Posts Tagged ‘Soundgarden’

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Surprise-release and “personally selected and sequenced to celebrate artists and songs that inspired him,” the new Chris Cornell album of cover versions is truly the gift that continues to give. A passionate vocalist with a famed four-octave range and a super alt-rock pedigree of time spent in Soundgarden and Audioslave (to say nothing of a series of solo albums invested in acoustic pop and nu-soul), having Cornell tracing over familiar lines such as those laid down by songwriters like John Lennon or interpreters such as Janis Joplin is to work the magic of true transformation.

What’s nice about “No One Sings Like You Anymore” is that this is not a portrait of the vein-popping Cornell screeching his way through a rager such as “Spoonman.” The ten tunes here are subtly sung numbers soft and poignant—focused on often-unsuspectingly melodic gems (like Guns N’ Roses’ “Patience,” done here as a dramatic mid-tempo ballad) with a quieter ensemble as backing. Not that he ever had to fight to be heard over Kim Thayil’s guitar army of lace and metal, Cornell could always sing loud enough to beat the band. On No One Sings Like You Anymore it’s clear—he doesn’t have to tangle in battle, and he sounded as if he was loving that ease of motion.

While Prince’s “Nothing Compares 2 U” is played and sung like the grooviest chamber soul with a few twists and turns for rapt theatricality, Lennon’s latter-day “Watching the Wheels” is done humbly and straight, reverent to the ex-Beatle’s longing for normalcy, with just a supple kick to remind you of Cornell’s heft. Harry Nilsson’s riff-happy “Jump Into the Fire,” a favourite rocking cover of Cornell’s Temple of the Dog, is given an oddball, epic French horn break in its bridge. 

If you want more epic, Lorraine Ellison’s “Stay With Me Baby,” done here with a souped-up organ whirring below him, allows Cornell to dip, dive, swoop, and soar without screeching. This is the true high point of the package, and one familiar to those (few) fans of Martin Scorsese’s HBO show Vinyl. If you want another epic with a sympathetic horn line, “You Don’t Know Nothing About Love” from songwriter/producer Jerry Ragovoy and nearly forgotten R&B vocalist Carl Hall—is Cornell’s passionate passageway into ragged vocal display.

Ragovoy and Mort Shuman’s bluesy “Get It While You Can,” scuffed up and scowled over by Janis Joplin, is made into a synth-pop track for Cornell to do his own gruff and soulful thing over. Same with Jeff Lynne’s slick, bluesy “Showdown.” Cornell and his band give the track an electro sheen and rhythmic tick, along with some noisy guitar. With so many colours and moods for Cornell to rise through, it’s such a damned shame he didn’t stick around to see this arc of his life, particulary this chapter and verse of his career.

Chris cornell boxset

The first post-humous Chris Cornell release has finally been announced and it’s huge! The self-titled album is a career spanning set of tracks from the iconic artist who passed away last year. Released by Cornell’s wife, Vicky Cornell on behalf of The Chris Cornell Estate through UMe, the album is available in a standard 17 track edition as well as a massive 64 track limited edition deluxe box-set.

Out on the 16th of November, the collection of tracks covers Cornell’s lengthy career. Featuring tracks from his solo career as well as music from his bands Soundgarden, Temple of the Dog, and Audioslave, it will include previously unreleased music. The first of the 11 unreleased tracks “When Bad Does Good” is out now.

Produced, recorded, and mixed by Cornell, the song was found in his personal recordings archive, the track was a favourite of his. Cornell’s friend Josh Brolin reminded Vicky of the unreleased song which she decided to share with his fans. On the upcoming release, Vicky Cornell says “Since Chris’ sudden passing I have put all my efforts and energy into sharing his music and legacy with his fans from all over the world”, says Vicky.  “I felt we needed to create a special collection to represent all of him – the friend, husband and father, the risk taker and innovator, the poet and artist.  His soaring vocals found their way into the hearts and souls of so many.  His voice was his vision and his words were his peace. This album is for his fans”.

The standard edition also features Cornell’s stunning rendition of Prince’s “Nothing Compares 2 U“, whilst the deluxe edition boasts nine more unheard tracks and two unreleased videos.

Cornell passed away in May 2017, a coroner reported suicide as cause of death, and confirmed that it was not due to an overdose. Since his death, many artists have paid tribute to the iconic artist.

American musician, singer, and songwriter. He was the lead vocalist of the bands Soundgarden and Audioslave. He was also known for his numerous solo works and soundtrack contributions since 1991, and as founder and frontman for Temple Of The Dog , the one-off tribute band dedicated to his late friend Andrew Wood.

