Documental de Gruntruck (1992)

Gruntruck documentary (1992)

EP digital de los Melvins

Digital EP by the Melvins

Automobile manufacturer Scion va a lanzar un EP digital de Melvins con cuatro canciones, The Bulls & the Bees, gratuitamente el 13 de Marzo

IN ENGLISH

Automobile manufacturer Scion is releasing a Melvins four-song digital EP, The Bulls & the Bees, for free March 13.

I'll Be Your Mirror USA 2012 curated by Greg Dulli & ATP

Para más información / For more information

http://theafghanwhigs.visibli.com/share/6F7k9c

El 8 de mayo Toadies pondrán a la venta un nuevo EP titulado “Play.Rock.Music”.

Toadies, may 8, new EP titled “Play.Rock.Music”.

Eddie Vedder aparecerá en el CD del festival New' Jack Johnson Friends: Best of Kokua Festival

Eddie Vedder appears on the CD of the new festival ‘ friends of Jack Johnson: best of the koku Festival

Jack Johnson and Friends – Best of Kokua Festival track listing:

1. Better Together – Jack Johnson with Paula Fuga
2. Cry, Cry, Cry – Ziggy Marley with Jack Johnson & Paula Fuga
3. A Pirate Looks At Forty – Jack Johnson, Dave Matthews & Tim Reynolds
4. Mudfootball – Jack Johnson with Ozomatli & G. Love
5. Constellations – Jack Johnson with Eddie Vedder & Kawika Kahiapo
6. Take It Easy – Jackson Browne with Jack Johnson & John Cruz
7. Island Style – John Cruz with Jack Johnson & Jackson Browne
8. Breakdown – Jack Johnson with Jake Shimabukuro
9. Further On Down The Road – Taj Mahal with Jack Johnson
10. Welcome To Jamrock – Damian “Jr. Gong” Marley with Jack Johnson & Paula Fuga
11. High Tide or Low Tide – Ben Harper & Jack Johnson
12. Blue Eyes Crying In the Rain – Willie Nelson with Jack Johnson & Ben Harper
13. I Shall Be Released – Jack Johnson, Eddie Vedder, Zach Gill & Friends

Noticias del nuevo disco de Alice In Chains

News of the new album of Alice In Chains

Baldy, un asociado de Alice In Chains, publicado esto en su perfil, que deja entrever que están en el estudio:

Siempre estoy echando un ojo para ver que ocurre ahí, así que incluso si los chicos de la banda no empiezan, están mantenidos en un bucle.

Están un poco ocupados estos días

IN ENGLISH

Baldy, an associate of Alice In Chains, posted this on their board, which hints that they’re in the studio:

I always keep an eye on what’s being discussed here, so even if the guys in the band don’t log on, they’re kept in the loop.
They’re a bit busy right now…

Jimmy Fallon y Jeremy (Lin)

Más de la entrevista a Mark Lanegan (Portalternativo)

More of the interview with Mark Lanegan (Portalternativo)

The Quietus ha podido charlar con Mark Lanegan acerca de su nuevo disco, “Blues Funeral”, su primer disco desde “Bubblegum” de 2004 que, aunque parezca lo contrario, no lleva tanto tiempo en preparación.

“La verdad es que no es algo que tuviera intención de hacer,” reconoce sobre el álbum. “Era feliz haciendo mis otras cosas y entonces me pidieron hacer un tema para el videojuego ‘Rage’. La verdad es que ni eso iba a hacer porque estaba de gira con Isobel Campbell en EEUU y les dije que no podía. Entonces, tuve algunos días libres que aproveché para ir a Washington a visitar a mi familia. Estaba en una tienda con mis sobrinos, que son adolescentes, y mirábamos los videojuegos y me preguntaron, ‘Mark, ¿juegas con videojuegos?’ Y les dije, ‘No pero alguien me ha pedido si quería hacer una canción para un juego aunque no voy a hacerlo’. Cuando les dije que era para algo llamado ‘Rage’ no lo podían creer: ‘¡Tienes que estar de broma! ¡Tienes que hacerlo!’. Eso me hizo volver a reunirme con Alain Johannes con quien no había trabajado desde ‘Bubblegum’. Me di cuenta de lo mucho que disfruté trabajando con él y lo sencillo que era y la grandísima relación de trabajo que tenemos. Esto fue como hace año y medio y no tenía nada por hacer, aparte de un par de giras. Así que decidimos hacer un nuevo disco. Ha sido el más fácil que haya hecho nunca.”

