Gwen Stefani and husband Gavin Rossdale share an intimate moment in Miami Beach
Thursday, 22 December 2005
Sunday, 4 December 2005
Gavin Rossdale/Institute in Boston -Photo by Ayaz Asif
Gavin Rossdale (Lead Vocals), Chris Taynor (Guitar), Charlie Walker (Drums), and Cache Tolman (Bass) - Boston (12.04.2005)
Institute
In Concert - 2005
Institute was formed in 2004 in the wake of a hiatus of lead singer Gavin Rossdale's other band, Bush. Rossdale formed Institute with guitarist Chris Traynor. Institute was slated as a supporting act for U2 on the Vertigo tour for several shows. Photos in this album are from their December performances in Boston and Hartford.
Posted/Last Updated: 12/7/2005 12:12:00 PM
more photos here
Monday, 14 November 2005
Monday, 7 November 2005
Saturday, 5 November 2005
Gavin Rossdale-Institute The Rave Bar Milwuakee, WI- Nov. 5, 2005
Story and photos by Karen Bondowski .
Three years ago, shortly after Gavin Rossdale married Gwen Stefani, Rossdale and the rest of the band pulled the plug on '90s alt-king band Bush (with monster hits such as "Glycerine" and "Everything Zen") claiming the demise was a combination of "apathy and animosity." Going back to the drawing board he hired three hands (Helmet alum guitarist Chris Traynor, bassist Cache Tolman and drummer Charlie Walker) and dubbed the band Institute. Their first album Distort Yourself debuted rather modestly at No. 81 on Billboard.
Orginally scheduled to play the much larger venue The Rave - the band was relegated to the much smaller Rave Bar stage due to low ticket sales. The hundred or so people in attendance were in for a special treat.Opening the set with the anthemic "Seventh Wave," Rossdale and company let it be known that this wasn't going to be anything like a Bush show. "The Heat of Your Love" had guitarist Traynor's down tunings aggresively massage Rossdale's distinctive voice."Bullet Proof Skin" found Gavin pointing to a female fan in the audience and lyrically declared "Cool to disappear, but I missed you most days." Looking fit at 37 years old and wearing a long sleeve white t-shirt and jeans - Rossdale was less animated then in the days he would let himself go in the throes of a Bush performance, but make no mistake his passionate lyrical inflections and animated facial expressions only added to the harder edged music. "Come on Over" again featured Rossdale's distinctive deep and rasy voice. While "Mountains" had every cylinder in the band churning at full precision. "Boom Box," "Wasteland" and "Ambulances" kept the train charging at full speed midway throught the set.Institute did delight many fans with a few Bush songs - "Machinehead," "People That We Love" and "Everything Zen." The versions were as sharp as a razor blade with some nasty nicks in the blade. It was all urgent rough and tumble. Closing the set with the three-headed monster ambush of "When Animals Attack," "Save the Robots" and "Information Age" the boys from Institute let it be known that while the long shadow of Bush might darken their commercial viability it certainly can't hinder their gritty creativity.
Wednesday, 2 November 2005
NEW RELEASE: Institute "Bullet-Proof Skin"
Institute "Bullet-Proof Skin" Interscope
Kevin Kerslake, director
Dave Robertson, producer
Merge @ Crossroads, production co
Labuda Management, rep
Description: Gavin Rossdale has shed his old bandmates and the name Bush in favor of the new moniker Institute and a collaborative backing band that boasts former members of the New York hardcore scene. Sonically, Rossdale picks up right where he left off on Bush's final album, the 2001 effort Golden State. The video is one of several recent clips that nods to the performance set-up and cinematography from Pink Floyd's famed Live At Pompeii concert film . The video places the band on the concrete bed of the Los Angeles River both during the daytime and at night, while also showing Rossdale behind the wheel of a car.
Kevin Kerslake, director
Dave Robertson, producer
Merge @ Crossroads, production co
Labuda Management, rep
Description: Gavin Rossdale has shed his old bandmates and the name Bush in favor of the new moniker Institute and a collaborative backing band that boasts former members of the New York hardcore scene. Sonically, Rossdale picks up right where he left off on Bush's final album, the 2001 effort Golden State. The video is one of several recent clips that nods to the performance set-up and cinematography from Pink Floyd's famed Live At Pompeii concert film . The video places the band on the concrete bed of the Los Angeles River both during the daytime and at night, while also showing Rossdale behind the wheel of a car.
Saturday, 22 October 2005
Saturday, 24 September 2005
Gavin Rossdale's 'Primal' Institute Try To Find Their Place In Rock's Food Chain
"I think that the best way to build up a fanbase for Institute is to do what Bush did: just tour our asses off." — Institute's Gavin Rossdale
'The idea of us opening for someone like My Chemical Romance would obviously be kind of sad,' says singer.
By James Montgomery
All Gavin Rossdale wants to do is take his band, Institute, out on tour.
Normally this would be a no-brainer. After all, Rossdale's former band, Bush, sold more than 11 million albums during their late-'90s heyday, and he is married to that Gwen something-or-other from No Doubt. Plus, his new band features members of influential alterna-rock acts Orange 9mm and CIV, and their debut album, Distort Yourself, was produced by Helmet's Page Hamilton.
But it's not that easy. After all, Rossdale's been off the scene for almost five years now, and during that time he's watched his wife's career eclipse his. And Helmet, though they released an album just last year, haven't been a viable force since 1994's Betty. So basically, with Institute, Rossdale is starting over at square one — though with considerably more clout than your average new band. Which puts him and his group in a rather unique position: They're sort of a headlining act and sort of an opening act, though they can't be both.
"Right now, we're looking at several different scenarios and deciding whether or not we are going to do our own thing or take a slot opening for someone," Rossdale said. "Sometimes I think that the best way to build up a fanbase for Institute is to do what Bush did: just tour our asses off. But then I don't think that we'd want to open for a lot of acts today.
"Of course, there are a few acts I'd consider opening for, like Depeche Mode on their world tour or some sort of band like that," he continued. "But I also think that the idea of us opening for someone like My Chemical Romance — who I actually like very much — would obviously be kind of sad."
So that's where Institute find themselves today, with a record on the shelves (Distort debuted at #81 on this week's Billboard albums chart) and no tour to speak of. But Rossdale hopes that will all change, especially with the band's first single, "Bullet Proof Skin," rising up the rock radio charts like, um, a bullet.
"It's good that radio has been playing the song, because it's my one chance to leap back into the public consciousness, to tell them, yeah, I'm back," Rossdale said. "And it's kind of an interesting song to be played on so-called 'modern' rock stations because it's a song about modern life as a treacherous jungle. It's about survival in 2005, about the pressures of life in the city and how you need bulletproof skin to make it out alive. It's a really primal song about survival."
The whole primal theme is alive and well on Distort Yourself, from the thundering herd of stallions that grace the album's cover to the song "When Animals Attack" to the guttural, growling guitars and pounding drums that sound like a saber-toothed tiger battling a woolly mammoth in a fireworks factory. It's a running theme that Rossdale fully acknowledges (he even dedicates the album to his bulldog Winston, who died last year).
"Well, yeah, we're a primal band, with power and strength. When I listen to our music, I get this vision in my head of rust. I think we're a rust-colored, powerful, modern rock band," he laughed. "We're primordial, we're primates, it all sounds like a massive primal scream. And I can't be happier with it."
Hopefully his fans will be able to witness the primal rock and roll circus in the near future. Rossdale's instinct tells him it will happen soon, and — much like an animal — he's choosing to go with that. He's always taken pride in living his life based on his instincts, and from his success with Bush, his marriage to Stefani and his new opportunities with Institute, it seems to have paid off.
"It's funny because people think I'm some sort of cardboard cutout, some celebrity. And while I do live in the spotlight, I try everything to avoid falling into that mindset," he said. "I always tell people to go with their gut feeling. Instinct is everything. It's basically how I've lived my life, and it's pretty much worked for me."
http://www.mtv.com/news/articles/1510254/20050923/institute.jhtml
By James Montgomery
All Gavin Rossdale wants to do is take his band, Institute, out on tour.
Normally this would be a no-brainer. After all, Rossdale's former band, Bush, sold more than 11 million albums during their late-'90s heyday, and he is married to that Gwen something-or-other from No Doubt. Plus, his new band features members of influential alterna-rock acts Orange 9mm and CIV, and their debut album, Distort Yourself, was produced by Helmet's Page Hamilton.
But it's not that easy. After all, Rossdale's been off the scene for almost five years now, and during that time he's watched his wife's career eclipse his. And Helmet, though they released an album just last year, haven't been a viable force since 1994's Betty. So basically, with Institute, Rossdale is starting over at square one — though with considerably more clout than your average new band. Which puts him and his group in a rather unique position: They're sort of a headlining act and sort of an opening act, though they can't be both.
"Right now, we're looking at several different scenarios and deciding whether or not we are going to do our own thing or take a slot opening for someone," Rossdale said. "Sometimes I think that the best way to build up a fanbase for Institute is to do what Bush did: just tour our asses off. But then I don't think that we'd want to open for a lot of acts today.
"Of course, there are a few acts I'd consider opening for, like Depeche Mode on their world tour or some sort of band like that," he continued. "But I also think that the idea of us opening for someone like My Chemical Romance — who I actually like very much — would obviously be kind of sad."
So that's where Institute find themselves today, with a record on the shelves (Distort debuted at #81 on this week's Billboard albums chart) and no tour to speak of. But Rossdale hopes that will all change, especially with the band's first single, "Bullet Proof Skin," rising up the rock radio charts like, um, a bullet.
"It's good that radio has been playing the song, because it's my one chance to leap back into the public consciousness, to tell them, yeah, I'm back," Rossdale said. "And it's kind of an interesting song to be played on so-called 'modern' rock stations because it's a song about modern life as a treacherous jungle. It's about survival in 2005, about the pressures of life in the city and how you need bulletproof skin to make it out alive. It's a really primal song about survival."
