Tag: 1990s

New Video: Mudhoney’s Searing Indictment of Social Media Culture

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988  — although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney, and the rest as they say is history — right?

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for release later this week through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage‘s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard-brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy collapsing before our very eyes but goddamn it, there’s at least rock ‘n’ roll to save our souls for a little bit. “Kill Yourself Live,” the album’s latest single is a searing indictment of our vapid and incredibly insipid reality TV-show and social media-based culture, suggesting that people could literally kill themselves live on a TV show or on Instagram Live — and it would likely be highly rated or get a shit ton of likes on the ‘gram baby. Considering that the President of the United States is a reality TV Internet troll, anything — holy shit, anything is fucking possible. Sonically speaking, the single continues in a similar vein as its predecessor — but manages to nod at DEVO and 60s psych rock simultaneously for a subtle mind trip.

Directed by Carlos A.F. Lopez, the recently released video for “Kill Yourself Live” reimagines Jesus Christ’s crucifixion taking place in an anachronistic mix of Biblical times and our hyper-connected, social media world and as a result, it points out humanity’s propensity for cruelty and selfishness, the insatiable desire to be liked in a way that’s both disturbing and hilarious. 

Live Footage: Nick Cave & The Bad Seeds Perform “The Mercy Seat” Live in Copenhagen

Currently comprised of Australian-born founding member Nick Cave (vocals, piano, guitar), Australian-born multi-instrumentalist Warren Ellis, Australian-born Martyn P. Casey (bass), British-born George Vijestica (guitar),  American-born Toby Dammit (keys, percussion) (a.k. Larry Mullins), Swiss-born Thomas Wydler (drums) and American-born Jim Sclavunos (drums), the renowned indie rock act Nick Cave & The Bad Seeds can trace its origins back to 1983 when the band formed after the breakup of Cave’s and multi-instrumentalist Mick Harvey’s previous band The Birthday Party.  Throughout the band’s 35 year history, the band has gone through a series of lineup changes, but they’re known for featuring a cast of internationally-based collaborators — and perhaps most importantly, as one of the most critically celebrated and original post-punk, alt rock and indie rock bands of their era, managing to write and record material across a wide range of sounds, styles and genres — i.e., after the release of 1988’s Tender Prey, the band shifted from post-punk to experimental rock for a series of albums; 2008’s Dig, Lazarus, Dig!!! found the band playing gritty garage rock; 2013’s Push the Sky Away found the band increasingly incorporating synths after Mick Harvey’s departure in 2009.

Additionally, Nick Cave and The Bad Seeds have a long-held reputation for being one of the more intense live acts around and interestingly enough, the members of the band filmed one show, during their 2017 world tour — their Copenhagen stop — and presented in cinemas across the world for one night only as Distant Sky — Nick Cave & The Bad Seeds Live in Copenhagen. September 28, 2018 will mark the release of the digital and 12 inch vinyl release of a limited, special release EP of the audio from the show. Of course, it’ll feature this urgent, live rendition of the gorgeous and moody “The Mercy Seat.”

New Audio: Mudhoney Delivers a Searing Indictment of Our Reality TV and Social Media-based Culture

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988  — although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney, and the rest as they say is history — right?

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for a September 28, 2018 through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage‘s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard-brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy collapsing before our very eyes but goddamn it, there’s at least rock ‘n’ roll to save our souls for a little bit. “Kill Yourself Live,” the latest single is a searing indictment of our vapid and insipid reality TV-show and social media-based culture, suggesting that people could literally kill themselves live on a TV show or on Instagram Live — and it would likely be highly rated or get a shit ton of likes on the ‘gram baby. Considering that the President of the United States is a reality TV Internet troll, anything — holy shit, anything is fucking possible. Sonically speaking, the single continues in a similar vein as its predecessor — but manages to nod at DEVO and 60s psych rock simultaneously for a subtle mind trip.

New Audio: Mudhoney Releases an Incisive and Furious Single from First Full-length Album in Over 5 Years

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988 although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney.

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for a September 28, 2018 through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage’s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy are about to collapse before our very eyes but goddamn it, there’s at least rock ‘n’ roll.

New Video: JOVM Mainstay Meshell Ndegeocello Releases Tender and Joyful Cover of Ralph Tresvant’s “Sensitivity”

Now, if you’ve been frequenting this site over the past couple of years, I’ve written quite a bit about the critically applauded, JOVM mainstay Meshell Ndegeocello– and as you may recall, the singer/songwriter, rapper and bassist was born Michelle Lynn Johnson in Berlin, Germany and was raised in Washington, DC.  When she turned 17, she adopted the name Meshell Ndegeocello, with the surname, as she has explained meaning “free like a bird in Swahili.”

