Gone Is Gone [Queens of the Stone Age], Echolocation
Dropkick Murphys 11 Short Stories of Pain & Glory
Flaming Lips, Oczy Mlody
Grateful Dead, The Grateful Dead: 50th Anniversary Deluxe Edition
Pink Floyd, The Final Cut; A Momentary Lapse of Reason (vinyl reissues)
AFI – AFI (The Blood Album)
Cheap Trick, Dream Police (reissue)
Cream, Fresh Cream (reissue)
Stephen Pearcy [Ratt], Smash
Black Sabbath, The Ultimate Collection (2 CDs; 4 LPs)
Big Wreck Grace Street
Galactic Empire – Galactic Empire (Rise)
Judas Priest – Turbo Re-Release (Sony)
Bon Jovi, Vinyl Box Set (25 LPs)
Marilyn Manson SAY10
Def Leppard – And There Will Be A Next Time: Live From Detroit DVD/CD
Lynyrd Skynyrd, Lynyrd Skynyrd 1991 (reissue)
Steel Panther – Lower The Bar (Open E)
The Shins Heartworms
Paul McCartney, Flowers in the Dirt (reissue)
Deep Purple inFinite
TBA / Rumored:
David Crosby, (untitled, details here)
Deep Purple, Infinite
Five Finger Death Punch
System of a Down
30 Seconds to Mars
Joe Perry (untitled, details here)
Ozzy Osbourne (untitled, details here)
Richie Sambora / Orianthi (untitled, details here)
Steve Perry (untitled, details here)
Styx, (untitled, details here)
Tom Petty Wildflowers: All the Rest
Mick Mars / John Corabi (untitled, details here)
Bruce Springsteen (untitled, details here)
U2, Songs of Experience
Zack De La Rocha?
In September we learned he was working on a full-length release, here’s the taste:
Broken Social Scene?
Kevin Drew says, “The whole reason we got back together was after the shootings in Paris…Everyone sort of got on the phone within the small tribe of us and said, ‘I want to play some shows.”
We already know Near To The Wild Heart of Life drops January 27th on their new label ANTI, they say they are inspired by Patti Smith, Metallica, The Stooges, and Talking Heads.
FM96 is already spinning this one, Grace Street is out February 3rd AND they play London Music Hall on February 23rd, we’ll get to hear new music! Get your tickets HERE
Nine Inch Nails?
Nine Inch Nails came back from hidden shadows to release Not the Actual Events, a new EP that serves as the band’s first follow-up to 2013’s Hesitation Marks, earlier this month. Then, the band announced they’re reissuing their 1999 seminal album, The Fragile, as a four-disc box set, complete with alternate and unreleased tracks. And then, Reznor told Zane Lowe during his Beats 1 show that Nine Inch Nails have “two new major” projects planned for 2017. On top of all of this, Reznor asked longtime collaborator Atticus Ross to finally be an official member of Nine Inch Nails, a change in title that’s long overdue. Considering Ross is a member of the band, it’s safe to assume some instrumental and cinematic cuts the two created in their downtime may appear on one of the releases. Will it be a full-length? Will it be an EP?
This past year marked the 10th anniversary of Tool’s last album, 10,000 Days. To celebrate, the band toured alongside Primus, headlined a festival or two, and published a scathing newsletter against the naysayers who have complained about the new album that’s been teased time and time again. “This newsletter is about positive thinking versus negative thinking,” frontman Maynard James Keenan wrote. “It’s also about cleansing negative energy and boosting positive energy. When it comes to the subject of the new Tool album, even though those whose negative thoughts and actions (running from pessimistic to antagonistic) are in the small minority, their negative attitudes are having consequences that extend far beyond the next Tool record.”
The Arcade Fire?
