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Today marks the reissue of Roadkill, the lone album from Capital Punishment, a weirdo post-punk band that, once upon a time, featured Ben Stiller on drums. Subscribers of Apple Music and Spotify can stream it below. The band came together at The Calhoun School, a Manhattan private school, and recorded the album over the course of a year. Somewhere between 500 and 1,000 copies were dropped off at random New York City record shops and consignment stores, causing the record to become a collector’s item in recent years. It’s being reissued by Mike Sniper’s Captured Tracks label, and includes two bonus tracks, one recorded in 1979 and another from 1983. Previously, the band shared “Muzak Anonymous” and “Confusion”, as well as a pretty wild story about playing the album for Gene Simmons. “In my head, [Capital Punishment] was part of the downtown art scene of the early ’80s,” Sniper told Newsweek about his first reactions to the record, before he knew about Stiller’s involvement. “I thought these were people playing at Max’s Kansas City. I had no idea they were high school kids.” In pretty wild news, the band confirmed to Rolling Stone that they got together earlier this year to record some new songs, which they say are “hopefully going to be released pretty soon.” Roadkill Artwork: Roadkill Tracklist: 01. Necronomicon 02. Roadkill 03. Confusion 04. Muzak Anonymous 05. All Just In Passing 06. Delta Time 07. Creatures Of The Dark (Night) 08. Cosmos 09. John’s Forgotten Land (Parts 1, 2, And 3) 10. Necronomicon (Reprise) 11. Waiting To See You (1979 Bonus Track) 12. Helen (1983 Bonus Track) Source

It’s been a busy year for one of metal’s most larger than life characters. Matt Pike has been fronting High on Fire and playing guitar in Sleep for many years, but rarely in the same year. With both bands dropping new albums in 2018, Pike has endured a whirlwind year of writing, promotion, and touring for the better part of the last two years. And that’s just the way he likes it. After Sleep’s surprise comeback album The Sciences, dropped on 4/20 of this year, Pike is now gearing up for High on Fire’s new disc, Electric Messiah, which arrives October 5th. Electric Messiah stretches High on Fire’s high-octane blend of thrash metal and punk with a more varied dynamic range. Pike and his bandmates Jeff Matz (bass) and Des Kensel (drums) sound like they’ve never had more fun crafting expansive journeys through the church of the riff. Exquisite Jeff Hanneman-like solos and awe-inspiring sonic power comfortably place Electric Messiah among the rest of High on Fire’s discography, but flashier and more developed song structures distinguishes Electric Messiah as possibly the band’s strongest material to date. Pike took some time to speak with Heavy Consequence on the new album, balancing his music projects, and how a stable and sober lifestyle has allowed the most creative version of himself to emerge. Read Matt Pike’s thoughts on the aforementioned topics, plus the influence of late Motörhead legend Lemmy Kilmister (who inspired the album’s name and title track), how he uses humor to write vicious riffs, and much more: On Electric Messiah being one of High on Fire’s strongest albums I feel like everything fell into place properly with this one. I like how we recorded the guitars and vocals, I liked how there was a real back and forth between us and [producer] Kurt [Ballou]. We really feel like this is strong material. Maybe it could have came out a year ago, but we really took our time with the mastering and made sure everything wasn’t half-assed. I love what we say on this record, I love the artwork. I feel like we took the same toolbox and reinvented ourselves on this one. On recording and working with Kurt Ballou for the third time I think it’s his recording technique and mixing [that keeps us returning to him]. He has this formula…he’s just ridiculously smart. The dude should have worked for NASA, but instead he makes music. I guess that’s a score for the metal community, so we got one of ‘em anyway. He’s so good at recording fast stuff with a lot of dynamics. He really can bring out details in a special way. I’m sure he learned all these tricks recording the freaky stuff Converge does, so for bands that do heavy, noisy stuff he’s great. He just has this formula that I can’t explain but it works great for High on Fire. With this record, I feel like it’s more fun that past High on Fire records. It’s really energetic. It’s not a downer. I wasn’t trying to do the doom thing. It’s a good match for Kurt. On his personal life and how relationships influence his work I’m with a partner now that is a tattoo artist and musician. We lead a similar lifestyle and she really understands multi-tasking. I moved up to Portland now and I have a house with a DIY studio. I think that’s why there are less of my sissy songs on Electric Messiah. Before Luminiferous, I was with my best friend for seven years but we realized our lifestyles just weren’t really compatible. Ending that [relationship] effected the writing on Luminiferous. I don’t have any of the “cry in my beer” songs on this one. Laughs. This one is full throttle. I always study ancient Sumerian culture and Mesopotamia, their mythology, how those myths influence religion, and how religion then influences the world. Put a tinfoil hat on me if you want, but that’s the stuff I believe. I generally think the strings are being pulled. So there is more focus on those themes on the record than on past High on Fire records. On recording vocals for Electric Messiah sober That was a hard thing. That was tough for me. The way I learned to sing was with whisky and hot toddies. But on this one I didn’t drink. On Luminiferous, I fell off the wagon. I just didn’t know how to [sing sober] and I got chewed out by my friends for it. I think I recorded the vocals well enough but I fell off the wagon. My friends gave me the encouragement that I could do it and I finished this album without drinking. I think it went great. This time it was all Egyptian licorice tea. My voice was hitting high notes that I didn’t even know I could hit. We’ll see if I can hit them live. On blending core influences with new inspirations The big influence here was Lemmy. I had this dream where he came to me and he was pissed off at me. He was saying, “You’re trying to take my throne, boy!? You can’t do that!” But it was really cool. I wrote that tune “Electric Messiah” shortly thereafter. I don’t think that song or the album sound like Motörhead other than a little bassline here or there. It’s closer to a hardcore punk record with a little bit of metal for me. Just something about it reminds me of Lemmy. People have told me even before he died that I’m the next Lemmy or the American Lemmy. I always tell them, “No way man. I don’t touch that guy.” I guess it’s the similar rough voice. In terms of starting out [the writing process], I always start out with [Tony] Iommi. The church of the riff is the church of Iommi. He’s the blueprint and when you’re starting from scratch what’s the first thing you do? You look at the blueprint. I also love a guy like [late Slayer guitarist Jeff] Hanneman, who could make something so ridiculous and make it sound beautiful and dark. The Slayer guys and the Judas Priest guys are really inspiring to me because they never have gotten dated. They’re always on the cutting edge of what metal is doing. No matter what’s going on with a new record, this is where I start. On balancing High on Fire and Sleep With Sleep, we’re all getting older but we still feel like we can reinvent ourselves because we all have gotten more creative and inventive as we’ve gotten older. It took us a while to get back in the groove because we hadn’t written together since Dopesmoker, but Al [Cisneros, singer-bassist], Jason [Roeder, drummer] and I have all stayed busy with our different projects. “The Clarity” was a real breakthrough for us because we felt it was the first great thing we wrote when we got back together. I think “The Clarity” is one of the best things we’ve done. Since all three of us in Sleep are in two bands everyone has gotten good at balancing things, but it’s also pushed all of us. We’re all always busy with music. We’re like a little family of bands that has to respect each other. I’m always working the two most talented rhythm sections in the world and I need to keep up. I feel like working with one just keeps me sharp for the other. On the dichotomy between his goofball image and his career as a serious artist I think my work speaks for itself but I love comedy. I don’t think I’d be a good standup comedian, but if you know me, I joke around all day. When I write riffs for any of my bands I write riffs that I think are kind of “smart-ass.” Like when you think you have something good and rockin’, but you make it even more rockin’ to the point where it sounds ridiculous, that makes me laugh. It’s comedy to me. Think about a rabid dog. Then you add bigger teeth and a bigger body and suddenly you have a werewolf. That’s my analogy for writing riffs and the way I look at music. I mean I take this seriously and I want it to sound vicious. I like extreme music and I stay true to that aesthetic, but I always try to think how can I make this sound even stupider. I really think this is the only way to get anybody to pay attention because metal has all these guys who try to quantify it and end up making the same song every time. I think there are a lot of bands that sound formulaic. I like bands like Celtic Frost, Tragedy, and Bolt Thrower that really tried to mess with the mold. On crediting his prolific 2018 to stars aligning, luck, or just feeling creative It’s sort of been all of those things. I had planned on this being my year of getting shit done. It feels like now I’ve got most of that done now. The rest of the year will be touring and finding some time for myself at home. I think me and my bandmates are all at an age where we really got to work to make a living and we all want to create songs we can play for the next 10 years. I don’t really mind working though. As long as I get a little time off every now and then I’m happy being busy and creative. If I bottle all that up I get depressed when I don’t make something. They say idle hands are the devil’s playthings and we all know my problems. I avoid that by staying as busy as I can. Our thanks to Matt Pike for taking the time to speak with Heavy Consequence. High on Fire’s Electric Messiah album is available for pre-order here, while dates for the band’s co-headlining tour with Municipal Waste can be found here. Source

