The Cure Prepares Concert Box Set for Fall Release, Post-pones New Album

Last summer Robert Smith curated the Meltdown festival in the UK with handpicked acts ranging from My Bloody Valentine to Nine In Nails to The Church. The Cure, of course, headlined but were billed as CURÆTION-25 so as not to violate a contract for its massive headlining slot a few weeks later in London’s Hyde Park. Both shows are being combined for a DVD/Blu-Ray release this October to celebrate the band’s 40th anniversary. The setlists are expectedly massive, showcasing every idiosyncratic incarnation of the band.

Smith recently revealed an update for the band’s progress on its first new album in 11 years in an interview at the Fuji Rock Festival, claiming that the record will be delayed until next year. He had originally claimed it would be out close to Halloween this year. Even casual Cure fans know not to trust anything the man says with regard to release timelines.

VIDEO: Nine Inch Nails “Came Back Haunted”

I have to admit I think the new Nine Inch Nails song is great. Trent Reznor injects this comeback single with everything that was ever good about his band: Bracing synths, machine beats, aggro guitars, and Reznor’s idiosyncratic whisper/wail combination. All of it works exactly as it should in “Came Back Haunted.” It’s already one of the best NIN singles, hands down. Reznor knows exactly what he wants to do and, more importantly, he knows exactly how to do it. David Lynch directed this video. If you have epilepsy, you should probably not watch it.

Peter Murphy lends his vampire skills to NIN’s Terminal 5 show

To help Nine Inch Nails “wave goodbye” to its New York City audience at Terminal 5 two nights ago, Peter Murphy dropped slowly from the netherworld upside down on a chain. Like a bat, get it? Anyone who saw Bauhaus at Coachella knows this trick well. And thanks to that fancy series of tubes we have video proof of Master Murphy’s shenanigans with his buddy Trent Reznor. Murphy performed four songs with the band, including some of his solo work, Bauhaus’ defining “Bela Lugosi’s Dead”, and Pere Ubu’s “Final Solution.” That was a lucky batch of 500 people. [via Brooklyn Vegan]

Nine Inch Nails and Jane’s Addiction tour dates announced

Despite some individual members’ supreme awfulness over the years as well as the automatic lameness of the whole cash-cow reunion charade, I’m kind of intrigued to see the original line-up of Jane’s Addiction play again. Lone hold-out Eric Avery had long said he had no interest in pursuing the past, but I guess he caved for the cash, as most eventually do. A new Trent Reznor-produced record is in the works with the reunited quartet, so we’ll see if they can drum up any of that early tension,which is now two decades in the rear-view mirror. I have my doubts, but I must admit watching clips of the band’s recent show at the Echoplex in LA brought back a few nostalgic teenage moments. Reunions are tricky. They toy with your emotions and your memories. Nostalgia can make logic fuzzy and seem unimportant. Yes, all the danger is long gone, and, yet, there’s still some semblance of something exciting for those four guys to be playing together.

Nine Inch Nails & Jane’s Addiction

May 8 – West Palm Beach, FL @ Cruzan Amphitheatre
May 9 – Tampa, FL @ Ford Amphitheatre
May 10 – Atlanta, GA @ Lakewood Amphitheatre
May 14 – Albuquerque, NM @ Journal Pavilion
May 15 – Phoenix, AZ @ Cricket Wireless Pavilion
May 16 – Chula Vista, CA @ Cricket Wireless Amphitheater
May 18 – Las Vegas, NV @ The Pearl
May 20 – Irvine, CA @ Verizon Wireless Amphitheater
May 22 – Mountain View, CA @ Shoreline Amphitheatre
May 26 – Englewood, CO @ Fiddler’s Green Amphitheatre
May 27 – Kansas City, MO @ Starlight Theatre
May 29 – Chicago, IL @ Charter One Pavilion (NIN Only)
May 30 – Noblesville, IN @ Verizon Wireless Music Center
May 31 – Clarkston, MI @ DTE Energy Music Theatre
June 2 – Toronto, ON @ Molson Amphitheatre
June 3 – Darien Lake, NY @ Darien Lake Amphitheatre
June 5 – Camden, NJ @ Tweeter Center At The Waterfront
June 6 – Holmdel, NJ @ PNC Bank Arts Center
June 7 – Wantagh, NY @ Nikon at Jones Beach Music Theater
June 9 – Columbia, MD @ Merriweather Post Pavilion
June 10 – Burgettstown, PA @ Post-Gazette Pavilion
June 12 – Charlotte, NC @ Verizon Wireless Amphitheatre

