Latest News

Saturday, August 10, 2013

'RIVAL' VIDEO PREMIERE - TOUR DATES - MERCH BUNDLE


 

Watch the video premier for RIVAL. Help us spread the word by sharing the link with your friends...



New Zealand dates announced! Visit the TOUR page to see the full concert schedule.
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We put the few remaining items from our tour line up in the store. There are only limited quantities available, so act fast.
We also put together some exclusive 3 packs of classic BRMC designs. These designs run the entire history of the band,
and are made up of designs that will never be available again.

Wednesday, August 7, 2013

NEW FALL TOUR DATES !


 

We are excited to announce our upcoming tour dates for September - November.  More to come....
Visit the TOUR page on the website to learn more about where we will be performing.
Buy Tickets


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Wednesday, July 10, 2013

wehoville.com interview









Tue, Jul 09   By Chad Zachary Mulchin 
   
(Photo by Corentin Lamy/Creative Commons)


                        (Photo by Corentin Lamy/Creative Commons)

The Black Rebel Motorcycle Club (B.R.M.C.) is slated to play an outdoor show on the Sunset Strip Music Festival’s final day on Saturday, Aug. 3. They share the bill with headliner Linkin Park and Awolnation, and many, many others in support of Music for Relief.

Named after Marlon Brando’s motorcycle gang in “The Wild One,” the B.R.M.C. is a three-piece band formed in 1998 in San Francisco. After moving south to L.A., they have released a string of successful neo-psychedelic garage rock hits. Many of them have been featured in popular movies and TV shows, like “Skins,” “Sons of Anarchy” and “End of Watch.”

Their sound creates a somber yet raw atmosphere. Driving rhythms interlace with layers of guitar riffs and grooving bass lines that create a dichotomy of soft and hard. They’ve been influenced by The Velvet Underground, The Rolling Stones, The Jesus and Mary Chain and Love and Rockets.

WEHOville caught up with bassist/guitarist/singer Robert Levon Been, who is traveling throughout Europe as the band completes its summer tour. Been talked about the band’s new drummer, its involvement with the Sunset Strip Music Festival and how it feels to honor his late father by performing with his former band, The Call.


Question: How did you come to be involved with the SSMF?
Answer: “When I heard it was for charity and we were coming home at the end of our summer tour, in town for just a little while. We just played the Wiltern, so we didn’t want to do another kind of venue show. We thought it [SSMF] would be cool, to support that they are trying to raise money. We’re turnin’ back again pretty quick to play Russia and some other places. Sometimes the L.A. fans get kind of pissed off because of all the places, for some reason we neglect our home town.”

Q: Are there any social or political issues you would like to comment on?
A: “We’re always trying to bring awareness to the Not For Sale campaign, for human trafficking. I think it’s a good cause. It’s one of those things where it doesn’t have a finish line. It’s about informing people and spreading the awareness. It’s good just to get people to stick with things, not worry about immediate satisfaction.”

Q: Did you and Peter Hayes both create the BRMC together?
A: “I was looking for somebody to play music with, I don’t know if Peter was looking for anyone to play with. We met in high school. He was the only kid at school with an acoustic guitar on his back, so it was pretty obvious. That was when we were just talkin’ about getting together after school and playing. I was still learning how to play bass and write songs. Pete was a little farther along than me, but we just kept meeting up and making little weird songs on this eight-track tape recorder. We didn’t meet up with Nick [Jago], our drummer, for a about a year, maybe more.”

Q: Was Peter playing in another band?
A: “Pete played with the Brian Jonestown for a while. The idea of us doing a band stopped for a while when he tried out with them.”

Q: What brought you two back together?
A: “We both had the itch. I played in another band, too. And it didn’t feel as good as when we were just making up our own things. With the other bands, you’re just kind of one cog in a wheel. As much as the wheel might be cool, it’s better to not be a cog if you can.”