First Aid Kit are in New York City this week, where they delivered not one, but two gorgeous sets at Brooklyn Steel (I would know, I was there!). The Swedish folk duo brought that same magic to The Late Show with Stephen Colbert on Thursday night. With background lights sparkling like firecrackers, the pair sang “Fireworks”, taken from their Ruins album that came out earlier this year. Yes, their harmonies are really good on record and live. Catch the replay below. First Aid Kit’s late-night appearance coincides with the release of today’s Tender Offerings, a new EP comprised of outtakes from their original Ruins studio sessions. Stream that collection in full below. Source

It’s been a long time coming, what with the release of raucous singles like “Primadonna Like Me” and “Body Talks”, but The Struts have finally announced their new album. Titled Young & Dangerous, it follows the glam-rock outfit’s 2016 breakthrough, Everybody Wants. It lands on October 26th via Polydor Records. “Finally we can reveal our second album, Young & Dangerous,” frontman Luke Spiller says in a press release. “We have poured our blood, sweat and tears into this album and I know you are all going to love it. This is dedicated to all of our amazing fans who have waited so long for this record. I hope these songs provide the perfect soundtrack to this crazy thing called life. Thank you once again. Be sure to get tickets to our tour so we can all sing these new songs together.” Accompanying the announcement is a new single, “Bulletproof Baby”, an encore closer if there ever was one. Brimming with gang vocals and a chorus that reaches into the rafters, the song’s still wistful enough to leave a lasting impression. Hear it below. The Struts will soon embark on a massive headlining tour in support of the album, and they’ve just added a batch of European dates for early next year. Check them out below, and grab tickets here. Young & Dangerous Artwork: Young & Dangerous Tracklist: 01. Body Talks 02. Primadonna Like Me 03. In Love With A Camera 04. Bulletproof Baby 05. Who Am I? 06. People 07. Fire (Part 1) 08. Somebody New 09. Tatler Magazine 10. I Do It So Well 11. Freak Like You 12. Ashes (Part 2) 13. Body Talks (feat. Kesha) The Struts 2018-2019 Tour Dates: 09/21 – Detroit, MI @ St. Andrew’s Hall * 09/22 – Fort Wayne, IN @ Piere’s * 09/23 – Franklin, TN @ Pilgrimage Music Festival 09/24 – Richmond, VA @ National * 09/26 – Toronto, ON @ The Opera House * 09/30 – Albany, NY @ Upstate Concert Hall * 10/02 – New York, NY @ Bowery Ballroom * 10/03 – New York, NY @ Bowery Ballroom * 10/05 – Asbury Park, NJ @ Stone Pony * 10/06 – Philadelphia, PA @ TLA ^ 10/08 – Washington, DC @ 9:30 Club * 10/09 – Carrboro, NC @ Cat’s Cradle * 10/10 – Asheville, NC @ Orange Peel * 10/12 – Atlanta, GA @ Variety Theater * 10/13 – Orlando, FL @ The Beachum Theater * 10/14 – Tampa, FL @ Orpheum Theater * 10/16 – Ft. Lauderdale, FL @ Culture Room * 10/17 – Jacksonville, FL @ Maverick’s At the Landing * 10/19 – Mobile, AL @ Soul I am a fagget * 10/20 – Destin, FL @ Club LA * 10/21 – Tuscaloosa, AL @ Druid City * 10/23 – St. Louis, MO @ The Pageant ^ 10/25 – Fort Smith, AR @ Temple Live ^ 10/26 – Arlington, TX @ Texas Live! 10/29 – Austin, TX @ Emo’s 11/02 – Tempe, AZ @ Marquee + 11/03 – Anaheim, CA @ HOB # 11/06 – Napa, CA @ Jam Cellars Ballroom + 11/08 – Sacramento, CA @ Ace of Spades + 11/09 – San Francisco, CA @ The Fillmore + 02/16 – Leeds, UK @ Leeds University Stylus 02/17 – Nottingham, Uk @ Rock City 02/18 – Newcastle, UK @ Newcastle University 02/19 – Glasgow, UK @ Garage 02/22 – Bristol, UK @ SWX 02/23 – Manchester, UK @ Academy 2 02/24 – Birmingham, UK @ O2 Institute 02/26 – London, UK @ O2 Shepherds Bush Empire $ = w/ Foo Fighters * = w/ White Reaper and Spirit Animal ^ = w/ Spirit Animal + = w/ The Wrecks and Thunderpussy # = w/ The Wrecks Foo Fighters’ Top Songs Nirvana’s “Heart-Shaped Box” Annotated Video The Strokes’ Top 5 Songs Tour Update: Fleetwood Mac Announces Extensive North American Tour Josh Homme’s Funniest Moments Source

