Amanda Bourne is a just and loyal Hogwarts alumna who (very much in Hufflepuff fashion) spends a majority of her days and nights working to save four-legged friends at an emergency vet hospital. When not in the hospital, Amanda spends her time at shows, hiking, traveling, singing, or taking photos of mundane things to appear brooding and artsy. She sadly has a very unfortunate addiction to potatoes and potato products and can often be found waist deep in a pool of tater tots. Although she much prefers the company of animals to humans, feel free to say hello if you spot her in the pit or on the lawn at a show in the Philadelphia area. We promise she doesn't bite! Really!
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Coheed and Cambria performed 'Good Apollo I'm Burning Star IV, Volume 1: From Fear Through The Eyes of Madness' in its entirety.
I swear Neverenders never get old.
For those of you not familiar with Coheed and Cambria, a Neverender is exactly what it sounds like: It’s a concert where the band plays one (or a few) of their albums sequentially cover to cover. It’s a beautiful thing. If you’re like me and enjoy appreciating songs as part of the full picture of the album they were released on, it is a live music event dream come true!
In celebration of the 12th birthday of their most successful album, this year’s Neverender was a full play through of Good Apollo I’m Burning Star IV, Volume 1 : From Fear Through the Eyes of Madness. GAIBSIV was the band’s third studio release and is the proud holder of their mega-hit single “Welcome Home” (which I believe was required by law to be everyone’s Myspace profile song for at least 2 months back in 2005). GAIBSIV is a continuation of a story from the albums prior which chronicles The Amory Wars. You can pick up companion copies of the companion comics for this album which are currently being released at BOOM! studios.
Opening for Coheed and Cambria was Rhode Island-based prog-rock band The Dear Hunter. The band originated as a side project of Casey Crescenzo, formerly of The Receiving End of Sirens. The band boasts and impressive discography of seven studio albums, a demo, two live albums and 13 EP’s.
The Dear Hunter put on an energetic and entertaining opening act despite a lack-luster (and honestly a little headache-inducing) light show accompaniment. I was not previously familiar with the band’s music at all prior to seeing them perform at this show and was pleasantly surprised. Though I don’t know that I will be going out of my way any time soon to look up their full discography, I wouldn’t mind stumbling across them again on Pandora in the future. I do appreciate that they have an extensive storyline to tell across their albums in true prog-rock fashion, although I think I have my hands full enough following The Amory Wars at the moment.
I may be a little biased, but I do honestly believe that Coheed and Cambria consistently put on some of the best live shows. This year’s Neverender was no exception. The visuals on screen behind the band ranged from video clips to trippy, moving artwork and really added to the feel and experience of the full album. The energy from the band was high and engaging. Something about being able to anticipate the next song in the lineup also seems to really amp up the audience in a way that is incomparable to other concerts.
After the conclusion of GAIBSIV (including hidden track Bron-Y-Aur, a nod to Led Zepplin), the band ended the set with a three song encore that included “Island,” “Delirium Trigger” and “In Keeping Secrets of Silent Earth: 3.”
Coheed fans are an interesting group. We refer to each other as Children of the Fence (COTF), a reference to Heaven’s Fence: The universe in which The Amory Wars takes place. By the end of the encore, most of us in the back row had one arm around our neighbor and our other index finger up in the air during the lyric “we were one among The Fence.”
DISCLAIMER: IF YOU PLAN TO SEE ANY SHOW ON THIS TOUR AND YOU HAVE ANY FORM OF MIGRAINE OR SEIZURE DISORDER YOU SHOULD RECONSIDER. VISUAL EFFECTS ARE INTENSE. LOTS OF STROBES.
Most people spend their Sunday evening reading or watching television. I spent mine freezing my butt off under a cloud of other people’s marijuana at an outdoor show. Sunday evening I got to see The 1975 with openers Wolf Alice and The Japanese House. It was hipster central.
I am used to going to ROCK shows so to go to a concert to see a band who plays what I lovingly refer to as “chill out” music was totally uncharted territory for me. I had no idea what to expect. I loved the venue. We were at The Skylight Stage (the fully outdoor stage at The Mann Center) and the show had a festival feel with all the vendors around. There was plenty of room and the grounds were well maintained. Lot of people brought blankets but chairs are a no-go at this stage.
