MAGNET Exclusive: Premiere Of Lawrence Lui’s “Honey So Blue (Chimes & Tremolo),” From His “Retroism” EP

Lawrence Lui has been working in the music biz for years as a record-company exec (Astralwerks, V2, Island, etc.), radio-station music director (WNYU) and indietronic recording artist. The NYC native was in a serious bike accident last year, which led to a lengthy period spent recovering from his injuries. To help pass the time, Lui says he used music as both “distraction and therapy.” The result is the Retroism EP, his first release under his own name. Each of the four songs pays tribute to an artist or sound that has influenced Lui throughout his career: Suicide, Brian Eno, German techno label/club Tresor and Spacemen 3, whose landmark The Perfect Prescription turns 30 this year. Though Lui is already busy finishing up a second EP, today we are focusing on Retroism and the Spacemen 3-inspired “Honey So Blue (Chimes & Tremolo).” We are proud to premiere the track today on magnetmagazine.com. Check it out below.

“Honey So Blue (Chimes & Tremolo)” cover art after the jump.

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MAGNET Exclusive: Premiere Of John Davis & The Cicadas’ “Contamination In The Grass,” From Their Upcoming “El Pulpo”

On October 20, Shrimper/Revolver will issue El Pulpo by John Davis & The Cicadas. (A cassette-only version of the album is due out October 14 for Cassette Store Day.) You probably know Davis for his work with Lou Barlow in the Folk Implosion, which scored a freak hit in 1995 with “Natural One,” one of the duo’s contributions to the Kids soundtrack. Davis left the Folk Implosion in 2000, relocating from the Boston area to North Carolina 13 years later, where he started recording songs with producer Scott Solter that he had written while still in Massachusetts. El Pulpo is a song cycle about corporate corruption in the food industry and related issues such as immigration and incarceration and features guest musicians Peter Hughes (Mountain Goats), Andrew Levi-Hiller (Yairms/Alhhla), Wendy Allen (Balustrade Ensemble), Jonathan Henderson (Kaira Ba), Jeb Bishop and more. We are proud to premiere El Pulpo track “Contamination In The Grass” today on magnetmagazine.com. Check it out below.

Album art and live dates after the jump.

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Exclusive Cover Story Excerpt: Liam Gallagher Interviewed By Foo Fighter Taylor Hawkins

Here’s an exclusive excerpt of the current MAGNET cover story. To read the whole thing, order a copy of the issue here.

Interview by Taylor Hawkins

Photo by Flint Chaney

Liam Gallagher doesn’t need to introduce himself—he only requires unwavering dedication to rock ‘n’ roll. With debut solo album As You Were, the former Oasis frontman swaggers back into the spotlight for another swing. Foo Fighters drummer Taylor Hawkins sits down with Gallagher to find out what’s the story.

OK. What can I say? I’ve known Liam for probably about 20 years or so. Happy to say I’ve always been on his good side. I want to keep it that way—ha. I love his voice. A perfect cross between John Lydon and John Lennon. I love the way he can stand up onstage not doing one fucking thing, just looking at people, singing, and still captivate a huge crowd. We had the pleasure of seeing him do this in Seoul, South Korea, a couple months ago, and we were due to go on after him … We were a little scared. Ummm, what else? He’s truly fucking hilarious. Really quick, sharp as a tack. In my eyes, he is truly one of the greatest frontmen of my generation. His new record, As You Were, is definitely a return to form, putting him back where he belongs: at the top. —Taylor Hawkins

Taylor Hawkins: OK, first question. Your voice is so loud and so powerful—everyone’s always like, “Oh, Liam punched this guy” or “Liam said this in the interview” or this, that and the other, you know?

Liam Gallagher: Yeah.

Hawkins: A lot of the light never gets shone on the basic fact that you have a really loud, projecting, powerful fucking rock ’n’ roll voice. Do you warm up before shows, or is it natural?

Gallagher: I don’t take care of it as much as I should do, but I try to get a fucking good night’s sleep. And I lay off the cigs on the day of the gig. I don’t do cocaine before I go on.

Hawkins: Anymore. [Both laugh]

Gallagher: I have a little warm-up, I have a little thing about half an hour before we go on. You know what? I’ve never had any real problems with it, really, man. Fingers crossed. I like to think that I’ve got … I don’t classify myself as a singer—more of a fucking human cello. Some days it works, and some days it doesn’t.

Hawkins: That’s the way it draws, man. Some days it’s magic, and some days it’s tragic.

Gallagher: Fingers crossed, man. I just spend the whole day just going, “Fucking hope it’s there.” And if it’s there, good looks, and if it’s not, fuck it.