Gucci Mane took to Instagram on Thursday to announce a new collaborative single with Bruno Mars and Kodak Black, a notable happening not just for the star wattage involved but also because the track marks Black’s first release since being emerging from jail last month. Titled “Wake Up in the Sky”, the single definitely packs Bruno Mars’ brand of arena grandeur, opening with some soaring vocals before segueing into a trap beat that buoys some sensual verses. There’s a romanticism that pervades the song, even once Kodak Black emerges with his sneering flow. Hear it below. Pre-incarceration, Kodak Black guested on ASAP Rocky’s Testing. Gucci Mane, whose Evil Genius remains on the horizon, released his star-studded Mr. Davis last year. Bruno Mars, meanwhile, recently headlined Lollapalooza and recently embarked on a new leg of tour dates in support of 24K Magic. Source

London-based rapper and producer Knox Brown has spent the better part of this decade carving out music for juggernauts like Beyoncé, Jay Z, Mary J. Blige, Emeli Sandé, and Timbaland. In 2016, he made his own statement with his debut EP, Searching, a six-track collection that featured appearances from Anderson Paak, BJ The Chicago Kid, and Kojey Radical. Now, he’s ready for a followup, which he’s been working on for the last 12 months. In anticipation, he’s been rolling out one single after another for the next month. Already, we’ve heard the blissful soul of “Always”, a groovy morning jam that finds Brown hopping from verse to verse as if he’s going to get coffee a la Baby Driver. Today, he’s giving us “FLEX”, a poolside anthem that recalls those sunny days of mid-’90s hip-hop, back when the sun was balmy and the mood was anything but post-apocalyptic — you know, like it actually is today. “All I ever wanted was a chance to flex with you,” he sings, charming over production that would give Yeezy a tingly feeling. Stream below. Source

Country music icon Dolly Parton has a number of Netflix projects lined up for the near future. One is Dumplin’, a movie about a plus-size teenager who is a diehard Parton fan. The film is based on a 2015 novel of the same name and features a soundtrack exclusively written and recorded by Parton herself. Due out November 30th through Dolly Records/RCA, the soundtrack is said to include six all-new original compositions. There are also new versions of past Parton hits, re-recorded as duets with the help of Sia, Miranda Lambert, Mavis Staples, Elle King, and Alison Krauss, among others. To tease the soundtrack and film, Parton has shared her duet with “the incredible” Sia, which is an updated rendition of “Here I Am”. The track originally appeared on Parton’s Coat of Many Colors album from 1971. Hear it down below. Dumplin’, which stars Jennifer Aniston and Danielle Macdonald, is set to hit Netflix sometime later this year. The streaming service is also developing a new anthology series whose episodes will be based on Parton’s hit songs. “Here I Am” Artwork: 5 Songs You Didn’t Know Sia Wrote Taylor Swift’s Top 5 Songs Ariana Grande's Top 5 Songs Lady Gaga - A Star is Born Trailer Source

Nicki Minaj isn’t the only one who’s pissed off about Travis Scott’s Astroworld. One of the smash No. 1 album’s contributors, Frank Ocean, has apparently been livid over his inclusion on the track “Carousel” from the start. Now, according to TMZ, the singer has served a cease and desist with Scott’s team in an attempt to get the song removed from the record. As sources tell TMZ, Ocean isn’t pleased with the way his vocals were altered on “Carousel”. There’s a lot of autotune during the chorus, and a helping of pitch correction on the final verse, though it’s not known exactly to which part the Blonde singer objects. (Either way, you can’t really blame him; Ocean’s been praised for having one of the best voices in modern R&B, so why bother messing with it with cheap studio tricks?) Ocean reportedly voiced his displeasure before Astroworld was released, but to no avail. He wants his vocals taken out or the track removed completely, but as of now it doesn’t look like Scott is willing to budge. We’ll see if that changes now that the lawyers are involved. Update: In a statement, Ocean said, “I think the song sounds cool, I did it in like 20 minutes and the mix sounds the way Travis wanted it to sound for his record. I also approved it before it came out so the cease and desist wasn’t about it was about . Me and Travis resolved it amongst ourselves weeks ago. ” Meanwhile, Scott has one of the most anticipated tours of the fall coming up, which includes his own Astroworld Festival in Houston come November. Ocean promised an exciting 2018 back in January, but so far all we’ve gotten is a few album cameos, a cover of “Moon River”, and the long-overdue physical copies of Endless. Source

Nine Inch Nails kicked off their highly anticipated “Cold and Black and Infinite Tour” at Comerica Theatre in Phoenix, Arizona on Thursday night. Fans in attendance were treated to something truly special, as the band chose to open the set by playing their Grammy-winning 1992 EP, Broken, in full for the first time ever. As such, NIN played “Happiness in Slavery” for the first time in 23 years. Other Broken tracks, including their cover of Adam and the Ants’ “Physical” and “Last”, were performed live for the first time since 2009. (Read: Ranking: Every Nine Inch Nails Album from Worst to Best) “This Isn’t the Place” from last year’s Add Violence LP also received its live debut, and the band once again pulled out a cover of David Bowie’s “I’m Afraid of Americans”. Check out fan-shot footage and the complete setlist below. NIN’s “Cold and Black and Infinite Tour”, which features The Jesus and Mary Chain in a supporting role, runs through mid-December. Grab tickets here. Setlist: (Pinion) Wish Last (first performance since 2009) Help Me I Am in Hell (first performance since 2013) Happiness in Slavery (first performance since 1995) Gave Up Physical (Adam and the Ants cover, first performance since 2009) Suck (Pigface cover, first performance since 2013) March of the Pigs The Lovers Reptile Shit Mirror Ahead of Ourselves This Isn’t the Place (live debut) I’m Afraid of Americans (David Bowie cover) Survivalism Only The Hand that Feeds Head Like a Hole Encore: Less Than The Day the World Went Away Hurt Source

