News

Track by Track is a recurring new music feature that asks an artist to break down each song on their latest record, one by one. Download | Listen via iTunes | Spotify | Google Play | Stitcher | RSS Six years ago this week, the boys of FIDLAR burst onto the national scene like a shotgunned can of beer. On their self-titled debut, Zac Carper, Brandon Schwartzel, and the Kuehn brothers (Elvis and Max) delivered a 21st-century skate punk opus, one filled with cheap weed, cheaper beer, and the VHS-quality rage that comes with being young, bored, and kinda retro. It was punk for our time, and it owned. Now, the men of FIDLAR are a little older, a little more sober, and even more conflicted about the world around them. As you listen to the songs of Almost Free, you might be surprised at the subject matter (there are songs that tackle gentrification, political division, and even the pitfalls of texting) and the arrangements (those horns are new, for one thing) but not by the sneering humor and razored-up energy with which it’s picked apart. In short, FIDLAR is still producing punk for our time. It’s not their fault that our time is kind of a drag. Hear Almost Free in full below:  For the latest Track By Track, I corralled Zac and Elvis for a free-wheeling chat about their new record and the stories surrounding it. Above, listen to our full audio interview for their thoughts on LA’s skyrocketing rents, producer Ricky Reed’s magic touch, and the new, catastrophe-free definition of the word “nuke.” A condensed, text-based preview is below. “Get Off My Rock”: Zac Carper: So, I grew up in Hawaii. [“Get Off My Rock”] originally started as a song about Los Angeles. It was supposed to be “Get Off My Block.” In the neighborhood I moved into, there was just a lot of backlash for people moving into it, you know? Gentrification and everything like that. When I went back to Hawaii, I saw it at a whole different scale. I hadn’t gone back to Hawaii in three years, and I went back and just saw my neighborhood totally change. It was basically one of the first ideas written for this record. That song was an experiment that was like, basically, how do you get away with doing a song like that without any punk drums or whatever. It was […] more like a Beastie Boys vibe than anything. We just used a bunch of drum machines and stuff like that instead of a bunch of guitar pedals and guitars and distortion. It was a weird experiment that just took on a life of its own I guess. Elvis Kuehn: We’ve also covered Beastie Boys songs, and I’m pretty sure we all grew up listening to The Beastie Boys, so it’s not really too far out of our wheelhouse as it might seem. “Can’t You See”: ZC: We both sang differently on [“Can’t You See”]. I just realized this the other day. We’re both singing different than we usually do. EK: Right. That’s true. ZC: Elvis is super melodic in the verses and the chrouses are more low. It’s a weird contrast, or difference. We’ve never sung like that before, so that was kind of exciting. It was uncomfortable at first, then it kinda got comfortable, and playing the song live is just so fun. It’s so different from our stuff. It’s so fun to do. EK: Yeah, it’s nice to break it up like that. It’s nice to have more of a groove. I like what Ricky did and what the mixer did. Manny Marroquin mixed the record. ZC: Yeah, he killed it. EK: He’s an amazing mixer. There’s different vocal sounds for both of our vocals and it really works having that with different characters. It gives it variety, but it works together. “By Myself”: EK: I think we’ve always been into taking dark subject matter and making the music happy. I just always liked that sort of juxtaposition. ZC: It’s a musical speed ball. “Flake”: EK: [“Flake”] definitely stems from an experience with somebody in my life, but it became a little more general, I think. Especially about having friends in LA, you know, people who are flakey to make solid plans with. It’s become a lot easier to blow people off nowadays. With phones, you can kind of hide behind the texting. [“Flake”] was just an honest reaction to that. “Alcohol”: EK: I went through a couple tours without drinking. You just realize that you’ve gotten drunk enough times that you know, at a certain point, you aren’t missing anything. You’ve done this, you know what it entails. It can be fun, it can be a good experience, but when you experience all of that for a year or two… It’s good to pick and choose when to drink. Especially on tour, it’s still hard. I guess it’s our choice to have alcohol in the dressing room, but you play a show and there’s always booze. You can’t escape it. ZC: I think it’s the only job in the world that’s like “Ok! Here’s