As Kill Hannah embark on their first U.S. tour in a year, they have released a track from their upcoming album, Wake Up The Sleepers, as a “thank you” to their loyal fans.

“New York City Speed” has circulated among Kill Hannah fans for years as a leaked demo, but the finished version is an aggressive, polished track with a beat that is fresh and contemporary, thanks to the skilled production touch of John Bourke.

(Read what Bourke had to say about working with Kill Hannah in his interview with Julie Tate of Gossip [&] the Devil.)

Tune In, Make Out

The track starts with an homage to the original low-tech version, then the generic Radio Shack keyboard disco beat is swept up by Kill Hannah’s signature crunchy guitars (props to guitarist Dan Wiese for effortlessly picking up the lead licks from the departed Jonny Radtke). The dynamic drum fills keep this song far from typical dance-rock fare, but the programming still puts the listener right in the middle of a crowded dance floor.

Shut Up, Put Out

In a recent MySpace blog post, the band called the forthcoming album “the proudest accomplishment of our lives.”  It’s exciting to see such a hopeful attitude from a group of guys that survived a disastrous tour bus fire last year and has been put through the wringer of a music industry that, as they put it, “has tragically lost its way.”

According to their MySpace page, the band is now signed with Original Signal Recordings, a progressive record label with an artist- and technology-friendly outlook.  Original Signal promotes itself as a supportive, dynamic environment for independent artists with an outlook that embraces the modern musician and music consumer.

Dress Up, Let Go

Kill Hannah believe their time has arrived.  Trimmed to their barest elements, they have rediscovered their roots and reconnected with the heart and soul of what made the band popular in the beginning.  They have thrown all their faith into this approach, the new album, their future, and most of all into the hands of their fans.

Listen to “New York City Speed” on Kill Hannah’s MySpace page now, and don’t forget to check them out on tour with Lacuna Coil.

That’s a rhetorical question, obviously.  Plenty of people liked Aiden’s 2007 effort, which was a significant departure from previous releases – most notably their breakthrough album “Nightmare Anatomy.” This departure is exactly what made “Conviction” a bone of contention among fans and critics.  For every one voice that lauded the new direction, there were three bemoaning the loss of the dark themes and heavy guitar riffs that made songs like “Die Romantic” and “The Last Sunrise” perennial live favorites.

I was excited from the moment I’d heard the band start talking up “Conviction,” and delighted after the first few listens.  An ardent New Wave fan, I loved the idea of one of my favorite bands emulating New Order as it emerged from the ashes of the much darker Joy Division.  The band seemed equally excited and enthusiastic about this direction, and they played it with gusto.

Somewhere in the intervening years, however, the enthusiasm wore off.  Whether Aiden were never really that enthusiastic about “Conviction,” or the immature fan rantings finally wore them down, it seemed toward they end that the band almost became apologetic about the album.  “We’re sorry for stepping outside the box!  Please forgive us!  We won’t try that pushing creative boundaries thing ever again, we swear!”

After promising a record that would have all the lyrical maturity of “Conviction” with the sound of “Nightmare Anatomy,” the guys duly got their black on, cleared their throats for their best primal screams, and tore out a record (“Knives”) that feels more like the precursor to “Our Gangs Dark Oath” than the next step in the evolution of Aiden as musicians.  While there are still hints of Aiden’s catchy rhythms and Angel Ibarra’s melodic guitar, I found myself spending more time staring at my speakers in disbelief than enjoying a trip down memory lane.  The lyrics have devolved to ranting against religion, love, and virtually everything else that borders on shockingly immature at times, while the album’s themes in general scream of trying too hard to recapture the dark, gritty glee of “Nightmare Anatomy.”

Perhaps that is because frontman William Francis isn’t feeling particularly gleeful right now.  He wears his lyrical heart on his sleeve, and he makes it no secret that his albums come directly from his present mental state.  The great part about such raw honesty is that when you can relate to those emotions, the album resounds despite whatever other deficiencies may exist.  Of course, if you can’t relate you feel completely alienated from the album and from an artist you thought you “knew.”

This could be why “Conviction” worked for me.  Not only was it musically appealing, but the themes of contentment, hope, and love resounded with me.  Even “Nightmare Anatomy,” which was full of dark themes and imagery, constantly returned to the idea of hope.  (“This nightmare / won’t last long …”)

“Knives” feels hopeless.  The anger and despair seething through the record make it a chore for me to listen to, and I dread seeing the songs in concert.  I listen to my favorite bands’ music for pleasure, not to be assaulted, and it’s hard not to take it personally.  So, color me disappointed by “Knives,” but I’m not giving up on Aiden yet.

I guess all we “Conviction” lovers can do is wait for a better mood to strike.

Having eschewed the idea of releasing albums in favor of new, alternative methods of music distribution, the Smashing Pumpkins have released their latest song as the soundtrack to a commercial for the Hyundai Genesis.  The commercial premiered before the kickoff to the Super Bowl on Sunday.

Years into the digital music era, artists are still struggling to figure out how to make a living off their creations.  They have experimented with everything from stringent digital copyright protection to giving away music for free.  The Pumpkins have moved to what some may consider the bleeding edge of the music distribution model: releasing songs via new media (or mass media).

Some say the model is nothing new, and it has a name:  selling out.

Who wants honey / as long as there’s some money?

Corgan has already been attacked for the band’s direction as far as music releases go, with their decision to release their single “G.L.O.W.” as part of the new “Guitar Hero: World Tour.”  A lot of observers seem to have a difficult time resolving the Pumpkins’ desire to push forward in new directions while still capitalizing on the cachet they retain from their past successes.

