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How lackluster was last week’s Season 44 premiere of Saturday Night Live? Well, the only things people were still talking about come Monday were Matt Damon’s bro-tastic impression of Judge Brett Kavanaugh (not that we ever need to see it again or want to relive any portion of the past two weeks) and an embarrassing Kanye West rant that took place after the cameras had quit rolling and America had gone to sleep. A week later and, for the life of me, I can’t remember anything else that happened other than something about Pete Davidson and Ariana Grande. Shrugs. Maybe they’re dating or something. This week, SNL returns with rapper and Crazy Rich Asians co-star Awkwafina, musical guest and hottest hip-hop artist on the planet Travis Scott, and the perpetual hope that comes with a show that once survived the Joe Piscopo years. Hope that a sketch or two will stick, that a joke or three will land, and that a cast member or several will show a pulse. All I know is that if a show hosted by someone named Awkwafina doesn’t hydrate some water-cooler talk come Monday, then it’s going to be a long, long season. Live from New York… _________________________________________________________ Hot or Cold Open?: Thank “the male lord” Donald Trump remains sidelined on the cold opens. However, while Beck Bennett’s Mitch McConnell, Kate McKinnon’s Lindsey Graham, and Cecily Strong’s Susan Collins took incisive jabs at the moral cowards they were mocking, there isn’t much humor in watching impersonations of terrible people celebrating one of the darkest days in Supreme Court history and delivering a direct “fuck you” to women and survivors of sexual assault. As McConnell mentions in the skit, Kavanaugh’s confirmation served as a decided victory for “white men over 60 to white men over 70.” Maybe that demographic found this cold open funny as they had the last laugh … again. The Host with the Most?: SNL’s problem has not been its hosts. Like Adam Driver before her, Awkwafina took fairly humorless roles like Tiny Biggs, Didi the dog walker, and a contestant on “So, You’re Willing to Date a Magician” and squeezed out laughs with her point-blank deliveries and blunt style. Also poignant was her shout-out to actress and former SNL host Lucy Liu, whom she credited with “opening doors” for Asian-American women. Awkwafina hosting tonight’s show definitely felt like a slight win in a recent stretch full of social setbacks. Musical Guest or Pest?: If Kanye is the most talkative rapper out there these days, then Travis Scott might be the most talked about — and rightly so. The Houston native did nothing less than bring ASTROWORLD to New York City, with Kevin Parker and John Mayer pitching in on a “Skeletons/ Astrothunder” medley and Scott returning for an inspired rendition of “Sicko Mode”, during which he performed from the spinning car of a theme park ride while a gorgeous waterfall effect allowed smoke to pour down from the rafters. And kudos to Scott (aka Lil Bang Bang) for the sick serve he delivered by battle dancing to the Final Jeopardy theme. Best Sketch: Two episodes into this season and there has yet to be a truly memorable sketch. However, political inserts about a hype crew trying to make Ted Cruz look cool like Beto O’Rourke (good luck!) and, better still, a slam on Trump’s midweek emergency alert and how annoying they could potentially become if abused played a lot sharper — the latter with a great twist of being a Cricket Wireless commercial. Worst Sketch: Again, not a single sketch here will live on in any meaningful way. If one has to get this dubious distinction, then let’s go with the History Channel’s Hidden Tales of Egypt bit, in which Cleopatra gets a makeover that results in the style we all know today. Like most skits last night, it’s a workable premise that went absolutely nowhere despite Awkwafina’s best efforts to save the scene. The Real Fake News: Luckily, “Weekend Update” stepped in last night to pretty much save the show. After the cold open offered no catharsis after a nightmarish week on the social justice front, Colin Jost and Michael Che summed up how the bulk of Americans must be feeling: Jost pointing out the brevity of the FBI investigation of Kavanaugh by turning it into a 10-second Law and Order episode and Che both mocking the president’s takeaway that white men are living in “scary times” and calling out the complicity of white Republican congresswomen (“If a white lady in Keds can’t get justice, there’s no chance for my black ass in Jordans”). Joining Jost and Che were the brilliant duo of Mikey Day and Alex Moffat as Donald Jr. and Eric Trump, a bit highlighted by Eric talking to a puppet named King Funnyface and repeating his father’s favorite joke: “What did the gay, black Jew say?” Pete Davidson, donning a red “Make Kanye 2006 Again” cap, chimed in on Kanye West and related what most of us have been quietly thinking all year long: “Being mentally ill is not an excuse to act like a jackass.” Most Ready for Prime Time Player: In an extremely thin field, let’s go with Mikey Day for his return as Donald Jr. and his admonishing role of Pat from Pat’s Pumpkin Patch. Remember, the orangest pumpkins are the softest inside. Verdict: For the second week in a row, the host and musical guests left it all out on the SNL stage. “Weekend Update” hit its mark, and the return of McKinnon’s Debette Goldry, though a bit stale as a premise, was fun to see. But that doesn’t make up for a writing staff and cast that still haven’t proven that they can put together a complete sketch or create something clever or absurd enough to be memorable. While watching Day and Moffat play out their Trump bros. bit to perfection, I noted how little chemistry there seemed to be in most sketches and how so many skits seemed less like ensemble pieces and more like scenes with just a lot of people doing their own thing. As always, until next week. Source

The surviving members of Nirvana hit the stage together last night for a surprise performance to close out Foo Fighters’ Cal Jam Fest. Following Foo Fighters’ own headlining set, Krist Novoselic joined Dave Grohl and Pat Smear for a six-song set of Nirvana favorites. In place of the late Kurt Cobain, the trio recruited Deer Tick singer John McCauley and punk legend Joan Jett to front the reunion. (Both singers previously participated in Nirvana’s reunion gig following their induction into the Rock and Roll Hall of Fame in 2014.) McCauley sang lead on “Serve the Servants”, “Scentless Apprentice”, and “In Bloom”. Jett then took the stage for performances of “Breed”, “Smells Like Teen Spirit”, and “All Apologies”, the latter of which also featured The Distillers’ Brody Dalle on bass. Watch fan-shot footage of the reunion below. Setlist: Serve the Servants (with John McCauley on vocals) Scentless Apprentice (with John McCauley on vocals) In Bloom (with John McCauley on vocals) Breed (with Joan Jett) Smells Like Teen Spirit (with Joan Jett) All Apologies (with Joan Jett) Source