A preliminary autopsy into the death of Soundgarden and Audioslave singer Chris Cornell has revealed that he took his own life. Chris Cornell it appears took his own life on wednesday night after a storming show in Detroit, he was aged 52, with a statement made to the Associated Press by his representative Brian Bumbery labeling the death “sudden and unexpected”. Cornell had spoken online when arriving in the city, and played for Soundgarden’s Detroit fans only hours earlier.

The Wayne County Medical Examiner’s Office told the public it had completed the preliminary autopsy, the New York Times reports, although a full autopsy report has not been completed.

A Detroit Police spokesperson revealed in an interview that police responded to a call regarding the suicide of a man, and found him unresponsive with a band around his neck. The man’s wife had called a family friend out of concern, prompting the visit.


A police report from the death of the Soundgarden singer Chris Cornell provides some details about the last 90 minutes of his life. The report appears to back up, in part, what his widow, Vicky, about the role that the prescription drug Ativan may have played in Cornell’s decision to take his own life.

According to The Detroit News , Cornell was in his hotel suite by 11:30PM when his bodyguard, Martin Kristen, stopped by to help him fix his computer. Kristen also gave him two Ativan pills, which he took for anxiety issues. Five minutes later, Vicky spoke with Chris on the telephone, and she told police that he was slurring his words and that he may have taken “an extra Ativan or two.”

At 12:15AM, Vicky called Kristen’s room to ask him to check on Chris, She said that “he did not sound like he is okay,” adding that he was “groggy and just kept saying, ‘I am just tired,’ and hung up the phone.” Upon arriving, Kristen found the door to his room latched and phoned security to get them to open the door, but they refused on the grounds that the room was not registered to Kristen, even though he had a key.

Kristen then kicked the door down, as well as the door to the bedroom of the suite, and found him on the bathroom floor, “with blood running from his mouth and a red exercise band around (his) neck,” the report says. The hotel’s medic, Dawn Jones, arrived at 12:56AM, untied the band and attempted CPR, which was unsuccessful.

An EMS unit arrived on the scene shortly thereafter and was also unable to revive the singer. He was pronounced dead at 1:30AM.

A toxicology report will be able to determine the amount of Ativan Cornell had in his system at the time of his death. Suicidal thoughts are a known side effect of the drug Ativan.

So as we mourn the loss of another musical hero, who has tragically took his own life after one last show in Detroit yesterday, we take a look back at some of the best songs that Soundgarden’s Chris Cornell put his name to.

Say Hello 2 Heaven

One of Cornell’s most emotional and powerful vocal performances, not surprising considering it was delivered as part of Temple Of The Dog. The group — essentially Cornell fronting what would become Pearl Jam — was formed in tribute to his friend Andrew Wood, frontman of Mother Love Bone, who had died from a heroin overdose.


A simple acoustic number, just Cornell and a guitar (doubled at times), it was a world away from the raucous heavy rock of Soundgarden. It featured the delicacy of his voice too, gentle falsetto creeping in where before there was rock god howls and screaming. It was also on the Singles soundtrack that they captured the zeitgeist of the grunge movement (Pearl Jam! Mudhoney! Alice In Chains! And damn near every other Seattle grunge band of note at the time, but not Nirvana).

You Know My Name

Cornell, Chris Cornell. Here he goes bombastic, courtesy of having a theme song to a James Bond movie (the 2006 version of Casino Royale). Goes to a whole other level beyond a standard Cornell rock song courtesy of orchestral backings

Billie Jean

Takes the funky Michael Jackson track and slows it right down. Its almost dirge-like delivery is a perfect showcase of Cornell’s voice. You can imagine it being performed from the corner of a dive bar somewhere. It’s devoid of its original groovin’ bass line and synth stings, but this acoustic guitar- and drums-driven version gives it a level of power not witnessed in the original. Quite possibly the best take on it too (even including The Bates).


As statements of intents for new acts go, this one was one of the best. Anticipation was already at fever pitch for the project (Chris Cornell fronting Rage Against The Machine? Holy hell!), but they knocked it out of the park with their debut song. It deserved all the fireworks that accompanied the song in the video clip. Oh, and that 11 second wail too about three-quarters of the way through the song. Goddamn.