I had never heard of The Japanese House prior to this show and I wasn’t quite sure what I was in for. Their stage presence wasn’t impressive and they didn’t really have any effects during their show but they also performed early and the sun was still very much shining. I did like their sound but I think I would enjoy them more in the comfort of my own home than I did live.
I did however have prior knowledge of Wolf Alice. For those of you who don’t… think Tegan and Sara meets Massive Attack. Unfortunately I ended up missing a large chunk of their set as I thought I had lost my ID and spent a solid 20 minutes chasing around security personnel and having a panic attack (P.S. – It was in my car the entire time…). For what of their set I did get to see I enjoyed myself.
The 1975 absolutely stole the show. Their performance was easily one of the best I have ever seen. The visual effects were stunning and I found myself getting completely lost in the music. They opened with “Love Me” off their newest album I Like It When You Sleep… to get things going but the crowd got just a bit too rowdy. During their third song of the set “Heart Out” the band had to stop as the middle of the pit collapsed in on themselves domino style. Matthew Healy, lead vocals, cut the song and addressed the crowd: “Everyone in the middle of the pit take 3 big steps backwards… Philadelphia, we’ve been structurally compromised.”
The rest of the show went off without a hitch. They played mostly hits from their self titled album and ILIWYS but they did incorporate a few songs from their lesser know projects IV, Sex, and Music for Cars.
Towards the end of the show the band thanked the city of their large turnout and announced that although there is no information yet available that The 1975 will be returning to Philadelphia in the fall for another North American tour.
The band performed a four song encore: “If I Believe You”, “Chocolate”, “The Sound”, and “Sex”.
I will absolutely be catching these guys in the fall. Hopefully I’ll see some of you there. You won’t regret it.
A few weekends ago I made the hike back to Philadelphia for The Color Before The Sun Tour with headliner Coheed and Cambria alongside Glassjaw and I The Mighty, with opening act Silver Snakes. Unlike the Safetysuit show last month which was upstairs in The Foundry, this took place in the main venue downstairs at The Fillmore. It’s a bit of a strange set up to say the least. There’s a wide open pit/GA area in front of the stage that’s flanked on either side by a metal barricade behind which there’s a wall-length bar on either side. There’s also a GA balcony upstairs and a few seats towards the back on both levels. All in all not a bad venue, but the having to flash your wristband every time you pass the barricade from bar to GA area and back did get a little annoying.
I got to the show a little early and headed over to will call to pick up my photo pass. This was my first show ever having a photo pass so I was naturally nervous and feeling pretty out of my element. Everyone else who was in the photo pit with me had crazy equipment and were talking shop about what shows they’d already shot this month and where they were headed next. I do have to say though that all of them were welcoming, pleasant, and helpful and not once did they make me feel out of place.
The show opened with up-and-comers Silver Snakes who are new to Evil Ink. It was a good energy to start a show. Everyone was sort of feeling out the venue and the sound these guys had really helped warm up the audience. Unfortunately their set was rather short and by the time I was really getting into what they had to offer they were calling it a night. I look forward to seeing where these guys go because I feel like Silver Snakes are really going to come into their own over the next few years.
I The Mighty
I really cannot say enough good things about I The Mighty. They’ve got the sound, they’ve got the energy, and they’ve got the stage presence. Yet another disappointingly short 5 song set list had me wishing I could catch another show on this tour just to see these guys crank out a few more songs. These guys know how to use a whole stage to their advantage; running from one end to another and never letting the flow slow down. From the second they opened with “Lady of Death” off of their most recent release Connector right until the last note of “Speak to Me” they honestly never. Stopped. Moving. It was incredible and it had me so pumped up for the rest of the show…
Which is maybe why I was so underwhelmed by Glassjaw. I KNOW, I KNOW I’m going to catch a ton of flak for this but honestly the only energetic thing about this performance was their strobe lights on steroids which I lovingly called a an epileptic’s death wish. Their lights were nauseatingly fast and bright and their songs just didn’t translate well live. At one point I had one of the guys standing next to me ask if they had just been playing one long song for their entire set because it all ran together. It didn’t help that their fans were rowdy and rude either. If there’s one thing I pride myself on and look for in other people it’s show etiquette and that all went right out
the window for this set. Right after “Mu Empire”, their second song of the night, lead singer Daryl Palumbo stopped everything to have security escort “that asshole in the button down starting shit in the pit” out the emergency exit for trying to throw punches and (allegedly from what’s I’ve heard) spitting in a girl’s face. Two people got helped out of the pit after getting kicked in the face by crowd surfers and a couple were escorted out for drunkenly stumbling around the bar with their hands down each other’s pants (AND A PARTRIDGE IN A PEAR TREE). So between all the distractions and trying not to throw up from the light show from hell I have to say I enjoyed Glassjaw’s set the least. Maybe it was just a bad experience for me, or maybe they just aren’t my style. I plan to give them another listen outside of the live music scene and maybe then I’ll find a new appreciation for them. Until then? Meh.
