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  1. The long-running Columbus, Ohio, hard rock and metal festival Rock on the Range is no more, with promoter Danny Wimmer Presents announcing today that a new extravaganza called Sonic Temple Music Art + Music Festival will take its place in 2019. Unlike Rock on the Range, which was co-produced by DWP and AEG, Sonic Temple will exclusively be a DWP production. “I am so proud of what we accomplished with Rock on the Range, and we couldn’t have done it without our partnership with AEG,” said Danny Wimmer in a press release. “When we started Rock on the Range, there was no other festival in America quite like it but recently it became clear that we had different visions of where to take the festival next. The city of Columbus and our devoted rock fans deserve a one-of-a-kind, world-class festival, and that is exactly what Sonic Temple Art + Music Festival will bring to MAPFRE Stadium.” Along with Sonic Temple, which takes place May 17th-19th, 2019, DWP has announced a new revamped spring festival lineup that also includes Welcome to Rockville (May 3rd-5th) at Metropolitan Park in Jacksonville, Florida, and a yet-to-be-named festival in Rockingham, North Carolina (May 10th-12th). In addition, DWP will bring back Chicago Open Air in 2019, presenting a new event called A Day in the Park at Toyota Park in Bridgeview, Illinois. That festival will run the same weekend as Sonic Temple, May 17th-19th. “Over the next two years, we will be making a series of major steps that are designed to push the U.S. rock festival market forward,” added Wimmer. “This is the first of those announcements. I believe that the festival market is at a major inflection point. The proliferation of music festivals has been good for competition and caused promoters to aggressively pursue expanded entertainment and enhanced experiences.” Danny Wimmer Presents also puts on the popular fall festivals Louder Than Life in Louisville, Kentucky, and Aftershock in Sacramento, California, which take place this year on September 28th-30th and October 13th-14th, respectively. Along with his press statements, Heavy Consequence spoke with Danny Wimmer over the phone to get some more insight into the decision to change things up starting in 2019. Wimmer told us, “We believe that with how competitive the festival market has gotten, we had to make moves to improve the experience to truly make Sonic Temple the biggest rock festival in America.” As far as whether Sonic Temple will still primarily be a hard rock and metal festival, Wimmer revealed, “It’s always going to have its core, but it’s gonna allow us to bring some of the other genres that the fans have been asking for. It will always be a rock show — that will never be gone, but the audience is going to see more flavors in the programming.” Stay tuned for the announcement of artist lineups for all of the DWP spring festivals. You can keep up with the latest news at the Sonic Temple and Danny Wimmer Presents websites. Source
  2. Former president Barack Obama encouraged voters to hit the polls this November, saying during a speech at University of Illinois at Urbana-Champaign on Friday that “this moment in our country is too perilous for voters to sit out.” At one point, Obama said voters shouldn’t stay home just because they “don’t feel sufficiently inspired” by a particular candidate. “You cannot sit back and wait for a savior,” Obama remarked. “You can’t opt out because you don’t feel sufficiently inspired by this or that particular candidate. This is not a rock concert. This is not Coachella. We don’t need a messiah. All we need are decent, honest, hard-working people who are accountable and who have America’s best interests at heart”. During a speech today, Barack Obama encouraged Americans to vote this November, saying: "This is not Coachella. We don't need a messiah. All we need are decent, honest, hard working people who are accountable and who have America's best interests at heart" https://t.co/1cQQH576cp pic.twitter.com/SXVxcqZoQM — Consequence of Sound (@consequence) September 7, 2018 During his speech, Obama also railed against current president Donald Trump for “capitalizing on resentment that politicians have been fanning for years,” as well as for demonizing America’s free press as enemies of the state, stoking fear and lying to the American public, and implementing discriminatory polices. He also criticized Republicans in Congress for failing to hold Trump accountable. You can watch Obama’s full speech below. Source
  3. Last month, Nathaniel Rateliff & The Night Sweats wrapped up a summer headlining tour that saw them share the stage with Deer Tick and The Head & The Heart. On Thursday night, the Colorado-bred folk rockers made their return to the small screen, appearing on Jimmy Kimmel Live. In support of their March-released album, Tearing at the Seams, Rateliff and his collective performed “A Little Honey”. Front and center, Rateliff pleaded from the depths of his soul: “I’m so lonely, feeling heavy love, you’re just so far from where I want you now… I need some honey.” Replay it down below. Rateliff & The Night Sweats recently performed as part of Willie Nelson’s Outlaw Music Festival tour. They’re set to appear at Mexico City’s Corona Capital Festival in November. Source
  4. RL Grime, the L.A. trap music producer, released his latest album NOVA on July 27th. NOVA, which has been in the works since 2015, includes 15 tracks and countless collaborations. Artists like Chief Keef, Tory Lanez, Ty Dolla $ign, and Miguel make their appearances alongside Grime. But this album is more than just his most recent project. RL Grime took to his social media accounts to explain the driving force behind his newest creation; his ongoing battle with depression and anxiety. In a statement about the album posted on his twitter account RL Grime revealed, “I spent a lot of 2015-2017 depressed anxious and unmotivated. This album was made during a period in my life of growing up and learning how to deal with sadness, and overwhelming stress. I wanted my music to emerge from the darkness, but not abandon the feelings that had shaped the project in the first place. I wanted to take the sounds that before seemed to emanate from down below, and bring them up into the skies and into space.” And Grime has done just that. NOVA gifts us new sounds, exhilarating drops and an inspirational theme. This album diverges slightly from the trap and bass heavy tunes off of his first album VOID. The tracks are filled with a lighter melodic flow that perfectly complements the epic drops Grime is loved for. RL Grime also revealed that his inspiration for the title of the album came to him in a vision. He stated, “I had this vision of a nova, or a star that begins as nothing but then expands endlessly until its light is all you can see. My vision is for the music to feel like the birth of something new.” The birth of something new is exactly what this album is for the L.A. native as an artist. NOVA showcases RL Grimes diversity as a producer, ranging from trap bangers such as “Era” to softer R&B tunes such as “Light Me Up”. The first single released off of the album, “I Wanna Know” ft. Daya, has already become the artists biggest hit to date. Clearly the hard work and emotions Grime poured into this album has already begun to pay off. This album stands as an inspiration to all, a chance to bring what it below to the light, exactly as RL Grime has done with NOVA. Start streaming NOVA on apple music or Spotify now, and be sure to check out RL Grimes website for dates to upcoming shows. The post RL Grime Releases Powerful New Album, NOVA Inspired by His Battle with Depression appeared first on Verge Campus. Source
