EXCLUSIVE! Mary Weiland INTV!

When I first learned that the ex wife of one of my all time favorite front men was writing a book, I was a bit skeptic. Was this going to be a tell all, TMZ-esq book of who was doing what drug in the 90's? Was this going to be a story about Scott Weiland's addiction that I didn't already know? What I got was the most honest and human story about going to hell and back. Mary Forsberg Weiland, better known as Mary Weiland, accounts her life battling addiction, mental illness with love and heartbreak. This was never a book about gossip or what people had made her do, rather a book about an adult accepting responsibility for her actions. Fall to Pieces tells Mary Weiland's life story from childhood to her days as a teenage model to going on the road and being married to Rock and Roll's wild man, Scott Weiland. With the support of her famous friends and family, Mary wrote about accounts of clout with so much clarity. Broken down in regular terms and leaving the medical jargon at the door, Weiland discloses horrific tales in great detail and tales of great triumph. Yet, Weiland's biggest triumph was coming clean and honest with Fall to Pieces, which is one of the best reads I had last year. Take a look at my exclusive interview with Mary Weiland as we discussed the writing of the book, her addiction and where she goes now.

What prompted you to write “Fall to Pieces?”

MFW: The positive response I’ve received from people who’ve been able to connect with my story... that was my dream in wanting to write “Fall to Pieces.” People are hungry for honesty and I wanted to open a conversation on the topics of addiction and mental illness. I think everyone is carrying a little sadness inside and making a connection with another person can relieve some of that pain... and maybe even bring some sunlight into what was once a very dark place. It was a freeing thing to write with that objective in mind. Hopefully I got close!

Do you feel vindicated that the book has been written and is out?

MFW: I felt an obligation to write something inspiring, but in a way it was also a gift to my children. Plus I wanted them to be able to Google mommy and daddy and get the whole picture! Any life needs a couple different perspectives to make sense.

After reading your story, I could not help but notice that the motifs of escape played a big role in your life. Escaping with your mother from your father when you were a child. Drugs. Music. Food. Escaping to the beach when you would visit your father as a young teen and watch the socialites. Do you think you have stopped escaping and start accepting what has been given to you? Have you found what you may have been looking for?

MFW: Finally having an answer for why I felt the need to escape has made it a lot easier to stay in the moment. I’m human and when life becomes overwhelming something as simple as a trip to the mall can restore a feeling of wholeness. The major difference is the escape is brief and without negative consequences. I was always looking for calm and peace and I do feel like I finally found that place.

Since you were a teen you have been battling depression or a form of it. This has consumed most, if not all of your life. What advice do you give someone today who is battling the same demons you have?

MFW: Accepting depression as a part of your life is the first step in recovery. Looking to other people who have struggled and made it out can be inspirational. Everyone has the potential to heal if they are willing to do the work. At times I felt hopeless, but I never completely gave up. If I had, it would have been a short book...

At every turning point or bench mark in your life, music has marked a specific moment (I can easily relate). Did music ever help get you out of what you were battling?

MFW: Music was and sometimes still is the most glorious way to avoid life’s crushing moments. Losing myself in someone else’s art and poetry and sometimes even pain was a reminder that I wasn’t alone. Movies can do that too. Disappearing into another world, a world that inspires you... it’s one of the great journeys we get to take as a fan.

What music defines your proudest moments?

MFW: Songs that fall under the “guilty pleasure” category have played a roll in putting a smile on my face. Often music was the only thing that could pull me out from under the black cloud. Sometimes it’s silly, sometimes its profound... my only credo is this -- turn it up!

What defines your worst?

MFW: Guns and Roses “Its So Easy” always had me running straight for trouble. Listening to it now is a reminder of how far I’ve come.

On Scott’s song “Barbarella,” from his solo record, 12 Bar Blues, he sings the line “Grab a scale and guess the weight of all the pain I have given with my name. I am a selfish piece of shit.” Do you ever blame Scott for your downward spiral into drugs?

MFW: Never. I was an adult when I made the choices that I did. I was born with the potential to be an addict and I could have hit bottom with anyone or on my own. Good song, though.

Throughout your years of using and turmoil with Scott, you kept going back to him. Why?

