Space Summit has premiered their new and debut track titled ‘I’m Electric’. A new collaboration resulting from Marty’s ‘The Sessioneer Series‘, between former The Church guitarist Marty Willson-Piper and musician Jed Bonniwell, ‘I’m Electric’ takes the musicianship and songwriting of both and turns them into a stellar new beginning. ‘I’m Electric’ is, to me, the perfect intro-single for a new project. Sonically, it’s as varied as it is original creatively, while also being just plain fun to listen to.
Also featuring Dare Mason on keyboards, who also produced, as well as Olivia Willson-Piper on strings, Eddie John on drums, Anekdoten’s Niklas Barker on Mellotron, and Phoebe Tsen on harmony and backing vocals, Space Summit is clearly an album made by a musical family and presented to the world. Listen. Love. Live.
Check out our other features with Marty Willson-Piper HERE.
LINKS:
https://spacesummitband.com
https://www.facebook.com/spacesummit
https://www.instagram.com/spacesummitband
Click HERE to watch Season 7 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 6 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 5 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 4 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 3 of Jammerzine’s ‘The Week in #Indie’.
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Click HERE to watch Season 1 of Jammerzine’s ‘The Week in #Indie’.
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An Interview with XTC Author Mark Fisher (The Week in #Indie Segment)
When a band, or any kind of artist for that matter, has such a positively fervent following, as XTCdoes, the music and stories surrounding that band or artist can elevate to a kind of mythical status. There is certainly mythology surrounding XTC that has fermented for decades with followers and fans of all ages, ethnicities, and beliefs all captivated with the music in their own special ways.
And now we have author Mark Fisher chronicling some of those stories from those who knew the band personally as well as those who know the music. This is an inciteful book about an inciteful band. And now we get a perspective of XTC from a well-versed author who is also a fan (having run the original XTC newsletter, Limelight).
‘What Do You Call That Noise?’ will be released on March 4 (links below).
About Mark Fisher & ‘What Do You Call That Noise?”
From Mark Fisher, the editor of ‘The XTC Bumper Book of Fun for Boys and Girls’, comes a new musical exploration of one of the most essential pop groups of the 20th century. ‘What Do You Call That Noise? An XTC Discovery Book’ is a compelling 228-page book that involves some of the world’s leading musicians and keenest fans of XTC. Here, they come together to discuss what makes this Swindon band so very special and the extent of the impact of their music worldwide.Every member of XTC also makes an appearance. Andy Partridge speaks about mixing, Dave Gregory on arranging and Barry Andrews on the piano. The book also features interviews with XTC drummers Pete Phipps, Pat Mastelotto, Ian Gregory, Prairie Prince, Dave Mattacks and Chuck Sabo.
“Every XTC album that got ignored gave the band a real power jolt. It was like being the Duracell bunny and getting a fresh set of batteries in your back. It made us want to strive harder,” says XTC frontman Andy Partridge.
“Weirdly, it does feel like the band is being appreciated now. We’ve become a historical artifact that’s more important than when it was a pot in Cro-Magnon times. As a museum exhibit it’s become priceless, but as a Neanderthal pot, nobody wanted to bother pissing in it. It makes me feel valued – as long as I don’t go into national treasure territory!”
Fisher also offers an in-depth review of Colin Moulding and Terry Chambers playing live for the first time in 36 years as TC&I. during their recent Swindon Arts Centre residency, a performance named on BBC Radio 6 Music’s Marc Riley show as one of the gigs of 2018.
Contributing musicians include:
- Rick Buckler: The Jam
- Chris Difford: Squeeze
- Debbi Peterson: The Bangles
- Dennis Locorriere: Dr. Hook
- Steve Conte: New York Dolls
- Steven Page: Barenaked Ladies
- Chris Butler: The Waitresses
- Tracey Bryn: Voice of the Beehive
- Jason Falkner: Jellyfish
- Andrew Falkous: Future of the Left
- Peter Gabriel
- Mike Keneally: Frank Zappa
Plus Anton Barbeau, Todd Bernhardt, Chris Braide, Mikey Erg, Anne McCue, Jim Moray, Erich Sellheim, Rosie Vela, Mark Vidler, and David Yazbek, as well as members of Fassine, Big Big Train, bis, Cosmic Rough Riders, Odds, Tin Spirits, Palm Ghosts and many more…
2018 marked the 40-year anniversary of XTC’s first studio album ‘White Music’. While XTC was founded in 1972, it wasn’t until 1979 that XTC had their first UK chart single. Colin Moulding and Andy Partridge continued their partnership until the group’s dissolution in 2006.
