News

There’s a lot of anticipation swirling around The Beach Bum, Harmony Korine’s first feature since Spring Breakers stormed onto the scene and declared itself an instant cult classic six years ago. It’s tough to imagine a more perfect marriage of artist and performer than the film offers, marrying Korine’s knack for capturing the simultaneous natural beauty and neon filth of coastal Florida with Matthew McConaughey’s maverick star persona. Plus, if you’ve ever read into the actor’s legal history, his characterization of Moondog might not be entirely that far off. The latest red-band trailer for the upcoming film offers a more detailed look at Moondog’s journey through psychedelics, pounds of marijuana, and his attempts to better himself before either the law or his own indiscretions catch up with him. It’s always a little ridiculous to declare a movie cult before it even comes out, but with such gifts as McConaughey sipping PBR out of a dog bowl and joints the size of forearms decking out the trailer, we have a feeling that The Beach Bum is going to be a certain sect of the population’s favorite movie of 2019. Co-starring Snoop Dogg, Isla Fisher, Jimmy Buffett, Martin Lawrence, and Zac Efron, The Beach Bum will make its premiere at this year’s SXSW before hitting theaters on March 29th. In the meantime, check out the decidedly NSFW trailer for yourself. Source

If you were to speculate on the strangest place in this world for Marilyn Manson to pop up, very likely the last place you would guess would be on a concert stage alongside Dennis Quaid, Tanya Tucker, and Kris Kristofferson (watch below). Yet, that’s exactly what happened this past Sunday at Los Angeles’ Ace Hotel. As part of a gig by Kristofferson and his backing band The Strangers, America’s favorite shock rocker was invited to join the above artists and Shooter Jennings in a performance of “Why Me?,” a song from Kristofferson’s 1972 album, Jesus Was a Capricorn. It’s a wonderful bit of dissonance to see the man behind Antichrist Superstar dressed in a simple plaid shirt and black jacket, singing lines like, “But now that I know that I needed you/so help me, Jesus/ My life’s in your hands.” It’s something that Manson clearly took pride in, as well, as after the event, he posted a picture on Instagram of himself and Kristofferson, saying, “An honor to be invited onstage with the true Star Is Born,” referring to Kristofferson’s role in the 1976 film. Manson recently celebrated his 50th birthday at a star-studded party that included guests like Jonathan Davis of Korn, Karen O of the Yeah Yeah Yeahs, and Courtney Love. That shindig came soon after his appearance at a New Year’s Eve edition of Ozzfest where he performed a full set and then joined his recent touring partner Rob Zombie and ex-Motley Crue bassist Nikki Sixx for a cover of the Beatles’ “Helter Skelter.” The rest of the year looks relatively quiet for Manson thus far. All he has on the calendar so far is a scheduled appearance at this year’s Rock USA Festival, taking place in Oshkosh, Wisconsin, from July 18th to the 20th. Manson is booked for the second night of the fest, taking the stage right before Rob Zombie and after sets by Clutch, In This Moment, and many more. Tool’s Top 5 Music Videos Tour Preview: Bring Me the Metallica’s Top 5 Songs Favorite Setlist.fm Music Moments in Behemoth's Top 5 Songs Source

The Pitch: Yas, bitch. The queenz are back — at least for one final season. Abbi (Abbi Jacobson) is still working at Anthropologie, but she’s been promoted to the sales floor. She’s still angling for a way to put her art degree to use, though (ONE DAY SHE WILL DESIGN THAT WINDOW DISPLAY). It’s unclear from the episodes made available for review if Ilana (Ilana Glazer) is actually working this season — what else is new? — but at least she’s back together with New York’s most lovable dentist, Lincoln (Hannibal Buress). Jaimé (Arturo Castro) also has found love in his life, with the introduction of new boyfriend Johnny (Guillermo Díaz). Don’t be fooled by the easy casualness of the early plotlines, though. The Broad City gals are growing up, and Season 5 packs an unexpectedly emotional punch. Ellen’s Not the Only Relatable Biotch: In reflecting on Season 5 to The Hollywood Reporter, Jacobson said, “[Broad City] was this thing that happened in this time, because it’s very pop-culture reference-y and it’s very specific to right now.” The new season capitalizes on Jacobson and Glazer’s ability to capture the pop-culture zeitgeist. Complete with filters and emoji commentary, the first episode celebrates Abbi’s 30th birthday with Ilana following the duo on Instagram Stories as they trek through Manhattan — falling down manholes and accidentally kidnapping children. But the show’s not all silly physical humor. Some of BC’s best pointed humor has come when the two parody their own “white wokeness,” as Ilana does in the season premiere by getting just one braid (“a touch of cultural appropriation shines a lot on the issue”). Jacobson and Glazer have a great ear for the moment, so whether a scene’s political, silly, or gross AF, Season 5 continues to be pretty spot-on humor. Hold Up. Did Ilana Say the Word “Career?”: What the abundant eggplant emojis of Episode 1 belies, however, is that Abbi’s big 3-0 is actually setting a new tone for Season 5. When a stranded kid in the mall calls Abbi “mom,” the 30-something goes through the existential crisis every not-as-young-anymore person goes through: realizing she is old enough to be a mom. Everywhere the ladies turn this season, they’re confronted with the fact that the world has grown up without them. Abbi’s friend from college, Smelly Pussy Donna, works at MOMA now. Lincoln is talking crazy adult things like buying a house and having kids. Even Jaimé might be looking toward a future that doesn’t involve popping pimples off of Ilana’s back. Apparently, Jaimé’s so stressed about how serious his relationship with Johnny is getting that an old bad habit has resurfaced — our boy’s a hoarder! Being the caring and totally-grounded-in-reality roommate she is, Ilana instigates an intervention, taking on the role of psychologist in helping Jaimé confront his fears of going to the next step with Johnny, even if that possibly means leaving Ilana roommateless. Jaimé’s not the only one moved by the conversation. Ilana begins to wonder if this is something she could be good at, if it could be a, like, career?! Whoa. Does Illana have a life plan that doesn’t involve getting stoned and singing her heart out to “Hit Me Baby One More Time”? WHAT IS GOING ON? But for a show that’s always been premised around two ladies doing nothing to the fullest, you can see intention peeping through the cracks of each episode of the final season. Storylines are getting tied up, and new paths are getting laid out. What is this new emotion? Some of these scenes are actually kind of … sad. It’s bittersweet seeing the girls get their lives together, because we know inevitably that means our time with Abbi and Ilana is coming to a close. I’m Not Crying, You’re Crying: Abbi and Ilana always have been the heart and soul of BC, but Season 5 is smart enough to occasionally put the talents of Hannibal Buress and Arturo Castro front in center. Since we’ve seen them last, Buress has been headlining a solo tour through the US, and Castro nabbed a role on Netflix’s Narcos. Both men’s roles on Broad City started as side characters, less known for who they are themselves than how Ilana comically uses everyone she comes in contact with. But both Buress and Castro have emotionally searing performances this season. It comes at times when both Lincoln and Jaimé have to make really adult decisions about their respective futures, even if it means leaving Ilana behind. To the show’s credit, somewhere along the line, these minor characters became fully fleshed-out people whom it’s impossible not to root for. In an interview with The New York Times, Johnson and Glazer reflect that they were bawling while writing the final scenes (and then bawling again while filming). And I think the real Abbi and Ilana’s realization that things were coming to an end permeated every episode of the final season. It’s still slapstick humor and hilarious, but each time a storyline ties up (which kind of feels like every episode), that Season 5 theme of the inevitably of growing up adds a hint of pathos that just wasn’t present on the show before. The Verdict: Even though Broad City’s characters are so extreme that the show seldom captures what most viewers do (unless you go around making video montages of you best friend’s butt — I can’t speak for every reader), the show’s very good at capturing how we, as a culture, feel. Glazer and Jacobson have always been really good at the everyday moments we all experience, and this season it’s no different. Take the season premiere. There’s no profound takeaway: just Abbi and Ilana debating quitting social media because we’re constantly comparing ourselves to others and/or performing rather than living in the minute. Even the absurd physical humor is relatable — like, who doesn’t have dry feet (although you probably don’t take a cheese grater to your dead skin like Ilana does this season). Humor is a good antidote, but so is a show that just gets it, and that’s what Broad City offers. This final season even steps it up with a bit of reflection and (gasp) character development. If you’re going to end, you may as well end on a high note. And with lots of emojis. Source