Q: How does the writing work within BRMC?
A: “We write songs just me and him, or apart, and then we come together. A lot of the best songs come from just jamming out as a band. Whether it was with Nick at the time when he was drumming, those feel the most inspired. The same with Leah [Shapiro], since she joined the band. Half of “Beat The Devil’s Tattoo” and all of our latest record are songs we wrote all together.”

Q: Is Leah Shapiro a permanent member of the band?
A: “Yeah.”

Q: Have you noticed a change in the band since she replaced Nick?
A: “I think all of us knew full well, as soon as you replace a core sentimental member of the band, there’s not very many bands that are able to keep on playing and creating music as genuine or raw. We actually thought about changing the name after Nick left, but once we started writing together it felt pretty natural. We were at the mercy of how we were all going to gel together. Leah actually started playing with us by filling in on the ‘Baby 81’ tour. Later we realized that we were able to be a real band.”

Q: “Howl” is most likely my favorite album. How did you come up with the idea to alter your sound to classic Americana?
A: “A lot of those songs from ‘Howl’ we wrote before the first record came out and some of them during the second album. We kept writing these songs that were definitely not rock ‘n’ roll. They were more rootsy and country based. We didn’t know how to fit them on a rock record, so they kept getting pushed aside. ‘Howl’ was the breaking point. We had too many of those songs to ignore and they had the right to stand on their own.”

Q: When did the BRMC transplant from San Francisco to L.A.?
A: “That was like the first year. We played everywhere we could in San Francisco trying to get a record deal. Half of what came out on the first album was recorded and released in San Francisco. Selling little demo CDs at Amoeba Records and Rasputin on consignment deals. For a year, no one gave a shit about us up there. We were running out of money and the landlord wasn’t liking the noise, so we had to move anyway.”

Q: Why did you think L.A. was the answer?
A: “We had luck in Los Angeles ‘cause we’d played there a couple times and it felt like people were a little more warm and welcoming to our music. San Francisco can be a bit arms-crossed. They’ll give you a hard time there if you’re just starting out. L.A. was different. We moved there and in six months we were signed. It was rather easy to be honest. Rather than using the bidding war to get more money, we decided to take less money as long as we could produce the record ourselves and release the album we had already recorded. We traded money for power. That’s the way it usually works. We stayed in L.A. but since we got signed we’ve been on the road more than we’ve been home. We’re starting off this European summer tour right now, getting situated.”

Q: Do you find that you play larger venues in Europe or the US?
A: “It’s been pretty even for a while now, except when you get into playing smaller towns. We’ve been lucky to not have to just say ‘we’re big in Japan.’ We have good fans all around. A lot of bands have it a lot worse.”

Q: What are some of the challenges of being on the road?
A: “All of them, you know. (Laughs) You get the full gamut. There’s things to bitch about anywhere. If you’re at home and you’ve got it good or on the road and living the dream, you can find stuff to complain about anywhere. I definitely prefer complaining on the road than complaining at home. It’s much better.”

Q: Tell me about your work with The Call.
A:: “We’re trying to release a live DVD of the shows we just played. We’re editing that now. I’m really hopin’ that will spark some more demand for some shows and playing more with those guys. They are like my second family and I just love to bring the music to life and help out. They’re amazing musicians. It’s not like a moneymaker thing, just about getting back to the fans who really and truly love it and want it.”

Q: Your father, Michael Been, passed in 2010. How does it feel to play your father’s songs?
A: It was surreal when it happened. It was all too much. Now it’s starting to sink in, so I’m trying to focus on [the fact] that the music deserves to be heard and passed on. To keep the fire alive. We owe him a lot for helping out our band, the B.R.M.C.. It feels good to pay it back a bit.”

Q: See you here, Aug. 3 on The Strip.
A: “Where dreams are born and broken. See you out there.”

Roskilde Festival, Orange, 07.07.2013

montreuxjazzlive.com interview


Friday, June 21, 2013

'HATE THE TASTE' OFFICIAL VIDEO...AND MORE TOUR DATES !




