It’s been some seven months since we last heard of a potential truce between Liam and Noel Gallagher. Of course, after the former said the Oasis siblings had reconciled back in December, he backtracked in February and blamed the false statement on eggnog. Recently, however, Liam’s been pulling out some of the old band’s classic deep cuts during shows, which may have made him more amenable to a real reunion.
In a recent tweet, Liam reached out to his brother with what seems to be a legitimate olive branch. “I forgive you now let’s get the BIG O back together and stop fucking about,” he wrote, “the drinks are on me LG x.”
Now, because these are the Gallaghers, Liam couldn’t get away with making a genuine offer without taking the piss out of Noel a bit. “Earth to noel, listen up rkid I hear your doing gigs where people can’t drink alcohol,” began the tweet, “now that’s the BeZarist thing you’ve done yet.” Translation: Removing alcohol from your concerts was a stupid move, dear brother.
Regardless of the dig, Liam appears sincere in his desire to let bygones be bygones and reunite Oasis. He responded to a fan who said Liam’s latest solo album, As You Were, proved he didn’t need Noel by saying, “I’m not desperate just think it’d be a nice thing to do.”
Well, it certainly would be nice...
The wild and crazy guys of BROCKHAMPTON have unveiled a new track. During the sophomore edition of their Beats One radio program “THINGS WE LOST IN THE FIRE RADIO”, the hip-hop boy band premiered “1998 TRUMAN”. It’s accompanied by a video directed by BROCKHAMPTON leader Kevin Abstract, which you can stream below.
“1998 TRUMAN” follows the release of “1999 WILDFIRE” along with the premiere of “Tonya” on The Tonight Show last month. A new album called the best years of our lives is coming “soon.” It will mark the group’s first album since the solid SATURATION III, which was released in December 2017. More significantly, it will also be their first release since the group parted ways with member Ameer Vann following accusations of sexual and emotional abuse and misconduct by multiple women. Founding member Kevin Abstract initially defended Vann, but the group later cut ties, delaying the release of their next album, then called Puppy, and cancelling their tour. The tour, which includes a stop at Lollapalooza, is now back on.
Normally, this is the part of a review (the introduction, namely) that would contain some sort of appealing lede, a rumination on a scene or theme intended to draw in the reader and set up what’s to come in the following text. There might be mention of a young woman racing through an orange grove, a physical expression of joy that mirrors the appeal of the film in which that young woman exists; perhaps there are hints of a melancholic throughline that makes that joy all the sweeter.
In this particular case, perhaps the most honest response to this film is to do what it does: Dispense with the niceties, abandon fealty to logic, and get right to what the people want. So here goes. Mamma Mia! Here We Go Again is one of the most batshit crazy pieces of outright nonsense this writer has ever had the pleasure of encountering, and while calling it an excellent film would be going way too far, I enjoyed every single goddamn second of it.
Ostensibly a sequel-meets-prequel to Phyllida Lloyd and Catherine Johnson’s 2008 adaptation of the Broadway musical Mamma Mia!, writer-director Ol Parker’s Here We Go Again makes not one lick of sense. It leapfrogs back and forth in time, following Sophie (Amanda Seyfried) as she feverishly prepares for the grand re-opening of her mother Donna’s (Meryl Streep) hotel, and young Donna (the delightful Lily James) as she discovers the...
In an interview hyping his appearance at Special Olympics’ 50th anniversary concert this weekend, Chance the Rapper seemed to announce the impending release of a new album. However, just a day later he clarified that no album would be coming this week, but added that he’s “def been in the stu tho.”
Now, though, Chance has in fact delivered new music. It’s not an album, per say, but the Chicago MC has gifted fans with four new songs: “Work Out”, “Wala Caa” featuring fellow Chicagoan Supa Bwe, “I Might Need Security”, and “65th and Ingleside”. Take a listen below.
Update: On “I Might Need Security”, Chance announces his acquisition of local news site Chicagoist.
Chance’s last full-length solo album came in 2016 with Coloring Book. As detailed in a recent interview with the Chicago Tribune, Chance said he was working on a project with his mentor, Kanye West. The duo “casually” worked on two songs while Chance visited Kanye in Jackson Hole, Wyoming last month. “We’re up in the mountains around these wild animals — it’s very different out there — and we got some music done, and then he asked me if he could do an album with me,” Chance explained. “I don’t know of a timeline on...