It’s been six years since Feed Me’s debut album, Calamari Tuesday. In the time since, he’s released three more acclaimed EPs, as well as a debut album as his first alias Spor, but fans have always wondered when the next Feed Me album was coming. Last month, he finally teased a new album was on the way, and today, he dropped the news fans have been waiting for. Feed Me’s second album will be titled High Street Creeps, and will release on mau5trap in a month, on February 22. The first single, “Feel Love,” will be released February 8, followed by second single “Sleepless” on February 15. The album contains 10 tracks in total. In response to the long gap of time between albums, Feed Me states, “I’d amassed a lot of material since my last album, but it took a long time for me to feel like it was the right time to do another. My life had changed a lot since, I’d been through a lot of experiences and it felt overwhelming to try and condense a sprawling mass of feelings and ideas into a new story.” Pre-save “Feel Love” here. Proud to announce my second album ‘High Street Creeps’ is forthcoming on @mau5trap 02.22.19. First single ‘Feel Love’ is available to pre-save here: https://t.co/eTEFtE3aLE Thank you all so much for the support, this has been a huge journey pic.twitter.com/FASe5wwNsH — Feed Me (@feedme) January 23, 2019 Photo via Rukes.com This article was first published on Your EDM. Source: Feed Me Announces Second Album, “High Street Creeps,” Out In A Month Source

This March, TEEN will let loose their fourth studio effort, Good Fruit. Due out through Carpark, it follows 2016’s Love Yes and serves as the first full-length self-produced by the sisterly trio. Last fall gave us our first peek at the record, “Only Water”. Now, Teeny, Lizzie, and Katherine Lieberson are back with a second offering in “Runner”. The bold, synth-driven cut derives its power from its backstory. According to Teeny, the song is about defying relationship conventions and maintaining a sense of freedom and individuality despite being partnered up. “In relationships, I have a fear of suffocation, a fear of losing freedom, and of anyone squashing my desires, my narrative. Mainly because it’s happened,” she told Billboard, elaborating further: With ‘Runner,’ I wanted to explore a feeling: what makes someone seemingly difficult? Particularly women? Rarely have I had the experience where my partner is OK with my complexities; my intensity, my warmth, my ambition, generosity or lack thereof. The fact that I unabashedly will not be contained. Instead my experience, especially in relationships with men, has been this: it is far more comfortable to keep me as a projection of what they want, rather than interact with who I really am. When I begin to feel this, and it’s often when a dude is asking me to be his girlfriend, and comply with his systems of habit, I run. This isn’t about a phobia of commitment. It is about looking at commitment differently and having the right to challenge what is being asked of one another.” Check out “Runner” below via its official music video, which aptly features vivid colors and lots of sprinting. Good Fruit arrives March 1st. In support, the indie pop outfit has added more dates to its upcoming US itinerary. TEEN 2019 Tour Dates: 03/07 – Durham, NC @ The Pinhook 03/08 – Atlanta, GA @ 529 03/09 – Savannah, GA @ Savannah Stopover 03/11-17 – Austin, TX @ SXSW 03/19 – Los Angeles, CA @ The Echo # 03/20 – San Francisco, CA @ Café du Nord # 03/22 – Portland, OR @ Mississippi Studios # 03/23 – Seattle, WA @ Barboza # 03/24 – Boise, ID @ Treefort Festival 03/27 – Chicago, IL @ The Hideout 03/28 – Cleveland, OH @ Beachland Tavern 03/29 – Brooklyn, NY @ Elsewhere # 03/30 – Washington, DC @ DC9 # # = w/ Methyl Ethel Source

Quality Goods Records and UZ have followed up the producer and DJ’s 2018 The Rebirth album with a remix collection. Out this week through his label are seven alternate versions of some of the LP’s most memorable tracks, with plenty for fans to sink their teeth into. Rome In Silver, Eliminate and Silva set things going with fresh versions of ‘Mad,’ ‘Rebirth’ and ‘Leave It,’ whilst we love the gnarly edit of ‘Futon’ from Baajewala. If rising star Krischvn is a bit of you, be sure to check out his wonky reworking of UZ and Bok Nero‘s ‘Flash.’ Hydraulix delivers yet again with ‘Cray,’ before Jon Casey finishes things off nicely with an expansive re-lick of ‘Castle’ ft. Nevve. Check out the album here.  This article was first published on Your EDM. Source: UZ – The Rebirth (Remixes) Source

Following their announcement as one of Coachella’s 2019 headliners, Tame Impala revealed that new music would soon be on the way. In a new interview with Australia’s The Sunday Times, mastermind Kevin Parker went a step further by confirming that a new album will be released before the end of the year. He also talked about the Coachella set and how he forgot to break the exciting news to his band mates. Parker didn’t give too much away regarding the details of said album, but The Sunday Times described the next 12 months as “career-defining” for Tame Impala. The publication also noted that, when home in South Fremantle, Australia, Parker has been known to log “10 or so more hours a day” making new music. (Read: The 10 Most Anticipated Indie Rock Albums of 2019) The Tame Impala leader previously said that he isn’t a fan of debuting new material live, leading to speculation that the new album may drop in time for their April appearance at Coachella. In the new interview, though, he maintained that he isn’t under any pressure to meet any kind of deadline. “I like to think that the album is its own thing,” Parker explained. “I wouldn’t want in 20 years to be listening to an album I made now and think that I finished it for any deadline or any particular reason. It was finished because it was finished.” That being said, when it comes to fans’ and critics’ high expectations for the new material, he is keeping optimistic and channeling his inner Lady Gaga, with whom he’s worked extensively. “Anticipation is good… I want to be the kind of artist that feels empowered by people waiting to hear what I’ve got,” Parker remarked, before quipping, “This is the Gaga in me speaking.” Although the new album may not be here in time for April, Tame Impala is promising a massive Coachella headlining set — even though Parker pretty much forgot to relay the news to touring bandmates Cam Avery, Dominic Simper, and Julien Barbagallo. “They would’ve woken up, seen the poster and thought it was a joke,” said Parker, laughing. “If they read this interview, they’ll know I forgot. We’re not much of a celebratory gang.” (Read: The Top 50 Albums of 2015) Tame Impala is only the second Australian act to nab a top billing at Coachella, following AC/DC’s performance in 2015. As previously reported, Tame Impala was elevated to headliner status after Justin Timberlake was forced to cancel his appearance due to vocal cord issues. To help present a set of epic proportions, Parker is considering teaming up with creative director Willo Perron, who has produced concerts for Lady Gaga, Kanye West, and Florence and the Machine. Perron previously worked with Tame Impala for their 2017 Panorama Music Festival performance. “I’ve held back before because we’ve always tried to be understated, (but this is) kind of a license to not be that anymore. If that means having 100 lasers instead of six, so be it,” Parker told The Sunday Times. “Without giving too much away, I think that’s a given.” Tame Impala’s last full-length, Currents, came in 2015 and earned them a Grammy nomination for Best Alternative Album. Check out their full list of upcoming tour dates. Tame Impala 2019 Tour Dates: 04/13 – Indio, CA @ Coachella Music Festival 04/20 – Indio, CA @ Coachella Music Festival 05/03-05 – Atlanta, GA @ Shaky Knees Festival 05/11 – Guadalajara, MX @ Corona Capital Guadalajara 05/24 – Boston, MA @ Boston Calling 05/31 – Barcelona, ES @ Primavera Sound 06/21-23 – Scheeßel, DE @ Hurricane Festival 06/21-23 – Tuttlingen, DE @ Southside Festival 08/09-11 – Helsinki, FI @ Flow Festival Revisit Currents single “The Less I Know the Better”: Courtney Barnett's Top Lyrics Florence and the Machine's Top Tour Preview: Thom Yorke and Metric Tour Sizzle Tour Update: Wolf Alice Brings Source

