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A steady agenda Phantoms just have a good feeling about where they’re headed and rightfully so. The Los Angeles-based electronic dance music duo consists of Kyle Kaplan and Vinnie Pergola, two hilarious best friends and former child actors, who took their messing around with sound and turned it into a serious career very quickly. In 2017, the guys released their self-titled debut album. Their single off that project, “Just a Feeling”, received high praise as it placed on the Dance/Mix Show Airplay chart in spot number 40. The best way to explain their music is honestly enchanting dance music. You can’t help but move when you hear the hypnotic beats that these two construct together, with Vinny’s drumming skills and Kyle’s melodies on the keys, the two really know how to cross-pollinate the vocals they collaborate with their productions. Their most recent release was their single “Agenda” with singer & songwriter Nicole Millar. Listen to it HERE. Their music is magical and somewhat alien, but it plays to the crowd that wants to fall into a trance and just dance their worries away. Check out their music below: I had a chance to chat with the pair post their performance at the Billboard Hot 100 Festival this summer, and we had a great time talking about how they got into the whole genesis of Phantoms. The two met when they were 16 and began making some music together, but at the time they admit it wasn’t all that good. It wasn’t until they started exploring the world of electronic music that they found their sound. “We got really into electronic when we saw Justice, DJ Mehdi and Juggernaut…It was kind of like the electrohouse days”, explains Kyle. He continues, “Vinny’s a drummer and his dad played in a lot of funk groups. My uncle used to play with Michael Jackson back in the day…We wanted to get that funk vibe into it [the sound] and that pop and electronic so it’s kind of like a [melange].” After having so many tracks produced and written in their time as artists, I wanted to ask which track they felt is their favorite. Vinny chimes in, “I think ‘Just a Feeling’ is the one we kind of go to, the one we released last year. There’s a couple coming out that we’re really excited about…We have a song coming out with Vanessa Hudgens that we’re really excited about… and what we ended up making ended up being one of our favorite songs. That’ll be out sometime in September”. Definitely something for fans to look forward to! I was curios to know as it seemed that the two came from a pretty connected background, how much of that had to do with being from LA, aka LaLa Land. Kyle begins to clarify “I don’t know if it was necessarily an advantage, but it definitely helped you learn ’bout the industry”. Vinny further elaborated, “it helps you grow up fast, ‘cuz we were using faking IDs to get into Dim Mak Tuesdays back in the day, Daft Punk Play [and others] we were really there with all these adults, and we really didn’t get the fun I don’t think, it’s not even a complaint! It’s just a different way of growing up.” “We grew younger and now we’re 50 year old men, now we’re in our 60’s” Kyle jests. I asked about the experience of being on the Billboard line up and what that has been like to which Kyle says, “they’ve been extremely supportive of us in the past few years, it’s an amazing line up and an amazing group to be a part of.” In that same vein, I was curious to know who these dudes looked up to as mentors in this massive industry of electro-dance music. “A good friend Dillon Francis has always taken us under his wing a lot…but very early on James Ford used to help us out with stupid shit…That guy’s a wizard, he produced so many records. He’s such a hero and for him to take the time to email us back for our stupid questions meant a lot. But you have to start somewhere and figure it out”. I asked Phantoms if they could give their music a spirit animal, what would it be, and their response was in fact, not a ghost, but instead a Golden Retriever on cocaine, then they revised it to a German Sheppard on cocaine because is it “more conniving but too amped up…I don’t know, I just like the vision of a dog on drugs”. If the guys could collaborate with any artist, they said that there’s really a lot of people they would be down to work with, but at the moment they have been giant Ariana Grande fans, and would think it would be cool to have a song done with her. They admit that a lot of times, it can be really intimidating finding an artist who can fit with their vibe but they love the process when it does all work out and it becomes an effortless task leading to a great new record. My favorite question to ask acts of more than one person is “what’s the best part of being a duo, and the two looked at one another and then Kyle began “definitely the ability to bounce ideas off each other”. Vinny nods his head. “I feel bad for people that are solo, not that it’s bad, but it’s harder ‘cuz it’s kind of all on you to make decisions… and I know that I can bounce an idea off of Kyle and if he’s not fully interested or if he loves it. I know that it’s a strong idea, I know we can move forward with it”. Kyle says, “It’s the back and forth. Vinny agrees, “ya, the back and forth… but we have a really good working relationship together like that”. Kyle adds, “even for traveling experiences we go through everything together and there are sometimes when one of us is not feeling it you know the other person will be there to cheer you up, I think I do way more of the bitching in our relationship…” The creative process is also just as fluid for them, bouncing of ideas from each other. “We create a beat and one other person writes the song… if there’s more people the idea gets weird sometimes”, so they like to keep it small and intimate when they can. Ideas also come to them for all over the place, including his walks to Starbucks (s/o to Starbucks!). In a quick visualized snapshot, Kyle’s ideal summer day would take place in Puerto Vallarta. He goes on, “it’s 89/90 degrees and you’re on the beach, someone is coming with a Mai Tai, you’re on Miami Beach, on a jet ski looking at all of the hotels”. Vinny jumps in to complete the story saying “maybe a little drunk…? Even though you’re not supposed to be drunk when you jet ski, but let’s say it’s ok… you won’t hit anything out there. But don’t try it.” Now, on the topic of touring, I asked the guys if they could choose a space between the studio or performing where would they choose, they unanimously agreed it would be performing. Kyle admits “my favorite thing about performing is the pay off. It’s like everything that you worked on in the studio you get to see if it live and if it connects or not”. He goes on, “and it works both ways. Sometimes you play a song and you’re like ‘shit this is not working’ but when you’re performing and it does connect, there’s no better feeling than that”. Vinny reflects back and tells me how their favorite memory performing would have to be at the BFD Festival, which was their first real festival show. Their favorite tour food totally shocked me as I have never heard of such a thing, but Phantoms loves the Paella tent at Coachella! And just to follow in suit with that, their dream place to perform would be Coachella. “It’s been such a part of our life growing up and if you made it there, you made it anywhere” Kyle points out. Lastly, if the guys could describe each other, Vinny said Kyle would be “Twizzled” and Kyle said Vinny would be “Rizzled”. Total soulmates. It was a blast chatting with these guys and getting to know more behind the music. It was especially a great way for me to end the day at Billboard Fest as they were my last interview! Be on the lookout because Phantoms will be popping up all over your playlists probably very soon. On that intensely humid day, the guys could only say that they’re #OnTheVerge of passing out from the amount of Titos they drank and the lack of water they drank and #OnTheVerge of a headache. Be sure to follow Phantoms on social media to stay tuned for more from them! Instagram | Twitter | Facebook | Site The post Vibe Makers & EDM Duo Phantoms: Billboard Hot 100 Festival Interview No. 4 appeared first on Verge Campus. Source

Oscar-winning actress Sally Field has a memoir due out later this month. Called In Pieces, the book chronicles Field’s life and career, but also delves into its fair share of turmoil. In an interview with The New York Times, Field reveals that the book explores her relationship with Jock Mahoney, an actor and stuntman who she says sexually abused her until the age of 14. “I felt both a child, helpless, and not a child. Powerful. This was power. And I owned it,” she writes in the memoir about the times he’d call her into his bedroom alone. “But I wanted to be a child — and yet.” Field also shares her experiences with sexual misconduct in Hollywood and beyond, the likes of which sound consistent with the kinds of stories emerging from the #MeToo movement. One anecdote involves director Bob Rafelson (Five Easy Pieces, The Postman Always Rings Twice), who she alleges coerced her into kissing him during an audition for the 1976 film Stay Hungry. “I can’t hire anyone who doesn’t kiss good enough.” she says he told her. “It must have been good enough.” Field told the Times. “I was the sole support for my family, and I didn’t see that I had any direction but down, unless I could get out of this spot that I was in.” Rafelson denies the event. Field’s book also touches on her relationship with the late Burt Reynolds, whom she dated in the ’80s. She describes their pairing as “confusing and complicated, and not without loving and caring, but really complicated and hurtful to me.” She also discusses Reynolds struggles with anxiety, and her attempts to guide him towards treatment, which he called “self-delusional poppycock.” In Pieces is due out September 18th via Grand Central Publishing. Source

