Daily Archives: July 26, 2017

On the Road With 'Dark Knight' Composer Hans Zimmer

The last time Hans Zimmer was a touring musician, it was around the time Margaret Thatcher took office. Having moved from Germany to England for school as a teenager, opting out of college and having no more formal music training than two weeks of childhood piano lessons, he was playing keyboards for Krakatoa, an ultimately unsigned hard rock band.

“And it was just these Working Men’s Clubs with endless tables with people nursing their pint of beer which they’d been nursing all day,” he says. “And usually … we were either the support act for the strippers or the strippers were the support act for us.”

Now, in a seventh-floor suite in a Four Seasons outside of Dallas, Zimmer – the 59-year-old Academy Award-winning composer behind The Lion King, The Dark Knight, Inception and this year’s critically acclaimed Christopher Nolan film, Dunkirk – is hours away from the first of 20 North American tour dates with a decidedly fuller set up: six buses, 10 semis, 19 touring musicians, pick-up orchestral players and choirs in every city – and a setlist featuring nearly 30 years of soundtrack music. 

Fancifully clad in pinkish pants and colorful striped socks, Zimmer asks his tour manager if all of the musicians have arrived in Texas. It’s been about two weeks since the European leg ended in Milan, Italy, and his band members are flying in from their various home countries – including, he says, Tasmania, South Africa, England and Switzerland. His own break wasn’t much of one. He says he went back and worked on a soundtrack until 2 a.m. every night. (As for which movie: “My lawyer actually said to me, ‘You know when you sign these non-disclosure agreements, this one, please take it seriously and don’t even tell your family.'”)

Together with his band, they will approximate the composer’s eclectic repertoire, which leaps between electronic experimentation and orchestral bombast, heart-tugging melodies and anxiety-raising sound design. His discography is dotted with unorthodox methods: For The Lone Ranger, he banged on a train that was in the yard of neighbor Chris Carter of X-Files fame; for The Dark Knight, he took razor blades to piano wire; Sherlock Holmes was recorded on an out-of-tune piano he bought for $200. His most invasive sound, the foghorn noise playfully referred to as “braaams” throughout Inception, was made after Zimmer put a piano in the middle of a room, put bricks on the pedals and had more than a dozen brass players blast at the strings.

Though he’s scored and co-scored some of the highest grossing films of all time – including three Christopher Nolan Dark Knight movies and four Pirates of the Caribbean films – Zimmer is the rare film composer that can draw a passionate live audience billed under his own name rather than the franchises he soundtracks.

“I had Johnny Marr and Pharrell,” he says, recalling a pivotal moment in his Santa Monica studio. “I remember sitting on my couch, and I think they were sitting either side of me, and saying, ‘Come on Hans. You gotta get out of this room. One of these days, you have to look your audience in the eye. You not only have to look them in the eye, but in a funny way, you have to sort of say ‘thank you’ to them.'”

Zimmer does look his audience in the eye, since he spends each show playing piano, keyboards and guitar instead of conducting. In fact, there’s no conductor during his shows, his band instead following a teleprompter system in order to, as he says, “tear down that wall that seems to be artificially created.” 

“You can find it on YouTube. It’s my favorite bit of conducting ever,” Zimmer says. “It’s Leonard Bernstein in Vienna, with the Vienna Phil. and they’re playing Haydn. And he knows how they play Haydn, so he just folds his arms, and he just raises an eyebrow occasionally, and he just gives a smile to somebody who played something beautiful.”

Hans has got a band together,” says Nile Marr, son of Johnny and one of Zimmer’s guitarists. “It’s hard to see when you’re immediately faced with so much gear, so many people. But when you really strip it away, it’s a band at its core. … It’s basically like, if someone took a band and were like, ‘We want to do every one of your wildest ideas. Let’s make it happen.'”