The Lowdown: Nearing the tenth anniversary of their debut album’s release, Rival Sons offer their sixth studio album with Feral Roots. The tracks throughout Feral Roots show off the California band’s range in performing bluesy rock ‘n’ roll; with high energy riffs and slow melancholy rhythms, the music offers a variety of emotional tones for listeners to absorb. In all its mood and style, Feral Roots exudes a delicious instrumental blend of rock. The Good: The album’s best quality is its instrumental variety; from the electric rhythm of “Do Your Worst” to the somber vibes in “Look Away”, the record continuously provides a fresh spin on the band’s sound. In particular, the guitar work is the critical component among the group, providing the powerful instrumental emotion in each song. In “Do Your Worst”, the vocals blend in with the vibrant guitar and bass flow, the drum work clashing alongside the mix. The guitar’s warm fuzzy tone leads into “Sugar on the Bone”; carrying more boisterous energy in the drumming, the song makes for a playful jam. Each component of the band compliments one another, helping to establish a unifying element throughout the music. Even though Rival Sons does a great job creating heavy rock, it’s terrific to see how they can spin multiple styles across the album. While “Look Away” offers more of a drawl in its radiant twang, the self-titled track is a big shift in musical tone compared to the tracks before it. The song takes on a folksier flavor in the vocals, with the guitar work providing gentle picking and flourishing melodies that present a mesmerizing flow. “Stood By Me” gives off a funky appeal in its rhythm, whereas “All Directions” exudes a starry atmospheric vibe. The Bad: Truthfully, there isn’t much one can find negatively on this album. From beginning to end the band offers great musical quality; it also helps that each track has some distinction in sound, giving listeners more to enjoy. The Verdict: If you’re brand new to Rival Sons, then Feral Roots is an excellent place to start. Across 11 tracks, the band keeps listeners engaged thanks to a spread of bluesy rock. Electric rhythms intertwine with warm vocals and glowing melodies throughout Feral Roots, making for an experience where listeners will find something different to enjoy in each track. Essential Tracks: “Do Your Worst”, “Feral Roots”, “Stood By Me” Source

There’s something about the folk scene that makes it the perfect cradle for collaborations. The whole idea of Americana, after all, is birthed in the idea of blending traditions that form the roots of the American sound. Given that, it’s unsurprising that folk musicians seem to form supergroups at a rather radical rate. One of the genre’s biggest joint success has been I’m With Her, formed when Sara Watkins, Aoife O’Donovan, and Sarah Jarosz teamed up in 2014. The trio of powerful voices had impressive careers in their own rights, but their talents together are even more captivating, as they demonstrated on their acclaimed debut full-length, 2018’s See You Around. Today, I’m With Her are back with a new single that shows how they’ve grown alongside each other as artists. Produced by Mike Elizondo (Regina Spektor, Fiona Apple) and recorded at Nashville’s Emporium Studios, “Call My Name” captivates from the first notes of simple humming by the three vocalists. Their voices are swaddled in gentle reverb as they deliver bewitching harmonies, a subtle production trick that highlights the psychedelic tension of the song. With Wurlitzer and fiddle dancing beside one another in the glow of a desert fire, meditative drumming centers the ethereal composition. It is, of course, the gliding vocals of Watkins, O’Donovan, and Jarosz that continue to stun, their interplay as magical as anything done in the instrumentation. Take a listen below. For more on what went into “Call My Name”, each member of I’m With Her shared two of their personal Origins stories behind the track. A lone figure: Photo by Hamed Saber, modified There are a few moods in the song. While writing it somewhere in the middle there, we had this image of a figure walking away, in the desolate darkness. Just out in the desert — seemingly without direction. — Sara Watkins Dichotomy of Self: When we were writing the song, my interpretation of it was that it was about two clearly defined (in my mind) people. But now when I think about the lyric, I feel that much of it I relate to as dichotomy within myself. — SW Imagery: I really think the imagery comes through in a vivid way on this song — the covers pulled over your head, a bead of sweat running down your neck, a patch of quilted leaves under an opalescent sky… I almost think of this song as a projected slideshow describing the push and pull of a relationship. — Sarah Jarosz Breckenridge, Colorado: This song is unique in our writing catalogue because it’s the only song we’ve written smack dab in the middle of a year’s long tour. All of our other writing was focused and confined to retreat style writing sessions. We had one day last August set aside to write this song, so we convened in a small hotel room in Breckenridge, Colorado and came up with most of the lyrics and melody in an afternoon. Aoife had developed the initial guitar hook on piano, and it all kind of grew from there. In a way, I think the limited time we had to write this song was beneficial to the subject matter — that is, the flustered feeling you can get while trying to balance even the most loving relationship. — SJ Mike Elizondo: This track is a result of a real collaboration with producer Mike Elizondo. We had two days in the studio and a finished song, but we had no idea how it was going to turn out. Mike’s approach to recording and producing the track was incredible. We gave him a few reference points (there’s a funny Instagram video of Jarosz and I playing the congas as Watkins looks on disapprovingly), and he created a beat that became the bed of the entire song. Having never recorded in this way as a band, it sets “Call My Name” apart in its sonic landscape and feel, while retaining the intimacy that has become a cornerstone of our band. — Aoife O’Donovan “Leader of the Pack” — The Shangri-Las: It’s always funny to reference other songs when talking about inspiration for an original song, but in this case, it’s totally appropriate. The song begins with solo voices singing in unison, with a vintage sound. This hook is repeated throughout the tune, passed around to guitar, Wurlitzer, and fiddle. I remember mentioning the old track from the sixties “Leader of the Pack” (which was the first song I ever sang at Karaoke at the age of 9). It starts with a solo female voice humming to herself before the groove drops. It was a definite influence on what we ended up with. — AO Source

Anyone with a Sleater-Kinney shirt or a Le Tigre record was thrilled when news broke that original riot grrrls Bikini Kill would be reuniting for a select run of shows. Don’t count Hole singer Courtney Love in those ranks, however, as instead of celebrating the iconic band’s return, she’s used the reunion to reignite a nearly two-and-a-half-decades old feud. The story goes that Love didn’t get along with Bikini Kill during the 1995 Lollapalooza tour. Depending on the source’s memory, Love either punched, attempted to slap, or threw candy at Bikini Kill singer Kathleen Hanna. There’s also the Hole track “Rock Star”, with lines like, “Well I went to school in Olympia/ Everyone’s the same/ And so are you, in Olympia”, often read as shots towards Hanna. So maybe it’s not surprising that when Love stumbled upon an Instagram post from Bust Magazine championing more reunion shows, she took aim and fired again. “Speak for yourself,” she replied to the post. “Biggest hoax in history of rock and roll.” (Read: Kathi Wilcox: From Bikini Kill to The Julie Ruin) When other users started coming at her for being unnecessarily bellicose, she retorted by calling drummer Tobi Vail and bassist Kathi Wilcox hacks and Hanna a “diy nonsense dilettante:” “Yeah. It’s worse when I speak truth to the rock male industrial complex. But at Least I have the best view. Two of that band total amateurs. Hanna is a good hype man. But her persona is such a diy nonsense dilettante. A big idea they cannot convey, because they suck. That’s all! Back to Paris couture, because frocks don’t trigger me. Ce vai!” She did find some support, however. User @scottharn called “Riot grrrl a failed experiment that died the second they decided shunning their own exposure was the ‘anti-establishment’ way.” Love responded, “Exactly! Now back to Paris, the couture, and chanting.” Those on Love’s side might have a reunion of their own to look forward to, as she responded to someone begging for the return of Hole by saying, “working on it.” Of course, we’ve heard that before, and she followed it up with another quip about Bikini Kill fans. Gotta love the Love. Find screen grabs of Love’s comments below. Source

