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Former Darkside producer Dave Harrington is less than a month away from the release of Pure Imagination, No Country, his second album with his Dave Harrington Group project. Already we heard its lead single, “Well”; today, another offering has been unboxed. Dubbed “Belgrade Fever”, it continues the multi-instrumentalist’s otherworldly exploration into improvisational arrangements. Lurking synths start off the track before it quickly spirals into a colliding of noises. Layers of jazz fusion, psychedelia, and even ambient bits all fold in together making for an arrangement whose genius cohesion can be found in its chaos. According to Harrington, the new song came together during recording sessions held in Belgrade. He elaborated further in a statement to Stereogum: “While supporting the last Dave Harrington Group album, Become Alive, in Europe with my close friends and longtime collaborators Andrew Fox, Samer Ghadry, and Will Epstein, we were improvising heavily during the shows; using soundchecks as rehearsals and developing new material every night. “Belgrade Fever” started as one of those improvised pieces and quickly worked its way into the live repertoire. Mid-tour, we found ourselves with a few days in Belgrade, Serbia and rather than take them off, we booked some time at a recording studio housed in an old warehouse, where they used a huge empty hallway under a skylight as their echo chamber — when it was raining, you could hear it in the reverb.” Take a listen below. Pure Imagination, No Country, the follow-up to 2016’s Become Alive, arrives February 1st through Yeggs Records. Source

Next week, The Dandy Warhols return with their 10th studio album, Why You So Crazy, due out January 25th via Dine Alone Records. In anticipation, they’ve just unlocked another new track called “Motor City Steel”, and it comes with a trippy new music video. Conceived by the Patrick Proctor Design + Technology, the video finds the band superimposed across all sorts of locales with their trademark Warholian imagery. It’s a pop culture acid trip that fits in with the band’s psychedelic aesthetic. As for the song itself, frontman Courtney Taylor-Taylor offers some context: “Motor City Steel is a true story. I lived in a small SW Washington town from 2006 – 2014 ‎ and found this to be a fairly common occurrence. The guys generally get online to check out fishing gear, truck parts, and compound bows etc whereas more and more the gals check out New York, Paris, Hollywood and the like. I changed the names for the song, but when ‘Rikki’ finally did come back, it was well over a year later. They are married now and have two kids.” Now that you’re in the know, watch below. On Monday, Taylor-Taylor joined our tri-weekly podcast series Kyle Meredith With…, where he time traveled back to Portland circa 1994. Together, the two discussed the band’s 25th anniversary plans and his many influences of which David Bowie is certainly one of them. Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public Source

Sixteen years ago, Lost in Translation became a snapshot of so many things, a look at urban ennui and a particular type of generational angst and a lovely portrait of people in a place far from their homes. It’s one of the most “indie” movies to ever earn the Oscar acclaim it did, and has become a staple of film classes and high school bedrooms alike all over the world. Now, its director and star (who both did their arguable best-ever work on that film) are teaming up again. Sofia Coppola is set to direct Bill Murray in the upcoming feature On the Rocks, which will also mark the first film produced under A24’s recent deal with Apple, potentially related to its upcoming streaming service. Rashida Jones will co-star in the film, which will reportedly follow “a young mother who reconnects with her larger-than-life playboy father on an adventure through New York”. (Read: Bill Murray’s Top 10 Performances) The film will mark Coppola’s first feature since her controversial, acclaimed remake of The Beguiled in 2017. Murray, meanwhile, has kept a relatively low profile of late, only appearing in vocal form in Isle of Dogs (and on an SNL episode or two) in the last few years. On the Rocks will begin principal photography later this spring. Source

The forthcoming iPhoneXI has allegedly leaked and it seems as though Apple is putting most of its focus on camera lenses this time around. But is that enough to keep mobile users interested? Apple is expected to, for the fist time ever, utilize a triple rear camera especially for its Max model. The prospected lenses offer a setup to capture moments like no other device on the market. Some are calling the new triple-threat camera game-changing. According to tech guru Ben Geskin, “WSJ: High-end #iPhoneXI (Max) will feature triple camera system. XS successor will remain with two, XR successor also with dual camera.” WSJ: High-end #iPhoneXI (Max) will feature triple camera system. XS successor will remain with two, XR successor also with dual camera. pic.twitter.com/oSrGAXyVv5 — Ben Geskin (@VenyaGeskin1) January 11, 2019 There are mixed reviews on the design of the new iPhone, as always. According to Forbes, iPhone XI is currently at the Engineering Validation Test (EVT) stage — which means the design has yet to be finalized. However, the render below will give you an idea of what Apple is going for. What do you think? 2019 iPhone XI Renders This article was first published on Your EDM. Source: New Leak Reveals All Three iPhoneXI Models & Max’s Triple-Camera System Source