Aussie hip-hop has been around in different incarnations since the 1980’s. Borrowing heavily from the conventions US artists such as Public Enemy, Run DMC and the Beastie Boys, the original sound followed a simple formula – a beat, a synth, some samples and plenty of scratches. Many consider “Combined Talent” by Just Us to be the first Aussie hip-hop song released. From 1986 to the early 2000’s, the genre remained very much underground. Until 2002, when Melbourne’s 1200 Techniques top 40 hit ‘Karma’ was released – a turning point in the success of the genre. Recognising the growth of this underground movement, in 2004 the ARIA’s added ‘best urban album’ as an award category. Two years later, the genre finally broke through commercially, with The Hard Road by the Hilltop Hoods becoming the first Aussie hip hop album to go number 1 on the ARIA charts. Since that time, artists such as Bliss n Eso, Illy, Drapht, Urthboy and Thundamentals have been able to solidify the genre as a mainstay in modern Australia. However, for many years, the genre has struggled with diversity. In 2013, Urthboy wrote an opinion piece titled ‘Level Surface or Surface Level’ where he analysed the state of Aussie hip-hop. In the piece, he said, “I’m speaking from my perspective here but let’s cut to the chase – the majority of successful Australian hip-hop artists share two features. We’re male and white”. It was around this time that hip-hop in Australia started to find a new voice. A new wave of hip-hop There is no denying the influence that SoundCloud and the internet at large has had in facilitating the globalisation of hip hop not just in Australia, but worldwide. Speaking about this change, rapper and founder of local hip-hop website AUD’$ Juñor said, “a lot of the new artists are ‘born on the internet’. Internationals like Childish Gambino and Mac Miller (RIP) really found their sound on the internet. Their influences aren’t restricted by their local sound, area or base. And that’s kind of where this generation of Australian artists sits in the hip-hop community as well”. When asked about the importance of the internet, Melbourne artist Midas.Gold said, “quite simply, I wouldn’t have a career without it. It’s been fundamental. I think the vast majority of artists today come from the internet”. According to Juñor, the first wave of this new trend of hip-hop in Australia began to really take off around 2012-2013. Artists such as Remi, Allday and Tkay Maidza began to utilise this platform and find their own place in the world of hip-hop. Juñor said, “they really started to change the sound and influence by using, for example, the twangs in their voice to have a much more international and unique sound than most of the Aussie hip-hop that was being released at the same time”. With this new sound now taking off, many in the industry don’t refer to this wave as Aussie hip-hop. When asked if he considers himself an Aussie hip-hop artist, Sydney based hip-hop artist Jamarzonmarz said, “definitely just a hip-hop artist. I don’t really align myself at all with the scene here. I don’t feel accepted at any level locally so I just consider myself a hip-hop artist, definitely”. And while this breakaway continues, Midas.Gold believes there is no tension between the old guard and the new. He said, “all the established Aussie hip-hop artists that I’ve met have all been really genuine and supportive. I think they realise that this wave is the future, and that’s not a diss at all. Times are changing in the scene. There may be some hate but most of these guys grew up listening to hip-hop, they love the genre”. With the barriers that once held back Australian musicians now broken down, the new wave of hip-hop artists are slowly beginning to make their mark overseas. Earlier this year, Manu Crooks was handpicked to support A$AP Ferg around Europe and Canada while Tkay Maidza has had Killer Mike (half of Run The Jewels) and Duckworth both feature on her tracks. She’s also featured on singles from Martin Solveig and Basenji, highlighting the diversity of her sound. And according to Juñor, this is just the beginning of what young hip-hop artists from Australia can achieve globally. He said, “I think it’s going to come up very similar to how electronic music came up in Australia – it wasn’t just Melbourne Bounce or Future Bass that popped, the whole community came up together and really had that influence internationally and people started noticing what was going on down under”. Diversity of sound Arguably the most exciting aspect of this new wave of hip-hop is that it is not bound by any one sound. While the original genre is very much known for lyrics relating to a uniquely Australian experience, young rappers in 2018 are not bound by any restraints. This has allowed for artists like Sampa The Great, Arno Faraji and Anfa Rose to explore more textured and layered sounds. There is also a new found sense of diversity and inclusiveness. No longer dominated by white males, the genre is giving a voice to many who didn’t feel comfortable in years gone past. On this, Juñor said, “real Australian culture is multiculturalism. The new wave is really changing the perception socially about what we are rather than just being Aussie hip-hop. It’s a mix of all kinds of races and there’s a diversity of sound and influences coming from everywhere”. Where to from here? Even though the sound has come leaps and bounds in a short time, it is still very much in its infancy. And while some artists are beginning to get a foothold overseas, there’s a general belief that the industry could do more to facilitate the growth of the sound. On this Jamarzonmarz said, “I feel with the industry here, it’s really far behind and it’s only realising now how important hip-hop is worldwide. What is pushed here hip-hop wise doesn’t really feel ground-breaking. You have to look outside the mainstream to find people really pushing the boundaries”. Midas.Gold agreed, saying “I’m not going to mince my words, there’s fuck all opportunities going around right now. People are making moves on the internet but they are not receiving any industry recognition”. While there may be little support on an industry level, Melbourne based artist Z. Lewis believes the appetite amongst Australian consumers is there. He said, “I think people are really hungry. The consumers are ready for this music, they are ready to go to the shows and support and represent. What we need now is an infrastructure to deliver this music and this culture to the consumers who want it. One of the biggest hurdles that we have right now is a limited state of taste-making, which is really impacting on people’s ability to formulate their own music tastes without relying on major publications making their tastes for them”. He continued, “having said that, there is a lot of onus that falls on the artist. It’s appropriate to mention that the artist is in control and in complete direction of their own success and however much you want it will determine what spaces you put yourself in”. Source

Last week’s season premiere of Saturday Night Live amounted to what Keanan Thompson described as a “hostage” situation, as the show’s cast was forced to stand next to Kanye West as he ranted about a series of nonsensical topics, including his admiration for Donald Trump. This week, during the show’s “Weekend Update” segment, Pete Davidson responded to Kanye on behalf of the cast. Davidson explained that some people thought “Weekend Update” co-anchor Michael Che “should be the one to talk about Kanye, but we discussed it, you know, because Che is black, but I’m crazy and we both know which side of Kanye is at the wheel right now.” “What Kanye said after he went off the air last week was one of the worst, most awkward things I’ve ever seen here,” Davidson remarked. “And I’ve seen Chevy Chase speak to an intern.” Davidson took specific issue with Kanye’s contention that he was bullied backstage for wearing a MAGA hat. “He started by saying people backstage tried to bully him into not wearing it. He wore it all week. Like, nobody told him not to wear it. I wish I bullied you. I wish I suggested that, you know, it might upset some people, like, your wife or every black person ever.” “You know how wrong about politics you have to be for me to notice?” Davidson added. “Kanye is a genius, but like a musical genius. Like Joey Chestnut is a hot dog-eating genius, but I don’t want to hear his opinion about things that aren’t hot dog-related.” Davidson concluded his remarks by advising Kanye to take his meds, because “being mentally ill is not an excuse to act like a jackass.” He then donned a red hat that featured the phrase, “Make Kanye 2006 Again.” Watch Davidson’s full remarks below. Pete dropped by the Weekend Update desk to talk about last week’s musical guest, Kanye West. #SNL pic.twitter.com/LFzJJFTnbV — Saturday Night Live – SNL (@nbcsnl) October 7, 2018 Source

