Sacado de // From –> https://twitter.com/FetusTree
¡Noticias frescas! Dentro de muy poco podréis conseguir nuestro EP en formato físico. Estará todo listo para @180fest
Fresh news! within a short time you will get our EP in physical format. It will be ready at @180fest
Sacado de // From –> https://soundcloud.com/nippleeatanna
Nipple Eat Anna es una banda de tres componentes formada a finales del 2011 que mezcla en su sonido el Rock alternativo, el Skate-Punk y el Hardcore melódico. Su estilo principal es el Grunge.
Hace poco Nipple Eat Anna han sacado su segundo EP, this is ALL WE ARE. Lo podéis escuchar más arriba a través de su Soundcloud o mediante una lista de reproducción en Youtube.
Nipple Eat Anna is a 3-member band formed in late 2011 that mixes in their songs alternative rock , skate-punk and melodic hardcore. Its main style is grunge.
Recently Nipple Eat Anna has released their second EP, this is ALL WE ARE. You can listen to it above through their Soundcloud or by a playlist in Youtube.
Sacado de // From –> http://blogs.seattletimes.com/
El boom del Grunge en los 90s no ocurrió sin precedentes. Antes de que el mundo hubiera escuchado a Nirvana, Pearl Jam, Soundgarden y Alice in Chains, los clubs del noroeste ya estaban enganchados al sonido de grupos como Hitting Birth, Vampire Lezbos, Chemistry Set, y Thrillerhammer.
“Loser: The Real Seattle Music Story” de Clark Humphrey y “Everybody Loves Our Town” de Mark Yarm son unos de los cuantos libros que ponen la escena del Grunge en su verdadero contexto. Ahora viene el equivalente en audio. “No Seattle: Forgotten Sounds of the North-West Grunge Era 1986-97,” se lanzará el 9 de septiembre, en CD, vinilo y formatos digitales.
La compilación contiene 23 diferentes bandas, generalmente desconocidas hoy pero con algunos nombres conocidos en sus formaciones. The Ones tenían a Jack Endino en el bajo, antes de que Endino se convirtiera en el productor de Sub Pop en la época floreciente del Grunge. Cuando Bundle of Hiss decidieron separarse, el batería Dan Peters se unió (y todavía toca con ellos) a Mudhoney, mientras que el bajista Kurt Danielson se fue con los pesos pesados TAD. Y después de su aventura con Kill Sybil, la batería Patty Schemel se convirtió en la batería de Hole.
Si queréis leer más, pasaros por –> http://www.avclub.com/article/say-anythings-max-bemis-why-he-hates-nirvanas-rape-208340
The grunge boom of the ’90s didn’t happen in a vacuum. Before the world had heard of Nirvana, Pearl Jam, Soundgarden, and Alice in Chains, Northwest clubs were ringing to the sounds of acts like Hitting Birth, Vampire Lezbos, Chemistry Set, and Thrillerhammer.
Clark Humphrey’s “Loser: The Real Seattle Music Story” and Mark Yarm’s oral history “Everybody Loves Our Town” were among the few books that put the grunge scene in this wider context. Now comes the audio equivalent, “No Seattle: Forgotten Sounds of the North-West Grunge Era 1986-97,” set for release September 9, in CD, vinyl, and digital formats.
The compilation features 23 different bands, largely unknown today but featuring a fair number of familiar names in the lineups. The Ones featured Jack Endino on bass, before Endino became Sub Pop’s go-to producer for the burgeoning Seattle music scene. When Bundle of Hiss went their separate ways, drummer Dan Peters joined (and still plays with) Mudhoney, while bassist Kurt Danielson took up with the heavyweight TAD. And after her tenure in Kill Sybil, drummer Patty Schemel became the drummer for Hole.
If you want to read more –> http://www.avclub.com/article/say-anythings-max-bemis-why-he-hates-nirvanas-rape-208340
Sacado de // From –> http://portalternativo.com/ – http://wxrt.cbslocal.com/
Butch Vig habló con la gente de la 93XRT de su relación con Dave Grohl, frontman de Foo Fighters, y del esperado ‘combo’ serie + nuevo disco de su banda.
Quiero a Dave como un hermano loco. No conozco a nadie que tenga un entusiasmo por la vida y la música… (Los Foos) son capaces de hacer lo que quieran y decidimos hacer el disco en ocho ciudades diferentes. La banda compuso ocho canciones y las grabamos todas en ocho locales diferentes de EEUU.
Parte del documental es sobre la grabación de la canción y mucho (de él) es sobre la historia musical de esa ciudad… Y también trata de lo que significa para los Foos y Dave. Se meten musicalmente en cada ciudad, lo que significa personalmente para ellos. Cada ciudad tuvo su propia experiencia. Una de las cosas guays del álbum es que cada canción tiene hasta cierto punto el sonido de la ciudad y sin duda el ambiente en el que se grabó. Cada canción es completamente única y distinta.
El álbum llegará a las tiendas el 10 de noviembre y la serie se estrenará el 17 de octubre.
In a recent phone interview, renowned producer and musician Butch Vig shared with Marty Lennartz some much awaited details about Foo Fighters‘ eighth studio album, Sonic Highways, due to release November 10th. Vig worked with the Foo’s on their 2011 album, Wasting Light, and was elated to work with Grohl and Co. once more.
