The Cult

[FunkyMonkey]

THE CULT, THE DAMNED , THE HEAD CAT To Perform At Next Year's MUSINK - Oct. 24, 2009

THE CULT, FACE TO FACE, THE DAMNED, THE BUZZCOCKS and THE HEAD CAT (the psychobilly side-project of MOT?RHEAD mainman Lemmy Kilmister which also features STRAY CATS' Slim Jim Phantom on drums/percussion and Danny B. Harvey [ROCKATS, 13 CATS, LONESOME SPURS] on guitar) are among the artists who are scheduled to perform at next year's Musink tattoo convention and music festival on February 19-21, 2010 at the OC Fair & Event Center in Costa Mesa, California.

Musink debuted in Orange County, California in February 2008, with over 15,000 people in attendance for the three-day lifestyle event. Headliners THE USED, TIGER ARMY and METAL SKOOL were joined by 300 of the best tattoo artists from around the world.

This year's Musink featured performances by DANZIG, THROWDOWN and ATREYU, along with over 200 of the world's finest tattoo artists, art exhibits, lifestyle vendors, educational seminars and skateboarding/BMX demos and more.

For more information, visit www.myspace.com/musink.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=129203

[mrlee]

Atreyu shouldnt be allowed to perform above The Cult. They havent been going anywhere near aslong, nor have had anywhere near the influence The Cult have had.

[Falcon]

Atreyu shouldnt be allowed to perform above The Cult.

They're not...

[mrlee]

Atreyu shouldnt be allowed to perform above The Cult.

They're not...

oh thats good then.

the article made it seem like atreyu were one of the main bands

[Falcon]

Ian will be participating in a "Celebrity Charades" tournament benefiting the Labrynth Theatre Company.

http://www.labtheater.org/support/specialevents.html


CELEBRITY CHARADES?: JACKPOT!
Monday December 7, 2009

ALL-IN FOR AN ELECTRIFYING NO-LIMIT TOURNAMENT!

In LAByrinth's unique signature Benefit, audiences cheer four teams of their favorite celebrities as they bluff and bust in a fearsome and hilarious speed-charades competition.

CHARADES PLAYERS announced to date include:
Ian Astbury, Bob Balaban, Bobby Cannavale, Tom Colicchio, Philip Seymour Hoffman, John Ortiz, Julia Roberts, Sam Rockwell, Cynthia Rowley, Daphne Rubin-Vega, Julia Stiles, Yul V?zquez  (all subject to continuing availability).

Stay tuned for updates!

The 2009 DAVE HOGHE AWARD will be presented to TIME WARNER INC.

TICKETS ON SALE OCTOBER 26, 2009

For more information and sponsorship opportunities
please email charades@labtheater.org or call 212 513 1082

[FunkyMonkey]

Since Chris Wyse and John Tempesta appear on a number of songs, I'll post this here:


ANVIL, DORO, DEVILDRIVER, WHITESNAKE Members Featured On New Christmas EP - Oct. 27, 2009

Although the weather's starting to get chilly, Eagle Rock Entertainment is positively blazing with Christmas spirit! To kick off the holiday season, a special digital-only holiday four-song EP will be released on November 24 [MSRP $3.99].

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=129367

[Falcon]

Ian Astbury and the Gibson Sessions info..

http://www.gibson.com/en-us/Lifestyle/ArtistsAndEvents/Stories/GIBSON-SESSIONS-NBC-121/

THE GIBSON SESSIONS AT NBC ANNOUNCES PERFORMANCES DURING THE CMJ MUSIC MARATHON NEW YORK

10.18.2009

New York, New York ? October 18, 2009?. Gibson Guitar, the world?s premier musical instrument maker and leader in music technology, will be presenting the next installment of The Gibson Sessions at NBC during the CMJ Music Marathon. Acoustic performances by Ian Astbury, Ted Leo, Toby Lightman, Wes Hutchinson & The xx will feature Gibson?s Songwriter Deluxe acoustic guitars. Gibson Acoustic guitars from the legendary Gibson factory in Bozeman, Montana are designed with superior levels of features that give unparalleled benefits to acoustic players around the world.

WHO: The Gibson Sessions at NBC special CMJ Music Marathon edition featuring performances by Toby Lightman, Wes Hutchinson, Ted Leo, Ian Astbury and The xx

WHAT: The Gibson Sessions at NBC will film four days of acoustic performances as part of a special CMJ Music Marathon edition of the show.  Each performance featuring Gibson?s extraordinary Songwriter Deluxe acoustic guitars, lasts 30 minutes and will be aired at a later date on MSNBC.com and Gibson.com.