Spectres release their second album Condition via Sonic Cathedral. The follow-up to their acclaimed 2015 debut, Dying, it was recorded by Dominic Mitchison in the band’s adopted home city of Bristol and mastered by Frank Arkwright (Mogwai, 65daysofstatic) at Abbey Road in London. It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge, partly inspired by last year’s remix album, Dead, which saw everyone from Factory Floor to Richard Fearless instructed to “kill” the songs from Dying. “There were discussions about experimenting with electronics, but the idea soon petered out when we realised we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt. As a result tracks such as End Waltz have a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of Dissolve – the first single from the album that came with a suitably stomach-churning video late last year. Elsewhere the almost restrained (by Spectres’ standards) white noise and wordplay of A Fish Called Wanda and the sprawling Colour Me Out are counterbalanced by brutal assaults such as Neck and Welcoming The Flowers, which keeps threatening to drown itself in its own roiling diamond sea.

LP – Limited-edition Black vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

LP+ – Limited-edition Cream vinyl LP in a Gatefold sleeve, featuring lyrics and artwork by Laurie Lax and photography by Stephanie Third.

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Semper Femina is Laura Marling’s sixth album – an intimate, devoted exploration of femininity and female relationships, and among her finest work to date. Written largely on the tour that followed 2015’s Short Movie and recorded in Los Angeles with production from Blake Mills, it is at once a distinctive and musically compelling collection of songs, run through with Marling’s fierce intelligence; a keen, beautiful and unparalleled take on womanhood.

2LP+ – Limited Deluxe 2LP Edition including Bonus Material Live tracks and digital download card.

2LP – Standard Version with Download.

Buzzcocks timesup

‘It’s the Buzz, Cock’. Howard Devoto read this headline from a January 1976 Time Out review of ‘Rock Follies’, the 1970s TV musical drama following the ups and downs of the fictional female rock group, ‘Little Ladies’. Adapting and appropriating it as the name for his new band that he had just formed with Pete Shelley having realised what a Sex Pistol was before anyone else. Buzzcocks formed having witnessed firsthand the white-heat of the early Sex Pistols. Howard and Pete went about organising the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the new Manchester music revolution. The plan was to simply play support to the Pistols and then see what happened next…Featuring the original line-up of Howard Devoto (vocals and songwriter), Pete Shelley (guitar and songwriter), Steve Diggle (bass guitar) and John Maher (drums), Time’s Up was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost £45 and was engineered by Andy MacPherson.

LP – The long-out-of-print Time’s Up 12” Vinyl LP, re-pressed on heavyweight black vinyl with a printed inner sleeve.


In early 2016, the release of Talk Tight put Rolling Blackouts Coastal Fever on the map with glowing reviews from Spin, Stereogum, and Pitchfork, praising them as stand-outs even among the fertile landcape of Melbourne music. Chock full of snappy riffs, spritely drumming and quick-witted wordplay, Talk Tight was praised by Pitchfork “for the precision of their melodies, the streamlined sophistication of their arrangements, and the undercurrent of melancholy that motivates every note.” The band was born from late night jam sessions in singer / guitarist Fran Keaney’s bedroom and honed in the thrumming confines of Melbourne’s live music venues. Sharing tastes and songwriting duties, cousins Joe White and Fran Keaney, brothers Tom and Joe Russo, and drummer Marcel Tussie started out with softer, melody-focused songs. The more shows they played, the more those driving rhythms that now trademark their songs emerged. Since then, Rolling Blackouts Coastal Fever rode that wave from strength to strength. Touring around the country on headline bills and festival slots all the way to Bigsound, the entrenched themselves with their thrilling live shows while prepping their next release. The French Press levels up on everything that made Talk Tight such an immediate draw. Multi-tracked melodies which curl around one another, charging drums and addictive bass lines converge to give each track its driving momentum. Honed through their live shows, this relentless energy carries the record through new chapters in the band’s Australian storybook. Rolling Blackouts Coastal Fever’s songs have always had all the page-turning qualities of a good yarn and The French Press is no different. Somewhere between impressionists and fabulists, lyricists Fran Keaney, Tom Russo and Joe White often start with something rooted in real life – the melancholy of travel on French Press, having a hopeless crush on Julie’s Place – before building them into clever, quick vignettes. The result is lines blurred between fiction and reality – vibrant stories which get closer at a particular truth than either could alone. Blending critical insight and literate love songs, The French Press cements Rolling Blackouts Coastal Fever as one of Australia’s smartest working bands.

LP – Black Vinyl with Download.

LP+ – Limited Loser Clear Coloured Vinyl with Download.