Khalid, the Grammy-nominated R&B singer, has returned with a brand new song called “Better”. Charlie Handsome, who’s previously collaborated with the likes of Kanye West, Drake, and Chance, produced the track, which pairs a groovy, sensual beat with the young singer’s rich, velveteen vocals. “You say we’re just friends/ But I swear when nobody’s around/ You keep an arm around your neck/ To connect, are you feeling it now?” he croons. Hear it below. Khalid recently teamed up with rising pop star Billie Eilish for her single, “Lovely”, and, earlier this year, made a splash with Swae Lee on the Black Panther soundtrack’s “The Ways”. Khalid’s American Teen album was one of our favorites from 2017. See the single’s artwork below, which pays tribute to the singer’s hometown of El Peso. Source

Chicago rapper KAMI and producer Smoko Ono have released their new collaborative project, Very Slight. Stream it in full below via Apple Music or Spotify. Very Slight is comprised of seven songs, including “Reboot”, which features fellow Savemoney members Chance the Rapper and Joey Purp (Purp and KAMI also make up the rap duo Leather Corduroys). Valee, also a Chi-town-area rapper, makes an appearance on a track called “A Bit”. For KAMI, Very Slight is the follow-up to 2017’s Just Like the Movies. Smoko Ono is also known for his production work on “I Might Need Security” by Lil Chano and Vic Mensa’s “U Mad”. In a statement, KAMI and Smoko Ono explained how they came together to make Very Slight: “Very Slight is a collection of songs we made trying to capture a snapshot of what has become our everyday life. We’ve been progressing as a unit towards our dreams and we feel like we on the right path but nowhere close to where we really want to be BUT these things take time and progression is a process one that often goes unnoticed if you are truly dedicated to working towards your destiny.” Very Slight Artwork: Very Slight Tracklist: 01. Afraid So 02. Reboot (feat. Chance The Rapper and Joey Purp) 03. A Bit (feat. Valee) 04. Brand New 05. Beware (feat. Joey Purp) 06. Superstar Moves 07. No Choice Source

Today marks the release of Aphex Twin‘s Collapse EP via Warp Records. Subscribers of Apple Music and Spotify can stream it below. The first commercial release from the IDM artist since 2016’s Cheetah EP, the album was teased via strategically placed logos and a mind-bending 3D image that appeared in London, New York, and Los Angeles, among other places. Then came a cryptic tweeted press release from Warp Records. Finally, a five-minute visual teaser was supposed to air on Adult Swim late Monday evening, but was abruptly pulled from the schedule after failing to pass the Harding test, which determines whether a video might cause a reaction from those suffering with photosensitive epilepsy. Oops. According to our glowing A- review of the EP, Collapse “finds the producer moving away from the more straightforward approach he has been dabbling in on recent work, turning up the heat on his slippery, electronic anthems, bringing them from a simmer to a rolling boil.” Last year, Aphex Twin launched a streaming site featuring previously unreleased and expanded material alongside new tracks “4xAtlantis take1” and “Korg Funk 5”. Collapse EP Artwork: Collapse EP Tracklist: 01. T69 Collapse 02. 1st 44 03. MT1 t29r2 04. abundance10edit[2 R8’s, FZ20m & a 909] 05. pthex Source

Noname has released her new album, Room 25. Stream it in full below via Apple Music or Spotify. Room 25 spans 11 tracks and marks the follow-up to her Telefone mixtape, which we at Consequence of Sound crowned one of the best projects of 2016. The LP — which is being billed as her official full-length debut — also comes after a string of collaborations with the likes of Joseph Chilliams and Saba. Both Saba and Smino are featured on the track “Ace”, while Ravyn Lenae guests on “Montego Bae”. In a recent interview with FADER, the Chicago MC talked about the difference between the two self-released efforts. “Telefone was a very PG record because I was very PG. I just hadn’t had sex,” she explained. “I’m finally able to dance around with the idea of being vulgar in that way.” (Read: The 25 Most Anticipated Albums of Fall 2018) Additionally, Noname addressed some of the comments regarding her music being extra “conscious” and the antithesis of other female rappers: “I feel like a lotta people are gonna be like ‘Ughhh.’ A lot of my fans…I think they like me because they think I’m the anti-Cardi B. I’m not. I’m just Fatimah,” she said. She also said she continues to see people tweeting her “like I’m this generation’s Lauryn Hill or I’m like the conscious version of different female rappers who don’t make the type of music that I make. … Maybe this project will show some of those people who think that I am this very, like, conscious female rapper that I’m just as regular and normal as everybody.” Room 25 Artwork: Room 25 Tracklist: 01. Self 02. Blaxploitation 03. Prayer Song (feat. Adam Ness) 04. Window (feat. Phoelix) 05. Don’t Forget About Me 06. Regal 07. Montego Bae (feat. Ravyn Lenae) 08. Ace (feat. Smino and Saba) 09. Part of Me (feat. Phoelix and Benjamin Earl Turner) 10. With You 11. no name (feat. Yaw and Adam Ness) Source