Travis Scott made his SNL debut with a pair of star-studded performances supporting his smash new album, ASTROWORLD. The Houston rapper was joined on stage by Tame Impala’s Kevin Parker, John Mayer, and super producer Mike Dean as he ran through a medley of “Skeletons” and “ASTROTHUNDER”. Later, he returned to perform the album standout, “Sicko Mode”, with the backing of Dean. Catch the replay below. For both performances, the stage was adorned to look like an amusement park; a woman rode a carousel horse, and he rapped “Sicko Mode” from atop a giant arcade console. Scott also appeared in a sketch spoofing a late-night dance battle. He played a Mariah Carey backup dancer named Lil Bang Bang, who showed off his moves while dancing to the Jeopardy! theme song. Travis Scott is preforming on Saturday Night Live, but not only is he preforming, they got him to act in the first skit as Lil Bang Bang jamming to the Jeopardy theme music pic.twitter.com/FulAoMAJf9 — Pissed MARA (@EmperorMara) October 7, 2018 Parker, Mayer, and Dean all contributed to ASTROWORLD, which went twice No. 1 to the chagrin of Nicki Minaj. Beginning next month, Scott will embark on “The Wish You Were Here Tour.” You can grab tickets here. Source

Austin City Limits kicked off its 44th season Saturday night with a rousing 13-song performance from the incomparable St. Vincent. The career-spanning set kicked off with six tracks from Annie Clark’s 2017 LP, MASSEDUCTION, before touching on past favorites like “Marrow”, “Cruel”, “Cheerleader”, and “Digital Witness”. Replay the full performance below. Earlier this week, St. Vincent announced a full reimagining of MASSEDUCTION, featuring stripped-down piano arrangements of the album’s tracks. Entitled MassEducation, it’s due out next Friday, October 12th. Setlist: Sugarboy Los Ageless Pills New York Savior Masseduction Marrow Cruel Cheerleader Digital Witness Rattlesnake Fear the Future Slow Disco Source

Scott Wilson, the veteran actor who played Hershel on The Walking Dead, has died at the age of 76. According to TMZ, Wilson died from complications of leukemia. He passed away peacefully at his home in Los Angeles. Hours before news of his death was reported, AMC announced that Wilson would be returning to The Walking Dead for its upcoming ninth season. According to The Hollywood Reporter, he had filmed his scenes prior to his passing. Wilson originally appeared on The Walking Dead beginning in season two through season four, playing farmer Hershel Greene, the father of Maggie and Beth Greene. Wilson’s first major film credits came in the 1967, as he appeared in both In Cold Blood and In the Heat of the Night. The latter film went on to win Best Picture at the Academy Awards. In 1974, he appeared in The Great Gatsby, playing the owner of a filling station who and kills Robert Redford’s Jay Gatsby. In 1980, Wilson’s role in The Ninth Configuration earned him a Golden Globe nomination for Best Supporting Actor. Other notable film credits include Sean Penn’s Dead Man Walking (1995), Michael Bay’s Pearl Harbor (2001), and Patty Jenkins’ Monster (2003). He also appeared in three installments of the children’s film series Shiloh, as well as on the CBS crime drama CSI. Source

Donald Trump is set to meet with one of his biggest supporters at the White House this week. Kanye West is scheduled to sit down with Trump on Thursday, October 11th. Ahead of their meeting, Kanye reportedly reached out to Hot 97 morning host Ebro to arrange a phone call with NFL quarterback Colin Kaeperinick. “I want to bring Colin Kaepernick with me to meet Donald Trump,” Kanye told Ebro, explaining that he intended to “open dialogue” between Kaepernick and Trump. (Trump has criticized Kaepernick’s decision to kneel during the National Anthem in protest of institutional racism and police brutality.) Ebro declined to assist Kanye in arranging the phone call, saying he would not let Kanye and Trump use Kaepernick as a political pawn. “What do we need to have dialogue about? Donald Trump should come out and apologize to Colin Kaepernick for coming for his job,” Ebro told Kanye. Even without Kaepernick’s participation, Kanye and Trump will have plenty to talk about. They can discuss abolishing amending the 13th Amendment; why slavery was wasn’t a choice; their favorite Malcolm in the Middle episodes; dragon energy; and what it’s like being an ill-informed narcissist. Source

Echo and the Bunnymen has returned with their first new album in four years,The Stars, The Oceans & The Moon. Spanning 15 tracks, this collection strings together reimagined versions of songs from their back catalogue along with two brand new recordings. In other words, if you’re open to the idea of hearing favorites like “The Killing Moon”, “The Cutter”, “Bring on the Dancing Horses” and “Lips Like Sugar” with “strings and things,” this album is right up your alley. But it’s also not for you, according to frontman Ian McCulloch. “I’m not doing this for anyone else,” he insists in a press release. “I’m doing it as it’s important to me to make the songs better. I have to do it.” One would think 30+ years of rampant support would sell him on these songs, but who are we to argue with the guy? Nevertheless, it’s an intriguing experiment and the two new songs — “The Somnanbulist” and “How Far?” — aren’t too shabby either. Stream the full album below via Apple Music and Spotify and consult the tracklist and album artwork shortly after. The Stars, The Oceans & The Moon Artwork: The Stars, The Oceans & The Moon Tracklist: 01.Bring on the Dancing Horses 02.The Somnambulist 03. Nothing Lasts Forever 04.Lips Like Sugar 05.Rescue 06. Rust 07. Angels & Devils 08. Bedbugs & Ballyhoo 09. Zimbo 10. Stars Are Stars 11. Seven Seas 12. Ocean Rain 13. The Cutter 14. How Far? 15. The Killing Moon Source