The whole primal theme is alive and well on Distort Yourself, from the thundering herd of stallions that grace the album's cover to the song "When Animals Attack" to the guttural, growling guitars and pounding drums that sound like a saber-toothed tiger battling a woolly mammoth in a fireworks factory. It's a running theme that Rossdale fully acknowledges (he even dedicates the album to his bulldog Winston, who died last year).
"Well, yeah, we're a primal band, with power and strength. When I listen to our music, I get this vision in my head of rust. I think we're a rust-colored, powerful, modern rock band," he laughed. "We're primordial, we're primates, it all sounds like a massive primal scream. And I can't be happier with it."
Hopefully his fans will be able to witness the primal rock and roll circus in the near future. Rossdale's instinct tells him it will happen soon, and — much like an animal — he's choosing to go with that. He's always taken pride in living his life based on his instincts, and from his success with Bush, his marriage to Stefani and his new opportunities with Institute, it seems to have paid off.
"It's funny because people think I'm some sort of cardboard cutout, some celebrity. And while I do live in the spotlight, I try everything to avoid falling into that mindset," he said. "I always tell people to go with their gut feeling. Instinct is everything. It's basically how I've lived my life, and it's pretty much worked for me."
http://www.mtv.com/news/articles/1510254/20050923/institute.jhtml
Saturday, 17 September 2005
Friday, 16 September 2005
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Tuesday, 13 September 2005
Gavin Rossdales latest album-Distort Yourself released september 13 2005
after Bush had been on hiatus for two years, Rossdale formed Institute. Their first album, Distort Yourself, released September 13, 2005
Sunday, 11 September 2005
Saturday, 10 September 2005
Gavin Rossdale-Institute on Kerrang Radio-Gavin Rossdale's new band post-Bush get all acoustic on us
Institute
Most people associated Gavin Rossdale with being the front man for London Grungers Bush, and being the luckiest bloke on the planet being married to Gwen Stefani...
But he is also worth acknowledging for the creation of Institute his latest vehicle to showcase his enviable songwriting skills. He's also recruited some experienced rock talent in the shape of guitarist Chris Traynor (Helmet, Orange 9mm), bassist Cache Tolman (Rival Schools, CIV), and drummer Charlie Walker (Chamberlain). Their debut album "Destort Yourself" spawned awesome lead single "Bullet Proof Skin." Not only still popular with the ladies he is still popular in the charts. Gavin headed in to Kerrang! towers personally to record some exclusive acoustic tracks just for your and our listening pleasure.
Listen to the highlights below:
Institute - Ambulances (Kerrang! Session)
Institute - Little Things (Kerrang! Session)
Most people associated Gavin Rossdale with being the front man for London Grungers Bush, and being the luckiest bloke on the planet being married to Gwen Stefani...
But he is also worth acknowledging for the creation of Institute his latest vehicle to showcase his enviable songwriting skills. He's also recruited some experienced rock talent in the shape of guitarist Chris Traynor (Helmet, Orange 9mm), bassist Cache Tolman (Rival Schools, CIV), and drummer Charlie Walker (Chamberlain). Their debut album "Destort Yourself" spawned awesome lead single "Bullet Proof Skin." Not only still popular with the ladies he is still popular in the charts. Gavin headed in to Kerrang! towers personally to record some exclusive acoustic tracks just for your and our listening pleasure.
Listen to the highlights below:
Institute - Ambulances (Kerrang! Session)
Institute - Little Things (Kerrang! Session)
Thursday, 8 September 2005
Rossdale tries to establish a new Institute
By: Frank Gatto
Posted: 9/8/05
After the British, post-grunge quartet Bush quietly disbanded in 2002, lead singer Gavin Rossdale took a leave of absence from the music scene.
During the following three years, Rossdale toyed with solo material, married fellow rock star Gwen Stefani, and even tried out his acting skills.
Finally, Rossdale has made his return to the rock game, in the form of his new band, Institute - a quartet featuring ex-members of Helmet and Rival Schools. Having finished a 13 date U.S. club tour and anticipating the release of its debut album Distort Yourself, Institute is gearing up for what appears to be a long-term commitment.
Over a decade ago, Bush exploded in the United States and made its entrance with the highly beloved album Sixteen Stone.
Featuring huge hits such as "Machine Head," "Everything Zen," and "Glycerine," their album, Sixteen Stone, was quickly celebrated as a staple of the 1990's alternative movement.
Bush's proceeding efforts secured its spot in the hearts of many loyal fans, yet the band found itself on hiatus once lead-guitarist Nigel Pulsford left in 2002.
Nevertheless, Rossdale continued with music as he contributed "Adrenaline" to the xXx soundtrack and even developed music for Blue Man Group.
Rossdale is now back full-time with Institute, a band that formed in the wake of Bush. When Pulsford departed in 2002, ex-Helmet guitarist Chris Traynor filled in on lead-guitar during Bush's last tour before disbanding.
With the seeds already planted, Rossdale and Traynor have reunited this time as Institute. Bassist Cache Tolman (ex-Rival Schools) and drummer Charlie Walker complete the quartet.
This may not be your typical rock super-group, which has become almost commonplace in the wake of Audioslave, but there is definitely the potential for greatness.
In a recent interview with The Heights, Rossdale clearly pronounced he's on a mission to make quality music: "We're taking it back to the spirit of music, not record sales.
It's all about playing with and for people and having a connection. Without them, we're just musicians in a band."
It's also clear that Rossdale has made good on his words. To the delight of many fans, Institute's August tour has been back-to-basics, without opening acts.
The venues are small, intimate clubs, and Rossdale is excited to play concerts in which they "take away the smoke and mirrors of big arena shows."
Fan reviews of Institute's August tour have been gushing with praise and excitement. The band has pleased many by playing Bush songs and even meeting fans after the shows.
But this is where the concern sets in. Is there a breathing, growing band in Institute, or is Institute just a glorification of Rossdale's illustrious past? It's difficult to say.
Obviously Rossdale is the center of attention. The video of "Bulletproof Skin," Institute's first single, is almost solely focused on Rossdale, while other members are shown at a distance.
Even at the band's Aug. 29 show at The Paradise, Rossdale captured the crowd with energetic interaction, while Traynor and company simply played in the background.
Also alarming is the sound of Institute. Crunchy guitars, lackluster percussion, and recycled, nu-metal hash make even the most faithful Rossdale fan cringe in disappointment.
Institute's sound is insipid in comparison to what Bush produced. Sure, Institute may have thrown in some catchy riffs and groovy melodies, but overall something integral is noticeably missing. Maybe it's heart.
Maybe it's the risk of trying something totally different for Rossdale.
The way it appears, Institute may achieve some immediate success and attention, but in the long run, there is isn't much keeping hope alive. The band's staying power is among many issues in question.
The worst part about this is that all of the members of Institute are highly talented and competent musicians.
They know how to write good songs - their past works clearly show this - but their current state is stale and unfortunate.
Therefore, it's in the best interest of Rossdale to push his art further, to find the music in his heart, to explore, and to take a risk for himself and his fans.
Maybe the best approach would be something more ambient. Institute sounded its tightest and strongest during their three-song encore at The Paradise.
It was during this period that the band finally let its hair down, listened to each other, and let the chemistry flow.
Interestingly, the encore featured some of the softest songs of its set.
During "Information Age," Rossdale gave up the guitar, took the mic, and fed the hungry crowd.
In "Save the Robots," the members of Institute finally acknowledged each other's presence with an ambience that truly invoked goose bumps already covering the fans in the audience.
Clearly there is potential within Institute, and Rossdale realizes where the band's strengths lie: "It's all about soft music. I just really love the dynamic of our soft stuff."
Rossdale has even expressed interest in exploring other types of music such as electronic by acknowledging his British roots: "I play rock music but grew up with Massive Attack and Tricky. I am not just some rock musician; I want to cover the whole lot."
In time, hopefully Rossdale will find his niche and turn people on as he has done so many times in the past.
As it appears now, however, Rossdale is struggling to find himself.
At the end of the day, though, Institute is a powerful act that definitely has the potential to shake things up.
Be sure to keep an eye on Institute as Distort Yourself drops on Tuesday.
liveDaily Interview: Gavin Rossdale of Institute
September 8, 2005 03:01 PM
By Don Zulaica
LiveDaily Contributor
After a lengthy hiatus from the music spotlight, ex-Bush [ tickets ] frontman Gavin Rossdale [ tickets ] is back in the game with his new band, Institute.
The group's Interscope debut, "Distort Yourself," out Sept. 13, features the heavy hand of Helmet [ tickets ] guitarist Page Hamilton in the producer's chair, and a quartet back band comprised of guitarist Chris Traynor (Helmet, Orange 9mm, Bush), bassist Cache Tolman (Rival Schools, CIV), and Brooklyn-based drummer Charlie Walker. Rossdale's wife, Gwen Stefani, even lends some background vocals to on the cut "Ambulances."
Rossdale's last album with Bush was 2001's "Golden State," but in the interim he has found time to record with Blue Man Group ("The Current") and write a solo track, "Adrenaline," for the movie "XXX." He's even worked his way into film as an actor, making appearances in "The Game of Their Lives," "Constantine" and "Little Black Book."
After a "classic case of oversleeping," a good-natured Rossdale spoke with liveDaily while preparing for the album's release and tour.
liveDaily: What on earth do you and Gwen Stefani play on the home stereo?
Gavin Rossdale: We were talking about this the other day. The music that we are totally together on is dub and reggae. I play that a lot around the house. Gwen was saying, "That's so weird that we like that kind of music." If I play Tool in the house, she's like, "Ugh, what is that?" And I'm like, "This is the greatest music! What are you talking about?" I play it and study her face, and she's going "Ugh," and I'll laugh, "Come on! What's up with that? How can you not like it? It's f---ing genius!"
