WORLD PREMIERE: The Ghost Of A Saber Tooth Tiger – Moth To A Flame

Sean Lennon & Charlotte Kemp

Sean Lennon & Charlotte Kemp

Sean Lennon and Charlotte Kemp Muhl head to the outer limits with this kaleidoscopic new track.


On April 29th 2014, The Ghost of a Saber Tooth Tiger (The GOASTT) will release Midnight Sun, a guided tour of bold, shape-shifting sonic murals and evocative lyrical panoramas. Plucking musical ingredients from all over the map, the album has a highly imaginative and distinct feel. It celebrates the unusual and the grandiose but fundamentally just rocks hard and feels good.

Like the hero in the album’s melancholy “Don’t Look Back Orpheus” who takes a journey into a dreamlike underworld, the listener embarks on an auditory voyage of soaring whimsical keyboards and crunching space-age guitars that blends original melodies with kaleidoscopic freakouts. Midnight Sun injects a surreal landscape with colorful, classic hooks.

With an infectious sense of adventure akin to Beck and Flaming Lips, and several years of touring and recording under their belt, the GOASTT takes their creative and savvy approach to psychedelia to new extremes. The ambitious songs flow cleverly together with unexpected ease to tell a vivid and provocative story.

Familiar yet compelling, visceral and vital, Midnight Sun is at once a response to the bizarre world we’ve inherited and helped to create, and a refreshing escapist daydream that, if not hopeful, is keenly insightful. The GOASTT has given us a record that is poised to be a postmodern-psychedelic classic.

The Ghost Of A Saber Tooth Tiger has been busy since their debut. The band  toured with The Flaming Lips and Tame Impala, performed at the Hollywood Bowl with Jean-Claude Vannier and released a Record Store Day vinyl EP entitled La Carotte Bleue. Muhl released an EP with her teenage folk duo Kemp & Eden, who also performed in the film Greetings From Tim Buckley. Lennon, meanwhile, released a record by his experimental duo Mystical Weapons with Deerhoof’s Greg Saunier, a film score to the indie comedy Alter Egos and produced the new album by Yoko Ono Plastic Ono Band.

Awesome music, there’s magic and beauty and even mystery that bring memories… One word can make you feel. A picture may be worth a thousand words, but a word can also paint an entire picture.

Top Views by Country for 30 days ending 2014-02-28 (Summarized)

Michael Hutchence -  The charismatic frontman of INXS

Michael Hutchence – The charismatic frontman of INXS

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Top Posts for 30 days ending 2014-02-28 (Feb 2014)