From Consequence of Sound:
Last time Arcade Fire released a new album, the Reflektor rollout tested the patience of fans and critics with its elaborate nature (perhaps feeding into an age of surprise releases). This might mean we get something a little more traditional from the Canadian troupe when it comes time for them to offer up LP5. The group returned to touring with a handful of festival headline appearances in 2016 and have already announced high-profile gigs at Primavera and Rock Werchter, but none of these shows have yet to leak out much news in terms of the next album. Word is that the band recorded this year in Paris and have plans for a spring release, but that could all get pushed back if the album is not yet completed. At least we know to expect Arcade Fire to be in the spotlight in 2017 and that new songs are on their way in some capacity. –Philip Cosores
From Consequence of Sound:
Sure, they might be a bunch of cartoon characters, but there’s always been something a little darker-than-meets-the-eye going on with Gorillaz — they are pockmarked and weathered, garish, rough around the edges, the residents of Banksy’s Dismaland as counterpoint to Mickey, Donald, and pals. Based on the reported guest list for their upcoming album, things just might get a little more dystopic. There’s the now-equally cartoony Snoop Dogg and the always amazing De La Soul, but also the angular, moody trip-hop of Massive Attack and Vic Mensa, who has spent the last year speaking out aggressively against police brutality…we’re all just the little jellyfish getting sucked up in an engine in the song’s video, shredded and pulped in anticipation of the return of 2D, Murdoc, Russel, and Noodle.
From Consequence of Sound:
U2 have been grasping at straws for relevance ever since the notoriously botched release of Songs of Innocence, which is remembered less as a surprisingly solid late-career album (it is) than as a plague on everyone’s iTunes account. But as Achtung Baby and All That You Can’t Leave Behind have reminded us before, the Irish rockers are masters of reinvention and tend to learn from their colossal mistakes. Sure, the inclusion of OneRepublic frontman and studio superstar Ryan Tedder as co-producer smacks of desperation, but desperation and brilliance share the same area code in the world of U2. And let’s be honest, it’s hard to call them desperate when they’ve written, according to The Edge, over 50 songs for the album with lyrics “stronger than War.” Besides, even if the album’s a total bust, we’ll at the very least get to see them perform The Joshua Tree this year — not to mention, at The Farm for Bonnaroo.
Queens of the Stone Age?
From Consequence of Sound:
Josh Homme revealed his intentions to reconvene Queens of the Stone Age, with plans to record new music. “Same lineup, we’re locked in,” Homme said during an interview on the Let There Be Talk podcast. During his own podcast appearance on 2 Hours With Matt Pinfield, guitarist Troy Van Leeuwen confirmed that the band will be back in the studio before the year’s end to record a new album.
Gone is Gone, a review on today’s release From Consequence of Sound:
“Composed of Troy Sanders (Mastodon), Tony Hajjar (At the Drive-In), Troy Van Leeuwen (Queens of the Stone Age), and film composer Mike Zarin, Gone Is Gone joins the recent crop of metal collaborations like Sumac and Palms. Metal remains ripe territory for cross-genre experimentation, which makes it unsurprising that even the most adventurous metal musicians continue to seek out new avenues for sonic discovery.
Echolocation is a steely and glum collection, with crunchy guitar riffs giving way to brief expanses of ethereal textures, the latter undoubtedly Zarin’s handiwork. Gone Is Gone sound serious in the way that most people expect metal bands to sound serious: bellowed vocals, plodding drums, down strums hitting like sledgehammers. But Echlocation is no manifesto for a serious and daring collaboration; it’s the sound of four good friends, all talented musicians, getting together to try out something new.
That “something new” is muddled, though. It would be banal, even tautological, to say that Echolocation is the sound of each member’s musical background coalescing, but it’s an entirely accurate description of the record. Mastodon and At the Drive-In are known and loved for their eclecticism and disregard for generic song structure, features that are almost entirely absent in the music of Gone Is Gone. The guitar tones on the album coagulate into a monochrome gray. (The out-of-left-field inclusion of acoustic guitar on late-album cut “Resolve” proves a nice respite.) The lyrics are cryptic at best and forgettable at worst, as on “Pawns”: “And we have no control/ In time you’ll never know.” The songs chug along dutifully – no one is asleep at the wheel here – but it’s not long before they bleed together into a nearly undifferentiated mass.