What's been going on since Bush's last album?"
Basically, I've been publicly inactive for the best part of two-and-a-half years, but the irony is, I've been working to get this [band] together the whole time. Through all those different processes, the movies, I was always working in my studio. This is the fruition of that. I've got this record, and I feel like I have another record that's pretty good, sitting there in the background.
Where are the studios?
I have a home studio in London, and I have a studio room--thing to record in--in L.A. I travel with my drum machine and my tape recorder, so I'm always fluid like that. I'm looking into moving everything over here, because it would just be easier.
You were always writing, but what was the real itch to get a band together?
I always knew that I was working towards a band. I think it has to do with the fact that I love playing live. I love seeing the fans of the music that I make. I don't know, I was a bit lost in terms of doing anything other than a band. After Bush, the obvious thing would have been to do something more mellow.
And, of course, you go out and get Page Hamilton to produce.
Yeah. [laughs] I just took it on as a flip, you know? Let's take it right at them and make it stronger, make it more detuned, but still I wanted to make it sing.
How do you know Page?
I know Page through the label. Chris Traynor, who plays guitar in the band, played in Helmet. But the main thing was, it was Jimmy Iovine's idea. When I played him some of the music I was making, he was like, "Page makes the greatest guitar sounds," and suggested him. Neither Page nor myself really had, I think, much confidence in the idea, the possibility, or the potential. But at the same time, when you strip it away, we're musicians. For me, I'm paranoid, "Here's the king of the underground." He was the purveyor of the new metal, without the bling and rapping, and without the success of following Limp Bizkit's kind of sound. And we got along really well. He has a very, very wide taste in music. He didn't throw up at my songs, and was really into it--although he wanted to make sure everything was in C-sharp. [laughs] I think we collaborated really well. He was very good at working out arrangements with me.
Were most of these songs written already, or did you flesh a lot out with the band and Page in pre-production?
It was a combination. Nothing was [around] longer than a couple of years. I didn't have any of this stuff when I was in Bush; they weren't leftover songs. What happened, when I first began to write, I was writing on bass, because I was thinking, "Well, how am I going to change this up?" Because I was thinking more Public Image, more dub, so I wrote a lot of songs on bass, and the guitar was much more sparingly used. Then, when I knew I was going to do the rest of the record with Page, I began to write again on guitar, because I felt liberated, almost. It cleared up my aesthetic. So that led to writing some heavier, riff-style songs, like "Boom Box," "Seventh Wave," "Come on Over."
"Come on Over" feels very Helmet-esque. Sometimes the heaviest things don't have all the notes. It's the respect of space. Of rests.
That's very true. Space is everything to me. I was writing that in my studio in London. I write songs, some ideas, and then I have someone come in and flesh them out, and the process goes from there. What was weird about that song, I had a guy come to my studio one day when I really wasn't ready, and I didn't really like what was going down. So I sent him home and said, "This is totally my fault, come back tomorrow." And I said to myself, "Come on, think simple," and "Come on Over" came out really quickly.
And it's simple, but not so.
I was always trying to write similarly with Bush. We'd have 48 tracks of information recorded, and I'd sit there in the mix just pulling stuff out, out, out. With Institute it's been really cool, because we found this way to make this very stripped down, and try to keep it as effective as possible, which I suppose is one of the key elements of Helmet. It's simple, but it's clever in the right places, so it elevates it from being too simplistic.
http://www.livedaily.com/news/8752.html
liveDaily Interview: Gavin Rossdale of Institute
liveDaily Interview: Gavin Rossdale of Institute
September 08, 2005 03:01 PM
by Don ZulaicaLiveDaily Contributor
After a lengthy hiatus from the music spotlight, ex-Bush (music) frontman Gavin Rossdale (music) is back in the game with his new band, Institute.
The group's Interscope debut, "Distort Yourself," out Sept. 13, features the heavy hand of Helmet (music) guitarist Page Hamilton in the producer's chair, and a quartet back band comprised of guitarist Chris Traynor (Helmet, Orange 9mm, Bush), bassist Cache Tolman (Rival Schools, CIV), and Brooklyn-based drummer Charlie Walker. Rossdale's wife, Gwen Stefani, even lends some background vocals to on the cut "Ambulances."
Rossdale's last album with Bush was 2001's "Golden State," but in the interim he has found time to record with Blue Man Group ("The Current") and write a solo track, "Adrenaline," for the movie "XXX." He's even worked his way into film as an actor, making appearances in "The Game of Their Lives," "Constantine" and "Little Black Book."
After a "classic case of oversleeping," a good-natured Rossdale spoke with liveDaily while preparing for the album's release and tour.
liveDaily: What on earth do you and Gwen Stefani play on the home stereo?
Gavin Rossdale: We were talking about this the other day. The music that we are totally together on is dub and reggae. I play that a lot around the house. Gwen was saying, "That's so weird that we like that kind of music." If I play Tool in the house, she's like, "Ugh, what is that?" And I'm like, "This is the greatest music! What are you talking about?" I play it and study her face, and she's going "Ugh," and I'll laugh, "Come on! What's up with that? How can you not like it? It's f---ing genius!"
What's been going on since Bush's last album?"
Basically, I've been publicly inactive for the best part of two-and-a-half years, but the irony is, I've been working to get this [band] together the whole time. Through all those different processes, the movies, I was always working in my studio. This is the fruition of that. I've got this record, and I feel like I have another record that's pretty good, sitting there in the background.
Where are the studios?
I have a home studio in London, and I have a studio room--thing to record in--in L.A. I travel with my drum machine and my tape recorder, so I'm always fluid like that. I'm looking into moving everything over here, because it would just be easier.
You were always writing, but what was the real itch to get a band together?
I always knew that I was working towards a band. I think it has to do with the fact that I love playing live. I love seeing the fans of the music that I make. I don't know, I was a bit lost in terms of doing anything other than a band. After Bush, the obvious thing would have been to do something more mellow.
And, of course, you go out and get Page Hamilton to produce.
Yeah. [laughs] I just took it on as a flip, you know? Let's take it right at them and make it stronger, make it more detuned, but still I wanted to make it sing.
How do you know Page?
I know Page through the label. Chris Traynor, who plays guitar in the band, played in Helmet. But the main thing was, it was Jimmy Iovine's idea. When I played him some of the music I was making, he was like, "Page makes the greatest guitar sounds," and suggested him. Neither Page nor myself really had, I think, much confidence in the idea, the possibility, or the potential. But at the same time, when you strip it away, we're musicians. For me, I'm paranoid, "Here's the king of the underground." He was the purveyor of the new metal, without the bling and rapping, and without the success of following Limp Bizkit's kind of sound. And we got along really well. He has a very, very wide taste in music. He didn't throw up at my songs, and was really into it--although he wanted to make sure everything was in C-sharp. [laughs] I think we collaborated really well. He was very good at working out arrangements with me.
Were most of these songs written already, or did you flesh a lot out with the band and Page in pre-production?
It was a combination. Nothing was [around] longer than a couple of years. I didn't have any of this stuff when I was in Bush; they weren't leftover songs. What happened, when I first began to write, I was writing on bass, because I was thinking, "Well, how am I going to change this up?" Because I was thinking more Public Image, more dub, so I wrote a lot of songs on bass, and the guitar was much more sparingly used. Then, when I knew I was going to do the rest of the record with Page, I began to write again on guitar, because I felt liberated, almost. It cleared up my aesthetic. So that led to writing some heavier, riff-style songs, like "Boom Box," "Seventh Wave," "Come on Over."
"Come on Over" feels very Helmet-esque. Sometimes the heaviest things don't have all the notes. It's the respect of space. Of rests.
That's very true. Space is everything to me. I was writing that in my studio in London. I write songs, some ideas, and then I have someone come in and flesh them out, and the process goes from there. What was weird about that song, I had a guy come to my studio one day when I really wasn't ready, and I didn't really like what was going down. So I sent him home and said, "This is totally my fault, come back tomorrow." And I said to myself, "Come on, think simple," and "Come on Over" came out really quickly.
And it's simple, but not so.
I was always trying to write similarly with Bush. We'd have 48 tracks of information recorded, and I'd sit there in the mix just pulling stuff out, out, out. With Institute it's been really cool, because we found this way to make this very stripped down, and try to keep it as effective as possible, which I suppose is one of the key elements of Helmet. It's simple, but it's clever in the right places, so it elevates it from being too simplistic.
September 08, 2005 03:01 PM
by Don ZulaicaLiveDaily Contributor
After a lengthy hiatus from the music spotlight, ex-Bush (music) frontman Gavin Rossdale (music) is back in the game with his new band, Institute.
The group's Interscope debut, "Distort Yourself," out Sept. 13, features the heavy hand of Helmet (music) guitarist Page Hamilton in the producer's chair, and a quartet back band comprised of guitarist Chris Traynor (Helmet, Orange 9mm, Bush), bassist Cache Tolman (Rival Schools, CIV), and Brooklyn-based drummer Charlie Walker. Rossdale's wife, Gwen Stefani, even lends some background vocals to on the cut "Ambulances."
Rossdale's last album with Bush was 2001's "Golden State," but in the interim he has found time to record with Blue Man Group ("The Current") and write a solo track, "Adrenaline," for the movie "XXX." He's even worked his way into film as an actor, making appearances in "The Game of Their Lives," "Constantine" and "Little Black Book."
After a "classic case of oversleeping," a good-natured Rossdale spoke with liveDaily while preparing for the album's release and tour.
liveDaily: What on earth do you and Gwen Stefani play on the home stereo?