WHERE: The NBC Experience Store 30 Rockefeller Center, 2nd Floor

WHEN: October 20 ? Toby Lightman & Wes Hutchinson
October 21 ? Ted Leo
October 22 ? Ian Astbury
October 23 ? The xx
All performances are 2pm sharp!

WHY: The Gibson Sessions at NBC is filmed bi-monthly, during CMJ Music Marathon four performances will take place over time of the festival.  Past performers have included Moby, Ryan Cabrera, Peter, Bjorn & John, The Blue Van, Stars of Track and Field and The Donnas.

[Falcon]

A transcription of a recent Astbury interview done in Croatia, interesting stuff..

Thanks to Tracy for the transcription.

After a very successful tour in North America, The Cult has started European  the leg of the Love Tour in Lisbon. They did not allow recording of the concert, which is their policy for the whole tour, but Ian Astbury was happy to give big interview to Croatian TV for ?The Cult Special?.

We have started conversation in the Coliseu's restaurant, where many big names of music industry enjoyed their meals, but Ian found the restaurant inappropriate place for our conversation so he invited me to his dressing room instead. At the very beginning I have asked him to explain what is the background not only of The Cult's name but also of the band?s previous names - Southern Death Cult and Death Cult.

IAN: The name came about in 1981, and at that time Margaret Thatcher was in power. So Britain was in an, um, also Britain was in a bad economic depression, the Falklands War, very low employment, high unemployment. Um, at that time it just felt very dystopian, you know, at that time in Britain. We'd just come out of punk rock, punk rock was kind of finished, it was tailing off, becoming something else and a lot of our heroes were gone, you know.  Bands were split up, Pistols were gone, ___  had died. Most of my social group were like young people who were into punk rock, alternative music, alternative lifestyle, living in squats, you know, squatters? Yeah, basically take a building over. They had no money, they didn't have anything and there's no... A sense of like George Orwell's '1984' was very prominent. Most of them had read it. It was kind of like the Bible for that generation and I think that awareness was sort of  into the name of what Southern Death Cult really meant. You know, that the government, all the ideological powers and governmental powers and philosophical powers were based in London. Which, for us, is the south of England. So we referred to that as The Cult, the Death Cult, in a negative sense. 'Cause I think that the Death Cult can also be a positive thing. And in Tibetan Buddhist context, a death cult is a positive thing in the realization that you do die. So with that as a truth in our lives, and also the truth is that we don't know what the time of death is. There are two truths: that we will die, we will not know the time of death. So with those two truths, how do you manage your life? And I think we forget this in our culture, until it's too late.  Then we are repentant. Then it's no use. So the name had a lot of weight to it. For a 19-, 20-year old, journalists couldn't quite understand the depth of what it meant. They tried to say that I was naive, but, um, my upbringing, the way I moved around, my nomadic lifestyle, my experience with my family, things like the death of my mother with cancer. Um, my father tried to commit suicide. There was a a lot of, just in my home own home, the environment, the economic environment, social environment, really affected my home. My family was destroyed at the age of 14, 15, and music was very important. So, um,  lots of philosophy to help me understand what I was going through. So I was reading George Orwell, I was reading Aldous Huxley, and, um, this all went into the music. But they say,  journalists were saying I was too young, to have this knowledge but yet it happened in my own home so I had firsthand information. So there was a lot of weight to the name, absolutely. A strong foundation.

Ian Astbury also explained to me his interest in Native American Indians which is not of the same nature as interest of his great hero Jim Morrison.