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This remixed and expanded reissue of Soundgarden’s Ultramega OK is a long-planned correction of the legendary band’s Grammy®-nominated debut full-length. The album was originally recorded and released in 1988 on SST Records. While the band enjoyed working with the original producer, Drew Canulette, they soon realized they weren’t quite happy with the final mix. Thus, shortly after the album’s release, the band decided to remix the album for subsequent pressings. However, success intervened: the band rapidly scored a deal with A&M and began work on their major-label debut, Louder Than Love, and the Ultramega OK remix project fell by the wayside as Soundgarden climbed their way to (ultra)mega-stardom. In 2016, after worldwide success, a breakup, a reunion, and many albums and tours, the band finally acquired the original multi-track tapes to Ultramega OK and carved out time to dig into the remix. They handed the tapes over to longtime friend and engineer Jack Endino (Nirvana, Mudhoney, Screaming Trees, Skin Yard), who worked with the band to create a fresh mix of the album that, for the band, ties up this persistent loose end and remedies the sound of their debut full-length. While they were at it, the band dug out six early versions of tracks that wound up on Ultramega OK. The songs were recorded in 1987 on 8-track tape by Jack Endino and Chris Hanzsek at Reciprocal Recording in Seattle, and mixed by Jack Endino in 2016. These versions feature the band in raw, powerful form – sonically closer to the band’s Endino-recorded six-song debut, Screaming Life – and provide a fascinating window into the development of songs that eventually became staples of the band’s set. The six songs comprise what the band refers to as Ultramega EP, and they are included in this reissue. Hailed as grunge innovators, Soundgarden redefined rock music for a generation. In the late ‘80s, the band – singer Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto, and drummer Matt Cameron – combined a punk ethos, brutal metal soundscapes, and Cornell’s ravenous roar to capture the attention of the masses. Jagged and ferocious, their music was deeply at odds with the synth-pop and hair metal which dominated the ‘80s airwaves. Early indie releases, including seminal Screaming Life and Ultramega OK, quickly led to a dedicated indie following as the band toured on both sides of the Atlantic. Subsequent albums, including Badmotorfinger, Superunknown, and Down on the Upside, achieved multi-platinum sales and launched the band to international fame.

2LP – Double Black Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.

2LP+ – Limited Double Loser Blue Marbled and Violet Coloured Vinyl in Foil-stamped Gatefold packaging with custom dust sleeves plus Download.


The husband and wife duo of Alaina and Patrick, otherwise known as Tennis, return with Yours Conditionally, their new album on the band’s own label Mutually Detrimental. Building on their dreamy combination of perfect melodies and classic songwriting, Yours Conditionally sees a full circle return to their nautical roots of sorts, with the duo even writing part of the album while sailing at sea, what Alaina calls “a grandiose gesture”, a necessary venture of revisiting the past to reinvigorate the present. However, the pair dig deeper and darker this time round, with the resultant album wedding discussions of identity and self-sacrifice to some of their most pristine and infectious hooks yet. Achingly beautiful lead single In the Morning I’ll Be Better, written about the “precariousness of our lives”, sums up this paradox completely, with gorgeous melodies belying its subject matter of Riley seeing a family member through a serious illness. Please Don’t Ruin This For Me and Fields of Blue also deliciously straddle the light / dark divide, while others, like Ladies Don’t Play Guitar and the divine swoon of Modern Woman hit the pop bullseye square on the nose while unpacking conflicting themes of feminism and industry archetypes. Taken in toto, Yours Conditionally sees a band at maturation point, looking fondly to the past while also staring down the uncertainty and confusion of the future without flinching. This is Tennis at their contrary, compelling best.

LP – White Vinyl.


The Shins release of their fifth studio album, Heartworms. In contrast to 2012’s Port of Morrow, Heartworms ushers in a return to the handmade. Heartworms is, as always, entirely written by James Mercer, with exception of So Now What (produced by band member Richard Swift). Heartworms is the first Shins album to be self-produced by Mercer since Oh, Inverted World in 2001. Heartworms features Mercer’s most diverse lyrical palette to date. The result is a cohesive, yet genre defying album marked by Mercer’s distinct voice and melodic composition. Unified by his singular vision, Mercer creates a sound that is both familiar – a nostalgic nod to the album’s predecessors – and distinctly new. The album’s first single, Name For You, is a resounding call for female empowerment inspired by Mercer’s three daughters.

LP – 180 Gram Vinyl with Download.