Longstanding German thrash metal band Sodom are set to close out 2018 with a bang. According to a new announcement from frontman Tom Angelripper, the group is set to release Partisan, a new three-song EP on November 23rd, a week before before they set off for a run of European dates with Exodus, Death Angel, and Suicidal Angels as part of the 2018 installment of the MTV Headbangers Ball Tour. Partisan is also the first document of Sodom’s current lineup, which includes Frank Blackfire, the guitarist who was a member of the group in the late ‘80s, guitarist Yorck Segatz, and drummer Stefan “Husky” Hüskans. The new EP features two new studio recordings by the group and a live version of “Tired & Red,” from the band’s 1989 album Agent Orange, captured at this year’s Rock Hard Festival. “We’re a real family again,” Angelripper said in a statement about the new Sodom lineup. “There’s a real team spirit again, we’re having a great time together, every one of us is interested in everything and — really important! — everybody is there for everybody else. Obviously that kind of atmosphere is bound to have a positive effect on the songwriting.” To prime the pump for the Headbangers Ball tour, Sodom will play a handful of dates next month, including a pair of shows in Russia. All their upcoming tour dates are listed below. Partisan Artwork: Partisan Tracklist: Partisan Conflagration Tired & Red (Live at the Rock Hard Festival 2018) Sodom 2018 European Tour Dates: 10/06 – Lichtenfels, DE @ Way Of Darkness Festival 10/12 – St. Petersburg, RU @ Zal Club 10/13 – Moscow, RU @ Red Club MTV Headbangers Ball 2018 Tour Dates w/ Exodus, Death Angel, and Suicidal Angels: 11/30 – Leipzig, DE @ Hellraiser 12/01 – Zlin, CZ @ Hala Euronics 12/02 – Budapest, HU @ Barba Negra 12/03 – Wroclaw, PL @ A2 12/04 – Hamburg, DE @ Markthalle 12/05 – Tilburg, NL @ 013 12/06 – London, GB @ The Electric Ballroom 12/07 – Oberhausen, DE @ Ruhrpott Metal Meeting 12/08 – Geiselwind, DE @ Christmas Bash 12/09 – Vienna, AT @ Arena 12/10 – Ravensburg, DE @ Oberschwabenhalle 12/11 – Wiesbaden, DE @ Schlachthof 12/12 – Saarbrücken, DE @ Garage 12/13 – Ludwigsburg, DE @ Rockfabrik 12/14 – Novara, IT @ Phenomenon 12/15 – Lausanne, CH @ Les Docks 12/16 – Munich, DE @ Backstage Source

The Lowdown: After a six-year gap between albums, Pig Destroyer’s sixth disc, Head Cage, acts not just as a followup to their previous LP, Book Burner, but also to all the various experiments guitarist Scott Hull has undertaken between then and now, both in Pig Destroyer and his other grind band Agoraphobic Nosebleed. With the studio debut of long-time live bassist John Jarvis (also of Agoraphobic Nosebleed) as well as the studio experiment of the 2013 Mass & Volume EP under their belts, the now-5-piece explores not only the explosive and acerbic grindcore they are known for, but also sludge, doom and death metal, relying this time more on groove and riffs than on the hyper-speed, skin-tearing blastbeats and tremolo picking grindcore is typically known for. The album continues Pig Destroyer’s reign as one of the more artful grindcore acts. The Good: Pig Destroyer continue their sonic expansion beyond the realms of grindcore, showing ample creativity and proficiency in more technical, progressive, groovy and punky realms. The players’ dabblings within other genres pay off here, giving a more well-rounded album than ever before with more song variance than they’ve had at any point prior in their career, all of which is delivered well and still maintains the sense of menace and threat that fans look for in a good grindcore album. Vocalist J. R. Hayes continues to be the best lyricist in grindcore, and the alchemical mixture of Blake Harrison’s noise and electronics with mastermind Scott Hull’s meaty guitar work continues to dazzle as a true force of extreme music. The Bad: Despite the shift away from pure grindcore, the record still doesn’t quite feel expansive enough. Album closer “House of Snakes”, their most ambitious track to make it onto a full LP, ironically highlights how far they could have gone on the album. That brief taste of heady but still very physical progressive grindcore, a la Cephalic Carnage or Gridlink, make revisiting some of the earlier tracks, which remain potent bruisers, a little bit frustrating. Likewise, while the grooves are delivered well here, the disc can use one or two more blistering cuts. The Verdict: The sonic evolution of Pig Destroyer from a straight-ahead grindcore band to a more diverse and well-rounded extreme metal group continues apace. On Head Cage, the group delivers their signature grind sound but mix in elements of noise, sludge, death metal, doom, hardcore, and a little bit of technical and progressive elements, producing a richer whole. This experimentation, however, leaves them at a crossroads that adversely affects the disc; a more focused sonic direction would have been more potent and a more adventurous one would have been more exciting. Still, every track delivers a bruising and it’s hard to imagine anyone interested in the group being disappointed by the album. Essential Tracks: “Army of Cops”, “Concrete Beast”, “House of Snakes”, “Torture Fields” Source

Since its inception in 1983, Studio Ghibli has established itself as one of the premier Japanese animation houses, and one that’s since changed the way the West has viewed Japanese filmmaking. Now, the soundtracks for three of their classic films are being reissued on vinyl for the first time. Due out through Tokuma, a publisher based in Tokyo, the reissues include 1988’s My Neighbor Totoro and Castle in the Sky from 2003. A reissue of the soundtrack to 1984’s Nausicaä of the Valley of Wind, which is often cited as one of the best animated films of all time, will also be made available. All the music was helmed by renowned Japanese composer and longtime Studio Ghibli associate Joe Hisaishi. In addition to the original soundtracks, Tokuma will release other special editions, such as a “soundbook” version of the My Neighbor Totoro soundtrack, described as “newly recorded music… based on violin, guitar, flute.” There’s also a “Laputa Symphony Hen Taiki” edition of Castle in the Sky featuring a symphony comprised of 60 orchestras. According to Vinyl Factory, the vinyl reissues are expected November 3rd, Japan’s Record Store Day (though it’s unclear if this is worldwide). This reissue project comes on the heels of the forthcoming theatrical re-release of My Neighbor Totoro. The film is scheduled to return to the big screen September 30th, October 1st, and October 3rd as part of Fathom Events’ Studio Ghibli Fest 2018. Source

The Mayan “Day Zero” is once more right around the corner. As it took a break for its 2018 edition, 2019 is expected to be better than ever. Damian Lazarus is bringing this mystical event back to the Tulumian Jungle. Unexpectedly, the lineup has been released with Black Coffee being a main headliner. As this is a wonderful creation of Damian Lazarus, he has succeeded in combing electronic music with the importance of mind, body and spirit. This sacred festival will take place at the Cenote Dos Palmas and will include local cuisine and performers ready to take you on an incredible spiritual journey. Joining him will be Crosstown Rebels, DJ Tennis, and Dutch DJ Satori. Catch this event January 11th and 12th, 2019 and purchase tickets here! The post Damian Lazarus Releases Day Zero Lineup appeared first on EDM Maniac. Source

The Lowdown: The latest release from the reclusive and prolific Aphex Twin 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. The Good: The music on Collapse takes hard turns and shape-shifts with the frequency that we’ve come to expect from James. But his firm hand at the controls is felt just as acutely. Much like the EP’s artwork, there are recognizable signatures at the center of the entropic sound that seems to be coming apart in real time. Often those bits of purchase he allows us as we try to scale his slippery tunes are his own, like the lullaby-like melodies of “MT1 t29r2” or the video game soundtrack-like squiggle that dominates that same song’s first half. Or if you strip away the sharp snare rolls and “sproinging” synth notes on closing track “phtex”, you’ll find a gorgeous ambient track that evokes an ocean at dead calm. Elsewhere, he peels back the curtain even further to reveal samples that will surely be catnip to the many crate diggers in his fan base, like the bit of turntablism and the snippet of The Specials’ live version of “Guns of Navarone” that pop up on “1st 44”. The Bad: For all the compositional innovation here, James is retreating to his comfort zone with Collapse. Unlike Cheetah, his slowed-down electro EP from last year, this is instantly recognizable as an Aphex Twin work, and none of the tracks completely surprise or shock. It’s strange to mete that complaint out as dozens of would-be producers would likely give their left leg to be able to come up with sounds as forward thinking as James seems to do without breaking a sweat. But considering the creative leaps he has made throughout his long career, I can’t help but wonder when the next ascension will arrive. The Verdict: Collapse is another entry in a remarkable run of work that Aphex Twin has been releasing since his return from a long and clearly necessary hiatus. It may feel like he is on cruise control a bit, but James’ coasting is any other artist’s magnum opus. Essential Tracks: “1st 44”, “MT1 t29r2”, and “abundance10edit [2 R8’s, Fz20m & a 909]” Source