Michael Hutchence - The charismatic frontman of INXS

Michael Hutchence – The charismatic frontman of INXS

2014-01-29 to Today

*** The Most Read Post in 30 Days: Fifteen Years Without Michael Hutchence, INXS’ Singer
Ke$ha Enters Rehab for Eating Disorder + Interview: Ke$ha Talks Vaginal Exorcism and Dr. Luke Controversy
What Happened To Michael Hutchence’s Fortune? Hutchence millions kiss dirt, leaving family with zilch
The Loved One, INXS’ Michael Hutchence – Documentary +Tributes
The Rolling Stones – Midnight Rambler (Live NYC) – OFFICIAL
Unruly Hearts NYC – Curious Musical Minds
Julian Casablancas of The Strokes – Interview
Listen: New Julian Casablancas track unveiled [correction added]
Brian Fallon of The Gaslight Anthem talks about his moving to Brooklyn
BBC Documentary: Blondie One Way Or Another 2006
A Rock Star Remembered: Michael Hutchence
The 12 Most Over-Hyped Bands of the Decade
Arctic Monkeys’ Alex Turner doesn’t miss a chance to mingle with the rich and famous…
Fiona Apple Breaks Down After Being Heckled Over Her Appearance
Bleecker Street Record Store moved to its new location in the West Village, NYC – NO Starbucks!
Red Hot Chili Peppers at Barclays Center – Super Hot!
Interview: Eddie Vedder of Pearl Jam
The Best Albums Pitchfork Hated This Year
Russian Police Choir Wins Olympics With ‘Get Lucky’ Performance
Watch: Dave Grohl, Trent Reznor, and Josh Homme’s uncut Grammys rehearsal
Worst Bands Ever: Singers, Rappers, Pop stars and Bands that suck
See Foo Fighters, Imagine Dragons and the Roots’ Super Bowl Shows – livestream direct from Bud Light Hotel in New York City
What Makes a Good Drummer?
Farewell, Gary Grimshaw: Rock Art Legend
24th annual Tibet House Benefit to feature The National, Iggy Pop, New Order, and more
What are the greatest key changes in Rock?
Japandroids – ‘The House That Heaven Built’ for… Ayrton Senna
Vive La Ressistance! Philippe Zdar: The Mastermind Producer behind Cassius
Red Hot Chili Peppers Headlining ‘Big Hello to Brooklyn’ Party !
A New Cold War? Ukraine Violence Escalates, Leaked Tape Suggests U.S. Was Plotting Coup
Pink Floyd Exhibition To Open In Milan
Watch trailer: Academy Award Nominee Best Short Documentary 2014 ‘Cave Digger’ – A Must See Film
Philippe Zdar To Produce The Rapture Album
Watch Video “Process” from HelloPluto
In Memoriam: Michael Hutchence Of INXS
Daft Punk: Helmets For Sale!?
Ryan Bingham talks ‘Tomorrowland’ and writing a new soundtrack
Josh Homme: ‘Fuck Imagine Dragons and fuck the Grammys’
Changing of the Seasons – Two Door Cinema Club’s New EP
The Strypes in New York, Jan 22, 2014 – The Studio @ Webster Hall
Stairway To Heaven: Led Zeppelin’s Drummer John Bonham (aka Bonzo)
Making Art With Tom Waits – Articles & Select Images
Pussy Riot duo in NYC to promote Amnesty International concert @ Barclays Center
February 2014 – New York Concert Calendar (weekend)
Daft Punk spotted without helmets at LAX airport
Alert! Tom Waits Joins Bridge School Benefit Line Up Sunday Oct 27th. Get Tickets Before It’s Announced to General Public!
Boston’s Morphine Band – They told simple & profound tales about the human condition
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The Controversy Surrounding Neil Young Carnegie Hall Concert Taping – Interview with Tom Adams
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‘New’ Pre-Pearl Jam Eddie Vedder Demos Discovered – Download CD Free
Watch Mac DeMarco Video for first single “A Little Bit of Pussy” – NUDE CONTENT!
Myles Kennedy of Alter Bridge – Interview
Drenge On Making One Of The Greatest Debut Albums Of The Year video
Arctic Monkeys Storm Madison Square Garden In Biggest US Headline Show To Date
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BIG NEWS! Ryan Bingham is excited to share that he is doing the soundtrack to his lovely wife Anna’s first feature film “A COUNTRY CALLED HOME”
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Why Your Most Important Tool In Being A Successful Indie Musician Might Actually Be Your Day Job
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Watch Tame Impala’s Kevin Parker plays gig with disco side-project.
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Ex-Hole Guitarist Claims Kurt Cobain Was Recording Solo Album
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Red Hot Chili Peppers have denied reports they will cover Led Zeppelin @ Barclays Center Concert
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Five Great Albums That Got Scrapped – Ask A Record Label
The Calling singer Alex Band reportedly kidnapped, beaten and left by train tracks after gig
Gone But Forever In Our Hearts
The Past: Winner of Golden Globe Award For Best Foreign Language Film
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The Naked And Famous unveil ‘Hearts Like Ours’ video – Watch