After being just about damn everywhere since Pharrell Williams helped her go viral in 2016, Maggie Rogers finally fully arrived last week with her debut full-length, Heard It in a Past Life. Even before the LP, the folk pop breakout was familiar with late night TV, having already appeared on Saturday Night Live, Late Late Show, and Late Night. On Tuesday, she completed the talk show trifecta with a performance on the Late Show with Stephen Colbert. (Read: 10 Most Anticipated Indie Rock Albums of 2019) Rogers sang the Past Life single “Burning”, giving a high-spirited performance that saw her at her effervescent best as she flipped her hair and danced like a hippie setting herself free. She had some assistance from Jon Batiste on piano, adding another collaborator to her already extensive rolodex. Watch the replay below. Rogers’ tour supporting her major label debut kicks off in Europe next month. She’ll head back to North America in March for what is one of our most anticipated treks of the year. Get your tickets here. Source

The Indigenous Peoples March last week should have been a time of understanding and celebration, but it became national news for all the wrong reasons when a video of a group of young men in MAGA hats apparently harassing a Native American elder went viral. The elder has been identified as Nathan Phillips, a former U.S. Marine. As it turns out, that same Nathan Phillips coincidentally starred in the music video for “Make It Bun Dem” by Skrillex in 2012. The connection was discovered by fans on Reddit’s /r/Skrillex — but even then, the majority of comments had a tone of incredulity. “[T]he simulation is officially broken,” writes one user. “I can’t believe this is actually real. After reading OP’s headline, I 100% thought this was a troll. Look at his wikipedia page, it’s genuine. Wow,” writes another. Sure enough, Phillips’ Wikipedia page confirms the man in the music video and the man at the march are one in the same. Talk about a glitch in the Matrix, eh? Watch the “Make It Bun Dem” video again below. This article was first published on Your EDM. Source: Native American Leader From Indigenous Peoples March Incident Is Same Man Who Starred In Skrillex’s “Make It Bun Dem” Video Source

On April 19th, Ryan Adams will release Big Colors, the first of three new albums he’s promised in 2019. Already, we’ve heard two tracks off the record with “Doylestown Girl” and “Manchester”, but now he’s issued the official lead single, “Fuck the Rain”. This time around, the shaggy singer-songwriter isn’t alone at the proverbial pinball machine. No, he’s given an assist by John Mayer, who swoops in with a guitar solo, proving once again he’s one of the more underrated axemen out there. “Check out this song it’s cool,” Adams says in a press release. “Or don’t- we all might die trump is president. I love you, sincerely Ryan Adams.” Stream the track below. Mayer isn’t the only name to look forward to on Big Colors. Adams is also joined by the one and only Bob Mould, Heartbreaker Benmont Tench, The Section Quartet, and producers Beatriz Artola and Don Was. That guest list mirrors previous reports that his follow-up album, Wednesdays, will feature Emmylou Harris, Jason Isbell, and Tench. Consult the single’s artwork and the album’s full tracklist below. Adams has also announced a round of newly minted UK tour dates, which should make us Stateside fans salivate for the full-fledged US tour that’s undoubtedly coming. “Fuck The Rain” Artwork: Big Colors Tracklist: 01. Big Colors 02. Do Not Disturb 03. It’s So Quiet, It’s Loud 04. Fuck The Rain 05. Doylestown Girl 06. Dreaming You Backwards 07. I Surrender 08. What Am I 09. Power 10. Showtime 11. In It For The Pleasure 12. Middle Of The Line 13. I’m Sorry And I Love You 14. Manchester 15. Summer Rain Ryan Adams 2019 Tour Dates: 03/31 – Dublin, IR @ Olympia Theatre 04/02 – London, UK @ Royal Albert Hall 04/05 – Newcastle, UK @ O2 Academy 04/06 – Birmingham, UK @ O2 Academy 04/07 – Manchester, UK @ O2 Apollo 04/09 – Glasgow, UK @ Royal Concert Hall 04/10 – Sheffield, UK @ O2 Academy 04/11 – Cambridge, UK @ Corn Exchange Source

The lineup has been announced for the 2019 edition of the Austin Terror Fest, with Goatwhore, Pig Destroyer, Alcest, Lightning Bolt, and more on the bill. The festival will take place June 7th-9th in Austin, Texas. Also among the 30-plus acts playing the fest are Integrity, Panopticon, Bongzilla, TR/ST, Church of Misery, Indian, Full of Hell, Tomb Mold, Windhand’s Dorthia Cottrell, Gadget, and more. A full performance lineup can be seen in the poster below. “I really think this is going to be the biggest Austin Terror Fest yet, as we have been able to secure some of the best talent possible when it comes to metal and rock,” said the festival’s co-founder Dusty Brooks in a press release. This year, the fest will take place at the venues Empire Control Room & Garage and Barracuda, which are located in Austin’s Red River Cultural District. Three-day general admission tickets are now available at the festival’s Facebook Event page. Source

JAY-Z and Meek Mill have announced the launch of a new criminal justice reform organization called REFORM alliance. The organization’s mission is to “[advance] criminal justice reform and [eliminate] outdated laws that perpetuate injustice, starting with probation and parole.” Activist and former Obama advisor Van Jones has been appointed as CEO of REFORM, while Meek Mill’s longtime friend, Philadelphia 76ers co-owner chairman Michael Rubin, will serve as the organization’s chairman. Other founding board members include New England Patriots owner Robert Kraft and Brooklyn Nets co-owner Clara Wu Tsai. The group is committing $50 million to launch of the organization. At a press conference announcing the launch of REFORM, Rubin noted that 6.6 million individuals are currently in the US criminal justice system, including four million people who are on probation. “Our rate of incarceration is more than five times higher than the rest of the world,” he went on to point out. Jones will oversee the organization’s mission to “drastically reduce the number of people who are under control of the criminal justice system while keeping communities safe by changing laws and public opinion.” “This is the opportunity of a lifetime,” Jones said. “I have spent my entire adult life preparing myself to help lead an initiative of this magnitude. I’m looking forward to working with this powerful group of founders to disrupt the status quo and shift the criminal justice system landscape for generations to come.” Tweet #REFORM if you’re down to help us make a difference in the American criminal justice system @REFORM #FightDifferent pic.twitter.com/tNYXBCi9td — Meek Mill (@MeekMill) January 23, 2019 Meek Mill’s own case has brought national attention to issues of sentencing and probation in the criminal justice system. In November 2017, the rapper was sentenced to two-to-four years in prison after Judge Genece Brinkley determined that he was in violation of his probation. Mill’s attorneys said the sentence was unjust and accused the judge of showing “enormous bias” against the rapper. They alleged Judge Brinkley of making inappropriate demands in private, including requesting that Mill give her a shout-out in a song and requesting that he leave his management at Roc Nation in favor of Philadelphia music figure Charlie Mack, of who she was an associate. The FBI subsequently launched a probe into the allegations. Beyond the alleged misconduct of the judge, Mill’s sentencing was seen as emblematic of the country’s broken criminal justice system and its unfair treatment of black adult men. In an op-ed published to the New York Times, JAY-Z argued that Mill’s case was “just one example of how our criminal justice system entraps and harasses hundreds of thousands of black people every day.” Specifically, JAY-Z took issue with probation, or as he called it, “a land mine, with a random misstep bringing consequences greater than the crime. A person on probation can end up in jail over a technical violation like missing a curfew.” In Mill’s case, his probation stemmed from an 11-year-old case. The charges that led to his “violation” were minor in nature — he was arrested for popping a wheelie on a motorcycle on the set of a music video — and were later thrown out. What’s more, both the prosecutor and the parole officer recommended no additional jail time for Mill. Judge Brinkley disagreed, however, unilaterally deciding Mill’s actions warranted a minimum of two years in prison. Even after the allegations of misconduct surfaced, the judge refused to recuse herself from the case and denied Mill’s repeated requests for bail, saying he was “a danger to the community.” Fortunately, in April 2018 the Supreme Court of Pennsylvania overturned Brinkley’s decision, citing questions regarding the credibility of the officer who original arrested Mill in 2007. The court also noted that prosecutors were not opposed to Mill’s release. Source