  5. Paul McCartney celebrated the release of his new record, Egypt Station, with an appearance on The Tonight Show last night. The former Beatle did everything on the show: performing, dancing, chatting, and even participating in a bit where he surprised fans. For his performance, Sir Macca delivered the early Egypt Station single “Come on to Me”. The peppy number showed just how vital the 76-year-old rocker still is, even 17 solo albums in. He also still knows how to please his fans, as he invited a stunned Jimmy Fallon to sing along on one final refrain of the hook, which The Roots joined in on as well. Check out the replay below. The show actually started with a cold open that saw McCartney walking in on fellow guest Kendall Jenner dancing with Fallon to the Egypt Station single “Fuh You”. Later, he took part in another bit where he and the late night host surprised fans on a tour of 30 Rock. The stunned pedestrians were stuck in an elevator as the doors opened to reveal Fallon and the musical legend reading the newspaper, playing ping-pong, and performing magic. Macca also sat down on the comfy chairs to have a chat about his new record and career. During the course of the discussion, he touched on the backlash from John Lennon’s infamous “We’re bigger than Jesus” comment, singing “Hey Jude” to a fan at a restaurant, and how Fallon tried to imitate his hair cut from the McCartney II cover during his Weekend Update days. At one point, Fallon even dialed up his childhood number to fulfill a lifelong dream of getting a phone call from McCartney, his favorite singer. Perhaps even better (or worse?) for Fallon, Macca improvised a little ditty about how much he hates the Tonight Show host. Biggest of all for fans, though, was a tease McCartney dropped about a secret gig tonight (Friday, September 7th) in New York City. He hinted pretty strongly that the performance would take place at Grand Central Station, and recent Twitter activity strongly suggests that’s the case. Watch all the clips below. Source
  6. In 2008, well before the McConaissance took hold, Matthew McConaughey starred a shitty, direct-to-DVD movie called Surfer, Dude. It seemed like a lazy, oblivious goof on his stoned, sun-baked persona at the time, which was characterized by a well-publicized report in which he was arrested for smoking marijuana while playing the bongos naked. Now, thanks to director Harmony Korine, both McConaughey and audiences are getting the movie that should’ve emerged during that period of “strife.” It’s called Beach Bum and, per its first trailer, it looks to be as hip, sleazy, and neon-soaked as Korine’s previous effort, 2012’s Spring Breakers. The short teaser introduces us to Moondog (McConaughey), a drug-addled poet, and his orbit of friends and critics, which are played by the likes of Snoop Dogg (who famously swapped McCanughey’s fake weed for real weed while on set), Isla Fisher, Zac Efron, Jimmy Buffett, and, holy hell, Martin Lawrence. There’s also weed and bongos aplenty. Watch it below. Beach Bum hits theaters on March 22nd of next year. Source
  7. “We are cultivating what can be best described as a sonic vacation, transporting listeners to a futuristic-yet-contemporary universe inspired by retro sci-fi films such as “Blade Runner” and artists like Daft Punk and Frank Ocean. “Electric” is born out of a collective love of blurring genre lines, experimenting with retro-futuristic sounds and finding solace in nostalgia. We wanted to extend the summer with a feel-good dance record that sounds familiar yet new to the audience of today’s music landscape.” – MIKNNA YouTube: Spotify: The post MIKNNA’s New Song “Electric” – Listen appeared first on Verge Campus. Source
  8. AlunaGeorge have returned today with news of a forthcoming EP. It’s titled Champagne Eyes and due for arrival October 5th. It marks their first effort since the electropop duo’s 2016 album, I Remember, as well as follows last summer’s pair of tracks, “Turn Up the Love” and “Last Kiss”. Singer Aluna Francis and producer George Reid are previewing the EP with the first single, “Superior Emotion”. Here, Francis’ vocals ride a smooth and hypnotic flow punctuated by brief ballooning synths. She’s also complemented impressively by guest collaborator and rising multi-instrumentalist/producer Cautious Clay. Check it out below, followed by a photo from their recording session. Sophomore record I Remember featured the likes of Flume and Zhu. AlunaGeorge toured alongside Coldplay last year. Clay is hitting the road with Gallant and Jamila Woods this fall. Source
  9. Music videos have traditionally acted as stepping stones for filmmakers. However, that’s not quite the case for Michel Gondry. The award-winning French director, screenwriter, and producer, who began his career by making strikingly original videos for his own rock band, Oui Oui, has indeed gone on to design major ad campaigns, work in television (including Kidding, his new Showtime series starring Jim Carrey), and direct generation-defining films like Eternal Sunshine of the Spotless Mind. Still, he’s always returned to his music video roots between projects, never even hinting that his first medium, one that often gets treated as mere commercial work, is in any way a lesser art form. And it’s that attitude, perhaps, that has driven Gondry to continue practicing music videos as high-concept art. Over the years, he’s continued to tweak and perfect a number of inventive styles that have allowed him to turn his videos into unlikely vehicles for surprisingly complex storytelling. It’s a calling card that’s not only allowed him to frequently work with acts as beloved and revered as The White Stripes, Björk, and The Chemical Brothers, but one that’s often resulted in creating visuals that have become permanently associated with these artists. While his videography no doubt has plenty of highlights still to come, with the premiere of Kidding this weekend, we decided to take a look back and marvel at 10 times the singular talents of Michel Gondry have transformed a song by one of our favorite artists into a triumph of visual storytelling. __________________________________________________________ Sinéad O’Connor – “Fire on Babylon” (1994) By 1994, most music video viewers likely still pictured Sinéad O’Connor as either the raven damsel wandering the austere grounds of the “Nothing Compares 2 U” set or as the bald and brazen protester tearing up a photo of Pope John Paul II on SNL. However, Gondry’s treatment of “Fire on Babylon” casts the ballsy singer in a far different light. Dressed