Amy Winehouse: only now can we glimpse her legacy
The Genius of Vladislav Solovjov – Two New Videos ‘ULTRA MONTAGE’ & ‘SPIDERBAIT – SHAZAM’!
An Open Letter to Rolling Stone
The Walkmen frontman Hamilton Leithauser announces debut solo LP
9-Year-Old Plays Banjo on David Letterman Show – Sleepy Man Banjo Boys
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Watch video ‘Recurrence’ by Vladislav Solovjov
Interview with Marc Ribot – The Village Voice
JOBS: Music Supervisor and Latin Rap Songs Needed for Short Film – Music Clout
A Perfect Circle to Release New Box Set ‘A Perfect Circle Live: Featuring Stone and Echo’
My Bloody Valentine adds more dates to their WORLD TOUR, playing 2 nights at Hammerstein Ballroom!
Daft Punk – Money and Fame in this Bullshit Game for Life
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National Public Radio (NPR) Needs Your Support
Trent Reznor Blasts Grammys With ‘A Heartfelt F–k You’ Tweet
Q&A: Gaslight Anthem’s Brian Fallon on Big Ambitions, Bonding With Fans
9 Ways To Be More Creative – The Creativity Post
US killer winter storm heading north
Actor & Musician River Phoenix’s Final Film ‘Dark Blood’ Gets September Premiere
Mark Knopfler soundtracks re-issue
Haim Drama @ Glastonbury: Haim bassist says she ‘almost died’ onstage at Glastonbury
Flashback: Bob Dylan and the Rolling Stones Perform ‘Like a Rolling Stone’
Thom Yorke: Spotify is “the last desperate fart of a dying corpse”
Alter Bridge – “The Uninvited” Live at the House of Blues, Oct. 4, 2013
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St. Vincent, ‘St. Vincent’ – Hear individual tracks from the album
Riot grrrl: sexism and music journalism – Spectrum
Led Zeppelin: Vintage Footage Of The Band Performing LIVE in 1969
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In Memoriam 2013: Gone but not forgotten
How To Be Creative | Off Book | PBS Digital Studios (Video) – The Creativity Post
The Killers rush from Wembley sold out gig to play tiny London club show – Listen to new song!
Liz Phair On Self-Titled Album – Interview
Ryan Adams’ concert in Brisbane
Arctic Monkeys rocked Webster Hall w/ Drowners (pics, videos and setlist)
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Palma Violets Interview – Chilli
MGMT @ Brooklyn’s Barclays Center – December 13, 2013
Rob Sheffield’s Bizarre Review of The Strokes New Album
Listen: Beck’s new song “Waking Light”
Awesome Performance by Foo Fighters for Super Bowl Week Bash
Watch “Echoes” directed by Special Problems + behind the scenes – Another Lexus short film
A Celebration of the Music and Legacy of Rock Icon Bob Mould (trailer)
Pearl Jam – North American Tour This Fall
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The Killers show off their private jet , talk about their upcoming show at Wembley & more
20 Best-Selling Vinyl Albums Of The Last 20 Years
Album Review: Willis Earl Beal – A Place That Doesn’t Exist
Tom Waits’ Saddest Song: Kentucky Avenue, live at the BBC in 1978.
The Rolling Stones Rock Barclays Center in Brooklyn, New York City
Watch Tom Waits Perform @ Bridge School Benefit Concert over the weekend – the musician’s first live outing in all of five years.
Interview with GOJIRA frontman Joe Duplantier
The Strokes – Comedown Machine – (full album + playlist)
Awesome! – Unruly Hearts’ Top Views by Country for all days ending 2014-01-01
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Interview + New York Gives a Cold Welcome to Pussy Riot delegation.
USA: Musician’s instruments confiscated and destroyed in airport – By Freemuse
The Paradox of Passion – By Reena Jana
Watch: The Strokes – I’ll Try Anything Once (Somewhere)
Pearl Jam Talk ‘Lightning Bolt’ + “Sirens” Official Music Video
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If You Have No Talent, Make a Sex Tape or be photographed suggestively wrapped in a bed sheet with Daddy
Fall 2013 Preview: MGMT’s new album ‘MGMT’ among the 26 Albums You Need to Hear
Jake Bugg, Shangri La – First Listen Track-By-Track
Irish Band The Strypes don’t take succes for granted – Interview
New Label Looking for Bands And Artists
Pussy Riot desperately tries to keep their dead meme alive with dumb Westerners – Via Hipster Runoff
“Everything is not OK”: An interview with MGMT
Bands On Rolling Stones – ‘They’re Going To Own Glastonbury’
10 Outstanding Performances @ Glastonbury 20013
Music Royalty Rocks Sandy Benefit Concert @ MSG in NYC
Heart’s Wilson Sisters and Jason Bonham’s Led Zep Experience will tour this summer together
Lineup Announced for Brooklyn’s Northside Festival 2013
Brian Eno – 1971-1977: The Man Who Fell to Earth
Cannes Film Festival: Beyond Memories – Lexus Short Films (+ Behind the scenes)
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Listen: Ryan Bingham — “Until I’m One With You” + Interview