J. Cole had a heck of a 2018. Between KOD, which definitely got snubbed by the Grammy’s, and his many features on songs by artists like Bas, J.I.D. and 6LACK, J. Cole had a jam packed year. However, 2019 is shaping up to be just as busy for the Fayetteville, N.C. native. With a new single, “Middle Child”, slated for release at 9 p.m. on January 23rd, and an album from J. Cole’s label Dreamville on the horizon, Cole fans should be very excited for what 2019 holds for the rapper. J. Cole was arguably at the top of the rap game in 2018, and to keep this trend up in the new year the rapper is definitely going to have to continue to produce the relevant and lyrically intricate music that fans have expected from him. At 33-years-old, J. Cole is considered one of the veterans in the rap game; however, due to his tendency to shy away from the camera, the rapper has always seemed to take the backburner to other rappers like Drake and Kendrick Lamar. Cole has had hit albums like 2014 Forest Hills Driveand KOD, which were both critically acclaimed, but it seems he has yet to have an album that propels him to where he should be: at the top of the rap totem pole. Albums like DAMN and ASTROWORLDhave done the trick for Kendrick Lamar and Travis Scott respectively, but how long will it take for a J. Cole album to do the same? I believe this is not due to a lack of skill on Cole’s part, but rather on a majority of the rap community’s inability to recognize the rapper’s ability to consistency make good music. I think J. Cole’s next album could change that opinion and finally place him in the top 3 conversation. What do you think? The post Is 2019 J. Cole’s Year? appeared first on Verge Campus. Source

Trouble continues to follow Bryan Singer. The disgraced filmmaker has been accused of sexual abuse by four more men, who say they were targeted when they were underage in a new investigative report for The Atlantic. The report stems from an exhaustive 12-month investigation, involving multiple journalists and over 50 sources, which include the aforementioned four men who had previously never spoken about their experiences with Singer. One of the four men is Victor Valdovinos, who served as an extra at the age of 13 for Singer’s 1998 film, Apt Pupil. He recalls being cornered in a locker room by Singer, who “grabbed my genitals and started masturbating it,” he tells The Atlantic. The other three men chose to remain unidentified for the report. Two men – who are referred to as Eric and Andy – recount having sex with Singer at the ages of 17 and 15, respectively, and say Singer both knew they were underage. And another, who goes by Ben, says he engaged in oral sex with Singer when he “was either 17 or 18.” “The portrait of Singer that emerges is of a troubled man who surrounded himself with vulnerable teenage boys,” the report goes on to describe, “many of them estranged from their families. Their accounts suggest that Singer didn’t act alone; he was aided by friends and associates who brought him young men.” A number of those associates, The Atlantic goes on to detail, involve Singer’s previous ties and investments with Digital Entertainment Network (DEN), which was founded in 1998 with an emphasis to produce entertainment for gay teens. One of Singer’s accusers — the aforementioned Andy — alleges being groomed by DEN CEO Marc Collins-Rector, who drove him to the company’s headquarters, an Encino mansion, where he met Singer during a party and the two had sex upstairs. In 2000, Collins-Rector fled the country after bring indicted by a federal grand jury. He was eventually extradited to the States, where he ultimately pleaded guilty to nine charges of transporting a minor across state lines for the purpose of sex. In the wake of the controversies, DEN filed for bankruptcy; Singer’s name was never mentioned once in any of the lawsuits or investigations. The Atlantic report arrives less than 24 hours after Bohemian Rhapsody was nominated for multiple Academy Awards, including Best Picture. In December 2017, Singer was fired from the production by 20th Century Fox, only three days prior to similar accusations of misconduct made by Cesar Sanchez-Guzman. Despite the firing, Singer remains the sole credited director due to union regulations. Singer’s lawyer, Andrew Brettler, denied any of the current allegations to The Atlantic and disputed various details of the accusers’ accounts. Singer himself preemptively disputed any reports back in October via Instagram, writing: “I have known for some time that [there may be] a negative article about me. They have contacted my friends, colleagues and people I don’t even know. In today’s climate where people’s careers are being harmed by mere accusations, what [these reporters are] attempting to do is a reckless disregard for the truth, making assumptions that are fictional and irresponsible.” Update: Singer has issued a statement dismissing The Atlantic article as “a homophobic smear piece [that] has been congenitally timed to take advantage of” the success of Bohemian Rhapsody. Additionally, Singer implied that Esquire originally intended to publish the story, but “after careful fact-checking and, in consideration of the lack of credible sources, Esquire chose not to publish this piece of vendetta journalism.” 2. Bryan Singer’s statement in response to the Atlantic investigation. pic.twitter.com/kx98H6lAcG — Yashar Ali (@yashar) January 23, 2019 As previously reported, Singer is still slated to direct a remake of Red Sonja for Millenium Films. He’s also expressed interest in working with actor Kevin Spacey, who is also wading through his own sea of accusations. Source

10-time Oscar nominee Roma includes a soundtrack composed of numerous Spanish language radio hits from the early ’70s, music appropriate for the movie’s time period and setting. On February 8th, Sony Music Masterworks will release a companion album featuring reimaginings of these aforementioned tracks from contemporary artists. Dubbed Music Inspired by the Film Roma, the tracklist boasts contributions from Billie Eilish (“When I Was Older”), El-P, Patti Smith, DJ Shadow, Laura Marling, and more. Beck is also present on the album, delivering his first new music of 2019. His offering is a cover of the 1982 track “Tarantula” from British electronica outfit Colourbox. Reimagining the minimalistic electronic looping of the original for the black-and-white film, Beck teamed with his father, David Richard Campbell, to create a stirring orchestral version. The slower, delicate rendition features backing vocals by a number of singers, including Feist and Alex Lilly. Take a listen below. Music Inspired by the Film Roma can be pre-ordered now. Find the album art and tracklist below. Music Inspired by the Film Roma Artwork: Music Inspired by the Film Roma Tracklist: 01. Ciudad de México – “Tepeji 21 (The Sounds of ROMA)” 02. Patti Smith – “Wing” 03. Beck – “Tarantula” (Colourbox cover) 04. Billie Eilish – “WHEN I WAS OLDER” 05. Bu Cuarón – “PSYCHO” 06. UNKLE – “On My Knees” [ft. Michael Kiwanuka] 07. Jessie Reyez – “Con El Viento” 08. El-P / Wilder Zoby – “Marooned” 09. Sonido Gallo Negro – “Cumbia del Borras” 10. Quique Rangel – “La Hora Exacta” 11. Ibeyi – “Cleo Who Takes Care of You” 12. DJ Shadow – “We Are Always Alone” 13. Asaf Avidan – “Between These Hands” 14. Laura Marling – “Those Were the Days” (Mary Hopkin cover) 15. T Bone Burnett – “ROMA” Source