“I love Dave like a crazy brother. I don’t know anyone who has such infectious enthusiasm for life and for music…[The Foo’s] are capable of doing what they want to do, and we decided to make this record in eight different cities. The band wrote eight songs and we recorded them all in eight different locales in the U.S.”
Remember when everyone kept having Dave Grohl sighting on the CTA last December? Well, Chicago was the first stop on the Foo Fighter’s ‘recording tour’ where Vig recalls it being ‘gnarly cold’. They laid down the first track on the album at Steve Albini’s studio Electrical Audio which Vig noted as having an impressive microphone collection and being ‘not posh or super fancy, but really well appointed.’
Other stops on the recording tour did not have such ample accommodations. In New Orleans the army of musicians, crew, engineers, and producers recorded in the notorious Preservation Hall which while being stunning in it’s own right, proved to be more difficult than Chicago.
“[Preservation] is just a small performance room, so we had to roll cable down a side walk, through an alleyway, and borrow the manager of the building’s office to set up some makeshift speakers and a little board to monitor from…so each city truly had it’s own experience.”
To make the Sonic Highway experience even more abundant, in October the Foo Fighters will release a ‘fun and inspiring’ documentary on HBO, in which each song on Sonic Highway and it’s multi-city recording sessions will be an hour long special each.
As Vig recounts, “Part of the documentary is about the recording of the song and a lot of it is about he musical history of that city…And it’s also about what it means to the Foo’s and to Dave. He taps into what each city musically, personally means him.
Each city truly had it’s own experience. One of the cool things about the album is…each song has that city’s sound to a certain extent and definitely the environment we recorded in. Each song is it’s own unique beast.”
The beast of an album that is Sonic Highways is due out November 10, 2014. Documentary series Sonic Highways premieres on HBO October 17th, at 11pm.
Sacado de // From –> http://www.alternativenation.net/
El resumen de la vida musical de Barrett Martin es sin duda uno de los más impresionantes con los que jamás te encontrarás, ya que ha tocado con los Screaming Trees, Layne Staley y Mike McCready en Mad Season, y Duff McKagan en Walking Papers, entre otros. Y ahora, ha vuelto al grupo instrumental con sede en Seattle, Tuatara, con un álbum conjunto que se publicará a finales de este verano, ‘Underworld’ (Billboard recientemente estrenó una canción, «The Skeleton Getdown»). Producido por Martin y mezclado por Jack Endino, ‘Underworld’ se dará a conocer a través del sello musical de Martin, Sunyata Records. Recientemente, el Sr. Martin tuvo la amabilidad de conceder una entrevista a Alternative Nation.
Por qué ha tardado tanto tiempo en llegar una continuación al anterior álbum de Tuatara, ‘The Here and the Gone’?
¿Cómo funciona el proceso de escribir en Tuatara?
Una canción o composición pueden provenir de cualquier miembro de la banda, y entonces simplemente comenzamos la construcción de la idea, la organizamos, esculpiendo una canción. En mi caso, contribuyo mucho sobre las ideas iniciales en contrabajo, vibráfono y piano. A veces uno de mis ritmos de batería se convierte en nuestra inspiración inicial. Peter escribe mucho con la guitarra obviamente, y Skerik está siempre tratando con increíbles melodías exóticas. Una vez que empezamos a martillearjuntos, realmente comienza a sonar como una banda única.
Si queréis leer más (en inglés), pasaros por –> http://www.alternativenation.net/?p=49087
Barrett Martin’s musical resume is certainly one of the most impressive you’ll ever come across, having played with the Screaming Trees, Layne Staley and Mike McCready in Mad Season, and Duff McKagan in Walking Papers, among others. And now, he has returned to the Seattle-based instrumental group, Tuatara, with an album set to be issued later this summer, ‘Underworld’ (of which the Billboard site recently premiered a song from, “The Skeleton Getdown”. Produced by Martin and mixed by Jack Endino, ‘Underworld’ will be released via Martin’s label, Sunyata Records. Recently, Mr. Martin was kind enough to grant Alternative Nation an interview.
Why did it take so long to follow up Tuatara’s last album, ‘The Here and the Gone’?
Part of the delay was that I was finishing my masters degree in anthropology and that took all of my focus for about 3 years. And then after graduating, I moved back to Seattle and started teaching as an adjunct professor at Antioch University, so I had several syllabi to write, classes to teach, and papers to read. During that time I was also writing new music that would eventually become the foundation for the new Tuatara ‘Underworld’ album, but I also started the rock band Walking Papers and our debut album initially came out and I found myself on an 18 month world tour (I am writing this in Eastern Hungary where Walking Papers just played). In between legs of the Walking Papers tour, we recorded and mixed the new Tuatara album. So I recorded tracks in New York, New Mexico, Seattle, Portland, and even New Zealand. But now it’s finally done and about to be released, and it’s a really great 20 song double album. It’s probably the best thing we’ve ever done and well worth the wait.
How does the songwriting typically work in Tuatara?
A song or composition can come from any member of the band, and then we just start building on the idea, arranging it, sculpting it into a song. With me, I contribute a lot of the initial ideas on upright bass, vibraphone, and piano. Sometimes one of my drum rhythms becomes our initial inspiration. Peter writes a lot with guitar obviously, and Skerik is always coming up with amazing, exotic melodies. Once we start hammering it out together, it really starts to sound like a very unique band.
If you want to read more –> http://www.alternativenation.net/?p=49087