Gavin Rossdale: We were talking about this the other day. The music that we are totally together on is dub and reggae. I play that a lot around the house. Gwen was saying, "That's so weird that we like that kind of music." If I play Tool in the house, she's like, "Ugh, what is that?" And I'm like, "This is the greatest music! What are you talking about?" I play it and study her face, and she's going "Ugh," and I'll laugh, "Come on! What's up with that? How can you not like it? It's f---ing genius!"
What's been going on since Bush's last album?"
Basically, I've been publicly inactive for the best part of two-and-a-half years, but the irony is, I've been working to get this [band] together the whole time. Through all those different processes, the movies, I was always working in my studio. This is the fruition of that. I've got this record, and I feel like I have another record that's pretty good, sitting there in the background.
Where are the studios?
I have a home studio in London, and I have a studio room--thing to record in--in L.A. I travel with my drum machine and my tape recorder, so I'm always fluid like that. I'm looking into moving everything over here, because it would just be easier.
You were always writing, but what was the real itch to get a band together?
I always knew that I was working towards a band. I think it has to do with the fact that I love playing live. I love seeing the fans of the music that I make. I don't know, I was a bit lost in terms of doing anything other than a band. After Bush, the obvious thing would have been to do something more mellow.
And, of course, you go out and get Page Hamilton to produce.
Yeah. [laughs] I just took it on as a flip, you know? Let's take it right at them and make it stronger, make it more detuned, but still I wanted to make it sing.
How do you know Page?
I know Page through the label. Chris Traynor, who plays guitar in the band, played in Helmet. But the main thing was, it was Jimmy Iovine's idea. When I played him some of the music I was making, he was like, "Page makes the greatest guitar sounds," and suggested him. Neither Page nor myself really had, I think, much confidence in the idea, the possibility, or the potential. But at the same time, when you strip it away, we're musicians. For me, I'm paranoid, "Here's the king of the underground." He was the purveyor of the new metal, without the bling and rapping, and without the success of following Limp Bizkit's kind of sound. And we got along really well. He has a very, very wide taste in music. He didn't throw up at my songs, and was really into it--although he wanted to make sure everything was in C-sharp. [laughs] I think we collaborated really well. He was very good at working out arrangements with me.
Were most of these songs written already, or did you flesh a lot out with the band and Page in pre-production?
It was a combination. Nothing was [around] longer than a couple of years. I didn't have any of this stuff when I was in Bush; they weren't leftover songs. What happened, when I first began to write, I was writing on bass, because I was thinking, "Well, how am I going to change this up?" Because I was thinking more Public Image, more dub, so I wrote a lot of songs on bass, and the guitar was much more sparingly used. Then, when I knew I was going to do the rest of the record with Page, I began to write again on guitar, because I felt liberated, almost. It cleared up my aesthetic. So that led to writing some heavier, riff-style songs, like "Boom Box," "Seventh Wave," "Come on Over."
"Come on Over" feels very Helmet-esque. Sometimes the heaviest things don't have all the notes. It's the respect of space. Of rests.
That's very true. Space is everything to me. I was writing that in my studio in London. I write songs, some ideas, and then I have someone come in and flesh them out, and the process goes from there. What was weird about that song, I had a guy come to my studio one day when I really wasn't ready, and I didn't really like what was going down. So I sent him home and said, "This is totally my fault, come back tomorrow." And I said to myself, "Come on, think simple," and "Come on Over" came out really quickly.
And it's simple, but not so.
I was always trying to write similarly with Bush. We'd have 48 tracks of information recorded, and I'd sit there in the mix just pulling stuff out, out, out. With Institute it's been really cool, because we found this way to make this very stripped down, and try to keep it as effective as possible, which I suppose is one of the key elements of Helmet. It's simple, but it's clever in the right places, so it elevates it from being too simplistic.
Wednesday, 31 August 2005
Thursday, 25 August 2005
Wednesday, 24 August 2005
Tuesday, 23 August 2005
Gavin Rossdale’s new band to play UK
Institute will hit London for a one-off show next month…
Aug 23, 2005
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Bush news, reviews, video and tour dates
Add Bush to MyNME
GAVIN ROSSDALE’s new band INSTITUTE have announced details of their one and only UK live show.
The Bush singer’s latest group will play at London’s Scala on September 5.
Institute will be playing in support of their forthcoming debut album ’Distort Yourself’, which is due for release on September 19.
The first single to be lifted from the LP will be ’Bullet Proof Skin’, which will hit the shops on September 26.
Despite touring US club venues for the past few weeks, the Scala gig will be the only opportunity fans will have to catch Institute this year in the UK.
Institute are fronted by Rossdale and completed by Chris Traynor (Helmet), Cache Tolman (Rival Schools) and drummer Charlie Walker (Split Lip, Chamberlain).
For ticket availability, go to NME Tickets or call them on 0870 1 663 663
http://www.nme.com/news/bush/20802
Aug 23, 2005
0 Comments
Bush news, reviews, video and tour dates
Add Bush to MyNME
GAVIN ROSSDALE’s new band INSTITUTE have announced details of their one and only UK live show.
The Bush singer’s latest group will play at London’s Scala on September 5.
Institute will be playing in support of their forthcoming debut album ’Distort Yourself’, which is due for release on September 19.
The first single to be lifted from the LP will be ’Bullet Proof Skin’, which will hit the shops on September 26.
Despite touring US club venues for the past few weeks, the Scala gig will be the only opportunity fans will have to catch Institute this year in the UK.
Institute are fronted by Rossdale and completed by Chris Traynor (Helmet), Cache Tolman (Rival Schools) and drummer Charlie Walker (Split Lip, Chamberlain).
For ticket availability, go to NME Tickets or call them on 0870 1 663 663
http://www.nme.com/news/bush/20802
Friday, 19 August 2005
Friday, 12 August 2005
Campus circle net-Institute . Aug 12@the Roxy
Talia Hassan
You’re only as good as your lead singer’s last album, so when the front man of your new band is Gavin Rossdale, Bush’s former lead vocalist and guitarist, that’s definitely a good jumpstart to a solid reputation. But as soon as a musician starts a new act, the entire band has to deal with the expectations of old fans. However, Institute delivered music fans both new and old could rock out to. The group (which also includes ex-Helmet guitarist Chris Traynor) was even willing to put aside their individual egos by shocking veteran fans with a few classic Bush tracks like "Glycerine" and "The People That We Love."
Although the audience chanted the name of one man ("Gavin! Gavin!") long before the show began, by the time the set finished everyone remembered what band they really paid to see. Suddenly, the chants changed to "Institute!" as the foursome played songs from their upcoming debut album, Distort Yourself (due out Sept. 13), and proved they are much more than "Gavin’s new band."
In fact, there is only one reason fans may accuse Institute of being Bush impostors: the sexy sound of Rossdale’s signature voice. When the alluring tone of his deep, raspy vocals spills into the mic, it immediately triggers your mind to replay flashbacks of some of your favorite (or not-so-favorite) Bush songs heard back when the band’s tracks were in heavy radio rotation. But once you recognize Rossdale’s voice, you’ll also notice that the beats backing it pound harder than the Bush style you may have been expecting.
Several of Institute’s tracks, such as "Secrets and Lies," evoke a feverish restlessness, as if the songs were designed to be moments spent basking in the thoughts of everything that pisses you off. And it was obvious the fans were eager to relate – even guys that appeared to be both rugged and macho came to the show ready to recite some of the romantic lyrics, especially when Gavin repeated the line, "To lose you is to never love again."
Institute can still be classified as modern rock, but they laced the crowd with a variety of slow, sensual grooves like "Ambulances" and "Wasteland." Yet the heart of every track was filled with blazing emotions and each song on Institute’s set list seemed to follow a carefully constructed formula. The verses often contained light sounds that emitted the feeling of an intense anger brewing beneath the surface of the band’s calm demeanor. As a release to the mental chaos displayed throughout the verses, Institute used the choruses as their opportunity to explode on stage like a grenade that lost its pin. Remember the breakdown of Bush’s "Cold Contagious" where Gavin consecutively repeats "You will get yours" more than five times – his voice and the bass line growing harder with each sentence? That same volcanic emotion on the verge of eruption set the scene for Institute’s virgin Roxy performance.
It can also be argued that a band is only as good as the lead singer’s wife’s last album – that is, when the wife in question happens to be Gwen Stefani. Luckily, Mrs. Rossdale’s reputation remains intact since her debut solo album, Love. Angel. Music. Baby., is still topping the Billboard charts. To the ecstatic surprise of Institute fans, Rossdale’s infamous wife strutted into the VIP area dressed in full rocker gear looking ready to support the talent of her husband and his new bandmates.
When big names like Gwen and Gavin cruise through a small venue like the Roxy, it’s easy to enjoy the show. But there’s no denying Institute put on a concert that featured sounds just as good as Bush’s last album, if not better.
source
Wednesday, 3 August 2005
Rossdale Opens Institute
Bush frontman gets harder with Helmet men
LAUREN GITLIN
LAUREN GITLIN
Rollingstone
Posted Aug 03, 2005 12:00 AM
"My life's changed a lot in the last couple of years, and hopefully this reflects it," Bush frontman (and Gwen Stefani's husband) Gavin Rossdale says of his new band, Institute. Don't expect marriage to have mellowed him out, though. The group features Chris Traynor of hardcore heroes Helmet on guitar and former Helmet frontman Page Hamilton behind the mixing board. Rossdale's first effort since Bush's Golden State (2001), Distort Yourself will hit stores on September 13th.
"I wanted to do something a little bit harder than Bush," says Rossdale. "It's got a paranoid edge to it. It's a pretty difficult transition to go from my band Bush to this new terrain, this whole other world."