Hawkins: Exactly. Dave (Grohl)’s same thing. Dave doesn’t really warm up. He doesn’t really do anything.

Gallagher: He drinks a lot of fucking whiskey, though, doesn’t he?

Hawkins: Fuck, he does, dude. If you go to any vocal coach, they’ll tell you that’s the exact opposite of what you’re supposed to do.

Gallagher: When you got onstage the other night and he screamed, the first thing he said was, “If I scream like that, I’d have to have 12 more shots.” [Hysterical laughing from both]

Hawkins: Dave’s a fucking superhero. There’s no question. He’s a fucking superhero.

Gallagher: Animal, man. And he’s got that voice, too.

Hawkins: Oh, fuck yeah. I love his voice. He’s powerful, too, and he’s loud, just like you. I have a thin, little wispy voice, and if I had to sing all set, it’d be done by the end, no question. But you guys both have these loud, projecting, lead-singer voices.

Gallagher: That allows the band a little area as well then, you know what I mean?

Hawkins: Totally. You guys were fucking great that night, dude. It was really, really … We were a little shaky before we went on after we watched you. We were like, “Fuck!”

Gallagher: You always play a bit better when there are people around you who are good, and I mean that.

Hawkins: I think so, too. I mean, for us, it seems like it can go two ways. Either that’s gonna push us up a notch, or we’re gonna get a little “in ourselves” a bit too much. I got some other questions for you. The first question that I came up with is: Is it lonely now, being a solo dude? When you’re the guy … I know you were probably the de facto leader of the band. I know it was a band, but you were probably the leader of the band. But now it’s Liam Gallagher—it’s you. You have a great band, and they play like a band. Is it lonely?

Gallagher: I prefer it being a band, I guess, with all the people I went to school with and all that, because then you know each other inside out, you know what I mean? The new band, we’re getting to know each other slowly but surely. We don’t really hang out that much; we don’t say a lot, but I don’t feel lonely. Man, I’ve got multiple fucking personalities, so there’s a lot going on inside my head. I just chat with myself inside my head, so I’m all right.

Hawkins: Got it, got it. I kinda figured. I would never think to myself, “Oh, Liam’s lonely,” ever. It’s a different thing, when you set out to do a Liam Gallagher tour. It’s a little different. It’s all you in the front and your name is on the bottom of that fucking check, you know?

Gallagher: I say what it is. I say what it is. I’m an indecisive fucking bastard. Someone comes up to me and goes, “I like that … ” I can’t just agree on it and get stuck to it. I’m kinda like, “Oh, what do you fucking think?” I kinda like sharing the bag, you know what I mean? I guess that’s the only pain in the ass. It’s all about you making decisions, which I’m not good at.

Hawkins: If you do another solo record, do you think you’ll do it the way you did this time? Do you think you’ll work with different writers and different musicians and all that?

Gallagher: Yeah, I think so. I mean, the band was put together like that, so it was me, and I called Dan—there’s a producer called Dan (Grech-Marguerat)—and then obviously I did some stuff with Greg Kurstin. At this moment in time, I’ve only got one fucking tune for the next album, so it all depends—if it goes well, people want another one, I guess I’ll do another one, but at the moment there are no fucking new songs. I definitely don’t mind making music. I like working with Greg Kurstin when I write, so definitely, man.

Hawkins: It worked out. I like the way that it’s a different kind of sonic experience you get.

Gallagher: Exactly, man. I trust myself as a singer a lot more than a songwriter, so if I write some, hopefully this time next year … I sort of believe the songs will come, and I think I want these people, I guess.

Hawkins: How important is using the studio to you? Do you get involved? Do you come in there and say, “Oh, I wanna do this, and I want my voice to have this many delays on it.”

Gallagher: I’m not a studio—I don’t really know much about studios. I was always kind of … I know where the fucking “louder button” is. I know where that is. I let the producers do it. I know how to turn me up. I know where that is.

Hawkins: “I wanna turn up my voice right here. Do something like that.” You let those guys do it.

Gallagher: I know where it needs double tracking, definitely. I always sing dry, man. I never add those effects on.

Hawkins: Same with Dave. Dave’s the same way. He likes to hear nothing but his voice.

Gallagher: ’Cause that’s the truth. I want it to sound like when I’m sitting in the room playing the guitar at home. I want it to be kinda like that. The majority of it. I like it dry ’cause you can feel it.

Hawkins: Kind of the rule of thumb I always thought of: If it sounds good just you and an acoustic guitar, then it’s gonna sound good either way. What’s your favorite studio? I don’t know if you care about studios. We love going to different studios, and we find the experience of each studio to kind of lend itself differently to the situation and the recording we pick.