In the late 80s, Ndedgeocello gigged around DC’s go-go circuit, playing with a number of local acts including Prophecy, Little Bennie and the Masters, and Rare Essence before unsuccessfully trying out for Living Colour’s bassist spot, after Muzz Skillings left the band. Deciding to go solo, Ndegeocello eventually caught the attention of Madonna, who signed the singer/songwriter, rapper and bassist to her Maverick Records. Most readers will remember her commercially successful collaborative coverof Van Morrison‘s “Wild Night,” with John Mellencamp, a single that peaked at #3 on the BillboardCharts in 1994 and “If That’s Your Boyfriend (He Wasn’t Last Night)” peaked at #73 later that year. Adding to a rapidly rising profile, she collaborated with the legendary Herbie Hancock on a track for Red Hot Organization’s AIDS awareness, tribute compilation Stolen Moments: Red Hot + Cool, which was named Time Magazine‘s “Album of the Year.”  Her coverof Bill Withers‘ “Who Is He (And What Is He to You)” was a #1 Dance Hit in 1996 and was briefly featured in the major motion picture Jerry Maguire, and she landed Dance Top 20 hits with “Earth,” “Leviticus: Faggot,” and “Stay.” Along with that she collaborated with Madonna, playing bass on “I’d Rather Be Your Lover,” and contributing a verse at the last minute, after Tupac Shakur had criminal charges filed against him. Ndegeocello has also collaborated with Chaka Khan, rapping  on “Never Miss the Water,” a single that landed #1 on Billboard‘s Dance Club Charts and peaked at #36 on the Hot R&B/Hip-Hop Singles Chart. Additionally, Ndegeocello has collaborated with the likes of Basement Jaxx,Indigo Girls, Scritti Politti,The Blind Boys of Alabama, The Rolling Stones, Alanis Morrissetteand Zap Mama.

Throughout her lengthy career, Ndegeocello has managed the rare feet of achieving commercial success while arguably being one of the most uncompromising and iconoclastic artists of the past 25 years — all while being credited as being at the forefront of the neo-soul sound, thanks in part to a genre defying and difficult to pigeonhole sound that draws from hip-hop, classic soul, jazz, rock, reggae and singer/songwriter pop. Over the past few years, Ndegeocello has been rather busy — she wrote and composed a musical influenced by James Baldwin’s The Fire Next Time, titled Can I Get a Witness?: The Gospel of James Baldwin and released a gorgeous tribute album to the legendary Nina Simone, which featured collaborations with fellow JOVM mainstay Cody ChesnuTT and others.

Ventriloquism, Ndegeocello’s later album was released earlier this year, and the album finds the renowned singer/songwriter and bassist covering songs by  TLC, Janet Jackson, Tina Tuner, Prince and others, who have been influential to her and her work — but with her unique take. As the renowned singer/songwriter and bassist explains in press notes, “Early on in my career, I was told to make the same kind of album again and again, and when I didn’t do that, I lost support. There isn’t much diversity within genres, which are ghettoizing themselves, and I liked the idea of turning hits I loved into something even just a little less familiar or formulaic. It was an opportunity to pay a new kind of tribute.” Ventriloquism’s first single was a coverof Force MD‘s smash hit “Tender Love,” that found Ndegeocello turning the slow-burning, 80s piano ballad into a folksy, Harvest-era Neil Young/Fleetwood Mac track, complete with shuffling drumming, twinkling Fender Rhodes and harmonica. Though she eschews some of the song’s cheesiness, which makes it endearing in its own right, Ndegeocello’s cover retains the song’s earnestness — pointing out that a well-written pop song can reach for something downright timeless. 

The album’s latest single is a cover of Ralph Tresvant’s “Sensitivity,” that briefly nods at Sting’s “Englishman in New York,” as it’s centered around loose, bluesy guitar chords, shuffling drumming and a New Orleans brass band-like bridge — and while retaining the song’s sultry nature, Ndegeocello manages to pull out and further emphasize the song’s tenderness.  Much like its predecessor, the new single continues Ndegeocello’s commentary on society’s narrow expectations on what music created by and performed by black artists should sound like and be like. 

Directed by the Cass Bird, the recently released video for “Sensitivity ” was specifically released in conjunction with the end of Pride Month — and in our dark and uncertain age, the video is a much-needed burst of joy and humanity, as the video was specifically cast to focus on faces, body types and identities that are less conventional, less celebrated and often misunderstood, capturing these people at their most vital, most joyful and most human — whether dancing, tenderly embracing, kissing and loving. Certainly, the world would be a much better place if there was more love and more gentle and human moments.