Zimmer bringing orchestral music around the country almost like a rock band. He says when they did their first show in London, producer Harvey Goldsmith didn’t suggest the stuffier Royal Albert Hall, but instead the Hammersmith Apollo where Zimmer saw bands in high school. Zimmer brags that guitarist Guthrie Govan never plays the same solo twice. Percussionist Aicha Djidjelli comes from playing kit in punk bands and says she learned the arrangements by ear. Zimmer describes the music stands on stage as “safety blankets.” He thinks this may be his last tour, partially since he’ll doesn’t think he’ll never be able to assemble this band of friends and collaborators again. And at no point during the show will you see a single frame of a movie.

Pirates and Gladiator became one of those things that they were touring, you know, the movie with the orchestra. And I went to see one of them and I just remember my reaction of being really excited about seeing the orchestra for the first five minutes, and then I was completely sucked into the film,” says Zimmer. “It neither served the film nor did it serve … Certainly it did not serve the orchestra. And then I was thinking about this whole idea of orchestral film music and how it’s presented if it’s not with a film, which is really, you have a man with his back to you for the whole evening and a bunch of people reading the paper. I just sort of had this image of a marriage gone south. … Unless it’s an amazing conductor, it really is a wall between the audience and the musicians. And the thing I really love is the musicians.”

Zimmer got his start as a musician, playing keyboards in rock bands throughout the Seventies and Eighties. Krakatoa never officially released a single, but his time with them left a lasting impression. He remembers a gig in Sunderland where the shipyards had closed down, looking off the stage and seeing the “monumental hopelessness” as the band provided entertainment for people who were out of work.

“And I realized that,” he says with a pause. “Do I really want to tell you this? Yeah, fuck it. I carried something away from all those tours. … I have a fictitious person I write for. And she’s called Doris, and she’s from Bradford and she wears a raincoat and she has two horrible little kids that are giving her nothing but grief. And you know, the man left her a while back. And she just, in the rain, everyday, trudges to work and she works hard. … And so if she puts her hard-earned money down, we better give her an experience. And we better put everything in just like she put everything in to get there. … When I finish writing a piece. Sometimes my music editor says to me, ‘What do you think? Do you think Doris will like this one?'”

Zimmer went on to work with the synth-pop crew the Buggles, whose single American hit, “Video Killed the Radio Star,” is best known as the first video played on MTV. During the video’s outro, you can see a young Zimmer playing an enormous synth rig. He says that particular synth was purchased by Mick Jagger for the 1970 film Performance and then sold to Christopher Franke of komische drone crew Tangerine Dream. Zimmer “inherited” it, and it still gets used.

“Anything that pins you in your seat in Dark Knight,” he says, “is… you know.”

Although that synthesizer would have a long career, Zimmer’s time in the Buggles was short-lived. They never toured, and he was gone before the second album.

“We were recording in this studio that belonged to some famous record producer,” Zimmer says. “And occasionally, he’d just wander through the studio, and he’d just drop comments like, ‘I don’t know why you guys even bother to finish this thing.’ It was just so disheartening.”

“Video Killed the Radio Star” became a hit and Zimmer says the record company had gone from disinterest to asking for an album – but Zimmer says they didn’t really have any other songs. “In the nicest possible way being told, ‘Well just do the same thing over and over,'” he explains. “And it really was at that moment that I went, ‘Hang on. That’s not how I want to spend my life.'”

Zimmer spent the early Eighties doing sessions as a synth programmer until he met The Deer Hunter composer Stanley Myers. Myers began to mentor the young composer after Zimmer figured out how to work his espresso machine. He did a few years of collaborative scores with Myers, but it was his solo score for 1987 anti-apartheid film A World Apart that intrigued director Barry Levinson, who tapped Zimmer for 1988’s Rain Man. At age 31, it garnered him his first Academy Award nomination and launched a career that covers everything from The Thin Red Line to Madagascar to this year’s war epic, Dunkirk

Zimmer, who seems like a big hugger, engages in multiple embraces as he reunites with his bandmates in the lobby and porch of the Four Seasons. He makes his way past the bags – organized by their numbered yellow tags – onto the tour bus, which has a cluster of bunks and his private bedroom in the back. After some discussion about why American tour buses can only have a single level, Zimmer, assistant Cynthia Park, singer Lebohang “Lebo M.” Morake and drummer Satnam Ramgotra take a more than 30-minute ride to the Verizon Theatre in nearby Grand Prarie, Texas. Zimmer met Ramgotra as a beatboxer when he was working on the score to 2001 film Black Hawk Down.