MFW: Our love for each other was almost unnatural. There were times when we couldn’t function on our own. I give us credit for trying to make it work. Hollywood promotes giving up. Eighteen years and nine years of marriage with all that we’ve been through in my opinion is a success.

What are your hopes and aspirations for your children now that you and Scott are on a clear path of recovery?

MFW: I hope they find success and happiness based on their own hard work. Our past struggles will most likely follow them, but because they were so young during our difficult times my hope is that it won’t consume them.

Sex Pistol Steve Jones and Red Hot Chili Pepper Anthony Keidis aided you throughout your road to sobriety. Where there stories and battles enough to make you want to kick the habit?

MFW: You’d think another persons crippling experience would have been enough to discourage me, but I was sick and not ready to get well. The part they played was simply just being available when I was ready to change my life. I wanted to tip my hat their way in the book. Their friendship still means the world to me.

What is next for Mary Forsberg Weiland now?

MFW: I should be starting back to school in February. I’m studying for my certificate in drug and alcohol counseling with a focus on Co-occurring Disorders. I hope my experience and knowledge can help others. Giving back is a part of my continued recovery.

Fall to Pieces is in stores now!

Special thanks to Mary, Jennifer Slattery, Harper Collins and extra thanks to Candace Greene for her assistance.

Speaking to Dashel Hammerstein, Hear a New Song!

Brooklyn Singer / Songwriter Dashel Hammerstein released his latest record, Grapefruit Rhythm, in the fall and following it's release, our own Raf Richardson-Carillo spoke to the musician about the record, his influences and crafting the record. 

Take a look at the interview and then hear his new song "Audition," below.


1) I texted you after listening to “Grapefruit Rhythm” saying it sounded like Elton John, Monty Python and the Incredible String Band got together one weekend -- I don't want to ask you who you think your influences are, but were you listening to (or reading, or watching) anything at the time of recording that you think might have bled through and influenced the album? 

There are definitely a lot of direct influences on this album - Ada is straight out of the book by the same name, the lyrical theme of “Black Phillip's Boy” is straight from the movie The Witch, “Quantum Entanglement” is a physical phenomenon I learned about, etc. I think it's safe to say at this point that “Violence Now” is just about 2016. I find that when I go into the studio to write a song that sounds like a horror film or a book or like a physics lesson, I'm much more successful than when I go in trying to write a song like John Lennon.

That said, my three biggest influences on this album were Elton John, Monty Python and the Incredible String Band. 

2) Hardy har har. I think that's healthy, not trying to sound like Lennon. Did you ever catch yourself emulating admired predecessors too closely?

Of course! Usually those are the worst songs of all. I'll definitely take pieces though. For example, the song 'Please' - that's me trying to write a song with a 'Panic in Detroit' feel. But when Bowie was writing that he was almost undoubtedly trying to make a song with a Bo Diddley feel. Same with 'Ada.' Most people hear the first few seconds and think 'Oh Elton John!' The truth is I don't really listen to Elton (though I recognize him as a great songwriter), I just wanted to use that rhythm because it's fucking solid. Plus he got it from Donny Hathaway's cover of Jealous Guy. It's all a conversation - I'm just adding my own voice to it. 

3) "Violence Now" reminds me of The Velvet Underground's "Who Loves the Sun" in the sense that there's a dissonance between the sound and the content. You've got this jaunty rhythm and melody paired with somewhat grim lyrics, which is an effective approach for a piece of art with some social commentary in it. Was this a conscious thing or just what happened?

 Actually this was a conscious thing. I don't want want to say that song is a joke but it kind of is. That bright California sunset girl-group sound underneath those dark lyrics - it's funny! It doesn't make any sense - you think twice. Not to sound like some kind of academic but I wanted to highlight the absurdity of violence in our culture. On one hand, we detest it and petition for it to end. On the other, we can't get enough of it. Depends on where you are and what you're doing I guess. So goes the song - on one hand, its a very nice and happy song. On the other hand, it's fucking brutal. If you have some element of discordance between the message and the aesthetic - songs, paintings, film, whatever - then it's going to be interesting. 