Coheed and Cambria
And then… like a (solid… not strobing) beacon in the night, there was Coheed and Cambria. Enter Claudio and Travis, two acoustic guitars in hand and a soft, purple spotlight. They opened with just the two of them doing an acoustic version of “Ghost” off their newest album The Color Before the Sun for which the tour is named. After a quick gear change the band came on stage for “In Keeping Secrets of Silent Earth: 3” and the crowd when nuts. Coheed and Cambria always put on a great show and this was no exceptions. They played a variety of their repertoire and played at least one song from every album excluding Year of the Black Rainbow and Afterman: Ascension. They closed their primary set with “Audience” and “Peace to the Mountain” which, being the last two songs on the latest studio album, felt like a fitting end to the show. These two songs feel like they belong together and I’m glad they were played back to back as they appeared on TCBTS. After a 5 minutes departure the guys came back for an encore starting with “You’ve Got Spirit Kid” which ended with a confetti drop and a very happy audience.
Their second encore song choice was “Everything Evil” which felt fitting as that particular day with the 13th anniversary of the release of Second Stage Turbine Blade. At this point I had navigated my way out of the GA area and had hung out at the bar stage left. There was a bearded guy to my right who was belting out every word to “Everything Evil” with me and we were having a total blast. Coheed ended the show with “Welcome Home” which of course had everyone screaming and going insane from the first note. Me and my buddy at the bar were singing to each other arm in arm through the entire thing and after the last notes were play we high fived and hugged each other. As I’ve said before and I’ll say again, the people you find at a show can make (or break) a show as much as the artists themselves can.
I left the venue with no voice, a ringing in my ears, and a camera with a full SD card and I couldn’t have been happier.
Yesterday I had the pleasure of hitting up the Safetysuit show in Philly at The Foundry. Let me start by saying what a cool little venue this place is! Ok, so it’s technically a venue in a venue? (How meta!) The Foundry is located inside The Fillmore; it’s an intimate upstairs area with a decent sized bar, red leather booth seating with tables along the far wall, a few neat-o leather couches towards the back, and a smaller sized stage located to the left of the entryway. The joint wasn’t huge but it was the perfect size for the crowd we had. Not once during the show did I feel at all cramped or crushed while I was in the pseudo-pit area.
Opening for Safetysuit was a newcomer kid from South Africa named Connell Cruise. For those of you not familiar (like I wasn’t up until yesterday evening) this boy has some serious pipes on him. Like… holy crap. I usually go in to opening acts with low expectations because, let’s face it, we’ve all seen that home-town crew that thinks they’re hot shit but sounds like a cat yowling over the sound your high school nemesis pulling donuts in the parking lot. But this kid blew me the hell away. He did a short set including a few personal songs about falling in love with a girl who won’t let you come home to meet her folks (to be fair she was a princess, like… an actual honest to god princess. This dude… dated… a princess?!) and another highlighting the perfect response to when someone tells you “I just want to be friends”. He also did something hella cool by inviting local Philly artist Mackenzie Johnson up on stage to duet a song called “Let it Go”. I was able to snag a short clip from his most well-known song “Into the Wild” just to give you all an idea of just how killer this kid’s talent is live. I was impressed, entertained, and I was left actually wanting a longer set for an opening act for the first time since I saw Magic Man open for PANIC! at the Disco last summer. Just excellent.