Saturday, June 15, 2013

'Hate The Taste' Anatomy Of The Song




we gonna have new official clip for this song 
:)

Wednesday, June 5, 2013

KEXP full performance in 1080p



2013-11-03 The Academy Dublin

bit late for the March gig review but better this than nothing :)

well...not the best start for the gig that you're waiting for years...me and my friend Argentinian friend - Sergio were late for the show for around 1 min of the opener - "Let The Day Begin"
we met our friens in the great dublin pub just next door to the venue.....and we still couldn't manage to be on time...


that sad incident made the overall impression of the whole show...the opening of the gig, specially BRMC GIG and getting late to that...i personally think that the feeling before the show starts and the tension makes the live concerts so great...



so here we are trying to get through the crowd on first minutes of the gig and i have to say that the room was full !



the new song sounded great the only thing is that as they being played before the official album release...it looked like most of the crowd were just focused on consuming them for the first time and trying to chew through it  with the little reaction to it....






honestly....it wasn't my best BRMC gig...first of all - i was fu &%$# late and the band itself seemed a bit tired or less enjoying the gig as they were before

overall i was really happy to be able to see them again in that great Dublin venue

Tuesday, June 4, 2013

Peter Hayes of Black Rebel Motorcycle Club on how to tell when somebody is full of sh*t



BRMC_2013_James_MinchinWeb.jpg
James Minchin

Black Rebel Motorcycle Club formed in the late '90s after Peter Hayes left the Brian Jonestown Massacre, when he and his high school friend Robert Been, son of the late Michael Been of the Call, started the band, influenced by acts like the Verve, Loop and the Jesus and Mary Chain. BRMC's self-titled debut album in 2001 offered a gritty, rock and roll take on dream pop.

A dozen years later, the trio has continued to experiment with its core sound, and this year's Specter At the Feast marks some of the band's strongest material to date. We recently spoke with Hayes about his preference for Gibson electrics, his faith in acoustic guitars and working with Dave Grohl.

Westword: Was there anything you wanted to do with your life other than be a musician when you were growing up?
Peter Hayes: Baseball, and I was in line to go into the Marine Corps. Other than that, I had a little bit of an interest in architecture. I think that [came from] growing up in shitty houses. You know, design something that was better than a shack. Something a little better anyway.

You got started playing music early in life. What was the environment for that like for you in terms of places to play and bands with which to connect?
We were in the East Bay. I had grown up with my mom playing the acoustic guitar, and one of my uncles that I visited during the summer time played country songs. I always liked the stories of that growing up, as far as country. My mom was more into folk, but she had stopped playing long ago. I asked her if I could borrow her guitar at sixteen, and from there I started writing and trying to play Jimi Hendrix songs and playing in bars. From the bars, I kept on going.
As far as other bands around, it was pretty competitive, I guess, is one word, but there wasn't much support from other bands, which is a shame. Then again, I'm not the most outgoing person myself. We always played in San Francisco and just did gigs. I didn't like to have to deal with the whole scene thing, as far as a fad of what this is or that is. I don't like supporting that kind of stuff and never did. Then we moved down to L.A., and that was a little different.

Do you find you have more of a community in L.A. than you did in the San Francisco area?
No...I don't know. Maybe. Not really. It would be nice for there to be more of that. But as time goes on, it has happened a little more. That comes with a little bit of age, too, and you can forgive people for their taste a little easier. I don't forgive everybody, but I'm a little more lenient with people.

On your website you have a section called "Other Things That Matter." What do you feel are some of the most pressing issues you see facing the world today?
We were just going to name it "Things That Matter" but that was a little too harsh. So "Other Things That Matter" was a nicer way. We were given the opportunity to be involved with a place called Not For Sale that's up there that deals with human trafficking and modern slavery. It's pretty eye-opening, it's pretty sickening and it's pretty depressing. But I've always come from a place that every day you have a decision and a vote with everything you do.
The big one thing that happens every four years or every year, that's pretty useless. This is an everyday thing. As far as I'm concerned with, that, kind of tied in with the kind of clothes you wear, the food you eat and the things you drink. It's everything. It's digging a little further than the surface of "We're an oil company, but look how green we are." You know what I mean? The catchphrases. "We also plant trees over here."
Not that they're awful people, or that it's an awful thing, but there's a proper way to do it that will cost them more money to do it, and they're choosing not to. There are certain choices that they're making, from big companies to small companies, and that's where human trafficking comes in, as in the types of workers they use. That's important -- to me, anyway. I wouldn't assume that's the case for everybody -- to try to remember anyway because no one's perfect. That's for sure.