4) Can you identify a unifying preoccupation or idea that the album deals with as a whole? If so, was that always in mind or did it develop naturally as you worked?

No, but this album wasn't really written that way. It was sort of borne of necessity. About a year ago, I had a great band, playing a lot of shows and this music thing was feeling good. I met with a manager who told me to take all my music off the internet. He managed all these great bands I admired so I did what he said. The relationship didn't work out but I still trusted him on the

internet music question. Then sometime in the fall, I get a great placement on High Maintenance on HBO and I think, shit I need to have something out there! So I started developing a few of my favorite old tunes, had them mastered and called it an album. It's nice because it was written over a long time and I think each tune stands alone nicely. But for the next one, I'd like to make an album that's more focused.
I guess if I have to pick a unifying preoccupation with all my music it would be crippling anxiety. 

5) Taking your music off the internet seems like creative suicide at this point, but I imagine there's something empowering about controlling supply. Anyway, I ask that question because to me there's this undercurrent throughout -- particularly in the lyrics of "Look Back" and "Better by Now" -- of the past meeting the present, and the essential questions being, "Have I learned anything? Do I make better decisions now than I would have five years ago." You and I are at this late-twenties nexus stage and I think those questions are in the ether. Fair? 

Oof yeah, that about sums it up. I think when you're not on an obvious career path, where each step is laid out before you, you're bound to scrutinize every decision all the more. Better By Now was the product of financially responsible friends. Oh, you have stocks and bonds? You're buying an apartment? When did we learn how to do this stuff? I just opened my first savings account a few days ago and it was pretty much 100% because the banker was a musician who talked me into it. I've spent a lot of my life so caught up in music that I often feel like I've missed some of the practical lessons. But I wrote a song about it so I'm good. 

6) This is your third or fourth album (don't recall exactly) -- have you found that you're any quicker or more efficient at writings songs than you used to be or is it the same old struggle?

 I think I'm slower now actually. Maybe after this many years of writing, I'm better at recognizing a crap song when it comes out. In the past, I'd spend hours writing and recording something only to get home and realize that it's simply a terrible song. Utter garbage. What the hell were you thinking? I don't have time for that anymore, what with all the kids and jobs and properties around the world. I only follow through with something if I'm confident that it's good. At least to me. 

7) Did you show songs to people as you came up with them, or write and record everything before getting feedback? 

I'm so obsessive about (almost) finishing something in one sitting - it's maybe my biggest flaw as a producer. I wish I could record an acoustic demo, show it to someone, get ideas, build it gradually. But if I'm working on something I like, I can't leave the studio until basically all the pieces are there. I physically can't. I'll be giving it one last listen before I go home and I'll think, the 12-string would really be a great texture for this chorus and then I have to stay to finish it. And when I do, it'll happen again with something else. 

8) Is it hard for you to know when a song's finished, or to accept that you can do no more to improve it? Do you have any mechanisms in place to keep yourself from overworking it? 

I inevitably overcook a song. When you're recording, especially when you're doing it on your own, there are limitless opportunities to fill every nook with a hook and its easy to lose sight of a song's overall feel. So after going to far, I'll show it to someone (usually Anamaria), get their impression and begin paring it down. There's nothing worse than having every hook spelled out for you. A song is like any other piece of art - it's just as important to hide as it is to show. Unless magic is your art, then it's probably more important to hide?

 9) Do you feel as though you got each of the songs on Grapefruit Rhythm to where you wanted them? Or will you go right back to working them over when this interview's finished? 

No and definitely not. The songs could always be better and for most of them, I know specifically how (a solo, a bridge, some mixing issue, etc). But once a song a song is out of my head, I rarely return to it. I just want to make something new. That's why it's good to work with other people who will sit me down like the hyperactive child I am and say "Today we are just recording bass and drums and we are going to get it perfect." 'Look Back' and 'Valdosta Moon' were both done with a band and an engineer and it shows. If it were just me, I would have stopped halfway though so I could start something else?

 10) What's more important to you: making great music or having fun making music?

Having fun making great music (you walked right into that one Raf you IDIOT!)