Lately there has been renewed interest in XTC, in part due to the release of eye-opening XTC documentary ‘This Is Pop’ about the band’s history and legacy, which looks at XTC and their journey from mercurial pop outsiders to full-blown national treasures and one of Britain’s most influential yet unsung bands.
“The song is a little machine. If you take apart the machine, it’s not a clock anymore and you can’t tell the time by it.”
– Andy Partridge“Music… I couldn’t imagine life without it. It’s always there.”
– Dave Gregory“I was always quite envious of XTC because they weren’t put in the same pigeonhole as punk bands. They were regarded as a bit more arty than that. We always had to fight off this flag, being under the banner of punk… XTC never seemed to fall into that trap. They had that freedom.”
– Rick Buckler ( The Jam)“Seeing them on TV was like being in a tribe. Together I thought we might rule the world… Yes, I stole from them. I’m sure I was not the only one. The wit did woo mee. I fell head over heels for the clever wordplay, the charge of the story and the sentimental Britishness of it all.”
– Chris Difford (Squeeze)“XTC’s music has always been there in my consciousness. I think about it a lot when I’m making records… They come across as an everyday group of people and that’s very much what Barenaked Ladies were about too – living as ordinary a life as you can in a bizarre lifestyle like rock’n’roll.”
– Steven Page (Barenaked Ladies)“I remember when I first heard Making Plans for Nigel on the radio… I absolutely loved the song, especially the drum part… Terry’s drumming was so rhythmic. I was very much influenced by him. In fact, I would drum along to XTC songs to warm up. It was very inspiring to me!”
– Debbi Peterson (The Bangles)LINKS:
http://www.xtclimelight.com
https://twitter.com/LimelightXTC
https://www.facebook.com/XTCLimelight
https://www.facebook.com/groups/425591964471058
http://www.xtclimelight.com/buy.html -
Ethan Gold Releases ‘Not Me.Us’ Video (The Week in #Indie Segment)
Ethan Gold has officially released his new video for the single titled ‘Not Me. Us’. Beginning as a somber anthem the song slowly builds up to the hook with pop-sensibility and a craft only a good songwriter can achieve, ‘Not Me. Us’ gives a poignant reflection on the better qualities of humanity with the craft of a poet and the form of an artist.
‘Not Me.Us’ is out now everywhere digitally, including stores such as Apple Music, and streaming platforms like Spotify.
Watch the full episode of The Week in #Indie HERE.
Click HERE to watch Season 6 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 5 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 4 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 3 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 2 of Jammerzine’s ‘The Week in #Indie’.
Click HERE to watch Season 1 of Jammerzine’s ‘The Week in #Indie’.ABOUT ETHAN GOLD
With the slogan ‘Make Sensitivity Cool Again’, Gold makes lullabies of strength for the quieter half of the human race. This is catchy art rock, for people who still dream. With personable flair and depth, Gold sings about the longing for human connection in the city, and also for the natural world.
“I wrote ‘Not Me. Us’ as an anthem to reflect the times. I started with the then-current Bernie slogan “Not Me Us” – a simple phrase, a moral protest against the lack of compassion, lack of empathy, and narcissism that’s become a point of pride for current political leadership in many countries. As a person who’s primary political motivator is a concern for our biosphere, I found this phrase very appealing, as it respects the interconnectedness of all life,” says Ethan Gold.
“Musically I went with a sound that’s more traditionally American. There’s a power in those idioms. I wanted to call out the hard fight everyone is having in the country, while also allowing everyone to feel, in a time where the dominant feelings are factionalism and fear, that the things which unite us could still be greater.”
Raised in San Francisco during the long extended hangover after hippie times, Ethan Gold is son to Beat author Herbert Gold and Melissa Gold, a collaborator and girlfriend of legendary concert promoter Bill Graham – the two died together in a helicopter crash. A childhood of constant change and chaos may have led Ethan to the unique way he approaches music. Today he lives and dreams songs, writing much music while asleep.
“There’s huge economic inequality destroying American life. A country that pioneered the notion of everyone being able to be comfortably middle class is now breaking into bitterness and division as a huge majority of the population is frightened, living paycheck-to-paycheck, and at the risk of bankruptcy from one unexpected illness or job loss. Even people working multiple jobs are having trouble making ends meet,” says Ethan Gold.
“So I put a mosaic of families in the song and video. A father who’s sick but can’t afford treatment. A son falling into hatred. A mother working two jobs but barely surviving. A young daughter hopeful. Proud grandparents who see their life’s work crumbling as their children slide down the economic ladder. We could all be all these people; this is every family. The struggles so many are having aren’t so different from each other.”