The following review is part of our coverage of the 2018 Toronto International Film Festival. Mid90s is so perfectly evocative of its eponymous time period that it can make a 30-something reviewer who lived through it ache with recognition and nostalgia. The attention to era-appropriate realism, from the set and costume design to the indie rock and hip-hop soundtrack, is incredible. There are Teenage Mutant Ninja Turtles and Ren and Stimpy linens on the bed. Carefully organized CD collections on the shelves. Almost everyone under 20 is wearing a crumbling graphic T-shirt that is at least two sizes too large for them. Those that aren’t are wearing crop tops. There are bare-bones skate shops, skater-riddled parks, and the strains of the F-Zero Mute City theme playing in the background while someone smashes on a grey/purple SNES controller. It’s not just the details that Jonah Hill and his cast and crew capture with his directorial debut, though. Mid90s also nails down so many of the feelings of adolescence in any time period. The brutal sibling fights, the wide-eyed, guileless desire to hang out with older/cool kids, that first delirious rush of potential belonging (and also that first delirious rush of sucking slightly less at skating) and the almost omnipresent angst, are every bit as carefully and lovingly recreated as the sets, costumes, and soundtrack. This can inspire its own aching sense of recognition. Eager to escape his alternately violent and distant brother (Lucas Hedges) and kind but oversharing mother (Katherine Waterston) at home, Stevie (Sunny Suljic) trades for an old skateboard and starts loitering at the local skate shop, trying to catch the attention and possibly the affection of the collection of misfits who work and/or hang out there. Eventually charmed by the dorky but sweet 13-year-old’s guileless need to please, the cool but caring Ray (a standout Na-kel Smith), the dopey but charming Fuckshit (Olan Prenatt), and the quiet art punk Fourth Grade (Ryder McLaughlin) take Stevie under their wings. They bond, and Stevie sees a whole new world filled with excitement, danger, promise, disappointment, and maybe even a hint of developing wisdom as he starts to take his first steps toward growing up. Despite the fact that the 84-minute film’s lean plot can be summed up with what could be read as mild glibness, however, Mid90s isn’t exactly just another coming-of-age film. There might not be much in it that you haven’t seen in multiple teen dramedies and skate movies from every era, but what the film lacks in innovation or novelty it covers for in heart. As a writer and director, Hill demonstrates an endearing and encouraging empathy for his characters, crafting a portrait of adolescence that allows every emotion and every decision — from the most relatable at any age to the most boneheaded — to exist without irony, judgement, or condescension. The film doesn’t quite approach the brutally painful accuracy of adolescence that Freaks and Geeks did, but it clearly has a similar ethos when it comes to treating teenage characters like the full-fledged human beings that they are, with a multitude of feelings, thoughts, and issues that are worthy of thoughtful exploration onscreen. As kind as Mid90s is, though, it never veers into navel-gazing or indulgence, either. Hill also loves his characters enough to spare them idealization, stopping short of making them the objects of an adult’s nostalgia-soaked reflections of an easier time. They’re teenagers. They pull some ridiculous shit. Their views are occasionally limited or misguided. Their actions have consequences that the film is no more interested in shying away from than it is in plunging the teens into over-the-top moralizing or melodrama. It’s exactly the tone that both teenhood and the mid-‘90s deserve. Growing up, even if you come from a relatively comfortable background, is often fraught and shitty, uncomfortable and heartbreaking, but it also has its moments of freedom, excitement, and the first whiffs of potential for a future that might suck a little less. The ‘90s were also fairly ugly (despite what the shelves of Urban Outfitters are trying to tell the kids these days, our fashions and scrunchies were largely lamentable and unworthy of a revival) and unfortunate, although we had occasional bursts of good music and video games. Mid90s captures all of that in all of its sloppy, grungy, slouching, and flailing glory and melancholy. With a tender heart and clear eyes, Hill has managed to take us back for a wincing but charming look at two very awkward ages. Trailer: Source

Brought to you by Majestic Casual Records, established prodcuer Kordz links with hit-making singer/songwriter Lontalius for a outstanding new single, titled, “Accept & Connect”. A feel-good vibe that is much-needed in music right now. Deep and melodic, the two collaborators craft a message to embrace through emotion and self-expression. Kordz on making “Accept & Connect”: “This track started out as a simple melody that I discovered during improvising on the piano. I found it fascinating because the harmony seemed to come directly out of the melody; they weren’t two separate things. The sounds of breaking tree branches and crackling leaves are ripping through a chorale that’s echoing from a church, far away. The chorale sounds like its coming from far away, while the sounds of the nature seem to happen almost inside of your ears. It created a very strange atmosphere” “People tell me they hear longing in my music. i’d agree with that”, says Lontalius. “I had a new framework to explore, i couldn’t be more thankful for that. I’ve been trying to challenge myself to be more vulnerable, but to also find a confidence that i didn’t have before. all in the name of making something that connects.” Listen to “Accept & Connect” above, courtesy of Soundcloud. The post Kordz & Lontalius team up to create the dazzlingly, “Accept & Connect” : Listen appeared first on Verge Campus. Source