Rising folk artist Jade Bird is following up her acclaimed 2017 EP, Something American, with her first-ever full-length album. The self-titled LP is due out April 19th through Glassnote Records, which has in the past put out records from Childish Gambino, Mumford and Sons, and CHVRCHES. The forthcoming debut album is comprised of 12 songs, all penned by Bird and produced by Simone Felice of The Felice Brothers and David Baron (Bat for Lashes, Shawn Mendes). Early singles “Uh Huh”, “Lottery”, and former Song of the Week candidate “Love Has All Been Done Before” are included on the project. “This album is my experience, direct and undiluted, of the past two years,” the 21-year-old Bird explains in a statement. “Every decision I’ve made has culminated into this magical process, just as every word I’ve written has spun into these songs. It changes in style, like most of my music, and tries to dodge boxes and genres but the consistency is me — a young woman really trying to figure it out.” To coincide with the album announcement, the British singer-songwriter has revealed a new single, “I Get No Joy”, which sees her voice ascend great heights with conviction. “This song is about the stream of thought that runs through your head at all times as an over thinker,” comments Bird. “It’s about how that gets in the way of being present in the moment and ultimately ‘getting no joy’ and about the frustration of everyone’s cliché of happiness not making you feel fulfilled either.” Hear it below. Pre-order Jade Bird here. Check out the album artwork, created by Jessie Ware associate Kate Moross, and full tracklist. Jade Bird Artwork: Jade Bird Tracklist: 01. Ruins 02. Lottery 03. I Get No Joy 04. Side Effects 05. My Motto 06. Does Anybody Know 07. Uh Huh 08. Good at It 09. 17 10. Love Has All Been Done Before 11. Going Gone 12. If I Die In support of her new album, Bird will tour North America in the spring. Dates include supporting slots for Hozier, as well as festival sets at Georgia’s Shaky Knees, Hangout Fest in Alabama, and the famed Newport Folk Festival in Rhode Island. Jade Bird 2019 Tour Dates: 03/10 – Buffalo, NY @ Shea’s Performing Arts Centre $ 03/11 – Albany, NY @ Palace Theatre $ 03/13 – Baltimore, MD @ Hippodrome Theatre $ 03/14 – Norfolk, VA @ Chrysler Hall $ 03/16 – Raleigh, NC @ Raleigh Memorial Auditorium $ 03/17 – Charlotte, NC @ Oven’s Auditorium $ 03/19 – Miami, FL @ The Fillmore $ 03/20 – St. Petersburg, FL @ Mahaffey Theater $ 03/21 – Orlando, FL @ Walt Disney Theatre $ 03/23 – Atlanta, GA @ Coca Cola Roxy Theatre $ 03/24 – Nashville, TN @ Grand Ole Opry $ 03/26 – Memphis, TN @ Orpheum Theatre $ 03/27 – New Orleans, LA @ The Fillmore $ 03/29 – Dallas, TX @ Southside Ballroom $ 03/30 – Houston, TX @ Revention Music Centre $ 03/31 – Austin, TX @ ACL Live at the Moody Theatre $ 04/02 – Oklahoma City, OK @ The Criterion $ 04/03 – Tulsa, OK @ Brady Theatre $ 04/05 – Denver, CO @ Bellco Theatre $ 04/06 – Salt Lake City, UT @ The Union Event Centre $ 04/09 – Los Angeles, CA @ Hollywood Forever Cemetery $ 04/10 – Santa Barbara, CA @ Arlington Theatre $ 04/12 – Reno, NV @ Grand Sierra Resort $ 04/13 – Boise, ID @ Knitting Factory $ 04/14 – Spokane, WA @ First Interstate Center for the Arts $ 05/03-05 – Atlanta, GA @ Shaky Knees Festival 05/17-19 – Gulf Shores, AL @ Hangout Fest 07/27 – Newport, RI @ Newport Folk Festival $ = w/ Hozier Source

Download | Subscribe via Apple Podcasts | Spotify | Google Play | Radio Public | Stitcher | RSS Discography is a quarterly podcast chronicling a legendary artist’s catalog album by album, and this season is one for the record books. We’re dropping the needle on The Who :every studio album, live record, single, and solo release from Pete Townshend, Keith Moon, John Entwistle, and Roger Daltrey. Yes, this is no ordinary Who documentary. This is a quest to examine the big picture and discover WHO this legendary band really are. Our first episode saw the band rise from humble beginnings all the way to 1969, when The Who had somehow made themselves world famous for writing a rock opera about a physically challenged boy with a talent for… pinball? Of course, you’d celebrate such a feat with a tour of revered opera houses and then record a live album in a glorified school cafeteria, wouldn’t you? I mean, it just makes sense. Join host Marc With A C as he traces the connection between the The Who emerging on the global stage, while the members themselves used their newfound power to explore their own interests in solo records. If you thought Tommy was a lofty premise, well then you don’t know “Lifehouse”. We explore the unfinished project which would have predicted the internet in 1971; the rock-redefining music that came out of it, and much more: Live At Leeds, Smash Your Head Against The Wall, Who’s Next, Who Came First, Whistle Rhymes, Daltrey, and Rigor Mortis Sets In! Take a listen, rate and review us on Apple Podcasts or Podchaser, follow Marc on Twitter, and follow Discography on Facebook. Marc With a C Social Links: Music | Twitter | Facebook | Instagram | Tumblr | YouTube | Patreon Source

Back in October, MØ returned with her first full-length in four years, Forever Neverland. Ahead of a supporting North American tour, the Danish popstar swung into Fallon for a performance under the moon. Specifically, the singer delivered the album track “Blur” in front of a large cutout moon. Painted red and purple with the stage lights, the floating orb provided an alluring backdrop for the inky pop cut. Check out the replay below. MØ’s tour launches tonight in Washington, DC and continues on through an early February gig in San Francisco. You can get tickets here. Source

’90 alternative rockers Royal Trux have been gearing up for a big comeback these last few months. Just a week ago, they announced their first new album of original material in 19 years, White Stuff. The album was to be supported by a North American tour, the dates of which were revealed back in the fall. Well, it looks like the reunion has hit its first bump in the road, as that tour has now been postponed due to legal troubles. According to a press release, “Some unresolved issues arising from a past arrest” of band member Jennifer Herrema have forced Royal Trux to hold off on heading on the road. The good news is it seems Herrema has avoided jail time, though, and as she put it, “Shit could definitely be worse.” The shows are already being rescheduled for later this spring, and any tickets purchased for the postponed dates will be honored. Meanwhile, White Stuff is out March 1st via Fat Possum. Royal Trux 2019 Tour Dates: 02/13 – Philadelphia, PA @ Union Transfer 02/15 – New York, NY @ Terminal 5 02/16 – Boston, MA @ The Sinclair 02/19 – Toronto, ON @ Lee’s Palace 02/20 – Detroit, MI @ El Club 02/22 – Chicago, IL @ Lincoln Hall 02/23 – Minneapolis, MN @ First Avenue 02/26 – Vancouver, BC @ Rickshaw 02/27 – Seattle, WA @ Showbox 03/02 – San Francisco, CA @ August Hall 03/08 – Los Angeles, CA @ Teragram Ballroom Revisit the title track to White Stuff below. Source

