All Time Low Pictures

Backstage With All Time Low on Three-City, One-Day Marathon

Pop-punk band All Time Low attempted the nearly impossible — three secret shows in one day — to herald the arrival of new album Nothing Personal. While mentors Mark Hoppus and Pete Wentz pop up in the band’s new video for “Weightless,” the band was on its own for the whirlwind trek to Washington, DC, Chicago and Anahem, California on July 7th, and they filmed part of their travels for Rolling Stone on a handy Flip camera. Click above to watch the results.

Published: 2009-07-17 Provider: Rolling Stone Keywords: Rock News, Videos

HIM name new album

Finnish metallers HIM have confirmed that their that seventh studio album will be released early next year. The follow-up to 2007's Venus Doom has tentatively been titled Screamworks: Love In Theory And Practice and will be released on Valentine's Day (February 14) 2010. The band began recording with producer Matt Squire (Taking Back Sunday, All Time Low, The Used) early last month and have already tracked rhythm guitar, drums and bass. Recording is expected to finish before Christmas. In relate

Published: 2009-09-11 Provider: Kerrang!

Bat for Lashes Return With Scott Walker, Multiple Personalities on April’s “Two Suns”

Photo: Forrest/WireImage Last year English songstress Natasha Khan grabbed our attention with her incredible Donnie Darko-esque one-take video for her band Bat for Lashes’ “What’s a Girl To Do.” The album it came from, the well-received 2006 debut Fur and Gold, led to a prestigious European tour support slot with Radiohead: “Thom Yorke told me I should do what I want and fuck everyone else,” she recalls. And so she has — Bat for Lashes will return April 6th with Two Suns, an album heavy on musical method acting. Khan tells Rolling Stone that the record was inspired by intensely personal experiences that followed ’06’s hauntingly ethereal Fur and Gold. But instead of writing first-person confessionals, her new lyrics are channeled through two main personas, one of which is Pearl, an egotistical (and blond!) femme fatale. “When I was recording and struggling with relationships and being away from home, I would sometimes go out to a bar and get drunk and then dress up and some of the characters on the album,” she says. “It was like an escapist fantasy — a way for me to help make sense of what I was feeling. It sounds a bit mental but then again, I was feeling a bit mental at the time.” Brooklyn experimentalists Yeasayer contribute to the album and Khan has even managed to lure the famously reclusive Scott Walker into providing vocals on the album’s finale “The Big Sleep.” “That song was meant to be drag queen’s dying song and I wanted it to be very theatrical. I was trying to sing the low part like a man but when I did, I just heard Scott Walker’s voice in my head,” she says. “It was all done by e-mail and we didn’t even meet. I sent him the song with some notes and he sent it back saying he really tried to get into character and that he hoped he had done it justice — which he definitely has! He also said it was the quietest he’d sung in years.” Related Stories: • Breaking: Bat for Lashes • Single Minded: Bat for Lashes Cover the Cure

Published: 2009-01-22 Provider: Rolling Stone Keywords: Rock News

Interpol’s Paul Banks Talks Kurt Cobain and Jackass Guitarists: Exclusive Audio

When Interpol first formed, the band’s melancholy, cavernous goth pop aligned them with an emerging breed of New York bands that were attempting to differentiate themselves from the Nu Metal masses. Nearly ten years later, Interpol have just released their third album, Our Love To Admire and are booked to play Madison Square Garden for the first time in September. Rolling Stone Associate Editor Austin Scaggs sat down with frontman Paul Banks to discuss everything from the singer-guitarist’s enduring love for Nirvana to the dangers of taking song lyrics too seriously. Here’s a bit of their interview: Though he played guitar in high school, Banks couldn’t translate that skill into instant social cred: “If someone heard I played guitar, they’d be like, ‘Well, play a song,’ and it’s like, I can’t play any song except original stuff, because I never had the attention span. I’d get sidetracked, because when I heard a good interval, I’d be like, ‘Oh, fuck, I’m going to play with that,’ rather than bothering to learn anything all the way through. So I never really learned the wailing skills. I can’t just pick up a guitar and bust out the hits. But that was something I decided to be … I was humble in the schoolyard with a guitar, whereas all these other jackasses are rocking out to hits.” On why he was offended by Green Day fans: “After Kurt [Cobain] died, I really resented everybody getting into Green Day. I was like, ‘A fuckin’ legend just passed, and you guys are listening to Green Day …’ I was really passionate about it.” On why he makes all Interpol lyrics available online even though they aren’t included in the albums’ liner notes: “When we started going to foreign countries for the first album, people were like, ‘What the fuck are you saying?’ I felt like, ‘Oh shit, that would be a bitch, with the vocals mixed pretty low and I’m saying strange things, how are they ever going