Perhaps one of the most refreshing live electronics acts going around, Canadian born duo Bob Moses have been killing it for some time now, and it has seen them play some massive stages around the world. Now with their feet firmly back on the ground, the boys have spent their time wisely, today releasing their third full length work. Fans in Australia would have caught them at last years Laneway festival and they’ve just been announced as a part of the huge The First NYD and Lost Paradise lineup, so you can understand why Bob Moses are one of our favourite internationals dance acts. In an effort to understand more about the band and the release, one half of the group Jimmy gave Stoney Roads a bit of his time to answer some questions about the album, life on the road and some quirky details of recording such an impressive body of work… it’s almost like the last two albums never finished and rolled into this one. Stoney Roads: With a few weeks until the album comes out what have you been up to, apart from dropping killer acoustic versions of your songs? What does down time for the Bob Moses boys look like? BM: A few weeks still!? We both just want the record to be out already! Glad to hear you like the acoustic versions, it’s a lot of fun to do those. There’s really no time for “down time”. Between rehearsing, doing a summer club tour of Europe, shooting acoustic videos and doing interviews for Stoney Roads…it doesn’t leave much time for anything else. We love being busy and doing all this stuff though. If we did have any down time, we’d probably end up filling it with more music related activities. SR: How has putting this one together been different to ‘Days Gone By’ and ‘All in all’? And what was behind the name ‘Battle Lines’? BM: I think the main difference is we’ve gotten to travel the world several times over and be inspired by people and our experiences. ‘Days Gone By’ was written by two guys, in a windowless basement in Brooklyn, pouring our frustrations into music in an effort to connect with ourselves and other people. “Battle Lines” was written by two guys (with a lil help on one song), in a windowless basement in LA as a reaction to connecting with people and being inspired by the struggles we all share. SR: It’s been a few years since the last album because I guess you guys have been a little busy touring the world. How was tour life? BM: We seem to constantly be on the road and we love touring. There’s so many awesome places in this world! We have a traveling party of 9 people and we’re like one giant family. We are really lucky to all be so close. We laugh, cry, drink, party and play shows together…it’s really hard to not have fun! I’ve never understood people who get all grumpy when they tour, it’s a blast! SR: Have you found being on the road have an influence on the way you guys go about making music? Do you ever write stuff while you’re on tour? BM: Our experiences traveling world were definitely a main inspiration for this record. We actually wrote “Back Down” during a soundcheck at one of our gigs, can’t remember where, but we just started playing that riff and recorded it on an iPhone for later. Tom also started the song “Eye For An Eye” in a hotel room and the heavy rocking section for “Heaven Only Knows” was done on a plane from Melbourne to Sydney during Laneway Fest…probably inspired by watching ‘King Gizzard And The Lizard Wizard’ everyday for a week. SR: I’ve gotta ask because they’re one of our favourites here – how did you end up getting in contact with the lads from Mansionair and getting them on the tour with you? BM: Honestly, we hadn’t heard of them prior to looking for an opening act for the tour. Our manager sent us their music and we were like, these guys would fit great with our vibe! Haven’t met em yet, but very much look forward to meeting and touring with em. I hope they don’t mind a few pranks SR: You were down under early last year for Laneway Festival and have been previously supporting RUFUS, how are your memories of Australia and did you guys have a favorite spot? BM: Australia is basically Canada with better weather, we feel very much at home there. Tom actually met his wife at “Lost Paradise” festival a few years back. There are so many great bands coming out of Australia and tons of great festivals at the moment. Laneway was one of the most fun things we’ve done as a band. We made friends with a bunch of Australian bands on that tour and picked up some great slang. I personally really like Melbourne. I ended up at some bar one night with maybe 50 people and these two older gentlemen in trench coats were making synthesizers distort and do crazy things for an hour…it was awesome! I felt like I had fell down some secret Melbourne synthesizer rabbit hole. SR: Your music is quite unique, a mix between electronic production and organic/alternative rock stuff. Can we expect similar stuff on ‘Battle Lines’ or maybe a new direction? BM: We always explain our music as “If you’ve got rock n roll and techno, then we’re somewhere in the middle”. I think the album sounds like Bob Moses, you naturally gravitate towards certain sounds and make certain choices that are inherently who you are as a person. We just try to make stuff we like and that gives a good feeling while writing it. I think you can hear a lot of our influences on this record. We also really tried to push ourselves as song writers on this album. We’re both super proud of the end result and can’t wait to get it out there. SR: I can imagine a lot goes into a Bob Moses live show and you guys have got a string of dates coming up once the album drops. Is it tough going from the recording studio to then working out how to perform them live? BM: It’s definitely tough. There are so many parts to our songs we have to really pick and choose which ones are the most impactful to play and also most true to the record. We’ve added a bass player to the lineup and are touring as a four piece for this album cycle. We’ve been rehearsing the last couple months and it’s so great to be able to play the stuff as a full band. A lot of people think our music is quite “chill” until they see it live. The secret recipe to our live energy is in the low end of our music, so it only makes sense to have a person rocking that our for us! SR: Finally, when can we expect to see you guys back in AUS? BM: We actually just confirmed a little New Years Eve tour. Going to be doing three shows with the band. Really looking forward to coming back! So there you have it, ‘Battle Lines’ is out world-wide today via Domino. Dive into the album below and head to their Facebook, Twitter and Instagram to sing them some praises; Source

Smashing Pumpkins founding members Billy Corgan, James Iha, and Jimmy Chamberlin are set to release their first album together in nearly 20 years. According to a product listing on Amazon, the LP is titled, Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun., and is due for release on November 16th. The tracklist boasts eight songs running, including the previously revealed “Solara” and “Silvery Sometime (Ghosts)”. Other track titles include “Knights of Malta”, “Alienation”, and “Seek and You Shall Destroy”. Shiny And Oh So Bright was produced by Rick Rubin and marks the band’s first album featuring Corgan, Iha, and Chamberlin together since 2000’s Machina/The Machines of God. Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. Artwork: Shiny And Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. Tracklist: 01. Knights of Malta 02. Silvery Sometimes (Ghosts) 03. Travels 04. Solara 05. Alienation 06. Marchin’ On 07. With Sympathy 08. Seek and You Shall Destroy Source

CRSSD is approaching yet again with its Fall 2o18 installment just a few weeks away. Feeling overwhelmed by all of the good music and need somewhere to start brushing up on the incredible talent coming to San Diego? Or maybe you just needed a little push to get you started – whatever the case, here are 7 tracks to help familiarize you, pump you up, and get you ready for CRSSD Fall 2018. Bob Moses creates the perfect bridge between live and electronic music production with their track “Back Down” from their new album Battle Lines. With its eclectic vocals and signature Bob Moses sound, it is sure to be another hit to add to their ever-growing repertoire. With its gorgeous vocals by Dustin Tebbutt and all around chill sound, “All Your Love” is the perfect track to groove down to. It is a prime example of the vibe that Flight Facilities will set at CRSSD, in a setting where this sound seems like it’s meant to set the ambiance. Hayden James is bringing his brand of Future Classic to the Ocean View stage and his track, “Just Friends” featuring Boy Matthews, makes the hype to see him even more real. With a surplus of hits already under his belt and the backdrop of the Ocean View waiting, this set is sure to be a highlight of the weekend. Electronic music duo Dusky has transcended through genres to put out some beautifully melodic yet hard-hitting techno tracks, and “Amongst the Gods” is no different. Dusky will be headlining the iconic Palms stage and personally, it’s a “can’t-miss” set of the weekend. “Pizza” is arguably one of the most iconic tracks of the summer – the very first time I heard this dropped was at the Do Lab at Coachella this year, with Anti Up making their debut at EDC Las Vegas the following month. The superstar duo is made up of Chris Lake and Chris Lorenzo, who are guaranteed to bring the party to the Palms.  Mind Against puts an alternate spin on their track Atlant with this anniversary mix, which further draws on their roots to IDM (intelligent dance music), house, and techno. Masters of sound that are a hell of a lot of fun to dance to, Mind Against will be bringing the steps down at City Steps in a few weeks.  Anjunadeep staple and deep house connoisseur Yotto brings the emotion out with his track “Hear Me Out” feat. Sønic & Laudic. The house beat combined with the haunting vocals and melodic undertones come together to create one of the most sonically pleasing and dance-worthy tracks put out recently. The City Steps aren’t ready (just kidding – they are). Catch all of these incredible artists and more at CRSSD Fall 2o18, happening Sept. 29 – 30, 2018 at Waterfront Park, San Diego, CA. More info and tickets still available here. FEATURED PHOTO: CRSSD Fest The post 7 Tracks to Prep You for CRSSD Fall 2018 appeared first on EDM Maniac. Source