The relentless first single, "Bulletproof Skin," currently featured in the soundtrack to the Jamie Foxx action movie Stealth, began life as a drum-and-bass track by Photek. "The premise of that song is finding ways to deal with whatever's thrown at you," says Rossdale. "Wherever you are, whatever you do there are always tremendous pressures thrown at you, and one of the only ways to survive is to have this ability to roll with what life throws."
Other titles include "Animals Attack" and "Come on Over," both of which he describes as "supremely crushing and heavy," while "Save the Robots" is "delicate." And "Ambulances" features Stefani on backing vocals. "If I want to get a certain color and use a female voice," says Rossdale, "who better than her?"
Institute tour dates:
8/11: San Diego, The Casbah
8/12: West Hollywood, The Roxy Theatre
8/13: Tempe, AZ, The Clubhouse
8/16: Dallas, Gypsy Tea Room/Ballroom
8/17: Houston, Engine Room
8/19: Atlanta, Coca Cola Roxy Theatre
8/20: Saint Louis, MO, Blueberry Hill's Duck Room
8/23: Minneapolis, Ascot Room at Quest Club
8/24: Chicago, Double Door
8/26: Philadelphia, Theatre of Living Arts
8/27: Pittsburgh, Rex Theatre
8/29: Boston, Paradise Rock Club
8/30: New York, Bowery Ballroom
Posted Aug 03, 2005 12:00 AM
"My life's changed a lot in the last couple of years, and hopefully this reflects it," Bush frontman (and Gwen Stefani's husband) Gavin Rossdale says of his new band, Institute. Don't expect marriage to have mellowed him out, though. The group features Chris Traynor of hardcore heroes Helmet on guitar and former Helmet frontman Page Hamilton behind the mixing board. Rossdale's first effort since Bush's Golden State (2001), Distort Yourself will hit stores on September 13th.
"I wanted to do something a little bit harder than Bush," says Rossdale. "It's got a paranoid edge to it. It's a pretty difficult transition to go from my band Bush to this new terrain, this whole other world."
The relentless first single, "Bulletproof Skin," currently featured in the soundtrack to the Jamie Foxx action movie Stealth, began life as a drum-and-bass track by Photek. "The premise of that song is finding ways to deal with whatever's thrown at you," says Rossdale. "Wherever you are, whatever you do there are always tremendous pressures thrown at you, and one of the only ways to survive is to have this ability to roll with what life throws."
Other titles include "Animals Attack" and "Come on Over," both of which he describes as "supremely crushing and heavy," while "Save the Robots" is "delicate." And "Ambulances" features Stefani on backing vocals. "If I want to get a certain color and use a female voice," says Rossdale, "who better than her?"
Institute tour dates:
8/11: San Diego, The Casbah
8/12: West Hollywood, The Roxy Theatre
8/13: Tempe, AZ, The Clubhouse
8/16: Dallas, Gypsy Tea Room/Ballroom
8/17: Houston, Engine Room
8/19: Atlanta, Coca Cola Roxy Theatre
8/20: Saint Louis, MO, Blueberry Hill's Duck Room
8/23: Minneapolis, Ascot Room at Quest Club
8/24: Chicago, Double Door
8/26: Philadelphia, Theatre of Living Arts
8/27: Pittsburgh, Rex Theatre
8/29: Boston, Paradise Rock Club
8/30: New York, Bowery Ballroom
Thursday, 28 July 2005
Monday, 25 July 2005
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Tuesday, 5 July 2005
Saturday, 18 June 2005
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Thursday, 16 June 2005
Tuesday, 14 June 2005
Tuesday, 7 June 2005
Gavin Rossdale Committed to Institute
By Spin Staff 07.06.05 3:00 AM
Was it just us, or was Gavin Rossdale just months away from being the answer to a "Where are they now?" sort of question? Fear not, fans of the Bush, for Mr. Gwen Stefani is back on the road fronting a new band called Institute in which Rossdale is backed by ex-Helmet guitarist Chris Traynor, former Rival Schools bassist Cache Tolman, and Charlie Walker on drums. According to Rossdale's official site, Institute's debut album, Distort Yourself, departs from the music he played with Bush with a spare sound that focuses more on Rossdale's voice. Institute's tour kicks off on August 11 in San Diego, and Distort Yourself is in stores on September 13.
Institute tour dates:
8/11, San Diego, CA (Casbah)
8/12, Los Angeles, CA (Roxy)
8/13, Phoenix, AZ (Clubhouse)
8/16, Dallas, TX (Gypsy Tea Room)
8/17, Houston, TX (Engine Room)
8/19, Atlanta, GA (Roxy)
8/20, St. Louis, MO (Duck Room)
8/23, Minneapolis, MN (Ascot Room)
8/24, Chicago, IL (Double Door)
8/26, Philadelphia, PA (Theater of Living Arts)
8/27, Pittsburgh, PA (Rex Theater)
8/29, Boston, MA (Paradise)
8/30, New York, NY (Bowery Ballroom)
http://www.spin.com/articles/gavin-rossdale-committed-institute
Was it just us, or was Gavin Rossdale just months away from being the answer to a "Where are they now?" sort of question? Fear not, fans of the Bush, for Mr. Gwen Stefani is back on the road fronting a new band called Institute in which Rossdale is backed by ex-Helmet guitarist Chris Traynor, former Rival Schools bassist Cache Tolman, and Charlie Walker on drums. According to Rossdale's official site, Institute's debut album, Distort Yourself, departs from the music he played with Bush with a spare sound that focuses more on Rossdale's voice. Institute's tour kicks off on August 11 in San Diego, and Distort Yourself is in stores on September 13.
Institute tour dates:
8/11, San Diego, CA (Casbah)
8/12, Los Angeles, CA (Roxy)
8/13, Phoenix, AZ (Clubhouse)
8/16, Dallas, TX (Gypsy Tea Room)
8/17, Houston, TX (Engine Room)
8/19, Atlanta, GA (Roxy)
8/20, St. Louis, MO (Duck Room)
8/23, Minneapolis, MN (Ascot Room)
8/24, Chicago, IL (Double Door)
8/26, Philadelphia, PA (Theater of Living Arts)
8/27, Pittsburgh, PA (Rex Theater)
8/29, Boston, MA (Paradise)
8/30, New York, NY (Bowery Ballroom)
http://www.spin.com/articles/gavin-rossdale-committed-institute
Tuesday, 24 May 2005
Friday, 13 May 2005
Sunday, 1 May 2005
Friday, 22 April 2005
Release of The Game Of Their Lives
Starring: Gerard Butler,Wes Bentley,Jay Rodan,Gavin Rossdale,Costas Mandylor.Directed by:David Anspaugh.
http://en.wikipedia.org/wiki/The_Game_of_Their_Lives
In the spring of 1950, the United States was extended an invitation to compete in the World Cup in Brazil. Faced with budgetary restrictions and no official soccer team to call their own, the U.S. set out to recruit players in the soccer hotbed of St. Louis, Missouri, where they found a group of young friends with no professional or international playing experience, only an unabashed love of the game. Leaving behind their wives, girlfriends and families for New York, Frank Borghi, Harry Keough, Gino Pariani, Frank 'Pee Wee' Wallace and Charles "Gloves" Colombo joined Philadelphian Walter Bahr, Haitian-born New Yorker Joe Gatjeans and additional East Coasters for a short 10-day training period in which these young men from different races, religions and backgrounds were forced to see past one another's differences and become a full-fledged team. With the odds considerably against them both abroad and at home, the U.S. team arrived in Rio with little training and even less fanfare. After a crushing defeat by Spain in the World Cup opener, the Americans expected more of the same when they arrived to play England's highest-ranked team, which indicated such all-time soccer legends as Stan Mortensen and Billy Wright, on June 19, 1950. But then something remarkable happened: the Brazilian fans' lack of support for England, the pre-tournament favorite, buoyed the Americans on and this team of underdog athletes, who never knew real victory and true glory in all their humble lives, clung to their patriotism and their love of a sport, and scored a victory that did more than just provide an upset defeat--it opened the door for soccer in the United States. The American World Cup of 1950 would soon quietly return to their families and jobs, treasuring this historic victory, which would forever be known to them as The Game of Their Lives.
http://en.wikipedia.org/wiki/The_Game_of_Their_Lives
Thursday, 21 April 2005
Monday, 18 April 2005
Saturday, 16 April 2005
Sunday, 10 April 2005
Gavin Rossdale opens up Institute
Institute - "Distort Yourself" - Interscope Records
8/10
In the '90s, Nirvana and the grunge revolution yielded a lot of cheap imitations. While some of them hit it big and some of them floundered, real talent was often overlooked. Bush, whose front man Gavin Rossdale was often more recognized for his looks then his songwriting, was rewarded with deserved commercial success but was denied the critical acclaim that they worked hard for. Over 10 years since their first album, and four years since their last, Bush's discography stands up stronger then most '90s bands and it's clear that Rossdale and his band deserved more then they got.
Following 2001's "Golden State," a strong album whose release coincided with 9/11 and guitarist Nigel Pulsford's first child being born, Bush went on hiatus. Now Rossdale has emerged with Institute, featuring Cache Tolman from the post-punk supergroup Rival Schools and Chris Traynor who not only served time in Helmet and Orange 9mm, arguably the two best groups to emerge from the New York early '90s hardcore scene, but filled in for Pulsford on Bush's "Golden State" tour. On the band's debut, "Distort Yourself," Rossdale takes Bush's post-grunge songwriting and mixes it with Helmet's chunky start-stop riffs (Helmet frontman Page Hamilton produced the album).
In a phone interview with the "Daily Collegian," Rossdale came off as friendly and intelligent. Often artists with even half of Bush's success have inflated egos; Rossdale, on the other hand, is modest and down-to-earth. Rossdale explained that Institute isn't a new direction for him; it's just a continuation of where he was going before.