In the November 1987 issue of punk bible Maximumrocknroll, the ever combative Ben Weasel vented his spleen about what he saw as the sorry state of alternative rock at the time. “These writers, critics and even the musicians themselves,” he wrote, “turn their noses up at punk, yet listen to stuff that either used to be loud, aggressive and meaningful and turned into lame, mindless word-spuel [sic] or else shit that is basically Led Zeppelin and CCR rip-offs.” He names names throughout, but the one artist that keeps popping up as the exemplar of a reversion back to “the shittiest music ever created by man” was Sonic Youth. Weasel’s rant is emblematic of the style of unwittingly funny writing that is typical of that magazine even today. And no one found their inclusion in the piece more hilarious than the members of Sonic Youth. So hilarious, in fact, that they reprinted it in the liner notes of their 1987 Master=Dik EP, the group’s final statement on SST Records. It was a flippant move by the band akin to their use of a picture of then couple David Geffen and Cher on the cover of a fan club release of their demos for Goo. But it also served as the final bit of kindling that Sonic Youth used to completely burn the bridges to a stodgy scene that they unwittingly helped build by signing with Black Flag’s label. They loved punk, but they weren’t punk, at least not in the way that bull-headed writers like Weasel define the word. And they were about to bear that out with their clearest and most cohesive statement to date: 1988’s Daydream Nation. The double album, released 30 years ago this month, was the product of a band that had finally found a way to connect their disparate artistic interests into a distinctive whole. For all the greatness in their previous work, particularly the preceding album, Sister, the quartet was still toning their collective muscles as they strained to find the depth in the tinny, frayed production styles of Martin Bisi and Wharton Tiers. The music that they wrote for Daydream formed the strongest links between the avant garde sounds that had marked much of their earliest work, their abiding love of classic rock (Neil Young, Grateful Dead), and the growing school of underground bands, many of which were also name checked in Weasel’s rant (Das Damen, Hüsker Dü, Green River). It was an amalgamation that demanded a fuller, more dynamic sound, which they found with the guiding hand of Nick Sansano, a producer and engineer whose previous experience included working with The Bomb Squad, the team behind the music on Public Enemy’s first four albums. Daydream Nation starts with a feint. The slow, chiming chords and Kim Gordon’s cooing vocal turn suggesting a dreamier turn by the group. But after about 90 seconds, Sonic Youth’s true intentions become clear with the crackling chords that kick off “Teen Age Riot” proper. Guitarists Thurston Moore and Lee Ranaldo twist and bend around each other, leading to the album’s first big drive: a tune that abstractly imagines a world in which Dinosaur Jr. leader J Mascis was our president. Everything surges forward from there, cranking up the intensity briefly with the furious “Silver Rocket” but otherwise maintaining a steady flow and pace for just over an hour. (It remains one of the most perfectly sequenced albums of all time.) They allowed themselves a much wider canvas to play with, giving them room for longer intros, more drawn-out instrumental breakdowns, and, to close out the record, a suite of songs where the accelerated ascent of “The Wonder” slowly settles into the cruising altitude of “Hyperstation”. All the songwriters are allowed more space to shine. Ranaldo bumps his usual one song per album contribution up to three, lending Daydream some of his best ever work. His trio of tunes seem cut from the same cloth as Love’s Forever Changes, with Beat poetic imagery that explored the dark underbelly of the ‘60s (“There’s one big dead end in my head/ And not a moment of peace”). Gordon’s contributions are true to her feminist ideals, as she takes on the guise of a skeevy movie producer (“Kissability”) or borrowing from a postmodern Denis Johnson novel to express unbound female desire (“The Sprawl”). Daydream Nation had a marked impact on not only the band but the entire underground scene of the time. Just as it helped thrust Sonic Youth ahead, raising their profile and giving them freedom to reach an even more accessible sound with their first few DGC releases, it became a guiding light for artists like Mercury Rev, Swervedriver, and Teenage Fanclub, not to mention much of the post-rock scene of the ‘90s, to make their own fearless, gleaming guitar masterpieces. Like Gerhard Richter’s painting of a candle on the album’s cover, Daydream Nation remains a beautiful, resolute, and illuminating source of inspiration. Essential Tracks: “Teen Age Riot”, “The Sprawl”, and “Hey Joni” Source

A rare piece of artwork from Banksy went up for auction this evening — only to self-destruct moments after it was sold. According to The Art Newspaper, a copy of Banksy’s iconic “Girl with Balloon” painting was auctioned at Sotheby’s in New York City on Friday night. However, almost immediately after the record-setting bid of $1.1 million was announced aloud, an alarm was triggered inside the frame and proceeded to shred the painting to pieces. “It appears we just got Banksy-ed,” said Alex Branczik, head of contemporary art, Europe. “He is arguably the greatest British street artist, and tonight we saw a little piece of Banksy genius.” Branczik maintained that Sotheby’s was “not in on the ruse.” “We are busy figuring out what this means in an auction context,” Branczik added. “The shredding is now part of the integral art work. We have not experienced a situation where a painting has spontaneously shredded, upon achieving a record for the artist.” Last year, Banksy opened the Walled Off Hotel, a full-service art hotel located in the West Bank city of Bethlehem billed as having “the worst view in the world,” with musical contributions from Massive Attack’s 3D, Trent Reznor and Atticus Ross, Flea, Hans Zimmer, and more. In 2015, Banky constructed his very own Dismaland “bemusement park” in London. Source

Audrey Wells, a veteran screenwriter who penned several notable films including The Hate U Give, has died following a lengthy battle with cancer. She was 58 years old. Wells’ first major script came in 1996 with the romcom The Truth About Cats and Dog. A year later, she penned Disney’s George of the Jungle starring Brendan Frasier. In 2003, Wells wrote and directed an adaptation of Under the Tuscan Sun, which earned Diane Lane a Golden Globe nomination for Best Actress. In more recent years, Wells wrote A Dog’s Purpose in 2017 and The Hate U Give, which opened in limited theaters today. The latter film, an adaptation of Angie Thomas’ 2017 young adult novel of same name, has earned universal acclaim. In a statement, Wells’ husband Brian said: “Over the last five and half years, Audrey fought valiantly against her illness and she died surrounded by love. Even during her fight, she never stopped living, working or traveling, and she never lost her joy, wonder and optimism. She was, simply, the most incredible wife and partner imaginable, and she knew always that she was loved by Tatiana, me, and the friends who were her chosen family. She said just recently, ‘We’re so lucky, honey. We got to live a love story. Who gets to do that?’ We will carry her forward with us forever — as a mother, as a wife, as an artist and creator, and as a friend. She was irreplaceable.” Source

POND returned this past summer with “Burnt Out Star”, their first new music since 2017’s The Weather. Now, the Australian weirdos are back with another slice of psychedelia with “Sixteen Days”, the latest single from a new LP due out in the spring of 2019. “‘Sixteen Days’ is about, once upon a time, being jealous and paranoid, too ground down and mad to enjoy love and Genoa,” says frontman Nicholas Allbrook in a press release. Its accompanying video, directed by Kristofski, has a cable access vibe, and features cloaks a slew of shirtless hunks in glitter and fog. Of the video, Allbrook adds, “Goulburn Valley Gold. Ruthless business. Fierce steals the show – World Champion (note – mirror ball helmet).” Okay then. Watch it below. POND plays California’s Desert Daze and Treasure Island Music Festival later this month, and will follow those gigs with sets in cities like Seattle, Portland, Salt Lake City, Chicago, Detroit, Montreal, Toronto, and Brooklyn. Head here to see their full list of dates. Source