Connel Cruise – “Into the Wild” Live (Clip):
Safetysuit opened with their newest single “Looking Up” to a screaming crowd that have waiting 3 long years to see them come back around. Lead singer, Douglas Brown, even made note of this looking out into the crowd after their opening set with open arms saying “PHILADELPHIA! YOU CAME BACK!”. Of course the crowd absolutely erupted. Doug went on to say how moving and humbling it was to have everyone in the crowd knowing that they all stuck around despite the touring dry spell since 2012.
Safetysuit – “Let Go” Live:
The entire vibe of the show was so laid back despite the energy of the performance. These guys are just the kind of artists that you feel like you want to invite over for a few beers on a Saturday afternoon. I think that might be why they draw such a diverse crowd. Looking around the audience the age range had to be from preteen to mid-60’s. And every last one of them was into it. They did a rockin cover of Leonard Cohen’s Hallelujah that made the hairs on the back of my neck stand up and may or may not have choked me up a bit (big girls don’t cry though, right?). They also gave us the honor of previewing two new songs. “Numbers or Faith” may be my new favorite Safetysuit song and no, I’m not overselling it. It’s a song that talks a lot about the state of the world and the way we choose the handle it. It’s powerful. But I’ll let you judge for yourselves:
Safetysuit – “Numbers or Faith” Live:
They also previewed another new one called “Pause” which is a really intimate piece about taking the time to really appreciate every moment in life as it comes. If these two songs are any inclination I think it’s safe to say that new Safetysuit is definitely gonna knock us to the floor with strong lyrical messages with some pretty intense melodies to back it up.
And leave it to these guys to do something completely out there. Towards the end of the set Doug decided to grab on to the rafters and swing himself, monkey-bar style, into the crowd where he dropped down to finish out his song. He also went around and took selfies in the crowd and even snagged a girls phone and took a video on stage of himself and his band mates for her. But that wasn’t really the out there part… Most bands throw guitar picks and drum sticks into the audience, which they did! But towards the end of the set, and this is true, Doug takes off his Nike’s, pulls out a Sharpie, signs them and, I shit you not, HUCKS THEM INTO THE FUCKING CROWD. Yep. Dude threw his sneakers into the audience. Funniest part? My boyfriend CAUGHT one of the damn things. Well… that is until the girl behind him went all Walking Dead on him and tried to claw his arm off for it after she slapped his glasses off his face. Needless to say he let her have it because his appendages and prescription lenses are a little more important that Doug’s sweaty shoes. It was kind of a cool thing to do though, can’t say I’ve seen any other artist do that before. (Don’t feel too bad for our lost memorabilia, the boyfriend was able to snatch a guitar pick out of the air about 15 minutes prior so we still got pretty lucky!)
Safetysuit – “Apology” Live:
They played a 12 song setlist and returned for a 4 song encore which included a lovely acoustic version of “Never Stop” which Doug prefaced by saying “We received a flood of emails when we announced this tour asking if we could dedicated this song to loved ones who wants to propose to their significant others during our show. We obviously couldn’t make everyone happy with that request but if you were one of those people…[whispering] now’s your chance.” Judging by the lack of screaming, I don’t believe anyone got engaged at our show but it was still a pretty cool experience to have the guys unplug for an acoustic piece. They ultimately closed with “On Your Side” and called it a night.
Overall: Incredible show, awesome venue, great opening act. Couldn’t have asked for a better night at The Foundry!
Setlist for Safetysuit @ The Foundry 02/17/16
-Something I Said
-Staring At It
-Numbers or Faith
-Hallelujah (Leonard Cohen Cover)
-Someone Like You
-Beat Of Your Heart
-Get Around This
-Never Stop (Acoustic Version)
-On Your Side
When you think of a “Jack of all Trades” you would usually follow that up with “and a Master of None”. Not when it comes to the multi-talented Lindsey Stirling. With a list of credentials a mile long including violinist, dancer, performance artist, composer; and a stylistic reach that encompasses everything from classical to EDM, Miss Stirling isn’t just the whole package, she’s about five packages in one box wrapped with a (totally adorable) bow on top. Lindsey was able to take some time out of her busy tour schedule to sit down and answer a few questions for AltWire and we are all very excited to share them with you here exclusively.
Take a look at our interview below and be sure to let us know what you think in the comments section below!
AltWire [Amanda Bourne]: How do you feel you’ve grown as an artist from the release of your self-titled album to the release of Shatter Me?