"When I began I was just making music. When it became apparent that Nigel didn't want to work [it became something new]," he explains. "Artistically, you can't help but be following on a track. You can think if you get a suntan and a yellow t-shirt you can be someone else but essentially you're always going to be you as an artist if you are true to your vision."
Rossdale's vision has already led him down the right path and the songs on "Distort Yourself" have big riffs. Songs like "The Heat Of Your Love" and "Seventh Wave" have even bigger hooks. While the album does have moments of restraint, including the impressive and haunting "Ambulances," the overall hard-rock feeling is surprising, given that in the later Bush albums Rossdale was often more keen to experiment with new technology then write bare-bones rock songs.
"I begin trying to [write experimental songs] with this but ... when it came to recording songs for the record, all the songs [that] were more guitar orientated were the ones chosen. The power of the band comes from the guitar at this point."
Fans of Bush will find themselves encountering familiar themes in Rossdale's cryptic lyrics. Songs like "Information Age" and "Save The Robots" deal with the same issues that many Bush tracks, such as "The Chemicals Between Us" and "Letting The Cables Sleep", look at.
"Musicians just have one song to write and your life is just a variation on one thing. When you give your life to something, it's intimate. [The songs are] always about man vs. machine, humanity vs. homogenous reproduction, this balance between the future and the past and what we gain from the speed we live at and the desire for results and how we measure success."
Rossdale certainly succeeded at his goal of following his vision and making another strong record but he realizes that he has to explain a four-year absence from the public eye.
"I worked on a couple of movies and spent time with my wife and with my dog. [Being in a band], you're in a cycle that never seems to end. It's cool and you love it but you need time to reconnect with friends and family. It does end but then you get the pressure attacks where you feel like the world is passing you by." Despite the fact that he had a legion of fans clamoring for new music, Rossdale remains modest about his hiatus: "I don't have some outrageous ego view that people give a shit."
Rossdale also knows he is, again, going to have face critics that will always shoot him down no matter how good of an album he has.
"[The criticism has] always been a bit of mystery because if you're just making music you aren't doing anything shitty. I inspire a lot of love and a lot of hate, but it was shocking to me when it would get really out of control," he laughs. "I'm happy to inspire extremes but I was starting to have enough of the f***ing criticism. There [are] a lot of other things to criticize than what we were doing ... if you can just make it so that you're f***ing good then at some point people will just be like, 'OK, damn, that is pretty good.' You can't be held responsible for people liking you and the more people who liked us, the more trouble that got us ... we got some good reviews [on 'Golden State'] but people didn't hear about that." Rossdale concludes with a concise summary: "A bit of both is not a bad thing."
While Rossdale has successfully staged a comeback, something that is surprisingly hard to do in the fast-paced world of 21st century pop-culture, he does realize some sentimentalists will have a problem with him starting a new band.
"I didn't know really know [what was happening with Bush] and at some point you gotta be responsible for yourself ... what was a side project became the main thing. Bush is not done; there's every chance there would be another record, it's never been stopped."
Rossdale has proven he cannot be stopped either, releasing a record as strong as anything he has previously put out. Institute may lack Bush's name but it takes all their brains and pumps up their muscles. "Distort Yourself" is more then just post-grunge nostalgia; it's everything that made Rossdale such an underrated talent and might be enough to get him some serious recognition.
8/10
In the '90s, Nirvana and the grunge revolution yielded a lot of cheap imitations. While some of them hit it big and some of them floundered, real talent was often overlooked. Bush, whose front man Gavin Rossdale was often more recognized for his looks then his songwriting, was rewarded with deserved commercial success but was denied the critical acclaim that they worked hard for. Over 10 years since their first album, and four years since their last, Bush's discography stands up stronger then most '90s bands and it's clear that Rossdale and his band deserved more then they got.
Following 2001's "Golden State," a strong album whose release coincided with 9/11 and guitarist Nigel Pulsford's first child being born, Bush went on hiatus. Now Rossdale has emerged with Institute, featuring Cache Tolman from the post-punk supergroup Rival Schools and Chris Traynor who not only served time in Helmet and Orange 9mm, arguably the two best groups to emerge from the New York early '90s hardcore scene, but filled in for Pulsford on Bush's "Golden State" tour. On the band's debut, "Distort Yourself," Rossdale takes Bush's post-grunge songwriting and mixes it with Helmet's chunky start-stop riffs (Helmet frontman Page Hamilton produced the album).
In a phone interview with the "Daily Collegian," Rossdale came off as friendly and intelligent. Often artists with even half of Bush's success have inflated egos; Rossdale, on the other hand, is modest and down-to-earth. Rossdale explained that Institute isn't a new direction for him; it's just a continuation of where he was going before.
"When I began I was just making music. When it became apparent that Nigel didn't want to work [it became something new]," he explains. "Artistically, you can't help but be following on a track. You can think if you get a suntan and a yellow t-shirt you can be someone else but essentially you're always going to be you as an artist if you are true to your vision."
Rossdale's vision has already led him down the right path and the songs on "Distort Yourself" have big riffs. Songs like "The Heat Of Your Love" and "Seventh Wave" have even bigger hooks. While the album does have moments of restraint, including the impressive and haunting "Ambulances," the overall hard-rock feeling is surprising, given that in the later Bush albums Rossdale was often more keen to experiment with new technology then write bare-bones rock songs.
"I begin trying to [write experimental songs] with this but ... when it came to recording songs for the record, all the songs [that] were more guitar orientated were the ones chosen. The power of the band comes from the guitar at this point."
Fans of Bush will find themselves encountering familiar themes in Rossdale's cryptic lyrics. Songs like "Information Age" and "Save The Robots" deal with the same issues that many Bush tracks, such as "The Chemicals Between Us" and "Letting The Cables Sleep", look at.
"Musicians just have one song to write and your life is just a variation on one thing. When you give your life to something, it's intimate. [The songs are] always about man vs. machine, humanity vs. homogenous reproduction, this balance between the future and the past and what we gain from the speed we live at and the desire for results and how we measure success."
Rossdale certainly succeeded at his goal of following his vision and making another strong record but he realizes that he has to explain a four-year absence from the public eye.
"I worked on a couple of movies and spent time with my wife and with my dog. [Being in a band], you're in a cycle that never seems to end. It's cool and you love it but you need time to reconnect with friends and family. It does end but then you get the pressure attacks where you feel like the world is passing you by." Despite the fact that he had a legion of fans clamoring for new music, Rossdale remains modest about his hiatus: "I don't have some outrageous ego view that people give a shit."
Rossdale also knows he is, again, going to have face critics that will always shoot him down no matter how good of an album he has.
"[The criticism has] always been a bit of mystery because if you're just making music you aren't doing anything shitty. I inspire a lot of love and a lot of hate, but it was shocking to me when it would get really out of control," he laughs. "I'm happy to inspire extremes but I was starting to have enough of the f***ing criticism. There [are] a lot of other things to criticize than what we were doing ... if you can just make it so that you're f***ing good then at some point people will just be like, 'OK, damn, that is pretty good.' You can't be held responsible for people liking you and the more people who liked us, the more trouble that got us ... we got some good reviews [on 'Golden State'] but people didn't hear about that." Rossdale concludes with a concise summary: "A bit of both is not a bad thing."
While Rossdale has successfully staged a comeback, something that is surprisingly hard to do in the fast-paced world of 21st century pop-culture, he does realize some sentimentalists will have a problem with him starting a new band.
"I didn't know really know [what was happening with Bush] and at some point you gotta be responsible for yourself ... what was a side project became the main thing. Bush is not done; there's every chance there would be another record, it's never been stopped."
Rossdale has proven he cannot be stopped either, releasing a record as strong as anything he has previously put out. Institute may lack Bush's name but it takes all their brains and pumps up their muscles. "Distort Yourself" is more then just post-grunge nostalgia; it's everything that made Rossdale such an underrated talent and might be enough to get him some serious recognition.
Saturday, 2 April 2005
Tuesday, 29 March 2005
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Sunday, 27 March 2005
Friday, 18 March 2005
Saturday, 12 March 2005
Gavin Rossdale attends Author Cheryl Saban's Book Launch of "Recipe For a Good Marriage"
Thursday, 3 March 2005
Gavin Rossdale picks the first player at the draw for the Davis Cup at the Home Depot Center...U.S. vs Croatia - Davis Cup Draw
Sunday, 27 February 2005
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Friday, 25 February 2005
Friday, 18 February 2005
Wednesday, 16 February 2005
Monday, 14 February 2005
Sunday, 13 February 2005
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Wednesday, 2 February 2005
Gavin Rossdale Interview by Dread Central
Rossdale, Gavin (Constantine)
Interview by: Dread Central
As a part of the Constantine junket, I got the chance to sit down with Gavin Rossdale, lead singer of Bush turned actor. In the film he plays the demon Balthazar, and overall seems to have had a great time portraying someone a bit more evil than the pretty boy persona he’s so well known for.
--------------------------------------------------------------------------------
Question: Is it just a coincidence that you and Gwen have gotten into acting at the same time?
Gavin Rossdale: It’s just strange, isn’t it, how you can never plan that? For either of us to get into either of these two films is outstanding in itself so, no, it’s not. You can never plan it. It’s just circumstance. The universe is strange.
Q: It seems that rock stars traditionally have some trouble breaking into the acting business. How have you found it so far, and are there any mistakes that other performers have made that you can avoid?
GR: I think that I always wanted to be a small part of something big with a great director, rather than a big part of something small with a less good director. So it was a case of waiting out until the right thing came along, yet at the same time, the problem is with trying to get into movies, it’s all well and good to be successful in music but you got to get out and have some kind of confidence in you. So the first film that I did, The Game of Their Lives, which is about to come out May 22nd, was a leap of faith for the director and then for Francis to see me and offer me an audition put me in this film. It seems like he was very calculated and took smart risks with this whole project. This film is so incredible on such a huge scope that I have no idea how you begin to rope in all these different elements. It’s a testament to his greatness really.