Origins is a recurring new music feature that finds a musician taking us through the inspirations behind their latest work. “The lake was big as an ocean/ An ocean of my fears/ The mountains rise clouds in my eyes/ And I brought myself out here,” sings Mirah on her new single “Lake/Ocean”. The track, which comes from her latest album, Understanding, captures the New York singer-songwriter confronting her fear of water and darkness, as she so eloquently phrases it in those opening lines. It’s fitting, then, that the song’s newly revealed video sees her traversing one of the most beautiful and intimidating bodies of water in the country, the Alaska Inside Passage. Shot on-location by Todd Chandler, with drone cinematography from Tod Seelier, the clip finds Mirah aboard the G. Mosey, a 1905 tugboat converted in the ’70s to a live-aboard. “Think black porcelain bathroom fixtures and faux wood paneling,” she explains of the ship. Now living out its life as a “sort of punk house/artist residency,” the vessel served as home for Mirah and her crew during a four day journey this past July. As she explains to Consequence of Sound, “We took turns driving, our friends caught salmon and king crabs. We saw bears and bald eagles and porpoises. Somehow I kept missing the whales. We hiked out to the Mendenhall Glacier and explored the ice caves. I didn’t even know I was being filmed when I was walking on the glacier! I was pretty scared of falling. But the song is about being scared of the dark and scared of water, so this was apropos. The only bathing I did in those four days was in the most beautiful natural hot springs I have ever seen in my life and in several ice cold lakes surrounded by mountains and wilderness. Good thing we weren’t going for glamour. I wrote the song while I was an artist in residence at Hewnoaks artist colony in Lovell, Maine, where I stayed in a little cabin by myself and swam fleetingly in the giant, beautiful and weirdly scary lake. The rain sounds are from that original recording. Todd had brought his camera along on our trip with a hope to make a video but the process was more about documentation than anything else. Same goes for my songs and recordings, I consider them documents of moments in time.” Take a look below. Understanding is out now via Absolute Magnitude and K Records. For more insight on “Lake/Ocean” and its accompanying visuals, Mirah has broken down the Origins of her work. Scared of water: When I was a kid I would have recurring bad dreams about tidal waves. At some point, my dream brain replaced this grand iconic image of tidal waves with overflowing toilets. Not at all as photogenic. I’ve always been timid around water, too scared to let go of the side of the pool during childhood swimming lessons, etc. I’ve since learned that I actually love water, I swim regularly in all kinds of bodies of water, my favorite being an ocean. I even briefly took up surfing, which I did as a personal test, not because I ever got very good at it. But the theme of water fear stays with me still, and I can get spooked easily. Scared of the dark: I remember when the movie The Blair Witch Project came out and thinking to myself, “Hells no I’m not going to see a movie whose express purpose seems to be to make people feel scared about being in the woods.” I love being in the woods, I love being outside at night, I love spending time alone, and half of every day is night so I’d better like being alone at night. But still, there are certain situations which bring on a fear. Is the darkness what is scary? Hard to say. I was staying alone in a cabin on a huge lake in Maine when I wrote this song. And for whatever reason, the fear was there. Maybe because everybody was obsessed with taking about how Stephen King lives on that same lake? Probably. Rain on the roof sound: It was raining at the cabin when I recorded the demo of this song and even though I re-recorded some of the basic tracks for the album version, I missed the rain so we brought it back in. It’s such a feeling. My cabin and view at Hewnoaks: This is where I was staying, as an artist in residence at Hewnoaks. I thought the bedroom was creepy so I moved my bed up to the attic. It was painted a strange creamy lime green. The attic window had the best view in the house, looking out above the trees to the mountains across the lake. Source

This weekend, KAABOO Del Mar returns as San Diego’s largest multi-day major music and entertainment festival. Like previous years, there’s “something for everyone,” which is why you can find Katy Perry one day and Foo Fighters the other. The festival is great like that and part and parcel why it’s such an enduring experience for Southern California. But, one of the hallmarks of the festival is its uncanny ability at booking some of your favorite acts of the ’90s. You know, the acts that you used to sing with your mom to and from Blockbuster Music. And, seeing how we’ve been living through 20+ years of ’80s nostalgia, one could argue that the festival is ahead of the curve by making that a focus. This year is no exception, what with Jewel, TLC, and Candlebox in a single day alone, so we thought it might be helpful to lay out a fun and carefree guide that should help you sort though your own nostalgia. Think of it as a refresher. Or think of it as a way to resolve what else you might want to listen to throughout the rest of your workday. __________________________________________________________ Stone Temple Pilots Must-Hear Songs: “Sour Girl”, “Interstate Love Song”, “Creep”, “Wicked Garden” Must-See Factor: 1/10 What’s the deal? Well, both of their lead singers have tragically passed away. Scott Weiland died back in December of 2015, while his replacement, Linkin Park’s Chester Bennington, died in July of 2017. Now, fans have to watch Jeff Gutt of nu-metal band Dry Cell and two seasons of The X Factor. In other words, you’re better off missing this one. __________________________________________________________ Candlebox Must-Hear Songs: “Far Behind”, “You” Must-See Factor: 3/10 What’s the deal? Unless you want to ironically re-create that hilarious funeral scene from Eastbound and Down, it’s hard to find much reason to revisit Candlebox. The band’s heart-on-their-sleeve alternative has aged as well as a box of Yellowtail, though nostalgics might find a need to indulge in the 25th anniversary celebration of their self-titled debut. __________________________________________________________ Alice in Chains Must-Hear Songs: “Would?”, “Them Bones”, “Man in the Box” Must-See Factor: 5/10 What’s the deal? Unlike Stone Temple Pilots, Alice in Chains have a history with their current lead singer. Sure, William DuVall is never going to replace Layne Staley, but he’s certainly carved out a place for himself in the band ever since he joined way, way back in 2006. Besides, according to Heavy Consequence, the new album of theirs ain’t too bad. __________________________________________________________ Pauly Shore Must-Hear Songs: N/A, unless he plays “hits” off his standup albums Must-See Factor: 6/10 What’s the deal? You’re at a festival partly indebted to ’90s pop culture and you’re going to miss Pauly Shore? C’mon, BU-DDY. __________________________________________________________ Incubus Incubus // Photo by Philip Cosores Must-Hear Songs: “Stellar”, “Pardon Me”, anything off A Crow Left of the Murder Must-See Factor: 6.5/10 What’s the deal? Out of all the ’90s alternative outfits listed here, Brandon Boyd and co. are admittedly an odd fit, having had most of their hits in the aughts, but we’ll allow it. Granted, it’s been a hot minute since the band released an actual memorable single, but that doesn’t mean they won’t lean on their back catalogue. So, if there’s time… __________________________________________________________ Soul Asylum Must-Hear Songs: “Misery”, “Can’t Even Tell”, “Runaway Train” Must-See Factor: 6.5/10 What’s the deal? At this point, Soul Asylum really just boils down to whether or not you love Dave Pirner. The guy’s one of the true underdogs of alternative rock, having followed in the footsteps of his forefathers The Replacements. At one point, Tommy Stinson even played bass for him, but those days are long past. Like a runaway train or something. __________________________________________________________ TLC TLC // Photo by Philip Cosores Must-Hear Songs: Literally every song off of Crazysexycool Must-See Factor: 7/10 What’s the deal? Yeah, it’s a little weird to see an outfit who can’t even fully represent their titular acronym (RIP Left Eye), but this is TLC, and if you grew up in the ’90s, you owned Crazysexycool. In fact, you didn’t just own it, the album followed you everywhere: on the way to school, before/during/after soccer practice, at the roller rink, in your bathtub… __________________________________________________________ Jewel Must-Hear Songs: “Who Will Save Your Soul”, “You Were Meant for Me” Must-See Factor: 7/10 What’s the deal? As far as this writer’s concerned, there is no viable ’90s playlist without at least one inclusion by Jewel. As long as the singer-songwriter steers clear of her recent poppy work, everyone at Kaaboo should be able to bask in the melancholy ballads that made Jewel such an essential part of our morning routine as we left VH1 on before leaving for work. __________________________________________________________ Better Than Ezra Must-Hear Songs: “Good”, “In the Blood”, “Desperately Wanting” Must-See Factor: 7.5/10 What’s the deal? Are you out of your mind? Go and get your “Good” on. __________________________________________________________ Cake Cake // Photo by Ben Kaye Must-Hear Songs: “Frank Sinatra”, “The Distance”, “Short Skirt/Long Jacket” Must-See Factor: 8/10 What’s the deal? By now, Cake is like sweets at the office: if it’s there, you’re going to have some. And why not? They’re reliable. They’re enjoyable. They go down easily. So, don’t get all bent out of shape like Elaine Benes, grab a plate, and have yourself a few slices. It’s a pure, harmless sugar high that will let the hours go by faster. Those horns are fantastic, too. __________________________________________________________ Foo Fighters Dave Grohl, photo by Philip Cosores Must-Hear Songs: “Everlong”, “My Hero”, oh you know ’em all goddamn you Must-See Factor: 9/10 What’s the deal? Dave Grohl is one of the most charming artists to ever hold a microphone. So, even if you don’t particularly like the Foo Fighters, you can at the very least swoon at the bearded bard. But really, you owe it to yourself to stick around, no pun intended, and sing along to “Everlong” or “My Hero”. It’s rock ‘n’ roll’s Chicken Soup for the Soul. __________________________________________________________ Melissa Etheridge Must-Hear Songs: “I Want to Come Over”, “Come to My Window”, “Bring Me Some Water”, “I’m the Only One” Must-See Factor: 10/10 What’s the deal? Melissa Etheridge is a goddamn legend. She’s a Grammy winner. She’s an Oscar winner. She’s been certified Platinum countless times. There’s absolutely no reason to miss her — and why would you? Hearing her sing that chorus to “I Want to Come Over” is worth the entire trip alone. So cathartic. So real. So earnest. Gimme that angst, Mel. Source