Live Review - Smith & Burrows @ Union Chapel

Smith & Burrows Live at Union Chapel, London
December 12

by Linn Branson*
Photo by Alistair Burns


It was the hottest ticket in town for this, the only live UK date for Editors’ Tom Smith and ex-Razorlight (now I Am Arrows) drummer Andy Burrows, coming together as Smith & Burrows. Even the blustery, wet December weather did not deter a full congregation in north London’s Union Chapel. And a more perfect setting to display the Christmas-themed ware from their critically acclaimed debut Funny Looking Angels album would be hard to find.

Not that Messrs. S&B exactly dressed up for the evening, the pair looking like two slightly indie-worn cherubs in street casual jeans and wings – yes, those cutely cherubic protuberances from the album’s cover – were the order of the night. Not that it detracted from proceedings one iota. If the intent behind Funny Looking Angels was to ‘conjure images of friends coming home from the pub and reflective winter evenings’, then they brought it to life here: two comrades having a merry old time of it with a ‘few friends’ – aka the audience – who’ve popped round for a get-together, a few songs and plenty of cheer. There was even a raffle with prizes to be had, just to complete the air of all round bonhomie.

Throughout a set that took in much of the album’s content, there were also the inclusions of REM’s ‘Half A World Away’ and covers of Razorlight’s ‘America’ and ‘Before I Fall To Pieces’, with a guest appearance from Editors’ own drummer Ed Lay, deftly chiming sleigh bells; S&B’s own cover version of Yazoo’s ‘Only You’ also gets a look in. Not to be left out, Editors’ own ‘Papillon’ and ‘Walk The Fleet Road’ from the In This Light And On This Evening album were also thrown in the mix – neither of which sounded any less stirring performed as they were without full electrics, in an acoustic style; in fact, the opposite could easily be said, with more weight being handed over to the vocal and resonance given to the lyrical content.

Of course, the set’s honours had to go to the songs that have become familiar from the album, such as ‘The Christmas Song’, a short, poignant duet between Smith and band cellist, Isabelle Dunn; and ‘In The Bleak Midwinter’, with Smith taking up guitar midway, complete with a trumpet finale. Playing inter-changeable roles, on ‘If I Had A Heart’ (a Burrows work), it is Andy Burrows upon whom the light shines, taking charge of vocals and piano for this heartfelt little song.

Moments of magic there were in plenty. The album title track setting applause ringing, as does ‘As The Snowflakes Fall’ where Burrows’ vocals complement and balance Smith’s higher ethereal pitch. It sets a shiver down the spine, accompanied as it is by Dunn’s delightful cello and a trumpet solo. To round of the set comes ‘When The Thames Froze’, a five-minute-plus song, on which Smith this time plays keyboards to Burrows’ taking centre stage on guitar. Its lyric of ‘Goddamn this snow/Will I ever get where I want to go?’ may have set minds racing back to the UK’s last harsh snowbound winter, but on this particular night it could only gladden the heart. As the band take their bows at its end to ear-shattering applause and cheers, let’s hope we have not seen the last of these particular ‘funny looking angels’.

*Linn Branson is our special London correspondent. This is her first article for Officially A Yuppie, we are very happy to have her on board.

EXCLUSIVE! Vinnie Caruana INTV!

After years of fronting influential bands like I Am The Avalanche and The Movielife, Vinnie Caruana has gone solo and with the release of his debut EP, City By The Sea, the Long Island punk is doing things on his own terms. Always wearing his heart on his sleeve, Caruana has now laid down his own songs with just himself and an acoustic guitar to keep it as raw and as real as it could possibly get. We spoke to the singer about going solo, a possible reunion with The Movielife, and a studio update on IATA, and how Hurricane Sandy, affected him and his family on Long Island. Take a look at our interview with Caruana below:

What is it like to finally have your own solo material out?

It’s really like a dream. I’m so happy that I’m following through on all the projects I want to execute. I should keep doing that.

The title of the EP, City by the Sea, does it reflect anything growing up on Long Island near NYC?

The ocean has always been a huge influence on me and I currently live right by it in Long Beach, NY. I grew up about 10 miles from where I live.

Being from Long Island, how were you and your family affected by Hurricane Sandy?