Aunque este disco nos muestre a un Lanegan más abierto a nuevas sonoridades que nunca, el blues es y será siempre un puntal en sus composiciones. “De niño, mi padre era profesor y en algún momento (de mi infancia), se puso a limpiar cosas y encontró una caja de discos. Había ahí cosas de Lightin’ Hopkins y John Lee Hooker siendo aquella mi primera exposición al blues. Sin duda ha sido una gran influencia para mi. Amo mucho al blues por como me hace sentir. Su naturaleza personal me entra de forma natural y recuerdo pensar en como me gustaría hacer algo así pero no en una situación tradicional de blues. No quería hacer nada del rollo 12 compases (típico del blues) y vi que podía usar el blues de una manera pero hacer algo diferente en cuanto a letras.”

No todo el mundo sabe que Lanegan empezó tocando la batería en Screaming Trees para luego cambiar papeles con Mark Pickerel. “La verdad es que era un batería malísimo, no podía tocar. El tipo que cantaba (Mark Pickerel) tenía una gran voz pero también terminó siendo un gran batería. Así que por eso terminé siendo cantante lo cual no me daba la impresión de ser algo demasiado natural para mi. ¿Si me costó adaptarme a lo de ser cantante? Oh, ¡solo 25 años!”

Lanegan reconoce que tuvo muchos momentos de querer dejar atrás Screaming Trees estando en el grupo. “En distintos puntos de la vida de esa banda, antes y después de (‘Sweet Oblivion’) quise no seguir adelante. Tras nuestro primer disco con una multinacional (‘Uncle Anesthesia’) fue mi momento de mayor desencanto, lo cual es decir mucho. A veces no tenía ganas de hacerlo, por la razón que fuese. Pero los chicos habían dado con un batería nuevo y eso nos animó, y también el anticipo que habíamos recibido por el siguiente disco. Me pidieron hacerlo pero dije, ‘No, he terminado’. Luego me lo volvieron a pedir. Para entonces había hecho un disco en solitario (‘The Winding Sheet’) y había compuesto las canciones así que dije, ‘Vale, lo haré pero tendrá que ser a mi manera. Tengo que estar al 100% en todas estas canciones. No quiero decir que tenga que ser el único que las componga pero tengo que estar conforme con todas ellas’. Porque incluso en ese momento, siempre éramos cuatro tíos en una situación de democracia pero incómoda. Los hermanos Conner estaban siempre discutiendo y yo y Gary Lee, que era el guitarrista y la principal fuerza creativa, teníamos una relación difícil. Fui muy infeliz durante mucho tiempo. Sea como fuere, tras decir que no, terminé saliéndome con la mía en ‘Sweet Oblivion’ (risas) ¡Tenía razón!

Ya pensaba en marcharme por entonces. Habíamos pasado varios años tocando por 100 dólares la noche o no demasiado dinero, por todo EEUU, cinco tíos compartiendo una habitación de motel. Y no era fácil vivir así, especialmente con la dinámica de esa banda. Era auténticamente disfuncional y sabía que no quería seguir haciendo eso.”

Confiesa que uno de sus grandes amigos en la industria, el frontman de Queens Of The Stone Age, Josh Homme, fue un apoyo vital para que no dejara antes Screaming Trees. “Me lo hizo tolerable durante cuatro años o el tiempo que estuviera ahí con los Trees. Siempre supe que estaba siendo infrautilizado, cosa que, por supuesto, él también sabía. Pero le quería cerca porque me encantaba estar cerca de él. Y me sigue encantando.”

El vocalista cuenta que hay planes de otros disco de Gutter Twins, el proyecto con Greg Dulli aunque “andamos los dos liados con otras cosas. Pero espero que sea antes de que tengamos 60.”