Lindsey Stirling: I’ve learned SO much; mostly about the business side of things. With the release of my “Shatter Me” album, I finally had the budget to create videos with the help of graphic artists and production teams, which opened up an entire new gamut of possibilities. I’ve had tremendously more support and help since my first album; the manpower and management who have been able to get both of my albums distributed worldwide. I’ve also been able to book tours all over the world; not only in the US and Europe like I did with my first album.
AW: What were a few of your favorite classical violin pieces to learn when you first started playing? What are a few pieces you enjoyed learning and tweaking to make covers as an adult?
LS: I started out with the Suzuki Method; some of my favorite classical pieces are “Scheherazade” by Rimsky-Korsakov and Borodin’s “Polovtsian Dances.”
AW: You’ve done a lot of pretty awesome collaborations! The Piano Guys, Sam Tsui, Peter Hollens, Tyler Ward and Kurt Hugo Schneider just to name a few. How do you decide who to work with on what songs?
LS: I discovered Peter early on in my career. I was browsing music on YouTube and when I found his channel, I was like, “Holy cow this video had to take so much time to create! And he’s insanely talented! He deserves more subscribers….” So I contacted him and “Skyrim” was the result. He met me in Utah and we filmed there. SO much fun! As I got more YouTube subscribers, I started reaching out to other YouTubers I admired who maybe had just a little more or just under the subscribers than I did, and the collaboration would help us both (I’d gain subscribers from them and vice versa).
AW: Speaking of collaborations, do you have a dream collaboration? If you could work with anyone, alive or dead, on any piece of music who and what would you choose?
LS: Dead: Michael Jackson! Alive: Ellie Goulding!
AW: A lot of your songs, despite some not having words, have a lot of personal meaning to you. How do you find ways to convey your thoughts and emotions through notes on ledger lines instead of words on notebook paper?
LS: I don’t actually write my music down typically…I usually just compose on the spot/memorize/experiment until I come up with something I love. And it usually evolves over the course of a few hours or a few days or a few weeks until it’s exactly how I like it. I usually start with a picture or storyline in my mind, and try to evoke that emotion through the music I’m creating.
AW: You are pretty involved in your faith. You even have your own page on Mormon.org! Although your faith greatly inspires your personal life, do you feel your faith has influenced your music as well?
LS: I feel like I’ve been protected by my faith. In other words, I’ve been exposed to all kinds of mediums in my life, most of which have been very uplifting. I have chosen not to indulge in appetites that are dark, demeaning, grotesque, addicting, or overly hateful or violent. I think that all of the influences in my life that I have chosen as a result of my faith and lifestyle have an influence on the music I create because my music is an outward expression of my inner emotions, my light, desires, hopes, dreams, beliefs, and everything that makes me who I am.
AW: What is the full conceptual process behind your music: from song writing to recording, to videos and performance? Is it true you create your own outfits and stage designs? Do you have all the details visualized from the beginning of writing a song or do you work through it as you go?
LS: When I first started out I did everything pretty much myself, but as I’ve gotten busier I have had to let some of that go, which has actually been really hard for me. I still pretty much come up with the ideas and sketches on my own (costumes, tour ideas, video storylines, etc.) and then hand the ideas over to professionals who I trust to do it right, and then I manage the process so that I still maintain creative “control.” It has always been important to me not to loose that; to continue being the creator behind my music and art. As far as music, I normally meet with a producer and together we create something epic; then I attempt to put violin over it. If I can come up with something I love, it’s a winner! If I struggle for too long and fail to come up with a melodic line I’m completely happy with, I shelve the tune and start from scratch again.
AW: How do you feel recording and making music videos differs from live performance in terms of your own personal creations. Do you feel your work translates well to the stage?
LS: It’s completely different, and I love being able to do both. The great thing about a video is that there are no limitations; anything I can conceive in my mind can be created for the screen. It’s literally like a “dream come true.” What I love about live performing is the interaction between me and my audience; there’s nothing in this world that can equal that kind of energy and I absolutely love it.
AW: You still have a few tour dates coming up! Many of which are outside of the US. Is performing live in other countries different from performing inside the US?