in a doll-like, floral print and bright, red sweater with brown hair grown out to almost pageboy length, O’Connor embraces the abused and fearful child that still lives within. Creating one of his famous cardboard cutout realities, Gondry places the isolated O’Connor and her girlhood counterpart in an interconnected, Coraline-reminiscent world, where the grown woman remains haunted by a childhood full of dollies being drowned in sinks, birthday cakes being allowed to burn to the tabletop, and physical and emotional abuse as cold and calculated as the terrible drilling and grinding torture machine she imagines. The little girl has the last laugh, though, as O’Connor, donning armor à la Joan of Arc, returns to vanquish the machine and burn down the hellish home of her youth. Gondry Gaze: The trapdoor flipping of her home and spinning of her bedroom wall brilliantly use motion to demonstrate how much of that scared, little girl remains inside the adult O’Connor, but nothing screams Gondry more than the projected familial apparitions and memories that appear and fade throughout the video in the house’s backyard. As light and dark outside the window mark the passage of time and neighboring homes shift about all around the house in question, O’Connor’s existence remains stunted and haunted until she finally confronts her abusive past. Few videos compare 2 it. __________________________________________________________ Massive Attack – “Protection” (1995) Whether it be Sinéad O’Connor’s girlhood window or the eye sockets of Black Crowes frontman Chris Robinson after aliens have snatched his body, Gondry’s videos often ask us to look outward from the inside. That vantage gets flipped in the video for Massive Attack’s “Protection”. Taking an ambitious page out of the shooting script from Hitchcock’s Rope and borrowing his concept from Rear Window, Gondry, in one seamless camera shot, pans away from guest chanteuse Tracey Thorn and moves throughout an apartment building, peering into different flats and into the lives of her neighboring tenants. In a song about desperately needing someone to embrace, Gondry’s vision plays up the tragedy that Thorn is surrounded by people and yet utterly alone and isolated at the same time. It’s a visual concept that could be used to a number of lighter ends, or one that could easily lose its humanity in the process, but here Gondry opts for a sobering effect that perfectly fits Thorn’s quiet pleas. Gondry Gaze: Sometimes the simplicity of a concept can belie just how ambitious or complex an actual video turns out to be. Not only does Gondry shoot “Protection” in one seamless shot, but our admiration increases when we learn that Thorn’s apartment building was built not six stories up but six stories flat. To accomplish the effect, the film was shot above from a crane, with most of the characters, including Thorn, on their backs and other motion effects being created by a system of pulleys and projection screens. All hail the master. __________________________________________________________ Björk – “Hyperballad” (1996) The suicidal fantasy that is “Hyperballad” was born of a dream Björk once experienced. More specifically, the song talks about the parts of ourselves we sacrifice and the aggression we must release to go through our daily lives and be with someone after our initial infatuation with them has dissipated. By no means is it surprising, then, that she tapped Gondry, her longtime collaborator, to help her create the visual component to this composition. Much of Gondry’s work takes place in that space between waking and dreaming, and the idea of the fragmented self populates several of his videos from Sheryl Crow and Kylie Minogue to Wyclef Jean and Foo Fighters. Here, we find a sleeping, dreaming Björk gently swaying back and forth while a projection of her sings and a pixilated video game version absconds to the mountaintop, past buildings and communication towers, and leaps to her death (or emancipation as the case may be). As the chorus soars and Björk explains herself, we come to understand that it’s the artist, the frustrated lover, and the desperate individual all in one, each an undeniable ingredient of the woman that wakes every day and struggles to carry on. Gondry Gaze: The electronic bleeps and bloops of Björk’s composition are perfectly complemented by Gondry’s use of projections, blinking bulbs, and flecks of light. Not only do they gorgeously distinguish between the various Björks appearing in the video, but they create a sort of static confusion and breakdown in communication that you can imagine existing between the dream and waking states and between the smiling outward self and the secret self that we keep tucked away. __________________________________________________________ Beck – “Deadweight” (1997) The video for “Deadweight” pushes Beck through the looking glass into a world of opposites. There the ’90s slacker prince holds down a desk job (behind a literal desk) at the beach and later holidays in a beach chair and leisure attire as a proper business office buzzes around him. If Gondry’s antithetical hijinks aren’t stimulation enough, the video also serves as an ad for Danny Boyle’s film A Life Less Ordinary, the soundtrack to which includes “Deadweight”. This is where Gondry raises the art form to another level. Instead of simply splicing clips from the film into the music video, he creates a premise in which Beck’s world and Boyle’s movie interact with one another, in a sense competing for the claim to being the true reality. So, when an annoyed beachgoer tosses a child’s toy truck into the ocean, we see a similar-looking truck go flying off a cliff in Boyle’s film. Likewise, when a punch gets thrown in A Life Less Ordinary, it’s Beck who absorbs the blow rather than the film’s star, Ewan McGregor. The entire struggle brilliantly resolves itself when Beck goes into a theater to see Boyle’s movie and instead finds himself and what he thought to be his reality (no longer a world of opposites, though) onscreen before a popcorn-munching audience. Gondry Gaze: The director spares no visual expense to capitalize on the irony of Beck’s ocean-side clerical work (the rubber stamp tree is a beautiful touch), and it never gets tiresome watching Beck wading ankle-deep in the carpeted floor of a corporate office. Still, no moment is more memorable than when McGregor calls not Beck, but Beck’s shadow at a payphone. In the next shot, we see the shadow trudging down the sidewalk now dragging Beck on the pavement behind him. What a loser, baby. __________________________________________________________ Daft Punk – “Around the World” (1997) Despite a critically acclaimed and hit-laden debut album, Homework, there still remained plenty of mystery surrounding French house duo Daft Punk back in 1997. It’s also fair to say that the Gondry-directed music video for their No. 1 dance hit “Around the World” didn’t shed much additional light on the pair. What the video did do, however, besides help launch Daft Punk further into the stratosphere, is demonstrate the director’s uncanny ability to combine repetition and motion within a complex