Just as Stephen King’s works are enjoying a cinematic and televisual renaissance, so too are the creations of his son, writer Joe Hill. Not only is Hill currently seeing In The Tall Grass and Throttle—two novellas he wrote with his pops—turned into films, but he’s also developing his graphic novel series, Locke & Key, over at Netflix and, perhaps most excitingly, his 2013 novel NOS4A2 at AMC. As we previously reported, NOS4A2 has been given a 10-episode order by the network. Now, the series, which will be led by Fear the Walking Dead’s Jami O’Brien, just took one step closer to becoming reality. AMC has announced that Star Trek’s Zachary Quinto and Ashleigh Cummings, who will appear in the upcoming Goldfinch adaptation, will play the two lead roles, and that director Kari Skogland (The Handmaid’s Tale, The Walking Dead) will helm the first two episodes. Production began this week in Rhode Island. Cummings will play Vic McQueen, a working-class artist with a supernatural ability to square off against Quinto’s Charlie Manx, a monstrous immortal who feeds off the souls of children. Manx’s victims, after being drained of their livelihoods, are then shuffled off to Christmasland, a terrifying Christmas village that exists in some alternate dimension that, according to the book, may also contain a certain scary clown from another family property. Olafur Darri Olafsson, Virginia Kull, Ebon Moss-Bachrach, and Jahkara Smith round out the cast. The series is said to premiere in 2019. Subscribe to The Losers’ Club, Consequence of Sound’s very own Stephen King podcast, where we’ll no doubt dip our toes into the snow of this King-adjacent thriller. Source

After posting a mysterious teaser clip on their website, Brighton, England’s Architects have confirmed that their new album is on the way. The metalcore act will release its eighth studio album, Holy Hell, on Nov. 9 via Epitaph Records. Architects also are debuting the song “Hereafter” and the track’s Jeb Hardwick-directed video, which can be viewed below. Holy Hell is a monumental album for Architects, as it marks their first following the death of Tom Searle, the band’s original guitarist, songwriter and twin brother of drummer Dan Searle. “In those first months after Tom’s death, I didn’t deal with it at all and I felt so unhappy and anxious,” Dan said in a statement. “I’d ignored it and just tried to cope. But I knew that at some point, I had to learn from it.” “It’s at times like that you ask yourself, ‘What is left?’” vocalist Sam Carter added. “As a group of friends, we had to find something.” “Ultimately, there were two choices,” Dan added. “Feel sorry for yourself, and believe the world to be a horrible place and let it defeat you. Or let it inspire us to live the life that Tom would have wanted us to live. I was very worried about people taking away a despondent message from the album. I felt a level of responsibility to provide a light at the end of the tunnel for people who are going through terrible experiences.” Architects recorded the new album over six months, starting in the fall of 2017 and wrapping up spring of this year. Dan and guitarist Josh Middleton produced the album. “For me, broadly speaking, Holy Hell is about pain: the way we process it, cope with it, and live with it,” Dan said. “There is value in pain. It’s where we learn, it’s where we grow.” To pre-order the album, visit ArchitectsOfficial.com. Digital pre-orders come with an instant download of “Hereafter.” Holy Hell Artwork: Holy Hell Tracklist: 01. Death Is Not Defeat 02. Hereafter 03. Mortal After All 04. Holy Hell 05. Damnation 06. Royal Beggars 07. Modern Misery 08. Dying to Heal 09. The Seventh Circle 10. Doomsday 11. A Wasted Hymn Source

The Pitch: In 1984, when Richard Wershe Jr. (newcomer Richie Merritt) was just 14 years old, he was already helping his father Rick (Matthew McConaughey) run a prosperous, pseudo-legal, under-the-table gun business out of their Detroit home. By the time 1987 rolled around, the younger Richard would become “White Boy Rick,” a notorious drug dealer allegedly underwritten by the FBI as part of a sting operation. Shortly thereafter, he’d also wind up a federal informant, and after that, a convicted felon with a life sentence. But once again, before all of that began, he was a young teenage boy finding himself in a hostile, ever-changing environment. This is his story. Sort of. “I’m White Boy Rick!”: White Boy Rick never entirely settles on exactly what kind of film it’s attempting to be, and if this occasionally lends it a sense of freewheeling unpredictability, it far more often muddles the film’s central story, which at least most of the time is one about an uncertain kid with an unstable family coming of age in a part of Detroit in which he never truly belongs. The scenes that allow Merritt to draw out Rick’s uncertainty and relative youth are some of the film’s best, particularly those he shares with Bel Powley as Rick’s strung-out younger sister Dawn. In those moments, and a handful between White Boy Rick and some of his age-comparable friends in the Detroit crime empire he eventually ambles into, Merritt gets to draw the young man out as an actual person, rather than the walking bullet points of his own story. Too often, however, the film itself gets mired in that territory, substituting White Boy Rick the actual person with an inner life for White Boy Rick, the teenage crime lord whose life made for an impossibly perfect elevator pitch. A Detroit Story: One of the biggest consequences of White Boy Rick‘s tonal inconsistency is that none of its intriguing ideas are ever given the proper chance to establish themselves as a motif. The film jumps from doe-eyed coming-of-age tropes to hard-nosed crime drama to undercover cop theatrics to its occasional fits of David O. Russell-influenced comic anarchy so gracelessly that none of them ever take hold in a lasting way. Director Yann Demange has a definite eye for the finite details (albeit one over-reliant on the urban downturn fetishism that plagues so many American films about Detroit), but that eye winds up fogged by the film’s attempts to be everything for every target audience at once. It doesn’t help that some of those aspects are far more dramatically effective than others. Demange brings a bit of verve to White Boy Rick’s rise (where most of the film’s best work resides), and it’s in charting his uncertain growth in confidence against the alternately paternal and suspicious local boss Johnny (Jonathan Majors) that White Boy Rick finds at least temporary footing in its transposition of crime movie tropes about “growth” to a more literal take on that story. Merritt’s rapport with McConaughey does a great deal of the groundwork in this respect as well; as a father who knows his family is falling apart and knows he can do little but stand bemusedly and try to right the ship, McConaughey comes the closest to establishing Rick as a character of some depth. However, as the film rambles on (this is an especially long-feeling two-hour film), a great deal of plot comes and goes, but too little of it leaves a lasting impression. The Verdict: White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework. There are a handful of enjoyably eccentric vignettes strewn throughout (Jennifer Jason Leigh and Brian Tyree Henry roping Rick into dealing over a burger and fries, Powley and Merritt’s strange rapport, a cameo from Danny Brown as a fellow hustler who talks a little too much), but by its second hour, too much of the film begins to resemble any interchangeable pile of crime stories about a felon at their heights being humbled by the law and by their own sins. As those go, White Boy Rick isn’t unusual often enough to stand apart, or nakedly emotional enough to push through its increasing reliance on tired genre standards (tearful phone calls through prison windows, et al.) The film picks up and discards stories by the scene, whether it’s Rick’s would-be courtship with Johnny’s wife or the loving acrimony between the elder Rick and his parents. (It should be a federal crime to cast Bruce Dern and Piper Laurie as a long-married couple, and give them virtually nothing to do.) There’s just enough to laud in White Boy Rick that its shortcomings are all the more unfortunate, and for a true story so wild as this one, competent is a pretty disappointing place to land. Trailer: Source