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Cameron Avery has arrived as a new breed of nocturnal crooner, a train-wreck romantic creating timeless, ambitious music for the modern age. Utilizing his soulful wit, shrewd arrangements, and a deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks to expertly walk the fine line between vulnerable and venerable. Hailing from the late 2000’s-era Perth, Australia, a healthy scene of hard-hitting garage rock bands, including a long stint as the drummer of Pond, Avery found his musical footing while playing with friends but sought the reward of his own outfit. Encouraged by his friend Kevin Parker of Tame Impala to record on his own, Avery started The Growl as his solo project in 2007, making an EP and an album of aggressive, distorted psychedelic rock and roll. When Parker asked him to join Tame Impala as its touring bassist in 2013, Avery jumped at the chance and rose with that band to the top of the psych-rock heap, but all the while remained focused on carving out his singular identity as an artist and following his own muse. On a break from touring, Avery decided to head to the US to work on his album. He would settle in Los Angeles at the behest of Jonathan Wilson, the Echo Park musician and producer who also encouraged Avery to shine a spotlight on his baritone singing voice, unlike the snarling, obscured vocals of The Growl. It was a lofty idea, but one to which Avery aspired, encouraged by the challenge. Melancholic machismo is written into the very DNA of Ripe Dreams, Pipe Dreams. From the classical, finger-picked guitar on the opener A Time and Place and the orchestral vamping of Do You Know Me By Heart? to the bombastic, self-assured swagger of Dance with Me. He takes an emotive page from the Leonard Cohen songbook-of-longing on Big Town Girl just as naturally as he thumbs an aggressive note of Bad Seed strut and Cramps rut on Watch Me Take It Away. And by the time he purrs that earnest refrain of “Baby, it’s you” on the album’s closer C’est Toi, Avery has surely mastered that drunken tightrope dance. Now a resident of New York City, Avery looks to continue his search for the ultimate sensations from a fresh vantage point.

LP – With Download.


Throughout years of traveling, John Andrews has documented his life with his home recordings. His first record, Bit By The Fang, found him living in the amish country of Lancaster, PA. On his latest record, Bad Posture, he waves farewell to Pennsylvania and greets the wooded hills of Barrington, NH. These songs were written slowly and quietly throughout the winter, usually late at night next to the wood stove. It was recorded in Andrews’ barn with the doors ajar, welcoming the springtime — inviting the outside noises in. You can hear the crickets chirping and the occasional truck driving by. The songs themselves lend their hand like slow backwoods Beatles demos covered in a thin blanket of tape hiss. Andrews’ band, The Yawns, has been crystallized with staples from the New England freak scene: Rachel Neveu and Lukas Goudreault (MMOSS / Soft Eyes) and Joey Schneider. The album was mixed with headphones at the foot of Emma Critchett’s grave, who lived in the Yawns’ house during the 1800s. The record is an ode to her and all who have lived there. It paints a picture of living in the “freecountry” on the precipice of a rapidly changing political climate.

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Sonic Jesus is an Italian musical project lead by multi-instrumentalist Tiziano Veronese. Since signing to Fuzz Club, the project has released a split single with The Black Angels and been remixed by Sonic Boom aka Pete Kember. Their internationally acclaimed debut Neither Virtue Nor Anger; an industrial barrage of hypnotic, dark psychedelia. Sonic Jesus’ new album Grace goes beyond the past boundaries, pushing towards enthralling melodic horizons and modern pounding beats, delivered by a new-found pop sensibility. There’s still a darkness brooding beneath the noise but these new tracks see the project take on a magnificent and insatiable new form.

Available on 180gm white vinyl and CD.

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From adversity can come triumph, and from catharsis inspiration. Such has been the case for Gnoomes, the threesome hailing from Perm, Russia, whose second release for Rocket Recordings, Tschak! arrives in the wake of considerable turbulence and tumult within their personal lives and society itself, all of which has only been fuel for a creative epiphany that has seen them create a deeply evocative work rich with vibrant experimentation and saturated in a widescreen sense of wonder. It may only have been eighteen months since Ngan!, the band’s first release for Rocket, whose self-styled ‘stargaze’ approach marked a glorious collision between melodic sweetness, skysurfing guitar experimentation and motorik magnificence, yet the band have already moved on to a sonic landscape still more adventurous and ethereal on Tschak!, not to mention an emotionally resonant approach that’s bewitching to witness. Taking in torrents of guitar noise and electronic extrapolations both blissfully kosmische and aggressively abrasive, it exists outside of all or any convenient genres, a vivid and singular work by three dreamers-at-heart forced to manifest their vision into a psychic defence to the circumstances surrounding them. Working in splendid isolation thanks to a studio space provided by their work for a local radio station, the band had time and space for the alchemical process of creating Tschak! entirely on their own terms. Central to the this were a collection of Russian synths that they gathered, whose eccentric arpeggios and analogue textures form crucial ingredients on songs like Severokamsk and the title track, arriving at a sound that forms a star-crossed and timeless marriage between the experimentation of krautrock and the lineage of Warp Records. Forging forth into unknown realms both physical and metaphysical, Gnoomes recently completed a UK tour – including an appearance at Liverpool International Festival Of Psychedelia. Yet with the dreamlike radiance of the potent and otherworldly Tschak! on their side, this adventure is already well on its way.