alcohol! Now go do your job.” Like, there’s no other job in the world that does that. I don’t know any other job. Not acting, nothing. It’s literally like “Here’s a bunch of alcohol. You have like 4 hours until you play. So have fun!” “Almost Free”: ZC: We kept playing [the demo for “Almost Free”] in the studio over the speakers, and kept trying to come up with lyrics [or] a chorus or hook. We did that for a few hours and it just didn’t really go anywhere. Then we just kind of left the track be for a while. We never thought that it’d be on the album. We were like “Oh yeah, that track is cool. Maybe we’ll do something with it later. Next record.” And then, last minute, Ricky was like “Let’s wrap this song up and put it on the record and get these horn players to play the horn parts.” He had the idea to keep it instrumental. I would have never even thought of that, so that was pretty cool that he suggested that. It was the last thing we did on the record. It came together really fast. “Scam Likely”: ZC: I guess the inspiration for [the horn parts] was, when I was making the demos for “Almost Free” and “Scam Likely”, I was listening to the Stones’ Exile on Main Street, and I think I just really liked the use of horns on that record. In the original demo, they were just midi horns, basically. I’ve just always liked horns in rock and roll. It’s something that I’ve always kind of wanted to try. For “Scam,” I had these parts, and Ricky kind of helped develop them a little bit more and he called some guys to come in and play on it. They were just super great session players who did some improvising, too. On “Scam” there’s some cool horn riffing and stuff like that. “Called You Twice”: EK: Well, me and Kristine have been friends for a minute. She hit me up. I was just going through a gnarly breakup, and she was like “Hey, let’s write a song.” And I was like “Ah, I can’t write right now. I’m pretty heartbroken.” And she was like “Perfect. Let’s write a song.” So she came over to my studio and we were writing, and nothing was coming out, and then we went next door and got drunk and came back and – it was literally three notes, and then we wrote this tune. It was really weird how it happened. “Nuke”: ZC: [“Nuke”] is about the dude after the show or at a party that just, like, chews your ear off. Or, they’re all coked out and trying to show you their music on their phone, or something. You know what I mean? There’s just a bunch of—like, that’s what we call a nuke. You know, it’s like, you could go—sometimes, the backstage is so nuked out, it’s like, “Oh, don’t go in there, it’s radioactive.” We’re saying that to each other. Like, “Oh, man, it’s just Chernobyl, like, don’t do it.” […] Also, you can say in front of people, and they have no idea what you’re talking about. If some dude was yapping at you, and I look at Elvis and I’m like, “Dude, nuke”—[that dude] would have no idea what I’m talking about, but, Elvis would. You know? “Too Real”: ZC: The world is fucked up right now. I mean, it’s been fucked up, but right now, like—everything’s pretty fucked up. FIDLAR, photo by Heather Kaplan “Kick”: ZC: The track just sounds druggy. You know? So to me, it was like, “Oh, this sounds druggy, we should probably write about drugs.” But it’s like, subconsciously. We didn’t know that. It just has this weird vibe to it. EK: And then the verse came from different stuff that I had experienced with a with a friend of mine—like, seeing him out at a bar when he was not doing well, and kind of overhearing things in LA. I just kind of had this verse […] that I made up when I was driving. Not even to, like, any music or anything. Sometimes that’s how things come up, you know? Like, they just pop into your head and then you kind of have them for a while. Once Zach sent me the track, I just realized, “Oh, this totally works over this.” “Thought. Mouth.”: ZC: Fucking text messages! Fucking text messages! […] I—just take ’em out. Take ’em away. Take away text messages. That’s it! “Good Times Are Over”: EK: This song totally came about in the studio. You know, I think Zach had the melody in his head, and then brought it in, and we just started playing— ZC: Literally on the way to the studio. I was getting frustrated with somebody, and was a couple of blocks away from the studio, and just had that first melody line, and that first line. And then I brought it in, and we all worked on it together. EK: t was the most collaborative song on the record, I’d say, ’cause we really just kind of wrote it in the studio, with Ricky as well. So, in that way, it kind of makes sense to be the closer, because it felt like that was the one that we all really had a part in. Source