minimalist context to make visuals that look how music sounds. Here, using only a rotating set (or camera) and several choreographed dance groups – including four b-boy skeletons 20 years prior to David S. Pumpkins — Gondry ultimately creates a human (as in made of humans) wave-style visual output for the song. Elements of this video, such as the use of a small, circular space and visuals replicating the accompanying sound would evolve to greater storytelling effect in future videos like Radiohead’s “Knives Out” and The White Stripes’ “Hardest Button to Button”. Gondry Gaze: The absurdist flair of having skeletons, astronauts, mummies, and creatures in tracksuits with oddly extended torsos all dancing together surely checks a stylistic box for Gondry; however, what stands out more are the director’s retreats and cuts that pull back from the action one second and have the viewer on the floor with the dancers the next. More is always going on than you think in a Gondry music video, and part of the overall impact is being forced to see and absorb both the forest and the trees of the video. Oftentimes, music videos aren’t prepared to let us see both; it reveals too many cracks in the concept or craftsmanship. __________________________________________________________ Source
  10. Four long years after dropping her debut LP, No Mythologies To Follow, MØ is finally ready to release her sophomore follow-up. Due out October 19th via Columbia Records and entitled, Forever Neverland, the effort was previously teased with the single “Sun in Our Eyes” featuring Diplo. Now, the Danish popstar is back with another taste of the record, “Way Down”. “‘Way Down’ is a semi-apocalyptic song about feeling scared and depressed about the ways of world politics these days,” MØ explains in a press release. “All information — both true and fake — just seems so chaotic and frightening that sometimes you want to escape it for a moment and go get drunk with your baby in the hopes of waking up reset and able.” Take a listen to the tightly twisting song below. In addition to the new track, MØ’s revealed the full tracklist and artwork for Forever Neverland. Charli XCX and Empress Of both make appearances, respectively on “If It’s Over” and “Red Wine”. MØ also recently shared an album trailer that includes a tease of the song “West Hollywood”. Check all that out down below, and place your pre-orders now. Forever Neverland Artwork: Forever Neverland Tracklist: 01. Intro (Purple Like Summer Rain) 02. Way Down 03. I Want You 04. Blur 05. Nostalgia 06. Sun In Our Eyes (with Diplo) 07. Mercy feat. What So Not 08. If It’s Over (feat. Charli XCX) 09. West Hollywood 10. Beautiful Wreck 11. Red Wine (feat. Empress Of) 12. Imaginary Friend 13. Trying To Be Good 14. Purple Like Summer Rain Source
  11. Guitar virtuoso Marty Friedman is gearing up to release his new concert album, ONE BAD M.F. Live!!, which was recorded at the last show of his “Wall of Sound” tour in Mexico City at Centro Cultural on April 14, 2018. In advance of the release, the former Megadeth guitarist is exclusively premiering his “Mutation Medley” right here at Heavy Consequence (listen below). The “Mutation Medley” offers Friedman’s skillful take on songs by other artists, among his own work. He explains to us, “This medley sums up the spirit of my live show. Definitely feel-good music. Kiyoshi kills me every night with her bass solo, and my whole band really shines here. I get to play one of my all-time favorite riffs (Rammstein’s ‘Asche zu Asche’), a sweet melody (Slade’s ‘My Oh My’), an emotional, crying solo from my first album (‘Forbidden City’), and then we blast into our own version of the solo section from [Megadeth’s] ‘Tornado of Souls.’ For the rest of the show, I like to stick to music from my solo albums, but I know that a lot of people want to hear that solo, so in this spot so why not just give it to them?” As for the entire album, Friedman says, “This live album is a tip of the hat to the live albums that blew my mind when I was a kid. The musical content itself is modern and atomic-powered, but the presentation is decidedly old school. The pacing of the show, the audience participation stuff, the special live arrangements of the songs, these are the things that got me all jacked up as a kid.” ONE BAD M.F. Live!! arrives on October 19th, and is available for pre-order in digital, CD and vinyl editions at this location. In celebration of the release, the legendary guitarist will be playing a one-off show at the Viper Room in Los Angeles on October 21st. At that time, he’ll announce plans for his 2019 world tour. Source
  12. Troye Sivan delivered his breakthrough album, Bloom, last week. On Thursday, he promoted the record by appearing on the Late Show with Stephen Colbert. The Australian pop prodigy and Ariana Grande collaborator performed two tracks off his LP, “Animal” and “Plum”. While both oozed the “breathy charm” that made Bloom a dreamy and sexy success, it was “Animal” that stole the show. Sivan previously described the single as a “five-minute, 80s stadium love song,” and that’s exactly what it felt like — life-affirming yet aching, all-consuming but intimate, filled with both grandeur and vulnerability. (It’s also worth watching to the very end for a bit of a plot twist regarding the “audience” in attendance.) Sivan also sat down for a short chat with Colbert. He talked about his role in Joel Edgerton’s Boy Erased, a coming-of-age film that recounts the story of a teen sent to a gay conversion camp by his religious parents. “I really hope the movie is going to speak mostly to… parents… just how your reaction to your kid coming out can really shape their lives,” noted Sivan, who came out as gay back in 2013. Replay it all down below. Revisit the trailer for Boy Erased, which opens in theaters November 2nd. Source
  13. Last night, Childish Gambino, aka Donald Glover, launched his “This Is America Tour” at the Infinite Energy Arena in Atlanta. His 17-song set was a career-spanning affair, including hits past and present, as well as the debut of all-new material. Glover also announce that this tour would be “the last Gambino tour ever,” as fans on reddit have pointed out. Glover kicked off the evening with a one-two punch of new songs: “Algorhythm” and “All Night”. The former in particular was a dramatic, synth-laden arrangement clocking in at over eight minutes. “As we stand together, promise me that we’ll teach the children that we must be free,” Glover passionately crooned. “There is no joy in sorrow, no truth untold.” (Read: When Did We All Start Liking Childish Gambino?) The rapper/singer/actor also peppered his setlist with recent offerings “Summertime Magic”, “Feels Like Summer” (its bonkers video was just released last weekend), and, of course, the controversial smash single “This Is America”. Glover also did “I. The Worst Guys”, his Chance the Rapper collaboration off 2013’s Because the Internet, “Sober” from 2014’s STN MTN / Kauai mixtape, and a slew of Awaken, My Love! songs in “Redbone”, “Have Some Love”, and “Boogieman”. Glover previously announced his intention to end Childish Gambino, explaining, “There’s nothing worst than like a third sequel, like a third movie and we’re like, ‘again?’” His forthcoming album, on which “Summertime Magic” appears, is expected to be his last. Check out the full setlist below, followed by fan-caught footage from the show. Grab tickets to the rest of his This Is America tour here. Setlist: Algorhythm All Night Summertime Magic I. The Worst Guys II. Worldstar Stand Tall Boogieman Riot Have Some Love Terrified Feels Like Summer Spirits This Is America Encore: Sober V. 3005 IV. Sweatpants Redbone Confirming this is his last Gambino tour: Sept. 6, 2018 – ATL stop of This Is America Tour. Confirmation that this is his last tour. from donaldglover “Algorhythm”: “All Night”: “This Is America”: Part of the encore: Source
