The Tubs On Tour
Green Day..that is their alteregos, are going on tour.
Tour dates for The Foxboro Hot Tubs include:
May
19th
Little Rock, AR/ Juanita’s Cantina
20th
New Orleans, LA/ One Eyed Jack’s
21st
Dallas, TX /The Loft
22nd
Austin, TX / Emo’s
25th
Phoenix, AZ / The Brick House
26th
San Diego, CA / Soma (Sidestage)
27th
Los Angeles, CA / The Roxy
28th
Long Beach, CA/ Alex’s Bar
Tickets for the shows will not be available until the day of the show at the venue box office ONLY.
Tickets will be $20 cash - There is a two ticket maximum per person.
Album in stores May 20th.. Happy hot tubbing!
Rock Against Diabetes Auctions
Rock Against Diabetes is auctioning off spectacular music memorabilia and instruments donated by celebs and artists.
Up for grabs… a 3 hour private guitar lesson with Bumblefoot (GnR), a Minarik Interno bass autographed by Motorhead , sets of VIP R.A.D. tickets, autographed items from Duran Duran, Korn, Smashing Pumpkins, John Mayer, Wolfmother and more!
For more info head on over to: http://www.rockagainstdiabetes.org/auctions.htm
Slate Development Pilot Program for English-language market accepting applications
Montreal, May 12, 2008 – Telefilm Canada is pleased to announce that the Slate Development Pilot Program for the English-language market through the Canada Feature Film Fund (CFFF) will be relaunched for 2008/09 with a single deadline on August 15th.
The Slate Development Pilot Program was launched in 2007 with the spirit and intent of giving companies with three or more projects in advanced stages of development flexibility and autonomy in managing their development portfolios through the provision of predictable funding in the form of a non-interest bearing line of credit. This ensures the companies’ focus remains on developing Canadian feature films that have high box office potential, in a range of genres.
The Slate Development Pilot Program is a three-year initiative and is specifically geared towards Canadian production companies in the business of feature film development and production and serves as an alternate source of financing for active production companies who have not benefited from a performance envelope and do not wish to compete in an overly subscribed selective component.
Updated guidelines for the Slate Development Pilot Program are available at www.telefilm.gc.ca along with detailed business policies, application forms and an FAQ.
Applications should be submitted to the Telefilm office in your region by August 15th.
Airbourne Live!
Review By Gregory O.
Photos Dan Savoie
April 19th, Vancouver BC
“Are we going to party toniiiiight?” wailed through the microphone with an eerie similarity to fellow frontman Brian Johnson of AC/DC, as Aussie band Airbourne took the stage. With a half bottle of Jack Daniels in hand, front man Joel O’Keeffe was destined to tear this small and sweaty night club apart by the time he was done with it. The four piece band from Melbourne whose debut album Runnin’ Wild hit the shelves early in 2008 came out of the gates with more force and persistence than I have seen in a very long time. Their opening tracks portrayed an encore rather than an intro as this group from down under was just starting to fire things up.
If one had to describe a band and their unforgettable experience, look no further than one of the band’s own verses from “Stand up for Rock ‘n’ Roll.”
“All right people/Welcome to the show/Are you ready to rock? /Are you ready to go? /Now we’ve got what you want/And we’ve got what you need/So get your ass down here/And let your ears bleed.”
These guys know how to have a good time and they know how to get the party started. The pit was jammed with ambitious and rambunctious fanatics that crowded the already tight, Pilsner can littered stage location. This was not a problem for these rockers as the easy stage access promoted this chaotic crowd interaction. Throughout the set Joel was rudely rewarded by multiple microphone stands crashing into his face. If this was an Oasis show the gig would have ended right then and there, but not for Airbourne, this seemed to make them play even harder.
The boys belted out song after song from Runnin’ Wild and included fan favorites “Fat City”, “Diamond in the Rough”, “Too Much, Too Young, Too Fast” and “Runnin’ Wild”. Nearing the end of their set Joel got this look on his face that translated into some kind of disappointment. He jumped off the side stage mid song as he made his way through the bar and maintained his lead guitar duties simultaneously. Noticeably on a mission Joel headed straight to the bar located in the middle of the show floor. Much to the surprise of the bartenders Joel jumped up to the bar top to deliver this distinctive guitar solo. Before returning to the stage to join his brother Ryan (drums), David Roads (guitar) and Justin Street (bass) Joel jumped behind the bar and deviously swiped a new bottle of Jack. Now clear what started this undertaking in the first place he got back under the lights and took a huge pull from the newly acquired bottle to extinguish his worked up thirst. To the lucky maniacs in the front rows he doused Jack Daniels down the throats of all willing and unwilling sweaty metal fans.