King Princess and Fiona Apple have teamed up to record a new version of Apple’s song “I Know” from her 1999 album, When the Pawn…. Take a listen below. Last year, the 20-year-old King Princess released her debut EP, Make My Bed, which she followed up in November with a standalone single called “Pussy is God”. As for Apple, she hasn’t released a new album since 2012’s The Idler Wheel…, but she recently revealed plans for new music. Last week, she participated in the Chris Cornell tribute concert, performing “All Night Thing” with Temple of the Dog. Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS The Lowdown: Almost Free, FIDLAR’s third album, sounds almost foreign in comparison to its predecessors. However, that’s not a bad thing by any means. The California-based quartet indulge in creative exploration by adding brassy flourishes and layered rhythms alongside their classic, foolproof combination of lyrical honesty and fun. The difference in sound may shock the ears of listeners who have been following FIDLAR’s work for several years, but no artist is obligated to maintain a uniform sound. In fact, it’s more interesting if they don’t. While there are certainly moments in which the songs drown in their own detail, FIDLAR’s eager embrace of the newness remains among Almost Free’s most memorable aspects. The Good: FIDLAR’s lyrics have been a strong point on each of their previous albums, and Almost Free is certainly no exception. In each song, the lyrics capture the raw cornerstones of the human experience as just that: raw. There are no metaphors meant to be thinly veiled representations of emotion. Rather, romantic insecurity (“Thought. Mouth”), the yearn for escapism (“Alcohol”), and overall mental health struggles (“Kick”) are all mentioned explicitly. After all, there’s certainly something to be said about calling things for what they are. FIDLAR’s lack of hesitation in addressing tricky topics — topics many cannot even bring themselves to think about — and doing so in such a forthright manner is refreshing. We all wrestle with understanding our own minds and behaviors, and Almost Free lets us know we’re not alone. The Bad: FIDLAR isn’t a band that needs to do a lot to make a good song. The problem? They may not realize it. After all, this is the same quartet that gained swarms of fans by cutting their teeth on songs about cheap beer and being broke. Their electric energy and candid lyrics are all they need to pack a punch. Yet, some of the tracks on Almost Free feel bogged down by excess busyness that not only doesn’t enhance the track, but clouds over its natural strengths instead. The verses of “By Myself” offer up some really great lyrics, but they don’t get the amount of sonic real estate they deserve — rather, they’re washed over by an array of competing rhythms that leave the ear unfocused. FIDLAR was already a treat to listen to, and adding excess ingredients to the recipe won’t change the fact that it already tasted just fine. The Verdict: While we didn’t get the batch of guitar-fueled thrashers that their past two records provided, Almost Free contains an experimental element that’s exciting to see FIDLAR lean into. Listeners who were expecting Almost Free to fall into sonic succession with FIDLAR and Too may initially not know what to make of its exploratory nature, but that’s okay. After all, FIDLAR have always been creatively bold, and their dabbling with musical variety is merely an extension of that. Making a starkly different-sounding record is a creative gamble, but FIDLAR rolled their dice and made off well. Essential Tracks: “Alcohol”, “Good Times Are Over”, and “Flake” Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS Constant Listeners, we’ve left the Wilkes estate and have hit the road toward those troublesome Tommyknockers. To keep things entertaining, we’ve opened the floor for a topical discussion at your choice, and you’ve chosen: injuries. Yes, get ready to cover your ears as you join Losers Justin Gerber, Michael Roffman, and Randall Colburn as they revisit the broken bones, nasty wounds, and uncompromising fates within King’s Dominion. Prior to that, however, they’ll share some Needful Tweets and roll on through Hollywood King. Listen above and stay tuned next week as we shoot away more Lobstrosities. Until then, leave us a glowing review on iTunes or tell us what you love and hate about us on Facebook. Chapters include: Intro, Needful Tweets (3:31), Hollywood King (25:00), Stephen King’s Most Torturous Injuries (47:00), and Outro (1:08:00) — Follow us on Facebook, Twitter, and Instagram — E-mail us tips. Links — Listen and Follow: Coach Hop –Merch: Support The Losers’ Club and Grab Some T-Shirts! — In Case You Missed It: Kathy Bates Nursed Stephen King’s Misery to Oscar Glory — Editorial: Let’s Not Fuck Up This Stephen King Renaissance, Okay? — Feature: Behold, The Stephen King Cinematic Universe! — Guide: Stephen King in Five Films — Ranking: Every Stephen King Movie, Miniseries, TV Show from Worst to Best — List: The Top 10 Stephen King Film Adaptations Source