Gallagher: Obviously, I’ve been going to Abbey Road, and that’s all right. The one where I recorded this album in England is called Snap!, a little shithole with one live room and where you record it, and that’s that. It was good, man. I could definitely work there again. There was a place in Richmond by this geezer who wrote, like, “(Simply) The Best” for Tina Turner. And he based it on Abbey Road, so it’s a smaller studio, and that’s got good gear. That’s a good studio. I worked there with Beady Eye. Anywhere that’s got the old gear in it, man.

Hawkins: I sometimes get into the history of studios. A lot of times when I’m in London, I’ll go over to Saint Anne’s Court down in Soho ’cause Trident Studios is there. I love Bowie’s Ziggy Stardust and all that, and I just wanted to go stand by the door that he walked into. I don’t know why.

Gallagher: I used to do that. There was one called Olympic Studios where they did “Sympathy For The Devil.” And that was a good studio, but I don’t think that’s there anymore. I think it closed down. And there’s one called Konk—that’s the Kinks—that’s around the corner from my house and is a nice studio.

Hawkins: Is that still there?

Gallagher: That’s still there, yeah.

Hawkins: They did like all their ’70s shit there, didn’t they?

Gallagher: Yeah, and I think the White Stripes did something there as well, years ago. I’m not a studio guy, but I do like chalking big fat lines out on the desk.

Hawkins: Well, there you go. Gotta have a good desk. You can’t do that on a laptop.

Gallagher: Exactly! Exactly!

Hawkins: OK, this is a funny question, Liam, and this is from me to you, and you can say whatever you want. But this is a fun question, and it’s a question only I would ask you. My favorite band of all time, probably if I had to pick one, is the Beatles because they’re just like the Bible to me, you know what I mean? That’s the beginning, you know. That’s everything that came after. Anyway: Do you like Queen?

Gallagher: Do I like Queen? Uh, not really, no. I mean, I get Freddie Mercury has a great voice and all that, and obviously they’ve got some great songs. But I do find them a bit Queen-y. [Hawkins laughs] Listen, they’re a top band and obviously they’ve got great songs, but I dunno, man. Brian May’s guitar sound sounds like he’s got it clogged in his ass.

Hawkins: Poor Brian. I love Brian.

Gallagher: I respect him and all that, but I don’t know, man.

Hawkins: OK, that’s funny. That’s a good one. I like that. OK, next question. What about American bands? What American bands from the ’70s, ’80s, ’90s?

Gallagher: Guns N’ Roses. I do like, is it Creedence Clearwater Revival? I like them. He’s got a good voice, that John Fogerty.

Hawkins: Oh fuck, dude, we played with him. He’s fucking loud—he’s like you. He’s just fucking loud.

Gallagher: He’s got a good voice. And obviously Hendrix and all that.

Hawkins: What about when all the ’90s shit was going on, and you guys were getting ready to fight your war over there?

Gallagher: I did like Nirvana, and I liked some of the tunes. Who else was out at the time? I wasn’t a big fan of Pearl Jam.

Hawkins: Right.

Gallagher: All the grunge stuff was a bit different for me, I’ll be honest with you. There’s a few bands.

Hawkins: Few songs here and there.

Gallagher: I was kind of caught up in all the old stuff. I was kind of into the Monkees and all that when all that stuff was going down.

Hawkins: Well, it’s like you guys were kind of having your same sort of thing like what was happening in Seattle, in a way. English version.

Gallagher: Exactly. And I like Guns N’ Roses. They’ve got some tunes.

Hawkins: Yeah, they do. And they’re powerful, and they still sound good on the radio today, you know? When you hear fucking “Welcome To The Jungle” or fucking “Sweet Child O’ Mine,” it’s a classic fucking song. When Oasis came out and all these other bands came out at the same time, and the critics they love to use this kind of a word to describe one genre, but there’s nothin’ like it. Do you fucking hate Britpop?

Gallagher: I fucking hate that word, mate. We weren’t fucking pop. To me, I felt it was us and the Verve. We were different scenes, were like a classic rock ’n’ roll band. Britpop to me was Pulp, Menswear, Blur, all these stupid little Camden bands that were all jolly as fuck, you know what I mean? We wanted to play, man. I personally always found that word fucking insulting.

Hawkins: I think it is, too.

Gallagher: The Verve and Oasis—we were thinking way bigger than Britpop. We were a classic rock ’n’ roll band.

Hawkins: I see that. And also, it’s the same thing with grunge. You can’t say Nirvana and Pearl Jam sound anything alike—they’re not the same kind of fucking music, really. Just ’cause of an era. They have to simplify shit.