In 2013, Gold suffered a serious head injury. After a long recovery, he now credits the temporary dissolution of his cognitive ability with upgraded inner power, creativity, and clarified mission: in a world that seems more and more combative, bringing sensitive people and quieter things – music and poetry and the living earth – back into their magnificence.
The ‘Not Me. Us’ single follows Gold’s most recent offering – ‘Never Met A World Like You’, an environmental song with highly impactful video, to coincide with the first climate strikes. He also performed, for the first time after his head injury, at three L.A. rallies in late 2019.
Following his acclaimed ‘Songs From A Toxic Apartment’ LP during his recovery, 2018 brought the release of the naive-electronic ‘Expanses (Teenage Synthstrumentals)’ and Gold’s tribute to childhood favorites ‘Live Undead Bedroom Closet Covers’. Gold also handled film scoring for Blumhouse supernatural thriller ‘Don’t Let Go’ and brother Ari Gold‘s feature films ‘Adventures of Power’ and ‘The Song of Sway Lake’, which features John Grant and The Staves singing Gold’s songs.
This track was produced and engineered by Dave Tweedie (So You Think You Can Dance, No Doubt, Flipsyde, Akon). Gold and Jay Ponti produced the video, with editing and effects by Adam Laiben.
Ethan Gold has just finished recording his upcoming double-album ‘Earth City’, which explores themes of longing — for human connection, for romance, for city nightlife, and ultimately for connection to the threatened natural world. Release expected later this year.
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An Interview with King’s X
Jammerzine has an exclusive interview with dUg Pinnick of King’s X. Today is the release of the first King’s X album in 14 years titled ‘Three Sides Of One’.
In this interview, we talk with dUg about the process of getting the band back together and recording the new album while getting reacquainted musically and continuing the ever evolving legacy that is King’s X.
Check out our previous interview with dUg HERE.
Check out our interview with Jerry Gaskill HERE.
About King’s X
Lifelong friends communicate in a language of their own peppered with shared memories, inside jokes, and dreams fulfilled. King’s X partake in a similar musical conversation informed by over four decades together as a band. The trio—Dug Pinnick [bass, vocals], Jerry Gaskill [drums, vocals], and Ty Tabor [guitar, vocals]—lock into an unspoken groove where each element shapes a signature sound singular to these three individual souls alone. No other band in history has pushed hard rock, alternative, metal, progressive, and soul into a galaxy quite like the one King’s X occupy.
Along the way, they architected a catalog of seminal releases. KERRANG! famously scored their 1988 full-length debut, Out of the Silent Planet, with a rare “5-out-of-5-stars.” On its heels, the landmark Gretchen Goes To Nebraska continues to inspire think pieces with Ultimate Classic Rock going as far to proclaim, “no one else has crafted anything remotely like it.” They notably appeared on the soundtrack to Bill & Ted’s Bogus Journey, and Guitar World christened the self-titled King’s X one of “The 30 Greatest Rock Guitar Albums of 1992” (a year notably highlighted by Pantera’s Vulgar Display of Power, Alice In Chains’ Dirt, Megadeth’s Countdown To Extinction, Dream Theater’s Images and Words, and many more). Following Dogman, the group graced the stage of Woodstock 1994 and toured with everyone from Pearl Jam and AC/DC to Mötley Crüe and Iron Maiden. They also attracted one of the most diehard fanbases in music with Ear Candy [1996], Tape Head [1998], Please Come Home… Mr. Bulbous [2000], Manic Moonlight [2001], Black Like Sunday [2003], Ogre Tones [2005], and XV [2008].
In 2019, author Greg Prato’s book King’s X: The Oral History featured testimonials from the likes of Jeff Ament of Pearl Jam, Billy Corgan of The Smashing Pumpkins, Andy Summers of The Police, Scott Ian of Anthrax, Dean DeLeo of Stone Temple Pilots, Rex Brown of Pantera, and more. Meanwhile, Rolling Stone crowned them “Internationally renowned cult heroes,” Devin Townsend included Gretchen Goes To Nebraska on “The 5 Albums That Made Me,” and VH1 touted them among “The 100 Greatest Artists of Hard Rock.”
About ‘Three Sides Of One’
Their first full-length studio offering in 14 years, Three Sides of One [Inside Out Music], represents the culmination of this trip and of a bond forged way back in 1979.