Here’s some good, simple marketing. Today, after dropping its new docuseries about serial killer Ted Bundy, Netflix has one piece of advice for you: “Maybe don’t watch it alone.” Called Conversations With a Killer: The Ted Bundy Tapes, the four-part series combines archival footage and, as the title portends, Bundy’s own words in an effort to gain understanding of the man. “There’s a lot of serial killing in this country, and yet the name ‘Bundy’ always floats to the top,” director Joe Berlinger told Rolling Stone. “I wanted to dive into that and understand why. Why is it Bundy with this perverse, almost rock star-like status?” He added, “My goal was to give people the emotional ride of being inside of the mind of this killer. But we quickly realized that Bundy is an unreliable narrator, and certain stuff needed to be contextualized.” for those of us with a PhD in true crime podcasts, Conversations with a Killer: The Ted Bundy Tapes is now streaming maybe don't watch it alone x — Netflix UK & Ireland (@NetflixUK) January 24, 2019 Bundy eventually confessed to the murders of 36 women and young girls throughout the ’70s. The documentary also talks to women who escaped Bundy’s grasp, which offers further insight into his approach. This isn’t Berlinger’s only Bundy-centric offering. He also directed Extremely Wicked, Shockingly Evil and Vile, Zac Efron a feature about the killer starring in what’s sure to be the young actor’s most disturbing work to date. Joining him? None other than Metallica’s James Hetfield. The duo will premiere the film this month at the Sundance Film Festival. Berlinger’s documentary, however, is streaming right now. Watch the trailer below. Source

Bryan Singer has been accused of sexual assault and sex with a minor numerous times throughout his career, and four more survivors came forward this week when a bombshell article in The Atlantic detailed both their accounts and the culture of abuse that the Bohemian Rhapsody director’s helped to cultivate throughout his career. Not everyone was moved by the piece, however, nor were they swayed by the fact that Singer’s abuse has been whispered about for so long that it’s considered an “open secret” in Hollywood. Producer Avi Lerner, for example, defended his decision to keep Singer on as the director of the upcoming Red Sonja, calling the accounts of sexual assault survivors “agenda driven fake news.” Now, Queen guitarist Brian May has expressed his support of Singer. As was pointed out by ScreenRant editor Kayleigh Donaldson, May defended Singer in the comments of an Instagram post. After one fan urged May to unfollow Singer in the wake of the Atlantic piece, May responded by telling them to “look after your own business.” He continued, “And you need to learn to respect the fact that a man or woman is innocent until proven guilty.” In case you were wondering how the people who fought to let Bryan Singer direct Bohemian Rhapsody felt about The Atlantic story. pic.twitter.com/GDC6co5l5e — Kayleigh Donaldson (@Ceilidhann) January 24, 2019 May’s comments follow those of Rami Malek, who claimed that he somehow didn’t know about Singer’s history. Okay, buddy. Anyways, Bohemian Rhapsody, which is embarrassing in how boring and by-the-book it is, is nominated for five Academy Awards. Source

In social media, especially at a high level, nothing is done without a reason. So when Above & Beyond posts a picture of their ABGT 250 show from The Gorge in Washington with a caption, “Some grist for the rumour mill! Keep July free,” and a wink emoji, we pay attention. Next to Red Rocks in Colorado, The Gorge is one of the most beautiful concert venues in the entire country. And what a place to witness the beauty of Above & Beyond, right? Well, if a smart person were to put money down, our best is that they’re returning to the beautiful venue in 6 months. Regardless, A&B are doing something in July worth keeping your calendars open for, so best pay attention and be ready when they announce. Watch ABGT 250 from The Gorge below. Photo via Rukes.com This article was first published on Your EDM. Source: Above & Beyond Hint At Return To The Gorge In 2019 Source