Airbourne is no doubt a hard working band with an emphasis on throwing one hell of a party each and every night.
“As long as I am alive… and as long as you are alive. Rock and Roll will never die!”
—-
View Photos >
Interview With Edenbridge
Interview By Melissa Smith
XS BS: Why did you choose to post tracks from My Earth Dream online prior to its official release?
Lanvall: Well, It´s important to post sound samples before the release to let the fans listen to the new album. We put 4 one minute samples on Myspace and did 40 second samples of the other songs on our homepage. The promo CD has 3 songs without voice-overs, the rest is with voice overs which is absolutely necessary in today´s times.
XS BS: You stated that the goal is to make each Edenbridge album different. How do you think that My Earth Dream is different from its predecessors?
Lanvall: Very different of course. All our trademarks are still there of course, but the new face of the band is much much heavier due to the use of 7-string guitars and also much more symphonic because we used a real orchestra this time.
XS BS: How did your collaboration with the Czech Film Orchestra develop?
Lanvall: Of course the orchestra was something very exciting on this new album. It was my long time dream to be able to work with a real one sometimes and now this idea came to life. So we hired the 65-piece “Czech Film Orchestra” which also did recordings for Hollywood movies in the past and recorded all the orchestra parts within 9 hours at the Czech Television in Prague.
All in all it was a very stressy day cause you need to be 100 % prepared and you never know which things are happening, one wrong note in the score and it´s minutes to solve the problem and the studio clock is ticking. But finally it was great experience listening to your own music played by a real orchestra.
XS BS: Would you consider a project with the Vienna Art Orchestra?
Lanvall: I don´t really know the Vienna Art Orchestra, I know it by name of course but nothing of the music they do.
XS BS: Due to the symphonic nature of your sound, do you find that you have listeners that usually would not listen to metal?
Lanvall: I think so. I think we have to ability to combine fans from metal to gothic and to people who are not into metal at all normally. This of course depends on how good the music is promoted.
XS BS: You have moved from US based Sensory to German label Massacre, and now you have been with Austrian label Napalm for the last two years. Is there an advantage to working with a label located within your own country?
Lanvall: Well, Sensory only licensed our first 2 albums for the American market. Our long-time label was Massacre Records who released all our previous albums in Europe and had the world wide rights. 1 year ago we signed for Napalm Records with whom we are in touch for a couple of years now. They also licensed our last album “The Grand Design” for the American market. I think there are a lot of advantages with a label from your country. The mentality is similar which makes working much easier and it´s only 1,5 hours to drive when you have to discuss things that can not be discussed on the phone.
XS BS: You have only done one cover, “For Your Eyes Only” from James Bond. Will you record any more covers?
Lanvall: At the moment there are no plans for that. But who knows.
XS BS: Why do you think there is such a huge metal following in Northern Europe?
Lanvall: I think it´s not only Northern Europe, it´s nearly whole Europe. Europe and especially Germany was always a good market for metal, cause the fans are very loyal here and not so trend orientated maybe as in other parts of the world, very similar to Japan.
XS BS: Your material includes Star Trek references, your only cover is from a film, and now you have collaborated with the film orchestra. Do you have any desire to write film scores or contribute to soundtracks?
Lanvall: Writing music for films would be great. At the moment I am totally focussed on Edenbridge of course but maybe the new album generates some interest in the movies scene, if people from this scene have the chance to listen to it, cause there are some huge orchestra things on the album which could also be from a movie.
XS BS: This is your ten year anniversary as a band. How will you commemorate the occasion?
Lanvall: I don´t think we will commemorate in a special way. Now it´s time for touring and hopefully it will continue like this later on in the year. But there is no plan for something special like a DVD. Maybe it´s time to do something special in 09/10 cause 99 we recorded our first album which then came out in 2000.
XS BS: Some of your lyrics on My Earth Dream suggest a nostalgia for the past when the threat to nature was not so pronounced and yet your band is known for its SciFi references. How do you reconcile those two interests?
Lanvall: That´s not difficult. I am loving Star Trek, especially DS9 and Next Generation because of its humanistic aspects. There are no wars and no need for profit gains anymore on earth in the 24th century, therefore there is no more rapture done to Mother Earth. This is what mankind has to develop to survive and mankind can only survive with an intact nature.
XS BS: Two of your members list New Zealand as a dream holiday on your website. Would you consider a tour in that part of the world?
Lanvall: Of course, if we get an offer to tour there it would be great. We toured in Asia twice and Oceania would be another dream to be realized.
——-
You can check out the latest release from Edenbridge on their website:
www.edenbridge.org
www.myspace.com/edenbridge
Eddie Vedder April Fools tour
April 2, 2008 Vancouver, BC
By Gregory O.