  14. Arctic Monkeys kicked off their UK tour on Thursday, and they did so with a very special gift for longtime fans gathered at Manchester Arena. About halfway through their 21-song set, the English rockers performed “Dancing Shoes” for the first time since November 2014, as NME points out. As diehard followers know, the track is taken from their 2006 debut album, Whatever People Say I Am, That’s What I’m Not. Check out fan-caught footage below. Elsewhere during the evening, Alex Turner & co. broke out a series of cuts from their latest record, Tranquility Base Hotel & Casino, including “Batphone”, “Star Treatment”, and “One Point Perspective”. They also showcased 2013’s AM well with highlights like “R U Mine?”, “Do I Wanna Know?”, and “Why’d You Only Call Me When You’re High?” Noticeably absent, though, were Arctic Monkeys’ recent covers of The Strokes and The White Stripes. Turner recently appeared on an episode of Kyle Meredith With… to discuss the group’s Tranquility Base. Revisit that interview below. Listen and subscribe via iTunes | Google Play | Stitcher | YouTube | RSS Source
  15. On this warm summer night in Holmdel, NJ, two of the bigger rock bands on tour this summer stopped by the PNC Bank Arts Center to light the place up on September 1st. And that’s what Godsmack and Shinedown did during this co-headlining tour stop. Both bands were armed to the teeth full of pyro for all the fans to enjoy as they pounded out their many rock hits. On this night, Shinedown were up first, booming pyro right out of the gate. The band is out in support of their latest album, Attention, Attention, and lead singer Brent Smith commanded just that. They ripped a blistering set consisting of both old and new material as they opened up with “Sound of Madness”. Smith, guitarist Zach Myers and bassist Eric Bass feverishly ran and jumped around the stage for the entire set. Older material included “State of My Head” and “Second Chance”. Later in the set, the band’s cover of Lynyrd Skynyrd’s “Simple Man” evolved into a huge crowd sing-a-long, which led to one of the band’s new singles, “Devil”. Closing the night were Godsmack, who are out in support of their latest album, When Legends Rise. Frontman Sully Erna grabbed command right away, opening up with the new album’s title song. This tour was a perfect pairing of these two heavy hitters, as Godsmack played both old and new material, as well. Highlight’s include Erna and Shannon Larkin’s drum battler, which included a medley of Queen’s “We Will Rock”, the Beastie Boys’ “So Whatcha Want”, Metallica’s “Enter Sandman” and Led Zeppelin’s “Moby Dick”. At this point, they whipped out their No. 1 hit “Bulletproof”. Another highlight included the band covering Elton John’s “Saturday Night Is All right For Fighting” with help from Shinedown’s Zach Myers. Well it was a Saturday night after all. In closing, the band played “I Stand Alone”. The co-headlining summer trek has wrapped up, but these two bands will be at it again for a fall jaunt beginning September 21st in Greenville, South Carolina. See a full list of dates here, and grab tickets here. See photos of Godsmack and Shinedown in the gallery below (click to enlarge and scroll), as well as setlist for both bands. Shinedown Setlist: Sound of Madness Diamond Eyes (Boom-Lay Boom-Lay Boom) Cut the Cord I’ll Follow You Bully Get Up Enemies Unity State of My Head Second Chance Simple Man Devil Godsmack Setlist: When Legends Rise 1000hp Keep Away Cryin’ Like a Bitch Say My Name Awake Someday Voodoo Batalla de los tambores (Drum battle) Whatever Bulletproof Saturday Night’s Alright for Fighting (Elton John cover with Zach Myers of Shinedown) I Stand Alone Source
  16. Nile Rodgers & Chic were supposed to release It’s About Time, their first album in 25 years, today. However, it’s been delayed a few weeks and will now arrive on September 28th. To tide fans over, Rodgers has shared another collaborative single from the record, “Sober”. The new song features a pair of British artists, rapper Stefflon Don and R&B crooner Craig David. Everything about the track screams ’80s, from the Bobby Brown beat to the punchy delivery of the chorus, “She only loves me when she’s sober.” Take a listen below. “Sober” follows previously released single “Till the World Falls”, which features Mura Masa, Anderson .Paak, Vic Mensa, and Cosha. Rogers and Chic also debuted the song “Boogie All Night” with NAO and Mura Masa on Later… With Jools Holland. Source
  17. In July, Les Moonves, the chairman, president, and CEO of CBS Corporation, was accused of sexual misconduct by six women, and, according to various reports, he will soon depart the network with a severance package of $100 million in stock (that’ll teach him!). Now, a new report from The Huffington Post offers some more insight into his petty, misogynistic, vengeful behavior. Moonves, apparently, was obsessed with damaging the career of Janet Jackson following her “wardrobe malfunction” at the 2004 Super Bowl, which aired on CBS and netted the network a $550,000 Federal Communications Commission fine. Per HuffPost, Moonves, who was reportedly convinced the malfunction was intentional, was miffed that Jackson’s apology wasn’t “sufficiently repentant,” especially in contrast to Justin Timberlake, with whom she shared the stage. Timberlake apparently “tearfully apologized” after being banned from the 2004 Grammys broadcast (he was subsequently allowed to perform after apologizing), and Moonves expected a similar apology from Jackson that he never received. (Read: How Janet Jackson Got Her Groove Back and Became Unbreakable) According to CBS insiders, Moonves then sought to hurt her career. “Moonves ordered Viacom properties VH1 and MTV, and all Viacom-owned radio stations, to stop playing Jackson’s songs and music videos,” the article alleges. “The move had a huge impact on sales of her album Damita Jo, which was released in March 2004, just a month after the Super Bowl.” Timberlake’s career, meanwhile, thrived. Years later, Moonves was allegedly furious when he found out Simon & Schuster—which, like CBS, is a subsidiary of Viacom—would be publishing a book by Jackson. “How the fuck did she slip through?” one source recalls Mooves saying. Another said that Moonves promised “heads were going to roll as a result of the deal.” Well, fuck him because she just dropped a new single, “Made For Now”, last month. Meanwhile, he’ll spend the rest of his life stewing about it in an empty mansion. During the latest season of Discography, Marc With a C discussed the impact of Jackson’s career following “Nipplegate.” Revisit the episode below. Subscribe via iTunes | Google Play | Radio Public | Stitcher | RSS Source