After seeing screenwriter Gary Dauberman’s abysmal The Nun last weekend, we’ve become a bit fearful of what the writer’s cooked up for It: Chapter Two (yes, he worked on the solid first installment, he also had Cary Fukunaga’s script as a base). What is promising, however, is that his sequel is tackling some crucial bits from the book that the 1990 miniseries didn’t, such as the death of Adrian Mellon, Derry’s Paul Bunyan statue, and, apparently, the bizarre Ritual of Chüd. The, um, “love-making” scene, thankfully, is remaining offscreen. [Spoilers for It: Chapter Two to follow.] In a new interview with CinemaBlend, Dauberman confirmed that the ritual, which plays a big role in the book’s climax, will make an appearance in the film. “The Ritual of Chüd is challenging, but it’s such an important component to the book that we had to address it,” he said. “That stuff is difficult to balance, but because [director Andy Muschietti, producer Barbara Muschietti and I] worked with each other before, when I’m writing pages and all that stuff it becomes more of a conversation and less like, ‘Hey, here’s what I did.’ It’s sort of organic; it’s really kind of just chipping away at the stone and trying to find the most focused, accessible way into some of more metaphysical aspects of that book.” (Interview: Stephen King Rules: Andy and Barbara Muschietti Talk About It, Sequel Ideas, Pet Sematary, and The Jaunt) He elaborated on this collaborative style more, noting that Muschietti’s visual ideas for the ritual impacted how it manifested on the page. “[A]s I was kind of chugging along through the Adrian Melon stuff and sort of more the stuff that’s in the book that you kind of just want to see on screen. I’m writing that stuff, and Andy would kind of go off and think about Chüd and how he wants to visually represent all that stuff. He just came up with some brilliant, brilliant stuff… It really is going to be amazing.” The ritual goes something like this in the book: Pennywise and a member of the Losers’ Club extend their tongues, overlap them, bite down, and then trade jokes until one party laughs. It’s weird, thrilling, and very, very hard to visualize, so kudos to the team for making an effort to manifest it. Couple this with Muscietti’s previous comments on how he plans to incorporate the mystical Maturin the turtle—a good-intentioned spiritual guide of sorts—and it’s very likely that Chapter Two could be unlike any studio horror film we’ve seen before. It also, unfortunately, could easily come across as cheesy as the miniseries’ climactic battle, so we’re approaching with caution. In the meantime, be sure to tune in to Consequence of Sound‘s very own The Losers’ Club: A Stephen King Podcast, which is gearing up for a five-part series on the It novel. It: Chapter Two hits theaters on September 6th, 2019. Source

It was a little over two years ago that the classic Misfits lineup of Glenn Danzig, Jerry Only and Doyle Wolfgang Von Frankenstein reunited at Riot Fest in Denver to play their first show in more than 30 years. However, including that gig, the band has only played a total of five shows, with the last being a May 2018 concert in New Jersey. Now, it appears the classic Misfits, whose lineup has been rounded out by ex-Slayer drummer Dave Lombardo and former Joan Jett & The Blackhearts bassist Acey Slade, will be playing Chicago some time in the near future. The tease comes from the Live Nation Chicago twitter account, with the words “All Hell’s Gonna Break Loose,” referring the Misfits song “All Hell Breaks Loose” from their classic album Walk Among Us. #AllHellsGonnaBreakLoose pic.twitter.com/k47BPhciej — Live Nation Chicago (@LiveNationIL) September 11, 2018 Thus far, no date or venue has been announced, but Danzig does have a series of dates with his eponymous band scheduled from October 23rd through November 3rd, so it would be likely that the Misfits show would take place later in the year or early 2019. Tickets for the Danzig shows are available here. Source

Thom Yorke has had a collaborative relationship with American fashion label rag & bone for a few years now, contributing original mixes to a number of its seasonal campaigns. Now, in a new short film promoting the brand’s fall 2018 line, a number of the Radiohead frontman’s songs have been combined to form the 10-minute soundtrack. Directed by cinematographer Thimios Bakatakis (The Lobster, The Killing of a Sacred Deer) and shot on 16mm film, the video is called Time of Day. It features material from Yorke’s 2014 solo record, Tomorrow’s Modern Boxes, as well as songs from his past rag & bone collaborations: 2016’s “Villain”, 2012’s “Twist”, 2013’s “Stuck Together”, 2017’s “Coloured Candy”, and a 2015 untitled composition. The short also features a number of big name actors. Lakeith Stanfield gets into an argument with himself on the street, Guardians of the Galaxy Vol. 2 star Pom Klementieff wakes up with an unwelcome reptile in her motel room, Jon Hamm gets a shave, and Lake Bell dances in the Los Angeles River culvert. See who else pops up by watching the video below. In related news, Yorke is set to make his film scoring debut with Luca Guadagnino’s horror remake of Suspiria, due out October 26th. Source

Jack White will return later this month with a new concert film and companion EP. The not-so-subtly titled, Jack White: Kneeling At The Anthem D.C., documents White’s May 30th, 2018 concert at The Anthem in Washington, DC. The film was directed by Emmett Malloy, who previously worked with White on The White Stripes’ 2009 documentary, Under the Great White Northern Lights. Along with footage from White’s show at The Anthem, the film also captures White’s surprise performance at Woodrow Wilson High School. The EP features performances of four songs from his latest album, Boarding House Reach, plus “Blunderbuss” and “Icky Thump”. Both the film and the EP will be available September 21st exclusively through Amazon Music. A theatrical premiere screening is set for September 18th at the Ace Hotel in Los Angeles. Watch a trailer for the film below, and listen to the EP version of “Connected By Love” here. Kneeling at the Anthem D.C. EP Tracklist: 01. Corporation 02. Over and Over and Over 03. Blunderbuss 04. Ice Station Zebra 05. Connected By Love 06. Icky Thump Source

In a new interview, Slash was asked about the #MeToo movement and how Guns N’ Roses’ music from the ’80s would be perceived today. While he admitted that some songs were “sort of sexist”, he said the intent was not “malicious.” “I think when the #MeToo thing really blew up, the thought crossed my mind of a bunch of musicians, not particular ones, but just musicians [who might be implicated],” Slash told Yahoo! Music. “But for the most part, as far as all the ones I know, it wasn’t like that. We didn’t have that particular [predatory] relationship with girls. It was a lot more the other way around, in some cases! Anyway, so some of the songs and all that were sort of sexist in their own way, but not to be taken that seriously. I don’t think they were malicious or anything.” He was also asked if rock music has become too safe or too PC, as opposed to the days when GN’R were considered “dangerous.” Slash responded, “That sort of spirit, it’s still around. It’s still inherent in metal bands. It’s still inherent in young bands who have something that they want to express that maybe they’re not having the easiest time dealing with.” Slash added, “But that attitude really is not something fabricated, and so right now at this particular point in time, a lot of bands or a lot of artists are doing a lot of different things — and not much of it is really rock n’ roll. There’s nothing to rebel against. … I think trying to figure out how to have the attitude in your music, and songs, and so forth, is probably difficult for a lot of young bands because now it’s about politics again. So we’ll see what that turns into.” The legendary guitarist kicks off a tour with his group Slash Ft. Myles Kennedy and The Conspirators on September 13th in Los Angeles. Tickets are available here. The band’s new album, Living the Dream, featuring the songs “Driving Rain” and “Mind Your Manners”, arrives September 21st. You can also catch Slash Ft. Myles Kennedy and The Conspirators on Jimmy Kimmel Live! tomorrow night (September 12th). Alice in Chains' Top 5 Videos Metallica’s Top 5 Songs Tool’s Top 5 Music Videos Behemoth's Top 5 Songs Pearl Jam’s “Jeremy” Annotated Video Source