Con quien parece que no habrá más material es con Isobel Campbell pero más que nada por haber hecho todo lo que pueden. “Tendrás que preguntarle a ella pero creo que hemos terminado. Hemos hecho tanto en un periodo tan corto de tiempo, que ha sido mucho más fructífero de lo que nunca pude llegar a pensar. Estoy de acuerdo en que con cada álbum mejoramos. Es decir, me encanta el primer y el segundo pero cuando oí por primera vez las canciones de ‘Hawk’ (2010) pensé, ‘Estas son realmente buenas’. Y eso es un testamento de su talento y habilidad compositiva. Realmente sabe lo que quiere. Me encantó la experiencia de tocar con Isobel y la quiero a matar pero no nos vio haciendo otro disco juntos.”

Como sabéis, Lanegan visitará España los días 27 y 28 de marzo y 1 y 2 de abril (Bilbao, Santiago, Madrid y Barcelona, respectivamente) mientras que estará en Mexico el 9 de abril, en Buenos Aires el 11 y en Santiago el 12. Mientras llegan esas fechas, podéis ir haciéndoos una idea de su directo con el que han colgado en ‘streaming’ aquí.

IN ENGLISH

“I’ve done it a lot of different ways,” Mark Lanegan once offered. “I been insane and raised hell every single day for years, or I’ve put myself on a schedule of writing every day and got records written.” He’s certainly a man whose reputation goes before him. Born in a Washington suburb in 1964, jail time and heroin addiction arrived before Lanegan was out of his ‘teens, after which he co-founded the spectacularly dysfunctional Screaming Trees in 1985. Their decade-plus career, with Lanegan as broodily hirsute frontman, was marked by on-stage drunkenness, in-fighting, more drugs and some of the most gloriously dishevelled rock of the grunge era. Yet, unlike his good friend and fellow Seattle dweller Kurt Cobain, the Trees enjoyed neither fame nor fortune.

The confessional folk-blues stylings of Lanegan’s solo work, starting with 1990’s The Winding Sheet, suggested a soul still in varying degrees of torment. While his frequent spells in rehab only served to deepen his public perception as mad, sometimes bad and probably dangerous to know. Notoriously press-shy, Lanegan often came across as a surly bugger, fixing interviewers with a mirthless stare and offering so little by way of conversation that he made Robert Mitchum seem like a blabbermouth. “I’m not a human interest story, man,” he once snapped at an inquisitor. “I’m just a musician trying to make some small records and be happy, be peaceful.”

But it was clear he held the deep respect of his peers. In 2000 he guested on Rated R, the second LP from his buddy Josh Homme’s band, Queens Of The Stone Age. Lanegan joined the band as full-time member the following year, before hooking up with another close friend, Afghan Whigs’ Greg Dulli, as The Gutter Twins. He’s since collaborated, largely to stirring effect, with a whole raft of talent: The Eagles Of Death Metal, Mike Watt, Soulsavers, The Breeders, UNKLE, My Jerusalem, The Walkabouts and more. Though perhaps his most riveting endeavour of recent years was a three-album spurt with Isobel Campbell, playing fast and louche as latterday Lee Hazlewood to her less fevered Nancy Sinatra.

Lanegan may have cleaned up his lifestyle some time ago, but his solo albums still carry the same narcotic air of wounded defeat. And then of course there’s that distinctive singing voice. An expressive burr so deep, rich and full of portent that it could have been summoned from the pages of the Book of Revelations. New album Blues Funeral, his first since 2004’s wonderfulBubblegum, is another high watermark and already seems set to take its place among the year-end best-ofs come December. Regular buddies Dulli and Homme make cameo appearances, though it is, for the most part, classic Lanegan.

He may be a reformed man these days, but he’s still someone you approach with more than a little trepidation. Today though he’s in fine form, holding court in a West London hotel, looking relaxed and as heroically dressed-down – baseball cap, lumberjack shirt and scuffed jeans – as any reluctant rock star is entitled to be. Far from coming across as the gnomic old grouch that common wisdom would have you believe, Lanegan’s in chatty mood. And laughing a fair bit too. The signs are good, so I leap in…

It’s been eight years since your last solo album, Bubblegum. Had you been planning Blues Funeral for a while?