“I had this insane track which was really fast and it was 22 minutes long and I didn’t tell him,” Zimmer says. “He was doing really amazingly well but I was actually thinking, ‘He’s gonna die. He’s gonna run out of air, he’s gonna die.’ That was the worst thing I ever made you do right?”

No,Ramgotra replies to assorted laughter.

Zimmer has spent his career working in “windowless dark rooms.” Photos of his studio in Santa Monica reveal a plush, dimly lit room full of walls of knobs that he once said was designed to look like “a 19th-century Viennese brothel.” Touring has been somewhat of an adjustment.

“Firstly,” he says, “I don’t know what day it is.”

“I think it’s Friday,” says Ramgotra.

“It’s Thursday!” counters Hill.

“Right now, it literally is in the moment,” says Zimmer. “So my whole – like everything I’ve known, everything I’ve done, everything I’ve gotten good at – is meaningless.”

Lebo M., 53, sits across from Zimmer. He wears an unassuming polo shirt, camouflage pants and a hat that reads “DAD.” Lebo’s so soft-spoken that he’s hard to hear over the rattling of the bus, but he’s responsible for some of the most iconic vocal belting in movie history, the “nants ingonyama” that opens “Circle of Life” and 1994’s Disney animated film The Lion King. Though you can currently hear a version of “Circle of Life” on Broadway and in touring companies around the world, in what is the highest-grossing musical of all time, only Zimmer’s tour has the actual singer.

“When I first met this guy, he was a political refugee working in a car wash. And he was doing such a terrible job at that car wash,” says Zimmer. “I just had to go save all those cars from getting scratched up.”

When composing 1992’s The Power of One, Zimmer needed a co-writer who understood the music, culture and conflicts of South Africa and was recommended Lebo by a friend.

He recalls a 6 o’clock meeting with producers and directors when he had “no Lebo, no nothing,” just a track that was an arrangement of Elton John’s “Circle of Life.” He says Lebo rang the studio doorbell around 5:30. Zimmer says he played him the music and said to do something.

“And if you listen very carefully to that beginning chant, right out in the first note you can hear a fader move because he was just belting,” says Zimmer. “And that was the take. It’s the only take.”

“When we started doing this, ’cause I was between Los Angeles and South Africa, my headspace was in South Africa, and the taking over of Simba was not a cartoon to me. It was literally when Mandela was about to be president,” says Lebo. He sings the line “Ndabe zitha” from “King of Pride Rock” and explains the lyrics as a statement of taking over a country. “Ndabe zitha – king of kings, rule this land, rule with peace, heal the land, heal with peace,” he says. “Scar became the old apartheid system and then Simba became Mandela, so there’s this duality in both worlds happening at the same time.”

Lebo explains that the famous opening line, “Nants ingonyama,” is a mix of Zulu and Xhosa and therefore not especially impressive when directly translated (the Internet offers: “Here comes a lion.”)

“But it metaphorically means the entrance and the power of what the lion represents … therefore the power and the entrance of a king when a king enters,” he says. “It’s a calling to alert the nation, whether it’s in animals or in human beings, the king is arriving. So metaphorically, when you look at both, if you imagine everywhere Nelson Mandela entered, it was a huge power in his entrance that represents the power of a lion.”

Lebo, not Zimmer, ended up recording the choirs weeks before the South African election as a civil war raged outside. As Zimmer explains: “The studio was like sanctuary and none of the singers would leave the studio because they didn’t wanna go. Music was sanity.”

The bus arrives, Zimmer drops his shoulder bag and jacket in a dressing room and immediately heads to the stage. (“First thing I have to do, I have to smell the room,” he said earlier.) He sits down at the piano (topped with a martini glass and shaker) at center stage and starts plunking out his theme to 1989’s Driving Miss Daisy. Around him, the shell of the evening’s show is mostly in place – tympani, a modular synth set up, bell chimes. The guitar tech, Graham Merchant, plays Kendrick Lamar from a UE Boom speaker.