Q: Did you give any thought to playing the character as a demon versus human or would you have played him exactly the same way if he were a human bad guy?
GR: The easiest part was it began with such great writing. The words really jumped off the page for me. This iconic thing of being an emissary of Satan…what is Satan? He’s the dark force, the evil force we’re familiar with but we’ve never seen. So I was figuring this guy was without conscious, without a care, incredibly greasy and smoothly confident. He’s a salesman trying to get people’s souls and I just tried to imagine someone who enjoyed other people’s pain. It didn’t affect me, maybe give me pleasure. It was that subhuman removed state, that was how it became the idea of being so playful with Keanu’s John Constantine.
Q: Did you enjoy playing the villain?
GR: Yes, but it wasn’t so much that the villain always has the best tunes. There is a lot of meat that goes with villains. For instance, Tilda played Angel Gabriel, I thought that was an amazing performance but it goes back to the writing. If someone writes a good guy then it would be great to play him, as long as it’s a good director. As long as the writing is good, I’m in.
Q: With you’re crossing over, no pun intended, you might say you have an uphill battle to fight. Did you do anything special working with an acting coach or someone you trusted in particular to prepare for this role?
GR: Weirdly no. I didn’t see anyone. For me, actors and performances I’ve loved the most have been so naturalistic in films. That is what I was so happy about when I saw the emergence of Gary Oldman in films, it was like, finally, someone who is English in films that is just relaxed about being there and you think he’s real. As opposed to something slightly more theatrical. For me, it was just sit down and make it real, almost like conversational because in my simplicity I just see acting as dialogue. There’s an exchange of ideas; it’s like a conversation you’re having and you have to take the character and the words and make them real, give them a back-story. There are so many schools of thought that delve deeply into that but at the end of the day it’s about being real, about being connected.
So I did an audition for Francis where I felt confident that this was maybe the way it could work. And Akiva, who co-wrote the screenplay, called my managers and was really happy about how I had taken the words and made them seem real. He was really digging that. That gave me this insane kind of like confidence that I’ve never had. I thought WOW; maybe I’m on to something. Then a week later I got the part. When I got on the set, it never really came up and I was patently the least experienced person on the whole film in any department. I was just afforded the respect that I had worked honestly to get that part, here I was and just had to deliver it. Then I was done.
Q: Would you want to do a project with Gwen at some point if the writing was good?
GR: You know, I think we’ve always tried to keep a little distance from that stuff. I’ve helped her a little bit on this record she’s got out now; she’s sung on my record. This is the second record she’s sung on with me, back up stuff. So we do keep it as separate as we can but we’re free so we pull each other into the studio. It would really depend on the material. It would really have to be extraordinary.
Q: How do you like the schedule of acting compared to music?
GR: Brutal, brutal. We do the same hours but begin at 1PM. So it’s the same amount of hours. It’s brutal, just exhausting. I don’t know how Keanu was doing it, doing that 96-day shoot and going off traveling different continents every weekend. I have newfound respect for even the worst films because I know they had to be there to make them (Laughs).
Q: How did you cope with the F/X makeup? Was it claustrophobic or was it fun for you?
GR: I had to be there at 4AM, going back to that, and that’s when you might be getting in from a session in music. I couldn’t complain because I had a team of people around me doing it. I could say well isn’t it bad for all of us and we could all complain about it together but moaning about it seemed ridiculous so I didn’t say anything. There was something about it that really helped. They basically put it on one side of my face and there was something about the constriction of that, wearing a suit and the heat from a suit I’m not used to wearing, literally being straddled by John Constantine and the gravity of John Constantine – some people would kill to be in that position, but I’m not one of them (laughs). This is work. That really helped – that claustrophobic feeling that you referenced, I just thought that was so helpful because what’s so interesting about the character Balthazar is that he feels infallible, he is infallible, he is the guy who hands out the pain to people so the idea that I could be under a situation where suddenly I become a victim is crazy. I’m to decide who is victimized, so there’s are moments in there, without giving away the film to people who haven’t seen it yet, where the tables are turned and it was really powerful to me and it really helped
Q: So being physically uncomfortable helped you feel victimized?
GR: Yeah, for sure.
Q: What do you think about the soundtrack?
GR: I think it’s very powerful. I’ve only seen the film once but there’s the rousing Wagnerian score at times and Perfect Circle, who are friends of mine, did a scene for it and did a video. I love that band. I love a Perfect Circle and I love Tool. I’m totally happy they’re doing it.
Q: Would you ever think about doing soundtracks again?
GR: I would love to do soundtracks of course. I was about to say as I stopped myself…I wasn’t asked to do the soundtrack for this film but that was cool because I was doing a different job and I was seen purely as an actor, which is also a great accolade. I’m written songs for films, I’ve performed songs for films, but it’s strange. There doesn’t seem to have the same effect as they used to have. Say five years ago, you did a song for a film and it was a big deal. Now it’s just like I did a song for Terminator but maybe none of you know that. I did a song for XXX because they like the rock music but it’s not as known as how songs used to be.
Q: Are you more reluctant to go on tours for music because you have a wife at home now and maybe a family at some point?
GR: No, I haven’t been on tour for awhile, and now having this record completed, and going on tour, I can’t wait. They’re going to have to drag me home. They’re going to have to send me a really good script or Gwen’s going to have to come out and just spend time with me. I can’t wait to get back out there.
Q: Is this a solo album?
GR: This is a new band called Institute. It’s a record I made with three friends from Brooklyn so I don’t know. I had a huge part in it and they played huge roles in it. I’m the most known out of the four of us so it’s going to be seen or construed as potentially having a solo twist to it because it’s not Bush, but I don’t play drums that well.
Q: Will you be performing any Bush songs with the new band?
GR: That’s a good question. I think about that. I was watching Helmet last night, I went to see them play and I was wondering if I whipped out Little Things That Kill, a big hit that Bush had that always made the crowd go nuts. I was thinking that would be a really good weapon to use and I was questioning how disciplined I could be to not give into that urge. I was thinking last night that people shout out requests and things from the audience like karaoke. (Laughs) I think I’m going to resist that because this band is too good and to stand-alone. I think when I do like what Sting has done and move beyond where he made a lot of Police songs, I think when I’m not in Institute and I’m not in Bush and I’m just playing in really small clubs, then I can probably do a selection of everything. But I don’t know if I’ll still be here when that’s available.
Q: So is Bush finished?
GR: It’s on hold. Nigel, the guitar player, is much more a really good family man and what I’m sure everyone appreciates within the industry of entertainment is the sacrifices you have to. So if you’re going to make something successful, you have to forsake and give up things that people in a stationery job take for granted. But one of the painful things is how life and people, and that obviously includes the young children that you have, is you miss out so much when you go out on tour.
Q: The guys from Brooklyn you mention, who are they and where do they come from?
GR: One is Chris Traynor who played the last few months of Bush and is actually the guitar player in Helmet. Knowing him and working with him gave me the confidence that I had a start point with the band. There’s a bass player who’s in a great band called Rival Schools and he’s coming to join us, and there’s a great drummer called Charlie from local hard core bands in Brooklyn that have never really done great things but he’s a great drummer.
Q: Who is producing it?
GR: Paige Hamilton.
Q: Ah, from Helmet.
GR: Yes.
Q: Were you familiar with the Hellblazer comics at all before you got involved in this?
GR: No I wasn’t but I obviously as soon as I got asked to join the cast, I was pretty quick to find out. One of the things I really enjoyed was meeting these aficionados who have come along and they have felt there really is a faithful positive rendition of it. It hasn’t lost anything. It’s like indie music. Indie music fans hate corporate rock; hate corporate bands and that kind of stuff. This is kind of similar. I feel that counter culture
of the comic book world have been betrayed so much by so many films that they have a right to be nervous and I think they are a bit cool with it.
Q: Is there anything of your performance when looking at the film for the first time that you would have changed?
GR: Yeah, I would have made the camera stay on me a little longer. He kept going right back to the star of the movie, but that’s show biz (laughs).
Q: Is there a release date for the Institute album?
GR: Not exact. I have to mix it now on February 5th, which should take a month and then 3 months to set it up so June, July, I guess. I want it out tomorrow so….
Q: Since Keanu is also a musician was there any jamming on set?
GR: I think he was too busy to jam and my face was all messed up, everything would have come out wrong. We spoke about music a bit and hung out, but I think we’ll save the jamming until nobody needs us anymore and we’ve got time.
Big thanks to Warner Bros. for letting us take part in the junket, and for Mr. Rossdale for taking the time to chat with us. Constantine opens nationwide February 18th, be sure to check out its official site right here!
http://www.dreadcentral.com/
Interview by: Dread Central
As a part of the Constantine junket, I got the chance to sit down with Gavin Rossdale, lead singer of Bush turned actor. In the film he plays the demon Balthazar, and overall seems to have had a great time portraying someone a bit more evil than the pretty boy persona he’s so well known for.
--------------------------------------------------------------------------------
Question: Is it just a coincidence that you and Gwen have gotten into acting at the same time?
Gavin Rossdale: It’s just strange, isn’t it, how you can never plan that? For either of us to get into either of these two films is outstanding in itself so, no, it’s not. You can never plan it. It’s just circumstance. The universe is strange.
Q: It seems that rock stars traditionally have some trouble breaking into the acting business. How have you found it so far, and are there any mistakes that other performers have made that you can avoid?