There’s no denying that Calvin Harris has been putting out some absolute smash hits lately. Between “One Kiss” with Dua Lipa, “Promises” with Sam Smith, and the more recent “Giant” with Rag’n’Bone Man, he’s been putting out some of his best work. Now, all four will perform a medley together at the Brit Awards 2019 on February 20. The news was revealed by the Brit Awards yesterday. Speaking to The Sun, a BRITS insider confirmed: “We have genuinely been trying to persuade Calvin to perform at the Brits for the past decade. He has had such a massive international career and is one of the most successful British artists of the 21st century. “Although he has the songs One Kiss with Dua, Promises with Sam and Giant with Rag’N’Bone Man, they are yet to decide on what they will sing. “It could be some of those or perhaps other hits from Calvin’s mammoth back catalogue. Whatever happens, it is sure to be one of the most memorable performances of the evening.” You can watch the performance live on YouTube on February 20. CONFIRMED: @CalvinHarris, @DUALIPA, @RagNBoneManUK and @samsmith ALL performing at The #BRITs 2019!! Four artists. One epic performance Watch live on 20 February on @ITV, @WeAreSTV or https://t.co/QjEmDoNxZW pic.twitter.com/2oNSzeqpX3 — BRIT Awards (@BRITs) January 23, 2019 Photo via Rukes.com This article was first published on Your EDM. Source: Calvin Harris Will Perform Live With Dua Lipa, Rag’n’Bone Man and Sam Smith at Brit Awards 2019 Source

If you’re not familiar with Essenger, today’s the day when that changes. Essenger is the musical brainchild of Jeff Simpson, a seasoned Kansas City composer and producer who created the project as a way to give his personal stories and emotions a voice. Driven by smooth yet dynamic production, captivating atmospheres, and often topped with shimmering retro sounds, Essenger’s honest, heart wrenching vocals tie each song together with an acute sentimentality. It’s a sound that fans are latching on to, as his latest single, “Ghost”, has amassed over 150,000 streams, and his official remix for WRLD’s “Rooms” earned support from massive channels like The Artist Union and totaling over 40,000 plays. His latest single, “Dissolve”, just may be his best yet. “Dissolve is a song about loss and bittersweet nostalgia, a longing to relive the past and return things to the way they once were. Change has a way of creeping up on you and it’s easy to romanticize the past, even things are better now than then. Dwelling on it can stop you dead in your tracks and it’s something I’ve been very prone to.” It encompasses pure beauty throughout the entire three minutes, giving you the sensational feeling of nostalgia paired with an electrifying arrangement. It’s incredible. My favorite moment comes in at 2:09, with what sounds like a guitar, ripping an amazing solo, but the crazy thing, is it’s not a guitar at all. “Fun fact: there is quite a bit of real guitar throughout the track, but that solo in the last drop is actually all Xfer Serum put through NI Guitar Rig. You can get some crazy expression and harmonics if you mess with formant filters on the dry signal. However I do play it live, just on keys.” In addition, he even created an Anime video to accompany the track. All in all, Essenger has a bright future ahead of him and we are excited to hear more. Listen to “Dissolve” and check out the Anime video below! This article was first published on Your EDM. Source: Essenger Drops New Single “Dissolve” & It’s Beautiful Source

Before Electric Daisy Carnival was ever in Las Vegas, it called Los Angeles its home. And before 2010, there was no reason to think that would change. Unfortunately, a tragic incident that year changed all of that. A new documentary from filmmaker Le Liu seems to be the first to attempt to tackle the events and culture that led to the events that fateful summer. “The Last Dance” is the true-life story of the rise of MDMA use during the 1990s & 2000s, and how that impacted the climatic weekend of Electric Daisy Carnival 2010 at the historic Los Angeles Memorial Coliseum grounds. With rare and never-before-seen footage, this feature documentary also offers an unprecedented look at the birth of the American rave scene’s harm reduction movement. The documentary will be available for free on Vimeo and YouTube tomorrow, January 25. Liu is not affiliated with Insomniac Events. This article was first published on Your EDM. Source: Unofficial Documentary Detailing EDC 2010 In Los Angeles Releasing Tomorrow Source