  18. Last night, Kanye West served as the creative director for the first annual Pornhub Awards in Los Angeles. In addition to styling the presenters and designing the dildo-themed statutes, Kanye debuted a new, appropriately raunchy collaboration with Lil Pump called, “I Love It”. Sampling a standup bit from comedian Adele Givens, the track makes no bones about being a nasty ode to doing the nasty. After a hook of “You’re such a fucking ho/ I love it,” Kanye raps, “I’m a sick fuck/ I like a quick fuck/ I like my dick sucked/ I’ll buy you a sick truck/ I’ll buy you some new tits/ I’ll get you that nip-tuck/ How you start a family?/ The condom slipped up.” I mean, this is for Pornhub. The song comes via a goofy video Kanye co-directed alongside Amanda Adelson, with Spike Jonze serving as executive producer. Pump and Kanye don oversized, squared costumes as they dance behind a woman through a long, perspective-altering hallway. From the looks on Kanye’s face, this is the most fun he’s had in music in years. Check it out below For more of Kanye’s Pornhub appreciation, you can snag one of his Yeezy sweatshirts featuring incredibly inaccurate drawings of some of his favorite pornstars. Source
  19. Later this month, Cher will release an album of ABBA covers entitled, Dancing Queen, which she’ll support with an extensive North American tour set to kick off early next year. Cher’s “Here We Go Again Tour” spans 30 dates, launching on January 17th in Ft. Myers, Florida and continuing through the middle of May. Tickets go on sale beginning Friday, September 14th (you can also grab them here). Cher announced the tour during an appearance on The Ellen Show on Friday. She also performed her cover of ABBA’s “SOS”, which you can watch below. The tour’s full itinerary can be found afterward. As previously reported, Cher was inspired to record Dancing Queen, out September 28th, following her role in this summer’s Mama Mia! Here We Go Again. Cher 2019 Tour Dates: 01/17 – Ft. Myers, FL @ Germain Arena 01/19 – Ft. Lauderdale, FL @ BB&T Center 01/21 – Orlando, FL @ Amway Center 01/23 – Jacksonville, FL @ Veterans Memorial Arena 01/25 – Atlanta, GA @ Infinite Energy Arena 01/27 – Raleigh, NC @ PNC Arena 01/29 – Charlotte, NC @ Spectrum Center 01/31 – Nashville, TN @ Bridgestone Arena 02/02 – Biloxi, MS @ Mississippi Coast Coliseum 02/04 – Louisville, KY @ KFC Yum! Center 02/06 – Cleveland, OH @ Quicken Loans Arena 02/08 – Chicago, IL @ United Center 02/10 – Columbus, OH @ Nationwide Arena 02/12 – Detroit, MI @ Little Caesars Arena 02/14 – Indianapolis, IN @ Bankers Life Fieldhouse 04/18 – Pittsburgh, PA @ PPG Paints Arena 04/20 – Philadelphia, PA @ Wells Fargo Center 04/22 – Toronto, ON @ Scotiabank Arena 04/24 – Ottawa, ON @ Richcraft Live at Canadian Tire Centre 04/26 – Buffalo, NY @ KeyBank Center 04/28 – Boston, MA @ TD Garden 04/30 – Springfield, MA @ MassMutual Center 05/02 – Brooklyn, NY @ Barclays Center 05/03 – Newark, NJ @ Prudential Center 05/08 – Grand Rapids, MI @ Van Andel Arena 05/10 – St. Louis, MO @ Enterprise Center 05/12 – Milwaukee, WI @ Fiserv Forum 05/14 – Omaha, NE @ CHI Health Center Omaha 05/16 – Sioux Falls, SD @ Denny Sanford Premier Center 05/18 – St. Paul, MN @ Xcel Energy Center Source
  20. Here’s something we can’t believe hasn’t already happened: Tim Burton’s 1988 cult classic Beetlejuice will premiere on Broadway next year. The musical adaptation (day-o!) of the beloved horror comedy (dayyyy-o!) will bow at the Winter Garden Theatre (daylight come and me wan’ go home). Alex Timbers will direct the musical, which will enjoy a pre-Broadway run this October and November at Washington D.C.’s National Theatre before entering previews in NYC in March. The official opening will be in April. The book comes from Scott Brown and Anthony King, while the score comes from Australian musician (and TV star!) Eddie Perfect, whose name can’t possibly be real. (Read: We’re Very Unhappy: How Endless Rewrites Saved Beetlejuice) Press materials describe the musical as “ruder, raunchier and frankly, more repellent than ever,” and also call it “Really F*S#&*G Explicit,” which…are we thinking of the same movie? Beetlejuice was playful and a little dirty, but it was still the best kind of PG. Still, we remain cautiously optimistic that the show will make our millennium. Sadly, Michael Keaton and Winona Ryder will not be reprising their respective roles as Beetlejuice and Lydia; instead, actors Alex Brightman and Sophia Anne Caruso will take the stage. Kerry Butler and Rob McClure will step in for Geena Davis and Alec Baldwin As the dweeby Maitlands and, well, now we’re just really sad that Glenn Shadix passed away in 2010. Whoever’s playing better do him justice. Also, Shrunken Head Man better get a song. That is all. Source
  21. Bronze Whales are looking for the “One,” is it you The Austin-based duo Bronze Whale, comprised of Benny Alley and Aaron Jaques, have captured the hearts of listeners over the years with their uplifting productions that shimmer with excellent writing and clean sounds. The duo has previously done a slew of remixes, collaborations and originals, but it wasn’t until recently that the guys realized their full potential in singing and songwriting. Today, the guys bring the next Shape in the form of the track “One,” which bounces with warm synths, groovy percussion and a vocal that will have you singing it over and over again. This discovery has lead Bronze Whale in a whole new direction by using Benny’s voice to guide fans through a sonic landscape of indie, electronic and hip-hop elements. The tracks now shine even more with delicate simplicity and bold originality, and will be collected in Bronze Whale’s very first album, The Shape Of Things, which will be dropping towards the end of 2018. Bronze Whale on making “One”: “One is a really good example of us finding a stride within our songwriting process. It was a one day starter beat and by the next day benny was writing verses to it. The album itself is an even further testament to that idea. 4 years ago when we were writing, War Of Art, we were blown away at how hard it was to complete a body of work and this year we couldn’t be happier to feel comfortable in completing a full length album.” “We’ve been heading down this path for a while. Patterns, Gold Grain, and Warm represented the type of music we’d always envisioned, free from current trends or expectations or genres. The Shape of Things furthers this idea. Our take on music, who we want to be as musicians, and what’s to come.” Stream “One” by Bronze Whale above, courtesy of Soundcloud. The post Bronze Whale Are The ‘One’ To Shape Things : Listen appeared first on Verge Campus. Source