LP – Limited Green Vinyl with Download.


Psych-pop masterpiece from two of the best to ever do it. Los Angeles native and weirdo-pop enthusiast Ariel Pink joins forces with lo-fi pop pioneer R. Stevie Moore in a crazy freak-out extravaganza. Back in 2012, two leaders of the modern psych scene colluded together in making a 60+ track album. Here, we have the definitive collection of songs from ‘Ku Klux Glam’. Re-mastered and compiled by R. Stevie Moore, this is a presentation of this record in it’s clearest form.

Tape – Double 63 Track Tape.

The Who, My Generation: Super Deluxe Edition
This 5-CD, 79-track box set celebrating The Who’s debut includes the original mono album (newly remastered), a disc of mono bonus tracks (newly remastered) and a disc of stereo bonus tracks. It also includes a new stereo remix of the album originally released on iTunes in 2014 featuring new overdubs by Pete Townshend and Roger Daltrey using the same guitars and amps and the same type of microphones used on the original album. (Generation was first mixed to stereo for the 2002 reissue, but dropped many of the overdubs from the mono album – this new stereo mix recreates them). Finally, a disc of demos is included – which features three previously unheard songs: “The Girls I Could Have Had,” “As Children We Grew” and “My Own Love.” An 80-page book and six inserts top off this lavish set! The U.S. release for this box is set for December 9. It is available today in the U.K.

R.E.M., Out of Time: 25th Anniversary Edition
R.E.M.’s 1991 classic is revisited as a 3 CD/1 Blu-ray set, a 2-CD set, a 3-LP set, a single LP of the original album and as a digital download as part of the band’s new deal with Concord Bicycle Music. The box includes the original album on Disc 1 followed by nineteen demo tracks on Disc 2. The third disc contains a concert from Capitol Plaza Theater in Charleston, West Virginia performed on April 28, 1991 and aired on NPR as an installment of their Mountain Stage program. The Blu-ray has the original album both in Hi-Resolution Stereo and Hi-Resolution 5.1 Surround. It also contains 8 music videos and an 18-minute EPK which contains studio and performance footage. The new liner notes by music journalist Annie Zaleski features interviews with the band members and producers of the album. The 2-CD edition contains the first two discs of the deluxe edition and the 3-LP edition replicates those two discs as well.

Jethro Tull, Stand Up: The Elevated Edition
For the past several years, Jethro Tull has been releasing expanded editions of their albums featuring new remixes by Steven Wilson. Just under a year after the release of the last reissue in the series of 1976’s Too Old to Rock ‘n’ Roll: Too Young to Die!, here is a 2CD/1DVD version of 1969’sStand Up, entitled Stand Up: The Elevated Edition. Housed in a deluxe hardcover book-style package complete with a pop-up in the style of the original release,

Soundgarden, Badmotorfinger
This seven disc set – four CDs, two DVDs and a Blu-ray – expanded the rockers’ third album to staggering proportions. Astoundingly, much of Badmotorfinger’s deluxe content has never been released before. You get the remastered album, a disc of studio outtakes (with just one released track, a version of “New Damage” with Queen guitarist Brian May), a 1992 live set at Seattle’s Paramount Theatre on two CDs and a DVD, an additional DVD of live footage and music videos (including the DVD premiere of the Motorvision VHS) and the entire album newly remixed in 5.1 surround for Blu-ray. The battery-operated (!) box set edition also comes with a 52-page book, a 12″ x 12″ lenticular print, four 8″ x 10″ band member photo cards, stickers and an iron-on patch. More frugal fans can opt for a 2CD deluxe edition, 2LP 180-gram vinyl or just the original album remastered on CD.

Tori Amos, Boys For Pele: 20th Anniversary Edition

This expanded edition of Tori Amos’ third album, Boys for Pelewill feature new liner notes penned by Amos and a 21-track bonus disc of demos, B-sides and alternate versions, four of which (“To the Fair Motormaids of Japan,” “Sucker,” a remix of “Talula” and an alternate take of “In the Springtime of His Voodoo”) are previously unreleased. A double vinyl reissue of the original album will also be available.

DUNGEN - Haxan

Dungen – Haxan
Long before psych fests were springing up all across the globe populated by bands operating aesthetically in ever decreasing circles, Sweden’s Dungen were blazing a trail through the consciousness with psychic transmissions that connected the pastoral spirit of the late ’60s with the 21st century. Haxan however marks something of a departure for the band, having been put together to soundtrack Lotte Reiniger’s 1926 classic silent film – taking the demonic and haunting imagery as inspiration, the result is a standalone piece replete with wild freakout, eerie soundscapes and panoramic ambience, reflecting new horizons and underlining this visionary troupe’s enduring power.