Finishing up their NY residency while following two sold out events of 5,000 concertgoers, elrow has announced their lineup for the 3rd and final edition in NYC. The party will be called “The Rowmuda Triangle” at Avant Gardner and will host Acid Mondays, Steve Lawler, B2B Yousef, and more on November 24. “There’s a reason that elrow has exploded outward from its European headquarters … it has become an international phenomenon that simply cannot be matched. When it comes to happy feels, immersive experiences and a truly one-of-a-kind, interactive playing field, elrow takes home the coveted medal.” – DJ MAG Elrow is host to 50 countries and 4 continents and has the title of being the most acclaimed immersive electronic event brand in the world as they have the rep of bringing the most “outlandish” (Billboard) and breathtaking experiences. “An avant-garde entity in the electronic event market, elrow derives much of its influence in the increasingly popular trend of experiential nightclubbing from its deemphasis on the music as the primary point of focus, and its redirection of that attention to the thematics of event production.” –DANCING ASTRONAUT At the “Rowmuda Triangle”, everyone will start on their journey that started aboard a pirate ship from Ibiza which was later swallowed by the Craken when going through Atlantis. To get tickets, click here! The post elrow Announces Lineup for “The Rowmuda Triangle” In NYC appeared first on EDM Maniac. Source

Summer 2018 was another incredible summer to remember, filled with nothing but the best people, music, and memories. It’s only fitting that we said goodbye to summer with one of Southern California’s most iconic and scenic festivals, the Fall installment of CRSSD. CRSSD’s Fall festival serves as one last taste of summer before we slip into the fall season. And the 2018 edition gave us quite the final taste – with weather in the high 70s and low 80s during the day, cooling down to a chill high 60s/low 70s at night. All weekend attendees were frolicking through the grass to the sounds of their favorite artists at the Ocean View stage, the Palms stage, and the City Steps stage. Another staple of CRSSD are the fountains, which act as a “watering hole” of sorts where attendees can kick their shoes off, get their feet (and whatever else they like) wet while dancing to their favorite artists playing in the distance. Day 1 started out hot in terms of weather and music. The tunes were bumping the moment I stepped through the gates, smiles beaming everywhere and people getting down in every direction. My friends and I made our way over to Ocean View to see Pnau, a recommendation made to us by a friend that none of us were familiar with. With no expectations in mind, we were all blown away by what he heard and saw when we got there. Even in the blazing heat, Pnau had the entire crowd going hard. His unique style of music and energy was the perfect way to start our CRSSD weekend. I walked away from that set with a new favorite artist, and a new favorite track – “Go Bang”, the perfect feel-good anthem by none other than Pnau. Next up for us was Detlef, whose unique brand of tech house had the Palms bouncing every-which-way. We took a break from the tech to see some of Hayden James’ set, where we worked our way up to the very front of the Ocean View crowd. Our timing was impeccable because right as we got to your desired spot, he dropped my current favorite track of his – “Just Friends” ft. Boy Matthews. After I sang along to the lyrics with the sun beating down on my face, I decided it was time to go check out City Steps. As we arrived at City Steps for the techno stylings of The Hacker, I was blown away because I had never heard of or seen this artist before. After The Hacker was Layton Giordani, who kept us moving and grooving straight through the sunset and into the night. After his set, we made our way over to the Palms to catch fan favorite and Dirtybird staple Will Clarke. After spending some time there, we cruised back over to City Steps to catch Helena Hauff, who I was particularly excited for because I had never seen her. Her brand of hot and heavy techno was exactly what everyone needed to keep their blood pumping and feet moving. And closing out Day 1 was none other than the queen of acid techno herself, Nina Kraviz, and she had the City Steps stage packed til the very end. As incredible as the first day was, Day 2 found a way to top it. We began our day with Cutsnake b2b Ardalan, a booty bumping party that was already packed to the brim over at the Palms. While the music kept us moving, the iconic CRSSD fountains kept us cool – my friends and I, along with tons of other hot and sweaty attendees, danced in and splashed our way through the fountains. After the b2b ended, Oliver was up next at the Palms and he treated us to some prime deep house. Then we headed over to City Steps for the first time that day for Yotto, a personal favorite of mine who exceeded my expectations yet again. Next up was Kiiara at Ocean View, who I had never seen before. We got to her set right as she started performing her hit track, and one of my all-time favorite songs, “Gold”. We hung out by the fountains and took in the beautiful scenery around us – clouds filling the sky, showing just enough of the golden sunlight fading in the distance. After spending some time soaking it all in, we worked our way back over to the Palms for another incredible b2b – AC Slater b2b Jackbeats, the kings of Nightbass. As the sunset began to illuminate the San Diego sky with a million different shades of orange, pink, and purple, it was time for the much-hyped debut of Anti Up, a new duo consisting of Chris Lake and Chris Lorenzo. And boy, did they exceed the hype – it was one of my favorite sets of the weekend. They had the Palms overflowing with people, so we decided to throw off our shoes and take another dip into the fountains before it got too cold. As we danced in the water and admired the gorgeous sky above us, my friends and I took a moment to embrace each other and realize just how blessed we all were. We ended our CRSSD weekend at City Steps with Matador’s live set, followed by Mind Against, ensuring that we filled ourselves up with as much techno as possible. All in all, it was another very successful installment of CRSSD. The picturesque festival is a staple of every Spring and Fall, drawing thousands of music lovers from far and wide to beautiful Waterfront Park in San Diego, CA. The countdown begins now to CRSSD Spring 2019! FEATURED PHOTO: CRSSD Fest The post CRSSD Fall 2018 – A Weekend of Sun, Sound, and Smiles appeared first on EDM Maniac. Source

Broadway’s no stranger to musicals based on famous movies, but rarely is the source material as compelling as the Oscar-nominated Girl, Interrupted, which is apparently in the process of being turned into a musical. That news comes from Aimee Mann, of all people, who made the project even more appealing by revealing in a Los Angeles Review Of Books interview that she’s writing the music. The pairing makes sense: Mann’s last album, after all, was titled Mental Illness, and Girl, Interrupted tells the story of a young woman’s 18-month stay at a mental hospital in the 1960s. “So literally right up my alley—it’s about crazy ladies!” Mann joked, saying she doesn’t know when it will premiere as “plays always take forever.” (Read: Top 50 Cover Songs from Movies) Mann also revealed that she’s working on another musical, one she describes “my own thing,” with playwright Jonathan Marc Sherman. Source