Long Beach got hit very hard and the city is just beginning to put the pieces back together. A lot of my family and friends lost a lot of stuff around LI but we’ll be just fine. Aside from having to move out of my house for a month after Sandy, I was very lucky.

Were any of the songs about what happened during Sandy?

These songs were recorded just before Sandy. I actually was stuck in California recording “City by the Sea” when the storm hit and had to wait another week to come home.

While this EP arrives, is a full length in the works?

The next thing is an I Am the Avalanche full length, but I’m definitely going to make a solo full length. There is also talks of another Peace’d Out release.

Being someone who has fronted various bands, is it awkward releasing a record with just you on it?

It's a different feeling for sure. If anything it has given me a lot of confidence.  I’ll always make solo records regardless of any band situation I’m in.

Hitting the road on the “Basement Acoustic Tour” with Geoff Rickly and Brian Marquis must be an exiting adventure. How did the idea of the tour come about?

Brian was nice enough to invite me to play the stage on last year’s Warped Tour. We got on very well, he’s a top man. I couldn’t imagine a better tour to do as my EP comes out. All the boys on the tour are friends, its def gonna be an adventure.

In 2010 and 2011 The Movielife reunited for a tour, what was the cause of doing it one last time?

Some offers came in and everyone was down to party. It was a good time and it made a lot of people happy. When your band breaks up you always fantasize about playing together again. Like an old girlfriend or something like that.

While the final Movielife gig was played in NYC, was it really the end? Was the door left open for you guys to do it again in the future and would you?

I feel like regardless of how you feel about it when you call it a final show, time passes and your feelings change. At this moment in my life, I would never say never to anything.

How about I Am The Avalanche? Any update on what is happing with everyone’s favorite Brooklyn post-hardcore heroes?

We are writing slowly right now and plan to record a full length in the spring. That probably means a fall release and tour to go with it.

You also linked up with LA musicians for a band called Peace’d Out and released an EP. Is a full length in the works for that?

Choi has started writing for it already and I think he plans to start recording in the next few months. I usually don't sing until all the music is done.

Of all the projects you have done, which has been your favorite?

IATA are my brothers and touring with them is always a blast. Each project brings me joy in different ways for sure.

Of all the songs you have written, which means the most to you and why?

Right now it is “Somehow the World Keeps Turning” off City by the Sea. It hits me hard and runs deep into my heart every time I sing it.

After the EP is released and Basement Acoustic tour is done, what does the rest of 2013 hold for Vinnie Caruana?

UK / Europe solo tour , write and record new IATA record, some more solo tours in the summer that haven’t yet been announced, release new IATA and tour til end of year. Much more will come up as well ie Japan and Australia

EXCLUSIVE! We Cut Corners INTV!

Since the success of The White Stripes showing off what two people in a band can do, bands like The Black Keys, Blood Red Shoes, Cairo Knife Fight, JEFF The Brotherhood have all proven that two people can pack a serious punch. Ireland's We Cut Corners are no exception, they fall into the power duo category and in fact, began turning heads immediately, thanks in part to their 2011 debut, Today I Realized I Can Go Home Backwards, which was nominated for Choice Music Prize - Irish Album of the Year. While spending a majority of 2012 on the road, we spoke to the duo, guitarist John Duignan and drummer / vocalist Conall O'Breachain about coming from Ireland, their music and their raw power.

Coming from Ireland with a deep musical legacy thanks to U2, Bob Geldof, Bell X1 The Frames, Damian Rice and others, do you feel any pressure to live up to those bands or are you unfazed by it?  

Not at all. While Ireland's musical heritage is undoubtedly a very rich one, we're not trying to match or outdo anyone else's achievements.  We just try to write the best songs we can regardless of what has gone on, or what is going on around us. 

Hailing from Ireland, has the country’s recent shift in economics played a role or influence in your music? 

The economic situation pervades so many aspects of life in Ireland that music serves as welcome respite.

Are you influenced by where you come from?

 Ireland is a country with a singularly contradictory national psyche and, while we are not necessarily conscious of this when we are writing, it is undoubtedly echoed in some of of our songs.

How did the band come together? 

We met in an Early Education lecture, became friends and started writing songs which we've been doing ever since.

