk about my band, and he’d talk about how he wanted to be in a real band, so there were some lineup changes and I talked to the two of them and just felt like wow, here it is, a real opportunity for the four of us, a real group. Not just something put together. Everybody was on the same page. Dan owns the record label and media company that did the video. It’s just a cool group of people. It’s more of a genuine thing, instead of, you know, we have to make it, like we have to make it big time. We were more like we’re doing this, period.”

So where are you now? Still in New York?

“I’m back in LA now, doing dry cleaning because I’m getting ready to go to Europe, a three week stint, with The Cult.”

The album contains some great lyrics, and you wrote most of the songs. But you got some help from Martin Fredrickson.

“Yeah he’s a buddy of mine. We worked together on a few of the songs. He helped me open up a little bit. I got my vision I feel regardless, but it was fun to try to broaden up my scope and work with someone else. Well I’ve always co-written. I’m always throwing ideas around with Dan and Jason for the next record, so its not that its hard for me to co-write, its just a different experience working with Marti whose written with Ozzie, The Cult, and he procured hits for them, so I have a lot of respect for him.”

Is your writing more lyric based, or do you just fool around with riffs?

“Well it’s a little different from time to time, but I’m really a chorus guy. I hear the chorus in my head. Every time I went to Marti I had the chorus all ready in my head, and we’d tweak it a little bit, like “Alive” is a song on the record, and that whole thing just popped into my head almost instantaneously and the song just wrote itself. So I come up with a chorus, that’s the seed, and then try to embellish around it. But like “Violent Standard,” when I wrote a riff like that I was just messing around and was like what the heck is this, it was so twisted, I didn’t even know what meter it was or anything. It was so twisted, and I put some melody in, and some banshee shit on it. I’m a chorus guy though. I’m usually just running in the house and trying to figure some things out.”

Yeah, there’s a video of you on Youtube fooling around with the H2 and H4 zoom. Is that what you record with?

“Yeah, sometimes I do. A lot of times I do. I’ll just open it up to record some raw ideas. I don’t really get fancy with it. Yeah, I don’t get fancy with anything until the studio. So yeah, its more just documenting for me. I use the digital thing on the phone too, I mean whatever.”

You just released “The Pusher” video. Do you put your visual ideas into that? What’s your role in making that video?

“We all realized that we also wanted too show the band, and the upright bass, and the personalities, and these different people in the band. So we mixed that in with the story line, and the batman guy, who actually draws for the batman comic book, helped us illustrate and do the animation. I’m planting seeds for a lot of stuff with it. Like the comic book, and who knows, maybe some sort of Xbox game, you know this whole thing is about to take off hopefully.”

So are you visually inclined? Do you have Rob Zombie tendencies in you? Do you ever think about exploring the visual realm?

“I would love to do all that stuff, but there’s a lot of things I want to do first. But I think there is going to be a lot of visual stuff. Dan owns a media company so it’s kind of a great opportunity to practice. I produced the record and he produced all this other stuff. We bounce so well off of each other, its great.”

You used to be roommates with Jerry Cantrell (Alice in Chains). What do you think of the new album?

“I think its very good. I’ve got the record all ready. I heard it at barbecues over at Jerry’s house a couple of times. And you know you hear something and you’re like well, that’s what it is, and then you hear it again and again and again and its just got teeth into me now.”

Yeah, your Owl record kind of scared me at first but its definitely grown on me.

“Some of my favorite bands I didn’t quite get right out of the gate, because their coming at you from so many angles, that you cant get it right away.”

You play a lot of upright on the new Owl album. Did you start on upright? Did you play cello or something in school band?

“I’m a hardcore bassist. I was like I’m not a Cellist, I’m not a viola, I’m not a violin, so I kind of looked at it like ok, I’m going to conquer this thing now. I got write ups and stuffs when I was kid, at like 17. It was just like shredmeister, like Eddie Van Halen or Billy Sheehan (Steve Vai, Talas) on the bass, and I was just going crazy every night doing bass solos. I remember thinking to myself, what if I developed this Hendrixy, Van Halen sound effect stuff for the upright bass. It was a real challenge, getting the thing amplified properly. It was really years of work to get it to what became The Owl record. Live it sounds just like that, its distorted, its got delay, and it holds its own. That’s kind of a big part of my story. Amplifying that freaking thing. You know bringing the real one out, and it was never loud enough, your fingers were bleeding, you were uncomfortable, and it was a lot of work to get that right.”

Are you playing with picks, or how do you approach the upright?

“With The Cult I played a lot with picks, but I’d say almost 98 percent fingers. I’m all about the finger technique. But the pick stuff, well I guess on like “Sky Rocket,” on Owl, I strum it like a guitar, singer songwriter. But most of the other stuff is fingers, heavy duty bass stuff finger style, or the bow.”

So how is the new album being received?

“I get kind of two different experiences you know, I get to do Owl for a while, and we play shows, and I get a response doing that and that’s just been really fantastic. I mean, its been more than I expected. The crowd has been totally excited, screaming and yelling, responding to us like were a firework display. And then I go off with The Cult, and I put on a different hat. I’m more focused on my pick, and that’s more of a role where I sing back up vocals. Both are a great experience. I hear about owl when I’m out there with The Cult and I hear about The Cult when I’m out with Owl. Like oh, your the dude from The Cult, so its all kind of like one feeds the other. It’s tough though because Owl has got to be set up when I’m on the road with The Cult. But Dan and the guys are awesome. So usually when I get off of tour we have a plan.”

So what is the plan after this Cult tour. More shows? Music? New album?

“Well I’ve got kind of an entourage of friends that are in different bands and were probably going to do a US tour and maybe into Europe next year. And that’s going to be pretty exciting. Right now we’ve been doing New York and LA and the surrounding areas. The reviews and press have been extremely positive, and, well I’m pleasantly surprised. The way that people kind of, care about the music. I mean I knew I was releasing music in one of the saddest times, and I was like, wow, things are really shitty, but Dan and I still wanted to do it. And maybe its a great time. People are into the genuine musicality, and artistic concept, so I’m proud to put it out now actually.”

I’ve heard you talk a lot about how this band is all about music and that mainstream success is not the goal. It’s interesting to see how musicians have taken these side projects and turned them into something really meaningful.

“Yeah for us I mean, this is my baby, and Dan’s one of my best friends and Jason, and so it doesn’t really feel like a side project, we just get to do it. I mean sometimes bands have other bands, and band members have other bands, and its kind of like these times are a little different. Our attitude is definitely not, this is our side band, this is all of our primary, original project.”

I’ve heard members of The Cult talk about how their will be no new albums. Is owl in anyway a loop hole in this? Does it give you the opportunity to still release music?

“I think what Ian (Astbury) is saying, he’s not talking about records like how you treat them now. You can grab a couple songs and make a product. Basically now your selling a product, whatever that product is. Whether its video or music, and you can release that. That’s what we were saying earlier. You can just put out one song, with a really cool video, like with Owl, just to keep things fresh instead of waiting for a whole new record. Dan and I were just talking that after this European tour were going to bust out a song at his studio in New York when we get some downtime, and maybe do a video and some shows. So just stuff like that. Maybe that will be something that we do more often then not. I think that’s what Ian’s getting at. That you don’t have to put a record out. You just have to keep things fresh. With Owl we’re definitely going too be doing another record”

Well that’s great. Well, thanks for doing this with me, I appreciate the time. So this was my first interview, how did I do?

“Oh you did great. Just grab the cool stuff and make us sound real sexy.”

Xtrememusic.net