Daily Archives: May 3, 2017

Singer and Author Brian Evans Will Run for U.S. Congress in 2018

Brian Evans will run for the US Congress in 2018.WAILEA, Hawaii, May 3, 2017 /PRNewswire/ — Brian Evans, known for his historically significant music videos such as “At Fenway” (which co-starred William Shatner and was produced by multiple Grammy Award winner Narada Michael Walden) and “Creature at The Bates Motel” (he remains the only…


Thurston Moore on 'Beatific' New LP, Solange, Life After Sonic Youth

For the past five summers, former Sonic Youth singer-guitarist Thurston Moore has taught a writing workshop at Boulder, Colorado’s Naropa University. The school is fully accredited, but it notably teaches Buddhist principles along with its academics, and one is the idea of mental awareness or, in Buddhist terms, consciousness. Although Moore is disinterested in religious coaching (“I feel too old for that,” the 58-year-old says), he found himself questioning his sense of connection to the universe in recent years and then had a revelation. “I realized my consciousness is in rock & roll music,” he says. “It’s the connection I feel when I’m in second-hand record stores and bookstores. I always have a moment of visceral contemplation there. It’s really vibrational.”

That insight led Moore to title his recently released solo album, Rock n Roll Consciousness. “Rock & roll to me is everything,” he says, speaking matter-of-factly. “It’s a fairly open title to an aesthetic. I see it as a way of life, as sort of an intellectual liberalism of being in the world. It’s not just T. Rex.”

Similarly, the album’s music is free-flowing: five loose, jammy rockers that last anywhere between six and 12 minutes. Moore recorded it with the same lineup as his last solo outing, 2014’s punchy The Best Day – Nought guitarist James Sedwards, My Bloody Valentine bassist Debbie Googe and Sonic Youth drummer Steve Shelley – and the new songs echo the moody, almost improvisational feel of late-Eighties Sonic Youth LPs like Sister and Daydream Nation. And he still sings of ghost dances and New York City, on “Smoke of Dreams,” as he did in his previous band, despite the fact he now lives in London. Interestingly, the album was produced by a man better known for pop music, Paul Epworth (Adele, Coldplay), and half of its feminist lyrics were written by transgender poet Radio Radieux.

It’s a curious reflection of Moore’s consciousness. He recently discussed how it came to be with Rolling Stone.

Why didn’t you title the record “music consciousness”? Why rock & roll?
When the Rock and Roll Hall of Fame Museum first opened, Sonic Youth got a guided tour. And the guide was a young person who gave us the prepared spiel, saying, “‘Rock & roll’ comes from an early African-American lexicon meaning ‘having sex.'” And I was like, “You have to be kidding me.” So I broke away from the group. Then I started thinking about it, like, “Well, I guess it is about that.” Sex is nature, and nature is everything, and then rock & roll is everything. Maybe she was onto something. But it was really funny, because she had to memorize it from a textbook.

You recently did an interview with The Guardian where you picked five records that shaped you, and one is Solange’s A Seat at the Table. You said, “Rock’s not experimental in the mainstream these days, maybe because it comes from a place of privilege. R&B really is.” Why do you say that?
I don’t think of rock & roll as experimental. It’s always worked as an underpinning to the mainstream. I think the only times we had any kind of experimental rock & roll action in the mainstream was in the hippie era with Pink Floyd and Jimi Hendrix making noise. In the early Seventies, record companies were turning more corporate, so they commodified and homogenized rock, and punk rock started in reaction to that. With punk, it was really uncool to be part of the mainstream; there was no ambition toward being in the mainstream. Even with the success of Nevermind in ’92.

Sonic Youth was in the studio recording Goo when Public Enemy was recording Fear of a Black Planet at the same place, and I was talking to those guys about how I thought it was interesting how hip-hop had this headstrong ambition to make waves in the mainstream, whereas punk rock didn’t have any such desires. Rock & roll existed as a voice of a fairly privileged culture of middle-class white youth; hip-hop was the voice of a historically disenfranchised culture.