“What I do like are the seats are pretty close,” Zimmer says about the venue. “I do get to look in people’s eyes.”

Before sound check, Carl Kleinsteuber, a local tuba player in the pick-up band, approaches Zimmer to tell him he’s a fan.

“No, no,” Zimmer demurs, “after tonight, I will be your biggest fan.”

That night’s show was bombastic, majestic and occasionally avant-garde (especially thanks to the slow-climbing glissando of The Dark Knight‘s Joker theme “Why So Serious?”). Cellist Tina Guo whips her hair and Marr raises his guitar. Lebo put his arm around Hans, sang with his daughter Refi and received no shortage of standing applause. Zimmer thanks a section for being noisy.

He admitted to being a little worried before he got on stage that night (“It’s called free-flowing anxiety. Who knows?”) and has dealt with stage fright in the past. Zimmer says that Pharrell even knew about his stage fright after the singer invited him to play guitar on the 2015 Grammys. He says the superstar made a lot of eye contact as a “brotherly gesture.”

“To go from Milan to Dallas seems very different and I didn’t know what to expect from the audience,” Zimmer says, now backstage, already in his button-up pajama top and eating a banana. “And then, straightaway, I mean, literally, just being up on stage and just seeing the first few rows being totally with me was great.”

Behind him in his dressing room is a Sohmer piano with a musty smell and some dirty keys. So far, he hasn’t played it.

I, on purpose, haven’t played the piano because I looked at it and I thought, ‘It’s going to be… ” he interrupts his own thought and says, “Well, come on let’s do it.”

He wanders over and meanders through the Sherlock Holmes theme with a few pauses and bum notes.

“It’s a perfect piano to do Sherlock Holmes,” he says before two more starts. “I can’t remember how it goes. See, I can play it on the banjo, but I can’t play it on the piano. I thought it would be a real disappointment but it’s actually a really nice, moody piano,” he says, before playing wordlessly for more than a minute.

He starts Beethoven’s “Für Elise,” talks about the theory that the “Elise” in question was actually a transcription error, and starts the composer’s “Sonata Pathétique” mid-story.

“Doesn’t that just kill you how simple and perfect that is?” he says.

“One of my favorites,” says Nick Glennie-Smith, film composer and Zimmer musician, who had wandered in.

Zimmer’s bus heads for Houston that night, the rock & roll summer of someone who gathers orchestras and plays Beethoven backstage rolls on. Does the successful composer have any long-held fantasies about being a touring musician?

“No, weirdly there never were,” he says. “No, look, my long-held fantasy which will never happen is that I could play guitar like Stevie Ray Vaughan and play the blues all night.”

Related Content:

http://www.rollingstone.com/

Charli XCX Recruits Joe Jonas, Wiz Khalifa in Celeb-Packed 'Boys' Video

Charli XCX enlisted visual cameos from an A-list crew of male celebrities in her bubbly video for new single, “Boys.”

The clip, which the singer helmed alongside Sarah McColgan, cycles through the artists mugging for the camera in hilarious and often bizarre scenarios. Highlights include Joe Jonas, wearing a bath robe emblazoned with his initials, sitting at a dinner table to five massive stacks of pancakes; Will.i.a.m hanging out in front a disco ball; and Wiz Khalifa throwing around fake money.

On the breezy electro-pop track, which previews her forthcoming third studio LP, out next year, Charli XCX admits that romantic daydreaming is affecting her friendships. “I’m sorry that I missed your party,” she softly croons. “I wish I had a better excuse, like ‘I had to trash a hotel lobby’/ But I was busy thinking ’bout boys/ I was busy dreaming ’bout boys.”

Elsewhere, Panic at the Disco’s Brendan Urie reclines on a spread of red rose pedals; Diplo cuddles with multiple dogs; Jack Antonoff pumps iron; former Vampire Weekend member Rostam Batmanglij gets his head shaved; Mark Ronson uses a comb to slick back his hair; and Mac DeMarco gazes into the camera while licking the neck of an electric guitar.