Ian Ottaway is the cousin of Emerald Siam's Kurt Ottaway. How did you meet him?
We met him, I believe, in Oklahoma the first time. He would come out and say "Hi" at shows now and again, and we kept in touch. There's certain folks that stick with you. He's an interesting character, you know.

He has that section on your website called "Ask Ian." How did that come about?
He's a creative dude. We thought it would be a good way to support free-thinking -- call it what you will, art or not -- and voicing an opinion that at least side-steps the typical, or word it in a way that connects even better. Supporting that is what we're into. It ties in with Other Things That Matter. It's art and culture. You need a place for that to happen, and we have the ability to support that. You can't really be a supporter of art and be wholly be concerned with yourself. It doesn't work that way. We're not the most important thing.

Why did that MacBeth quote suggest itself as the title for your latest album?
It was two things. It was also a Joy Division song called "Shadow Play." The imagery it conjured up with what we're dealing with in terms of a death in the family and the death of a friend.

When you were writing music for the new album, it sounds like you spent a lot of time alone in coming up with material for the songs. Do you usually do come up with music working in solitude?
Yeah. There's people that come in and out, but it gets confusing the more people that are there. If you ask someone, they're going to give you their opinion, and they're going to have ideas. I like to take it to heart and give things a chance. But at the same time, it can get things drawn out or very confusing.
No one really knows what's right. It's a guessing game, and you have to keep that in mind. It's just kind of what feels right. That's one thing I don't trust: When somebody says they know what's right. That's when you know they're full of shit. Then again, there's folks that make a living doing it, so they are definite things you can do that are go-tos that are specific ways of doing things.

Do you mostly play Gibsons these days? What do you like about those guitars compared to other models of guitars you've tried out?
It really came down to a thing I had called it a Peavey Falcon when I was sixteen or seventeen. Like I said, I started playing in bars and coffee shops, and I sold that and got an acoustic guitar, and went traveling for a while on my own. I got so used to that and the different tunings I did on the acoustic, the 335s just fit right in with that realm, as far as being able to be tuned and had the feel of an acoustic. That's really what that came down to. I tried other ones, and they do hold, but it's a longer process for setting them up right to get them to work with different tunings.

You've played acoustic and electric guitars extensively. What do you feel are the virtues of each, in terms of what you can do with them, and in terms of writing material?
That's a hard one to judge, really. I tend to kind of go toward the realm of if you can't also play it on acoustic, then you're relying a bit too heavily on some of the tricks. I do that myself on plenty of songs. They're two different animals. The nice thing is that if the power goes out, the acoustic isn't going anywhere, so I tend to have a little more love for the acoustic. You can still survive with that.
I tend to have a little more faith in the acoustic. The reason why I tend to love playing so loud is that I'm so fucking tired of people talking in the coffee shops over the acoustic guitar. When I plugged in, I was like, "Fuck that." I'd rather clear out the room and have them talk outside. That's the fun thing about electric.

What did you find interesting about working with Dave Grohl at Sound City, where you recorded the first Black Rebel Motorcycle Club album?
It was really nice of him to ask. They were turning the studio into a high tech one and getting rid of that board. We heard about that and did our first album on that one. He said he would take it, and he put it in his studio. He's a cool guy, you know? That's not necessarily something you expect of someone at that caliber. You don't necessarily expect them to be friendly. You just never know.
It was a lot of fun putting a song together with him. It was easy going that way. It was nice having that similar kind of thing when you're kind of done jamming and looking at each other and going, "Let's try that again and see where it goes." And also looking at each other and going, "I don't know. Do you know? No, I don't know. Let's try it again." It was nice to have that. It was a stress free thing.