Right. And this year we have Tupac in the Rock and Roll Hall of Fame, who is inarguably more “rock & roll” than Yes and Journey, who also got in.
Yeah, Tupac is total punk. He’s rock & roll, radical revolution. I agree.

But then you have people like Gene Simmons who says rap shouldn’t be in the Rock Hall and is proclaiming that “rock is dead.” Has rock lost its edge?
My perspective is that you won’t see any of the real radical rock & roll that’s happening on the charts, even though a lot of it is happening. You see the aspects of it that get filtered through a band like Radiohead or records by Solange or even Beyoncé, and a lot of hip-hop. They have aspects that are completely forward-thinking and progressive and really radicalized but with an interesting relationship that honors tradition. I don’t really hear that happening at all in what’s classified as mainstream rock & roll. Or at least it’s rare. Sonic Youth was never a chart band. I think our name is more well known than our work, to tell the truth.

You made this record with Paul Epworth, who is known for his pop hits. How did you connect with him?
I was doing an interview with [the Pop Group’s] Mark Stewart, and he told me his band had just finished a new record with Paul. It was surprising to me, because I just knew him from Adele and Florence and the Machine. I gave him a call, and he invited me to his studio, which is a huge church in Crouch End [London]. He’d outfitted it beautifully with two analog control boards; one is a Pink Floyd board, and the other is the Rolling Stones’ Emotional Rescue board. All very appealing. And everyone works in the playing room; there’s no sequestering the engineers in a mixing room. It was all really interesting. Then we found out we had the same birthday; we’re both Leos on the cusp of Cancer, so we went for it.

How was it working with him?
He’s a very hands-on producer. He has a reputation of working with arrangements and writing, and that was worrisome to me. I don’t need help with those things. We discussed that, and ultimately he was really on it with making sure whatever sounds were happening were happening in the best way. As soon as I started doing playbacks, I realized it was a good deal.

The songs on this album are looser, longer and jammier than The Best Day. Why is that?
I wanted this record to be more focused on who the group is. The Best Day was the first time the group had come together. I wasn’t quite sure what the band’s future would be at that point. With this one, we were focused on who the group was, since we’d been touring together for the past two, three years. As soon as I realized that it’s a totally functioning group, I was like, “The next record will showcase who these musicians are.”

What is it about this band that works?
Steve has been playing with me since the mid-Eighties, and Deb is someone who’s been playing as long as Sonic Youth have. All three of us have been at it for some time, and we’ve been in bands that have achieved some acclaimed profile for a number of years, mostly in the Nineties. None of us feel like we need to replicate some earlier glory. We just wanted to continue playing as musicians who are well into their late fifties. We don’t feel like we need to enter the new-band sweepstakes.

I’m just hoping that anybody interested in what I’m doing musically would see that this is an actual working group, as opposed to my latest transitional flirtation with music. Like, “What’s next? He’s going to come out and do a chainsaw symphony?” For me, it’s wonderful knowing I have this group that I can bring songs into, and I know it will be completely wonderful. I don’t need to tell them what to play. I certainly never did that in Sonic Youth.

What did you do in Sonic Youth?
I would bring in song structures knowing that Steve, Lee and Kim would listen and create their own parts and modify a song into a group composition. With this group, I’m not looking for group composition. I’m looking for them to come up with their own parts to service the song structure, and my name’s going to be on top of it, as opposed to a group name. And I’ll take full songwriting credit, so it’s a different relationship.

You’ve hit a certain groove with your guitar player, James Sedwards, on Rock n Roll Consciousness. How is it working with him compared to Lee Ranaldo?
In Sonic Youth, Lee could be said to have been the lead guitarist. But we never really had traditional lead-guitar stylings in that band; he was more of a “Lee” guitarist. But he was a higher-technique player than I ever was. He’d played in different bands from an early age and had more traditional techniques, whereas I was starting from day one when Sonic Youth started. He could play much more sophisticatedly than I could.