Dave Grohl has a busy weekend ahead of himself: Foo Fighters will host and headline the second annual Cal Jam Fest, and it also looks like there will be some sort of Nirvana reunion. Still, Grohl found time on Thursday night to headline a benefit gala for autism awareness, as Alternative Nation points out. He brought along his 12-year-old daughter Violet, who joined her father on stage to perform a pair of covers: Adele’s “When We Were Young” and Billie Eilish’ “Idontwannabeyouanymore”. Watch footage below. Violet previously teamed with her father to cover “When We Were Young” during a benefit concert back in March. Her vocals have grown all the more impressive since then, no thanks to a summer apprenticeship serving as a Foo Fighters backing singer. Needless to say, Frances Bean Cobain isn’t the only Nirvana offspring to have inherited some stellar musical chops. Source

2018 has been a stellar year for Los Angeles festivals. Seemingly out of nowhere, a plethora of standout new events have sprouted within city limits, and the most exciting of them all is Secret Project. Since Insomniac introduced their Factory 93 brand they have been working tirelessly to find a home for house and techno in L.A.. At first that home took the form of the Factory 93 warehouse; a large warehouse space near DTLA. Several top-notch artists liked Get Real, Nicole Moudaber and Eric Prydz played extended sets long into the night at that warehouse. Unfortunately in light of L.A.’s rocky history with late-night electronic music events, the Factory 93 warehouse was closed permanently. Insomniac didn’t give up though. After a successful experiment earlier this year wherein Carl Cox played an outdoor day-time event in the same part of town, Factory 93 is now proud to introduce Secret Project. Taking over an obscure corner of L.A.’s burgeoning arts district, Secret Project stands to offer an Ibiza-esque outdoor experience complete with selective V.I.P. options and, of course, a world-renowned lineup. Check out some of our favorite artists on the Secret Project roster below: 1. Bicep & Stephan Bodzin No these two heavyweights are not playing back-to-back. While that set would certainly be amazing, the Irish duo Bicep and the German virtuoso Stephan Bodzin are listed here together because they are both performing live sets at Secret Project. For those who don’t know, a live set is a unique rendition of the artist’s original music. During a DJ set an artist can technically play anything they want. Out of the near 20 artists booked for Secret Project these are the only two live sets, and they serve to be some of the most exciting performances of the weekend. The amount of musicianship that goes into a live set simply can’t be compared to a DJ set. Fans of Bicep and Stephan Bodzin will note that their music is akin to classical compositions. Dissonant sounds and melodic ideas flow across one another while being effortlessly supported by a thumping kick drum. Witnessing these modern maestros craft an entire set out of their own music will surely be an unforgettable experience. 2. Sonns If you’re unsure as to where in the world techno and house came from, a discussion with an aficionado will undoubtedly cover Detroit, Chicago and Germany. Very few people would consider Los Angeles to be one of the pillars of house and techno. Insomniac was born in L.A. though, and if they are going to dedicate a festival to house and techno they are certainly going to book some L.A. artists. Sonns is one of those artists. Having grown up in L.A., Alexandre Mouracade brings a level of diversity to his productions that is seldom seen in electronic music. He’s certainly going to bring his A-game when he plays his hometown. 3. Dixon & Âme Did someone say Germany? Well it’s impossible to mention Germany and techno without thinking of these two. The fact that Insomniac was able to book them both for a back-to-back set is actually quite astounding. They got a live set from Âme for Nocturnal 2016, but Âme is actually a duo. Frank Wiedemann handles live sets and Kristian Beyer is the DJ. Beyer has never played an Insomniac event before and neither has Dixon. So to say their debut is not to miss would be quite the understatement. Dixon was the top DJ in the world according to Resident Advisor all the way up until they disbanded their poll, and anyone who has seen Âme knows he’s not far behind. Together these two head Innervisions, the most illusive entity in techno. Individually their sets offer a glimpse into the electronic haven they’ve carefully crafted over the years. This time they’re playing together. Who knows what to expect? 4. Bonobo Inverse to the first item on this list, Bonobo is the only artist performing at Secret Project with the words “DJ Set” included next to his name. That’s because Simon Green has been on the road with his band for almost two years now supporting his latest album ‘Migration’. When Bonobo does a live tour, fans can expect at least a seven-piece band with him. Sometimes he’ll add a full string section like he did at the Greek Theater. Sometimes he even performs with an entire orchestra like he did at Red Rocks. So a Bonobo DJ set is sure to be nice change of pace. For Green who is likely exhausted from a rigorous travel schedule. And for everyone attending Secret Project who will receive a set from an artist who isn’t grounded in house and techno. Green certainly welcomes a nice four-on-the-floor kick drum, but any true fan knows his music is just as much rap, funk and soul as it is dance. He has no boundaries when he plays DJ sets which will make for an interesting dynamic at an event built around one genre. 5. Carl Cox Oh yes. Oh yes. Carl Cox is going to be the standout set of the weekend at Secret Project. It doesn’t matter that he played the same venue just a few months ago. Or that that gig was slated to be his “only L.A. show of 2018.” Carl is who he is for a reason. He’s a DJ through and through. None of the DJs on the Secret Project lineup would even be using three decks if it wasn’t for him. His jaunty smile and gyrating dance moves are known worldwide. For the past few years EDC Vegas (and every other Insomniac festival) has been absent a “Carl Cox & Friends” stage. Now it seems his relationship with them is being rebuilt. Hopefully after Secret Project we’ll see more the legend, but for now the excitement surrounding this set will have to do. Secret Project will take place October 13 & 14 in L.A.’s arts district. Check out the full lineup below and get tickets here The post 5 Artists To Catch At Secret Project appeared first on EDM Maniac. Source