Eddie Vedder’s highly anticipated April Fools tour kicked off April 2nd. A small and very personal theater was the setting for this special occasion and consisted of only Eddie and his basic necessities.
Eddie nervously delivered his first few songs of the night including “Around the Bend” from No Code before stopping to shed some light on how special of an evening this was for him, and for the 1800 eager fans in attendance. There is something about the first time you do or see something that ensures you are always going to remember the experience. In this case it was a magical first for Vedder and for his fans alike. Alluding to another memorable first, he announced that he was wearing the exact same Butthole Surfers shirt as he did the first time Pearl Jam took the stage together as a band. Being a notorious enthusiast of the ocean he especially liked the vertical placement of the word surfers.
The evening was compiled of songs from the soundtrack Into the Wild directed by Sean Penn, rarities from his band Pearl Jam and a various versions of songs written and previously performed by other great musicians. Mr. Vedder continually paid homage to a horde of musical influences and there wasn’t a soul in the audience that didn’t sing along to the Beatle’s “You’ve Got To Hide Your Love Away” and to Tom Petty’s “I Won’t Back Down”.
Though Eddie mostly stuck to singing and playing he did take time to speak his mind about a few things. He spoke of current events and some simple but humorous events from his past. He gracefully mumbled monologues about trips to the hardware store and about his ukulele named Luke that was a better friend to him than some he had come across previously. His undisputed generosity and charm kept the crowd engaged between songs as he responded to comments and opinions made by various audience members.
You could tell that Vedder was getting a little antsy on his stool as he decided to crank things up with an enthusiastic rendition of “Porch” from Ten and a plugged in performance of Hard Sun to end the evening that was accompanied by opening artist Liam Finn on the skins. This was a magical evening from start to finish and will not soon be forgotten. Those looking to hear more hits from Pearl Jam can do exactly that when the band hits the road in early June.
Spirit Creek: A Culture of Unaccountability
Spirit Creek: A Culture of Unaccountability
by Melissa Smith
A Culture of Unaccountability is the 5th release from this Milwaukee, Wisconsin quartet formed in 1996. Released early in 2008, the recording was produced, mixed and engineered by lead singer Doug Shea, who also acts as chief lyricist on the tracks.
Although 13 songs are listed, the opener is a minute in length and “Odium Rising”, the beautifully atmospheric instrumental that comprises track 7 is only 30 seconds long.
Spirit Creek site their influences as Radio Head, The Cure and Morrissey amongst others, but their powerful stadium rock sound on the remaining 11 tracks will likely appeal to fans of a more driven sensibility.
The harder rocking songs such as “The Black Co.”, “Within a Grin” and “In Hell” channel Metallica while the last two tracks of the album have a slight feel of Tool. Throughout the album, often unexpected but well executed harmonizing adds to the soundscape. Spirit Creek have previously played with Nickelback and the vocal stylings from their slower songs like “Mirror Track” and “I Am” are reminiscent of their neighbours to the north, with the ghost of Chad Krueger at his finest, hanging over several tracks on the album.
With its anthemic angsty sound, power ballad “I Am” is the standout track on the album. If the song receives airplay, it has the potential to catapult this band into stadium filling capacity. After 12 years of plugging away, they’ve earned it.
Call For Entries: 16e Hamptons International Film Festival (2008)
16e Hamptons International Film Festival (2008)
Hamptons (Festival), United States, October 15 to 19, 2008
Call for entries
(Documentary & Fiction Features and shorts)
Deadline:
Regular Deadline: postmarked June 7th
Late Deadline: postmarked June 25th
More Info & Registration process here: http://www.telefilm.gc.ca
TELEFILM CANADA SALUTES THE CANADIAN CONTINGENT AT CANNES
TELEFILM CANADA SALUTES THE CANADIAN CONTINGENT AT CANNES
Two Canadian feature films in the running for the prestigious Palme d’Or
Montréal, May 5th, 2008 – Telefilm Canada is proud to highlight the presence of Canadian cinema at Cannes this year. Indeed, four Canadian works will be showcased during this major film event. Two Canadian feature films are in the Cannes Festival’s prestigious Official Selection and are in the running for the Palme d’Or: Atom Egoyan’s Adoration and Fernando Meirelles’ Blindness, a Canada-Brazil-Japan co-production. Blindness has also been selected to open the 61st edition of the Festival.
Atom Egoyan’s latest work, Adoration, tells the story of an adolescent who creates a new personality for himself on the Internet. The film stars Rachel Blanchard, Scott Speedman, Devon Bostick and Arsinée Khanjian. Blindness, written by Don McKellar and starring Julianne Moore, Mark Ruffalo, Danny Glover and Gaël Garcia Bernal, looks at what happens to people caught up in a horrific and mysterious epidemic of blindness that suddenly sweeps through their city.