Who are some of your influences? 

We're devotees of the lyrical nous and musical ingenuity of Ryan Adams and, while we love acts like Titus Andronicus, Fionn Regan, St. Vincent, Pavement and The Walkmen, he remains our most enduring influence.

The band is very basic, just drums, guitar and vocals – like White Stripes and Black Keys. This trend seems to be ongoing in indie rock, do you find it to be a trend?

Not as such. For us, it's borne purely out of circumstance...as no doubt is the case with other 2-pieces!

How would you describe your style and sound to someone who has never heard of you before? 

Short songs on drums and guitar.

What was it like making your debut?

It was a really fun time. We recorded the album with Jimmy Eadie in Dublin, Ireland who, we feel, brought out the best in us. We spent a week tracking the album and a winter mixing it. 

You titled your debut, “Today I Realized I Could Go Home Backwards,” what does the title signify?

 The title alludes to making sense out of the mistakes taken in ones personal life.

There has been much buzz around the band, how are you responding to it?  

We've been very much unaware of anything of the sort up to now!

Given the name of the band, do you find you try and do everything easily? 

On the contrary, it's meant to be mildly self-mocking of how long it takes us to do everything.

Quick News

LCD Soundsystem's James Murphy told England's Mojo magazine that he is "Making the album of the decade, but its a bit late." Referring to the recording of the band's latest album, which is slated to come out early next year, Murphy told Mojo "I'm working on a song called 'Why Do You Hate Music?'. Everyone seems to hate music right now, even people who make music." The band's last record was 2007's The Sound of Silver.

Damon Albarn has recruited The Horrors to guest on the upcoming Gorillaz record. After hearing The Horror's latest album, Primary Colours, Albarn insisted the band be on his animated band's latest composition, which will be out sometime next year.

Mastodon have been recruited to record the soundtrack and score to the upcoming Josh Brolin film Jonah Hex.

Originally called Codeine Breakfast Club, but the side project of Fratellis front man Jon Fratteli has changed it's name. The Codeine Velvet Club is set to make their live debut in Glasgow and London this fall. For more info and video's of the band head over to their website HERE.

This good news is almost too good to be true, but it is a fact. JACK WHITE IS WORKING WITH KEITH RICHARDS! Richards who wants The Rolling Stones to do another album, has told Rolling Stone that “I enjoy working with Jack,” Richards says. “We’ve done a couple of tracks.” Richards also eluded that White may even produce the legendary bands new album...fingers crossed.

So who is the mysterious band Them Crooked Vultures who have been attacking the web with mysterious clips and announcing secret shows, such as a post-Lollapalooza after party and opening for Arctic Monkeys? Well, it is the super group to end all super groups, The Crooked Vultures are Led Zeppelin's John Paul Jones, Dave Ghrol and Queens of the Stone Age's Josh Homme! The band recently announced a small fall tour of the US (No New York stop..yet..). For more pieces of the puzzle take a look at the band's website HERE.

QUICK NEWS

Sad news to report, New York City indie rockers, The Twees, have decieded to part ways. The band let everyone know via their Facebook page on Monday and said,"I'm sure as you have heard by now, or not heard, since there have not been any updates recently, that The Twees have decided to part ways. We would like to thank everyone who has supported us over the last few years, and helped create such amazing memories, it's been a fun ride. Although, with the end of The Twees comes new beginnings and new adventures. Go check out some of the projects we have been working on." Each member of the band is working on a new project. In 2010 we interviewed the band, take a look at that interview HERE.

As they stormed the stage at Bonnarroo this past weekend, Fitz and the Tantrums confirmed during their set that their new record will be out October 9, it will be the follow-up to 2010's Picking up the Pieces.

No Doubt have confirmed that the title of their new record is Push and Shove. The album will arrive on September 25, it is the band's first record in 11 years.

Soundgarden's Chris Cornell spoke out about the band's first album in over 15 years. While at the Download Festival in the UK this past weekend, Cornell told NME, "We have an album coming out in the fall. It's kind of hard to describe, it's sort of picking up where we left off. There's a lot of different feels on the album."The still untitled record will be the grunge heroes first since 1996's Down on the Upside.