In this band, James Sedwards is a guitar freak. I never really had been in a band where there was a player who could play in that traditional mode but still have a reference to the weirdo world of our music. His favorite guitar players are, like, Jimmy Page and Lydia Lunch, and his favorite bands are, like, the Fall and Pink Floyd, so he’s fantastic. I really wanted him to have some moments on this record. The first song on the record, “Exalted,” has a section where I cued him and he played on it live, and it was just phenomenal. It’s not an overdub. There’s probably only one overdub on there.

Radio Radieux wrote the lyrics to that one. What do you like about her writing?
I recorded nine songs in the studio, and three of the ones on the album have lyrics by Radio Radieux, who is a beautiful poet. And the lyrics are all sort of feminist, mysticism lyrics, which I really embraced. I love singing lyrics in collaboration with another writer, and I like writing lyrics for other people if I can. I would do that in Sonic Youth sometimes.

Lyrically, it turned this record into something that was all about new, springing-forward life, and embracing these mystic oracles in the face of this contemporary reality of political hate speech. That wasn’t the idea originally, but since the record is coming out in 2017, I feel like, “Oh, good call. This feels right lyrically.” So the record is bookended by “Exalted” and “Aphrodite,” both with lyrics by Radio Radieux. That last song leads into the next wealth of material.

You recorded other songs at these sessions. What are those like?
I released a song previously called “Cease Fire” for free on the Internet in March, so I took it off the album. And I have some edgier, more direct protest songs. I stripped them out of the record because they were upsetting what I thought was the true energy of the record, which to me felt beatific.

Are you still going to put those out, or are you shelving them?
There’s another song called “Mx. Liberty”; “Mx.” is, like, transgender. I made that available to anybody who preordered the record. You get it as a seven-inch. There are a few other nuggets that I will probably disperse through the summer. Who knows what kind of summer we’re going to have, but it’s definitely going to be a summer in extreme opposition to the war pigs.

You’ve played with Steve Shelley since 1985. What is it about the two of you as musicians that endures together?
We have ESP. It comes from the two of us playing together since the Eighties, having this way of responding to each other that goes beyond talking. I never have to ask him, “Where is the one?” because he’s an impeccable timekeeper. He’s also a guy who’s so immersed, in love with rock & roll, R&B music history and culture – all he does is read about it. He recently came over to play in this octet I put together to play the music of Can, and the next morning he took the train up to Liverpool to do Beatles investigation, which he’s done before. He just thrives on music history. He’s true rock & roll consciousness.

It’s that way for all of us in the group. It’s all-encompassing and obsessive. It’s just all we think about and do: life, love and rock & roll, all day, every day. I think most bands would be that way. Otherwise, you’re poseurs. “You pose, you lose,” as they say in the hardcore scene.

Do you feel less restrained as a solo songwriter than when you were with Sonic Youth?
No. Whatever vocabulary I have as a songwriter is pretty much the same. I never wrote songs thinking, “Well, this is inappropriate for Sonic Youth.” I would just write songs and it would turn into a Sonic Youth song. I’d grown up with Sonic Youth, but this group isn’t so much about growing together. It’s a different psychology.

Also, we don’t live together. Sonic Youth lived together, certainly in the case of me and Kim. And with Steve and Lee, the four of us were always together. We went through all these growing-pain battles together, and we survived them and surpassed them in a way that so many bands could not. I could always see why certain bands broke up, because it was hard to live together sometimes. And there were always these territorial and proprietary concerns in bands.

Are you comfortable now saying Sonic Youth have officially broken up? In the past you’ve said, “Not really.”
There was never any official statement, but we’re not … we’re not together. No, there was any official statement, but I think for obvious reasons, it’s dysfunctional.

I ask since you’ve left it open in the past, which indicated you had hope for the future.
The last record we did was called The Eternal. When that record came out – without thinking it would be the last Sonic Youth record – I thought it worked as the last Sonic Youth record, especially with that title. It’s almost like a lazy-eight sign of infinity. Like, “Here you go. This is going to last forever.” I mean, I’ve had “Sonic life” tattooed on my arm since 1985, so I feel it’s there until the grave for me.