IAN: When I was 11 years old, I emigrated to Canada. So, when I emigrated to Canada I was an immigrant, I was not a native Canadian. Even though I was northwestern European, ah, Caucasian, I was still treated as an immigrant. So my group that I hung out with, my peer group, were all immigrants or indigenous natives at my school. So my friends were like Mohawk, Onondaga, Seneca, natives, as well as, I had a friend was Turkey, I had a friend from from Jamaica, I had some friends from Britain. So it was a very disparate group, a United Nations kind of group, friends. But, um, indigenous studies was part of the curriculum in history, and also going to a reservation was part of a school trip. I so I was exposed, I was taken to a Six Nations reservation, which is just outside the city I was living in, Hamilton, Ontario. I had never seen an indigenous people in their own environment, outside of a northwestern European context. I had never seen, well, I'd seen Native people growing up was "cowboys and Indians" on TV. But seeing real Indian indigenous people in their natural environment and how different they were. They were very different than us. They're so much more free. That really blew me away when I was at the reservation, seeing these kids running around, basically like long hair, playing lacrosse, riding horses, even the way that I was treated by an old gentleman. I sat down beside an old man-- I walked away from the school trip and sat with this old man. We didn't say anything. There was an energy, a communication. He responded to me, he acknowledged me with his presence, a warmth. And I felt really, uh, it was very cathartic for me. I didn't have the profound Jim Morrison myth of an Indian jumping into his soul. But I had a real Native interact with me in that way and acknowledge my presence which was really visceral for me and I became very fascinated by the culture. So I read everything voraciously, consumed it. First I was reading historical, then philosophical, then it got into spiritual. As I grew older, more things became revealed. It's been a love affair since I was 11 years old.

[Falcon]

Today, Ian lives with his family in New York, in Manhattan, and is very active as a cultural worker in the background. He supports variety of independent literary, theatrical and film projects, specially the ones by Andrea Smith. She is, like Ian, very interested in issues regarding women?s status in society. Both think that women today are in inferior position.

IAN: It's quite simple. We've lived in a patriarchal society for what, 6000, 8000 years? So the men, principally the men, have coveted the knowledge in the guise of the church, science, politics. But the real myth of our life or the real truth is that we're organic,  we're not made out of buildings or architecture or spiritual architecture, spiritual plans. This is an internal awareness that is much more in the feminine realm of feeling and intuition and reproduction. That's a resource that we've suppressed, hidden, that men have coveted. Men have suppressed women-- they fear women in that way. They fear that women's ability to produce a child, which is the highest form of creativity, you know,  for a human being. And obviously it hasn't worked. Look at the millions, the billions, that have died in wars, wars based a lot on difference of language, philosophy, culture. It seems to me when women get together they get things sorted out. When men get together it turns into a fight straightaway, so we're addressing that balance. And with 'Conquest' that is a very specific focus on two cultures-- a very European patriarchal culture coming to the Americas and coveting the woman's energy, not only coveting it but destroying it and we see the results of that. The United States of America is in terrible shape internally. It's a disaster. The "American Dream" is gone, you know? It was built on violence-- rape, pillage, and violence. That's what that house was built on, as was much of Europe, and those foundations, they're gonna fall down. They're not-- you know, the sun rises and sets every day. This is a truth. We will pass away. The great mysteries that are staring us in the face but we do not contemplate them because a lot of intellectuals consider them to be esoteric. Because it's in the realm of non-language, it's in the realm of intuition and feeling, which is the realm that women operate in and they're female mysteries. And it's amazing when a feminine mystery comes along in a fictional form that people respond to it in an amazing way. Like 'Harry Potter' is talking about magic-- magic is from an internal dialogue. That's a feminine realm. That's huge. Or even things like "Da Vinci Code" talking about the bloodline of Christ being a woman. These are things that fascinate our culture, but we don't embrace that. So I think our two biggest resources we have right now are women and silence. Silence is an amazing thing and we never use it.

But, what can rock musicians and rock stars do about this whole situation, can they change anything? After all, during 60?s some believed that rock 'n?roll could change the world.

IAN: I think it's down to the individual. I mean, I can't really speak for anybody else. To me the 60s was very, um, full of conceit, in the sense that-- and the Buddhists, in the Buddhist perspective, the act of altruism, of saying, "Stop this war," or "Freedom for ethnic groups" or anything has come from a very, usually from an established place, an intellectual place. But in reality, the people that needed liberating in some cases didn't want liberating and in some cases weren't educated enough to be liberated. So when they did become liberated they just went about their business in the same way. It's evident. We still see that. So, and, I think people weren't in it for the long haul. For the long haul it's not, "OK, well, I'm done now. I'm 25 years old. That was great. Let's go do a load of cocaine," which is what happened. Everybody switched from psychedelics to cocaine and drugs that were about 'me', the individual. I think it's about awareness. The teachings are there, especially in Buddhism, about going inwards, not going outwards. Violence is never going to change anything. It may change something for the short term but eventually, you know, you can't suppress the energy. Nature will always find a way.  Is it a case of like getting celebrities? If I'm Celebrity X,if I'm the big celebrity and I come on saying, "I'm going to talk to you about Africa," I'm not interested. I want to see him go or her say, "Africa. Problem." And then go, "And now I'm gonna have you go meet the people who live there," and get out of the way. But this doesn't happen because they're always in front of the camera. "It's me. It's me again. Oh, there's the village..." Whether it's Bill Gates in India who comes to visit a family in New Delhi or Calcutta for a photo opportunity, comes in with his private plane, leaves on a private plane, just to take a picture and make himself feel better? What is this about? This isn't about real change because they leave there is no legacy. When Bono leaves Africa there is no legacy. When Oprah opens a school in Africa there is no legacy. All these things have fallen apart. Live Aid was a disaster. The grain sat on the docks. It rotted. When the grain was taken it was taken by the warlords. They controlled it. There were no celebrities there. Duran Duran weren't present. Or Sting.