The Pitch: Having spent their 20s and 30s building enviably bohemian lives as East Village creative types, Rachel (Kathryn Hahn) and Richard (Paul Giamatti) suddenly find themselves over 40 and desperate to start a family. Or, at least, they desperately want to have a baby; how they feel about the idea of actually raising a kid is never quite clear. Unable to conceive on their own, they’re pursuing a domestic adoption while simultaneously attempting IVF — two equally messy, bureaucracy-filled paths that have consumed their lives and their marriage for the past few years. Coincidentally, however, their 25-year-old step-niece Sadie (newcomer Kayli Carter) calls to ask if she can crash at their apartment, just as their doctor tentatively suggests that they might consider using an egg donor. On Pins And Needles: For her first film since 2007’s Savages, writer/director Tamara Jenkins has made a movie about cycles: cycles of life, cycles of a marriage, and the monthly hormonal cycles that are carefully monitored by women struggling to get pregnant. Having been through IVF herself, Jenkins renders the process in excruciating, darkly comic detail. We feel the pain of each needle jab and the awkwardness of each vaginal examination. (Denis O’Hare nearly steals the film as Rachel and Richard’s professionally peppy, slightly unnerving doctor). Rachel and Richard aren’t particularly sentimental people, and Jenkins doesn’t sentimentalize their journey, but she does find enormous empathy for almost everyone involved in their increasingly complicated struggle to become parents. The movie’s dark, dry comedic tone often gives way to bursts of deep emotion as Rachel and Richard alternate between railing against the world and railing against each other. We don’t see what their marriage was like before they became “fertility junkies” — as an exasperated relative calls them — but the intimate way in which they fight paradoxically reveals the strength of their partnership. Relatability In Specificity: Jenkins isn’t exactly treading new cinematic ground in exploring the lives of an insular group of relatively privileged New York artists, but her version of this story feels particularly relatable because of the incredible specificity of its world. Rachel and Richard’s cozy, book-filled East Village apartment is a dream of detailed production design, while the film’s immersive sound design roots it in New York City just as much as its location shooting. Private Life mostly avoids doling out clunky exposition, but one gets the sense that Jenkins could answer even the most minute questions about her characters’ backstories — from how Richard made the career transition from avant-garde theater director to artisanal pickle salesman, to the exact publications Rachel has written for over the years. Plot-wise, Private Life makes a few strange swerves, some of which are overly melodramatic and others that feel almost sitcom-esque. Yet even in those weaker moments, Jenkins finds at least some element of textural specificity — like a Thanksgiving family fight that transitions to the laundry room, because Sadie is in the middle of washing the dirty laundry she brought home. Stealing The Show: With its relaxed pacing and slice-of-life storytelling,Private Life is first and foremost a showcase for its actors, and Jenkins has assembled an impressive ensemble. Hahn and Giamatti are both stellar in roles that play to their strengths while also giving them new notes to hit. Hahn is pricklier than she’s often allowed to be, while Giamatti is warmer than he usually is onscreen. Both are hilarious and heartbreaking in equal measure. Carter, meanwhile, is a great young find, who expertly calibrates Sadie’s youthful behavior so that it’s never quite clear whether she’s wise beyond her years or impulsively rash; she often seems to be both at the same time. The film’s only real casting misstep is Molly Shannon as Sadie’s judgmental, menopausal mother — a strangely written character that Shannon can’t quite figure out how to play. The Verdict: In the subgenre of indie dramedies about affluent people dealing with domestic problems, Private Life is a more than worthy entry. Yet despite its carefully measured comedic voice and the detail with which it depicts the IVF process, the film never quite manages to feel like something completely groundbreaking. At just over two hours it isn’t necessarily too long — the length helps convey Rachel and Richard’s monotonous journey — but the film is definitely weighed down by too many shaggy subplots. Given its ease of accessibility on Netflix, it’s worth seeking out Private Life for its stellar performances and Jenkins’ detailed world-building. But it perhaps doesn’t need to immediately hop to the top of the queue. Where’s It Playing: Private Life is now available on Netflix, as well as in select theaters. Trailer: Source

Musically, Janelle Monáe has already made her mark in 2018 with the excellent Dirty Computer. She’s also been making steady headway in the film world this year, as she’s already been cast to appear in director Robert Zemeckis’ Welcome to Marwen, the forthcoming Harriet Tubman biopic, and now, Disney’s live-action adaptation of Lady and the Tramp. Known for her work in Hidden Figures and Moonlight, Monáe is set to voice Peg, the fluffy shih tzu maltese from the pound. Peg famously sings the “He’s a Tramp” song in the film, so we just may actually get to hear Monáe flex some of her vocal prowess. (Read: The 25 Albums of 2018… So Far) The forthcoming adaption will be led by Tessa Thompson as Lady and Justin Theroux as Tramp. Ashley Jensen has been tapped to portray the Jackie character, with Benedict Wong in the role of Bull. Charlie Bean, who helmed The Lego Ninjago Movie, has been enlisted to direct, and the script was penned by Andrew Bujalski. Lady and the Tramp is scheduled to debut on Disney’s forthcoming digital streaming service, which officially launches sometime next year. Today’s news follows yesterday’s announcement of a Lilo & Stitch live-action remake. Next up for the theatrical live-action Disney remakes is Tim Burton’s Dumbo (March 29th, 2019), then Guy Ritchie’s Aladdin (May 24th), followed by Jon Favreau’s The Lion King (July 19th), with Niki Caro’s Mulan set for March 27th, 2020. Revisit Peg’s “He’s a Tramp” song from the original Lady and the Tramp: Source

Andy Biersack has kept busy this year with his band Black Veil Brides and their latest album, Vale. But come next year, Biersack will put his energy into his Andy Black solo project, with plans to release a new album, along with a new graphic novel, both named The Ghost of Ohio. Now, Biersack has officially unveiled the cover artwork for the novel, which was designed by Eryck Donovan (Batman). The story of The Ghost of Ohio is based on an original idea from Biersack and the creative team of Z2 Comics — Josh Frankel and Sridhar Reddy. Biersack also worked with writer Scott Tuft (Swamp Thing, Severed) on the novel. “I am so excited to finally be able to share the news about The Ghost of Ohio graphic novel and upcoming solo record of the same name and inspired by the comic book story,” Biersack said in a statement. “The truth is that I would never have discovered my love of rock music without my passion for comic books and characters like Batman and Spawn, which ultimately led me to larger than life bands like KISS and The Misfits.” He added, “To be able to combine my love of the graphic novel medium with a concept record is a dream come true and something I have wanted to do for many years. Working with the Z2 Comics team and alongside Scott Tuft and Eryk Donovan to bring this dream to reality has been an incredible process.” Biersack describes the storyline of The Ghost of Ohio, as follows: “The story takes place in southwestern Ohio and spans across historical eras from the 1800s to modern day. The Ghost of Ohio is a tale of loneliness, redemption and strength and I hope both the album and book capture that tone while giving people some fun entertainment to escape into!” Pre-order details will be announced shortly. For more information, head to z2comics.com. Source

The Avett Brothers will headline a concert benefitting Hurricane Florence relief on Tuesday, November 13th in eastern North Carolina. All proceeds from the event will be donated back to “the resilient people and organizations contributing to Hurricane Florence Relief efforts.” Future Islands and Valient Thorr, two bands with ties to the area, will also perform. Inner Banks Media, East Carolina University, The City of Greenville, and Uptown Greenville are organizing the event, which will unfold at the Minges Coliseum. (Read: May It Last Forever: An Interview with Judd Apatow, Michael Bonfiglio, and The Avett Brothers) “We are honored by the opportunity to contribute to our friends and neighbors affected by Hurricane Florence,” Seth Avett said in a statement. “We hope this performance not only provides some financial relief for victims of the storm, but also is an occasion to celebrate the resilience of the people of North Carolina.” Upper level tickets are going for $65, while lower level seating will cost you $75. Tickets go on sale next Friday here. Do a good thing. Source