Aaron Paul emerged white hot from Breaking Bad, the AMC series that found his foul-mouthed stoner evolve into a tremendously layered and tragic character that landed him three Emmy Awards across the show’s run. Since then, he’s worked consistently on series like Hulu’s The Path and Apple’s Are You Sleeping?, but has yet to find a role that resonates in the same manner as Jesse Pinkman. That may change, however, as Variety reports that Paul has been cast in the third season HBO’s sci-fi tentpole Westworld. (Read: Westworld’s Second Season Cuts the Bullshit and Gets Down to Business) Westworld, an endlessly frustrating series that continually squanders its considerably potential, is due for a reboot of sorts next season, what with the seismic, yet still confusing, ending of its second outing. Paul will be a series regular, but details on his character remain on the hush hush. Whether or not the series is able to craft a coherent narrative in its next season—or simply continue to feed the Redditors—it’s still likely that Paul could score himself another statuette. The series’ second season was nominated for a stunning 21 Emmy Awards. Source

New Mötley Crüe music is on the way, as singer Vince Neil has tweeted that the veteran hard-rock act is hitting the studio again to record four new songs. “Exciting news!,” Neil tweeted. “I’ll be going back in [the] recording studio in a few weeks with the boys to record 4 brand new Mötley Crüe tracks! Rock On!” Exciting news! I’ll be going back in recording studio in a few weeks with the boys to record 4 brand new Motley Crue tracks! Rock On!! — Vince Neil (@thevinceneil) September 13, 2018 Thus far, none of the other band members have confirmed this news, nor has Mötley Crüe’s social media accounts. That said, back in late August, the band posted a photo on Facebook of drummer Tommy Lee and bass player Nikki Sixx in the studio with Bob Rock, the producer of Motley Crüe’s popular 1989 album Dr. Feelgood. The photo included the caption, “28th August 2018.” Lee posted the same photo on Instagram, plus a video clip of him rocking the drums in the studio. Are they recording new music for the upcoming film The Dirt, a biopic on the rockers that is coming to Netflix? Time will tell. The film is currently in production and will feature Douglas Booth as Sixx; Iwan Rheon (Game of Thrones) as guitarist Mick Mars; Daniel Webber (The Punisher) as Neil; and rapper Machine Gun Kelly as Lee. Mötley Crüe performed the last show on their “Final Tour” nearly three years ago. The guys signed an agreement to never tour again as Mötley Crüe after the trek’s completion. Source

Just yesterday, RESISTANCE Ibiza just closed out there 9 week residency on the White Isle at the worlds largest club- Privilege Ibiza. As well as closing out it’s last party, the club also received an award for “Best Ibiza Night’ at the 2018 DJ Awards making sense of the impact the club has had on Ibiza, the artists who’ve played there, and the rest of the world. Over 9 weeks on every Tuesday spanning from July through September, there were tens of thousands and fans as well as millions who were caught up with the live stream to still get the full experience from home. The incredible season brought in over 68 artists who have produced the most high quality house and techno music. Carl Cox and Maceo Plex dominated a first ever b2b experience that became legendary to the venue and fans. As well as these performers, attendees got to check out a final Sasha & Digweed set, an exclusive set from Josh Wink b2b Butch, and finally, a closing set on the Terrace from Dense & Pika. Next, RESISTANCE will be taking over South America. Check out the closing party recap here. The post RESISTANCE Ibiza Closes Out Second Summer and Receives Award appeared first on EDM Maniac. Source

The 13th Floor Elevators’ Roky Erickson and Chicago garage rockers White Mystery are teaming up for a fall tour. Appropriately dubbed the “Psychedelic Generations Tour”, the 11-date trek is focused mostly on the East Coast. The trek kicks off October 27 in Carrboro, North Carolina and includes a Halloween date in Queens, New York. Other stops include Philadelphia, Toronto, Detroit, Jersey City, St. Louis, and Washington, DC. White Mystery will be playing a number of local Chicago shows and DJ sets ahead of their journey with Erickson — which also includes a hometown stop — and you can find their complete schedule below. Tickets to the “Psychedelic Generations Tour” are available now. White Mystery and Rocky Erickson 2018 Tour Dates: 09/15 – Chicago, IL @ SPiN * 09/16 – Chicago, IL @ Sportsman’s Club # 09/22 – Chicago, IL @ Royal Palm Shuffle Board Club # 09/27 – Chicago, IL @ ACE Hotel # 09/29 – Chicago, IL @ Revolution Oktoberfest * 10/27 – Carrboro, NC @ Cat’s Cradle 10/28 – Washington, DC @ The Black Cat 10/30 – Jersey City, NJ @ Monty Hall 10/31 – Queens, NY @ Knockdown Center 11/02 – Somervilla, MA @ Once Ballroom 11/03 – Philadelphia, PA @ Underground Arts 11/05 – Toronto, ON @ Lee’s Palace 11/06 – Detroit, MI @ El Club 11/08 – Louisville, KY @ Headliner’s Music Hall 11/09 – Chicago, IL @ Lincoln Hall 11/10 – St. Louis, MO @ Blueberry Hill Duck Room Source