Tag: Screaming Trees

New Video: The Cinematic and Mournful Visuals for Mark Lanegan Band’s “Beehive”

Mark Lanegan is a Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, best known as the frontman, and founding member of Seattle-based grunge rock pioneers Screaming Trees, and for collaborating with an incredibly diverse array of artists and bands throughout his lengthy career including Nirvana‘s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind. The Ellensburg-born, Los Angeles-based singer/songwriter was also a member of renowned grunge rock All-Star supergroup/side project Mad Season with Alice in Chains‘ Layne Staley and Pearl Jam‘s Mike McCready. After Screaming Trees broke up in 2000, Lanegan joined Queens of the Stone Age and is featured on the band’s last five albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork. He’s also collaborated with The Afghan Whigs‘ Greg Dulli in The Gutter Twins and has collaborated with former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, he has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others. And although he’s managed to be rather busy throughout the years, Lanegan has also developed a low-key solo career in which he’s released nine studio albums that have been critically applauded and have seen a fair amount of commercial success.

Lanegan’s 10th full-length effort Gargoyle is slated for release next week through Heavenly Recordings and interestingly enough, Lanegan can trace the origins of the album’s material and sound back to early 2016. At the time, the renowned grunge rocker and singer/songwriter was working on some ideas for material, which could possibly be a new, solo album, when he received an email from a friend and collaborator, the British based musician Rob Marshall, who he had first met several years before when Marshall’s former band Exit Calm had supported Soulsavers, a band that Lanegan had been fronting. The email thanked Lanegan for his participation on an album that Marshall had recorded with his newest project, Humanist while offering to write music for Lanegan to return a favor to the grunge pioneer. As Lanegan recalls in press notes, his response was along the lines of “Hey man, I’m getting ready to make a record, if you’ve got anything? Three days later he sent me 10 things… !”

Early on in the writing process, Lanegan had written “Blue Blue Sea,” a rippling mood peice that he thought and felt would be more fruitful direction for the songs on the album. “It’s almost always how my records start,” the Los Angeles-based singer/songwriter explains in press notes. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are, tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess.” Within about an hour, Lanegan and written words and recorded vocals for two of the instrumental tracks Marshall had written and recorded at Mount Sion Studios in Kent UK. Interestingly, the music Marshall had written had managed to fit perfectly with the direction Lanegan had been thinking of for some time — an expansion of the Krautrock-inspired electronic sounds and textures of his previous two albums Blues Funeral and Phantom Radio. Eventually Marshall wound up co-writing six of the album’s 10 songs with the remainder of the album being written and produced by Lanegan’s longtime collaborator Alain Johannes at 11AD Studios in West Hollywood.

As the story goes, everything was polished and finished within a month, which has been unusually fast by Lanegan’s recent standards. “I definitely feel like I’m a better songwriter than I was 15 years ago,” Lanegan stays in press notes. “I don’t know if I’m just kidding myself or what, but it’s definitely easier now to make something that is satisfying to me. Maybe I’m just easier on myself these days, but it’s definitely not as painful a process, and therefore I feel I’m better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else’s perspective it’s more exciting than if I’m left to my own devices.”

Gargoyle‘s second and latest single “Beehive” pairs Lanegan’s imitable boozy, growling baritone vocals with a bluesy and swaggering production featuring shimmering guitar chords and enormous tweeter and woofer rattling beats, essentially pushing Lanegan’s recent forays into the blues into the 21st Century; but in a way that feels both warmly familiar and yet new.

Directed by Zhang + Kang and produced by Agile Flims, the recently released video for “Beehive” follows two young lovers — two vampires, actually, who are desperately trying to kick their craving for blood. Before presumably deciding to kill themselves, they spend a sad yet beautiful romantic night together — and at the core of the video is a heavy, world-weary and fatalistic ache.

Mark Lanegan is a Ellensburg, WA-born, Los Angeles, CA-based singer/songwriter and guitarist, best known as the frontman, and founding member of  Seattle-based grunge rock pioneers Screaming Trees, and for collaborating with an incredibly diverse array of artists and bands throughout his lengthy career including Nirvana‘s Kurt Cobain on an unreleased Lead Belly cover/tribute album recorded before the release of Nevermind. The Ellensburg-born, Los Angeles-based singer/songwriter was also a member of renowned grunge rock All-Star supergroup/side project Mad Season with Alice in ChainsLayne Staley and Pearl Jam‘s Mike McCready. After Screaming Trees broke up in 2000, Lanegan joined Queens of the Stone Age and is featured on the band’s last five albums — 2000’s Rated R, 2002’s Songs for the Deaf, 2005’s Lullabies to Paralyze, 2007’s Era Vulgaris and 2013’s . . . Like Clockwork. He’s also collaborated with The Afghan WhigsGreg Dulli in The Gutter Twins and has collaborated with former Belle and Sebastian vocalist Isobel Campbell on three albums. Additionally, he has contributed or guested on albums by Melisa Auf der Maur, Martina Topley-Bird, Creature with the Atom Brain, Moby, Bomb the Bass, Soulsavers, Greg Dulli’s The Twilight Singers, UNKLE and others. And although he’s managed to be rather busy throughout the years, Lanegan has also developed a low-key solo career in which he’s released nine studio albums that have been critically applauded and have seen a fair amount of commercial success.