Soundgarden’s Badmotorfinger is being expanded into a massive 7-disc edition.

The new version of the Soundgarden classic album release will feature 109 tracks total: 79 tracks, videos & mixes are previously unreleased. The CD audio content includes the original album newly remastered; 15 previously unreleased studio outtakes newly mixed from the original analog multi-tracks plus the track New Damage featuring Brian May from Queen; and Live at the Paramount: Soundgarden’s first-ever complete concert album newly mixed from the original analog multi-tracks and recorded at the Paramount Theatre in Seattle on March 6th,1992. The newly edited DVD is from the original camera masters and newly mixed in 5.1 surround sound and stereo from the original analog multi-tracks.

The second DVD is Motorvision + More: Soundgarden’s 1992 Motorvision home video, also released on DVD for the first time ever, showcases live selections from the two nights shot at the Paramount Theatre in March 1992 along with interviews from the band and friends.

Bonus videos include 11 unreleased archival live performances from various shows and festivals in 1992 and the three official music videos from the album.

The Blu-ray Audio disc contains the original Badmotorfinger album, three B-sides, and the three official music videos, newly mixed from original analog multi-tracks in audiophile 96kHz 24-bit 5.1 surround sound.

The original album and three B-sides feature newly designed visuals directed by Josh Graham.
Soundgarden Badmotorfinger. Already with the grunge explosion celebrated heavily in the Soundgarden-adjacent camp (box sets devoted of Mother Love Bone and Temple of the Dog are among 2016’s bigger collections)

The late summer and early fall of 1991 effectively witnessed the birth of grunge , within just a few weeks, of Nirvana‘s Nevermind , Pearl Jam‘s Ten and, Soundgarden‘s Badmotorfinger. Alice in Chains‘ Facelift  had arrived earlier, in 1990.

All of these albums were crucial in that, together, they helped usher in a sea change across the music industry. Yet Soundgarden, who had been first to the table, forming all the way back in 1984, would be the last of these so-called “big four” to enjoy their just desserts: not enjoying truly massive hit singles at radio or multi-platinum sales until 1994’s Superunknown because they did it their own way, 

Unlike Nirvana, which led the charge by breaking punk rock and college rock to the masses via “Smells Like Teen Spirit,” Alice in Chains, which essentially made heavy metal palatable for the flannel-wearing hordes, and Pearl Jam, which did the same for classic rock in the eyes of born again “alternative rockers,” Soundgarden’s music on Badmotorfinger put willing listeners to the test with its sinister, oblique lyrics, drop-tuned guitars, unusual time signatures, thorny arrangements and unrepentant heaviness. Sure, the band scored decent MTV coverage for the album’s most linear, if boring, doom riff in “Outshined,” but most of the remaining cuts refused to take it easy on would-be fans and critics, many of whom weren’t quite sure what to make of the band, either.

Recalled lead guitarist Kim Thayil said ” I remember Mark [Arm] from Muhoney He said, “Hey man, I just heard Badmotorfinger.” I’m all, “What do you think?” [Laughs] And he’s like, “F—, it sounds like Rush!”

He elaborated, “At the time, if people didn’t like us, they’d say they it was because we were these scruffy, punk-rock a——s, or because we sounded too much like some kind of metal band. And if they did like us, it was the same argument [laughs], ‘Oh, it’s cool because they’re metal, or it’s cool because they come from this punk scene.’ any specific label onto Soundgarden has always been an exercise in futility.

All four musicians — Thayil, Shepard, singer Chris Cornell and drummer Matt Cameron — contributed strong songwriting efforts to the album, led by Cornell’s serpentine “Rusty Cage” , the aforementioned “Outshined,” quite surreal “Searching with My Good Eye Closed,” hypnotic “Mind Riot” and less distinctive “Holy Water.” For his part, drummer Cameron delivered the driving, sax-enhanced “Drawing Flies” and, in unison with Thayil, the monstrous doom-riffing of “Room a Thousand Years Wide” and the ominous “New Damage,” one of many songs boasting unorthodox time signatures, in this case 9/8.

Then there was newcomer Shepherd, whom Cornell said he had brought a “fresh and creative” approach to the band’s recording process, with Thayil also saying that Shepherd’s contributions helped make the album “faster” and “weirder.” By this they were referring to Ben’s two-minute punk rock hyper-blast “Face Pollution,” the more deliberate, yet surprisingly infectious “Somewhere” and, working with Cornell, the ultra-doomy “Slaves and Bulldozers .