Mark Lanegan: Not at all, it’s something I didn’t actually mean to do. I was happy doing my other stuff then I got asked to do a song for the Rage video game. I wasn’t even going to do that either, because I was on tour with Isobel Campbell in the States and told them I just couldn’t do it. Then when I had a few days off I flew into Washington State and went to visit my family. I was in a store with my teenage nephews, who were looking at all the games and going: “Mark, do you play games?” And I said: “No, but somebody just asked me to do a song for some game, though I’m not doing it”. When I told them it was something called Rage, they couldn’t believe it: “You’re kidding! You have to do that”. So that led to me meeting up again with Alain Johannes, who I hadn’t really worked with since Bubblegum. But I realised how much I loved working with him, how easy it was and what a great working relationship we have together. This was about a year-and-a-half ago and I didn’t have anything lined up, apart from a couple of tours. So we decided to make a new record. It was the easiest one I’ve ever made.

Some of the new songs – like ‘Ode To Sad Disco’, with its full-fat dance beat – aren’t exactly what you’d call typical Lanegan fare.

ML: That song actually comes from a trilogy of Danish movies called the Pusher trilogy. The director’s a guy called Nicolas Winding Refn [also responsible for recent Hollywood successDrive, starring Ryan Gosling] and I love those movies. The second one in particular, Pusher II, has got a great soundtrack, all various Danish artists who he’d specifically commissioned to write it. And one of the pieces is called ‘Sad Disco’, which plays over one of the best scenes in the movie. So I lifted it and used it as the basis for ‘Ode To Sad Disco’.

The lyrics of ‘Phantasmagoria Blues’ – “Now if you found a razorblade / And took it to your wrist / Then I’d be here in my electric chair / Because of this” – suggest that the path of true love never runs smooth.

ML: You’re probably right, though it’s difficult for me to talk about songs and what they mean. Usually I’m just doing whatever the music is telling me to do. I’m not questioning it too much outside of whether to rhyme cat with hat or whatever [laughing]. I called it that because around that time I started listening again to Phantasmagoria by The Damned. That’s a favourite record of mine.

The blues seems to have been a guiding force in your music ever since you began. Why does it resonate so deeply with you?

ML: When I was a kid my Dad was a schoolteacher and at some point he was clearing out some old school and found a box of records. There was some Lightnin’ Hopkins and John Lee Hooker in there, so that was my first exposure to the blues. It’s certainly been a huge influence. I love a lot of the blues and the way it makes me feel. The personal nature of it just feels natural to me, so I remember thinking how I’d like to do something like that, but not in a traditional blues setting. I didn’t want to do any of that 12-bar stuff, but I saw that I could use the blues in one way but do something different lyrically.

Considering you have one of the most distinctive voices of the modern era, it’s amazing to think that you never wanted to be a singer. When you began in Screaming Trees you were the drummer. Was that a lack-of-confidence thing?

ML: The truth of the matter is that I was such a bad drummer, I just could not play. The guy that did sing – Mark Pickerel – had a good voice but he also turned out to be a great drummer. So that’s why I ended up being the singer, which didn’t really feel like a natural thing for me. Did it take me a while to adjust to being the singer? Oh, only about 25 years!

1992’s Sweet Oblivion, the band’s sixth album, seemed to mark the point where you were suddenly given a fair degree of creative control over the Screaming Trees’ music.

ML: Yeah. At several different points during the lifetime of that band, leading up to and after that, I really didn’t want to do it anymore. After our first major label record [1991’s Uncle Anesthesia] I was probably at my most disenchanted, which is saying a lot. Sometimes I wasn’t into doing it, for whatever reasons. But the guys had gotten a new drummer and were encouraged by that, and also by the advance they’d gotten for the next record on a major. They asked me to do it and I said: “No, I’m done.” Then they asked me again. By that time I’d made a solo record [1990’s The Winding Sheet] and had written the songs, so I said: “OK I’ll do it, but I have to do it my way. I have to be 100% on all these songs. I don’t mean I have to be the one writing them, but I have to be OK with them all.” Because even at that point it’d always been four guys in a democratic situation, but it’d been an uneasy one. The Conner brothers fought all the time and me and Gary Lee, who was the guitar player and the main creative force, had a difficult relationship. It was very unhappy for a long time. Anyhow, after saying I wouldn’t do it, I ended up coming into my own, creatively, with Sweet Oblivion. [Laughing] So I was right!

Were you eyeing up a full-time solo career at that stage?

ML: No, I was thinking about quitting altogether. We’d spent several years of playing for $100 a night or not much money at all, all over the United States, five guys sharing a room in a motel. And it wasn’t easy living like that, especially with the dynamic in that band. It was really dysfunctional and I just knew that I didn’t want to do that anymore.