This isn’t a list of the best live performers or performances of all time, though, in many cases, this article might not look all that different if it was. After all, it’s not difficult to imagine, say, the Michael Jacksons and Led Zeppelins of the world (too obvious to be a spoiler) appearing near the top of both lists. Still, this is a ranking of the greatest tours of all time, and that difference should be stressed. We attend concerts to immerse ourselves in a moment — one that can be communal, incredibly emotional, and even life-changing. Of course, as we leave the venue still intoxicated from the experience, vans, tour buses, and trailers full of equipment are already heading to the next city with the mission of creating a moment for an entirely new group of people. In that spirit, we really did our best to consider proper tours and not merely clusters of shows or residencies. In all these instances, the artist had a unifying vision for their trek, even if that vision was never putting on the same show twice. We set out to create this daunting list with our good friends at Vivid Seats. Our goal was to highlight the greatest tours of all time while being as inclusive as possible. In other words, you won’t see more than one tour from an artist on this list; we chose instead to spread the love around in as many directions as possible. Below, you’ll find spots 91-100. To check out the entire list, head on over to Vivid Seats. As always, we’ll save a seat for you. –Matt Melis Editorial Director _______________________________________________________ 100. OutKast – 2014 Reunion Tour (2014) Not all iconic tours are flawless, as sometimes it’s their flaws that make them stand out. OutKast’s reunion in 2014 to celebrate their 20th anniversary started off shakier than everyone, including André 3000 and Big Boi themselves, had hoped: technical problems sparked, the audio was too quiet, and they cut material after losing track of time. But over the course of their massive reunion tour playing at more than 40 festivals worldwide, OutKast found their footing, transforming from an underwhelming reunion set to a highlight-laden performance remembered for its stacked setlist, culture commentary via André’s custom jumpsuits, and the energy the duo still brought out of one another after all of these years. –Nina Corcoran _______________________________________________________ 99. Barbra Streisand – Barbra Streisand in Concert (1993-94) By the ‘90s, there wasn’t much this EGOT-winning star of stage, studio, and screens of all sizes hadn’t achieved. However, the one triumph that had evaded Barbra Streisand was a successful tour. Pregnancy had cut a planned tour in the mid-‘60s down to a mere handful of shows, and stage fright had kept her away from performing ever since. It’s no surprise, then, that this long-anticipated tour set attendance records at each of its stops and resulted in a hit HBO special, a successful VHS release (later DVD), and a multi-platinum live album — not to mention several subsequent tours. Let’s face it: as Yentl, Babs, or Greg Focker’s mother, Barbra is like butter. –Matt Melis _______________________________________________________ 98. Lady Gaga – Born This Way Ball (2012-13) Billed as an “electro-metal pop-opera” with openers like Zedd and The Darkness tacked on, Lady Gaga’s Born This Way Ball was set to be a spectacle even before she hit the road. By embracing ‘80s camp, the self-love themes of the record, and tour-specific Versace outfits, Gaga used innovative stage installations like a medieval castle and a puppeteered horse to create a world all her own through which to relay her music. More than anything else, it was a tour marked by a rigorous routine full of strenuous dance movements — moves so intense that she developed a break and labral tear of her right hip come the end, as if we couldn’t already tell Gaga gives performances her all. –Nina Corcoran _______________________________________________________ 97. Genesis – The Lamb Lies Down on Broadway Tour (1974-75) Few prog rock tours are as infamous as Genesis’ jaunt in support of The Lamb Lies Down on Broadway, the band’s sixth studio album and last with Peter Gabriel as the lead singer. Equal parts fantasy and character development about an emasculated youth, the record’s plot translated to the stage through a bizarre combination of grotesque costumes, hundreds of slides, and the largest drum kit ever used by Collins. Few things functioned as intended, be it the backdrops or the microphone pickups, which turned the tour into a legendary catastrophe-turned-spectacle. It’s so iconic that it’s routinely covered today (down to every last detail) by The Musical Box, a Genesis cover band that Gabriel himself donated instruments and set design pieces to so the tour can reach a new generation. –Nina Corcoran _______________________________________________________ 96. Taylor Swift – The 1989 World Tour (2015) If Taylor Swift is an icon who will go down in history, then the 1989 World Tour is what future generations will study to understand why. Apart from the casual 250.7 million dollars it brought in or the endless thinking pieces surrounding it, the 1989 World Tour stood out because of how Taylor Swift embraced her role as an artist intent on doing it up big while still creating a faux intimacy that fans in the nosebleed seats could enjoy. And for the final touch? Nearly every night of the tour, fans were surprised by casual guest appearances, including Alanis Morissette, Avril Lavigne, Beck, John Legend, Lorde, Mary J. Blige, Mick Jagger, St. Vincent, and more. No big deal. –Nina Corcoran _______________________________________________________ 95. Tom Waits – Big Time Tour (1987) Tom Waits had left his drunken piano lounge act long behind him by the mid-‘80s and stumbled into his alter ego of Frank O’Brien, a character he and wife Kathleen Brennan would both incorporate into his records and adapt for the stage. The Big Time shows captured those two worlds colliding. A loose narrative about Frank trying to break into show business connected a series of avant-garde performances, including the pencil-mustachioed Waits singing “Innocent When You Dream” in a bathtub and hammering on boiler room steam pipes during “16 Shells from a 30-Ought Six”. Not even when the footage got edited into the Big Time concert film did anything really make sense. However, it was a chance to see our favorite rain dog performing some of his finest material at the height of his quirky powers. –Matt Melis _______________________________________________________ 94. Alanis Morissette – Can’t Not Tour (1995-96) Oh, what a difference a few years can make. In 1991, Canadian singer-songwriter Alanis Morissette was opening on tour for Vanilla Ice and probably still best remembered in America for being one of dozens of childhood stars regularly slimed on Nickelodeon in the ‘80s. By 1995, she was touring what would become one of the biggest records of the decade, Jagged Little Pill, with the likes of fellow alt-rock stalwarts Our Lady Peace and future luminaries Radiohead opening. Looking back, those who caught Morissette’s Can’t Not Tour can safely say they saw the artist who solidified the place of women in ‘90s alternative rock truly coming into her own onstage. –Matt Melis _______________________________________________________ 93. Depeche Mode – World Violation Tour (1990) One of the most popular tours among Depeche Mode fans and electronic fans in general, the World Violation tour saw them kick off 1990 in style. The band’s synthpop was at a musical peak, as was their energy. Live videos from the tour capture what it felt like to be there, from people’s shrieking screams for the band at the start of songs to the mischievous air that hung during their stripped-down, acoustic renditions. Depeche Mode still sound strong today, but catching them during their peak in the middle of a tour fans still gush over is a bucket list for any synthpop-loving music obsessive. –Nina Corcoran _______________________________________________________ 92. Florence + the Machine – How Big, How Blue, How Beautiful Tour (2015) With each passing year, Florence + the Machine seem to thrive on life’s most daunting moments, and never was it more evident than during their tour in support of How Big, How Blue, How Beautiful. Whether it was fearlessly taunting a lightning storm at Lollapalooza or lunging into the audience at indoor shows throughout the tour, Florence Welch showed the type of full-faced courage that fills the band’s music with tangible flashes of life. Watching the band onstage, it was impossible not to feel her energy transmit to onlookers, encouraging them, too, to seize as much as possible out of life in any given chance. –Nina Corcoran _______________________________________________________ 91. Against Me! and Mastodon – 2007 Spring Tour (2007) The biggest difference between looking back on remarkable tours versus remarkable concerts is what the full package includes. Of all the punk tours of the 2000s, it’s hard not to look at this 2007 trek and wish you were there. Against Me! and Mastodon announced the co-headlining tour during critical points in both bands’ careers, especially since it was just before Against Me! released their major label debut and after Mastodon made theirs. With equally beloved acts like Cursive, Planes Mistaken for Stars, and These Arms Are Snakes locked in as openers, it was a tour-de-force trip that still stands out today as the perfect storm of punk, no matter how old you would have been then. –Nina Corcoran — To check out the entire list, head on over to Vivid Seats. Source