Cut Copy, ‘Lights & Music’: NPR Music Front Row
Preparing To Split, The Beat Decide To Save It For Later
Arcade Fire – “Reflektor” Video Directed By Anton Corbijn
Tom Waits (Rockpalast 1977) [15]. Tom Troubert’s Blues (full concert)
Q&A: Adam X On Being Known As A Producer Instead Of A DJ, The Importance Of Mixing It Up, And Berlin’s Energy
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The Biggest Idiots of 2013
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Arctic Monkeys refer to Brits controversy at NME Awards: ‘I used my best shit last week’
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Jim Morrison Documentary Begins Production
Listen to Led Zeppelin’s unreleased demo tapes for Physical Graffiti
Live Review: St. Vincent at New York’s Terminal 5 (2/26)
Sexism in music journalism – By Suzannah Weiss [Noorigin]
Ryan Adams with Cardinals in London (1/2)
Interview- TLOBF: Two Door Cinema Club + Band Video Performing @ Orpheum Theatre, Vancouver – October 25, 2013
Neil Young @ Carnegie Hall – Awesome concert film!
Black Keys, Band of Horses, John Legend to Play Super Bowl Week Shows + Auerbach’s Divorce
Walking Dead Producer Loves Tom Waits, Bob Dylan
Arctic Monkeys cover The Beatles at their biggest ever US gig
Tame Impala, Arctic Monkeys, Mumford & Sons, Phoenix,Vampire Weekend, Portishead, Rolling Stones, More Set for Glastonbury
Bryce Dessner of The National & The Long Count – Interview
Bands That Changed The Sound That Made Them Famous
Pearl Jam’s Concert @ Madison Square Garden, NYC
Atoms For Peace – AMOK + Radiohead documentary 10/10
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Is Fashion Racist?
Heart: Fanatic – Album Review
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Unruly Hearts YouTube Channel: Gojira’s L’Enfant Sauvage Video
After the Show: The Many Faces of the Creative Performer – The Creativity Post
An Ex-Byrd’s Album Is Given New Flight – The NYT
Matt Taibbi Quits Rolling Stone to Join Omidyar’s First Look Media
St. Vincent On Her New Album – Interview + Videos
Damon Albarn Solo LP ‘Everyday Robots’ Inspired by Elephants, Eno.
Rap Lyrics on Trial
Get Ready Music Lovers: Upcoming Music Releases 2014
The iconic L.A. ‘X’ punk band – The Unheard Music: Silver Edition [short film]
Nicolas Jaar Boiler Room NYC DJ Set at Clown & Sunset x RBMA Takeover
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Avalve Rec Announce Shadowboxer’s Debut Album Deaf Dumb Blind & Mute – Released Today!
NEW VIDEO: Green Day – “X-Kid” – Album: ¡TRE!
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California Punk Trio Green Day to create mobile game franchise
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Bertsolari Txapelketa Nagusia 2013 – Zorionak guztioi!
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Awesome Video: Turn up the volume, turn off the lights and make full screen.
Beautiful Minds – Schizotypy, Flow, and the Artist’s Experience
Film Comment’s Essential Cinema: “Gravity”
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Myles Kennedy of Alter Bridge Interviewed in Australia and Paris
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Foo Fighters Are Cooking Their Eighth Album
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Jack White – Live from Austin City Limits Music Festival 2012
Tom Waits – ‘Lie to Me’ 
Guns ‘N’ Roses’ Brilliant Disaster
Yeah Yeah Yeahs played Barclays Center (pics & setlist)
Disney’s Maleficient: Anyone cares that Disney is still raping the library and not being original?
Unruly Hearts’ Top Posts for all days ending 2014-01-01
Unruly Hearts Top Posts for 30 days ending 2014-02-01
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Half Moon Run, a band not to be missed – Watch video ‘Full Circle’
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Lana Del Rey’s New Short Film ‘Tropico’ Is So Bad It Might Be Good
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Old Slayer and Fresh Fruit: Gojira Frontman Joe Duplantier’s Metal Musts
Gojira “L’Enfant Sauvage” Song Review — 5 out of 5 stars
The Strokes: Their music is beautiful anger
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An All-Star Grammy Tribute To Joe Strummer
Watch Tame Impala @ KCRW Studios – 2013-04-11 Morning Becomes Eclectic
Listen to new Arctic Monkeys: “2013″
Literature in Songs: Romeo and Juliet, Dire Straits LIVE (On the Night, 1993) HD
Ghost Brothers Of Darkland County – music & lyrics by John Mellencamp
2014 Grammy Nominations? It’s All About Extra Flash and Fanfare, Baby!
The National: A New York Institution
The Most Exciting Bands of 2013
Lollapalooza 2013 day 1 review (Nine Inch Nails, New Order, Father John Misty, Ghost B.C. & more)
The Tragic End For Iranian Rockers Seeking Musical Freedom In The U.S.

