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2018-08-17T03:00:52.773Z
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Travis Scott avoided the wrath of “Barbie Dreams”, the epic diss track on Nicki Minaj’s latest album, Queen. He may not be so lucky on the music charts, though, if Minaj has any say in the matter. And she kind of does.

Scott’s stellar Astroworld is currently reigning over the Billboard 200 this week, but next week will be a different story once Minaj’s Queen enters the charts. Billboard predicts both rap releases will pull in around 160,000 album units, making the race to the throne a tight one. To help bolster her odds of taking the crown, Minaj has retroactively added “FEFE”, her collaboration with Tekashi 6ix9ine, to her Queen tracklist, Complex speculates.

“FEFE”, which was originally released in July, is a bona fide hit in terms of streams and could be what pushes Queen to No. 1. The high placement isn’t just any milestone to Minaj, either. If she does succeed in snagging the top spot, she’ll go down in history as the first-ever female rap artist with three No. 1 albums.

But the addition of “FEFE” comes at a bit of a price. At a time when most acts would likely distance themselves from Tekashi — a controversial rapper who in 2015 pled guilty to the use of a child in a sexual performance and may end up on the

Disturbed have revealed the details of their upcoming seventh album, which is titled Evolution and arrives October 19th. Along with the announcement, the multiplatinum hard-rock band has unveiled the video for the first single “Are You Ready” (watch below).

The new song hits hard from the get go, with singer David Draiman screaming, “Are you ready, get up, get up,” as he calls for a revolution, with lines like, “Take those mental shackles off and throw them away / You’ve got to get them out of your mind / Don’t you let their vision leave you blind.”

As for the album Evolution, Disturbed issued the following statement:

It is with tremendous pride, joy, and anticipation that we look forward to sharing the next chapter in the creative life of Disturbed with the world. This record is truly unique, and very special to us, and we can only hope that upon listening to it, that the world will feel the same. The record showcases the most adventurous and eclectic combination of musical styles and moods that we’ve ever attempted in our careers. Each song truly has its own identity, feel, and power. The writing and recording sessions that fostered this album were truly an emotional and magical experience for us, creating without boundaries or limitations, and simply going where each day’s musical inspiration led us. Influenced by some of the great classic rock records of our youth, it is an experience unlike anything we’ve previously created. Its time is drawing near...

Coheed and Cambria’s Amory Wars recommence on October 5th with the release of The Unheavenly Creatures, the first in a five-part narrative called Vaxis, which is a continuation of the story told in the band’s 2007 album No World For Tomorrow. Oh, and this particular album takes place on a prison planet called The Dark Sentencer. Got all that?

Frontman Claudio Sanchez has teased the album’s sci-fi narrative with previous singles like “The Dark Sentencer” and “Unheavenly Creatures”, and now the band’s back with thrashing new single, “The Gutter”. Equipped with soaring, uplifting lyrics and melodies, the track explodes in a fiery chorus backed by an intergalactic storm of guitars. See a visualizer for the track below.

“The Gutter” premiered via Rolling Stone, which also conducted a far-ranging interview with Sanchez that offers some more insight into the album’s story and the resonance it has in its own life. “Vaxis is very much a reflection of my feelings as a father,” he said. “Vaxis the character has a big part in The Unheavenly Creatures, but he really comes into his own in the later stories. So right now it’s really a story about a man and woman reforging their love for one another and the idea that they in the future have this son who is super relevant to everything going on within the concept.”

He also added the actual process that comes with writing...

Parquet Courts have lined up a new batch of North American tour dates for the fall. Additionally, the Brooklyn garage rockers have let loose a music video for “Freebird II”, the Lynyrd Skynyrd-referencing track taken from their latest album, Wide Awake!.

This newest run of stateside concerts kicks off in November and includes some of the biggest venues Parquet Courts have ever played, including New York’s Hammerstein Ballroom and Chicago’s Vic Theatre. The band is also scheduled to make stops in Pittsburgh, Cleveland, Toronto, and Montreal before wrapping up in the Big Apple in early December.