Gallagher: It’s just fucking journalists, isn’t it? Lazy cunts. I felt like Blur and all that—they were doing like just jolly kind of weird, fucking stupid music. “Champagne Supernova” is a boss fucking tune. They were all jumping about it with their fingers in their ears.

Exclusive Cover Story Excerpt: The Killers Interviewed By Jimmy Kimmel

Here’s an exclusive excerpt of the current MAGNET cover story. To read the whole thing, order a copy of the issue here.

Interview by Jimmy Kimmel

Photo by Gene Smirnov

Viva the Killers—Las Vegas natives who return with Wonderful Wonderful, their first album in five years. To mark the occasion, MAGNET united them with fellow Sin City local Jimmy Kimmel for a conversation about growing up in the glitzy capital of American excess and experience.

I met the Killers 13 years ago. Somebody told me that one of them had a boyfriend who looked like a girlfriend that I’d had in February of that year, and so, of course, I wanted to meet them. Las Vegas is my hometown, and I always root for bands and others who share that unusual distinction, and in this case, I was a fan of their music before I knew where they were from. Singer Brandon Flowers, drummer Ronnie Vannucci and I bonded over time (not immediately, as you’ll read), and they are two of the sweetest, most thoughtful and best guys I know. We wrote a Christmas song together called “Joel The Lump Of Coal”—look it up, it’s said to be one of Jesus’ favorites. This interview was conducted by phone, and unbeknownst to those on the other end, I was naked throughout. —Jimmy Kimmel

Jimmy Kimmel: I’ll start by saying that I was very excited to meet you guys back in 2004 because we are both from Las Vegas, and I was a fan of your music and got it in my head that you would be equally excited about meeting me. So when you were on the show that night, I walked up to you guys and started making chit-chat about Vegas and what high schools we went to, and it seemed that you couldn’t have been less interested in any of it. Then I walked offstage and was like, “All right, I guess these guys don’t give a shit about the Vegas connection.”

Brandon Flowers: We were so nervous to play on national television in the beginning. I still get really nervous, and I think that you were probably experiencing that coming off of us firsthand. Sorry about that.

Kimmel: Fortunately, we got to know each other later on, but I thought it would be fun to relive that awkward moment today.

Flowers: I don’t think we knew how close the ties were at that point. I didn’t know you and Ronnie both had gone to the same high school.

Kimmel: Even more so than that, Ronnie—share your connection to my best friend and bandleader Cleto Escobedo (III), who I grew up directly across the street from in Vegas.

Ronnie Vannucci: I was very young when I started playing drums. My mom worked at Caesars Palace, and she would sort of brag about me to the musicians who were coming in and out. Cleto Sr. was a name that was thrown around the house; he sort of ran the Strip as far as music goes. At least I got that impression, anyway.

Kimmel: That may have been exaggerated. He is a very talented sax player who gave up life on the road to become a room-service butler at Caesars, and his son, Cleto Jr., started playing the saxophone too. It just so happened that Cleto Jr. got a job playing sax with a band called the Checkmates on a stationary boat that floats inside Caesars called Cleopatra’s Barge. Your mom also worked on the barge as a cocktail waitress. The first time I heard this anecdote, I got nervous because I don’t think Cleto left too many cocktail waitresses unplucked. I’ve investigated, and I have good news: Nothing happened.

Vannucci: My first experience was playing that song “Play That Funky Music White Boy” by Wild Cherry.

Kimmel: How old were you?

Vannucci: I think I was like eight or something. But I just remembered being part of an all-black band, which, looking back, was kinda funny.

Kimmel: And not only that, but an eight-year-old playing in a cocktail lounge shows you just how different Vegas is now.

Vannucci: It was a neighborly place then.

Kimmel: What’s the greatest Las Vegas act you guys have seen, either together or individually? And you know what I mean by Vegas acts, the classics.

Vannucci: I saw something called Metal Skool 20 years ago.

Kimmel: It was school with a “k,” right? Metal Skool with a “k”?

Vannucci: So good. They nailed everything. It was like going to see Mötley Crüe and Van Halen and Skid Row all in the same concert.

Kimmel: Where did you see them?

Vannucci: It was, like, the Suncoast or something.

Kimmel: One of those off-Strip Vegas hotels. I wonder why they decided to spell Skool with a “k.”

Flowers: That’s cool.

Vannucci: With a “k.”

Flowers: I think it’s OK for me to say Copperfield is up there. David Copperfield.

Kimmel: Really? Wow.

Flowers: I remember Danny Gans. I saw him play a few times.