Arctic Monkeys refer to Brits controversy at NME Awards: ‘I used my best shit last week’

Turner made the statement while collecting the Best Live Band award at NME Awards 2014 with Austin, Texas.

Video: Arctic Monkeys Accept Best Live Band At NME Awards 2014
Arctic Monkeys singer Alex Turner referenced his controversial Brit Awards speech at the NME Awards 2014 with Austin, Texas.

Turner made the statement while collecting the Best Live Band award at the O2 Academy Brixton ceremony last night (February 26). It was the first of five awards picked up by the band. The award was presented by Pulp frontman Jarvis Cocker, who teased the crowd by saying, “Why would there be a person from Sheffield here?”

Turner said: “Thank you. So, Matthew, as the sun sets on awards season for another year. Just the big two left to go, eh? I’m talking of course about the Oscars… and the NME Awards. That said, I’d like to thank The Academy… I’m sorry, I couldn’t resist that one, man.”

I think I used all my best shit last week, so thank you very much, I’ll see you later.

Listen to Led Zeppelin’s unreleased demo tapes for Physical Graffiti

Led Zeppelin with jet

Led Zeppelin with jet

Next month, a rare batch of previously unreleased Led Zeppelin recordings will hit the auction block. The tracks were originally recorded during the sessions for 1975′s double album, Physical Graffiti.

Included in the collection are alternate mixes of “Trampled Underfoot”, “Driving to Kashmir”, “Custard Pie”, “In The Light (Everyone Makes It Then)”, “Swan Song Part 1″, and “Swan Song Part 2″. According to the company behind the auction, RR Auction, many of these takes are structurally different — some even completely instrumental – from those on the album’s final version.

As Rolling Stone notes, the tracks were recorded at Ronnie Lane’s Mobile Studio, one of the first ever mobile studios, built by audio engineer Ron Nevison. They’re among the larger Ron Nevison Collection, which is also auctioning songs from Eric Clapton’s Eric Clapton’s Rainbow Concert LP and early mixes of Bad Company’s eponymous debut.

Below, listen to a short sampler of the unreleased Led Zeppelin recordings and a 30-second clip of “In The Light”.

The RR Auction, dubbed Marvels of Modern Music, runs from March 13th through March 20th. Head here for more information.

Live Review: St. Vincent at New York’s Terminal 5 (2/26)

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Annie Clark celebrates her new Top Rated album with a sold out hometown gig.

Photos: Wei Shi

A St. Vincent concert is a great leveler—it reduces all of us, even Annie Clark—to mere specks in the universe that the music of St. Vincent has created. Giants like David Byrne appear alongside unemployed Brooklyners and haughty Manhattan socialites, all eager to bask in her enormous glow. The packed VIP section in New York’s shoddiest large crowd venue Terminal 5 can attest to this: We are all moths flitting toward the great white light of Annie Clark.

When the spotlight hit Clark, she belt out opener “Rattlesnake” with a sly grin, her spiny shadow looming nearby in the corner. She arrived in all reds and blacks, an almost cabaret outfit that flirted with the conservative side of sexy with stark lines. The crowd roared and hissed as they recognized her latest single, their vocals filling the cavernous warehouse of the venue with uncanny volume. Miraculously, most everyone honored the robotic plea issued just prior to the music: “Please refrain from digitally capturing your experience.” This made her message on follow-up song “Digital Witness” hang even heavier in the room: “I want all of your mind.”

St. Vincent is the perfect pop star candidate for our new millennial tastes, and the live show for her fourth and latest, self-titled record reveals this with crystalline clarity. More Bowie than Britney, she cherry picks from the drama and glitz of the ’80s with none of its tawdry, channeling the frisson of nostalgia with a cool elegance that’s decidedly of the moment. “I can’t see the future but I know it’s got big plans for me,” goes a line on “Laughing With a Mouth of Blood” a mid-set deep cut from her 2009 breakout Actor. Assured even in prescient incantations, she seems to speak her cultural import into being, predicting and creating her impact. Because she is a pop star maximalist, donning her guitar from a stagehand like a crown, prancing from center stage to some art deco, stark white boxes like a creature. She even adopts the pose of doe-eyed lounge singer for a sensual performance of another new one, the blasphemous defiance of “I Prefer Your Love.”