How has the dust settled since Kim’s book came out? Have you read it?
No, but I heard about it. I’ve seen certain things, and I’ve been told a lot. But no. I asked her publishers for an advance copy at the time, and they wouldn’t send me one. So I was like, “OK.” I know what the story is. I don’t feel the need to discuss my private world and my marriage publicly. Let’s put it that way. I like the idea of talking about Sonic Youth and talking about the band and punk music and experience, and sometimes, those two things get intermingled, especially when there are relationships involved. It becomes part of the story, but I don’t think I would ever tell that story.

I would like to tell the story of the band as a music enterprise, and just the ideas and experience of music-making. If I’m to pen a book, it would certainly be biographical with Sonic Youth, but I would have to write it without working in any salient personal stuff. I don’t feel a need to do that.

Now that you’ve done these records, do you feel then that you’ve moved on, musically?
Oh, yeah. I don’t wake up thinking there was anything left undone, as far as Sonic Youth is concerned. It really had a good story to tell, and I told it. I feel more excited moving on.

Related Content:


J.I.D.: Meet the J. Cole-Signed Rapper Against 'Happy Trappers'

In February, after having contributed vocals to “Jermaine’s Interlude” on DJ Khaled’s Grammy-nominated Major Key, Atlanta rapper J.I.D. became the latest artist to sign to J. Cole’s Dreamville. His debut on the imprint, The Never Story tells a single tale: Before J.I.D. started rapping, he never had shit, least of all hope for the future. Like Gucci Mane, he claims the same East Atlanta street, Bouldercrest Road, as one-time stomping grounds, but he’s a world removed from the trap star, opting for a boom-bap revival inspired by Sly and the Family Stone, D’Angelo, Wu-Tang Clan and Little Dragon. Rolling Stone caught up with J.I.D. in between tour dates with Jazz Cartier, to learn more about how he isn’t screwing up this chance to tell his story.

East Atlanta is often cited in rap lyrics. What was growing up there like for you?
I grew up pretty fast because I had a lot of older brothers and sisters. The closest sibling to me is probably, I’d say like six years detached. It wasn’t that bad because we all worked together. There was just different family scenarios that you go through growing up. We moved around a lot. We stayed in low-income situations. Then we moved up. It was all right.

In “General” you rap, “I don’t fuck with happy trappers.” How did you get to that point?
I don’t even know what made me think of that in particular. But the statement is definitely true. When I grew up, drug dealers and people who was doing illegal stuff to get money, I never saw it as like a glorified thing. I didn’t see it like you sit and be stagnant – be happy with where you at in life. It was always means to a better way, to feed your family. I just never fucked with the over-glorification, but with more of the struggle. I feel our generation, we’re cool with the fiends or whatever. I’m getting too deep. There’s shit I hate. But at the same time, I’m trying to understand. Like, “Damn, why do people like it? Why are they attracted to this?” I do my research, get information on why something works, as opposed to just saying, “I hate this shit. I’ll never listen to it.”

You recently signed with J. Cole’s Dreamville. Was this something you knew you wanted?
I didn’t really know too much about deals; I had to talk to people and learn about the industry. But I knew I didn’t have any income. I was working little odd jobs. But sometimes you just need the fucking money. I ain’t never had bread, bro. And it’s an amazing situation with amazing people. Even outside of J. Cole, I mean the people he works with. It wasn’t that hard of a decision. It wasn’t really even about the money. It was about me being able to create the art I want to make.

Do you write every lyric out, or are you someone who sketches out the melody first?
I try to do like a combination of both, if that’s a thing. I don’t really go in without a thought on where I’m gonna go with it. Even if I try to freestyle some shit, I literally have the topic in mind and the first eight lines. I literally bring a writing utensil and a book with me. I try to be like hella sensitive to my surroundings.

A lot of artists talk about waiting for inspiration to hit. You’re being more proactive.
You have to. Writer’s block, I hate that fucking idea. I pray my shit doesn’t go away. I read fucking books like a asshole. I will go to fucking Chinese proverbs. I will go to every fucking length to spark an idea. It’s so much shit out there, especially with the internet. There’s fucking flying cars. I could literally be anywhere I want, on my phone, a laptop or computer. You know what I’m saying?