Lanegan’s 10th full-length effort Gargoyle is slated for an April 28, 2017 release through Heavenly Recordings and interestingly enough, Lanegan can trace the origins of the album’s material and sound back to early 2016. At the time, the renowned grunge rocker was working on some ideas for what might be a new solo album, when he received an email from a friend and collaborator, the British based musician Rob Marshall, who he had first met several years before when Marshall’s former band Exit Calm had supported Soulsavers, a band that Lanegan had been fronting. The email thanked Lanegan for his participation on an album that Marshall had recorded with his newest project, Humanist while offering to write music for Lanegan to return a favor to the grunge pioneer. As Lanegan recalls in press notes, his response was along the lines of “Hey man, I’m getting ready to make a record, if you’ve got anything? Three days later he sent me 10 things… !”

Early on in the writing process, Lanegan had written “Blue Blue Sea,” a rippling mood peice that he thought and felt would be more fruitful direction for the songs on the album. “It’s almost always how my records start,” the Los Angeles-based singer/songwriter explains in press notes. “I let the first couple of songs tell me what the next couple should sound like, and it’s really the same process when I’m writing words. Whatever my first couple of lines are, tell me what the next couple should be. I’ve always built things like that, sort of like making a sculpture I guess.” Within about an hour, Lanegan and written words and recorded vocals for two of the instrumental tracks Marshall had written and recorded at Mount Sion Studios in Kent UK. Interestingly, the music Marshall had written had managed to fit perfectly with the direction Lanegan had been thinking of for some time — an expansion of the Krautrock-inspired electronic sounds and textures of his previous two albums Blues Funeral and Phantom Radio. Eventually Marshall wound up co-writing six of the album’s 10 songs with the remainder of the album being written and produced by Lanegan’s longtime collaborator Alain Johannes at 11AD Studios in West Hollywood.

As the story goes, everything was polished and finished within a month, which has been unusually fast by Lanegan’s recent standards. “I definitely feel like I’m a better songwriter than I was 15 years ago,” Lanegan stays in press notes. “I don’t know if I’m just kidding myself or what, but it’s definitely easier now to make something that is satisfying to me. Maybe I’m just easier on myself these days, but it’s definitely not as painful a process, and therefore I feel I’m better at it now. But part of the way that I stay interested in making music is by collaborating with other people. When I see things through somebody else’s perspective it’s more exciting than if I’m left to my own devices.”

Gargoyle‘s second and latest single “Beehive” pairs Lanegan’s imitable boozy, growling baritone vocals with a bluesy and swaggering production featuring shimmering guitar chords and enormous tweeter and woofer rattling beats, essentially pushing Lanegan’s recent forays into the blues into the 21st Century; but in a way that feels both warmly familiar and yet new.

 

 

 

 

 

 

New Audio: Sub Pop Records and Soundgarden Release Second Single Off Remixed and Expanded Re-Issue of Their Debut Album

Currently comprised of founding members Chris Cornell (vocals, rhythm guitar) and Kim Thayil (lead guitar), along with Matt Cameron (drums), who joined in 1986 and Ben Shepherd (bass), who joined in 1990, the Seattle, WA-based grunge/alt-rock quartet Soundgarden can trace its origins back to the formation and eventual breakup of an early 80s Seattle-based band The Shemps, which featured Cornell on drums and vocals, along with original bassist Hiro Yamamoto. Strangely enough, over the years what seems to have been forgotten is that the members of Soundgarden had started their recording career with Sub Pop Records; in fact, the renowned alt rock/indie label released the band’s first two EPs 1987’s Screaming Life and 1988’s Fopp, two efforts, which the label re-issued a couple of years ago through both vinyl and digital formats, marking the first time in about 25 years that the EPs were pressed onto vinyl — and the first time they were released digitally. Interestingly enough, Sub Pop Records helped distributed Soundgarden’s 1988 full-length debut, Ultramega OK.