LS: Absolutely; every country has it’s own culture and “excitement” level [laughs]; Asia is more “polite” and countries like Germany and France take-the-cake for enthusiasm. The biggest difference between performing in the USA/Europe versus Asia/Australia/South America is that in the USA/Europe we’re usually on a tour bus and in Asia/Australia/South America we have had to do hotels. The bus is much more cozy and I like the “team” feeling on the bus, so I really miss that when we’re all stuck in our little hotel rooms.
AW: You’re very involved with your fan base. What have been a few of your favorite fan interactions?
LS: I’ve done some fun contests and the response has been amazing! I love seeing what fans do and create, especially for the last violin giveaway contest. I encouraged fans to do an act of service and do a video documentation about it. Saw some AMAZING submissions! One of the winners got a group together and built a house for a family, and another took a bus full of people to a poor town in Brasil and gave free haircuts, food, games, etc. I also love seeing fan art and featuring my favorites on my Facebook/Twitter/Instagram pages. I also did a promotion where fans could meet me backstage after the concert to eat a bowl of cereal haha; met some of the nicest people. I seriously have the best fans!
AW: YouTube and social media have played a big part in your success by getting you exposure to listeners who would otherwise have no way of hearing about you. What do you think has been your biggest tool for success?
LS: Social media sharing, definitely. I mean I had “Transcendence,” “Spontaneous Me,” and “Song of the Caged Bird” up on iTunes for a good while after AGT and the sales were mediocre at best. It was only after Devin Graham (devinsupertramp) contacted me and helped me make my first music video on YouTube (https://www.youtube.com/watch?v=Vp63nbOfxgs) that my songs started selling and my career started taking off.
AW: Your strength is inspiring. After being told by judges of America’s Got Talent that you were unmarketable and that you “belonged in a group” you continued to do what you loved and became a success. What advice do you have for anyone out there who has been put down for doing what they love? How did you overcome the negative comments?
LS: First off, if you feel inspired to do something, there’s a reason, and it’s not always the reason you think. Most failures aren’t really failures; they’re learning experiences/blessings in disguise. Had I actually won AGT my life would be very different from what it is right now; haha I’m so glad I lost! Bottom line: if you love something and you want to pursue it, who has the right to tell you different? I’ve done many things in my life despite discouraging situations and resistance from those who did want me to fail. The harder the resistance and the harder you’re required to push back, the stronger you get. With God on your side, you really can’t fail. If you move forward and never give up on yourself, you’ll end up where you’re supposed to be.
AW: You’re quite the philanthropist. You’ve done missionary work in NYC, worked with the Atlanta Music Project, and were a part of One Night for One Drop with Cirque de Soleil last March for World Water Day. Any big service projects in the works for you now?
LS: I’ve been wanting to start a charity to help fund music programs across the country, so that’s still in the works.
AW: March 8th was National Women’s Day and many female YouTubers, yourself included, came together to share personal experiences about their younger selves to help empower young women. Can you tell us a little more about the #DearMe campaign?
I think the point I most wanted to get across is that men and women are indeed different [smiles], and that rather than comparing and trying to one-up each other all the time, we should be celebrating each other’s differences and be proud of who we are.
AW: You’ve spoken in the past about going through a pretty tough battle with an eating disorder as a young adult. A lot of the people who view you as a role model are struggling with the same or similar issues. Any advice or encouragement for them?
LS: It’s not an easy thing to have to combat; I would know. But I also know that it is possible to overcome, because I’ve done it. Once I was willing to see that I had a problem, remove myself and my value from the sickness and realize that it did not define me, and started accepting the help that God was trying to send to me, I was able to start healing. My best advice is to not label yourself (“I am anorexic/bulimic/alcoholic”) with whatever negative thing you may be dealing with. Rather see the negative as something you are dealing with (“I am fighting anorexia”) and replace the negative with a positive (“I am strong/capable/amazing”). When you fail in your efforts…and you will…don’t ever let that stop you from trying again, and again, and again…and again. Keep trying for as long as it takes. Never give up.
AW: How do you feel being a woman in the music industry has influenced your path? Do you feel as though you’ve had to overcome any additional criticism or hardships because of a gender divide?
LS: Not really. I don’t feel ostracized or as if my gender has hindered me in any way. I think that anyone who is truly at peace with themselves and happy in their own skin generally attracts positive attention; regardless of race, sex, or whatever.