  22. If you haven’t heard of Liveschool then guys, you need to check it out. It’s the production school that’s been behind the success of a bunch of artists from Ninajirachi to Badrapper and it’s not much of a secret that these two are some of the best local music producers right now! Well they’re holding an open day this Sunday in Sydney, where you get to go hands on, play with some tech and get a bit of an inside into production and how you can level up your game, from meeting instructors to discussing your personal production goals. So if you’re interested in production then this is something you need to check out. You can check the event page here, register here and check the full details below, we’ll be heading along so tell us if we’ll be seeing you! Details What: Liveschool Open Day When: Sunday Sept 9 – 10:00 – 16:30 Where: Liveschool (259 Riley St, Sydney, NSW, 2010) Register: Here Source
  23. Unknown Records poster boy Horowitz is one of those names that pulls solid releases and every time the name shows up you know you’re in for a winner. Now he’s released Oh Lui along with two remixes by DJ Heure and Sly Faux and in true Horowitz fashion they’re tech club thumpers that have already got a bunch of club play from the bigs (think Sasha, Luigi Madonna, Maceo Plex) Horowitz’ original pulls no punches, going straight for the jugular with a progressive techno beat that gives us some of those Gesaffelstein vibes that we don’t get too hear too much anymore. The two remixes vary in their own ways, DJ Heure giving it a bit more of a fun and relaxed vibe, while Sly Faux goes with the bare bones stripped back approach which almost increases the intensity. Check all of them out below and tell us which one you prefer, you can catch Horowitz playing Output alongside Mall Grab and a bunch of other! Source
  24. Chicago’s own Joey Purp returns today with his new project, Quarterthing. It’s available to stream in its entirety below via Apple Music or Spotify. The 13-track collection serves as the Savemoney rapper’s first major release since his 2016 iiidrops mixtape. It boasts collaborations with RZA, GZA, and Ravyn Lenae, as well as guest production from the likes of Smoko Ono, DJ Khalil, and Thelonious Martin. Savemoney affiliate Knox Fortune, and Nate Fox — of the Chance the Rapper-affiliated group The Social Experiment — also provided assistance behind the boards. Quartething was teased with “Bag Talk” and most recently “Elastic”. Quarterthing Artwork: Quarterthing Tracklist: 01. 24/k Gold/Sanctified feat. Rayvn Lenae (prod by Thelonious Martin) 02. God Body pt. 2 feat. The RZA (prod by DJ Khalil) 03. Hallelujah (prod by Nate Fox) 04. Elastic (prod by Nez & Rio) 05. Aw Sh*t! (prod by Knox Fortune & DJ Taye) 06. QUARTERTHING (prod by Knox Fortune) 07. Paint Thinner (prod by Smoko Ono & Garren Langford) 08. Look @ My Wrist feat. CDot Honcho (prod by Smoko Ono) 2012 (prod by Knox Fortune) 09. Fessional/Diamonds Dancing feat. Queen Key (prod by Nez & Rio) 10. Karl Malone (prod by Nez & Rio) 11. Bag Talk (prod by Nez & Rio) 12. LeBron James (Thelonious Martin) 13. In The Morning feat. The GZA Source
  25. Track by Track is a new music feature that tasks an artist with breaking down each song on their latest effort Track By Track. Jason Pierce isn’t used to solitude, at least when it comes to making music. And yet, the artist also known as J. Spaceman of Spiritualized found himself in that unfamiliar position in recent years — holed up in a home studio, piecing together a collection of songs one fragment at a time, without frequent input from the live collaborators that helped make records like Ladies and Gentlemen We Are Floating in Space into essential entries in the space rock canon. In a recent appearance on Kyle Meredith With…, Pierce acknowledged the process’s pitfalls (including, but not limited to, his own tendency to dwell on the songs as parts rather than wholes), and he reiterated the arduous nature of bringing his latest record to life in our latest chat, saying flatly “I won’t make a record like that again.” Though it may have come from difficult circumstances, there’s no denying that And Nothing Hurt is a worthy entry into Pierce’s esteemed catalog. On Spiritualized’s eighth full-length, you’ll find plenty of the same mixture of cosmic bombast and unguarded vulnerability that’s become Pierce’s calling card, combined, at times, with his takes on the “cowboy songs” and vintage love ballads plucked right from the FM radio of the ideal American road trip. It’s an honest collection of tunes indebted to the past but rooted in the present. For Pierce, that’s by design. “I kind of got fascinated by the idea of making an album that reflects who I was now,” he said. “A lot of people seem to just throw records out as a means to get on the road or to reconnect. Or they were in response to ‘we need a record’ rather than ‘I have a record.'” In And Nothing Hurt, Spiritualized certainly has a record. Listen to our full audio interview with Jason Pierce for insights on how his new record converses with past work, what Morse code means to him, and why cheap keyboards rule, or check out a condensed version below: “A Perfect Miracle” There was some kind of connection to Ladies and Gentlemen… It completely passed me by that it had any similarity to the title track from that album, but it does. You know, if you play it a tone-and-a-half higher, it sounds the same, in some respects. But that kind of passed me by while I was doing it, but I knew as soon as I started putting it together that it had something about everything that I tried to put on this record. I wanted it to be like a Lee Hazlewood thing, but in a weird way that’s more like a Nancy & Lee track, it’s got this dialogue, although it was always an internal dialogue. It was never meant between two people. It was the sort of the self-doubt and lack of confidence that’s internal rather than somebody putting you down or somebody putting somebody else down. I wanted to write a record that had kind of FM radio feel, or my idea of FM radio, like you just turn the dial and you’d find a series of songs that all kind of made sense. Why was it first? I don’t know. When we put together the album, there wasn’t a running order, although “Sail On Through” always felt like it should end. Somebody here pointed out that this album sounds like a good two-thirds or it or more are all end tracks on somebody else’s album. Like it’s an album of last tracks. I kind of like the idea of that. “I’m Your Man” Somebody here said this seems like the most close to who I am [and that] this one seems to capture my personality and wit more than previous records. […] As I get older, I find it harder to make records, but it was really important that it was a record that was made by somebody my age, that I wasn’t trying to cast myself as somebody younger, which often happens in music. You see people throw records out revisiting themselves 20 years previous. Also, I think that the truth is the most important thing. If someone’s going to invest their time and money into your music or words, then the one thing that they should be able to expect is that it’s the truth. Some of the most autobiographical, literal things to do with language – there’s a poetry to it. I’m not convinced when people change their musical style, especially if the change hits the