What is inspiring you now?
I just got my wisdom tooth taken out. I started recording again last week after I healed up. This is the first time I’ve been able to do the shit and there’s no physical problems. I used to have straight migraines after shows or when I record, and I was spitting blood out because I bit my cheek with the fucking wisdom tooth, and it was just sucking for years. So they took my wisdom tooth out. But I take it with me just in case.

Yeah. I was talking to one of my engineers, and he’s like, ‘I don’t know, man. You might lose all your juice after they took your wisdom tooth out. It just may not be the same.” He was making a joke and shit like that, like a total asshole. So I definitely got that shit with me. He made me feel superstitious about it. I go it in one of my drawers in this little case right quick. I might bring it on tour with me and shit. I start tour in like a couple days.

Which songs on The Never Story are you most proud of?
“Lauder” is a favorite because the name of the song is a friend of mine who passed away. Everybody’s like, “I love ‘Lauder'” and don’t know what shit means, though I just told them now. I was just trying to spill my guts, and I think people received it that way. Initially I wanted to be a writer for other people. “Hereditary,” I was writing it from a woman’s perspective. I was thinking Rihanna could kill a part, or maybe Kehlani or SZA. SZA was in the same studio that night I created “Hereditary,” because I did that in L.A. Everything else was done in Atlanta.

What has life been like for you since signing to Dreamville? Have you had a chance to relax?
No, I haven’t really stopped, for real, because I know I still got a lot of work to do. It’s not going to stop until I’m ready to stop, and I don’t see that happening. I’m just trying to tell my story.

Related Content:


Estrella Jalisco Joins Forces with Lyft and Singer and Reality TV Star Chiquis Rivera to Promote Safe Celebration on Cinco de Mayo

Chiquis Rivera joins Cerveza Estrella Jalisco to kick-off a Cinco de Mayo partnership with Lyft.LOS ANGELES, May 3, 2017 /PRNewswire/ — Estrella Jalisco, the light-flavored pilsner beer with more than 100 years of Mexican brewing tradition, is helping people celebrate safely on Cinco de Mayo by offering up to 10,000 discounted Lyft rides in the greater Los Angeles area on Friday,…


Estrella Jalisco Une Esfuerzos Con la Cantante y Estrella De Telerrealidad Chiquis Rivera y Lyft Para Promover Una Celebración Segura El Cinco De Mayo

Chiquis Rivera joins Cerveza Estrella Jalisco to kick-off a Cinco de Mayo partnership with LyftLOS ANGELES, 3 de mayo de 2017 /PRNewswire-HISPANIC PR WIRE/ — Estrella Jalisco, la cerveza tipo pilsner, refrescante de sabor ligero con más de 100 años de tradición de elaboración mexicana, ayudará a que los consumidores celebren el Cinco de Mayo en forma segura al ofrecer descuent…


Watch Fat Joe, Remy Ma Host Lavish Party in 'Heartbreak' Video

Fat Joe and Remy Ma host a wild Miami party in their “Heartbreak” video. The Terror Squad rappers perform at a villa filled with breakdancing, liquor and pool lounging.

On “Heartbreak,” Joe and Remy exchange verses about their love interests over Vindata’s dancehall beat – the kind of influential, Carribean-flavored groove that continues to dominate pop radio. “Let’s go to Paris/ Let’s go to Rome,” Remy raps. “I’m so all into you/ I can’t contain it now.” The-Dream pops in for the chorus, wistfully crooning, “They say nothing lasts forever, but forever’s always wrong.”

“Heartbreak” appears on Fat Joe and Remy Ma’s recently released collaborative LP, Plata o Plomo. The album also features surprise 2016 hit “All the Way Up,” which earned Grammy nominations for Best Rap Song and Best Rap Performance.