AW: You’ve already achieved so much! You’ve been listed in Forbes: 30 under 30, had two hit albums, over 6 million YouTube subscribers, went platinum in Germany, had countless sold-out tours. What’s next for you? Anything you’re the most excited for?
LS: Right now I’m living in the moment; absolutely loving touring and working to put together a new show for the US and Europe coming up soon. I’m also super stoked about my memoir/book coming out this January. My sister and I finally found a publisher and yes I know I’m biased because it’s my own book haha, but you’re going to love it. Brooke is an amazing writer. It will make you laugh, cry, and everything in between.
Lindsey’s latest record “Shatter Me” is in stores and can also be purchased through iTunes and Amazon. Check out her new hit single ‘Take Flight’ Below:
SOUNDGARDEN fans are getting a little sneak peek treat today as they await the November 24th release of their 3-CD rarities collection “Echo Of Miles: Scattered Tracks Across The Path”. The band has posted a new, previously unreleased streaming song, “Twin Tower”, to their VEVO account.
Along with “Twin Tower”, there will be seven other unreleased tracks on the album collection including the recently recorded “Storm” which was produced in Seattle this past May by Jack Endino.
Guitarist Kim Thayil hand-selected which tracks would appear on the collection, taking in everything from B-sides to instrumentals and covers. “Echo of Miles” will contain tracks from across the band’s 26-year career, capturing their evolution across time. Thayvil says: “As album sets go, this one has been fun to collect and compile over the decades. I personally may have referenced this project a number of times over the years, going back almost twenty of them to the mid-Nineties!”
The album art features three separate mini-jackets, a booklet, and inserts allowing you to mix and match your own album layout. The entire package was designed by Josh Graham.
You can pre-order “Echo of Miles” from Soundgardenworld.com with your option of several different bundles to receive an instant download of “Storm”.
“Echo Of Miles: Scattered Tracks Across The Path” track listing:
CD 1 – Originals (SOUNDGARDEN-written songs, mainly B-sides, in addition to two unreleased songs, “Kristi” and “Storm”.)
01.Sub Pop Rock City
02. Toy Box
04. Fresh Deadly Roses
05. HIV Baby
06. Cold Bitch
07. Show Me
08. She’s A Politician
09. Birth Ritual
10. She Likes Surprises
11. Kyle Petty, Son of Richard
12. Exit Stonehenge
13. Blind Dogs
14. Bleed Together
15. Black Rain
16. Live To Rise
CD 2 – Covers (Songs written by bands that SOUNDGARDEN love and admire, from THE BEATLES, THE ROLLING STONES, THE DOORS to THE STOOGES, the RAMONES and DEVO.)
01.Swallow My Pride
02. Smokestack Lightnin’
03. Everybody’s Got Something To Hide Except Me And My Monkey (John Peel BBC Sessions)*
04. Thank You (Falettinme Be Mice Elf Agin) (John Peel BBC Sessions)*
05. Come Together
06. Stray Cat Blues
07. Into The Void (Sealth)
08. Girl U Want
09. Touch Me
10. Can You See Me? (Friday Rock Show BBC Sessions)
11. Homicidal Suicidal (Friday Rock Show BBC Sessions)
12. I Can’t Give You Anything (Friday Rock Show BBC Sessions)
13. I Don’t Care About You (Friday Rock Show BBC Sessions)
14. Waiting For The Sun (Live)
15. Search And Destroy (Live)
16. Big Bottom (Live)
17. Earache My Eye (Live)
CD 3 – Oddities (Instrumentals, remixes and demos, including Steve Fisk’s unreleased “The Telephantasm (Resurrection Remix)”, “Twin Tower”, penned by Matt Cameron, which was originally recorded at Seattle’s London Bridge studio in December 1988 during the sessions for “Louder Than Love”, and “Night Surf”, an instrumental performed by bassist Ben Shepherd.)