currently hip style. It just doesn’t convince me. It seems like the motivation there isn’t about music, it’s about money, it’s about fame, it’s about whatever else you’ve chosen, but I’m never convinced. […] I still use the same cheap Realistic and Casio keyboards. I love the cheap sound of them, I love the fact that they’re not trying to be much else above what they can just about achieve. “Here It Comes (The Road) Let’s Go” When you asked about which track to start with, that always seemed like the logical one – that’s the start of the trip. But that’s also the least satisfying thing to do, to lay it out too obviously. The most literal idea of the whole record was wrapped up in that song. Again, like an FM radio – I mean, it starts with the sound of the radio. Oddly enough, I heard that for the first time since I finished it, I did a radio interview yesterday and they played that track ahead of me talking, and it was really strange to hear it on the radio. I always thought that the radio would annoy the hell out of radio because the last thing you want, second only to silence, on the radio is the sound of the thing losing its frequency, but it sounded so right, like that’s what it was meant to sound like, like you’re turning the dial on the car and finding the songs that make sense with where you are and what you’re doing. The trip’s real. The house being mine is not. “Let’s Dance” That song is about as literal as you can get, laying the kind of closing of a late-night, Bukowski-like bar alongside life, and saying you’ve got so little time. I wanted the end to sound like some strange European dance, with everybody playing the same note, like everybody in unison just hammering out and saying “dance!” Because it was the end, time’s tight, time’s running out, I had an idea of writing like a “September Song”, like the [Frank] Sinatra standard, and I kind of liked the idea that by good fortune, I could use the “September Gurls” lyric in there to reinforce that further. It was quite straightforward. The fact that it was so straightforward was almost disappointing, in a way. I think now I’ve gotten over it now, but while I was writing it, it seemed like too simple a connection to make. “On the Sunshine” It was really important, on this record, to get the words right. I’ve been listening to a lot of country records. I love the narrative in those records. I love the way that choruses are quite often more of the narrative. They’re not a hook line. Although they work as choruses, they’re not three words that are sung over and over. There’s a kind of narrative that goes through the chorus also. And also I read years ago […] about how lazy people people are for using the first verse again for the third verse. And I do that all the time, everybody does, often because the first verse is the only good one, and any good bears repeating. But I didn’t want to do that. I didn’t want to sing the first verse the next time through, or the same line over and over. The other thing about that song is that it was meant to sound like somebody with their foot to the pedal, like “here we go, this song’s gonna take off.” But it was always two songs. It was always meant to be like a slow jug band type thing, so the actual tempo of it is ridiculously slow, but then somewhere through the middle of it, somebody’s got their foot to the floor. “Damaged” That song wouldn’t have made it if it had been without the middle section and without the line about “quell the cavalier child.” As soon as I got that line, I knew that song was staying. It’s kind of been covered, you know? It’s the blues. It didn’t seem like it went anywhere other than where people know where that song should fit. People have heard that. I’ve heard that a thousand times, and it didn’t make any sense to have that anywhere near this record, but then suddenly the middle eight kind of started to reference European film music, somewhere completely alien to the blues, that steel guitar solo type thing. And then the line “quell the cavalier child,” it just suddenly made real sense to me. I don’t write lines like that. They don’t come that often, or near often enough, for me. As soon as that went in, it just fit. Then it was there, and it had to be on the record. And it really works. “The Morning After” [“The Morning After”] did seem like “Hey Jane Pt. II” in some respect, but maybe I’m just being lazy again, you know? Maybe I could’ve found another name to throw in there, but it just seemed to work best like that. [Writing] is always easier in the third person. I don’t really think about it, to be honest. I don’t sit down and go “is this going to be an ‘I’ or a ‘you’ or a ‘we’ or whatever,” but you can cover more when you’re talking outside of yourself. Even if it’s deeply personal, you can cover more. “The Prize” It seemed like the front end of that song was very simple, the language was really simple, and then the last three choruses, the language becomes slightly more extraordinary. I love the line about “You’ve got your dreams but rest assured” and the end to that line. It seemed like the language just picked itself up a little bit. The ideas ahead of the instrumental are very naive, and then suddenly it becomes really focused. And I love the way that it comes in after a single note. You know, the violin, cello, just play one note, and I kind of love that. And forever and even now I wanted the strings to come in ahead of that, I thought that the front end of the song was light, it didn’t work, but I couldn’t lose that moment where the strings come in just to play a single note. It seemed like, if I put the strings in anywhere ahead of that, it lost that moment. I was working on it – the guitar went down the day before I mastered it. I still wasn’t satisfied with the front end of it. The end always worked, as soon as the wah guitar comes in, it just seemed like that had done its job, but the front end was worked on right up until the day before we mastered the record. “Sail on Through” It’s a chord organ, and that was the sound of it. Right from the first moments of putting that organ down, it made sense. […] It just hangs in – any slower and it barely travels, you know? It always just hung there and it always seemed right. It always seemed to be perfect, and everything that went into it, sure, it made it better, but it didn’t change how right it had always felt. Part of [the Morse code at the end] came from guitar loops, from the sound of loops and the way you cut things up, but I also like the fact that it was the international distress signal. For people who know Morse code, it’s almost like when you hear it, it’s never anything other than a message of distress, so I kind of liked the idea of using it in that way. But also, the things that I’ve done with Morse code sound is like foreign language records […] when I listen to those records, I’m never compelled to get a French-English dictionary and find out what’s going on, but I know there’s some poetry there, that it means something, and the fact that I don’t understand the exact meaning never prevents me from listening to it. Source
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