What was it like being signed to the SST label?

ML: It was such a coup for us, because we loved all the records on that label. It was the most prestigious, hippest underground label in the States. We were all huge Black Flag fans and of course it was owned by Greg Ginn. When he called up I thought he was bullshitting us. It was amazing in that we had free rein to put out as many records as we wanted as long as they didn’t cost more than $800! That meant we could make a lot of crappy records with ridiculous covers, handling everything ourselves. Then towards the end the label started to have problems. I don’t want to disparage those people but we haven’t been paid for years and years. Nor are those records in print. Not that I’m really interested in whether they are or not, but the label itself became a very paranoid place and eventually shut down. But signing on SST was probably the most excited the Trees ever were, collectively. Just before that we were very close to signing to an offshoot of Enigma Records – a label called Pink Dust. But their slant was that we were psychedelic, which grated on me because I was never into psychedelia. That was also some of the cause of the creative struggle between me and Gary Lee Connor, because he was really into all that. So when we heard that SST were interested in us it was like being saved by the coolest guys in town.

When it comes to your solo career, 1998’s Scraps At Midnight seemed to be an important album for you. Did it arrive at a critical time in your life and career?

ML: Well, it was the first one I’d done clean. And it was also an exercise in letting go, y’know what I mean? It was the same kind of feeling I had with this new record, but the difference is thatScraps At Midnight is not a good record! [much laughter] For years I’d say it was one of the most positive experiences I’d ever had, but that and the first one [1990’s The Winding Sheet] are the two records I like the least. If I heard it today I’d totally cringe, though there are a couple of songs on there, one of which I still play acoustically – ‘Because Of This’ – that I think are really good. There’s a guy in the States right now who’s doing an anthology of mine and I told him: “OK, I’ll go along with it, as long as there’s nothing on there from The Winding Sheet or Scraps Of Midnight! The rest of it’s all OK.” But in the end I relented so there’s a couple of songs on there from those records. It’s not like the anthology is a really creative thing that I’m heavily invested in, but I get to have the final say.

You co-wrote ‘Kimiko’s Dream House’, from 2001’s Field Songs, with your great friend Jeffrey Lee Pierce. What he was like to be around?

ML: He was really personable, not like the usual perception of him at all. Before I met him I remember hearing about what a nightmare he’d been in the early days and later he actually showed me some video tapes of him on stage that were less than flattering. He’d be breaking a bottle over somebody’s head from about one foot away, watching this and going: “Aw, I can’t believe I did that!” I first met him at a fIREHOSE show at the Whiskey in LA, when he was staying at his mom’s down the street. Halfway through the show Steve, fIREHOSE’s sound man, noticed that he’d turned up so I went over and introduced myself. I did that whole thing: “It embarrasses me to say this, but I hope I’m not bothering you. Your music’s everything to me.” He said: “Are you ever in London? Here’s my phone number, man. Let’s meet up and go get something to eat.” So I came over a month later and was staying in Shepherd’s Bush, literally five minutes from his house. I called him and he said: “Hey man, how are you? Look, I’m going out for a run, but when I’m done I’ll drop by.” And sure enough, there he was in his sweats, which isn’t an image people usually associate with him. I got to know him for several years after that, and saw him go through hard times, but he was one of the all-time greats in my opinion. He’s one of those songwriters and singers that everybody [should] know about. His music probably touched me more deeply than anything I’ve ever listened to.

He’s one of many close music industry friendships you’ve made over the years, alongside Greg Dulli and Josh Homme. Josh once said that he thinks you’re “an outsider on purpose” and “the meanest nice guy” he’s ever known. Do you understand what he means?

ML: [Grinning softly] I do, yeah. I do.

And of course Josh played guitar in Screaming Trees for a while…

ML: He made it tolerable for me, for four years or however long he played with the Trees. I always knew he was being highly under-utilised, which of course he knew also. But I just wanted him around me because I just totally loved being around him. And I still do.

Any plans to make another Gutter Twins album with Greg?

ML: At some point, yeah. Right now we’re both wrapped up in other stuff. But hopefully it’ll happen again before we’re 60!

You’re often portrayed as a lone wolf, but your recorded work suggests the opposite. You’re actually a serial collaborator. Are you always inundated with offers?