02. Jerry Garcia’s Finger
04. Night Surf*
05. A Splice Of Space Jam
06. The Telephantasm
07. Black Days III
09. Fopp (Fucked Up Heavy Dub Mix)
10. Big Dumb Sex (Dub Version)
11. Spoonman (Steve Fisk Remix)
12. Rhinosaur (The Straw That Broke The Rhino’s Back Remix)
13. Dusty (Moby Remix)
14. The Telephantasm (Steve Fisk 2014 Remix)*
15. One Minute Of Silence
Good news for Korn fans this week came in the form of a new song. “Hater” made it’s radio debut this past Thursday June 19th leading the way for the news of the band’s soon-to-be-released extended re-issue of The Paradigm Shift. “Hater” was written and recorded in a studio near frontman Jonathan Davis home in Bakersfield, CA with the help of producer Don Gilmore and was then sent out to the other members of Korn who added their parts later. Davis had this to say about the new hit:
“In the world, everyone has haters. Everyone has someone who hates on you ’cause you have something they want. It’s really, like, the first empowering song I’ve ever written. The lyrics are: ‘You can’t bring me down / I’ve already had my life turned upside down / I ride a downward spiral round and round / But I keep flying, I keep fighting / Don’t ever bring me down.’ That’s like the most positive shit I’ve ever written.”
Davis also told Billboard during an interview that “Hater” will be the band’s next single and will be available for purchase as of June 23rd.
“Hater” is just one new song that will be found on the re-issue of The Paradigm Shift. As well as a few other new songs, fans can also look forward to some bonus live material and songs from the original The Paradigm Shift session that didn’t make it onto the album the first time around like “The Game is Over”. Davis has also revealed details of a deeply personal new track that he’s written for the re-issue titled “So Unfair”. The song was written for and about Jonathan Davis’ son, Zeppelin, and his battle with Type 1 diabetes. All proceeds from “So Unfair” will be donated to the Juvenile Diabetes Organization on Zeppelin’s behalf.
Korn will hit the road this summer as part of the Rockstar Energy Drink Mayhem festival beginning July 5th in Devore, CA.
The new extended version of The Paradigm Shift is set to release on July 15th.
It looks like 2014 is going to be a big year for the Red Hot Chili Peppers. Kicking off the year back in January with a stellar Super Bowl Halftime Show performance, the band had begun placing themselves back into the limelight. Now it’s a little clearer just as to why.
The Red Hot Chili Peppers official Instagram account posted a new video on June 3rd featuring clips of the inside of a recording studio as well as the band working on some new material.
Drummer Chad Smith revealed officially that the band is currently (FINALLY) working on a follow-up to 2011’s smash album I’m With You. Smith told Billboard: “This is my favorite time, being creative, coming up with ideas. You go there at 11 o’clock with something that wasn’t a piece of music, everyone collaborates on something, three hours later you’ve got something that’s a piece of music that wasn’t there before.” He also said that it’s only been a few months since the band hit the studio again so they are just starting to “get in the groove of things”. As expected it’s too early for any hints about the sound or style of the new album but Smith assured interviewers that the band is continuing their constant effort to change and grow. “We’re gonna make something different. And you never know what that is going to be.”
There have been no announcements about a possible producer for this currently untitled mystery studio album but it’s not something that’s new for the band. Smith was quoted saying: “The songs and our ideas kind of dictate [who the producer will be], and that comes down the road a little bit until we start seeing how the songs take shape and stuff, so that always is part of the process as well.”
In the past the band has frequently turned to long-time producer Rick Rubin who has been teaming up with RHCP since 1991’s Blood Sugar Sex Magik, but of course anything (and anyone) is possible at this time.
Back in April when we announced Matt Walst’s on boarding as the new front runner of Three Days Grace coupled with the release of “Painkiller” we all speculated that a new album might be in the works. Well it turns out we were right! According to a post by Three Days Grace drummer Neil Sanderon at Loudwire the band has begun recording their fifth studio album in a Toronto facility called Noble Street.
Sanderson revealed in a recent interview that the band has gone back to its roots to write for the new album. “We’ve gone back to this rehearsal space that really things began in, and it’s this like concrete box in downtown Toronto. You know, you can’t really open the window ’cause it’s right in the middle of downtown and noise complaints and all this. And you know, I think one of the keys for us is if we’re comfortable, we’re not creative, so we get like really uncomfortable chairs and we sit and face each other with guitars and just pound out stuff.” Sanderson said.
After the March 31st release of “Painkiller” this is an exciting announcement. With a new vocalist and an old sound this new album should be an interesting surprise for everyone and I know I’m personally very excited to see what sound all these changes will produce.