Since Ian mentioned some of the rock stars that are also so-called celebrities, I asked him if he himself ever felt like a celebrity. Women were attracted by him magnetically and it seems they still are.

IAN: I've never been a part of that. I've always hated that. That's just veneer. That's never interested me. What's interested me is like dialogue, conversation, and action. And I've never really, perhaps, played the media game in many ways. I've been very private about my life, most of the time. Now I'm getting older, I'm 47. I have two sons. I'm getting to the place where I'm getting asked more, "What do YOU think of this?"

Apart from the Love album, on this tour The Cult is playing several of its other great songs, like The Sun King, but it will not play, for example, Sweet Soul Sister - because it?s on the Sonic Temple album. Still, I asked Ian if the song was inspired by bohemian life in Paris.

IAN: I just had a vision of a young black woman revolutionary in Paris, at the time, say '68,  but when I wrote the song it was 1988. But I was still walking around the Sorbonne, just that whole-- Paris is such a romantic city and romanticizing that rebel, the romantic rebel. The one who carries a copy of Rimbaud in one pocket and a copy of maybe Mao's Little Red Book in the other pocket and is part freedom fighter, part lover, part creative person and I just had this character in my head. It became part of myself. That's it. I think most of my writing is  autobiographical in some way, shape, or form. Like "Edie"-- it's easier to talk about Edie Sedgwick more than about myself. I kind of, projected outwards but I identified with her very much. I've always had a strong feminine-- like "She Sells Sanctuary" is about a greater femininity. It's a, you know, it's like I think there's two different schools of, in rock and roll music:  Woman as an object, woman as a sexual object, and then woman deified, woman as a muse and my work's more about woman as a muse and femininity  as opposed to woman as an object.

Maybe it was a little bit indiscreet from my part, but I?ve asked him about his relation with ex-wife.

IAN: Well, right now at the moment, I'm in a very complex relationship so, uh... All relationships are complex... no, it's balance, it's harmony. There's disrespect and mutual  respect. I'm always working with women, a lot of my ___ material has to do with women. I don't know what it is, I just keep coming back to it. I do the mathematics, and I work it out, and it always comes back to women because without women, we're not here. And until men can reproduce themselves-- we can produce incredible architecture and art, but ultimately to produce a child is the ultimate form of creativity. That's a mystery that is profound. I mean, I don't think science can even explain it, how that inception of life, how this happens.

And, at the end, why did The Cult forbid recording and shooting of the most recent concerts (for press and TV)?

IAN: Because usually they document us in a very poor way. You know? I mean, for the most part with all respect, most of the journalists, most of the photographers that come up are pretty crap. And plus, they're shooting like this, and it looks shit. It looks awful. You know, so, we like to control the way it looks, there's a certain presentation, you know? I mean, the audience take images but, um, we don't really particularly, you know... it's evasive as well. We want to control more how we look to the world. We don't grant many interviews, no. And that's cool. These are important things to share, though, because people say, "Well, where's all the press on The Cult?" And we say, "There isn't any."

[Falcon]

Nice article mentioning Ian Astbury..

http://www.su-spectator.com/entertainment/local-painter-moves-from-stage-to-studio-1.833523

Local painter moves from stage to studio After a life-changing car accident, Jesse Higman?s art strives to ?jam with nature?
By Kat Catlett

Updated: Wednesday, October 28, 2009

Braden VanDragt | The Spectator

In a living room-turned-workshop near Cal Anderson Park, 31-year-old Jesse Higman sits in his wheelchair smiling. Surrounded by his own illuminated paintings, Higman sets to work on another project.