As for the “Freebird II” visual, it was helmed by Claes Nordwall, who previously directed the “Berlin Got Blurry” clip, from the group’s 2016 full-length, Human Performance. In it, Parquet Courts can be seen attending a masquerade party and nabbing screen time Brady Bunch-style. According to a statement from frontman A. Savage, there was originally supposed to be a scene of the band “ripping up a confederate flag in the video, but we decided it wasn’t obvious enough that the flag was getting destroyed, so we cut it.” He added, “But just in case you were wondering, we are not fans of it.”

Nordwall chimed in, saying, “After collaborating with Andrew on the Berlin got blurry video I knew that I wanted to work with them again, we really strike the same chord with how we envision these videos playing out…” The Swedish director...

Origins is a recurring new music feature that gives an artist the opportunity to dive deep into the influences behind their latest song.

On their debut album, Finnish rock outfit The Holy shine a light on their youth in hopes of better understanding how and why they’ve grown to be the humans they are today. Daughter specifically finds frontman and main songwriter Eetu Henrik Iivari tracing the beginnings of his depression to the social and economic problems — unemployment, class hierarchies, alcoholism — that served as the backdrop of much of his adolescence.

“The biggest understanding now is that back in the day, I was thinking that all of this is happening only to me and the reason for all the bad things was me or my parents, teachers, neighbourhood, friends, etc.,” he explains in a statement. “Those emotions made me grow up a little evil and selfish and I was rolling on for years with a super bad conscience about all the mistakes I’ve made.”

That dark cloud of self-inflicted blame and guilt snakes its way throughout Daughter in the form of moody, expansive arrangements that call to mind barren and broken lives, as well as, in Iivari’s words, “fucked up cities.” Take for example The Holy’s latest album single, “Fanfare III”, which Consequence of Sound is premiering here.

Over the course of about six minutes, the track folds in sounds both raging and devastatingly resigned — it’s the sound of someone grappling with harsh truths while under...

Last year, Kurt Vile teamed up with Courtney Barnett on the collaborative album Lotta Sea Lice. Now, Vile is back to focusing on his own solo material, as he’s just released his first new song in three years, “Loading Zones”.

The single is an easygoing listen lined with meandering, almost jangly guitar. Lyrically, Vile slips and squirms through the cracks, metaphorical and otherwise, of the world. “How beautiful to take a bite out of the world,” he sings, before reaping the benefits: “I park for free!… That’s the way I live my life.” Stick around for the sick guitar solo toward the track’s end.

Also shared today is the song’s accompanying music video, which serves as a homage to Vile’s Philadelphia hometown (the City of Brotherly Love previously declared August 28th as Kurt Vile Day). Directed by Drew Saracco, it follows Vile as he continuously — and quite amusingly — moves his car from one loading zone to another in order to not have to pay for parking. The clip also features two displeased meter maids played by actor Kevin Corrigan (Superbad, Goodfellas) and Pissed Jeans frontman Matt Korvette, whose tickets Vile also manages to avoid

Watch it below.

Vile has yet to announce the follow-up to his last solo album, 2015’s b’lieve i’m goin down…, but here’s hoping “Loading Zones” is an indication that there’s more...

The music world is in mourning today with the news that Aretha Franklin, a true music legend, died at the age of 76 as the result of pancreatic cancer.

The Queen of Soul’s music influenced countless artists from a wide range of musical genres, and that’s exemplified in a “metal” cover of one of Aretha’s signature songs, “Respect.”

Leo Moracchioli is a musician out of Norway who has released a number of metal covers of popular songs via his YouTube channel, and three years ago he offered up his rendition of “Respect”.

“Respect” actually was originally recorded by soul legend Otis Redding in 1965, but Aretha took the song to new heights with her 1967 version. Moracchioli’s rendition combines elements of metal with hardcore, ska and punk. He plays all the instruments himself and produced the track, as well.

With all due respect to Aretha, watch Moracchiolo’s “metal” tribute below:

Sad news to report, as Randy Rampage, former singer for the legendary Canadian thrash metal band Annihilator, has passed away at the age of 58. Rampage was also an original member of the Canadian hardcore punk band D.O.A.