Motley Crue lives to tell

For a band whose ability to survive catastrophe defies any semblance of logic, a full-fledged reunion hardly seems out of the question or even surprising for Motley Crue. What might be a little surprising, however, is that the band’s 2005 Carnival of Sins tour made money hand over fist, filling arenas all over the country without any radio support, controversial sex tape leakage, or exploitative music videos. After years of haughty primness, the musical tide has finally turned back in favor of sleaze, debauchery and excess, which only makes the idea of a Motley Crue concert that much more salacious.

Pegging Motley Crue as fluffy ‘80’s hair metal is only slightly unfair. Yes, the band used excessive amounts of hairspray and make-up in its heyday, but Motley Crue rocked harder, did tons more drugs, and had ten times as much sex as any of its so-called competition. It’s unfathomable to me that any band could rival the depravity of Led Zeppelin’s notorious American tours in the earl to mid-1970’s, but if the Crue’s confessional rock biography, The Dirt, is to be believed, Motley Crue made Led Zeppelin look like momma’s boys. Yeah, Jimmy Page might have had a discreet heroin problem in Led Zeppelin’s later days, but he didn’t overdose, die, get rocked back to life with two steroid shots to the heart, leave the hospital only to go straight home and shoot up again like Nikki Sixx once did. No, it takes a special brand of lunatic to pull that off.

No other “hair metal” band from the 80’s could reunite decades after its peak and have a fourth of the draw that this band currently boasts. Could you imagine if Poison or Warrant or Cinderella tried to tour arenas right now? It’d be a total joke because those bands didn’t have the tunes to back up the mall hair images. Granted, Motley Crue has shoveled its share of shit bombs onto the public in its time, but there’s no denying the energy and raucousness of Too Fast for Love and Shout at The Devil– classic albums by any barometer. Admittedly, the mid-80’s weren’t exactly prolific in terms of quality music for the band, as Theater of Pain and Girls, Girls, Girls had just enough flash to buoy the band through its drunken, smacked-out fog.

It wasn’t until 1989’s Dr. Feelgood that Motley Crue returned to the equal parts ferociousness and catchiness of its early work. Ironically, Dr. Feelgood was the band’s first allegedly “sober” album, yet on the strength of its hooks and snarling guitars it propelled the band to a level of fame that few bands get to experience. Predictably, the “sobriety” was as short-lived as one of Vince Neil’s marriages, and the band plunged back into its vices with renewed vigor. Egos, antics, age, and the pressure to follow up Dr. Feelgood eroded the band’s once-indestructible armor, and things fell apart. The band ousted Vince Neil, breaking rule number one for any successful band: NEVER FIRE YOUR LEAD SINGER. The resulting Vince Neil-less album, 1994’s inappropriately self-titled, Motley Crue, bombed so badly you could smell it rotting on the record shelves.

That’s when the band’s personal lives suddenly became more interesting than its music with drummer Tommy Lee garnering the brunt of the publicity thanks to his marriage to Pamela Anderson and the resulting honeymoon film, which is now owned by the public lexicon. The ‘90’s were not kind to Motley Crue. After the career suicidal decision to replace Vince Neil with grunge fluff John Corabi, Motley Crue half-heartedly (through lawyers, and pressure from record label bosses) roped Neil back into the fold to produce the second worst record of its career, 1997’s Generation Swine– a musically clueless stab at semi-industrial electronic rock that bombed almost as badly as its predecessor. Even Neil couldn’t save those tuneless, pale Nine Inch Nails imitations, and the band fell apart again, even losing its major label support.

Since then, the band has formed its own label, Motley Records, on which it reissued the entire Motley Crue catalogue with demos and bonus tracks, put out a decent record, 2000’s New Tattoo, and finally patched things up between Vince and Tommy. Last year’s compilation, Red, White & Crue took an unabashed look at its entire career, Corabi and all, and the band now seems poised to take on another decade. When you’ve been through as much hell as Motley Crue, both professionally and musically, and live to tell the tale, there’s not much that can stand in your way