Netflix is increasing prices for all of its plans by 13% to 18% — the largest such hike for the streaming service yet. The cost of its most popular subscription, which allows for HD streaming on up to two separate devices simultaneously, will go up from $11 to $13 a month. The cheapest option will see a bump from $8 to $9, while the premium ultra-HD 4K package rises from $14 to $16. Netflix has previously raised prices a total of three other times since launching its streaming service 12 years ago. However, this is the first time higher prices will affect all of the company’s US subscribers, a number that totals 58 million as of September. The new pricing model is already in place for new sign-ups, and will be gradually rolled out to existing users over the next few months. The additional funds will support Netflix’s massive investment in original content, which totaled some $8 billion in 2018 and is expected to be even more in 2019. The company is also facing increasing pressure to ward off competition from rivals such as Amazon, Hulu, and, imminently, Disney. In a statement announcing the increase, the streaming giant said, “We change pricing from time to time as we continue investing in great entertainment and improving the overall Netflix experience.” Source

Since it was announced that Ultra Music Festival was to take place in Virginia Key in 2019, one of the biggest concerns was transportation to and from the festival. The only road into Virginia Key is Rickenbacker Causeway, a two-lane highway that can’t possibly support the tens of thousands of attendees who would be traveling to the festival each day. A cease & desist from Rapture Festival toward Ultra inadvertently revealed that Ultra was applying for water taxi permits, but yesterday the festival revealed the full scope of its transportation options. Two major points regarding the shuttles for Ultra in 2019: They will be FREE They will have restrooms, air-conditioning, and free WiFi Those two points alone do a lot to put aside worries about transportation. There will be three shuttle hubs around Miami for attendees to hop on and grab a ride, two of which are fairly close to Ultra’s old venue Bayfront Park, in case attendees already reserved hotels and couldn’t change reservations. At this time, no official mention of water taxis has been made, but it’s more than likely that there will be some sort of water transport to the festival. The announcement yesterday reminds attendees that there is no parking for General Admission patrons. Whether this means there’s a VIP option for parking on Virginia Key is unclear; we were unable to find any definitive answer on Ultra’s website. Learn more at UltraMusicFestival.com/travel. Photo via pikzelz for Ultra This article was first published on Your EDM. Source: Shuttle And Transport Details Revealed For Ultra Miami 2019 Source

R3hab is kicking off 2019 with a brand new remix pack and a North American tour. “Radio Silence” featuring Jocelyn Alice is the latest single off R3hab’s recent album The Wave. While the Dutch/Moroccan producer originally came to fame behind massive festival tracks like “Revolution” and “Samurai”, over the past couple of years R3hab has shown himself to be adept at switching between mainstage ready tracks and more radio-friendly fare. “Radio Silence” is definitely a more pop-leaning track. Some acoustic guitar synths lay the framework for the song and Jocelyn Alice’s vocals weave a somber tale of loneliness. The drop and the rhythm are bouncy though. The Radio Silence EP showcases a variety of new takes on the track. The Ryan Riback remix offers a bit more of a traditional piano-house version of the track. The King Arthur remix might be the best, offering up a thrilling electro-house rendition of the song, that would fall perfectly into any R3hab set. The Rainer + Grimm remix is also a winner, offering a mix of electro and tropical house into a song that’s perfect for a summer pool party. D-Wayne and Matthew Hill round out the rest of the remix pack.  Check out Radio Silence EP out now on R3hab’s Cyb3rpvnk records and get your tickets to see him on The Wave tour starting next month. Feb. 2 Washington DC-Echostage Feb. 8 Denver-The Church Feb. 9 Las Vegas-Marquee Feb. 15 San Francisco-Mezzanine Feb. 16 Los Angeles-Belasco Theater Feb. 22 Toronto-Uniun Feb. 23 Chicago-Concord Music Hall Feb. 26 Ledyard, CT-Shrine Mar. 1 Brooklyn-Brooklyn Steel This article was first published on Your EDM. Source: R3hab Drops Remix Pack for “Radio Silence” and North American Tour Source