But she’s a pop star of her own design, existing within her own distinct confines. Clark bucks beauty standards with casual ease, willfully embracing the female dread of “grey hair” and assembles her locks with the ferocity of a lion’s mane. None of it is accidental, surely, but none of it feels put upon either. Clark is never contrived even when she is deliberate—she feels like Clark even when she’s channeling the star power of St. Vincent. Amid a generation desperately seeking to identify with aesthetic signifiers defined by their relationship to others, she seems strangely unconnected from her contemporaries.

It feels reassuring to see that Clark’s style is all her own. Even when her aesthetic nods to others, at the center of St. Vincent’s visual and aural identity we find the girl Clark and goddess St. Vincent casually interpolated across guitar solos, structured stage banter, and sporadic smiles. The staged, pre-composed banter she prepared to address the audience with has the warm feel of a mother reading a book she knows well to her children—there’s no rigidity in her preparation. Instead, the intermittent speeches reflecting on childhood joys and hopes that is seeking to connect Clark with her fans, comes across as a warm, hospitable foresight.

It’s the moments of animal abandon that really make the live show a spectacle though. Her guitar solos recall why we used the word “shredding” at all to talk about sounds that guitars make. They’re Black Sabbath, Aerosmith, or Poison in nature and fervor, but mashed up against intricate, balanced organs and harmonies and strewn with her compelling yet child-like lyrics. Her freedom onstage seems tied to the reality of her social restraint. Dancing like she’s giving birth or heaving in sickness on “Every Tear Disappears”, or doing a corpselike ballet during the languid, high-register breathiness of “Surgeon”, she seems unlocked, revealed. For “Cheerleader”, she clambered to the highest shellacked white box of the tower to unleash a guitar solo that sounds like a VCR eating the old magnetic tape of a beat-up VHS. As if the reified role of female as sexually suggestive sidelines spectator would itself jam in the machinery of our society and cease to ever be played out again.

These images conflict with the kind but closed-off portraits we get of her in overly-lengthy and wide-eyed profiles, or even photographs of her. The hype wearies us even as we seek to know her more, but this dichotomy also speaks to our continued fascination. Hence her popularity and the all-around-din of her celebrated genius: She knows herself, and she’s assured enough in that knowledge to keep it under the lock and key of her watchful, careful dialogue with the public.

Her prepared monologues make one thing clear, though, which is that Annie Clark is a great lover of the unceasing awe of childhood hopes and dreams. For an encore, a solitary, stripped down version of “Strange Mercy” from 2011’s record of the same name soothes like a lullaby, encouraging impossible dreams with a peculiar insistence. “I’ll be with you lost boys/ sneaking out where the shivers won’t find you” goes the Peter Pan-invoking refrain. Clark invites us to re-stoke the embers of our imagination, before we learned it wasn’t cool to dream big, whopping guitar-solo energy into the tiny, extraordinary hopes we had for ourselves. Before we learned that mercy is indeed strange, and rare in our encounters with the injustices of reality, law, and hierarchy. So she sings us the lullabies and livid, seething rock songs to soothe our embattled hearts. We can never be children again, but in the flicker of her looming shadow, we find a blind belief in recapturing innocence. Whether it’s a losing battle or not, Annie Clark stands as a witness that this battle is not futile.

INXS Michael Hutchence’s hauntingly prophetic words, days before his death

Michael Hutchence

Michael Hutchence

This story was published 18 days ago February 08, 2014 9:36PM by

MICHAEL Hutchence battled many demons but, for the first time, he felt close to winning the war.

“I have dealt with many demons in my life, but nothing compares to what I’ve had to face over the past few years,” Hutchence told me over the phone, in what would be his last interview.

“It would be so easy for me to say that I hate what I’ve become, but then, what I’ve become, certainly in the public eye, I’ve had no control over.

“I don’t like that.

“It concerns me a great deal that every move that I make is looked at, photographed, and made into gossip, some f—ing sound bite that doesn’t resemble the truth.”

Hutchence had called to promote a homecoming tour with INXS. It was November 18, 1997, and he was about to board a flight from Los Angeles to Sydney.

Four days later, he took his own life in a Sydney hotel room. Upbeat about coming home, the open and obliging frontman broadened our interview to include his lover British broadcaster Paula Yates, pride at their daughter Heavenly Hirani Tiger Lily, and his seething contempt of Yates’ former husband, Sir Bob Geldof.