Published: 2007-08-17 Provider: Rolling Stone Keywords: Audio Interviews

"Chapter VII: Hope and Sorrow" by Sevendust

The long, dramatic title is fitting for Sevendust, a band that’s jumped labels, toured its ass off for years at a time, lost a crucial member, and yet keeps on keeping on over the course of seven albums. Chapter VII: Hope And Sorrow kicks off with a crunchy riff that’s undeniably Sevendust before vocalist Lajon Witherspoon’s soulful, gospel-tinged vocals kick in. Not quite true heavy metal, yet much more corrosive than anything that’s popping up on the dial of your local rock station, Sevendust straddles the line between commercial and underground with relative ease. They’re prime listening material for aggro music fans not quite hungry for death metal, yet who are in search of something that delivers a potent sucker punch to the jaw. “Inside” opens the album, and it packs a wallop. It’s followed by “Enough,” which has a long instrumental intro (several songs have extended intros) that builds escalating tension before erupting into a low end riff. The beauty of this Atlanta band is

Published: 2008-03-03 Provider: Artist Direct

Blink 182 frontman unveils new band

While Blink 182 guitarist / vocalist Tom DeLonge was putting the finishing touches to Angels And Airwaves new album, Love, which was released on February 14, Blink 182 bassist / vocalist Mark Hoppus was hard at work on a side project of his own. Hoppus' new band are apparently called Trousdale Press, and their forthcoming debut album is set to completed in the next couple of weeks. And, what's more, the as-yet-untitled album will feature a collaboration with All Time Low's Alex Gaskarth and Jack

Published: 2010-04-19 Provider: Kerrang!

Jettblack Join The Kerrang! Relentless Energy Tour 2010!

Retro rock revivalists Jettblack will join the Kerrang! Relentless Energy Tour 2010 as it rolls into London later this week. The band join All Time Low, The Blackout, Young Guns and My Passion for what promises to be an explosive finish to the 13-date tour at London’s Roundhouse on February 5 and 6. “We’ll give the fans a good dose of metal,” says frontman Will Stapleton. “We can’t wait to play and it’ll be good to be on a bill with our friends in Young Guns. The Roundhouse is an amazing venue t

Published: 2010-02-03 Provider: Kerrang!

All Time Low instores!

All Time Low, who are currently rocking around the UK with The Blackout, Young Guns and My Passion as part of the Kerrang! Relentless Energy Tour 2010, have announced two instore signing sessions. The Baltimore pop-punkers will be signing copies of their latest album, Nothing Personal, at Glasgow’s Union Street Fopp from 5PM on February 1 and Manchester’s Brown Street Fopp from 5PM on February 4. The band will also be performing a special acoustic set at the signings, too. You can follow all the

Published: 2010-01-27 Provider: Kerrang!

Fricke’s Picks: Everyone Sings Newman

After releasing Randy Newman’s 1968 debut album, Randy Newman, to great acclaim and near-zero sales, the singer-songwriter’s label, Reprise, ran a pair of comically desperate ads in this magazine — first all but apologizing for Newman’s froggy, unsteady singing (”Once you get used to it, his voice is really something”), then offering to send readers a copy for the low, low price of nothing (”Can’t sell ‘em, so we’re giving ‘em away”). Ironically, Newman was already selling a lot of records as one of the most covered songwriters of the Sixties. On Vine Street: The Early Songs of Randy Newman (Ace) collects 26 singles and LP tracks by technically better singers and (at the time) more famous faces, including Dusty Springfield, Gene Pitney, Fats Domino, Scott Walker and even Fifties crooner Frankie Laine. Newman doesn’t sing a note here and contributes only a few arrangements. But his gently sour romanticism, the angular melancholy in his melodies and the Louisiana-boogie roll of his piano figures bloom in these voices and productions: the mod vaudeville of “Simon Smith and the Amazing Dancing Bear” by ex-Animal Alan Price; the Beau Brummels‘ authentic Southern longing in “Old Kentucky Home”; the torrid hurt in “Love Is Blind,” recorded by Erma Franklin (Aretha’s younger sister) in 1963, when Newman was just 20. The kitsch overfloweth in the Tokens‘ 1965 single of “Just One Smile” (there are better versions by Pitney and Blood, Sweat and Tears), and Eric Burdon should have cut “Mama Told Me Not to Come” with a real band of Animals, not the floppy, falsely billed session cats on this ‘67 take. On Vine includes “So Long Dad,” from Harry Nilsson’s fine full-length salute, Nilsson Sings Newman, released in 1970 — the same year Newman made his classic second LP, 12 Songs, finally proving no

Published: 2008-05-21 Provider: Rolling Stone Keywords: Rock News, Fricke's Picks

Metallica, Raconteurs Turn Up the Volume at KROQ Weenie Roast in L.A.

“Raise your hands if this is your first Metallica show!” James Hetfield said with a smile as a majority of hands went up at Saturday’s annual KROQ Weenie Roast, sponsored by the influential modern rock station in Los Angeles. “Now you’re part of the family. You’ll have to keep coming back!” The concert at the Verizon Amphitheater in Irvine, California, amounted to another show and another smallish venue this week for Metallica, just days after headlining an even smaller room to benefit Flea’s Silverlake Conservatory, where the metal champions delivered a mostly straight-ahead hard-rock show. At the Weenie Roast, the band offered two hours of broader range and variety, mixing early speed-metal material with later songs of depth, emotion and volume. There were again no clues from the band’s upcoming new album, but total chaos erupted in the moshpit during “Master of Puppets,” as Hetfield fell to his knees midsong to pluck a solo before erupting again at full bore. He picked up an acoustic guitar on “The Unforgiven,” trading elegant, explosive melodies with Kirk Hammett on electric, while Robert Trujillo squatted like Quasimodo with his bass so low that it nearly scraped the floor. On “Creeping Death” (from 1984), Lars Ulrich made scary jackhammer beats somehow warm and friendly. Metallica was loud, but Jack White made sure his 45-minute set with the Raconteurs was just as wild and noisy, adding Zeppelin-size blues explosions and epic slabs of feedback on “Blue Veins” and other songs. “There’s a constant buzzing in my ears!” he wailed during “Consoler of the Lonely,” the title song from the band’s new album. The band has only grown heavier with time, adding real muscle and stuttering guitar spasms even to the quirky pop of “Level” and “Steady As She Goes.” Everything was delivered with a blistering intensity, even if that meant overwhelming the wistful, McCartneyesque romance of “Many Shades of Black.” All of it was stretched

Published: 2008-05-19 Provider: Rolling Stone Keywords: Rock News, Live Shows

RAW PANIC STEALS THE SHOW

A youthful vibe reigned at the Honda Civic Tour at the Roseland Ballroom Thursday night as fresh- faced fans rocked out to optimistic music played by Motion City Soundtrack, Phantom Planet and headliner Panic at the Disco. With low alcohol consumption (most of the crowd was under 21) the party was fueled by music, dancing and togetherness. All of the acts played well, but clearly the night belonged to the Las Vegas rockers Panic at the Disco. Theirs was an abbreviated set, but they made the time count with well-selected songs tapped from their '05 debut, "A Fever You Can't Sweat Out," and the recently released "Pretty. Odd." There were no missteps or snoozy lulls. The show opened up with "We're So Starving," a theatrical song wherein the band talks directly to the fans, telling them Panic has been off writing new songs - but not to fret, because they're still the same. Wrong. Panic is better than it's ever been. In fact, this "Sgt. Pepper"-spiced opening song - as well as the band's growing dependence on psychedelic sonics - made you feel the weight of The Beatles' influence on this group. In contrast to the layered arrangements of the new record, Panic's live show is streamlined to a rawer sound. That hardly dampened their enthusiasm for waving the Fab Four's freak flag, especially on "Do You Know What I'm Seeing?" and the night's showstopper, "Northern Downpour." The band, which originally bowed with a gimmicky, makeup-heavy production, has evolved into a stunningly good live band, confident in themselves as musicians and in the quality of their songs. They're still underrated, but with shows like this - and an album like "Pretty. Odd." - that will change fast.

Published: 2008-05-10 Provider: New York Post Keywords: Panic, band, night, show, songs, music

Bamboozle 2008: Five Bands That Broke Out

TYGA The younger cousin of Gym Class Heroes MC Travis McCoy, Tyga’s rhymes are the product of someone with a passion for hip-hop and a pop sensibility, as perfectly excecuted in his remix of the Plain White T’s “Hey There Delilah” and his current summertime single, “Coconut Juice.” Get It: Tyga’s debut, No Introduction hits stores June 10th. THE CAB Judging by the overflowing crowd at their early evening Bamboozle set, the Cab’s slick dance-rock sound has already scored a dedicated following. Blurring the line between post-Fall Out Boy emo and late ’90s boy bands, the Cab’s high-energy pop is radio-ready. Get It: The Cab’s debut, Whisper War came out last Tuesday. ALL TIME LOW The Maryland quartet have been steadily on the rise since their debut full-length came out last fall, propelled by tight harmonies and a battery of arena-sized hooks. Get It: All Time Low’s So Right, It’s Wrong in stores now. DR MANHATTAN Dr Manhattan’s spastic live performance involving a fur guitar strap, a spare bass drum to bang on and unending jumping. Even better is the carefully orchestrated cacophony, which is wild enough to give the band something unique but reigned in enough for a sing-a-long. Get It: Dr. Manhattan is out now. MAYDAY PARADE Mayday Parade pairs hard-hitting guitars with vocals dripping with desperation for a sound that heads towards fiery pop rather than whiny drone. At Bamboozle, fans overflowed into the pit of the next stage, turning the mass of humanity into a dance party. Get It: A Lesson in Romantics is out now.

Published: 2008-05-05 Provider: Rolling Stone Keywords: Rock News, Festivals, Bamboozle