Origins is a new music feature that finds an artist dissecting the inspirations behind their latest single. Northampton, Massachusetts quartet And the Kids have always maintained a sense of playful rebelliousness. Not in the sense that they seek to shake up the world, per se, so much as they choose to live life fully, on their own terms — a seemingly simple enough act that actually takes quite a willful spirit to pull off. It’s an ideological banner they’ve carried through their previous two albums and once again loft high for their forthcoming full-length, When This Life Is Over. Out February 22nd via Signature Sounds, the record finds the indie outfit exploring “the total freedom of mortality’s fate,” as a press release puts it. In examining and accepting some of the bleaker aspects of modernity, And the Kids find a way to release themselves from the weight of depression instead of being crushed beneath it. New single “No Way Sit Back”, for example, takes a critical look at representation in media, only to embrace otherness as a badge of honor. “If you’re not seeing yourself portrayed on TV, whether you’re a person of color or trans or queer, that can be really damaging to your mental health—it can even be fatal,” singer/guitarist Hannah Mohan explains. But as “No Way Sit Back” weaves between dreamy indie chords and brightly mournful melodies, Mohan sings a mantra of “The world was never made for us.” That’s not a derogation of being “other,” however, but a celebration. Take a listen below. For more about what led to “No Way Sit Back”, And the Kids’ Hannah Mohan and Becca Lasaponaro have shared some of the song’s Origins. Franklin Street: Franklin Street, Northampton, MA, screenshot via Google Maps Hannah Mohan and Becca Lasaponaro: We wrote “No Way Sit Back” when we were living on Franklin Street in Northampton, Massachusetts. The house had wallpaper and wood paneling from the ’60s or ’70s. It also had one of those smells to it that never goes away. We had just gotten a piano in the house which was nice and could also have fires out back. Wasn’t a bad time! The Media: HM and BL: What does it do to a person living their whole lives being hypnotized by the media? You start to project it back. You start to become what it portrays. When minorities aren’t represented in the media, that can take a fatal toll. It’s a self-fulfilling prophecy based on erasure. Acoustic Guitar: HM: I was picking back up acoustic instruments. Sometimes when you haven’t played something in a while it can be really inspiring. I started off on acoustic guitar but now I’ve been playing electric for years. It was really nice to see this song come together so quickly on acoustic. Source

New Orleans Jazz Fest has revealed its 2019 lineup. This year marks the 50th anniversary of the Big Easy institution, and organizers are celebrating with an all-star lineup led by The Rolling Stones, Katy Perry, Dave Matthews Band, Chris Stapleton, and Jimmy Buffet. Other notable acts include Van Morrison, Al Green, John Fogerty, Earth, Wind & Fire, Herbie Hancock, Chaka Khan, Gladys Knight, Tom Jones, Alanis Morissette, Gary Clark Jr., Jimmy Cliff, Mavis Staples, Jerry Lee Lewis, Kamasi Washington, Big Freedia, Also playing are Bob Seger, Santana, Pitbull, Logic, J Balvin, Trombone Shorty & Orleans Avene with the Nevilles, The Revivalists, Leon Bridges, Bonnie Raitt, Irma Thomas, The Head and the Heart, Ziggy Marley, The Doobie Brothers, Boz Scaggs, Aaron Neville, Galactic, Buddy Guy, Preservation Hall Jazz Band, Ani DiFranco, Hurray For the Riff Raff, Indio Girls, Gregory Porter, Dumpstaphunk, The Radiators, Karl Denson’s Tiny Universe, and Big Sam’s Funky Nation, among others. This year’s festival takes place April 25-27th and May 2nd-5th. Tickets go on sale Friday, January 18th. You can also grab tickets here. Source

Oscar-winning director Martin Scorsese loves to watch movies as much he loves to make them. So much so that he has his own personal screening room in Manhattan, chock full of thousands of prints, countless movie posters, and hundreds of books. Naturally, he’s wont to talk about them all, and he has over the years, through myriad interviews, commentary tracks, or press tours. Those recommendations have hardly fallen on deaf ears. In fact, they’ve been the inspiration for Sam DiSalle over at MUBI, who has since pieced together all of Scorsese’s favorite movies and television shows into an easy-to-navigate list. Even better, all of the entries are listed chronologically with regards to their original release date, making the list something of a history lesson. (Read: Martin Scorsese in Five Films) It’s a hell of a lesson, too, one that spans 893 films (so far), beginning with 1903’s The Great Train Robbery and ending with last year’s BlacKkKlansman. As expected, a great majority of the list features films prior to the 1970’s, which makes this even more of a resource for cinephiles, particularly those who’ve sat there for hours on FilmStruck dumbstruck as to what to watch. However, there are a hefty amount of modern selections included as well. For one, we know he loves some old slashers given the inclusion of 1972’s Raw Meat; that he’s a fan of Wes Anderson, particularly 1996’s Bottle Rocket and 1998’s Rushmore; and that he’s not one to skip on reruns of Chappelle’s Show or Curb Your Enthusiasm, the latter of which he appeared in (see above). Consult the full list here and start taking notes. If anything, it’ll help bide the time as we wait for Scorsese’s next film, The Irishman, which finds him working with Al Pacino for the first time and reuniting with longtime collaborators Robert DeNiro and Joe Pesci. Look for that to hit Netflix sometime this year and hopefully generate as many memes as Bird Box did these past few weeks. Source

Jizz jazz fans, rejoice! Mac DeMarco is expected to release a new album sometime in 2019. His fourth overall and follow-up to 2017’s This Old Dog will arrive via his recently launched label, Mac’s Record Label. To coincide with the forthcoming project, DeMarco has mapped out a North American tour. The tour is divided into two legs, kicking off with a string of West Coast dates in May. A more expansive outing, featuring of DeMarco’s biggest headlining shows to date, launches toward the end of the summer. (Read: Are Gimmicks and Cheap Tricks Turning Rock into a Joke?) The upcoming tour also boasts a handful of music festival appearances, including Coachella and Bonnaroo in the US, as well as Spain’s Primavera Sound and Rock Werchter in Belgium. Consult DeMarco’s full tour schedule below. You can get tickets here. Mac DeMarco 2019 Tour Dates: 04/13 – Indio, CA @ Coachella Music Festival 04/20 – Indio, CA @ Coachella Music Festival 05/07 – Sonoma, CA @ Gundlach Bundschu Winery 05/10 – Portland, OR @ Arlene Schnitzer Concert Hall 05/11 – Seattle, WA @ Showbox Sodo 05/12 – Seattle, WA @ Showbox Sodo 05/15 – Blue Lake, CA @ Blue Lake Casino 05/16 – Sacramento, CA @ Ace of Spades 05/18 – San Francisco, CA @ Bill Graham Civic Auditorium 05/20 – Big Sur, CA @ The Henry Miller Library 05/21 – Big Sur, CA @ Fernwood Resort 05/22 – San Luis Obisp, CA @ Expo Center 05/30 – Barcelona, ES @ Primavera Sound 06/01 – Hilvarenbeek, NL @ Best Kept Secret 06/02 – London, UK @ All Points East Festival 06/16 – Manchester, TN @ Bonnaroo Music Festival 06/30 – Werchter, BE @ Rock Werchter 07/12 – Trencin, SK @ Pohoda Festival 08/06 – Brooklyn, NY @ Prospect Park Bandshell 09/20 – Washington, DC @ The Anthem 09/21 – Philadelphia, PA @ Franklin Music Hall 09/22 – Boston, MA @ Orpheum Theatre 09/24 – Toronto, ON @ Echo Beach 09/26 – Cleveland, OH @ Agora Theatre 09/27 – Detroit, MI @ Masonic Temple Theatre 09/28 – Chicago, IL @ Riviera Theatre 10/01 – Milwaukee, WI @ Riverside Theater 10/02 – St. Paul, MN @ Palace Theatre 10/06 – Morrison, CO @ Red Rocks Amphitheatre Revisit This Old Dog single “On the Level”: Source