ML: No, there’ll be periods of time when I’m asked to do things a lot and periods when I’m not asked to do anything. It’s funny, because I recently said: “Y’know, I’m done doing stuff with other people.” I think it’s because somebody had asked me to do something, then come back and asked me to do something extra on top of it. So I said that’s it. I was working in Josh’s studio with a songwriter called Duke Garwood. I was totally psyched about the record we were making together, so it wasn’t in regards to that that I said it. But it was while we were doing that I stopped and did a couple of things for other people, so I told the studio guy I wasn’t going to do anything else. Then two days later Josh phones up – “Hey man, I’ve got this thing…” – and I ended up working with him again. The trouble is I can’t really say no to people!

So what do you look for in a collaborator?

ML: The thing I always look for is: is it something I can do? Is it so far out the box that it’s ridiculous or do I just like it? Usually the criteria is: am I going to enjoy this? Do I like what they’re doing? Do they want me to be involved? And almost always it’s, “Yeah, I can do that”. There are times when I logistically can’t do stuff because maybe I’m on the road or doing something else, but almost always I say yes. I really don’t like turning people down!

Will there be another record with Isobel Campbell?

ML: I don’t think so. You’ll have to ask her, but I think we’re done. We’ve done so many in such a short period of time, which was way more fruitful than I ever thought.

And you got better with each album…

ML: I agree. I mean, I really love the first and second ones, but when I first heard the songs forHawk [2010] I thought, ‘These are really good.’ And that’s a testament to her talent and songwriting ability. She really knows what she wants. I loved the experience of playing with Isobel and I love her to death, but I can’t really envision us making another record together.

How do you go about inhabiting someone else’s songs?

ML: Well, that’s my goal really – how to turn something you see on paper into something real. There was this Tim Buckley tribute record several years ago and I was hell bent on doing ‘Moulin Rouge’. You know that song? [Laughter] It’s one of the most out-there songs ever. But of course I couldn’t do it because I was out of town, but that’s the kind of thing I look for.

What records would you save from a burning house?

ML: Son House’s records are important. He’s still the best singer I’ve ever seen. I have a video tape of him sitting on a chair and singing, from some TV show, which is incredible in its power. And I’d save all of my Gun Club records and definitely my John Cale collection. He’s probably my favourite singer. I just love the way his voice sounds, it’s so expressive and full of melancholy. He does an amazing version of Nico’s ‘Frozen Warnings’ that’ll give you the chills. And of course his own solo stuff is all the shit. I actually attempted to get John Cale to produce Bubblegum, but it didn’t work out. Now there’s another collaboration I’d still like to happen.

En un día como hoy pero de 1992, Kurt Cobain se casó con Courtney Love en una ceremonia en Waikiki, Hawaii

On a day like today, but in 1992, Kurt Cobain married Courtney Love at a ceremony in Waikiki, Hawaii

El documental ‘Hit So Hard’ de Patty Schemel (Hole) se estrenará en abril

The documentary ‘Hit So Hard’  made by Patty Schemel (Hole) will be released in April

El documental trata temas relacionados con Kurt Cobain y Courtney Love, el lesbianismo en el Grunge y otras cosas referentes a su experiencia en el mundo de la música

New York April 13

Los Angeles April 19

San Francisco April 27

IN ENGLISH

The documentary deals with topics related to Kurt Cobain and Courtney Love, lesbianism in the Grunge and other things relating to their experience in the world of music

New York April 13

Los Angeles April 19

San Francisco April 27

Miembros de Hole y de Smashing Pumpkins harán una nueva banda

Members of Hole and Smashing Pumpkins will make a new band

Será un grupo de todo chicas

Sacado de PledgeMusic

Mi nombre es Meghan Toohey y mi banda es he Cold and Lovely. Este proyecto me ha costado mucho hacerlo y es muy emocionante compartirlo con vosotros!! Hace años encabezé una banda llamada The So and So’s in Boston MA. Me trasladé a los Ángeles hace unos seis años y eso cambió mi enfoque de tocar la guitarra por otros artistas (The Weepies, Lenka, Lucy Schwartz) y trabajar como productora musical (Vivek Shraya, Garrison Starr, Margaret Cho). Este disco es un retorno a mi propia música, algo que he estado esperando el momento adecuado para hacerlo.