Damon Albarn has delivered two Gorillaz albums in the span of a year, including last month’s release of The Now Now. He has no plans to slow down, either. Over the last few months, Albarn has been hyping the impending release of The Good The Bad & The Queen’s long-awaited sophomore album.
Earlier this week, Albarn dialed in to Kyle Meredith With… to discuss The Now Now and a variety of other topics. At the time of the interview, Albarn was just a day away from completing The Good The Band & The Queen’s LP and said he intends to “get it out by the end of the year.”
“I’m on tour in Europe doing festivals, but I’m coming home in between them [to finish the record]. I’m working all weekend doing festivals and then come home Monday, Tuesday, and Wednesday — that should be a weekend. But because I’ve stupidly started and want to make this record right, I don’t have any weekends,” Albarn quipped.
The Good, The Bad & The Queen, a supergroup which also features The Clash’s Paul Simonon, The Verve’s Simon Tong, and Fela Kuti drummer Tony Allen, dropped their only album way back in 2007. Albarn has called their new follow-up record “an ode to the North of England, bizarrely.”
Elsewhere in his interview with Meredith, Albarn wouldn’t rule out another Blur album: “Whenever Graham [Coxon] is around,...
Look, we love to complain about music festivals here at Consequence of Sound. We love it almost as much as we love attending them. During the 2018 festival season alone, we’ve taken issue with Bonnaroo’s lost identity, the latest death of rock at Coachella, and the continued existence of Post Malone.
It’s easy to focus on the negative amid such abundance. Right now, in America, there are more big-time popular music festivals than at any point in history. According to the calculations of our own Festival Outlook tracker, more than 150 are scheduled for 2018. Whether it’s a summer institution like Lollapalooza or a daring winter happening like Day for Night, festivals now come with an air of ubiquity and inevitability that make them easy to take for granted.
We should fight that impulse. If you take a look at the timeline of American music festival history, you’ll likely notice a gaping expanse, stretching from roughly December 1969 (the brutality of Altamont) to July 1991 (the first show of the inaugural Lollapalooza). During this span of nearly 22 years, stateside music festivals turned from ascendant cultural phenomena to endangered species, with the few successes vastly outnumbered by the high-profile failures. To find out how that happened, and how the festival staged a comeback, we took a dive into the archives of America’s newspaper of record, The...
NBA Hall of Famer Dennis Rodman wants to bring his friend Kanye West to North Korea, home to another one of his friends, Kim Jong-Un. As of last month, Rodman has made five trips to the repressive state; according to his agent, Kim and Rodman get along because they “both love sports and music.” It’s gotten Rodman into some hot water but that hasn’t stopped him from returning.
Well, apparently he’s planning to return in September, and he’s planning to invite Kanye West to come along. In an interview with Us Weekly, Rodman discussed his admiration for West, leading to this unlikely statement:
“[H]opefully one day we’ll get together and collaborate on certain things. Guess what, I’ll take Kanye West to North Korea with me. Matter of fact, I’m going to invite him next time I go to North Korea. If the door’s open in September, I will invite Kanye West with me to go to North Korea with me… If he wants to make an album about that he’ll be there for like six to seven days, and he’ll see what’s going on. Now, go make a song about this. So here you go.”
Elsewhere in the interview, Rodman mentioned that his friendship with West began after Rodman’s agent spotted a “shoutout” from the artist on social media. Rodman has since followed suit, suggesting that the pair should make a song about “leaders of love.”
The Equalizer 2 almost feels like the third entry, not the second, in this franchise reboot of the 1980s CBS television series. A number of characters, subplots, and backstory details feel as if they’ve been previously posited, when only Melissa Leo and Bill Pullman return to reprise their roles from the 2014 original. Why, for example, does the film begin with Denzel Washington‘s Robert McCall in disguise on a Turkish train, where he’s confronting a group of gangsters over a kidnapped girl? It’s not a flashback to his early years, but an out-of-character return to his lifestyle as a lethal, shady spy that he’s undertaken to save the daughter of a friend. It’s jarring and weird, though not necessarily unwelcome; more than anything, it just feels like a studio mandate to begin the film with a burst of action, logic and continuity be damned.