Legendary riot grrrl pioneers Bikini Kill have announced plans to reunite for trio of live performances in New York City and Los Angeles this spring. The lineup of Kathleen Hanna on vocals, Tobi Vail on drums, and Kathi Wilcox on bass, along with guitarist Erica Dawn Lyle, will play shows at the Hollywood Palladium on April 25th; Brooklyn Steel on May 31st; and New York’s Terminal 5 on June 1st. Today’s announcement follows Bikini Kill’s reunion in November 2017 at The I am a fagget in New York City, which marked the band’s first live performance in 20 years. Last year, they made their back catalog available on streaming services for the first time. Bikini Kill 2019 Tour Dates: 04/25 – Los Angeles, CA @ Hollywood Palladium 05/31 – Brooklyn, NY @ Brooklyn Steel 06/01 – New York, NY @ Terminal 5 Following the initial demise of Bikini Kill in 1997, Hanna went on to form Le Tigre and The Julie Ruin. Source

Because Donald Trump refuses to abandon plans for his xenophobic border wall, the US has entered day 25 of the partial government shutdown — officially the longest shutdown in the country’s history. As a result, hundreds of thousands of federal workers continue to go unpaid. Airports have been especially hit hard by the shutdown, as many employees have called out sick, unwilling to put in time for zero pay. Those that have shown up… well, let’s just say they’ve been making the best of their situations: In recent weeks, passengers at New York’s JFK airport have reported hearing TSA agents blast explicit, uncensored versions of rap songs over the loudspeakers. (Read: Jay-Z, Kanye, Kendrick Lamar, Drake Make Forbes’ List of Highest Paid Rappers) As Business Insider points out, “Sicko Mode” by Travis Scott and Drake has been prominently heard, as has “Lift Yourself”, the “musical poop joke” song from Kanye West. Other tracks from Beastie Boys and Ludacris have also apparently been in rotation. “We’re living in a simulation,” one passenger tweeted. Another said they felt like they were “in the Twilight Zone” after noticing “Sicko Mode” echoing through JFK. No one really wants to be at the airport, passengers and now TSA agents included, but at least they don’t have to hear the same Kenny G and Nickelback songs over and over. Check out some firsthand reactions to the TSA agents’ new playlists. TSA has officially stopped giving a fuck. SICKO MODE (dirty version) is playing on the speakers at JFK lmfaooo — lsdipalma (@LSDiPalma) January 9, 2019 JFK is playing sicko mode we’re living in a simulation — cesar millan (the dog whisperer) (@postmetaboi) January 7, 2019 I was in JFK at 6:30am the other day and they were playing that poopty scoop Kanye song and I felt like I was in the twilight zone — Tracee Ellis Ross Jr (@virghoe_) January 9, 2019 JFK airport carousel blasting “No Sleep Til Brooklyn” at 10:30 PM is kinda alright with me. — RL Barnes, Ph.D. (@DigitalHistory_) January 7, 2019 the extremely weird feeling when the airport PA is blasting Paramore’s “Misery Business” like it’s a super hot 2007 Friday night at old JFK — Molly Templeton (@mollytempleton) January 5, 2019 Revisit both “Sicko Mode” and “Lift Yourself” below so that you can readily identify them the next time you find yourself 200-people deep in a security checkpoint line. Thanks, Trump! Source

Sigh, it used to be that Toto’s “Africa” was one of the more obscure hits to appreciate. “Oh, yeah, I love this song! What’s it called again?” they used to say as you walked away from the jukebox with an Emoji smirk on your face. Hell, it was still under the radar even when it popped up in Stranger Things back in the Summer of 2016, soundtracking good ol’ Steve Harrington’s midnight make out session with Nancy Wheeler. But that all changed last year, thanks to one Internet user who just had to tempt Weezer to cover it, giving them one of their biggest hits, and turning the goddamn song into an Internet meme … and a Pitbull sample. So, one would think, now that “Africa” has become the next “Don’t Stop Believing”, that the song is officially dead. But, they’d be wrong, as “Africa” will live on forever, and ever, and ever — no, really. As the BBC reports, Namibian artist Max Siedentopf has set up a permanent sound installation deep within the costal Namib Desert that is currently playing “Africa” on a continuous loop using solar power energy, which will, as he says, “keep Toto going for all eternity.” It’s admittedly a sleek installation, too, comprised of seven white columns that each carry an MP3 player blasting everyone’s favorite ’80s hit. “ wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” he says. “Some [Namibians] love it and some say it’s probably the worst sound installation ever. I think that’s a great compliment.” But, what about if it “rains down in Africa”? “Most parts of the installation were chosen to be as durable as possible,” he adds, “but I’m sure the harsh environment of the desert will devour the installation eventually.” Until then, Siedentopf hopes that the song will manage to survive the 55-million-year-old desert for, well, another 55 million years. It’s an idealistic notion, sure, but so was getting Rivers Cuomo to cover the hit in the first place, and it’s not like they’re going to stop playing the song anytime soon, either. In fact, according Toto’s Steve Lukather, he thinks Weezer will be tasked to play that song forever, too. Alas, the song lives on. Watch video of the installation below. Source