GR: I think that I always wanted to be a small part of something big with a great director, rather than a big part of something small with a less good director. So it was a case of waiting out until the right thing came along, yet at the same time, the problem is with trying to get into movies, it’s all well and good to be successful in music but you got to get out and have some kind of confidence in you. So the first film that I did, The Game of Their Lives, which is about to come out May 22nd, was a leap of faith for the director and then for Francis to see me and offer me an audition put me in this film. It seems like he was very calculated and took smart risks with this whole project. This film is so incredible on such a huge scope that I have no idea how you begin to rope in all these different elements. It’s a testament to his greatness really.
Q: Did you give any thought to playing the character as a demon versus human or would you have played him exactly the same way if he were a human bad guy?
GR: The easiest part was it began with such great writing. The words really jumped off the page for me. This iconic thing of being an emissary of Satan…what is Satan? He’s the dark force, the evil force we’re familiar with but we’ve never seen. So I was figuring this guy was without conscious, without a care, incredibly greasy and smoothly confident. He’s a salesman trying to get people’s souls and I just tried to imagine someone who enjoyed other people’s pain. It didn’t affect me, maybe give me pleasure. It was that subhuman removed state, that was how it became the idea of being so playful with Keanu’s John Constantine.
Q: Did you enjoy playing the villain?
GR: Yes, but it wasn’t so much that the villain always has the best tunes. There is a lot of meat that goes with villains. For instance, Tilda played Angel Gabriel, I thought that was an amazing performance but it goes back to the writing. If someone writes a good guy then it would be great to play him, as long as it’s a good director. As long as the writing is good, I’m in.
Q: With you’re crossing over, no pun intended, you might say you have an uphill battle to fight. Did you do anything special working with an acting coach or someone you trusted in particular to prepare for this role?
GR: Weirdly no. I didn’t see anyone. For me, actors and performances I’ve loved the most have been so naturalistic in films. That is what I was so happy about when I saw the emergence of Gary Oldman in films, it was like, finally, someone who is English in films that is just relaxed about being there and you think he’s real. As opposed to something slightly more theatrical. For me, it was just sit down and make it real, almost like conversational because in my simplicity I just see acting as dialogue. There’s an exchange of ideas; it’s like a conversation you’re having and you have to take the character and the words and make them real, give them a back-story. There are so many schools of thought that delve deeply into that but at the end of the day it’s about being real, about being connected.
So I did an audition for Francis where I felt confident that this was maybe the way it could work. And Akiva, who co-wrote the screenplay, called my managers and was really happy about how I had taken the words and made them seem real. He was really digging that. That gave me this insane kind of like confidence that I’ve never had. I thought WOW; maybe I’m on to something. Then a week later I got the part. When I got on the set, it never really came up and I was patently the least experienced person on the whole film in any department. I was just afforded the respect that I had worked honestly to get that part, here I was and just had to deliver it. Then I was done.
Q: Would you want to do a project with Gwen at some point if the writing was good?
GR: You know, I think we’ve always tried to keep a little distance from that stuff. I’ve helped her a little bit on this record she’s got out now; she’s sung on my record. This is the second record she’s sung on with me, back up stuff. So we do keep it as separate as we can but we’re free so we pull each other into the studio. It would really depend on the material. It would really have to be extraordinary.
Q: How do you like the schedule of acting compared to music?
GR: Brutal, brutal. We do the same hours but begin at 1PM. So it’s the same amount of hours. It’s brutal, just exhausting. I don’t know how Keanu was doing it, doing that 96-day shoot and going off traveling different continents every weekend. I have newfound respect for even the worst films because I know they had to be there to make them (Laughs).
Q: How did you cope with the F/X makeup? Was it claustrophobic or was it fun for you?
GR: I had to be there at 4AM, going back to that, and that’s when you might be getting in from a session in music. I couldn’t complain because I had a team of people around me doing it. I could say well isn’t it bad for all of us and we could all complain about it together but moaning about it seemed ridiculous so I didn’t say anything. There was something about it that really helped. They basically put it on one side of my face and there was something about the constriction of that, wearing a suit and the heat from a suit I’m not used to wearing, literally being straddled by John Constantine and the gravity of John Constantine – some people would kill to be in that position, but I’m not one of them (laughs). This is work. That really helped – that claustrophobic feeling that you referenced, I just thought that was so helpful because what’s so interesting about the character Balthazar is that he feels infallible, he is infallible, he is the guy who hands out the pain to people so the idea that I could be under a situation where suddenly I become a victim is crazy. I’m to decide who is victimized, so there’s are moments in there, without giving away the film to people who haven’t seen it yet, where the tables are turned and it was really powerful to me and it really helped
Q: So being physically uncomfortable helped you feel victimized?
GR: Yeah, for sure.
Q: What do you think about the soundtrack?
GR: I think it’s very powerful. I’ve only seen the film once but there’s the rousing Wagnerian score at times and Perfect Circle, who are friends of mine, did a scene for it and did a video. I love that band. I love a Perfect Circle and I love Tool. I’m totally happy they’re doing it.
Q: Would you ever think about doing soundtracks again?
GR: I would love to do soundtracks of course. I was about to say as I stopped myself…I wasn’t asked to do the soundtrack for this film but that was cool because I was doing a different job and I was seen purely as an actor, which is also a great accolade. I’m written songs for films, I’ve performed songs for films, but it’s strange. There doesn’t seem to have the same effect as they used to have. Say five years ago, you did a song for a film and it was a big deal. Now it’s just like I did a song for Terminator but maybe none of you know that. I did a song for XXX because they like the rock music but it’s not as known as how songs used to be.
Q: Are you more reluctant to go on tours for music because you have a wife at home now and maybe a family at some point?
GR: No, I haven’t been on tour for awhile, and now having this record completed, and going on tour, I can’t wait. They’re going to have to drag me home. They’re going to have to send me a really good script or Gwen’s going to have to come out and just spend time with me. I can’t wait to get back out there.
Q: Is this a solo album?
GR: This is a new band called Institute. It’s a record I made with three friends from Brooklyn so I don’t know. I had a huge part in it and they played huge roles in it. I’m the most known out of the four of us so it’s going to be seen or construed as potentially having a solo twist to it because it’s not Bush, but I don’t play drums that well.
Q: Will you be performing any Bush songs with the new band?
GR: That’s a good question. I think about that. I was watching Helmet last night, I went to see them play and I was wondering if I whipped out Little Things That Kill, a big hit that Bush had that always made the crowd go nuts. I was thinking that would be a really good weapon to use and I was questioning how disciplined I could be to not give into that urge. I was thinking last night that people shout out requests and things from the audience like karaoke. (Laughs) I think I’m going to resist that because this band is too good and to stand-alone. I think when I do like what Sting has done and move beyond where he made a lot of Police songs, I think when I’m not in Institute and I’m not in Bush and I’m just playing in really small clubs, then I can probably do a selection of everything. But I don’t know if I’ll still be here when that’s available.
Q: So is Bush finished?
GR: It’s on hold. Nigel, the guitar player, is much more a really good family man and what I’m sure everyone appreciates within the industry of entertainment is the sacrifices you have to. So if you’re going to make something successful, you have to forsake and give up things that people in a stationery job take for granted. But one of the painful things is how life and people, and that obviously includes the young children that you have, is you miss out so much when you go out on tour.
Q: The guys from Brooklyn you mention, who are they and where do they come from?
GR: One is Chris Traynor who played the last few months of Bush and is actually the guitar player in Helmet. Knowing him and working with him gave me the confidence that I had a start point with the band. There’s a bass player who’s in a great band called Rival Schools and he’s coming to join us, and there’s a great drummer called Charlie from local hard core bands in Brooklyn that have never really done great things but he’s a great drummer.
Q: Who is producing it?
GR: Paige Hamilton.
Q: Ah, from Helmet.
GR: Yes.
Q: Were you familiar with the Hellblazer comics at all before you got involved in this?
GR: No I wasn’t but I obviously as soon as I got asked to join the cast, I was pretty quick to find out. One of the things I really enjoyed was meeting these aficionados who have come along and they have felt there really is a faithful positive rendition of it. It hasn’t lost anything. It’s like indie music. Indie music fans hate corporate rock; hate corporate bands and that kind of stuff. This is kind of similar. I feel that counter culture
of the comic book world have been betrayed so much by so many films that they have a right to be nervous and I think they are a bit cool with it.
Q: Is there anything of your performance when looking at the film for the first time that you would have changed?
GR: Yeah, I would have made the camera stay on me a little longer. He kept going right back to the star of the movie, but that’s show biz (laughs).
Q: Is there a release date for the Institute album?
GR: Not exact. I have to mix it now on February 5th, which should take a month and then 3 months to set it up so June, July, I guess. I want it out tomorrow so….
Q: Since Keanu is also a musician was there any jamming on set?
GR: I think he was too busy to jam and my face was all messed up, everything would have come out wrong. We spoke about music a bit and hung out, but I think we’ll save the jamming until nobody needs us anymore and we’ve got time.
Big thanks to Warner Bros. for letting us take part in the junket, and for Mr. Rossdale for taking the time to chat with us. Constantine opens nationwide February 18th, be sure to check out its official site right here!
http://www.dreadcentral.com/
Saturday, 29 January 2005
Gavin Rossdale-Constantine" Press Conference with Keanu Reeves, Djimon Hounsou, Francis Lawrence, Rachel Weisz and Cast
Saturday, 22 January 2005
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Previous Posts
- Gwen Stefani and husband Gavin Rossdale share an i...
- Gavin Rossdale/Institute in Boston -Photo by Ayaz ...
- Gavin Rosdale-Chris Everet celebrity tennis Event
- Gavin Rossdale and His Band Institute at Delano in...
- Gavin Performs with Institute at Irving Plaza in N...
- Gavin Rossdale-Institute The Rave Bar Milwuakee, W...
- NEW RELEASE: Institute "Bullet-Proof Skin"
- Buzzfest
- Gavin Rossdale's 'Primal' Institute Try To Find Th...
- Sweet Charity on Broadway
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