Kimmel: Yeah, he’s one of those guys that not too many people outside of Vegas knows. He passed away, right?

Flowers: Yeah, he died.

Kimmel: And he did imitations of singers, right? That was his thing?

Flowers: He was supposed to be really good at it. I never saw it.

Kimmel: It’s a shame he didn’t live long enough to imitate you guys. That’s a real-life Vegas tragedy. OK, I’m not gonna dwell entirely on Las Vegas, but it is what brought us together, so what is the most “Las Vegas” thing you’ve ever seen? You can translate that in any way you like. For me, it was seeing Liberace at the Mayfair Market on the Strip. He was wearing a hairnet and buying meat.

Vannucci: You got one, Brandon?

Flowers: I was a busser at Spago when I was 18, and Carrot Top came in. It was during the day—and during the day only the cafe’s open at the Forum shops, but because he was Carrot Top, he requested to sit in the dining room so nobody would bother him. My server—I wasn’t 21 yet, so I couldn’t be a server—was not familiar with Carrot Top so he didn’t know that there was a comedy side to him. And Carrot Top assumed that everyone knew who he was, I guess, and my server, he was from Japan and he was a martial artist. Carrot Top, when he sat down, picked up his knife and made this move kinda jokingly at my server, who didn’t know who this guy was. My server did this judo chop thing, and the knife went flying across the dining room. It was this whole scene, and we had to calm the waiter down and explain to him that this was a performer on the Strip and famous comedian and he was just joking. It was crazy.

Kimmel: He actually chopped the knife out of his hand?

Flowers: He was one of those guys who was just prepared, I guess.

Kimmel: The move will hereafter be known as the Carrot Chop. Can I tell you something? Carrot Top emailed me this morning. I’m not kidding. So you see how strong my Vegas ties are? I won’t reveal the contents of the email, but just know that he did contact me and I will get to the bottom of this story. Ronnie, did you want to answer that question? The Top is hard to top.

Vannucci: I can’t top that. Or chop that.

Kimmel: Do people ever give you ideas or lyrics for songs? I’m not talking about people like Elton John. I’m talking about people in your life. And if so, do you ever take them?

Vannucci: In the early days, there may have been a couple attempts from family members to chime in. I would politely listen to what they say, but I don’t think anything ever made its way into a Killers song.

Kimmel: Have the four of you guys ever shared a room?

Flowers: Yeah, when we were recording in Berkeley, we were all in the same room.

Kimmel: And how did you split that up, bedwise?

Flowers: There was a couch in the room, so I think I went on the couch because I was younger than them. I sort of got last dibs.

Kimmel: And then who had to pair up? Were there multiple beds?

Flowers: I think it was one of those two-room deals or, like, a kitchenette, where there was, like, a double-bed-and-a-couch scenario, and then we got a rollaway or something.

Vannucci: This is, like, before everybody had access to cellphones, otherwise we would’ve taken pictures.

Kimmel: This is not necessarily a music-related question. I want you to go back into your lives and think about this. What’s the first award you ever won?

Vannucci: I actually won the school talent show in fifth grade.

Kimmel: For playing the drums?

Vannucci: Yeah.

Kimmel: And what did that feel like? Were you instantly a celebrity at school?

Vannucci: Yeah, I went from nobody to being a drummer. The runner-up was this girl who made French toast.

Kimmel: Did you get to try the French toast?

Vannucci: Yeah, it was good. It just goes to show the level of my talent if French toast is the runner-up.

Kimmel: I know you’re being sarcastic, but I think if you asked a thousand people, “What would you rather have right now, a drum solo or some nice French toast?” 900-something of them would say French toast. So I think that’s fairly impressive.

Vannucci: You’re right. It was good, and then my family moved away, like, two days later so there was sort of this legend. I left a legend.

MAGNET Exclusive: Premiere Of Minor Poet’s “And How!”

Tomorrow, the EggHunt label will release And How!, the debut album from Minor Poet. A band in name only, Minor Poet is Richmond, Va., musician Andrew Carter, who wrote, played and recorded the 11 songs on the LP all by his lonesome over the course of two months after the breakup of his band the Mad Extras. Says Carter of the album, “And How! was made during an uncertain period in my life—the kind of time where a dread hangs over everything you try to do. Recording these songs was my escape. I was all alone in my dingy basement studio, getting lost in the songs and remembering why I loved making music in the first place. All I hope is that people wanna listen to this album’s weird little world and connect through our shared anxieties and daily existential dramas.” You can preorder And How! here, but you can also try before you buy below. We are proud to premiere the album today on magnetmagazine.com. Check it out now.