The Pitch: Beneath a small village in Finland, the band Impaled Rektum prepare to level the world with their own particular brand of “symphonic post-apocalyptic reindeer-grinding Christ-abusing war pagan fennoscandian metal.” In the meantime, they have to deal with the difficulties of everyday life as they continue forth on their path to superstardom. Frontman Turo (Johannes Holopainen) struggles through his life as a long-haired metalhead in a town full of homophobes and squares. Guitarist Lotvonen (Samuli Jaskio) is a reindeer butcher like his father before him, when he isn’t struggling to find new riffs that haven’t been done before. Bassist Pasi (Max Ovaska) has an encyclopedic knowledge of every metal song in the world. Drummer Jynkky (Antti Heikkenen) has legally died twice. When Turo lies about getting the band into Northern Damnation, a major Norwegian metal festival, they draw the admiration (and contempt) of the entire village and soon find themselves in the middle of love triangles, mortal danger, and at least one international incident. On a Mission From Satan: Heavy Trip makes direct reference to The Blues Brothers at one point late in the film, but long before that, directors Juuso Laatio and Jukka Vidgren situate their oddball road movie well within that ’80s classic’s ambling tradition. The premise (metal band struggles to “make it” in a small town that doesn’t understand) is sketch-thin, but the best sequences see Laatio and Vidgren understanding the outsider appeal of metal, and how the endless subcultures within metal itself are one of the most inherently funny things about it. (Pasi’s obsession with their need for appropriately brutal street cred is one of the film’s best running gags.) A fair number of the jokes throughout Heavy Trip go the inside baseball route, but it’s the charming eccentricity of the band that really puts them over. Brutality, Two Ways: Heavy Trip is disarmingly sweet when it goes for charm, but portions of it feel like they belong in a comedy from at least 15 years ago. While the payoff to the constant gay-bashing Turo receives is satisfying in and of itself, the film also gets a fair deal of mileage out of drawing its townspeople through repetitive slurs. It’s a strangely mean-spirited note to strike for what’s otherwise a kindhearted, tongue-in-cheek story. Most of the bigger, more typical gags in the film at large struggle to land; in particular, the eventual incitement of a border dispute with Norway by the town’s dastardly police chief is a fairly big, time-consuming clunker. Heavy Trip goes for a number of broad laughs, and if the batting average on them isn’t especially great, it’s the smaller gags that work best. The manipulation of a speed camera for a press photo is an endearingly ramshackle Wayne’s World bit, and the film generally seems to find its strongest comic footing when it entrenches itself in the comedy of how banal and every day certain aspects of making metal can be. In this respect, some of Heavy Trip‘s biggest laughs recall early Metalocalypse, when that series was far less concerned with plot than with putting the postures of black metal into everyday situations. It might be low-hanging comic fruit, but it’s frequently delicious, and Heavy Trip pulls some quality pieces throughout. The Verdict: Its concept might be tried-and-true, but Heavy Trip modestly succeeds through its evident love for the self-serious weirdos of Impaled Rektum. This is traditional underdog stuff, but the band have enough muted, straight-faced charm to push the film through. In particular, Holopainen is charming as the bashful frontman who deals with his stage fright through profuse vomiting. The tiniest victories from day to day send him into the kind of wide, goofy grin that’s recognizable to anybody who’s ever felt alienated in their own world and found kinship in a musical counterculture. The songs played throughout are just convincing enough (and genre-less) to make the film’s premise work, and it jumps between setpieces so frequently that even some of the less effective gags are quickly left behind. Like the modest dreams of its central band, Heavy Trip isn’t aiming for the moon. As a fish-out-of-water comedy, it’s effectively funny more often than it isn’t, and as an ode to the unlikely communities that arise around black metal, it’s entirely sincere in its intentions. There’s always been a from-the-basement feel to the genre, and everything about the modest dark comedy of Heavy Trip feels entirely faithful to that anarchic spirit. Where’s It Playing?: Heavy Trip is now in release in limited U.S. theaters. Trailer: Source

Johnny Rotten’s favorite band, Green Day, have spent the last few months holed up in the studio, rehearsing some of their seminal albums in full. While this has led to speculation of an impending Green Day tour, today’s announcement from drummer Tré Cool has nothing to do with Dookie — or Green Day, for that matter. Rather, Cool has revived his “Icelandic death metal” side-project, Dead Mermaids, for the release of a new EP. The origins of Cool’s side-project actually date back to 2014; that year brought the release of the group’s self-titled debut EP. Now, four years later, Dead Mermaids have a new five-song EP called You’re Welcome. Performing under the pseudonym “Bjorn Roarkson,” Cool not only brings his signature sense of chaos to the drums with Dead Mermaids, he’s also the band’s lead singer. He’s joined by guitarist Magnus “The Halibut” Magnusson, bassist “The Silver Fish” Grimsson, and Njal “The Wolf” Njallson on backup vocals. Dead Mermaids’ brand is definitely on the satirical side, with suitably-over-the-top tracks like “Kill Eat Shit Repeat” that definitely clock more like Deathklok or Tenacious D songs than more earnest metal efforts. Still, it’s an entertaining listen, in keeping with Cool’s ubiquitous sense of theatricality. Stream Dead Mermaid’s’ You’re Welcome on Spotify below. Source

East Coast’s Beast Coast collective has given us elite rap talent like Joey Bada$$ and Flatbush Zombies. The group also boasts New York’s own The Underchievers, comprised of MCs Issa Gold and AK the Savior. The duo is currently prepping to release a new album dubbed After the Rain on November 2nd. Due out through Slang Music, the forthcoming effort is their fourth full-length to date following 2017’s Renaissance. It was produced in its entirety by fellow Brooklynites and Grammy-winning outfit Brasstracks. Although it comes less than two years after its predecessor, the new album is said to highlight a different sound from The Underachievers — one that puts an emphasis on melodic arrangements. “We knew we wanted melody and we wanted more fun lyrics,” Issa Gold noted in a statement. “Easier, digestible lyrics.” To tease After the Rain, The Underachievers have let loose “Seven Letters”, a lead single that inspires listeners to push through whatever personal struggles stand in their way. A little bit of the West Coast makes its way into the track, courtesy of rising Los Angeles musician KingJet, who hops on the chorus. Check it out below via its official music video. Directed by Camden Marco for Lean House Media, it’s said to draw inspiration from renowned director Wes Anderson and his Royal Tenenbaums film. A run of tour dates in support of After the Rain is currently in the works. Source