Paul Feig’s Oscar-nominated Bridesmaids was a colossal hit when it dropped in 2011 and, considering Hollywood’s desire to build a cinematic universe around anything capable of making a buck (Hello, Nun!), it’s kind of insane that a sequel hasn’t hit yet. Feig initially expressed interest back in 2013, but said the decision resided on the shoulders of star Kristen Wiig. She’s shot down the idea, however, telling Harper’s Bazaar that same year that, though it “would have made a lot of money” it’s “not my goal in my creative life.” Now, it appears Feig has accepted that Bridesmaids is a one-and-done affair. In a Variety piece about his current movie, A Simple Favor, Feig didn’t confirm as much, but certainly doesn’t sound all that enthusiastic. “I don’t know if there will be one honestly,” he said. “That movie worked so well because it was about a woman having a crisis in her life and fixing it. So you don’t want her to have another crisis.” That’s valid, and also something we wish the majority of studios would understand. If you’re going to do a sequel, at least tell a story that isn’t just a slightly askew version of the original. Besides, Wiig’s next big role will find her squaring off against Gal Gadot’s Wonder Woman. Watching her career evolve is much more interesting than watching it swirl around the same roles. Source

GQ has published a new profile on Paul McCartney to coincide with the release of his new album, Egypt Station, and supporting world tour. The interview, conducted by Chris Heath, runs a gamut of topics, from McCartney’s early days as an obnoxious kid killing frogs, to recent comments made by Damon Albarn about McCartney’s “abusive collaboration” with Kanye West and by Quincy Jones in which the legendary producer called The Beatles “the worst musicians in the world.” McCartney also spoke extensively about his sexcapades as a member of The Beatles. It began when Heath asked McCartney about his mutual masturbation sessions with John Lennon, a topic which McCartney first divulged in the 1997 biography Many Years From Now. “What it was,” [McCartney] explains after I have prompted him, “was over at John’s house, and it was just a group of us. And instead of just getting roaring drunk and partying—I don’t even know if we were staying over or anything—we were all just in these chairs, and the lights were out, and somebody started masturbating, so we all did.” There would be about five of them: McCartney, Lennon, and maybe three of Lennon’s friends. As they each concentrated on their mission, anyone in the group was encouraged to shout out a name that would offer relevant inspiration. “We were just, ‘Brigitte Bardot!’ ‘Whoo!'” McCartney says, “and then everyone would thrash a bit more.” At least until one of them—the one you would perhaps expect—opted for disruption over stimulation. “I think it was John sort of said, ‘Winston Churchill!'” McCartney remembers, and acts out the aghast, stymied reactions. I ask whether this ritual took place often. “There weren’t really orgies, to my knowledge. There were sexual encounters of the celestial kind, and there were groupies.” “I think it was a one-off,” McCartney replies. “Or maybe it was like a two-off. It wasn’t a big thing. But, you know, it was just the kind of thing you didn’t think much of. It was just a group. Yeah, it’s quite raunchy when you think about it. There’s so many things like that from when you’re a kid that you look back on and you’re, ‘Did we do that?’ But it was good harmless fun. It didn’t hurt anyone. Not even Brigitte Bardot.” Heath then asked about another story of Beatles lore, which asserts that 17-year-old George Harrison lost his virginity while bunking with the rest of the band, and that once he was done, his bandmates applauded. “I think that’s true,” says McCartney carefully. “The thing is, these stories, particularly Beatles stories, they get to be legendary, and I do have to check: Wait a minute. I know we had one bed and two sets of bunks, and if one of the guys brought a girl back, they could just be in the bed with a blanket over them, and you wouldn’t really notice much except a little bit of movement. I don’t know whether that was George losing his virginity—it might have been. I mean, I think in the end this was one of the strengths of the Beatles, this enforced closeness which I always liken to army buddies. Because you’re all in the same barracks. We were always very close and on top of each other, which meant you could totally read each other.” Heath went on to quote a comment from Lennon decrying how sanitized the published accounts of The Beatles: “There was nothing about orgies and the shit that happened on tour.… The Beatles tours were like the Fellini film Satyricon.” Though McCartney downplayed there being orgies (“There were sexual encounters of the celestial kind, and there were groupies”), he went on to recount a threesome he had in Las Vegas. He also seemingly confirmed that Lennon was a swinger. “There weren’t really orgies, to my knowledge. There were sexual encounters of the celestial kind, and there were groupies. The nearest it got… See, this is my experience, because I’m just not into orgies. I don’t want anyone else there, personally. It ruins it! I would think—I’ve never actually done it. Didn’t appeal to me, the idea. There was once when we were in Vegas where the tour guy, a fixer, said, ‘You’re going to Vegas, guys—you want a hooker?’ We were all, ‘Yeah!’ And I requested two. And I had them, and it was a wonderful experience. But that’s the closest I ever came to an orgy. See, the thing is, in the next room I think the guys might have ordered something else off the menu. So that would figure if John was saying, yeah, it was all bacchanalian. I think John was a little more that way, because thinking back, I remember there was someone in a club that he’d met, and they’d gone back to the house because the wife fancied John, wanted to have sex with him, so that happened, and John discovered the husband was watching. That was called ‘kinky’ in those days.” And was he okay with that? “Yeah, he was fine. So I think maybe John experienced a bit more of that than I did. Tell you the truth, I just didn’t fancy it, that kind of thing. Someone else’s wife? I definitely wouldn’t want the husband to know. You know, that seems sensible to me. Am I too sensible? I don’t know. Mine wasn’t particularly crazy but it was a lot of fun. And there was a lot of it. So that was good enough for me.” To McCartney, all of these intimate experiences had a positive effect on The Beatles: “In music, it made us a very tight band, but as friends it made us able to read each other,” he explained. You can read the full profile here. Source

Margo Price impressed listeners with her sophomore album, All American Made, which was released last October through Third Man Records. The Americana artist has now returned with new material in partnership with Amazon. Price has contributed to Amazon Music’s “Produced By”, a newly launched series which partners up songwriters with various producers. Price’s entry, a lighthearted country tune titled “Leftovers”, is a collaboration with Matt Ross-Sprang, a Grammy-winning producer whose credits include work with John Prine and Al Green. It was recorded at RCA’s historic Studio A in Nashville. In a statement, Price talked about the creative process behind “Leftovers”, which includes a pretty fun line about casseroles: “I wrote ‘Leftovers’ based on the kinds of people that don’t have any original ideas of their own,” explains Price. “It could be anything from stealing a song idea, to copying someone else’s style, or dating an ex of a good friend…..I also really just wanted to rhyme ‘asshole’ with ‘casserole’ and this seemed like the perfect opportunity. Matt Ross-Spang is a legendary producer and engineer in the making, who puts his blood, sweat and tears into making some of the best sounding records of our decade. We always have a lot of fun in the studio.” For his part, Sprang praised Price’s vocals, which dip and soar here with ease. “As first and foremost a music fan and now as a producer, I’ve always been drawn to artists with unique voices whose gift transcends genre and time,” said the Memphis-based producer. Take a listen below. “Leftovers” Artwork: Price recently turned in a memorable set at this year’s Newport Folk Festival. In August, she and Third Man’s own Jack White also teamed up to perform a White Stripes song in Nashville. Source

Last night saw the premiere of Slice, the independent horror comedy starring Chance the Rapper and directed by his close friend and collaborator Austin Vesely. After bowing in theaters across the country, the film is already available to rent or buy from online streaming retailers like iTunes and Google Play. Chance stars alongside Zazie Beetz (Deadpool 2), Joe Keery (Stranger Things), Paul Scheer of The League fame, Fear the Walking Dead actress Rae Gray, Insecure’s Y’Lan Noel, Chris Parnell, Hannibal Buress, and Tim Decker. Set in a world where ghosts, werewolves, and witches are just a part of reality, the film centers on the mysterious deaths of food delivery workers in the small town of Kingfisher. As a local reporter (Gray) looks into the killing spree, two food drivers (Chance and Beetz) team up to stop the madness themselves. Making matters more terrifying for the duo, however, is that one of them happens to suffer from lycanthropy and the other works at a pizza shop built on a gateway to hell. Below, watch a trailer for Slice, and read our full review of the film here. There’s also a Q&A from Monday night’s premiere in Chicago featuring Sheer, Chance, Vesely, Beetz, and Gray, which you can watch here. Source

In less than a month, Lykke Li will head out on a North American tour in support of her impressive fourth studio album, so sad so sexy, which dropped this past June. In anticipation, the Swedish artist guested on Late Night with Seth Meyers on Monday, where she performed her latest single, “sex money feelings die”. Hair slicked back and robed in a studded leather jacket, Li steadily rode the rhythm of the slinky track. She was also joined by four backup singers and lighting that blanketed her in sensual, moody reds and and blues. Replay it down below. Li’s upcoming run of dates kicks off in Washington, DC on October 5th. Find the full itinerary here, and grab tickets here. She recently appeared on our weekly Consequence of Sound podcast, where she talked about her favorite films, relocating to Los Angeles, and more. Revisit that below. Listen and subscribe via iTunes | Google Play | Radio Public | Stitcher | RSS Source