Strand of Oaks’ Timothy Showalter returns with his sixth studio album, Eraserland, on March 22nd via Dead Oceans. Featuring members of My Morning Jacket and Jason Isbell, the album is described as “a thrilling and monumental turn” for the singer-songwriter. According to the album’s press release, Eraserland stems from a bout of depression Showalter had been experiencing following 2017’s Hard Love, which prompted him to escape his daily routine in lieu of a spiritual pilgrimage to New Jersey. It’s here he was joined by MMJ pals Carl Broemel, Bo Koster, Patrick Hallahan, and Tom Blankenship, along with Isbell, and together they carved out the new songs on the album. In anticipation of its release, Showalter has gone ahead and shared its first single and opening track, “Weird Ways”. “I turn my back to the meaning of life and the scene isn’t my scene anymore,” Showalter confesses. What starts out as a somber and meditative stroll, not too dissimilar from a My Morning Jacket joint, becomes a redemptive anthem in true Strand of Oaks glory. Stream below. Eraserland Artwork: Strand of Oaks – Eraserland Eraserland Tracklisting: 01. Weird Ways 02. Hyperspace Blues 03. Keys 04. Visions 05. Final Fires 06. Moon Landing 07. Ruby 08. Wild and Willing 09. Eraserland 10. Forever Chords Naturally, Showalter’s taking the album out on the road, and as soon as this April. Consult the full tour itinerary below. Strand of Oaks 2019 Tour Dates: 04/10 – Wilkes-Barre, PA @ FM Kirby Center 04/11 – Washington, D.C. @ U Street Music Hall 04/12 – Durham, NC @ Motorco Music Hall 04/13 – Atlanta, GA @ The Earl 04/14 – Birmingham, AL @ Saturn 04/16 – Austin, TX @ Antone’s 04/17 – Dallas, TX @ Three Links 04/19 – Santa Fe, NM @ Meow Wolf 04/20 – Phoenix, AZ @ Valley Bar 04/22 – Los Angeles, CA @ Teragram Ballroom 04/23 – San Francisco, CA @ The Independent 04/25 – Portland, OR @ Mississippi Studios 04/26 – Seattle, WA @ Neumos 04/27 – Vancouver, BC @ Biltmore Cabaret 04/28 – Spokane, WA @ The Bartlett 05/01 – Minneapolis, MN @ Turf Club 05/02 – Madison, WI @ High Noon Saloon 05/03 – Chicago, IL @ Lincoln Hall 05/04 – Indianapolis, IN @ The Hi-Fi 05/06 – Cleveland, OH @ Beachland Tavern 05/07 – Pittsburgh, PA @ Club Caf 05/08 – Boston, MA @ Sinclair 05/09 – Brooklyn, NY @ Music Hall of Williamsburg 05/10 – Philadelphia, PA @ Union Transfer 05/24 – Berlin, DE @ Privatclub 05/25 – Utrecht, NL @ TivoliVredenburg 05/26 – Antwerp, BE @ TRIX 05/27 – London, UK @ Omeara Source

There’s no question that witnessing the onstage murder of his brother and fellow Pantera legend Dimebag Darrell weighed heavily on Vinnie Paul up until his own death last year, but Nickelback bassist Mike Kroeger goes so far as to say in a recent interview that the drummer “didn’t really wanna be alive anymore” in the years following Dimebag’s death. Speaking with Silver Tiger Media (as transcribed by Blabbermouth), Kroeger began, “The story of Dime and Vinnie, it’s a pretty tragic story. The truth is that I think Vinnie gave up a lot when he had to witness his brother being murdered. I think he lost a lot of his life. And I really felt like he was so sad that he didn’t really wanna be alive anymore. He really struggled until the end; it never got better for him. It was a really horrible experience, obviously, seeing your only brother get murdered onstage while performing.” Kroeger added, “But then, following that, he had his band, he played in Hellyeah, and he did some things, but I don’t think anything could distract him from how sad he was. He struggled terribly with it after Dime was killed; he really had a hard time. So it was kind of tragic from the beginning.” Dimebag was slain by a crazed fan on December 8th, 2004, while he performed at a gig in Columbus, Ohio, alongside his brother in Damageplan, a band they formed in the wake of Pantera’s demise. Vinnie Paul would go on to form Hellyeah, a band he was very much active in until his sudden death in June 2018 as the result of heart disease. Nickelback had a close a relationship with the Pantera brothers, with frontman Chad Kroeger penning the song “Side of a Bullet” in honor of Dimebag following the guitarist’s death. In fact, Vinnie Paul allowed Nickelback to use a previously unheard Dimebag guitar riff for the track. That all said, it is a bold statement for Mike Kroeger to claim that Vinnie Paul didn’t want to live following the death of his brother. As mentioned, he went on to form a band, Hellyeah, and continued to be a huge part of the metal community for 13 and a half years after Dimebag’s slaying. He actually had been working on a new album with Hellyeah when he died on June 22nd, 2018. In fact, Hellyeah plan to release that album, complete with Vinnie’s drum tracks, this year. Metallica’s Top 5 Songs Tour Preview: Bring Me the Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Atreyu In Our Wake Promo Pearl Jam’s “Jeremy” Annotated Video Source

