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

Sweet Charity on Broadway

Gavin Rossdale,Gwen Stefani-Olympus Fashion Week Spring 2006 - Gwen Stefani for L.A.M.B

Gavin Rossdale-Olympus Fashion Week Spring 2006 - Gwen Stefani for L.A.M.B. - Arrivals

Gavin Rossdale and Chris of Institute on the Covino and Rich Show

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

Gavin Rossdale at the US Open

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)

http://www.kerrangradio.co.uk/goout.asp?u=http://www.whatson.com/goto/?type=radio&station=kerrang&show=a_session___institute___1

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.