And although they had some creative differences with the album’s producer Drew Canulette and the band’s overall dissatisfaction with the final mixes, their full-length effort was a commercial success as it garnered both a 1990 Grammy nomination for Best Metal Performance and attention from larger labels — including A&M Records, who quickly signed the band. At the time, the band had intended to spend some time remixing the album for subsequent pressings of the album; but those plans wound up falling by the wayside, as the band went on to write and record their sophomore effort, and major-label debut, Louder Than Love.

Last year, the members of the band acquired the original multi-track tapes from the Ultramega OK sessions and they enlisted the assistance of renowned producer, engineer, long-time friend and frequent, old-time collaborator Jack Endino, who has famously worked with Nirvana, Mudhoney, Screaming Trees, Skin Yard, The Black Clouds and others to create a new mix of the album that would tie up what the band felt were persistent loose ends — while fixing the album’s overall sound. Interestingly, the band found six early version of album singles that eventually wound up on Ultramega OK and reportedly those early versions, which would eventually become staples of their live sets at the time, capture the band’s sound and songwriting in a much rawer, less polished form — and much closer to the sound on the Screaming Life EP.

Almost 30 years after Ultramega OK’s original release, Sub Pop Records will be releasing the remixed and expanded re-issue of the album, as a long-awaited “correction.” Naturally, for die-hard fans and completists, the re-mixed material will capture the band’s sound as they fully intended it, while the re-discovered early material will serve as a window into the development of the band’s songwriting approach and overall sound. Now, as you may remember, I wrote about the re-issue’s first single “Beyond The Wheel” and the re-mixed version possessed a crisper, cleaner sound, which helped to display Kim Thayill’s incredible guitar work and the interplay between Matt Cameron’s Bonham-like thundering drumming and Cornell’s Robert Plant-like wailing. The re-mixed and expanded Ultramega OK’s second single “Flower” much like its preceding single displays a cleaner, crisper sound, which gives the song the muscular insistence that the band became known for while interestingly enough, the song has moments that nod at Badmotorfinger and Superunknown.

There are bands, whose sound and aesthetic make such a forceful and immediate impression that you can instantly recall the first time you had come across them; in fact the first time I had ever heard Soundgarden, I was watching MTV‘s Headbanger’s Ball.  And what I can still remember more than 25 years later was how the show’s host at the time, Rikki Rachtman told viewers that they needed to be on the lookout for Soundgarden — mainly because of Chris Cornell, who Rachtman had described as being a little guy with an enormous voice. They promptly followed that with the music video for “Outshined” off Badmotorfinger — and I can remember being blown away.

Strangely, as the years have passed what’s been forgotten is that the members of Soundgarden had initially started their career with Sub Pop Records; in fact, the now long-renowned grunge label had released the Seattle-based band’s first two EP’s Screaming Life and Fopp, which Sub Pop re-issued a few years ago, marking the first time that both of those early efforts would be availably digitally, as well as through vinyl. But interestingly enough, the renowned Seattle-based label also help distribute  Soundgarden’s full-length debut, Ultramega OK.

On March 10, 2017, Sub Pop Records will be releasing a remixed and expanded reissue of Soundgarden’s full-lengtht debut, as a long-planned “correction” of their debut. Ultramega OK was originally recorded and released through SST Records in 1988 — and while the members of the band enjoyed working with the album’s original producer, Drew Canulette, they were dissatisfied with the album’s final mix. And as the story goes, the band had intended to remix the album for subsequent pressings; however, the band quickly had major label success and were signed to A&M Records and the band went into the studio to work on their major-label debut effort, Louder Than Love. And as a result, the Ultramega OK remix had fallen off to the wayside.

Last year, the members of the band finally acquitted the original multi-track tapes from the Ultramega OK sessions and they all decided to set some time aside to work on the remix. Naturally, the band enlisted the assistance of renowned producer and engineer Jack Endino, a long-time friend and former collaborator, who has worked with Nirvana, Mudhoney, Screaming Trees, Skin Yard, The Black Clouds and others to create a new mix of the album that would tie up some persistent loose ends and fixes the album’s overall sound. Interestingly, the members of the band also found six early versions of songs that eventually wound up on the full-length album, which they initially recorded in 1987 with Jack Endino and Chris Hanszek at Reciprocal Recording — and mixed by Endino last year. Reportedly, those early versions of songs, which were later staples of the band’s live sets, capture the band in a much rawer form — and much closer to the Screaming Life EP. Naturally for die-hard fans and completists, the rediscovered material will serve as a window into the development of the band’s songwriting approach and sound. The forthcoming re-issue’s first single is a crisper, tighter and much more forceful version of “Beyond The Wheel” which better displays Kim Thayill’s guitar work and its interplay between Matt Cameron’s Bonham-like drumming and Cornell’s vocals. And compared to the original, the re-mixed alternate version almost sounds like a completely different song.