The clip also features Riz Ahmed, Ty Dolla $ign, Vampire Weekend’s Ezra Koenig, Charlie Puth, Bring Me the Horizon’s Oliver Sykes, Chromeo, Flume, G Eazy, Joey Badass, Kaytranada, Portugal. the Man and the Libertines, among others.

The alternative-pop singer has yet to officially announce the album, which will follow her March-released mixtape, Number 1 Angel

Related Content:

http://www.rollingstone.com/

SOUNDBREAKING Nominated for News & Documentary Emmy Awards

Soundbreaking Official LogoWASHINGTON, July 26, 2017 /PRNewswire/ — SOUNDBREAKING: STORIES FROM THE CUTTING EDGE OF RECORDED MUSIC, one of the most wide-ranging series on the art of music recording and the last project of renown music producer Sir George Martin, has been nominated for a News & Documentary Emmy…

PR NEWSWIRE

Review: Coldplay's 'Kaleidoscope EP' Continues Mood of Tranquil Satisfaction

Titled after a soothing interlude from the band’s2015 LP, A Head Full of Dreams, this five-song EP continues that album’smood of tranquil satisfaction. Its lead track, “All I Can Think About IsYou,” goes from moody restraint to stadium shimmer, with Chris Martinradiating euphoria. Big Sean lends a few surprisingly organic lines to theuplifting dance-pop snugglet “Miracles (Someone Special)” and BrianEno produces the skitter-grooved “Aliens.” A live version of Martin’shit Chainsmokers collaboration, “Something Just Like This,” breaksthe flow on a record that otherwise goes down as easy as Sunday brunch with acool uncle. 

Related Content:

http://www.rollingstone.com/

Watch Selena Gomez Eat Soap in Odd 'Fetish' Video With Gucci Mane

Selena Gomez‘s romantic obsessions turn surreal in her video for “Fetish,” featuring Gucci Mane.

Director Petra Collins opens on a seemingly normal suburban street, where the singer walks by carrying bags of groceries. She approaches a house, nestled next to a recently crashed car, and the clip grows more absurd from there: Inside the home, Gomez eats soap, ties a knot of string around her tongue and writhes around on the kitchen floor.

“Take it or leave it/ Baby, take it or leave it,” she sings over minimalist electro-pop production. “But I know you won’t leave it, ’cause I know that you need it/ Look in the mirror/ When I look in the mirror, baby, I see it clearer/ Why you want to be nearer.”

“Fetish,” which Gomez released in mid-July, follows her Talking Heads-sampling single “Bad Liar.” The singer has yet to announce the follow-up to her 2015 LP, Revival, or indicate whether these songs will appear on an album.

Last year, Gomez announced plans for a career hiatus to deal with lupus side effects, including “anxiety, panic attacks and depression.” 

Related Content:

http://www.rollingstone.com/

Review: WizKid's Major Label Debut Is a Border-Blurring Dance Party

Twenty-seven-year-old Nigerian productionwunderkind WizKid found an international audience with his appearance on Drake’sworldly megahit “One Dance.” On his own, WizKid turns his Afropopinto a meeting point for a host of party-starting dance styles, getting adancehall assist from Major Lazer on “Naughty Ride,” bringing inChris Brown for the reggaeton-inflected “African Bad Gyal” andhooking back up with Drake for the sensual “Come Closer.” Even ifWizKid doesn’t move these genres forward, the breezy set still goes by like thewell-earned victory lap that it is. 

Related Content:

http://www.rollingstone.com/

21 Savage: Talking Honesty, Politics and 'Mumble Rap' With Atlanta's No-Nonsense MC

“People believe me, and they don’t really believe a lot of people,” says Atlanta rapper 21 Savage, who has recently made the leap from beloved mixtape emotion-spiller to radio hitmaker. “They feel like I’m telling the truth – ’cause I’m telling the truth. That’s why a lot of people gravitate towards me: I’m a real nigga in a fake-ass industry.”