The film otherwise ambles its way out of the gate, finding McCall working as an Lyft driver, reading, and quietly living in a cozy, low-rent apartment. Perhaps emboldened by the events of the previous film, he’s less afraid to rough up some undesirables — one badass highlight finds Robert casually snapping the arms of a bunch of coke-dusted finance bros — but he’s also, in an echo of the previous film, trying to serve as a mentor of sorts to some good-hearted locals. The strangest is an old holocaust survivor, Sam (
Less than a week after confirming that the entire cast and creative crew behind Zombieland will return for a sequel, Sony has dated the long-awaited follow-up. Zombieland 2 will officially hit theaters on October 11th, 2019.
Stars Emma Stone, Woody Harrelson, Jesse Eisenberg, and Abigail Breslin are all back for the production, as is director Ruben Fleischer. They’ll be working from a script by original screenwriting duo Paul Wernick and Rhett Reese.
The October 11th release places it just one week after Warner Bros./DC’s Joker, an origin film starring Joaquin Phoenix from director Todd Phillips.
Additionally, Quentin Tarantino’s anticipated Once Upon a Time in Hollywood is being bumped up two weeks to July 26th, 2019. This moves it away from the 50th anniversary of the murders of Sharon Tate and her friends by the followers of Charles Manson, an event that plays out in the background of Tarantino’s film. The move is reportedly more about giving the film more summer screening time than avoiding the anniversary.
The studio is also set to release its new adaptation of Little Women for Christmas 2019, and Bloodshot, which is intended to launch the studio’s interconnected universe based on Valiant Comics, is pegged for February 21st, 2020.
Coming from Todd Phillips (The Hangover, War Dogs) and executive producer Martin Scorsese, the film will simply be called Joker. WB and its partners Village Roadshow have set a release date of October 4th, 2019.
That date adds to an already crowded month, which also promises Ang Lee’s Will Smith starrer Gemini Man; Dwayne “The Rock” Johnson’s Disney ride movie Jungle Cruise; John Crowley’s adaptation of the Pulitzer Prize-winning The Goldfinch; and Joe Wright’s adaptation of The Woman in the Window. That’s without mentioning that DC/WB will drop Wonder Woman 1984 just a month later on November 1st.
Budgeted at a relatively modest $55 million, the Joker will take a darker approach than the DC Extended Universe films centered around Justice League. The studio describes the movie as an “exploration of a man disregarded by society [that] is not only a gritty character study, but also a broader cautionary tale.” The film was co-written by Phillips and Scott Silver (8 Mile).
Now we just have to wait for some movement on that other Joker movie, the one starring Jared Leto and his obnoxious take on the character.
Conan O’Brien goes all out for Comic-Con, and this year is no exception. This time around, he’s roped a motley crew for a hilarious mockumentary on the Star Wars Cantina Band dubbed, Original Blowhards: The Story Of Figrin D’an And The Modal Nodes.
The four-minute clip is modeled off VH1’s Behind the Music and finds Doobie Brothers’ Michael McDonald, producer Don Was, and the one and only Paul Rudd as jerkstore executive Sethey Boone reminiscing on the infamous jizz band from a galaxy far, far away.
Watch below and catch the full episode tonight via TBS.
For a real documentary on the Mos Eisley cantina, check out our visual essay below, which goes into the deep history of the iconic scene. While you’re at it, subscribe to State of the Empire, our own Lucasfilm podcast, which looks for news in Alderaan places.
It ain’t over ’til the German astronaut sings. On Friday night, Kraftwerk closed out their set at Stuttgart’s Jazz Open Festival in the most epic way possible by performing “Spacelab” with German astronaut Alexander Gerst, who’s currently stationed, oh, 400 kilometers above sea level.
As Gerst pointed out, he’s currently “one of only six people in space,”making him inarguably the coolest person in the universe right now. And to prove his cool, he used a tablet computer that was configured with a virtual synthesizer to duet with the group on the 1978 track.
Before all that, though, he gave a nice space lesson to the audiences:
“The ISS is a Man-Machine, the most complex and valuable machine humankind has ever built,” he explained. “Here in the European Columbus Laboratory, the successor to the Spacelab, the European Space Agency (ESA) is researching things that will improve daily life on Earth. More than 100 different nations work together peacefully here and achieve things that a single nation could never achieve. We are developing technologies onboard the ISS to grow beyond our current horizons and prepare to take further species into spaces, to the Moon and Mars.”