Last summer, the 46-year-old Fat Joe boasted to Rolling Stone about scoring a hit so deep into his career. “We’ve been able to accomplish some shit nobody’s been able to,” he said. “That’s why you haven’t been hearing your favorite rappers on the radio. It’s like some real diabolical shit – you take elements of that original hip-hop, but make it so that young kids today can feel like it’s the shit they’re vibing with.”

Related Content:


LMC Announces Start of Preleasing at The Morris Apartments

LMC LogoNASHVILLE, Tenn., May 3, 2017 /PRNewswire/ — LMC, a leader in apartment development and operations, today announced the start of preleasing at The Morris, a luxury mixed-use apartment community located along Music Row at the site of country-music icon Dale Morris’ former office.


Lars Ulrich's New Job: Beats 1 Radio DJ

Metallica‘s Lars Ulrich aims to obliterate musical boundaries with his new Beats 1 radio show, It’s Electric!, which debuts Sunday, May 7th at 3 p.m. PT with special guest Iggy Pop. An encore episode will air Monday, May 8th at 3 a.m. PT. In a teaser video, the drummer calls his show “my 16-year-old self’s wet dream: doing a radio show to a worldwide audience.”

“We go all over the world – we look at international bands for an international audience,” he continues. “I’m gonna play you lots of really cool music by mostly bands you don’t know; a lot of bands I’ve just been introduced to. We don’t believe in boundaries, and we’re open to everything. I have some guests call in on the phone, and they promise me I’m gonna have this show every week.”

Ulrich spoke to fellow Beats 1 host Zane Lowe about his new gig, noting that his show will be “unfiltered, unscripted and completely all over the place.” He also added he’s been exposed to great obscure music while prepping for the show.

“I gotta tell you, since we started this endeavor six weeks ago, I’ve been turned on to more great music just doing research for my show in the last four to six weeks than I have literally in the past five to 10 years,” he told Lowe. “I’ve got so much stuff to share with everybody out there and a lot of stuff that’s turning me on. I’m telling you, people that love great music, rock music but also hip-hop and world music, and all the rest of it – there’s a lot of people that talk about, ‘Well the music business is in sad shape, and it’s dying,’ but there’s a ton of fantastic music out there, and I’m reenergized and reinvigorated and ready to share it with the world.”

Ulrich told Lowe that he recruited Pop for a guest spot after Metallica enlisted the punk legend to perform onstage in Mexico City

“He joined us onstage for a sensational run through of the Stooges classic ‘TV Eye,’ and I asked him if he’d be the first guest on It’s Electric!” he said. “He called in and we talk about our shenanigans in Mexico City, the new relationship and the rest of it, so he’s the very first guest. How cool is that?”

Ulrich and Pop will discuss the stage collaboration in the premiere episode. The drummer will also play deep cuts, tell stories from the road and detail what drove him to a music career. 

Metallica released their 10th studio album, Hardwired… to Self-Destruct, last year. The metal legends will kick off a North American tour May 10th in Baltimore. “It’s been a total mindfuck the last six months about how the whole world has received this record,” Ulrich told Lowe. “Life on planet Metallica is very good.”

Related Content:


Se anunció el Cruise To The Edge 2018

http://rockbands.net/wp-content/blogs.dir/3/files/2017/05/ON_THE_BLUE_Cruise_To_The_Edge.jpg?p=captionLOS ÁNGELES, 3 de mayo de 2017 /PRNewswire/ — Se anunciaron los detalles de la quinta excursión anual CRUISE TO THE EDGE, el mayor festival del rock progresivo presentado por YES –el ícono del rock clásico.
Con la presentación de algunos de los mayores artistas musicales del rock…


Listen to 'Rolling Stone Music Now' Podcast: Sheryl Crow: My Life in Music

The latest episode of Rolling Stone Music Now podcast is now available. Listen and subscribe to the podcast on iTunes, Spotify or check it out below.

Sheryl Crow guides host Brian Hiatt through the winding road of her career, explains why she thinks grunge killed rock & roll and tells the story of how she made her new album during school hours.

Listen and subscribe to the podcast on iTunes or Spotify and tune in Fridays at 1 p.m. ET to hear the show live on Sirius XM’s Volume Channel.

Related Content: