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Coming to America, the classic 1988 comedy starring Eddie Murphy as an African prince traveling incognito to Queens to find true love, is getting a sequel more than 30 years after its initial release. Murphy will return in the role of Akeem, who in this movie comes back to the US to meet his long lost son and heir to his nation’s throne. Deadline reports that Paramount Pictures has signed on Craig Brewer (Hustle & Flow) to helm Coming to America 2. The filmmaker intends to reunite Murphy with the the rest of the original cast, which includes Arsenio Hall, Shari Headley, John Amos, and James Earl Jones. Kenya Barris is currently rewriting a script penned by the original film’s screenwriters Barry Blaustein and David Sheffield, with production set to begin sometime in 2019. Brewer just wrapped up working with Murphy on Dolemite Is My Name, a biographical film on comedian Rudy Ray Moore that will be released later this year on Netflix. Source

On January 18th, Sharon Van Etten will return with her first new studio album in five years, Remind Me Tomorrow. As you can already tell from her first three singles — “Comeback Kid”, “Jupiter 4”, and “Seventeen” — the highly anticipated album is a major departure for the singer-songwriter, who leans less on the guitar and more on electronic fixtures. Much of that leap can be attributed to, of all things, actor/musician Michael Cera, who she met on the set of David Lynch’s Twin Peaks. Van Etten explains the seemingly odd connection in our tri-weekly podcast series Kyle Meredith With…. “I was writing a score at the time for Katherine Dieckmann’s film Strange Weather, and I was writing a lot of guitar,” she says, “She had actually referenced Ry Cooder’s soundtrack for Paris Texas, and I remember thinking it was a really tall order because I’m not even that kind of a guitar player, but I was up for the challenge. Whenever I got to the point where I felt like I wasn’t getting anywhere in what I was writing, I would put down the guitar and play anything else.” She continues: “At the time, I was sharing a space with the actor Michael Cera, and he had these amazing keyboards hanging around. One was an old CX-3 organ and the other was a Jupiter-4 synth, and I remember having no context at all. But I wanted to step away from the guitar and just play something that I didn’t have any preconceived notions about and mess with it for awhile. So, as I’m experimenting with the synthesizers, I’m thinking about how we met, and how Twin Peaks is so much darker, and thinking about the soundtrack for that, for the original score, and wanting to delve in a little more, I think I felt encouraged by the worlds I was suddenly in.” Eventually, a working partnership evolved. “[Cera’s] actually really into the drums and the piano, which was really fun,” she adds. “I helped him get his drumming on, and he helped me open up into the synth world, which I never would have guessed.” Stream the full interview with Kyle Meredith below, in addition to both Van Etten and Cera’s scenes from Lynch’s incredible 18-episode opus, Twin Peaks: The Return, shortly after. Coffee and pie, optional. Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public Source

If you were alive in 2006, no matter what age you were, you probably heard “MakeDamnSure” by Taking Back Sunday at least once. Maybe it was your favorite song, maybe it was just playing over the PA at the local minor league baseball game, but you definitely heard it. Now, 13 years later, the song is revived by an unlikely group: Adventure Club, Modern Machines, and Saint Slumber. With the newly recorded vocals and production, the song is only mildly recognizable. The lyrics remain the same, so at least that much is similar. But as for the “chorus,” or in this case the drop, it’s something entirely new. This is definitely less of a remix and more of a complete reimagining. The drop is much more hopeful sounding than the original chorus, and in fact, the whole song has a more positive feeling. There’s a strong chance that die hard fans of the original aren’t going to vibe with this new retelling, but sure to win all artists involved some brownie points with their more emo fanbase. Listen to Adventure Club, Modern Machines, and Saint Slumber’s cover of “MakeDamnSure” below, via Proximity. This article was first published on Your EDM. Source: Adventure Club Teams With Modern Machines & Saint Slumber For Taking Back Sunday Cover Source

LCD Soundsystem announced plans for a new live album, Electric Lady Sessions, this past fall. Now, DFA and Columbia Records have divulged the album’s release date — February 8th — along with a tracklist. As its title suggests, the album was recorded live at NYC’s Electric Lady Studios and features performances of classics like “get innocuous” and “home”, as well as a number of songs from 2017’s Grammy-winning American Dream. The 12-song tracklist also contains covers of Heaven 17’s “(We Don’t Need This) Fascist Groove Thang”, Chic’s “I Want Your Love”, and Human League’s “Seconds”. Check out the full tracklist below, and pre-order Electric Lady Sessions here. Electric Lady Sessions Artwork: Electric Lady Sessions Tracklist: 01. Seconds (Human League cover) 02. american dream 03. you wanted a hit 04. get innocuous 05. call the police 06. i used to 07. tonite 08. home 09. I Want Your Love (Chic cover) 10. emotional haircut 11. oh baby 12. (We Don’t Need This) Fascist Groove Thang (Heaven17 cover) Source

Armin van Buuren and W&W only just collaborated on “Ready To Rave,” and Dimitri Vegas & Like Mike and W&W teamed up on main stage bangers such as “Crowd Control,” “Arcade” and the Tomorrowland anthem “Waves.” But never before have all three artists collaborated on a single track until now: “Repeat After Me.” Having just appeared as a special guest on the final night of DVLM’s Garden of Madness shows in Antwerp, Armin joins the Belgian duo and W&W on a new main stage-destined banger that has all the energy a 40,000-person crowd needs to jump, hoot, and holler. Combining the strengths of trance and big room house in one, the song carries a wave of nostalgia and festival energy that can be felt right in the comfort of your own home. Listen to “Repeat After Me” below. This article was first published on Your EDM. Source: Dimitri Vegas & Like Mike, Armin van Buuren, W&W At Last Release Collaboration, “Repeat After Me” Source

Beginning with Lost Lands in 2017 and debuting Bass Canyon last year, Excision now has two very successful festival brands under his belt in addition to a flourishing tour schedule that seems to be year-round. It’s not a stretch to say that Excision is one of the busiest people in dance music these days. With 2019 just beginning, he’s already looking to the rest of the year. Just today, he’s announced the dates for Bass Canyon and Lost Lands in 2019: August 23-25, and September 27-29, respectively. Bass Canyon will return to The Gorge in Washington, while Lost Lands will return to Legend Valley in Ohio. If this past year is any indication, the lineup for Lost Lands is expected in April, while Bass Canyon is expected in March. Stay tuned for more details, but get those plane tickets and accommodations ready now before prices go up. Photo via Jake West Photo for Lost Lands This article was first published on Your EDM. Source: Excision Announces Dates For Bass Canyon & Lost Lands 2019 Source

It’s been a major week for the guys of Disturbed. Not only did the Chicago rockers kick their North American tour off Wednesday night (January 9th) in San Diego, but the band also performed on Jimmy Kimmel Live! last night. Disturbed are touring in support of their latest studio album, 2018’s Evolution. Frontman David Draiman recently caught up with Heavy Consequence and discussed what to expect from the band’s 2019 tour, which features support from Three Days Grace. (Tickets can be acquired here.) “Each one of these performances will span about two hours. It will go through our entire discography … It’ll incorporate aspects of production that we’ve never attempted,” he told us, adding, “It’s going to be an experience for fans … that is unlike anything they’ve ever seen.” The opening night setlist was heavy on songs from the band’s debut album, The Sickness, including the massive hits “Stupify” and “Down With the Sickness”, while the new album, Evolution, was represented with three songs: “Are You Ready”, “A Reason to Fight”, and “Hold On to the Memories”. On Kimmel’s show, the band performed “A Reason to Fight” on national television, while a bonus performance of “Are You Ready” is streaming via the show’s YouTube channel. Watch both performances, as well as fan-filmed footage of the band’s cover of Simon & Garfunkel’s “The Sound of Silence” from the tour kickoff, below. Check out our interview with David Draiman here, and view Disturbed’s 2019 tour itinerary here. Tickets can be acquired here. Disturbed’s 2019 North American Tour Kickoff in San Diego 1/9, Setlist: Are You Ready Prayer The Vengeful One Voices The Animal Immortalized Stupify Land of Confusion (Genesis cover) Hold On to Memories (Live Debut) The Game A Reason to Fight The Sound of Silence (Simon & Garfunkel cover) Indestructible Inside the Fire The Light Stricken Down With the Sickness Source

Calvin Harris and Rag’n’Bone Man deliver on their simply superb new single “Giant,” out today. With uplifting lyrics, infectious rhythm, and horns that will get you off your feet, “Giant” has everything a proper dance track needs. Harris is careful to not overdo it, letting the vocals guide the beginning of the track with a slow, gradual build into the meat of the production. Strong metaphors embedded in the song — such as “we’ll be breaking boulders, underneath our feet” — paint a picture of this larger than life collaboration. This goes to show, a song doesn’t need to be over-the-top to make a grand statement. Anyone craving a dance track with a new perspective and a whole lot of soul, “Giant” is for you. Listen here and sign along with the lyrics below. Calvin Harris – “Giant” with Rag’n’Bone Man  “Giant” Lyrics [Verse 1: Rag’n’Bone Man] I understood loneliness Before I knew what it was I saw the pills on the table For your unrequited love I would be nothing Without you holding me up Now strong enough for both of us Both of us, both of us, both of us [Chorus: Rag’n’Bone Man] I am a giant (Ooh) Stand up on my shoulders, tell me what you see ‘Cause I am a giant (Ooh) We’ll be breaking boulders, underneath our feet I am, I am, I am, I am, I am, I am a giant (Oh) I am, I am, I am, I am, I am, I am a giant (Oh) [Verse 2: Rag’n’Bone Man] Don’t hide your emotions You can throw down your guard And freed from the notion We can be who we are You taught me something, yeah That freedom is ours It was you who taught me living is Togetherness, togetherness, togetherness [Chorus: Rag’n’Bone Man] I am a giant (Ooh) Stand up on my shoulders, tell me what you see ‘Cause I am a giant (Ooh) We’ll be breaking boulders, underneath our feet I am, I am, I am, I am, I am, I am a giant (Oh) I am, I am, I am, I am, I am, I am a giant (Oh) [Bridge: Rag’n’Bone Man] Oh, oh, oh, hey-oh, oh, oh, oh, hey-oh Gonna shake, all the way, in the dirt, underneath, yeah, yeah Oh, oh, oh, hey-oh, oh, oh, oh, hey-oh Gonna shake, all the way, in the dirt, underneath, yeah, yeah Oh, oh, oh, hey-oh, oh, oh, oh, hey-oh Gonna shake, all the way, in the dirt, underneath, yeah, yeah Gonna shake, all the way, in the dirt, underneath, yeah, yeah Oh, oh, oh, hey-oh, oh, oh, oh, hey-oh Gonna shake, all the way, in the dirt, underneath, yeah, yeah Gonna shake, all the way, in the dirt, underneath [Chorus: Rag’n’Bone Man] (Ooh) I am, I am, I am (Ooh) I am, I am, I am, I am, I am a giant (Ooh) I am, I am, I am, I am, I am a giant (Ooh) Photo via Rukes.com This article was first published on Your EDM. Source: Calvin Harris & Rag’n’Bone Man Unleash Gigantic, Uplifting Collab [LISTEN] Source

Last month, Black Mirror: Bandersnatch took up the entire weekend for people around the world. Viewers spent hours attempting to work their way through the episodic film’s twists and turns en route to whatever ending they wanted most — or at least to the most endings. The project adopted the popular “choose your own adventure” structure of so many ’80s and ’90s kid novels in an attempt to comment on the ways in which our pop culture is as much built around the illusion of choice as anything else. However, as it turns out, that creative release device may prove expensive for Netflix. Chooseco, LLC, the company which owns the copyright for the specific “Choose Your Own Adventure” brand, alleges in its lawsuit that Netflix attempted to solicit a license for the property as far back as 2016. In the filing, Chooseco alleges that “Chooseco and Netflix engaged in extensive negotiations that were ongoing for a number of years, but Netflix did not receive a license… On at least one occasion before the release of Bandersnatch, Chooseco sent a written cease and desist request to Netflix asking Netflix to stop using the CHOOSE YOUR OWN ADVENTURE mark in connection with its marketing efforts for another television program”. The controversy seems to primarily stem from the dark nature of Black Mirror’s subject matter. The lawsuit alleges that “The film’s dark and, at times, disturbing content dilutes the goodwill for and positive associations with Chooseco’s mark and tarnishes its products.” The company is seeking $25 million from Netflix, suggesting that the series specifically trades on nostalgia for the Choose Your Own Adventure brand. (For what it’s worth, the brand is specifically name-checked within the film.) We’ll be following this story as it develops. Find a copy of the filing below (via Pitchfork). View this document on Scribd Source

This year is shaping up to be one for the books for The Raconteurs. The rock supergroup led by Jack White is planning to release its first album since 2008, as well as return to the road for a supporting tour. Now, they’ve announced another treat for fans, with a very White-ian twist: They’re putting out a 3-inch single (!!) exclusively for Record Store Day 2019. As Exclaim points out, a photo of the adorably mini-record was posted on Record Store Day’s Facebook page on Wednesday. A closer look at the image reveals that the single in question is “Store Bought Bones”, taken from The Raconteurs’ 2006 album, Broken Boy Soldiers. A special Crosley turntable for 3-inch records is also shown, along with the hashtag #RSD3, hinting that the tiny device will also be sold for RSD2019. Per the photo’s caption, collectors should expect “a whole batch” of other 3-inch singles available for purchase on Record Store Day, which goes down April 13th. (Read: The 10 Most Anticipated Indie Rock Albums of 2019) Fans of all things Jack White will probably not be surprised to hear that this isn’t the first time the Detroit rocker has fiddled around with the 3-inch medium. In 2005, The White Stripes sold a limited-edition mini record player called the “Triple Inchophones” and a corresponding series of 3-inch singles of “Seven Nation Army”, “Fell In Love With a Girl”, and “Hotel Yorba”, among others. Below, check out a video of “Seven Nation Army” played on one of those Triple Inchophones, followed by a brief description of the unique release courtesy of YouTube user Kneel Allen. During their 2005/06 tour the White Stripes sold a small record player at their merch stand. These Triple Inchophones were the trademark red & white of the band and did not sell too well at first, until Jack explained exactly what they were on the bands’ official site. The record players were made by a Japanese company called 8-ball Bandai. These record players could only play 3-inch records. When Jack and Meg White invested in buying the machines from the company they were led to believe there were many units ready for distribution; in fact, the company had destroyed all but 400 of their units. The White Stripes proceeded to buy these remaining 400 units and sell them on tour along with a set of specially made 3-inch singles. The cost price of a unit at the shows was around $120. Jack remastered and remixed six of the White Stripes previous releases into a 3-inch format for release with the Triple Inchophone. These included Hotel Yorba, Dead Leaves and the Dirty Ground, Fell in Love with a Girl, Seven Nation Army, The Hardest Button to Button (with an alternative sleeve), and Blue Orchid (also with an alternative sleeve). Source

Coming soon to Quality Goods Records is a series of remixes based around UZ‘s epic album The Rebirth. Whilst fans eagerly wait for it to drop (out January 18th, FYI), UZ is doing a special giveaway. The trap legend has crafted four instrumental bonus tracks, that will be available as a giveaway. There is no waiting around for these; you can check out and get your hands on wicked versions of ‘Leave It’ ft. Rome Fortune, ‘Flash’ ft. Bok Nero, ‘Cray’ and ‘Castle.’ Each tune here encompasses a raw, resounding energy from their purely instrumental form – ‘Castle’ in particular sounds stunning as a stripped back cut. Download The Rebirth Instrumentals here, and make sure to pre-order your copy of UZ’s remix LP here. This article was first published on Your EDM. Source: Premiere: UZ – The Rebirth (Instrumentals Giveaway) Source

Coming as the precursor to his forthcoming Infinity LP is Liquid Stranger‘s ‘Burn Like The Sun.’ The extraordinary producer has put together this single with the help of singer/songwriter and DJ Leah Culver, who lends her vocals to the cut. Liquid Stranger is able to move fluidly through sub genres, and fuses together bass and electronic stylings to make a dazzling final product. We love the energy that Culver brings to the table. The producer’s work here is crisp yet packed with dynamic flair – thanks to its drums and electro-charged bassline. Whilst we wait for the new album, pick up ‘Burn Like The Sun’ here.  This article was first published on Your EDM. Source: Liquid Stranger ft. Leah Culver – Burn Like The Sun Source

As untouchable movie stars go in this strange, ever-shifting era of pop culture, Dwayne Johnson is about as close to untouchable as you can get. He’s a centerpiece in at least two smash-hit franchises, he’s the kind of inspiring star who can hock workout advice without it coming off as corny, and hell, he still is and will forever be The Rock. Some people, including him, would go as far as wanting him to become the President of the United States. Regardless, if modern culture has taught us anything in the last few years, it’s that we probably shouldn’t take our pop icons all that seriously, especially when they’re every bit as prone to offering Bad Takes as the rest of us. Case in point: in a recent interview with UK tabloid The Daily Star, Johnson expressed chagrin with a modern generation full of what he and no shortage of awful people have referred to as “snowflakes.” From the “interview,” which is admittedly more just a series of pull quotes on a website covered in advertising: “I don’t have to agree with what somebody thinks, who they vote for, what they voted for, what they think, but I will back their right to say or believe it. That’s democracy. So many good people fought for freedom and equality — but this generation are looking for a reason to be offended. If you are not agreeing with them, then they are offended — and that is not what so many great men and women fought for.” He reportedly continued to say, “We thankfully now live in a world that has progressed over the last 30 or 40 years… People can be who they want, be with who they want, and live how they want. That can only be a good thing — but generation snowflake, or whatever you want to call them, are actually putting us backwards.” Regardless of the context, which we’ll almost certainly hear more about in the days to come, it’s hardly a great time for Johnson to throw down this particular gauntlet, especially when those snowflakes will become the biggest voting generation in the US whenever the Boomers finally cede their grasp on the population majority. Have fun with this coming back around in the event of your possible/let’s-be-honest-it’s-inevitable political campaign, Dwayne. Source

Send ‘em home happy. If you spend season after season, year after year with a show and a cast of characters, you want their final notes to be pleasant ones. As viewers, we’ve also invested in them. We’ve committed to their journeys by that point. To have them end in pain or tears or frustration would be too much after all of that. And most series, no matter how dark or cynical they may be, oblige their audiences on that account. In the 20 years since The Sopranos first took to the airwaves, scores of shows followed in its footsteps, imitating its dark-hearted approach, novelistic bent, and antihero bona fides. In the ensuing two decades, television’s level of moral complexity rose; the chances to see protagonists make ethically questionable choices soared, and examinations of the grim underbelly of everything that TV once made bright and clean became legion and fashionable. But for all the titans who emerged in Tony Soprano’s (James Gandolfini) wake, few if any have had the stick-to-your-guns conviction to finish their runs on a note so bleak, a loss so complete, or an ending of such unmitigated tragedy. In the final bows for Breaking Bad, Mad Men, The Wire, and the other heavyweights who became the keepers of the flame, there is certainly loss and death and a sense of mistakes and missteps catching up with the people who made them, alongside those unfortunate enough to be in their orbit. And yet, in the end, there is also relief, measured victory, and a hope born of freedom, rebirth, and renewal as well. The Sopranos, Courtesy of HBO The Sopranos offers no such comforts in its swan song, only the harsh reminder that every effort to improve or escape has come to naught, and all that’s left is the same rot that brought everyone so low. Because nobody wins by the time “Made in America”, the show’s polarizing season finale, comes around. In Tony’s mob family, Silvio is in a coma and might never wake up. Friends like Big Pussy have long since betrayed the code and so had to be disposed of. And Paulie, a man who Tony himself considered whacking not long before the finale frame, is left to preside over a line of empty tables in front of Satriale’s, attended only by the empty spaces where his cohort used to join him. In Tony’s real family, Carmella (Edie Falco) has gradually, grindingly, seen her dreams crushed and her escape attempt thwarted, until she accepts that this unsatisfying life is the only one she knows how to live. A.J., the unwitting inheritor of his father’s conditions, gives up his budding activism and distaste for the injustice of the world at the prospect of a cushy job and a cushy life, where the status quo is easier than pushing, however naively, for something more. And Meadow, who Tony imagined would become a pediatrician, looking after innocents to assuage his guilty soul, instead becomes a civil rights lawyer, destined to defend mobsters like him after seeing how her father fared under the law. Despite Tony’s hopes for his children, that they might live a different sort of life, they’re still caught in the cycle his parents perpetuated; only the shape of it is a little different. The Sopranos, Courtesy of HBO For the people who straddle the line between Tony’s two families, the fates the show offers are no better. By the end of the series, his nephew Christopher, who had the temerity to do what Tony couldn’t by giving up his bad habits and bettering himself, is drawn back into the muck by his uncle, until it and the man who lured him there come together to kill him off. Tony’s Uncle Junior, who spent so many years thirsting for respect, straining to be at the pinnacle of his line of work, doesn’t even know who he is when we last see him, all his life’s work banished to the shadows of dementia. And his mother, Livia, the most frightening villain in television history, dies an aggrieved, unloved, embittered woman. Innocents like Adriana are culled. Better-natured baddies like Bobby Bacala are casualties of war. Guiltless bystanders are caught in the crossfire. Dr. Melfi alone manages to escape unscathed and only achieves that by cutting out the tumor that is Tony Soprano, this miserable creature who taints everything he touches. And by the end, Tony himself fully and finally becomes a lost cause. Whether he lives or dies after that famed cut to black is, while maybe not the least interesting question from the series’ finale, certainly not the one that matters most. Whether he’s still drawing breath by the final stanza of “Don’t Stop Believing” or experiencing firsthand a punctuation he once prophesied that you could neither see nor hear, Tony is spiritually dead long before he stares down the man in the Members Only jacket. The Tony Soprano we see in “Made in America” has had every chance to change, from the support (and occasional enablement) of his therapist, to the morals and wake-up calls continually dispensed to him by the universe, to the near-death experience that gave him one final shot to realize what’s important and stick with it. Time and again, the comforts and privileges of his way of life were too much to give up. The culture and expectations of his “job” stunted his better impulses and fed his cruelty and selfishness. The scars of his upbringing, the twisted sense of love he knew growing up, proved too much to eclipse. The grand project from episode one of The Sopranos was for Tony Soprano to get better, and by the end of the series the show declares, in more actions than words, that he couldn’t do it and never will. Even if he’s still around after the credits roll, his soul has atrophied and his life is no longer worth caring about. The abiding moral of The Sopranos is one of inescapable inertia. Change is not impossible. Betterment is not a myth. But both are elusive, painful, and excruciatingly hard. So many of the show’s players come so very close to finally seeing the quicksand they’ve fallen into and crawling out of it. But over and over again, they are inevitably dragged back down, by fate or misfortune or toxic Tony himself. David Chase, and his incredible team of collaborators, give us no respite from that. The Sopranos, Courtesy of HBO Twenty years later, when so many other shows have tried to do what The Sopranos did, the thing that distinguishes this herald of modern prestige TV from the generation of shows it inspired isn’t its depth, its complexity, or its darkness, which, while extraordinary, have all been met and matched, in fractions and wholes, by the series’ successors. It’s the boldness of letting every personal journey through six seasons and 86 episodes fall to ruin. It’s the commitment to the premise that Tony’s grand projects — for his family, for his future, for himself — end in total failure. It’s the chutzpah of leaving every individual the audience cares about either dead, doomed, or irrevocably corrupted. In a television landscape with so much darkness for darkness’ sake, The Sopranos painfully earns every bit of the bleakness of its ending. In a series with so many themes about its ecosystem and main character as a stand-in for the crumbling American Dream, its creators don’t give us the sop of pretending to build it back up. In a show about so many people trying to change, so many people wanting to do better, so many people hoping to escape, The Sopranos’s legacy is one of defeat, of capture, of tragedy, without a wisp of solace for an audience who watched it all happen in slow motion. Source

Blues rock virtuoso Gary Clark Jr. has officially announced This Land, his upcoming third studio album and the follow-up to 2015’s The Story Of Sonny Boy Slim. Out March 1st, the 15-track LP was recorded at Austin’s Arlyn Studios and features everything from “Prince-like epics” to “dub-reggae jams” (via Rolling Stone). The lead single and title track, however, falls more in line with the searing rock n’ roll we’ve come to expect and eagerly anticipate from Clark. Built on top of burning licks and a rickety groove, “This Land” stomps and snarls before washing out into a blurry-edged guitar solo. Lyrically, Clark breaks new ground by delivering a damning indictment of the racism he’s experienced in his life, set to a hook he heard rallied against him during his youth growing up in Texas: “Nigga run, nigga run/ Go back where you come from.” Speaking to Rolling Stone about the subject matter, Clark said, “I think it’s only right at this point in time, if you have a microphone louder than others, to speak out about that anger.” Listen and watch the symbolism-filled video directed by Savanah Leaf below. Find the This Land cover art and tracklist below. This Land Artwork: This Land Tracklist: 01. This Land 02. What About Us 03. I Got My Eyes On You (Locked & Loaded) 04. I Walk Alone 05. Feelin’ Like A Million 06. Gotta Get Into Something 07. Got To Get Up 08. Feed The Babies 09. Pearl Cadillac 10. When I’m Gone 11. The Guitar Man 12. Low Down Rolling Stone 13. The Governor 14. Don’t Wait Til Tomorrow 15. Dirty Dishes Blues Bonus Tracks: 16. Highway 71 17. Did Dat Clark followed the announcement of the new album by performing the single and another new song entitled “Feed The Babies” Stephen Colbert. The latter is a brass-indented soul number that takes place at the smooth upper edges of Clark’s range, and Colbert’s house-band Jon Batiste and Stay Human joined Clark for the rendition. Watch both performances below. In March, Clark will embark on a supporting U.S. tour. You can grab tickets here. Source

Overnight, The Weeknd and Gesaffelstein surprised us with a brand new single, “Lost in the Fire.” Naturally, it’s all anyone is talking about today. While some think it sounds like “Star Boy” 2.0 (it does), others are simply getting lost in the magic of these two artists coming together again. Either way, the sound of Gesaffelstein’s return is mighty sweet. It’s time to get to know the lyrics in and out — because we’ll be hearing this song for a long while. Gesaffelstein lent himself for The Weeknd’s My Dear Melancholy EP, now it’s only right he return the favor for the producer’s forthcoming album. “Lost in the Fire” is expected to be a part of a bigger project coming from Gesaffelstein in the near future. Look out! Listen to “Lost in the Fire” here and read up on the lyrics below. Gesaffelstein – Lost in the Fire (feat. The Weeknd)  Gesaffelstein & The Weeknd Lyrics [Verse 1] I wanna fuck you slow with the lights on (Lights on, lights on, lights on) You’re the only one I’ve got my sights on (Sights on, sights on, sights on) Type of sex you could never put a price on (Price on, price on, price on) I’ll take it off, you’re the one I’ll roll the dice on (Dice on, dice on, dice on) And I just want a baby with the right one (I just want a baby with the right—) ‘Cause I could never be the one to hide one (I could never be the one to hide—) [Pre-Chorus] And we lost a lot of things in the fire So it took a year for me to find out (Find out, find out) [Chorus] I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe (I can’t lose you, babe) Oh-oh (Oh-oh) I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe Oh-oh (Yeah) [Verse 2] I’m tired of being home alone (Home alone) I used to have a girl a day (Girl a day) Yeah, I want you to stay (I want you to stay, hey) You said you might be into girls (Into girls) You said you’re going through a phase (Through a phase) Keepin’ your heart safe (Keepin’ your heart safe, oh) Well, baby, you can bring a friend (Bring a friend) She can ride on top your face (Top your face) While I fuck you straight (While I fuck you straight, yeah) [Pre-Chorus] And we lost a lot of things in the fire (Fire) So it took a year for me to find out (Find out, find out) [Chorus] I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe (I can’t lose you, babe) Oh-oh (Oh-oh, oh-oh) I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe (I can’t lose you, babe) Oh-oh (Woah) [Bridge] I’m tired of being home alone Used to have a girl a day (Girl a day) But I want you to stay (I want you to stay, hey) [Chorus] I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe (I can’t lose you, babe) Oh-oh (Oh-oh, oh-oh, oh-oh, oh-oh) Ooh, ooh-ooh-ooh (Oh-oh, oh-oh, oh-oh) I can’t lose you, babe (I can’t lose you) I can’t lose you, babe (I can’t lose you, babe) I can’t lose you, babe (I can’t lose you, babe) Oh-oh (Oh-oh, oh-oh, oh-oh, oh-oh) This article was first published on Your EDM. Source: LYRICS: Gesaffelstein & The Weeknd – “Lost in the Fire” Source

Love Jones commemorated the 25th anniversary of their classic album Here’s to the Losers in 2018. The celebration has continued into the new year, however, as the Kentucky outfit revived the “Cocktail Nation” wave of the early ’90s with a special appearance on last night’s The Tonight Show. It was a fitting venue for the commemorative performance, as Jimmy Fallon has been a fan since college. The late night host rediscovered Love Jones last fall, after the group granted his wife a unique request. “The favor was to record a birthday song for his birthday so she could give it to him on his birthday,” lead guitarist Todd Johnson told Louisville’s WAVE 3 News. “After it happened, it reignited his interest in having us become part of the show.” Known for their fusion of pop, blues, and jazz lounge, the band took the Tonight Show stage with a classy and stylish rendition of “Here’s to the Losers”, the album’s title track. As a bonus, the group also played “Ohio River”, and even had diehard fan Fallon provide additional vocals. Catch both replays below. Along with Here’s to the Losers, Love Jones are well known for their contribution to the 1996 hit film Swingers. As the story goes, Love Jones were tapped for the project after director Jon Favreau and lead actor Vince Vaughn caught a number of their shows. The band’s bassist, Barry Thomas, also ended up serving as a music consultant on Swingers. Source

The ever-busy Randy Blythe isn’t take a break anytime soon, as the Lamb of God vocalist has just formed a new band with members of Animals As Leaders and Sworn Enemy. The outfit, named Over It All, has inked a deal with Sumerian Records, with apparent plans to release music this year. While details are scarce, the news was revealed by Blythe on his Instagram page, where he posted a photo of the band with the caption, “The Nightmare Begins” 1.10.2019 In the @overitallofficial RV with my bros- we’re just ONE FREAKING DAY into this thing & already it’s trashed & smells like ass. I guess that what happens when you put a bunch of freaking savages from @lambofgod, @animalsasleaders, @swornenemynyc, & #atticsforautomatics together to form a band. Christ almighty, I thought I had left the van/RV days far behind me… Thanks @sumerianrecords for paying for the RV… I guess. Give us a follow for updates: @overitallofficial. What have I gotten myself into… Over It All.” The news was also posted over at Over It All’s new Instagram page, along with a more official-looking band shot. It reads, “What happens when you put together members of @animalsasleaders, @lambofgod, @swornenemynyc & Attics For Automatics? PURE MADNESS. We are OVER IT ALL. Hide your children, because we are coming for them in 2019. Thanks @sumerianrecords for the support & making this happen! Stay tuned…” In addition to Blythe, the band is made up of Animals as Leaders guitarist Javier Reyes (who plays bass in Over It All), Sworn Enemy guitarist Lorenzo Antonucci, Mediaskare Records founder Baron Bodnar, and 33 & West booking agent JJ Cassiere. What it all means for Lamb of God’s next album remains to be seen, especially since LoG guitarist Mark Morton is releasing his own collaborative album next month. However, drummer Chris Adler did hint in the fall that a new Lamb of God disc could be out by the end of 2019. What is known is that Lamb of God will continue to support Slayer on the upcoming legs of their farewell tour. Dates can be seen here. Behemoth's Top 5 Songs Tool’s Top 5 Music Videos Metallica’s Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

Earlier this week, Ryan Adams turned fans upside down when he announced that he’d be dialing things back to 2005 by releasing three new studio albums. His first is titled Big Colors and it’s dropping April 19th. Now, he’s back with his first slice of new music from the effort. It’s called “Doylestown Girl” and it aesthetically picks up where he left off on 2017’s jaw-dropping Prisoner, finding the singer-songwriter as confessional as ever. “I don’t know how somebody loves me,” he sings over a bed of acoustics and synths that wouldn’t be out of place on any of Springsteen’s late ’80s-early ’90s output. “I don’t know why you even do/ I don’t know how I ever survived without you/ All I ever do is cause you trouble/ I got all these things to work through.” The song itself takes the name from the Pennsylvanian small town of the title, and Adams certainly captures that atmosphere with broad strokes, painting an emotional portrait that anyone with a gushing heart can relate to with ease. Stream the track below (via WXPN) and go for a walk. Source

Each week we break down our favorite song, highlight our honorable mentions, and wrap them all up with other staff recommendations into a playlist just for you. Nothing says neo-soul like Noname. On January 2nd, she posted the cover of the “Song 31” single on Twitter and retweeted it with the caption: “When you arguing wit yo homies over whether or not I can rap, send them this.” The rapper has already proven herself several times over with Telefone and Room 25, but she’s right that “Song 31” propels her talents into a whole new light. She tackles issues of profit and authenticity at rapid speed, relinquishing neither her economy of time nor her trademark soft, jazz-inspired vocals. At the chorus, the straightforward rap eclipses into a dream-tinged reflection, courtesy of Phoelix. Brimming with shrewd cultural critique (“What’s a casket to a holding cell if a n**** ain’t in it?”), “Song 31” is packaged around a steady backbeat and, in the wake of Room 25, illuminates yet another creative side of the genre-defining powerhouse that is Noname. _______________________________________________________ OTHER SONGS WE’RE SPINNING Sharon Van Etten – “Seventeen” Sharon Van Etten ramps up the buildup to her swiftly approaching next album with “Seventeen” a city-forlorn ode that captures what happens when grown-up realism meets nostalgia with lines like, “I used to be free/ I used to be seventeen.” –Laura Dzubay Future – “Crushed Up” Future makes being rich sound ice-cool in “Crushed Up”, a quick track that celebrates “plain janes” and “foreigns in the driveway” without losing track of the soft, steady beat and the rapper’s signature loose vocals. –Laura Dzubay Lana Del Rey – “hope is a dangerous thing for a woman like me to have – but i have it” “Hope is a dangerous thing…” is confined to just Lana Del Rey’s voice and an occasional piano, leaving all the focus on Del Rey and her self-examination: Where her approach to sadness and happiness is often shrouded in aesthetic, here she reproaches these distractions, swapping out “24/7 Sylvia Plath” in favor of an honest consideration of what despair and hope mean to her. –Laura Dzubay Ex Hex – “Cosmic Cave” “Cosmic Cave” is a spirited burst of energy from Ex Hex, setting the buildup to their sophomore album in motion with a guitar-driven, pep-in-your-step interstellar joyride that beckons the listener to join in on the fun. –Laura Dzubay Stella Donnelly – “Old Man” The melody of Stella Donnelly’s “Old Man” is playful, but the subject matter is anything but: Rich with the triumphs of “Time’s Up,” the song is full of all-too-satisfying reproaches and promises that any man who “[grabs] with an open hand” is going to find the world “grabbing back.” –Laura Dzubay Black Pistol Fire – “Level” Black Pistol Fire levels up in their first single since 2017’s Deadbeat Graffiti, countering adversity (“It couldn’t come at a worse time, used up all my lifelines”) with indomitable energy and a rock-infused will. –Laura Dzubay Nick Waterhouse – “Song for Winners” Catchy from the start, “Song for Winners” is what it sounds like, making full use of its saxophone solos and gravelly vocals and showcasing only the best of Nick Waterhouse’s skills in rhythm and blues and road-trip-ready guitar. –Laura Dzubay Billie Eilish – “When I Was Older” Young singer-songwriter Billie Eilish sneaks up on her listeners in this Roma-inspired track, letting a hushed beat and barely whispered vocals grow into an electronically realized portrait of dread and sympathy. –Laura Dzubay Girlpool – “What Chaos Is Imaginary” “What Chaos Is Imaginary” works like a dream for LA duo Girlpool, with both the melody and the lyrics getting at the same kind of transience and the entire track blooming with choral synchrony and atmospheric gleam. –Laura Dzubay _______________________________________________________ This Week’s Playlist Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public The latest Kyle Meredith With… is a special triple episode, featuring three musicians — Brandi Carlile, Courtney Barnett, and Erika Wennerstrom — who all have brand-new records out recently. Carlile discusses her politically charged single, “The Joke”, and the idea of radical acceptance and forgiveness and revisits her album The Story. Barnett talks about the shift in her songwriting toward bigger worldwide issues, her tee shirt collection, and the chances of her and Jen Cloher (Australian singer-songwriter and Barnett’s wife) doing an album together in the future. Finally, Wennerstrom shares what it’s been like taking time away from the Heartless Bastards, how trips to faraway lands influenced the writing of her new record, and the mythos of the highway. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Brandi Carlile: Courtney Barnett: Erika Wennerstrom: Source

In 2014, What We Do in the Shadows became a bonafide cult movie in an era when pretty much every weird movie that makes little money has someone attempting to build a cult around it. Co-starring director Taika Waititi (who’d go on to make one of the best Marvel movies) and Flight of the Conchords‘ Jemaine Clement, the vampire movie/parody ran for miles with the simplest possible premise: what if a bunch of vampires, hundreds of years old in the Bram Stoker tradition, were forced to deal with modern everyday life? The results were hysterical in that “gotta show all my friends” kind of way, so it’s a no-brainer that the broad concept continue on in some form. Now that FX’s series adaptation is finally on the way, we’re getting a better look at the new crop of struggling ancients, this time as they attempt a birthday celebration: Waititi and Clement remain on board as writers (and Waititi as director on a few episodes), but the series will follow a new set of long-suffering roommates (Kayvan Novak, Matt Berry, Natasia Demetriou) as they deal with the unmitigated horror of modern living. The series will premiere in March 2019, although an exact date hasn’t yet been confirmed. In the meantime, enjoy the other quick looks at the show’s strange, dryly hysterical world. FX’s What We Do in the Shadows is actually the third spin-off of the sleeper indie hit movie. A mini-series entitled Wellington Paranormal focusing on the two cops from the movie, Karen (Karen O’Leary) and Mike (Mike Minogue), premiered on New Zealand’s TVNZ 2 last year. Waititi and Clement are also working on a theatrical sequel called We’re Wolves, which will focus on the group of werewolves led by Rhys Darby. Source

Flatbush Zombies brought a hyped up dose of East Coast hip-hop to the Late Late Show with James Corden on Thursday night. Accompanied by the marching band from the University of Southern California, the CoSigned Brooklyn rappers lit up the stage with “Headstone”, their swinging Vacation in Hell single that references legends like 2Pac, Mobb Deep, Dr. Dre, and Bone Thugs-N-Harmony. (Read: Flatbush Zombies Chew On Hendrix Psychedelia and Hip-Hop) Replay the performance below. Vacation in Hell dropped April 2018 and featured collaborations with Portugal. The Man, Joey Bada$$, and Denzel Curry. In October, Flatbush Zombies shared a new song dubbed “New World Order”. Source

Dream Theater have unveiled a second song off their upcoming album, Distance Over Time, a dynamic seven-minute opus titled “Fall Into the Light” that is heavy on the riffs and showcases the band’s masterful musicianship. The track gives every member of the veteran prog-metal band a chance to shine, shifting from Ghost-like verses to a Beatles-esque chorus to a dynamic instrumental section, all while remaining quite heavy throughout. The song echoes a sound that would fit nicely on Dream Theater’s 1999 album, Metropolis Pt. 2: Scenes from a Memory. “‘Fall Into The Light’ is about the quest towards enlightenment that exists in life,” said bassist John Myung in a press release. “It is more about the underlying themes of life’s journey and less about what happens once you get there. It is a song of introspection; about looking inside to find your individual happiness.” The track, which can be heard in the official animated video below, follows the earlier release of first single “Untethered Angel”, which dropped a little over a month ago. Distance Over Time arrives February 22nd, and the band will embark on a North American tour on March 20th in support of the disc and in celebration of the 20th anniversary of Metropolis Pt. 2: Scenes from a Memory. Pre-order the new album at this location, and see the band’s tour dates here. Tool’s Top 5 Music Videos Metallica’s Top 5 Songs Behemoth's Top 5 Songs Alice in Chains' Top 5 Pearl Jam’s “Jeremy” Annotated Video Source

The Lowdown: Maggie Rogers, master of the middle part and inciter of impromptu dance parties, has been frolicking around the scene for quite some time, releasing singles sporadically over the course of two years; after a quick stint with Pharrell, Rogers’ work spread rapidly, intensified by her infectious energy. Now, with the release of her first full-length record, Heard It in a Past Life, the young singer has officially arrived. The Good: Over the course of 12 songs, Rogers walks us through the radical past few years of her life as she transitioned from studying at NYU to performing on Saturday Night Live. On the album, she speaks freely and often of change and the accompanying growing pains. On the irresistible track “Overnight”, Rogers sings: “People change overnight/ Things get strange/ I’m alright/ I’m still here.” Although upon shallow listen much of the album presents itself as lighthearted synth-pop dance tracks, there’s also an underlying layer of emotional depth resting beneath. This is what Rogers does with impeccable ease; she has a knack for juxtaposing contagious beats with raw, sometimes dejected lyrics without creating a sense of dissonance. With Heard It in a Past Life, Rogers proves that the success of her singles was no mere accident. The Bad: There’s no denying the beauty of the song “Alaska”, the original track Rogers showed to Pharrell during the masterclass at NYU that started her whirlwind career. Since the release of that song in 2016, however, Rogers seems to have reached a new point of musical maturity, which has resulted in a more polished sound. So, for the purposes of this album, its position as the fourth track almost interrupts the previously established flow. The melodies of “Alaska” rest on an earthy, effervescent beat, the sound of which is not quite matched on the remaining industrial, more techno-inspired tracks. While it doesn’t completely throw a listener off track, it does take you out of the scene a bit and require some refocusing before continuing on to the next song. The Verdict: The placement of “Alaska” is not nearly enough to strip this album of being titled what it is: an incredible debut record. It’s clear that Rogers took her time to create a project that encompassed her journey thus far and is bursting with energy and daring you to dance. More so, she doesn’t stray from slower, emotional ballads like “Past Life”, a track that bears a resounding similarity to early Stevie Nicks, proving the duality of her craft. If anything, this record is a formal announcement: Maggie Rogers is here to stay. Essential Tracks: “The Knife”, “Overnight”, and “Past Life” Source