Does this guy know how to party or what? Watch the whole performance below, then look to the stars above.
The upcoming disc will be Zombie’s seventh solo album, following up 2016’s The Electric Warlock Acid Witch Satanic Orgy Celebration Dispenser, which debuted at No. 6 on the Billboard 200 chart upon its release.
“I am very excited to work with the fine folks at Nuclear Blast,” remarked Zombie in a statement. “The combination of the label’s grassroots urge to get the hustle done mixed with the detonation of our most combustable melodic masterpiece yet should prove to be a winning hybrid of hellacious hullabaloo.”
A statement from Nuclear Blast reads, “As fans ourselves at Nuclear Blast we have long admired the artistry of Rob Zombie throughout his extensive and successful career in both music and film. It is a very exciting opportunity to unite Rob’s visionary talent with Nuclear Blast ingenuity. Nuclear Blast has a long history of thinking outside of the box and creating personal and collectible experiences for the fans. We look forward to delivering unforgettable experiences to fans around the world for years to come with the legendary Rob Zombie.”
Zombie recently finished up work on the new album, and he told Rolling Stone, “I think it’s the best record we’ve done, for sure … I think it’s got the widest variety of things we’ve ever...
Parlophone Records has announced the fourth entry in its series of career-spanning David Bowie box sets. Due for an October 21st release, the 11-CD, 15-LP collection entitled David Bowie Loving the Alien (1983-1988) features eight albums from Bowie’s most commercially successful period and includes previously unreleased music.
In addition to a remastered version of 1987’s Never Let Me Down, a brand new production of the record is included. Coming from Bowie producer/engineer Mario McNulty, the new version features fresh instrumentation from Bowie collaborators Reeves Gabrels (guitar), David Torn (guitar), Sterling Campbell (drums), Tim Lefebvre (bass). Nico Muhly provided string quartet arrangements and Laurie Anderson makes a camep on “Shining Star (Makin’ My Love)”.
Also included in the box is the never-before-released live album Serious Moonlight. The performance took place July 13th, 1983 in Montreal during Bowie’s “Serious Moonlight Tour” in support of Let’s Dance.
The set is rounded out with a three-LP live album, Glass Spider (Live Montreal ’87), pressed on vinyl for the first time; 1983’s Let’s Dance; 1984’s Tonight; a double-LP remix collection called Dance; and a triple-LP called Re:Call 4, featuring non-album singles, edits, B-sides, soundtrack songs (Labyrinth, Absolute Beginners, and When the Wind Blows); and more.
Both the CD and vinyl configurations include a hardback book featuring rare and previously unpublished photos by the likes of Denis O’Regan, Greg Gorman, and Herb Ritts, as well as reprintings of historical press reviews and technical notes from producers/engineers McNulty, Nile Rodgers, Hugh...
When Godzilla dropped in 2014 it was met with a lukewarm reception from hardcore fans of the 50’s monster icon (though it was lightyears better than that mutant iguana movie that dropped in ’98). But from the looks of its upcoming sequel, Godzilla: King of The Monsters, those same fans seem like they’re going to get all they can handle.
Starring Stranger Things Millie Bobby Brown and Vera Farmiga, Godzilla: King of The Monsters is set in a pre-apocalyptic world where humanity is on the brink and apparently our only hope is to unleash not only Godzilla, but the other titans of the ancient world like Mothra, Rodan and of course King Ghidorah. How unleashing a gang of destructive radioactive prehistoric monsters is the key to human survival is anyone’s guess but we’re here for it.
Keep in mind that this is supposed to somehow set up 2020’s highly anticipated Godzilla vs. King Kong so it should be interesting to see how this whole end of the world plot plays out.
Check out the trailer below and let us know if you’ll be checking for Godzilla when it drops May 31 next year.
Death Cab for Cutie are less than a month away from the release of Thank You For Today, their first album since 2015. In June, Ben Gibbard & co. offered fans a sneak peak of the LP with lead single “Gold Rush”. Now, they’re rolling out another tune in “I Dreamt We Spoke Again”.
Here, the frontman is both wistful and haunted after dreaming about an ex. “I dreamt we spoke again/ It had been so long your voice was like a ghost in my head,” Gibbard sings, a palpable ache in his voice. If you’ve ever woken up feeling literally shaken (or maybe tricked) by a hyper realistic vision, this one’s for you.
Check it out below via its lyric video.