Cuando mi amiga Nicole Fiorentino (The Smashing Pumpkins, Veruca Salt, Spinnerette) escuchó mis demos, ella expresó interés en trabajar conmigo y me animó a terminar esas canciones y escribir otras. Cuando The Smashing Pumpkins establecieron una “acampada” en Sedona, AZ para escribir su próximo lanzamiento, “Oceanía”, Nicole me pidió que fuese. Fue en la mágica tierra de Sedona donde tuve una especie de “renacimiento” como escritora. En esta pequeña cabaña en medio de los bosques, escribí y grabé 16 canciones en mi portatil, muchos de las cuales están incluidas en nuestro álbum de debut.

Mientras el voluntariado en el campamento de Rock de chicas en Los Angeles, Nicole había conectado con Patty Schemel (Hole, Imperial Teen, Hits So Hard Documentary). Después de escuchar los demos, Patty ofreció sus habilidades de batería mounstruosas y se metió en el estudio. Su estilo de tocar la batería cimentó el sonido de la banda y Nicole y yo sabíamos que los tres haríamos el núcleo de The Cold and Lovely.

Después de años locos de experiencias en la industria de la música , estamos todas simplemente encantadas con la música y haber creado una grabación que proviene de nuestros corazones. Nos sentimos muy apasionadas y creo que merece ser escuchado, por eso estamos pidiendo vuestra ayuda. Varios de nuestros amigos han contribuido haciendo apariciones especiales en la grabación, incluyendo a Brian Aubert de Silversun Pickups.

No en vano, nuestra caridad de elección es el campamento de Rock para chicas donde hemos pasado el tiempo de tutoría de las niñas de la mujer y enseñarles cómo apoyarse mutuamente, trabajar juntos y potenciarse a sí mismas. Ha sido una experiencia increíble y transformacional para todas nosotras. Esperamos que eligais apoyar esta causa maravillosa a través de nuestra campaña de promesa!

Gracias por su visita y esperamos prenda y ayuda para poner nuestra grabación fuera en el mundo. Esperamos que disfruteis de nuestra música y las exclusivas que estamos ofreciendo para nuestra campaña!

Meghan, Nicole, y Patty

IN ENGLISH

From The Cold and Lovely’s PledgeMusic:

My name is Meghan Toohey and my band is The Cold and Lovely. This project has been a long time coming for me and I’m so excited to share it with you! Years ago I fronted a band called The So and So’s in Boston, MA. I moved to LA six years ago and switched my focus to playing guitar for other artists (The Weepies, Lenka, Lucy Schwartz) and working as a music producer (Vivek Shraya, Garrison Starr, Margaret Cho). This record is a return to my own music, something I have been waiting for the right time to jump back into.

When my friend Nicole Fiorentino (The Smashing Pumpkins, Veruca Salt, Spinnerette) heard my demos, she expressed interest in working with me and encouraged me to finish those songs and write others. When The Smashing Pumpkins set up camp in Sedona, AZ to write their upcoming release, “Oceania”, Nicole asked me to come along. It was in the very magical land of Sedona that I had a sort of “rebirth” as a writer. In this tiny cabin in the middle of the woods, I wrote and recorded 16 songs all on my laptop, many of which are included on our debut album.

While volunteering at the Rock Camp for Girls in Los Angeles, Nicole and I connected with Patty Schemel (Hole, Imperial Teen, Hits So Hard Documentary). After listening to the demos, Patty offered up her monster drums skills and we got her into the studio. Her very distinct drumming cemented the sound of the band and Nicole and I knew the three of us would make up the core of The Cold and Lovely.

After years of crazy music industry experiences, we all simply love music and have created a record that comes from our hearts. We feel very passionately that it deserves to be heard, which is why we are asking for your help. Several of our friends have contributed by making special appearances on the record, including Brian Aubert of Silversun Pickups.

Not surprisingly, our charity of choice is the Rock Camp for Girls where we spent time mentoring girls/women and teaching them how to support one another, work together and empower themselves. It’s been an amazing and transformational experience for all of us. We hope you will choose to support this wonderful cause through our pledge campaign!

Thanks for visiting and we hope you pledge and help us put our record out in to the world. We hope you enjoy our music and the exclusives we are offering for our campaign!

Meghan, Nicole, and Patty