No one will ever be able to conjure up the “Spanish Castle Magic” of Jimi Hendrix. Not Eric Clapton, not John Frusciante, and not even Santana. The legend remains in an upper echelon all by himself … and, you know what, we’re OK with that. Of course, that hasn’t stopped guitarists all over the world from trying, especially after listening to “Voodoo Chile”, and what better way to start than by following the maestro’s footsteps with regards to equipment. That’s why this giveaway should turn some heads. In celebration of the new Electric Ladyland – 50th Anniversary Deluxe Edition box set, Sony and Consequence of Sound are giving away one Fender Jimi Hendrix Stratocaster to a lucky fan bold and brave enough to burn the midnight lamp. As you can see above, the guitar features key facets based on the late legend’s distinctive “flipped-over” guitars, from American Vintage ’65 pickups to a reverse headstock. Look closer and you’ll see there’s even a signature and an engraved plate! Enter our giveaway through the easy-to-use widget below.* If you don’t see the widget, you can also enter here.* To keep informed on even more products from Fender, be sure to follow the legendary company on Twitter or Facebook. a Rafflecopter giveaway For even more Hendrix, subscribe to our exciting new podcast series The Opus, whose latest season finds host Ernest Wilkins going deep into Electric Ladyland. Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS For the full immersive experience, seek out the aforementioned 50th anniversary box set, which includes previously unreleased demos, alternate takes, and a live bootleg. It’s now on sale and partially streaming below. * Entry automatically enrolls you in the Consequence of Sound newsletter. Source

The Pitch: In April 2017, New York tech entrepreneur Billy McFarland (along with his partner, Ja Rule) conceived of the perfect way to launch their new talent booking app, Fyre: host an extravagant, high-end music festival in the Bahamas and invite social media influencers and well-off attendees to enjoy the high-profile acts, luxury villas, and gourmet meals that awaited them. What Fyre Fest attendees found, to the delight of social media, were soaked hurricane tents, pre-packaged sandwiches, no booked acts, and (for many) no way off the island. For Fyre, documentarian Chris Smith (American Movie) details the story of the Fyre Festival from its exciting inception to its disastrous end, all the while peeking into McFarland’s life story and the social media-fueled hype that made the debacle possible in the first place. A Culture Under the Influence: “How could something like this happen?”, asked everyone with an Instagram account and a sense of schadenfreude when they first started seeing desperate tweets from the much-hyped Fyre Festival by hip, snooty influencers about its disappointing cheese sandwiches and overcrowded airports. While it’s tempting to just scoff at rich millennials with too much money getting their due, Fyre is more perceptive; it’s a thoughtful, probing investigation into the psychology and perspective of everyone involved in the festival, from its delusional creators to its manipulated organizers. Surely, there could be no greater match of filmmaker and material than Chris Smith and McFarland; in many ways, McFarland feels like the natural extension of Mark Borchardt, Smith’s subject in his seminal work American Movie – both idealistic but deeply troubled figures whose charisma convinces otherwise-sensible people into helping them try to achieve the impossible. Unlike Borchardt, however, McFarland is blessed with venture capitalist money and the kind of overconfidence that can only come from fake-it-till-you-make-it white men. His employees describe him as a snake charmer who can get things done through sheer force of will, cultivating a brand around himself as a successful entrepreneur through hustle alone. The first half of Fyre plays out like a Greek tragedy, focusing on McFarland as a kind of Oedipus figure, blinded to the oncoming storm that awaits him. He’s a slick, backwards-hat type who grins and smooth-talks his way into New York’s innermost social circles. Friends and colleagues describe him as someone who started driving Maseratis just to cultivate an image of success – the success, he assumed, would come later. Whether he’s just a sociopath, or just a man who likes to live his life on credit, is a complex question that Smith doesn’t pretend to answer. He just shows you the footage, and the responses from the people McFarland bilked, and asks you to fill in the blanks. Things Get In Tents: Of course, every good slow-moving disaster has its moment of impact, and Fyre delights in showing its audience the unfolding of the Fyre Festival after an hour of detailing every single problem leading up to it. Within hours, the Fyre Festival becomes a millennial Thunderdome, which Fyre illustrates through footage of beleaguered millennials traipsing through the pitch-black night to hoard mattresses and toilet paper, their misadventures lit only by the flashlights beaming from their selfie sticks. It’s a deliciously cruel joke, and Smith allows us to delight at least a little bit at these conned kids’ misfortune. But the focus always turns back to the whys and hows of such a disastrous festival, which is where Fyre’s emphasis on company personnel and confused consultants works its magic. The interviews with former Fyre employees form the backbone of the doc’s structure, as Smith charts the trajectory of the Fyre Festival from inception to conclusion. Even in its first stages, cracks start to form in McFarland’s grand scheme: the shoot for the original Fyre promotional video is a disaster, with Ja Rule haranguing supermodels into jumping into the pool with him and their pilot being a Fyre logistics consultant who trained himself with Microsoft Flight Simulator. As the months go by, and the venue’s lack of infrastructure causes more and more problems, the employees speak with a kind of haunted hindsight, an admission that they knew what was wrong in the first place but were forced into compliance by a belief in McFarland’s dream (or, in some cases, the withholding of their paychecks until the festival’s opening). One post-fest conference call hammers home the divide between the frustrated, unpaid employees and their denial-stricken employers, as Ja Rule brushes off accusations of fraud: “it’s not fraud, it’s not fraud. Call it ‘false advertising’”. It’s not hard to root for these poor saps, saddled with the legacy of a sunken ship they struggled so hard to right before it was too late. In many instances, these lower-level employees are still on the hook for hundreds of thousands of dollars, even if it was all Billy McFarland’s fault. Smith even reminds us of the local Bahamian workers who were left in the lurch, including one pitiable restaurant owner who had to empty her life savings just to pay her workers. Try as we might to have a good laugh at millennials’ expense, Fyre reminds us that the human cost of the organizers’ fraud was and remains quite real. The Verdict: If the Fyre Festival was a train wreck in slow motion, Fyre is the instant replay of said train wreck, complete with annotations and color commentary. It’s a gripping, fascinating watch, an elegantly assembled portrait of the end result of influencer culture and late-stage capitalism – the blind leading the blind into an empty, insubstantial image of success and luxury that turns out to be nothing but smoke. It would have been easy for Smith to focus his camera on the gormless influencers who had their vacation ruined for our pleasure on Twitter. But his focus is wider than that, turning his eye to guys like McFarland and the horrifying new trend of pie-in-the-sky tech bro they represent: what happens when you fake it till you make it, but the making it never comes? Where’s It Playing? Fyre is ready to sell you the experience of a lifetime starting Friday, January 18th on Netflix. Trailer: Source