But Badmotorfinger‘s sheer highlight was a four-way band collaboration called “Jesus Christ Pose,” which rose from Cameron’s mind-boggling percussive assault to boast dissonant six-string strangling over a relentless charging main riff, all topped by Cornell’s inimitable wails.

<b>Mother Love Bone</b> | Metal Is Power

Mother Love Bone was something of a grandfather to grunge before Nirvana became its poster- child. After releasing highly-influential Apple, the band’s front-man Andrew Wood, died of an overdose and the remaining band members went on to form a little alternative rock band called Pearl Jam.

Mother Love Bone. Future Pearl Jam members Stone Gossard (guitar) and Jeff Ament (bass) were founders of this Seattle-based glam/punk outfit, which was fronted by flamboyant singer Andrew Wood. But despite countless accolades from the press and their peers, the group’s career was cut short before it could truly blossom due to tragedy.

Both Gossard and Ament had previously been members of Seattle garage rockers Green River (a group that also included future Mudhoney members Mark Arm and Steve Turner), and upon the group’s breakup in 1988, the guitarist and bassist stuck together, looking to form a group more a kin to the arena rockers of their youth (Kiss, Aerosmith, Led Zeppelin, Queen, etc.). Joining Gossard and Ament was drummer Greg Gilmore, second guitarist Bruce Fairweather, and the Wood on vocals. as a member of another Seattle outfit, Malfunkshun was the complete opposite of the prototypical Seattle frontman as he patterned his look and vocal style after such renowned frontmen as Freddie Mercury, Paul Stanley, and Marc Bolan. But although the group had a few similarities to the then-flourishing glam metal scene, the group’s sound was tougher and more rooted in classic rock than their soon-to-be disposable glam contemporaries.


The group created a buzz from the get-go as the quintet inked a deal with Polygram shortly after forming and were given their own label, Stardog, resulting in the release of the six-track EP Shine in 1989. The year was spent touring and plotting their full-length debut, which was eventually completed by the end of the year, with a projected release in spring of 1990. Expectations for the disc were high and sensing this, Wood wanted to be at his best, so the singer checked himself into a rehab center to try and conquer an addiction to heroin. But on March 16th, 1990, Wood was found by his fiancée unconscious in his bed, having overdosed on the drug. Despite efforts to revive him, Wood was eventually pronounced dead three days later. Devastated, the group called it quits as the resulting album,  Apple, was issued several months later in the fall of 1990.

Temple of the Dog

Gossard and Ament slowly worked their way back into music, as they joined up with Soundgarden members Matt Cameron and Chris Cornell (the latter a good friend and former roommate of Wood‘s) to record a pair of songs that Cornell had penned for the late singer. But the sessions soon took on a life of their own and a full album’s worth of tunes was recorded, issued as a self-titled release in 1991 under the name of Temple of the Dog (a phrase from one of Wood‘s lyrics). The album also saw contributions from guitarist Mike McCready and singer Eddie Vedder, two musicians who Gossard and Ament had been jamming with, soon resulting in the formation of Pearl Jam. With both Soundgarden and Pearl Jam enjoying massive commercial success in 1992, Temple of the Dog enjoyed a second wind on the charts and became a sizeable hit, as interest in Mother Love Bone perked up as well. Sensing this, Polygram reissued both Shine and Apple together as a self-titled release, as well as a home video Love Bone Earth Affair. In addition, the epic Mother Love Bone song “Chloe Dancer/Crown of Thorns” was included on the hit soundtrack to the movie Singles the same year. Besides Gossard and Ament, the other surviving members of Mother Love Bone have subsequently issued recordings as part of other bands,

Chris Cornell sat down for an in-depth interview and acoustic performance in the SiriusXM Studios for an Artist Confidential where he performed a cover of Prince’s Nothing Compares 2 U.

There have been plenty of Prince covers throughout history, but perhaps none more memorable perhaps than Sinead O’Connor’s take on “Nothing Compares 2 U” 25 years after that iconic song’s release, someone surprising just gave O’Connor a run for her cover money: Chris Cornell the Soundgarden frontman has been out on the road supporting his latest solo effort, Higher Truth, and he’s apparently been work shopping his own take on “Nothing Compares 2 U” at some gigs. It appears any kinks have been worked out, as he turned in a pretty stunning rendition of the song for SiriusXM’s Artist Confidential series. Backed by a cellist and a second acoustic guitarist, Cornell delivers some chill-inducing vocals on the take. Sure, it might not seem like Prince + Sinead O’Connor  Quality Chris Cornell, but this really happened, and it’s really damned good.