The following review is part of our coverage of the 2018 Toronto International Film Festival. When reduced to a logline, Widows sounds almost gimmicky: Oscar-winning director Steve McQueen, famous for tackling weighty topics like hunger strikes and slavery with serious, ponderous pictures, takes on the comparatively bubbly heist genre. This isn’t to say that McQueen diving into an explosion-ridden romp would be a bad thing, or a debasement of his considerable skills. If he actually was attempting a pure action film, it would probably make for a fun night at the movies. Widows, however, is not that film. It’s a little deeper and meatier, laced with moral quandaries and weighted with higher stakes than most robbing rapscallions face in heist schemes. It also happens to be a complete blast. Transplanting the ‘80s British miniseries of the same name to the big screen and modern-day Chicago, Widows is the story of four wildly different women who are united when three of their husbands die in a botched robbery — and are forced to take over where their late spouses left off. Widows opens with a scene of domestic bliss, as Veronica (Viola Davis) and her husband Rawlins (Liam Neeson) share some sweet, moony-eyed kisses in the bed of their well-appointed Chicago condo. Mid nip, we’re tossed into a screeching car crash and shootout as Rawlins and his crew race through the streets, careening toward their ugly ends. The four women left behind by this disaster are thrown into chaos just as suddenly, left with unexpected debts and uncertain futures. With no clear or feasible alternatives, Veronica recruits her fellow widows and convinces them to help her carry out the plans for one last job that Rawlins left behind. And as if becoming self-taught master criminals overnight wasn’t enough of a challenge, a local legacy political candidate (Colin Farrell) and his main rival both have other plans for the money — and for anyone who comes after it. The formidable cast absolutely shines thanks to the significant riches they’ve been given to work with. Davis is the clear star of the show here, evoking casual confidence whether she’s armed with a gun or Veronica’s tiny pet dog, barely betraying the gutting emotional turmoil bubbling below her cool surface. It’s an absolute crime that she hasn’t been given more opportunities like this in the past. But her supporting cast does an admirable job of keeping up with her. Michelle Rodriguez, who has spent the bulk of her career kicking ass, is completely believable as a somewhat beleaguered mother who’s reluctant to get involved. Elizabeth Debicki is in far more familiar territory as a tragically beautiful woman trapped in a seedy prison only partially of her own making, but she’s so good at playing that type that it’s really no hardship to see her latest variation on the theme. Cynthia Erivo continues to prove her star power as a gig economy babysitter and hairdresser who joins the group when they need a fourth hand. And Farrell chews some Farrell-esque scenery as a slimy, entitled trust fund kid creeping toward institutional power. It’s all deliciously fun and deliriously devious, but Widows isn’t just an exercise in sheer escapism. Sure, the dialogue is smart and razor-sharp (thanks to a fantastically clever script by McQueen and Gone Girl novelist Gillian Flynn), the action is cleverly paced, and the payoffs ridiculously satisfying. Between the political machinations that creep closer to our heroines and the often tragic backstories that start to creep into their motives and their mission, though, Widows is fraught with a level of serious tension that rarely grounds even the great robbery capers. It is both a McQueen drama and a McQueen experiment, and the balance between the two is almost flawless. Each individual element is great in its own right. As an ensemble action/comedy, it’s playful and wry. As drama that wades deep into the complex morality of crime and politics and the ways in which they intersect, it’s casually incisive and compelling (in that clever way that British TV series and, occasionally, the American remakes of them, do so well). It’s even fairly effective as a collection of miniature character studies. All put together, though, it becomes something even more remarkable, a true cinematic gem that can make you gasp and cheer in the moment — and still pondering it long after you’ve left the theater. If you were compelled to try to explain Widows in one line, it wouldn’t be entirely accurate to say that McQueen is attempting a heist film. But you might be able to get away with saying that he’s elevated the genre. Trailer: Source

A24’s having a stellar year. The 5-year old studio — previous releases include Spring Breakers, Lady Bird, Moonlight, and The Florida Project — already boasts a slew of buzzy awards contenders under its belt, from Ari Aster’s Hereditary to Bo Burnham’s Eighth Grade to Paul Schrader’s First Reformed. Slice, a quirky slasher buoyed by a starring turn by Chance “The Rapper” Bennett, shares little with the aforementioned titles, but its partnership with A24 still makes sense; the studio, after all, isn’t beholden to pedigree so much as it is a project’s ability to stir conversation. But a different conversation’s surfaced over the last week, one centered around A24’s decision to forego a traditional theater release for Slice in favor of a “one-night only screening” in 20 cities throughout the U.S. This isn’t standard for A24, which tends to hype the hell out of its genre fare. One wonders: Does the studio have a dud on its hands? One that stars one of the most famous musicians on the planet? What do you do with a movie like that? You can’t just shuffle Chano off to VOD. The good news: Slice isn’t a dud. Like the majority of A24’s oeuvre, it knows exactly what it is: A silly, irreverent sleepover slasher. It’s got color, heart, and practical gore. It’s got attitude and style for days. That shouldn’t come as much of a surprise, as director Austin Vesely has previously demonstrated an off-kilter vision and infectious playfulness in the videos he’s directed for Chance. It makes sense that Slice‘s best moments are accompanied by music — a montage set to Danger Mouse and Sparklehorse’s “Dark Night Of the Soul” is downright poetic — and that its characters pop strongest when set silently against a weathered storefront or anachronistic vintage automobile. It’s when everybody talks that things begin falling apart, and not just because Vesely seems to struggle with how best to film a static conversation. That’s not a fault of the cast, but rather of Vesely’s script, which constructs a mythology that’s both overexplained and underdefined. In Slice‘s town of Kingfisher, humans live alongside ghosts and other mythic creatures, such as werewolves and witches. In an effort to decrease “hauntings,” the town’s corrupt mayor (Chris Parnell) has cordoned the ghosts off to their own section of town, which is where a rising number of human pizza delivery drivers begin getting their throats slit. The first to go is a stoner named Sean (Vesely), and it’s his death that spurs his girlfriend, Astrid (Zazie Beetz), to return to her job as a Perfect Pizza driver in an effort to hunt down the killer. Suspect number one is Dax Lycander (Chance), a werewolf who’s recently returned to town and hopes to one day resume his job as a delivery driver of Chinese food. Hanging out on the margins are a local reporter (Rae Gray), a grizzled detective (a hilarious Tim Decker), and the owner of Perfect Pizza (Paul Scheer). If that all sounds a bit confounding, that’s because it is. Slice functions just fine on a surface level — the chatty or stoned will have no problem following the overarching storyline — but the film’s world and logic don’t hold up under much scrutiny. The rules regarding ghosts (How soon does a dead person become a ghost? Are they zombies? Why do they eat?) are frustratingly inconsistent, as is the werewolf mythology (Dax says he’s a “good” werewolf, yet we see no “bad” ones as a point of comparison). Major revelations tend to unfold off-screen, while seemingly important plotlines, such as the reporter’s investigation, end up having little to no impact. And while it commits to its raunchy, freewheeling tone, Slice‘s sophomoric humor tends to miss more than it hits. The biggest laughs come from Decker’s detective, who embodies the film’s unique brand of playfulness in scenes where he stares solemnly recounts his father’s werewolf-related troubles and, later, stares stone-faced at a box marked “SILVER BULLETS.” Chance also scores some laughs as Dax, but that’s due more to his innate magnetism than a strong sense of character. The rapper is undoubtedly charming, but he never quite looks comfortable onscreen, nor does his character make that much sense when you begin peeling away the fur. Beetz, whose star is rapidly rising due to her wonderful turns in Deadpool 2 and on FX’s Atlanta, also feels adrift here, as the material doesn’t quite earn her visual evolution into bad-ass night stalker. Hannibal Buress and Stranger Things‘ Joe Keery bring some laughs in their minor roles (Keery’s especially feels as if it were added in post-production), but Slice‘s true standout is Y’Lan Noel (Insecure, The First Purge), who, in just two scenes as a drug dealer named Big Cheese, chews every line of dialogue as if it were a piece of taffy. Slice, as a whole, can’t match the exuberance of Noel’s performance, but its structural failings don’t detract from its likability, which goes a long way in movies like this. To watch it is to open a pizza box that’s been jostled a few too many times. Inside, the cheese clings to the cardboard, sauce splashes against the sides, and pepperonis drip with grease. It might be sloppy, but you’ll be damned if it don’t still taste good. Trailer: Source