Savage’s debut full-length, Issa Album, released in early July, was a resounding success, debuting at Number Two. Self-produced single “Bank Roll” – a celebration of affluence goosed by the instantly memorable mantra, “I got 1-2-3-4-5-6-7-8 M’s in my bank account” – landed at Number 33 on the Hot 100, marking 21 Savage’s second blitz on the Top 40 in just eight months.

He’s sitting in a conference room at Epic Records’ offices in New York City with new girlfriend Amber Rose next to him in glittering aviators. Savage speaks softly, smokes a Newport and freely admits he is out of his element in New York: “Ain’t nothing to do up here but spend money. Every building is a business. I ain’t even seen a movie theater yet.”

It’s been less than three years since he released his debut single. Atlanta producers Sonny Digital and Metro Boomin (both known for their work with Future and Gucci Mane) helped encourage 21 Savage to try a career in hip-hop. Before that, he explains, “I was running around robbing niggas and shooting niggas and shit. I was just hanging out around a rapper that I knew on some niggas-be-wanting-street-cred type shit. He was introducing me to everybody. I met Sonny first, then Metro. They pushed me to rap.”

On his 21st birthday, 21 Savage was hit six times in a shooting that killed his friend.

“[I was] just tryin’ to to do something better with my life,” he says about his rap career. “And it paid good.”

On his records, 21 Savage raps like a man trying not to sweat, delivering laconic couplets in an arid, conversational tone. He doesn’t care for tunefulness or modulation in volume. He never adds a new word if repetition or silence will do. Many of the beats provided to him by Metro Boomin are similarly severe, just one line of melody over jaw-breaking rhythms.

“A lot of times artists rap with a whole lot of words and metaphors – to simplify it and say all that you are trying to say in a few phrases is a gift,” says Zaytoven, one of the most important Atlanta hip-hop producers of the last decade, and co-producer on two of Issa Album‘s tracks. “21 can come with the slow flow, the lazy flow, like he don’t even be excited, but he’s saying all the right things.”

21 Savage’s no-nonsense style on the Metro Boomin collaboration Savage Mode earned him a Gold certification. Epic Records passed up a chance to sign the rapper early on, but former label head L.A. Reid realized his mistake after its release.

“When I came into the [Epic] office [the second time] I’m like, ‘Yo, you gotta pay an extra fee cause you ain’t sign me in the beginning,” 21 Savage says. Respected hip-hop figures lined up to give their approval: Drake shouted him out on Instagram, Jay Z referenced him on DJ Khaled’s “Shining,” super-producer Mike Will Made It featured him on Ransom 2 cut “Gucci on My.”

But with fame comes critics, and despite the success of Issa Album, the detractors who disparage his work as “mumble rap” still irk 21 Savage.

“I don’t feel like nobody who they say [is] mumble rap mumbles,” he retorts. “They don’t understand my slang or my accent. They don’t know how to categorize it, ’cause it’s art. They’re just trying to bring it down.”

Then there are the Instagram commenters who claim that all 21 Savage tracks are interchangeable. The rapper says parts of Issa Album serve as a direct refutation to them.

“I made sure I made certain songs just so people couldn’t say every song sound the same,” he asserts. At least two tracks on the new LP might be described as love songs, mostly uncharted territory for 21 Savage, and he sings on Issa Album for the first time. “I was sangin’,” the rapper acknowledges. “That’s what everybody else doin’. Shit. Might as well.”

21 Savage is also explicitly political on his new record, addressing systemic racism and police brutality in addition to referencing Civil Rights icons like Martin Luther King Jr. and Rosa Parks. “Most of the time I just talk about me or what I experience,” he acknowledges. “Now I be trying to talk about other things that other people can relate to.”

“It’s hard being black,” he adds soberly. “I don’t think people really understand how hard it is to be black. Especially when you coming from nothing. In the hood, there’s already a lot of hate just amongst us black people. We killin’ each other and everybody else killin’ us too. We poor. And the world hates us.

“People always say I don’t ever talk about that type of shit, then when I talk about that type of shit, they do everything in their power to not talk about that song,” he continues. “They don’t give me the credit. Fuck ’em.”

