Sacado de // From –> https://twitter.com/PearlJam
Pearl Jam hits the stage w/@OFFofficial & @BRMCofficial this July in Milton Keynes! Tix available now: http://t.co/TK2YZclnJ0 @LiveNationUK
— Pearl Jam (@PearlJam) junio 7, 2014
Sacado de // From –> http://www.alternativenation.net/
Miembros de las antiguas bandas de Sub Pop, Love Battery, TAD, y The Fluid, se han juntado para formar un supergrupo, Vaporland, que acaban de lanzar su disco homónimo debut.
Según el co-fundador de Screaming Trees, Van Conner, quien está lanzando Vaporland en su sello, Strange Earth Records, el grupo consta de: el bajista de TAD Kurt Danielson, Garrett Shavlik de The Fluid, Ron Nine y Kevin Whitworth de Love Battery y el vocalista Katie Scarberry.
Conner dice que la banda “se juntó simplemente para rockear y pasarlo bien» y describre la música de la banda como «Angular, con algo de post punk etéreo, pop psicodélico» con un montón de Blues ” El proyecto ha sido producido por el productor de Seattle Jack Endino. Abajo podéis escuchar la canción que da título al disco.
Members of Sup Pop’s early flagship bands Love Battery, TAD, and The Fluid have joined together to form the supergroup Vaporland, which has now released its debut self-titled album.
According to former Screaming Trees co-founder Van Conner, who is releasing Vaporland on his label Strange Earth Records, the group consists of TAD bassist Kurt Danielson, the Fluid’s Garrett Shavlik, Love Battery’s Ron Nine and Kevin Whitworth, and vocalist Katie Scarberry.
Conner says that the band “got together for no other purpose than to rock and have fun” and describes the band’s music as ”angular, driving post punk and ethereal, psychedelic pop” with “blues-drenched licks.” The project was produced by Seattle producer Jack Endino. Below, listen to the band perform their eponymous song “Vaporland”:
Sacado de // From –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/
Somewhere between a man beating himself bloody with spoons and a producer ripping a door off its hinges, Soundgarden made the record they’d been waiting nine years to unleash. Already beloved in the Seattle rock scene, and reaping the benefits of their town’s early ’90s grunge celebrity alongside their friends Nirvana and Pearl Jam, the band’s previous album, 1991’s Badmotorfinger, had gone platinum and earned a Grammy nomination for Best Metal Performance. They’d helped spur Sub Pop records on to greatness, hit the road with Guns N’ Roses, and commanded the mainstage of Lollapalooza.
But the band that so identified with muscular, pistoning hard-rock believed they were also capable of a deeper pop melodicism, of more nuanced anthems. By the summer of 1993, frontman and guitarist Chris Cornell, a longtime Beatles and Pink Floyd devotee, and bassist Ben Shepherd, a blithely experimental hand with tunings and dynamics, had begun crafting songs that would defy headbangers’ expectations. They recruited the producer Michael Beinhorn — who’d helmed releases by the Red Hot Chili Peppers and Soul Asylum — to help realize their ambitions.
The six months of recording, engineering and mixing that went into Superunknown did not progress as in-step with that idealism. The band clashed constantly with Beinhorn — whose methodical repetition was at odds with their down-and-dirty recording habits — and all began to doubt the results. But their vindication would come, unsubtly, in the radio ubiquity of «Black Hole Sun,» two Grammy wins, and the enduring career the band had cemented for themselves as a result of the album’s success. Furthermore, the record handily dispelled any notion of Soundgarden being reductive metalheads: From the roiling surf-pop guitars of «My Wave,» to Cornell’s menacing, discomfiting vocal operatics on «Mailman,» to the tetchy, bluesy crawl of «Limo Wreck,» and the Gonzo nonchalance and psychedelic-pop agility of «Black Hole Sun,» Superunknown thrived in its eccentric outer limits.
Here, 20 years after the album’s release, is the story behind its creation from the people who were there, plus a Bill Nye the Science Guy cameo, because Seattle was pretty weird back then.
If you want to read the whole article –> carticles/oral-history-soundgarden-superunknown-anniversary-reissue/