Blogs have occupied cyberspace since the late 90s, but in the dizzying vacuum that is the internet, very few things have stood the test of time. In the information age we’re constantly being bombarded with spontaneous sensory overload, which can often feel overwhelming. It’s thanks to independent news outlets that we’re able to pick out the best artists from the pile. There’s certainly no shortage of music blogs in Australia, in fact, it’s thanks to blogs that some our biggest dance acts of the late 2000’s were thrusted into the limelight. Due to the fair few blogs that have sparked international popularity, a whole new generation of music lovers have since become part of the conversation, shedding light on the innovative young acts to come. In an effort to get really meta, below is a list of Australia’s biggest blogs that have firmly planted themselves as purveyors of fine musical tastes. Acid Stag Consistently banging out quality reviews, playlists and interviews, Acid Stag focus on all things dance music. They also happen to run a radio show exclusive to Spotify and Apple Music, where they spin everything from contemporary club anthems to underground club rattlers. However, we must praise them for not only promoting established artists, but also bringing promising new talent to the forefront. Want to get your tracks heard? head to the about tab at acidstag.com and scroll down to the submission guidelines. Baked Goods Bringing a vast array of interviews, gig info and exclusive live sessions, Baked Goods are undoubtedly one of most unusual blogs on this list, shining a light on some of Australia’s biggest artists in the realms of pop, rap, R&B and indie. Since their inception in mid 2016, Baked Goods have gone on to provide on-the-minute news and interviews with bands and artists spanning numerous genres, racking up 2 million views and beyond. Check out baked goods here: bakedgoodsmedia.com.au Backyard Opera Based over in Tempe, Backyard Opera are a publication that centres around topics such as art, photography, fashion, music and even food. Possibly one of the most diverse blogs on this list, BYO offers the latest in art and culture and even has a restaurant and cafe guide! Most recently, the unconventional outlet has interviewed the likes of Liars, Gretta Ray, DZ Deathrays. If you’re a sucker for all things creative in Australia, browse their recent content here: backyardopera.com Balcony TV Founded about 12 years ago, Balcony TV has consistently hosted videos of various bands and singer/songwriters performing on balconies. As absurd as it sounds, this outlet has racked up countless views since it’s beginning in 2006, and has featured famous acts such as Jessie J, Mumford and Sons, as well a young Ed Sheeran before he was famous! Each act that plays on BalconyTV is given a city, and the winning act is chosen through how much “likes” they get. The more votes they get, the higher they peak on the charts. Check out this quirky blog at www.balconytv.com Best Before Sydney-based outlet Best Before brings you on-the-minute news regarding gigs, new releases and reviews. The team, comprised of an enthusiastic group of photographers, journalists and students are keeping it straight up Aussie, with a myriad of interviews, feature articles, livestreams and video clips centring around the countries most exciting new acts. Best Before are undoubtedly obsessed with live music, so you can to count on them to bring you all the major gig info in Sydney, whether you’re into indie rock, rap, pop or dance music. Check out Best Before at bestbefore.co Want to get a hold of them? Drop your email below for a list of contacts for the best australian music blogs! Cool Accidents Cool Accidents are an umbrella for everything pop culture and live music. Despite primarily focusing on popular acts, they also pride themselves in fostering young independent talent from Australia and abroad. If you follow them on social media you’d know that they’re constantly churning out new content, from new releases to tour info and all the latest gossip regarding Australian pop music. Cool Accidents are always hosting giveaways too, so make sure you visit coolaccidents.com/tags/win and get lucky! Futuremag Futuremag’s specialty is all in the name. Focusing on everything forward-thinking in the realms of electronic music and pop, Futuremag is ideal for ravers, producers or simply just enthusiasts of dance music. Here you’ll find a variety of new releases from Australia and abroad as well as photos, event reviews and interviews. Futuremag also throw a monthly party with the help of Plasticine at The Foundry in Brisbane, so if you’re based up north, be sure to experience one of these unique art-pop inspired parties. Check out Futuremag at: futuremagmusic.org Happy Mag Enmore-based Happy mag is an enthusiastic bunch of artists and journalists who pride themselves on bringing quality content regarding music, art and youth culture. Having launched just under 3 years ago, Happy mag have risen to the forefront of music journalism in Sydney, with a inbuilt gig guide and a news section centring around Australian culture and music. Unlike most blogs, Happy mag also have a vinyl section, where you can find info regarding original pressings and reissues available in Australia. To get amongst it, check Happy Mag out at: hhhhappy.com I OH YOU I OH YOU have been around for almost a decade, and in that time they have branched out into a record label and blog as well as a management company all in one. Having been born in the midst of the blog house era that brought the spotlight to so many beloved Australian acts, it’s almost impossible to not have heard of them. Beginning just under a decade ago, I OH YOU started as a series of house parties in a desperate attempt to pay the bills, now it has blossomed into successful imprint that continues to thrive in such a unique musical landscape. Check them out at: iohyou.com LunchBox Unlike many commercial news sites, Lunchbox has some very strong views regarding the authenticity of music journalism. Swearing to avoid sponsored posts, clickbait and “general waffle”, this quirky news site brings you everything music related from Australia and New Zealand with minimal clutter. Offering up original content such as mixtapes, photo galleries and interviews, Lunchbox brings you the latest music from established acts and newcomers alike, spanning all genres of music. Be sure to check out Lunchbox at lunchboxtv.com.au Pilerats Founded in 2011, Pilerats have risen to the top of their game. As a collective of like minded music fanatics, they sure know their business. It’s only through extensive research and passion that Pilerats have become the go-to outlet for all things related to dance music, rap, pop and indie rock. However, if you’ve ever visited Pilerats on their website, you’d know that they offer much more than the average run-of-the-mill music gossip, they also showcase a wealth of home grown art, design and photography. If you haven’t, you can sus them out at pilerats.com Project U If you’re thirsty for all things pop, Project U is your blog. Covering all avenues of pop culture and gossip, this bubbly website is packed with exclusive content. From podcasts to interviews and gig photos, Project U has you covered at all times. On this site you can expect to find interviews from some of the biggest stars in pop right now such as Troye Sivan, AlunaGeorge, Lido and more. Project U are constantly buzzing with new content so feel free hit them up via their Facebook at facebook.com/projectudottv Purple Sneakers Possibly one of the most dedicated blogs out there, Purple Sneakers keeps it 100% Aussie, endorsing music from both highly established and underground acts. If you’re based in Sydney, theres a high chance you’ve caught the Purple Sneakers DJ’s in action, regularly shaking up venues and festivals across the city and beyond. On this blog you can expect a diverse mix of pop, rap and dance related news and releases, as well as the odd interview and review. In addition to running the blog, they also run a weekly show on FBi where they spin all the biggest tracks featured on their website. Check out Purple Sneakers at purplesneakers.com.au Stoney Roads As if we could resist chucking ourselves on this list! Since setting up shop in 2007, Stoney Roads has become a one stop shop for everything related to dance music, whether it involves interviews with some of the world’s favourite producers, throwing the odd party or just general music related banter. Founded by two friends with a mutual appreciation for a good shindig, Stoney Roads later developed into a community of artists, journalists, designers and producers who dedicate their time to constantly bring brand new content. The more recent years have seen Stoney Roads branch out into a record label also, bringing some of Sydneys most promising new acts into the spotlight. Don’t hesitate to check us out at stoneyroads.com The AU Review Long running news outlet The AU Review have certainly left their mark on the current media landscape. Establishing themselves over a decade ago, they not only discuss music but also topics such as film & TV, gaming, travel, technology, literature and lifestyle. This extremely broad array of content makes for a blog that has something for everyone, whether you’re an art lover, techie, or just a casual creative. With a website that boasts such a diverse array of content, it’s pretty hard to scroll through without finding an article that’ll interest you. You’ll likely find their magazines lying around if you hang around any good pub or restaurant, but you can also check out their website at: http://launch.theaureview.com The Brag Priding themselves as being “Sydney’s favourite independent street press”, The Brag have you covered, whether you’re into music, comedy, food, gaming, photography or politics. On their twitter feed you can find news regarding anything from Cartoons to Wildlife to Ben & Jerry’s. The sheer miscellaneousness of The Brag’s output adds to it’s charm, exposing you to news you never thought you needed. With a pop culture sensibility that appeals to both the young and old, The Brag has no limits. Check out their website here: thebrag.com The Interns Easily one of the best looking websites on this list, The Interns focuses on everything pop. With the team comprised of illustrators, journalists and graphic designers, this site certainly makes for an entertaining browse. Taking pride in various trolls such as creating fake Splendour lineups and children’s books starring Kanye West and Jay-Z, The Interns are a quirky bunch, adding a touch of humour amidst your usual pop culture gossip. On this blog you’ll find interviews and reviews of Australian artists, as well as news from some of the most polarising figures in contemporary pop music. Check out their website here (it’s beautiful): theinterns.net The Ripe Ripe is a music publication that engulfs the Australian music scene on a whole, and prides itself on providing news on upcoming artists as well as big artists. Complete with a gig guide and a photo gallery, The Ripe is a diverse hub of Australian music, curated by artists and music lovers alike. With playlists that span an infinite variety of styles, these guys really have their ear to the ground, bringing much needed diversity to a commercial media landscape that seems to always focus on the headliners. Feel free to chuck on one of their playlists, you might even find your new favourite Australian band! ripemusic.com.au Keen to get in touch with these blogs? We’ve made it super easy, drop your email below for a download link to a pdf with the best people to chat to! Have music ready? Be sure to check out our ‘5 Tips To Supercharge Your Music Release’ feature as well Source