Disturbed broke around the same time as Linkin Park, each releasing their multiplatinum debut albums in the year 2000. In this part of our video interview with David Draiman, the Disturbed singer discusses his memories of the late Chester Bennington, while also addressing the mental illness and addiction issues facing the rock world and the country as a whole. In spring of 2000, Disturbed released their debut disc, The Sickness, powered by the first single “Stupify”. A few months later, Linkin Park would unveil their debut album, Hybrid Theory, led by the single “One Step Closer”. Each band exploded onto the rock scene, touring together in the years since, and selling millions of albums along the way. Sadly, Bennington took his own life in July 2017, two months after Soundgarden singer Chris Cornell did the same. Each had their own battles with mental health issues and addiction, topics that Disturbed address on their recent ballad “A Reason to Fight”. “Addiction and depression are demons that go hand in hand with one another,” Draiman told us. “And it’s been a very, very difficult past number of years, not just within our community but even for just individuals in normal walks of life in this country and in the world… I’m tired of being passive about it. I’m tired of people waiting until after the fact. I don’t want to go to any more funerals … I think it’s important for all of us to really take an active role.” The Disturbed singer went on to speak about his interactions with Bennington, telling us, “Before Linkin Park blew up huge, they opened up for us back in the day. We did come up together, and we toured a lot together. Chester was always a character. In his younger days, he was literally a four-alarm fire at all times … and then he started to mellow out when he became a father.” Draiman goes on to recall a time when Disturbed took a chartered jet with Linkin Park and Papa Roach to a radio show, and described Bennington’s antics during the flight. You can hear the full story, as well as his thoughts on Chester’s passing in the video interview below. Disturbed recently embarked on a North American tour in support of their latest album, Evolution. See the dates here, and the first part of our video interview with David Draiman, in which he discusses the album and the tour, here. Source

Last year saw the Pixies celebrate the 30th anniversary of their seminal debut album, Surfer Rosa. However, 2019 will see the veteran alt-rockers add to their discography with a new album. The forthcoming effort is due for release in September. Writing sessions for the as-yet-untitled LP were convened throughout 2018, while recording took place this past December at Dreamland studios near Woodstock, New York. Tom Dalgerty, known for his work with Ghost and Royal Blood, handled production. As a press statement notes, the new album marks the second for this incarnation of Pixies’ lineup — Joey Santiago (guitars), Black Francis (vocals/guitars), David Lovering (drums), and Paz Lenchantin (bass/vocals) — and the eighth overall for the band following 2016’s Head Carrier. (Read: The 20 Worst Rock and Roll Hall of Fame Snubs) While Pixies don’t yet have a single for release, fans won’t have to wait too long for a peek into the new album. They have teamed up with Signal Co. No1, a NY-based podcast company, to launch a new weekly series documenting the group’s recording process. “Every episode will document the band’s new music, from its earliest stages through to completion, giving fans the opportunity to witness the evolution of the tracks,” the statement reads. “Past is Prologue, Pixies” comprises 12 episodes and officially debuts June 27th. It will feature narration from best-selling author Tony Fletcher. Check out a trailer for the new podcast below, followed by a pic of the Pixies and Dalgerty at Dreamland studios. Pixies are scheduled to tour with Weezer beginning in March. Find the full slate of tour dates here. Pixies with producer Tom Dalgety at Dreamland Recording studios in Woodstock, NY, December 2018, photo by Simon Foster And revisit Head Carrier single “Tenement Song”: Favorite Setlist.fm Music Moments in Imagine Dragons Origins Tour Doc Tour Preview: Thom Yorke and Hootie and the Blowfish Tour Ozzfest Promo Video: Ozzy Interview Source

Jenny Lewis is set to return on March 22nd with her fourth solo album, On the Line. Today, the former Rilo Kiley singer has broken off the first single, “Red Bull & Hennessy”. Take a listen below. As previously reported, the 11-track On the Line was recorded at Capitol Records’ Studio B with a star-studded backing band that included frequent collaborators Beck, Ryan Adams, and The Heartbreakers’ Benmont Tench. Also joining Lewis in the studio were producer Don Was, Jim Keltner, and Beatles legend Ringo Starr. Additionally, Lewis has revealed the album’s artwork and tracklist. On the Line Artwork: On the Line Tracklist: 01. Heads Gonna Roll 02. Wasted Youth 03. Red Bull & Hennessy 04. Hollywood Lawn 05. Do Si Do 06. Dogwood 07. Party Clown 08. Little White Dove 09. Taffy 10. On The Line 11. Rabbit Hole She’s also expanded her upcoming US tour in support of On the Line, which includes a number of dates opening for Death Cab For Cutie. Get tickets to these shows here. Jenny Lewis 2019 Tour Dates: 03/26 – Bloomington, IL @ The Castle Theatre 03/27 – Madison, WI @ The Sylvee 03/29 – St. Paul, MN @ The Palace 03/30 – Chicago, IL @ Riviera Theatre 03/31 – Nashville, TN @ Ryman Auditorium 04/02 – Iowa City, IA @ Mission Creek Festival 04/04 – Oklahoma City, OK @ The Jones Assembly 04/05 – Dallas, TX @ Canton Hall 04/06 – Austin, TX @ ACL Live at the Moody Theater 04/07 – Houston, TX @ White Oak Music Hall 04/09 – Baton Rouge, LA @ Varsity Theatre 04/10 – Jackson, MS @ Duling Hall 04/12 – Atlanta, GA @ Variety Playhouse 04/13-14 – Charleston, SC @ High Water Festival 05/10 – Las Vegas, NV @ House of Blues 05/11 – Los Angeles, CA @ Hollywood Palladium 05/13 – Tucson, AZ @ Rialto Theatre 05/14 – Albuquerque, NM @ Kimo Theatre 05/16 – Denver, CO @ Ogden Theatre 05/17 – Bellvue, CO @ Mishawaka Amphitheatre 05/18 – Salt Lake City, UT @ The Commonwealth Room 05/20 – Vancouver, BC @ Commodore Ballroom 05/21 – Seattle, WA @ The Moore 05/22 – Portland, OR @ Crystal Ballroom 05/24 – Napa Valley, CA @ BottleRock Festival 05/25 – San Luis Obispo, CA @ Fremont Theater 05/26 – San Diego, CA @ House of Blues 06/11 – Portland, ME @ Thompson’s Point # 06/12 – South Burlington, VT @ The Green # 06/14 – New Haven, CT @ College Street Music Hall # 06/15 – Queens, NY @ Forest Hills Stadium # 06/18 – Detroit, MI @ Masonic Temple Theatre # 06/20 – Toronto, ON @ TD Echo Beach # 06/21 – Cooperstown, NY @ Brewery Ommegang # 06/22 – Northampton, MA @ Calvin Theatre # = w/ Death Cab For Cutie Source