In a week where Bohemian Rhapsody was nominated for five Academy Awards, including Best Picture, you’d think that Bryan Singer would have a lot more to celebrate. After all, despite the fact that he didn’t actually finish directing the movie, his name remains on the poster, credits, and everything else related to the movie due to DGA rules. However, the string of assault allegations that have followed the director for years has returned to the forefront in recent days, due to a recent article in The Atlantic where four more alleged victims of Singer’s came forward. (Please note that the linked articles contain graphic depictions of sexual assault.) The article, corroborated by dozens of witnesses, details a pattern of behavior sustained over years in which Singer and various accomplices lured in, drugged, and assaulted numerous young men, attempting to bribe them with roles in various films (including Singer’s hit installments of the X-Men franchise), pay them off, and/or intimidate them into silence. It paints a grisly portrait of Singer as a Machiavelli of modern Hollywood, a manipulative figure who dupes those around him into doing his bidding, or at the least maintaining silence on his behalf. It’s then hardly surprising that one of his next projects will still be Red Sonja, an adaptation of the female-fronted Marvel comic series. Singer, who signed onto the film for a reported fee of around $10 million last year, has been publicly affirmed by Avi Lerner, a producer on the upcoming film. In a statement to The Hollywood Reporter, Lerner said that “I continue to be in development for Red Sonja and Bryan Singer continues to be attached … The over $800 million Bohemian Rhapsody has grossed, making it the highest grossing drama in film history, is testament to his remarkable vision and acumen. I know the difference between agenda driven fake news and reality, and I am very comfortable with this decision. In America people are innocent until proven otherwise”. While the film has not yet entered into production, Lerner’s vocal support suggests that this will be the case. Consequence of Sound will be following this story as it develops. Source

Traveling and music – two of the most fulfilling experiences one can treat themselves too. In this day and age, it’s not enough for some people to simply go to an event or travel to a destination – although both of those are incredible in their own right. Destination festivals have been popping up all over the world, drawing music lovers and travel enthusiasts alike. Why not experience your favorite artist in an exotic, far-away, gorgeous destination? A solid amount of these festivals are in Europe, which brings more and more electronic music lovers to its glorious continent each year. Utilize this guide to your advantage and start planning your European getaway ASAP. PHOTO BY UMAGSEA STAR FESTIVAL Where: Stella Maris, Umag, Croatia When: May 24th – 25th Acts Announced: Sven Vath, Nina Kraviz, Illario Alicante PHOTO BY ASGEIR HELGISECRET SOLSTICE Where: Reykjavik, Iceland When: June 21st – 24th Acts Announced: Martin Garrix, Rita Ora, Morchiba, Pussy Riot, Boy Pablo, Nitin EXIT FESTIVAL Where: Novi Sad, Serbia When: July 4th – 7th Acts Announced: The Cure, Carl Cox, Dimitri Vegas & Like Mike, Greta Van Fleet, Sofi Tukker PHOTO BY BART HEEMSKERKDOWN THE RABBIT HOLE Where: De Groene Heuvels, Ewijk, Netherlands When: July 5th – 7th Acts Announced: Editors, Underworld, Thom Yorke, Foals, Robyn, Sketpta, The Roots, Vampire Weekend, Aurora, Beruit and many more PHOTO BY HERE TODAYOFF FESTIVAL Where: Valley of Three Ponds, Katowice, Poland When: August 2nd – 4th Acts Announced: Daughters, The Gaslamp Killer, Perfect Son, Lebanon Hannover, Boogarins, The Comet is Coming, Bamba Pana, and Makaveli PHOTO BY BART HEEMSKERKLOWLANDS FESTIVAL Where: Walibi Holland, Biddinghuizen, Netherlands When: August 16th – 18th Acts Announced: TBD SEA DANCE FESTIVAL Where: Buljarica Beach, Montenegro When: TBD Acts Announced: TBD AMSTERDAM DANCE EVENT Where: Amsterdam, Netherlands When: October 16th – 20th Acts Announced: TBD The post European Festival Travel Guide 2019 appeared first on EDM Maniac. Source