Love is something that comes up a lot in relation to writer/director Barry Jenkins. The word and the concept feature heavily in his films, explored with such lyrical, sweeping beauty that it can make you feel it almost as intensely as you can read it as displayed on the faces of his stars in stunning close-up. Love also factors heavily into discussions about Jenkins’ work, because it’s almost impossible to ignore just how good he is at portraying it in all of its forms. It’s even prominently featured in the official blurb on If Beale Street Could Talk from TIFF, where the film celebrated its world premiere, with TIFF co-head Cameron Bailey writing that it “is without doubt a romance but it’s stronger than that because it refuses to indulge fantasy. […] Barry Jenkins’s latest shows him to be our most clear-eyed chronicler of love.” But it’s also in the way that Jenkins shoots his actors, and in the way he pieces his narratives together. There’s never a second in his work where his intense care for his characters, for their stories, and for his craft, is any less than palpable. Here is an artist, his work assures you, so brilliant and so dedicated that you can trust him to tackle almost anything. Even an adaptation of a similarly brilliant artist’s writing. Based on James Baldwin’s 1974 novel of the same name, If Beale Street Could Talk is the story of young love tested and threatened — but never broken — by the brutality of a hateful, racist world in 1970s New York. Nineteen-year-old Tish (KiKi Layne) and 22-year-old Fonny (Stephan James) are childhood friends whose lifelong bond has only recently grown into something more. Just as their relationship begins to blossom with an engagement and a baby on the way, Fonny is framed by a racist cop and thrown into jail with little hope of a fair trial — or any timely trial at all. Armed with the support of her family (and shouldering the blame from her future mother-in-law), Tish must do everything in her often wrenchingly limited power to fight for her love and their lives. Weaving together the past and the present, masterful interpretations of Baldwin’s incredible prose, gorgeous visuals, and a sweeping score, If Beale Street Could Talk draws audiences into its overwhelming mix of emotions all at once. You fall deeply in love with Tish and Fonny’s swooning romance and their cautious optimism, and you fall into despair over Fonny’s crumbling resolve in prison and the thwarted efforts of his supporters to extract a modicum of justice from a system designed to brutalize black men. Lyrical reflections on love flow into piercing meditations on the sinister inhumanity of the prison system, and the crushing weight of white supremacy. All of this is realized in stunning fashion by an almost uniformly excellent cast. James is captivating as Fonny, a sensitive young artist struggling to stay strong when his life is torn away from him just as he was finding his voice and his soul. He’s both a dreamy leading man and a tragic hero. Regina King and Colman Domingo put in deep, empathetic work as Tish’s parents pushed to the edge of their emotional and financial limits in their efforts to support their daughter, their future son-in-law, and their grandchild on the way. But no one is more compelling than Layne as Tish, equally devastating in wide-eyed love as she is in face-breaking turmoil. In a film rich with some of the most powerful prose ever written, her non-verbal expressions still mange to be the most nuanced and powerful of all. All together, these elements combine into an almost overwhelming cinematic experience. As beautiful as a love song, and as piercing as an indictment, If Beale Street Could Talk is a complex and awe-inspiring portrait of black love, life and survival in 1970s America that’s every as resonant today. It’s a film so clearly made with passion, devotion, and love that it inspires the same in those who watch it and become absorbed by it. Trailer: Source

The Pitch: Some 30-plus years after he starred in the original film, veteran director and screenwriter Shane Black (Lethal Weapon, Kiss Kiss Bang Bang) returns to bring his own candied-brand of action to the Predator franchise. He’s not alone, though, and with co-writer Fred Dekker (Night of the Creeps, The Monster Squad) beside him, the two act like a bunch of ADHD kids in a sweet shoppe. They scream. They shout. They break things. A lot of things. For Christ’s sake, this isn’t so much a sequel as it’s a full-blown slumber party. From beginning to end, Black and Dekker have the time of their lives, taking their cast of character actors and tossing them through a relentless story that’s more or less a stunt show spectacular at Universal Studios circa 2049. The Hunted: Seeing how Black’s greatest strength as a writer is creating lovable characters — ahem, even today, it’s impossible not to adore Mel Gibson’s Martin Riggs, and that’s coming from a writer with Jewish blood in him — it’s no surprise that The Predator comes fully stocked with collect-em-all action figures. This is a cast that never ends: Boyd Holbrook, Trevante Rhodes, Jacob Tremblay, Keegan-Michael Key, Olivia Munn, Thomas Jane, Alfie Allen, and Sterling K. Brown. Hell, it’s so overcrowded that you actually forget Jake Busey is in this movie at one point. Still, given Black’s penchant for scotch-taped sequences and Dekker’s knack for turning neighborhoods into warring battlegrounds, there’s enough carnage to go around. Some Ugly Motherfuckers: One of the thrills of this particular chapter is how the titular beast evolves. In a creative decision that’s entirely self-aware of today’s obsession with big, dumb things, Black and Dekker create a super-sized Predator, one that stomps over the old one as if to say, “This is what you wanted. This is what you get.” The problem is that, unlike past iterations, even as recent as 2010’s severely underrated Predators, the goddamn thing never feels menacing. It’s a blob of CGI that moves too fast and can’t really get a handle on what it can actually do. It’s just big and dumb and loud. Sadly, the same can be said of the Predator dogs. Yes, there are Predator dogs in this one. You know, like in Ang Lee’s Hulk. Verdict: At this point, what the hell do you want from this franchise? Nobody’s ever going to top John McTiernan’s meditative original, which is why the sequels that have followed in its wake have admittedly all tried something new. In 1990, Stephen Hopkins gave us a boozy genre movie with Predator 2. In 2010, Nimród Antal delivered a gritty cast-away thriller with Predators. (Sometime in between, both Paul W.S. Anderson and the Brothers Strause proved that crossovers aren’t always a good idea, and the less said about either Alien vs. Predator film, the better.) It’s good to see Black and Dekker offer up something so boisterous and stupid as The Predator. Is it messy? Absolutely. But, is it fun? It’s popcorn, baby. This is the most Shane Black movie that Shane Black has ever made. The only thing missing are the Christmas lights, which he’s swapped out for Jack-o-Lanterns, perhaps as an olive branch for Dekker, who tends to love the ghouls and goblins. Longtime subscribers of his tongue-in-cheek machismo, his bubblegum dialogue, and his freewheelin’ freeway action will easily eat this shit up. Of course, they’ll also have to take a few tabs of antacid by the end of it, too. Because like Mommy always says, too much of anything is never good for anyone, and by the time Daddy Predator goes toe to toe with Daddy Holbrook, it’s not that we’re not too old for this shit, it’s just that the shit starts to get too old. Where’s It Playing? The Predator opens nationwide on Friday, September 14th. Trailer: Source

We recently had a first look at David Guetta’s new side project Jack Back with a mixtape that was spliced with some decent house and tech-house records and now, an original from the EDM overlord. In a solid attempt at restarting his burgeoning career that had peaked of late his return in tech-house form is pretty spot on in finding new fans that have and won’t stop playing what is getting rinsed in the clubs at the moment. On the reveal of the project, David… or Jack said; “I originally started in underground house music, playing all the raves and underground clubs in Paris. I wanted to make music just for fun, with absolutely no commercial approach to it. I want to make every type of music that I like, I’m doing it for the love of music.” While that’s slightly debatable releasing it on Defected, possibly one of the biggest and most accessible dance music labels in the world we’re all about fodder for the dance-floor and not necessarily festival stage and yep, it bangs! Those with a keen ear might notice a familiar sample in this one and yep, it’s a biggie and was made famous in the last few decades by Moby with his anthem ‘Honey’ with the original stemming way back to a 1960s track called ‘Sometimes’ by American singer Bessie Jones. Dive into the track below! Source