He has resolved to stay above the fray and maintain the plain-spoken sincerity that has made him popular. “Even if nobody keeps it real with me,” he declares, “just as long as I know in my heart I done kept it real with everybody, I can live with that. Even if I ain’t the famous-est, the richest, the best: As long as I know I kept it real and didn’t backstab nobody, I sleep good at night.” 

Related Content:

http://www.rollingstone.com/

Stone Temple Pilots Unearth Unreleased Demos, Live Recordings for 'Core' Reissue

Stone Temple Pilots unearthed rare tracks, unreleased demos and live recordings for a remastered, 25th anniversary edition of their debut LP, Core, out September 29th via Rhino.

The reissue will be available in multiple formats. The 2-CD deluxe version contains a newly remastered version of the alternative-grunge classic, along with rare B-sides and previously unreleased demos. (A single-disc remaster of the original LP will also be available.)

The massive Super Deluxe Edition includes the remastered original album, over two hours of unreleased demos and live tracks (including their 1993 MTV Unplugged performance), a vinyl copy of the original LP and a DVD containing a 5.1 surround sound mix and videos for singles “Sex Type Thing,” “Plush,” “Wicked Garden” and “Creep.” The package, limited to 15,000 copies worldwide, comes housed in a hardcover book featuring rare and unseen photographs from the era.

A limited-edition bundle of the deluxe edition – with 1,000 copies worldwide – includes a bonus replica seven-inch vinyl single of “Plush” originally released in the U.K. in 1993. This set is available to pre-order via the band’s website.

The Super Deluxe Edition includes nine demos, with four dating between 1987 and 1990 when the band performed under the moniker Mighty Joe Young. One of those, “Only Dying,” is a previously unheard track Stone Temple Pilots planned to re-record for the all-star soundtrack of 1994 fantasy film The Crow; however, they scrapped the song after the movie’s star, Brandon Lee, was killed during production.

The second disc also features five unreleased demos from the Core sessions and four B-sides (including a jazzy “Swing Type Version” of “Sex Type Thing”). The third disc contains two live recordings from summer 1993: an unreleased set from the Castaic Lake Natural Amphitheater near Los Angeles and the band’s Reading Festival spot, which makes its U.S. debut on the reissue.

In December, the surviving members of Stone Temple Pilots marked the one-year anniversary of Scott Weiland’s death by penning a remembrance of the late singer. “We often think of you and are reminded of you daily with many memories,” they wrote. “Then there is the music the four of us carved out allowing us to listen and feel how brilliant you are.”

Stone Temple Pilots – Core (Super Deluxe Edition) Track List

Disc One: Original Album Remastered

1. “Dead & Bloated”
2. “Sex Type Thing”
3. “Wicked Garden”
4. “No Memory”
5. “Sin”
6. “Naked Sunday”
7. “Creep”
8. “Piece Of Pie”
9. “Plush”
10. “Wet My Bed”
11. “Crackerman”
12. “Where The River Goes”

Disc Two: Demos And B-sides

1. “Only Dying” – Demo *
2. “Wicked Garden” – Demo *
3. “Naked Sunday” – Demo *
4. “Where The River Goes” – Demo *
5. “Dead & Bloated” – Demo *
6. “Sex Type Thing” – Demo *
7. “Sin” – Demo *
8. “Creep” – Demo *
9. “Plush” – Demo *
10. “Sex Type Thing” – Swing Type Version
11. “Plush” – Acoustic Type Version
12. “Creep” – New Album Version
13. “Plush” – Acoustic from MTV Headbanger’s Ball (Take 1)

Disc Three: Live 1993

Live At Castaic Lake Natural Amphitheater (July 2nd, 1993)

1. “Crackerman” *
2. “Wicked Garden” *
3. “No Memory” *
4. “Sin” *
5. “Plush” *
6. “Where The River Goes” *
7. “Sex Type Thing” *
8. “Wet My Bed” *
9. “Naked Sunday” *

Live At The Reading Festival (August 27th, 1993)