Brooklyn-based singer-songwriter Aly Spaltro, a.k.a. Lady Lamb, has announced the release of her third full-length album, Even in the Tremor, due out April 5th through Ba Da Bing Records. For this latest effort, Spaltro took the advice of those around her and sought an outside co-producer for the first time. After meeting with a number of industry veterans who told her that “her arrangements needed rewriting,” she went a different direction and found a less established producer who stood behind Spaltro’s vision: Erin Tonkon (Tony Visconti, David Bowie’s Blackstar). Joining Spaltro and Tonkon at Figure 8 Studios in Brooklyn were the former’s frequent collaborator bassist/pianist Benjamin Lazar Davis (Cuddle Magic, Kimbra, Okkervil River) and drummer Jeremy Gustin (David Byrne, Albert Hammond Jr.). Together, they worked on what Lady Lamb herself says is her most intimate and honest record to date, as she’s largely singing explicitly about her own experiences. “I’ve never let myself be this exposed before,” she explains in a press release, “but this whole album is about facing who you are and fighting your way toward self- acceptance.” Our first look at this personal journey comes in the form of the LP’s title track. “Even in the Tremor” features Lady Lamb’s signature compositional swings, kept in rhythm here by a thumping, padding bass line. The track finds Spaltro traveling through Berlin, Montreal, Madrid, and the Masaya volcano in Nicaragua as she tries to keep herself in the present. “If ever I forget how much love there is/ It’s just I’ve become fixated on all of the love I’d miss,” she sings. “‘Cause the future kills the present if I let it.” Take a listen below via the track’s video, directed by Erica Peplin and shot outside Mexico City. Even in Tremor follows 2015’s After and 2016’s Tender Warriors Club EP. To promote the new album, Lady Lamb recently mapped out her 34-date “Deep Love Tour” kicking off in April. Even in the Tremor Artwork: Even in the Tremor Tracklist: 01. Little Flaws 02. Deep Love 03. Even in the Tremor 04. Untitled Soul 05. Strange Maneuvers 06. Without a Name 07. Young Disciple 08. Prayer of Love 09. July Was Mundane 10. Oh My Violence 11. Emily Source

The times are changing, and Conan O’Brien is changing with them. In the age of YouTube, where most talk shows are more frequently consumed in digestible chunks on streaming the next morning, the 25-year late-night veteran is shaking things up after a three-month hiatus with a retooled version of Conan on TBS, which premiered last night. Gone is the desk, the band, and even half of the show’s runtime, in favor of a stripped-down half-hour program focused squarely on Conan, Andy Richter, and a single celebrity guest. Viewed as a whole, it can seem a bit like a minor tragedy — Conan and Andy’s frequent self-deprecating snipes at their own dwindling popularity are certainly on brand for the cynical comics, but there’s a twinge of regret behind them this time. They’re laughing in the face of cancellation, not just of their show but of the format at large; this leaner reinvention could be a second life for the show … or its death knell. But that isn’t going to stop them from putting on a damn entertaining hour of television, even if it’s only half as long. Here are some highlights from last night’s premiere. __________________________________________________________ “I Assure You, It’s Gonna Feel Like Two Hours” Right off the bat, Conan’s show feels different — the new set looks like Conan has been shrunken down and hidden in a ventilation shaft of an alien spaceship. As Andy describes it, the new set looks like a “strip club from Grand Theft Auto.” The sleeker, minimalist look fits Conan’s new aesthetic; gone is the slick, boxy suit in favor of a bomber jacket and shirt-tie combo, or as Conan calls it, “the cool biology teacher that sells students weed after class.” The change has even affected Andy, who sits off to the side on a bar stool in the corner, sniping like the devil on Conan’s shoulder. It’s certainly an adjustment, and these aesthetic changes combined with the shorter runtime make the two feel rushed and a little uncomfortable. But they still have that ineffably snarky energy they’ve always had, and it’s entirely possible they’ll get that energy back in future weeks. __________________________________________________________ “There’s So Much Change… Where’s the Band?” Ostensibly, one of the reasons the show’s slimming down is to give Conan more room for comedy bits and experimentation and less obligation to celebrity guests; however, this first night only had room for a tepid, watered-down This Is Us parody that’s a year late and half as funny as it needs to be. In an attempt to lend the show the kind of pathos ABC’s hit family drama engenders, Conan and Andy dress up as an embattled couple trying to revive that spark and reflect on the format change’s many small losses. Milo Ventimiglia even shows up as their “son” to assure them everything’s okay. Conan and Andy’s chemistry is as fun as ever, but the joke can’t help but feel a little over-baked — not to mention rushed, given the shortened format they have to work with. __________________________________________________________ Tom Hanks Gets It Straight When introducing so many big, scary changes to your audience, it helps to smooth things over with a nice, breezy guest who can make you feel at home. Luckily, Tom Hanks wasn’t doing anything that afternoon, so the Nicest Man in Show Business graced Conan’s new set to usher in the half-hour format’s emphasis on a single guest. The new set switches the dynamic of Conan’s interviews from questions across a desk to a three-way Q&A panel/shit-talking session across three comfy, blue recliners, which makes for a more casual and enjoyable watch. It doesn’t hurt that Hanks is still the most charming person in the known universe, as he slid into the Conan-Andy dynamic with nary a feather ruffled. By the time his interview ended, and they had joked about Hanks dropping his lapel mic, remembered the late, great Penny Marshall, and speculated on what they’d do if they had “concave asses,” you’d be forgiven for thinking this was Hanks’ show in the first place. Whether that bodes well for the growing pains of Conan’s new format or not, it at least makes for an entertaining half-hour of breezy late-night television. Source

Old School Hip Hop is Back If you’re in the need for throwback vibes with a little more charisma, Suriel is your man. From Lynn, Massachusetts, the hip hop artist does not disappoint when it comes to understanding the elements of a hip hop album. Originally born as Wilson Suriel, the independent American hip hop artist develops a style familiar to that of the east coast vibe that echoes against the urban environment of Boston. With influences stemming from legends such as Jay-Z, Kanye West, J. Cole, Drake, Wiz Khalifa, and Big Sean, the young artist strives to make his own lane in the ever-growing genre. Suriel’s debut EP Rise was released back in December of 2017. After the drop, he gained a solid buzz from the surrounding neighborhoods around him in Massachusetts’ hip hop scene. Already, the artist has received radio play for his singles “Rockland St.” and “Ghetto Dreams”, as well as earned streams across the nation and the globe. Suriel’s debut mixtape Blank Slate was shared on October 19, 2018 and has since been named by WBUR as “Top 7 hiphop albums in Boston”. (Now that’s high praise.) From his music, you can tell that the artist doesn’t play around. In fact, you can hear the grit and the grind in the emphasis he puts on the words, while also caressing each rhythm with the smooth sound of his voice. Using witty lyrics with a vicious bite, Suriel demonstrates a control of the sound and production of his music. Similar to that of J. Cole, Nick Grant, and Logic, Suriel embraces their power to bring a compilation of tracks that tell very vivid stories as we hear between the lines. Of the tracks on this project, my favorites are “$tack$” and “Rockland St.” Each have their own, stand-out personality that then come to life as he matches the words to the rhythm, and each are dreamy, raw, and poetic tracks that demonstrate the diversity of Blank Slate as a mixtape and the level of creativity that Suriel is willing to experiment with on his projects. Check out the album above now! Be sure to follow him on social media: Instagram | Twitter | Facebook The post Suriel Releases Old School-esque Hip Hop Mixtape “Blank Slate” appeared first on Verge Campus. Source