A month after announcing the nominees for the 2019 Grammy Awards, the Recording Academy has found its host for this year’s ceremony. 15-time Grammy-winning artist Alicia Keys will anchor “music’s biggest night” at Los Angeles’ Staples Center on February 10th. “I know what it feels like to be on that stage, and I’m going to bring that vibe and energy,” the consummate performer said in a press release. “I’m so excited to be the master of ceremonies on the biggest night in music and celebrate the creativity, power, and magic. I’m especially excited for all the incredible women nominated this year! It’s going ‘UP’ on February 10!” (Read: Top 50 Albums of 2018) There are indeed quite a few female artists up for a golden gramophone this year. Cardi B, Janelle Monáe, Kacey Musgraves, Brandi Carlile, and H.E.R. are all nominated for Album of the Year (not to mention everyone featured on the Black Panther soundtrack), while Cardi and Carlile will battle SZA (“All the Stars” with Kendrick Lamar), Lady Gaga (“Shallow” with Bradley Cooper), and Marren Morris (“The Middle” with Zedd) for Record of the Year. Somehow megastars like Arianna Grande and Taylor Swift got shut out, however, with the former getting entirely snubbed and the latter only getting a Best Pop Vocal Album nod. But hey, St. Vincent got two noms, so win some, lose some. In a press statement, President/CEO of the Recording Academy Neil Portnow said, “A dynamic artist with the rare combination of groundbreaking talent and passion for her craft, Alicia Keys is the perfect choice as host for our show.” The Grammys will air live on CBS on February 10th. Watch a behind-the-scenes video of Keys preparing for hosting gig. Source

One year ago today, The Cranberries lead singer Dolores O’Riordan passed away at the age of 46. Prior to her death, she and the band had finished demoing a collection of new material. Now, those songs will see release in the form of The Cranberries’ eighth and final album. Aptly titled In The End, it’s due out April 26th through BMG. Produced by longtime collaborator Stephen Street, the boasts 11 new songs, including “Lost”, “Wake Me When It’s Over”, “Catch Me If You Can”, “Crazy Heart”, and “The Pressure”. (Read: The Cranberries’ Stunning Debut Does More Than Just Linger 25 Years Later) “Dolores was so energized by the prospect of making this record and to getting back out on the road to play the songs live,” the group’s Noel Hogan recalled the early days working on the album. He also reflected on what it was like finishing the record following O’Riordan’s death: “We knew this had to be one of the, if not the, best Cranberries album that we could possibly do. The worry was that we would destroy the legacy of the band by making an album that wasn’t up to standard. Once we had gone through all the demos that Dolores and I had worked on and decided that we had such a strong album we knew it would be the right thing and the best way that we could honour Dolores.” (Read: The 10 Most Anticipated Legacy Rock Albums of 2019) O’Riordan’s mother, Eileen, added in a statement, “I miss her awfully, specially today, as does the entire family. That said I can’t think of a more fitting way to commemorate the first anniversary of her passing and to celebrate her life than to announce to the world the release of her final album with the band.” To preview In The End, The Cranberries have unveiled the lead single and opening track, “All Over Now”. Take a listen to the nostalgic number below. In The End follows The Cranberries’ 2017 album, Something Else, and last fall’s 25th anniversary reissue of Everybody Else is Doing It, So Why Can’t We?. Pre-order it here and see the artwork and full tracklist below. In The End Artwork: In The End Tracklist: 01. All Over Now 02. Lost 03. Wake Me When It’s Over 04. A Place I Know 05. Catch Me If You Can 06. Got It 07. Illusion 08. Crazy Heart 09. Summer Song 10. The Pressure 11. In The End Source

The lineup for the second annual Incarceration Music and Tattoo Festival has been revealed, with Shinedown, Godsmack, and Five Finger Death Punch headlining the three-day event, taking place July 12th-14th at the Ohio State Reformatory in Mansfield, Ohio. The festival will feature more than 30 bands and 70 tattoo artists at the shuttered prison where the 1994 movie The Shawshank Redemption was filmed. Among the other activities is a haunted house attraction dubbed “Escape From Blood Prison”. Also on the performance lineup will be Live, Taking Back Sunday, Seether, Skillet, I Prevail, Starset, Red Sun Rising, Motionless in White, Fozzy, Buckcherry, The Red Jumpsuit Apparatus, Andrew W.K., P.O.D., Stabbing Westward, Light the Torch, From Ashes to New, Smile Empty Soul, Eyes Set To Kill, and others. See the full bill in the poster below. Tickets, VIP passes, and camping packages for Inkcarceration are on sale now at this location, while more information on the festival itself can be found at Inkcarceration.com. Source