Geldof and Yates, who had three children together, split in 1995, a year after her affair with the Australian rocker was uncovered.

That rift sparked a vicious slanging match and bitter custody battle. In our interview, he was increasingly angry and hurt at the picture the British press painted of him, especially after his fling and subsequent relationship with Yates.

“I’d say it was much worse for Paula – but I’m a realist, I just do my best to confront these things and hope I come out of it stronger and wiser and a better person,” he told me.

“The truth has hardly ever survived in our case. I get to see some of what is written, hear what is said. I try not to because some of it, no, most of it, is hurtful and it does me no good to think that it is out there. I hate the fact that people’s perception of you is just fodder. Every move you make is just used to sell newspapers.

“I don’t want to be exposed like that all the time. I don’t want to be known as someone that’s just a shallow sound bite. I have worked too long and too hard for that.

“I have always just carried on my life the way I see fit. If that ruffles feathers, and it becomes tabloid fodder, then so be it. I’m not going to lock myself away or change my lifestyle to suit somebody else’s set of rules. I think that’s immoral.

“People should just remember: I am a musician. I am a singer. That’s it.”

He continued: “I’m not complaining about the life I’ve got. I’m a dad, I sing, I travel, I get into most of the clubs for free. I have freedom and freedom gives you a certain amount of power.”

Then eerily: “I can lose all of this whenever I want to.”

Earlier that month, Hutchence had met with major studio and indie filmmakers in New York and Los Angeles to resurrect his acting career.

In that time, Hutchence did a cameo role in Limp, a low-budget movie shot in Seattle. He auditioned for the part, got it, and played a jaded record company executive. “It was directed by this hot-shot kid, this 26-year-old guy, and his energy, just seeing how this guy works with ideas, it has inspired me to work in films again,” he told me.

Hutchence was excited by the rise of quality, independent Australian film, and had set up meetings with local filmmakers during the INXS tour.

“I am the biggest fan of anything Australian, especially when I’m away from home,” he told me.

“I just rant and rave because I know what it takes to get it out there on the world stage.

Hutchence was in love, but said he had not discussed marriage with Yates.

“Every year, some columnist tells us we are going to get married somewhere. Last year it was in Queensland, the year before, it was in Italy,” he told me.

“Marriage is a very personal thing and to deny it, well, you don’t want to deny it because it sounds like you don’t want to do it.”

Did Hutchence want to do it?

“To be honest, yes,” he replied.

“I think there is a part of me that truly wants that. But in reality, we haven’t even discussed it. Some gossip columnist just thinks it’s pretty funny to tell us when we should.”

After Hutchence’s death, an understandably distraught Yates struggled to cope.

In September 2000, she was found dead in her London home from a heroin overdose. Geldof took foster custody of Tiger Lily, so she could be raised with her older half-sisters. He formally adopted Tiger Lily in 2007.

Hutchence, caught in the vitriol between Geldof and Yates, once described Sir Bob as “an evil man” and said the public had been fooled into siding with “Saint Bob”.

He told me: “It is an easy contrast. A convenient one. Saint Bob and (a) wild boy rock star. You pick the one who people are going to believe?

“One day, the truth will be told,” Hutchence sighed. Did he want to give his side of “the truth” for our interview?

“No,” he answered flatly.

“The ones who lie should be made to tell the truth.”

According to the coroner’s report, Hutchence called Geldof twice in the early hours of November 22, 1997, begging Sir Bob to let Yates bring her children to Australia. Geldof told authorities Hutchence’s tone was “abusive, hectoring and threatening”.

A desperate and distraught Hutchence placed further calls, and left voicemail messages with his former girlfriend, Michelle Bennett, and manager, Martha Troup.

Bennett rushed to the hotel, but was unable to rouse Hutchence by knocking loudly on his door, and calling repeatedly.

At 11.50am, a hotel maid found him, dead, and naked behind the door to his room. He had apparently hanged himself with his own belt.

Earlier that week, Hutchence was optimistic about being able to telling the truth his way.

“Are you comfortable in your skin?” he asked in Building Bridges.

“Some days I am everything that I hate. There’s nothing if the truth won’t survive.”

In essence, Hutchence’s songs let him have the last word.

“That I can create, that I can write, that I can express,” Hutchence told me, “that is the light at the end of the tunnel. That is how you win the battle.”