Metallica honored Lynyrd Skynyrd at their recent Birmingham, Alabama, show by performing — what else? — a cover of “Sweet Home Alabama”. The concert took place at the Legacy Arena at the BJCC in Birmingham on Tuesday (January 22nd) and the fans exploded as guitarist Kirk Hammett started jamming the opening riff of the iconic Skynyrd anthem. Robert Trujillo joined in on bass, and James Hetfield delivered a verse and the chorus as the fans sang along. Skynyrd actually originate from Jacksonville, Florida, but thanks to their signature song, they’ve always been associated with Alabama, as well. From there, Metallica went straight into the Black Sabbath classic “Iron Man”, because they were in, well, Birmingham. Sabbath, of course, hail from a different Birmingham, though — Birmingham, England. Pretty clever, guys! Watch Metallica tackle “Sweet Home Alabama” and “Iron Man” below: Metallica have made a habit of performing “hometown” songs on tour. Back in September, the guys covered Prince’s “When Doves Cry” during a show in Minneapolis, Minnesota. It’s safe to say that their Skynyrd performance went off a lot better than the Prince tribute, which seemed to leave the crowd perplexed. The metal legends’ North American tour will hit Nashville tonight (January 24th) at the Bridgestone Arena. Find their full tour itinerary here. As reported last week, Metallica also performed at the “I Am the Highway: A Tribute to Chris Cornell” concert at The Forum outside of Los Angeles. They just posted a pro-shot video of their cover of Soundgarden‘s “All Your Lies”, which can be seen below. Metallica’s Top 5 Songs Tour Preview: Bring Me the Tool’s Top 5 Music Videos Favorite Setlist.fm Music Moments in Behemoth's Top 5 Songs Source

With the news of a new Feed Me album on the horizon, our attention now turns to the future. Of course there will be a tour along with High Street Creeps, but fans just got the news we didn’t know we’ve been waiting for: the teeth are coming back. Yes DJ shows and Teeth shows https://t.co/UA0UC02pDn — Feed Me (@feedme) January 24, 2019 If you’re a newer fan of Feed Me, or just didn’t get a chance to see one of the shows with teeth years ago, this is bound to be great news. Even for those of us who were fortunate enough to experience the original teeth stage design, we’re sure to get something upgraded this time around. Some dates of individual shows have already been revealed, but stay tuned for a full tour lineup around when the album officially drops next month. For those entirely unaware of what we’re talking about, watch below. This article was first published on Your EDM. Source: Feed Me Reveals The Teeth Are Coming Back For New Album Tour Source

Chris Brown has made good on his threat to sue the woman who accused him of rape earlier this week. According to TMZ, Brown’s lawyer, Raphael Chiche, filed the complaint in a Paris court on Thursday. Per The Hollywood Reporter, Chiche is seeking to pursue the case under the penal code, instead of a civil case, as he contends that the accuser is making a “slanderous accusation” against Brown. The maximum prison sentence, if found guilty under the statute, is one year. Brown’s accuser has 10 days to respond to the complaint. Brown was arrested in Paris on Tuesday after a woman — identified only as “Karima” — accused the R&B singer of assaulting her in his hotel room. After being questioned by police, Brown was released from custody without any charges. An investigation is still ongoing, however. Brown addressed the allegations with a defiant three word message: “This Bitch Lyin’” read an image posted to his Instagram page. In the accompanying caption, Brown wrote, “I WANNA MAKE IT PERFECTLY CLEAR…… THIS IS FALSE AND A WHOLE LOT OF CAP! NNNNNNNNEEEEEEEEEEVVVVVVVVVVEEEEEERRRRRR!!!!!! FOR MY DAUGHTER AND MY FAMILY THIS IS SO DISPRESPECTFUL AND IS AGAINST MY CHARACTER AND MORALS!!!!!” Source