In addition to these two features, Canada is also represented at Cannes by a pair of short films, which will be presented during International Critics’ Week. Next Floor, a film directed by Denis Villeneuve, will be screened in competition. The story unfolds during an opulent banquet at which 11 guests are shaken by a series of events that alternate between the absurd and the grotesque. L’Ondée, directed by David Coquard-Dassault, will for its part be screened out of competition. Conceived as a mini-opera, this poetic film with an urban setting looks at the “shipwrecked” residents of a city deluged by rain.
Following the success of the Perspective Canada initiative over the last two years, Telefilm Canada returns this year with a selection of eight Canadian films that will screened at the Cannes Film Market. The goal is to further the films’ careers and raise their profile on the international market.
Official Selection – Films in competition
Adoration (Canada), written, produced and directed by Atom Egoyan; produced by Jennifer Weiss and Simone Urdl (The Film Farm); executive produced by Robert Lantos
Blindness (Canada/Brazil/Japan), directed by Fernando Meirelles; written by Don McKellar; produced by Niv Fichman (Rhombus Media), Andrea Barata Ribeiro (02 Filmes) and Sonoko Sakai (Bee Vine Pictures).
International Critics’ Week
Next Floor, directed by Denis Villeneuve; written by Jacques Davidts; produced by Phoebe Greenberg (Phi Group inc.) – In competition;
L’Ondée (France/Canada), written and directed by David Coquard-Dassault; co-produced by Pascal Le Nôtre (Folimage), Julie Roy, René Chénier (NFB) – Out of competition.
SHORT FILM CORNER
During the fifth edition of this short-film market, 68 Canadian films will be offered to international buyers.
PERSPECTIVE CANADA
For a third consecutive year, Telefilm Canada is contributing to the development of an original and dynamic film industry by giving Canadian feature films international visibility. This year, international buyers will have the opportunity to consider eight recent works by Canadian filmmakers.
Borderline, directed by Lyne Charlebois; written by Lyne Charlebois and Marie-Sissi Labrèche; produced by Roger Frappier and Luc Vandal (Max Films); international distribution by Max Films International;
Down to the Dirt, directed by Justin Simms; written by Justin Simms and Sherry White; produced by Anna Petras, Justin Simms (Newfound Films); international distribution by Newfound Films;
Everything is Fine (Tout est parfait), directed by Yves-Christian Fournier; written by Guillaume Vigneault; produced by Nicole Robert (Go Films); international distribution by Seville International;
Finn on the Fly, directed by Mark Jean; written by Michael Souther, Teza Lawrence, Kellie Benz and Mark Jean; produced by Suzanne L. Berger, Michael Souther, Teza Lawrence and Stephen Onda (Amaze Film and Stephen Onda Productions); international distribution by Oasis International and Maximum Films;
A No-Hit No-Run Summer (Un Été sans point ni coup sûr), directed by Francis Leclerc; written by Marc Robitaille; produced by Barbara Shrier (Palomar), international distribution by Max Films International
Saving Luna, directed by Suzanne Chisholm and Michael Parfit; written by Michael Parfit; produced by Suzanne Chisholm (Mountainside Films); international distribution by Mountainside Films;
Sheltered Life, directed by Carl Laudan; written by Katherine Schlemmer; produced by Carl Laudan and Lori Lozinski (Violator Films); international distribution by Violator Films;
Surviving My Mother, directed by Émile Gaudreault; written by Steve Gallucio; produced by Denise Robert and Daniel Louis; international distribution by Fun Film Distribution.
John 5 Releases “Requiem” June 3rd
Once again the dark passages of John 5s mind worked over time to bring to you another outstanding macabre instrumental. REQUIEM is John 5s fourth solo album due out June 3rd on 60 Cycle Hum.
By definition REQUIEM is prayer for the salvation of the soul(s) of the departed, REQUIEM is also the title of various musical compositions used in such liturgical services. In the case of John 5, REQUIEM is a mind-blowing, sinister guitar instrumental with song titles named after torture devices. “I find the macabre fascinating, it’s all over history. In researching the torture devices I heard music to describe each one,” explains John 5.
John 5 performs all instruments with the exception of the time-keeping by Zombie band-mate Tommy Clufetos (drums). The album was recorded in the middle of night that lent a cool vibe and only time John 5 had studio times. Most of the songs are 12–13 minutes long so John 5 decided to put in markers to divide them up so when songs change from track to track it seems to meld in to each other.
John 5 has created a worldwide following as a widely respected guitarist with such platinum artists as Marilyn Manson, David Lee Roth, Rob Halford and now an integral member of Rob Zombie. John 5’s eclectic influences combine for a truly unique guitar oriented record that once again sets new standards in the genre.