At times, Corgan seems to struggle with resolving the two himself, alternating between cursing fans for failing to respect the band and its direction and earnestly pleading the band’s case for its choices.  He uses the monumental success of their mid-90s work as evidence that they know what they’re doing, then at other times is dismissive of it, saying in one interview that “We spun a roulette wheel and we got it right.”

Come align for the big fight / to rock for you

Having grown weary of battling record labels, bandmates, and anyone else who has complicated his creative life, Corgan and his new compatriots seem determined to blaze a new path through uncharted territory, even if it means going to war with Pumpkins fans themselves.

Corgan recently told the Chicago Tribune:

Our primary function now is to be a singles band, that drives Pumpkins Inc. through singles. We’ll still be creative, but in a different form. We won’t do shows like this anymore, where we try to draw a good crowd and balance the past with the present. We’ll go small and do exactly what we want to do and stop playing catalogue. We’ll be like a new band that can’t rely on old gimmicks. [. . .]  We don’t want a pat on the back: Good to have you back. We want a reaction, even if it’s a negative reaction.

Those fans are more than ready for what Corgan wants to offer:  music delivered in ways that are meaningful to them.  Fans will pay for what they perceive to be value (which generally means more than “just” music–they want a full “experience”), but as they’ve shown, they will quite vocally walk away when they feel they aren’t getting their money’s worth.

“Our intention is to work within popular [media] to bring counterculture, radical ideas into the mainstream,” Corgan said.  The mainstream is obviously receptive; the only question that remains is whether Corgan’s message is the one they’re waiting to hear.

The best things in life…

The Pumpkins got a payday, but it doesn’t have to come from your pocket.  For the price of an email address, you can download  F.O.L., courtesy of the Hyundai Genesis.

And if you missed it, check out the commercial here.

And one more thing.

I owe a special thanks to miss Julie M. T. for guiding me into and through all things Smashing Pumpkins.  Check out her poetry, cultural insights, and saga-in-many-parts about meeting Mr. Corgan himself at Gossip and the Devil.

My Chemical Romance have resurfaced from their extended break to release a video for their cover of Bob Dylan’s song “Desolation Row,” to be featured in the upcoming Watchmen movie.

The band announced the pending release on their blog yesterday, along with a link to a 30-second preview.  The full version is now available to download on iTunes for $1.99.

The song is a radical reworking of Dylan’s nine-minute-plus ballad, trimmed to a lean three minutes and given an aggressive, punk-style makeover that hearkens back to MCR’s I Brought You My Bullets, You Brought Me Your Love days.

Arriving at the sound was no accident, as Gerard Way told MTV News: “[It's] punk but not in a modern punk sense. We really went for that Sex Pistols-type sound . . .  In fact, when we did the guitars, we brought in Marshall heads and ’50s Les Paul customs. So basically, relative things set up as the Pistols to get that sound. And the mixing was done accordingly as well. It’s very distorted and it’s very trashy.”

As for the video, Gerard is back in his pale complexioned, red-rimmed eyed glory, looking again to the band’s past.  The entire band is outfitted in gritty punk style, with leather and studs abounding among reds, blacks, and whites and dirty denim.  Guitarist Frank Iero sports a tattered Union Jack on his jacket, another subtle nod to the obvious.

The punk homages don’t stop there, with Iero also rocking a Misfits-inspired hairdo, and even the ever carefully coiffed Mikey Way thrashing his mane into a mess that Sid Vicious could be proud of.

Glimpses of drummer Bob Bryar’s bloody mouth, guitarist Ray Toro’s equally bloody nose, and Gerard Way’s black eye and bandaged brow give a sinister vibe to the already gritty affair — foreshadowing for the video’s chaotic conclusion that set many a fangirl’s heart a flutter.

Despite Gerard and Mikey Way working on their respective comic books, Frank Iero touring with side project Leathermouth, and the others working on their own projects, it’s obvious that My Chemical Romance still have their amazing chemistry.  It’s a small comfort to see that commercial success, marriage, and family haven’t diminished My Chemical Romance’s ambition, or perhaps more importantly their dark sense of humor and flair for the dramatic.

U2 fans (including yours truly) were treated to a one-two punch of their much-missed Irish heroes Sunday and today.

On January 18, HBO broadcast the We Are One Inaugural Celebration, featuring such diverse performers as Beyonce, Usher, Jon Bon Jovi, and U2.

“What a thrill for four Irish boys . . . to honor you, sir.”

U2 have played to some magnificent backdrops–Slane Castle and Red Rocks among them–and the Lincoln Memorial was a fitting location for a moving rendition of “Pride (In The Name of Love).”  You could hear the emotion and the weight of the moment on Bono’s voice, and despite the bitter cold, every member of the band was beaming.  From there, the band segued into the soaring, hopeful “City of Blinding Lights,” which Bono dedicated to the man of the hour, President-elect Barack Obama.  A few creative lyrical changes only made the song more perfect for the moment.

Some have derided the Irishmen’s presence at the most American of celebrations, but I would argue no band has more faithfully and interestedly chronicled the American political and cultural experience of the past quarter-century like U2.  It’s most appropriate that they be present for this unprecedented time of change and rebirth.

If you missed the show, you can catch one of the rebroadcasts on HBO, or hbo.com.  Also, check out this YouTube video of U2′s performance.

Get On Your Boots

U2 followed their spectacular reemergence into the musical spotlight by releasing the first single from their forthcoming album, No Line On The Horizon, online.

You can listen to “Get On Your Boots” (and read the lyrics) for free at U2.com.