“When I think of it, King’s X feels like a couple of old best friends coming together, shooting the shit, and having a good time,” affirms Dug. “It’s instinctual. When I would listen to demo tapes of Jerry and Ty for the record, it gave me a great perspective on how blessed I am to be in King’s X. What they did on Three Sides of One sounded so good. For as familiar as it is, it’s like I’m in a new band.”
“This time, we sat around, listened to each other’s ideas, and would collectively say, ‘Let’s work on that’,” recalls Ty. “It was the most enjoyable album I’ve personally ever recorded in my entire life, period.”
“I’ll cherish what we did in my heart forever,” agrees Jerry. “Everything lined up perfectly.”
During 2019, the members congregated at Black Sound Studio in Pasadena, CA with producer Michael Parnin to bring Three Sides of One to life. Despite consistent touring, they hadn’t cut a new LP since 2008. Nevertheless, the guys picked up where they left off. Creative confidant and collaborator Wally Farkas rolled through, and they channeled their incredible chemistry on tape. During the sessions, Ty and Jerry sang more and expanded the vocal interplay. At the same time, they hung out in the house and enjoyed the summer—even listening to a nearby Rolling Stones concert from The Rose Bowl outside one evening.
“We wanted it to be very special,” Jerry goes on. “We all brought in songs we believed in. We were excited to see each other. We had a wonderful house to stay in, and it was the best situation.”
“We didn’t want to make a record until we knew our fans would love it,” Dug goes on. “It took us a while, but we got there. Once we did, we got on the same page and said, ‘Let’s make this thing the best we can’.”
The opener and first single “Let It Rain” kickstarts this chapter. Clean guitar echoes over a steady beat before a deluge of distortion submerses the chorus’s plea, “So let it rain.”
“I wanted to write a heavy song about the world as I see it,” Dug states. “It was like a prayer to the unknown god to do something. It seems like everything is a mess, and we’ve got no solutions. I was trying to agree with everyone and join the program.”
A bluesy lick swings like a wrecking ball into a swaggering groove on “Give It Up,” which culminates on a manic gang chant. “After I turned 71, death was on my mind every day,” Dug confesses. “Chris Cornell killed himself, and I was thinking of that. Lyrically, it’s about not giving up until you naturally die. I want to ride it out until it’s over. I’m laughing about how I haven’t gotten a will yet, but I should have one. Musically, I wanted it to be really simple, so you can dance to it.”
Then, there’s “All God’s Children.” A dreamy clean guitar melody sets the tone before a trudging groove kicks in. It builds towards a towering chant.
“It’s probably going to be one of the most misunderstood songs of the bunch,” muses Ty. “I was looking around at all of these people who call themselves Christians, but they believe a whole lot of non-Christian things. They choose to believe anyway despite everything collapsing with all of the death and ugliness around their beliefs.”
On “Flood,” a pummeling polyrhythmic riff bludgeons and bruises as Dug croons an apocalyptic affirmation, “I used to say that all we need is love, now I’m thinking that what we need is a flood.”
“Back in the day, we used to do songs where the rhythms changed like ‘We Were Born To Be Loved’ or ‘Far, Far Away’, so we wanted to do a couple of songs that lent toward that,” Dug elaborates. “I looked around and said, ‘Man, we need a reset’. It’s only my opinion. Maybe it’s not a very positive record,” he laughs.
“She Called Me Home” slips into a delicate darkness uplifted to the light by the siren’s call of a soaring guitar solo. “I was thinking of when I was kind of dead and had to recover,” admits Jerry. “I didn’t think I was ever going to play again, but a friend said, ‘You are going to play. You will get out there’. It came from those conversations.”
The closer “Every Everywhere” hinges on a powerful last word, “The world is crying for love, every everywhere.”
“I tried to write a Beatles-type song everyone could sing along with,” Dug adds. “It says what it is.”
In the end, Three Sides of One is everything King’s X were, are, and always will be.
“To me, the train is rolling, and I’m on it like we’ve been doing for 43 years,” Dug leaves off. “We’re just old friends.”
LINKS:
https://www.kingsxrocks.com
https://www.facebook.com/KingsXofficial
https://www.youtube.com/channel/UCKPi0krtGBOdUP9iSIyaB4A
https://twitter.com/kingsx
https://www.youtube.com/channel/UCKPi0krtGBOdUP9iSIyaB4A?feature=gws_kp_artist&feature=gws_kp_artist
https://open.spotify.com/artist/3tn79LMMIdIT1T0TXumjaH?autoplay=true
https://music.youtube.com/channel/UC8sh_EbAtbYvJHLg302q1Tg?feature=gws_kp_artist&feature=gws_kp_artist
http://www.pandora.com/?sc=miR15886