Art he created for influential bands like The Cult, Soundgarden and Pearl Jam hangs in the Experience Music Project and Cleveland?s Rock and Roll Hall of Fame. More recently, he received the Seattle Mayor?s Arts Award. Although a car accident left Higman quadriplegic, the lifelong artist has found a way to continue his passion.

At the age of 15, Higman received his driver?s permit. One day while driving with his father, a squirrel ran into the road. He swerved to avoid it, and after overcorrecting, the car rolled off the road. He wasn?t wearing his seatbelt.

As a result, Higman has been confined to a wheelchair ever since, with a large amount of his feeling and muscle use below the neck gone. While he can now recount his accident in detail, he subconsciously blocked it out of his memory as a young man.

?It was terrifying and my world came apart,? Higman says.

Higman fell in love with art at a young age, drawing the monsters from Dungeons and Dragons books or on the blackboard for teachers.

After being confined to his wheelchair, he struggled with staying close to people, especially since art had always allowed him that connection. He remembers going to high school football games to interact with the students of his school. As he sat in his wheelchair by the field, the rest of the students stood in the stands. He received a few visitors, but it wasn?t the same.

?The accident made things a lot more serious,? Higman says. ?It was like, what am I going to do? What is that ?poor boy? going to do??

While other people in his life tried to think of things that would be easy for him to do as a living, he craved the connection that he used to share with all types of people.

He participated in recreational therapy, and while he did, he received a device that would help him continue to draw, paint and perform everyday tasks on his own.

?A guy kind of like Santa Claus came in the middle of the night and measured my hands,? Higman says. ?He picked up my fingers and measured the length, then disappeared for a few days. When he returned, he put [the device] on my hand.?

The contraption fit the form of his hand and wrist, allowing him to move his wrist and hold things. He still uses one today.

Once he began to paint more often in recreational therapy, he began receiving praise from people who were impressed by his ability to overcome his physical disability. Higman found his way to connect with people.

After watching MTV for the first time at the age of 18, his biggest goal was to meet Ian Astbury of The Cult, his biggest inspiration.

?He had everything I was looking for,? Higman says. ?The deeper I looked into it, the more parallels I felt. I wanted to be like him [?] get to know him. I wanted to go to my guru and see if I checked out.?

After going to every Cult show he could and talking to roadies and truck drivers, he finally met Astbury and had painted a jacket for him.

?His response was, ?That?s beautiful, mate,? and he gave me a big kiss on the forehead,? Higman says. ?He invited me to go to some Seattle shows with him, and I went.?

With Astbury?s help, Higman got in touch with local bands and began designing their album art, T-shirts, tickets and more.

Higman?s recent work is centered on a new method of painting. In it, he allows a shimmery solution of paint to flow over water on a black board.

?Rather than work on something more like a project [?] it?s more like, what did the painting just ask me for?? Higman says. ?How can I respond to this thing that?s actually happening? It?s kind of like jamming with nature.?

While he has many notable experiences traveling with rock n? roll artists, his biggest accomplishment is much more personal:

?Getting past myself, with all that I believe in,? he says. ?[My art] is more about how you handle things and how you respond to life. I think that really makes beauty in the end.?

[mrlee]

http://www.youtube.com/watch?v=ErgzObQJMPM

Whats the story with The Electric era tour with having Jamie on a Rythym guitar n Kid Chaos on bass guitar?

Why did they only do it for that tour then go back to Jamie bassin it with just Billy on the guitar?

Im sure you will know, Falcon.

[Falcon]

http://www.youtube.com/watch?v=ErgzObQJMPM

Whats the story with The Electric era tour with having Jamie on a Rythym guitar n Kid Chaos on bass guitar?

Why did they only do it for that tour then go back to Jamie bassin it with just Billy on the guitar?

Im sure you will know, Falcon.

No real reason beyond them just not needing a rythym guy for the Sonic Temple and Ceromony tours...

[Falcon]

An extended interview with Ian Astbury can be found here:

http://www.theaquarian.com/2009/11/05/interview-ian-astbury-the-cult-extended/

[FunkyMonkey]

An extended interview with Ian Astbury can be found here:

http://www.theaquarian.com/2009/11/05/interview-ian-astbury-the-cult-extended/

You meant it when you said "extended" -- it's 8 pages...still reading. 