10. “Wicked Garden”
11. “No Memory” *
12. “Sin”
13. “Lounge Fly” *
14. “Dead & Bloated”
15. “Sex Type Thing”
16. “Naked Sunday”*

Disc Four: MTV Unplugged (November 17th, 1993)

1. “Crackerman”
2. “Creep” *
3. “Andy Warhol”
4. “Plush” *
5. “Big Empty” *
6. “Wicked Garden” *
7. “Sex Type Thing” *

Disc Five: (DVD) Original Album 5.1 Mix, 24/96 Stereo Audio, And Music Videos

* Previously Unreleased

Related Content:

http://www.rollingstone.com/

Trent Reznor: Donald Trump Is 'Vulgar, Grotesque Dope'

Trent Reznor called Donald Trump “a complete fucking moron” who doesn’t believe in science in a new interview.

Speaking to the Village Voice on the heels of Nine Inch NailsAdd Violence EP, Reznor criticized the new administration, especially Trump’s take on climate change; Reznor, with Atticus Ross, recently scored the documentary Before the Flood, an environmental call-to-action film warning of the irreversible effects of climate change.

“Donald Trump is a bad guy, isn’t he? Look, I don’t think he’s a good guy. Some people do,” Reznor said he told his six-year-old son of the president. “I don’t think he believes in science and I don’t think he believes people should be treated decently and I don’t think he tells the truth. That’s why I don’t like him.”

Reznor added his true thoughts about Trump in adult language. “It’s tough, because the president of the United States is a complete fucking moron,” he added. “That’s what gets me the most — that he’s this vulgar, grotesque dope, everything I hate in people.”

This isn’t the first time Reznor has spoke out against Trump. In October 2016, the singer admitted he enjoyed watching the Republican presidential debates because “it’s kind of fun to see a grenade go off and see these guys – I hate every one of them – be eliminated and humiliated.” However, it “stopped being fun” and started getting “surreal” once Trump won the nomination.

Reznor told the Village Voice that, growing up in rural, conservative-leaning Pennsylvania, he could understand how people outside of cities could feel marginalized and therefore align with someone like Trump.

“When you’re not in an urban environment, you often feel left out of the conversation, and I get that,” Reznor said of his Rust Belt roots. “I grew up in that.” Still, he called the current situation in America “disheartening.”

Related Content:

http://www.rollingstone.com/

Gerard Way: Touring With Linkin Park 'Changed My Life'

Gerard Way reflected on the late Chester Bennington in a recent interview, saying that Linkin Park “changed [his] life” by bringing his former band, My Chemical Romance, on the touring Projekt Revolution festival. “I met my wife [Mindless Self Indulgence bassist Lyn-Z on the tour],” Way told Nerdist. “We have an amazing life now and a daughter. My memories of that period and meeting Linds again are tied into Chester and his band.”

“He was actually at my wedding,” the singer continued. “Not a lot of people were there because we got married super quickly at the end of the tour when half the people had gone home. So there were literally only 30 or 40 people there, and he was one of them.”

Linkin Park created Projekt Revolution in 2002, recruiting major acts from alternative metal, hip-hop and alternative rock for the traveling fest. My Chemical Romance joined for the 2007 trek, and Way married Lyn-Z backstage during the final show.

Bennington beamed with pride about his accidental matchmaking role during a 2008 Rolling Stone interview alongside friend Chris Cornell, saying, “I felt really proud that … Gerard and [Lyn-Z] reignited their friendship and then ended up getting married backstage on the last show. I was like, ‘This is freaking awesome.'”

Way, who has ventured into comic book writing in recent years, told Nerdist he was “devastated to hear” about Bennington’s suicide last week, adding that he aims to tackle the subject of mental health in DC Comics’ Doom Patrol series.

“It’s so sad,” he said. “I think a lot about mental health, and it’s something I’ve always wanted to address in Doom Patrol, so I definitely think we’ll see a lot more of that now. I’ve been through depression, dark times, and therapy. I can really apply that stuff to these characters.”

Related Content:

http://www.rollingstone.com/