[FunkyMonkey]

BILLY MORRISON - Signature Guitar Due May 2010

Posted on Thursday, November 05, 2009

BILLY MORRISON has issued the following update:

"Yeah yeah yeah! It's been a few weeks since I updated here. I know. Things get busy, I forget, then I get sick... and before you know it, time has flown. Well, whatever - here I am again. And the video below was sent to me just now - I LOVE the woman texting in the middle of the song! It was shot at the Montlebarn Theater in Los Angeles at The Heart Is A Drum Machine movie premiere. Looks pretty good and sounds ok. Nice Gibson Songwriter acoustic too!

Talking of Gibson, I met with my people in the New York office last week when I was out East Coast way, and we are looking at a May 2010 release for my guitar. I still can't give away too many details or pics, but we have changed the design. It's reverting back to a design that I have wanted for about five years - it's simpler but way cooler and I am really happy we're doing this one. Once all the paperwork is done, I will do a blog about all the details, what takes the time... a detailed look inside what goes into the making of a personal model. It's been a learning process for sure, but I am excited by what we are doing and look forward to being able to share pics and details with you all.

Well, that's about it for today. New music will accompany the release of the guitar (in the shape of a four track solo EP that I recorded earlier this year with my good friend Patrick Cornell) - we decided that the guitar was the best way to put that out. There will be a limited edition Hard Copy CD with full artwork that's only available with the guitar... and the digital versions will be available on all major online services (I-Tunes, Amazon etc). Also, if the Rock Gods align and luck shines down, there may be some other new music from me coming your way in 2010... but it's WAY too early to talk about THAT one. So... have a great rest of the week. Now that I'm recovering from the Flu (I'm convinced it was a rare strain of Chilean Mountain Goat Flu!), I'm gonna get on the bike and ride, pick up a guitar and play (just like yesterday!!) and enjoy my life. Peace out. Billy."

Bravewords.com

Billy Morrison ~ Velvet Underground~Sweet Jane - Heart Is A Drum Machine - Matt Sorum + Friends

http://www.youtube.com/watch?v=pUZ-N1ukqfg&feature=player_embedded

[FunkyMonkey]

An extended interview with Ian Astbury can be found here:
http://www.theaquarian.com/2009/11/05/interview-ian-astbury-the-cult-extended/

He's got a lot to say, here are what I thought were a couple of interesting quotes:

>From page 1 & 2-

The idea of spending a year and a half making an album is kind of a bore to me. By the time you?ve made it, it comes out and it?s irrelevant, it?s been leaked, and people pick at it like a buffet. The integrity of that body of work is kind of decimated. The gestation period for that kind of work just isn?t there anymore in our culture. It?s instant gratification.

So many people are mourning the death of the album. I mean I?m not standing around knocking it. I?m not saying oh it?s disgusting that albums are dead, no; I think it?s fantastic. One thing that?s great for artists is that, look kids, we don?t have to make albums anymore.

>From page 6-

Men think they are stronger than women, but that?s definitely not true. Women possess the ability to protect their child and the power of birth. From what I?ve seen, from what I?ve experienced, I haven?t seen strength like that in any man. I?m not for this kind of soft male, like this hipster male who?s gone so soft that he?s of no use. When you get to that stage, you might as well flush yourself down the toilet. That?s rubbish, garbage, being a ?sensitive guy.?

A metrosexual.

Yeah, fuck that. I mean, I?m not saying men should go around beating each other on the chest like ?Hey, more beer!? That?s nonsense, too. I mean, have some integrity, some dignity. It takes some real strength to be able to say, no, all women lead us.

[Falcon]

With the LOVE/LIVE Tour coming to a close this Sunday night in Atlanta, a few tidbits of info..

The band will be taking the rest of 2009 off, look for Billy to be active with Camp Freddy and Ian to continue working on his film/theatre/Soft Revolt work in NYC..

New music is indeed "in the can" and will be released in 2010 but not in "album" form.  The band are exploring avenues of release with nothing set in stone so far..

They've have been offered a Euro tour (early 2010 dates) with a "LARGE" band they've shared bills with in the past although nothing has been finalized as of yet...

More to follow...

[gnr2k6]

its obvious who that big band is...

[Falcon]

its obvious who that big band is...

Venture a guess Paul?

[mrlee]

its obvious who that big band is...

Be cool if it were Guns N Roses


I got my boxset today. its great. Love the b-sides, hadnt heard no.13 or The Snake before. Great songs, they have that Love era sound but with sadder chord progressions i think