Rampage, whose real name was Randall Desmond Archibald, was a member of Annihilator for their debut album, 1989’s Alice in Hell, but left shortly after its release. He returned to the band for another stint, from 1998-2000, during which time he appeared on the band’s 1999 album, Criteria for a Black Widow.

As mentioned, Randy was also a founding member of the Canadian punk band D.O.A., in which he played bass and handled some vocal duties. After being fired from the band in 1982, he rejoined the group for two more stints in the 21st century.

No cause of death has been revealed for Rampage. His passing was announced by the Facebook page for Bloodied But Unbowed, a documentary on Vancouver’s punk scene. Footage of Rampage’s reunion with Annihilator in the late ’90s and a D.O.A. music video from the ’70s can be seen below.

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Welcome back to another episode of This Must Be the Gig, the podcast that gives you an all-access pass to the world of live music! Festival season is in full swing, so this week host Lior Phillips checks in with one of the funkiest touring acts out there: Chromeo. Both Lior and frontman Dave 1 discuss his dream of producing for Mitski, a possible “adult” Chromeo album in the works, the band’s origins, and so much more.

This episode was brought to you by our friends at Vivid Seats.

Listen above and subscribe now to keep your finger on the pulse of the live music world.

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Over the last year, Consequence of Sound contributor Kyle Meredith, host of the Kyle Meredith With… podcast, has had a chance to speak to several members of Genesis, and he’s asked each of them the same question: Would they be interested in reuniting Genesis?

Keyboardist Tony Banks said “it’d be fun to try,” while guitarist Steve Hackett told his former bandmates to “call me if they need me.” Meanwhile, bassist Mike Rutherford commented that the band’s members remain “very good friends,” but “never wanted to go on” without singer/drummer Phil Collins.

For his part, Collins is certainly entertaining the idea and has even gone as far to consider how the touring lineup might look.

“I wouldn’t say there isn’t not a possibility,” Collins said when asked about another possible Genesis reunion in an interview with Rolling Stone. “Me, Mike [Rutherford] and Tony [Banks] are pretty close still. I can’t imagine what it would be like if I didn’t play the drums, but anything is possible.”

Collins, of course, lost his ability to drum after suffering extensive nerve damage during Genesis’ last reunion tour in 2007. For his recent solo tour, he enlisted his son, Nicholas, to play drums, which could also be an option for Genesis’ lineup.

“They both were raving...

The Queen of Soul Aretha Franklin has died at the age of 76.

Franklin died Thursday due to advance pancreatic cancer of the neuroendocrine type, according to a the singer’s family. She passed away in her Detroit home, surrounded by family and friends.

“In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart,” Franklin’s family said in a statement. “We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds.”

“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”

One of the best-selling artists of all time, Aretha Louise Franklin was born on March 25, 1942 in Memphis, Tennessee to Barbara and Clarence LaVaughn Franklin. Her mother was an accomplished piano player and vocalist, while her father was a preacher with what many claimed a “million-dollar voice,” all of which would heavily influence Franklin.

At the age of two, Franklin’s family relocated to Buffalo, New York, a short stint that would last only three years before her father moved the family to Detroit, Michigan, where he became the...

Courtney Barnett recently recorded a special Singles session at Spotify’s studios in New York City. For the set, the Australian indie rocker delivered a live rendition of “Charity”, from her stellar album, Tell Me How You Really Feel. However, it was Barnett’s cover of “Houses”, originally by Elyse Weinberg, that might warrant far more listens.

A folk songwriter of the ’60s Laurel Canyon scene, Weinberg was known to have run in the same circles as Bob Dylan, The Eagles, Joni Mitchell, and the E. Street Band’s Nils Lofgren. “Houses” in particular dates back to the late ’60s and features Neil Young on guitar and production from Crazy Horse associate David Briggs. It appears on Weinberg’s sophomore album, Greasepaint Smile, which was only unearthed and finally properly released by Numero Group in 2015.

(Read: The Top 25 Albums of 2018… So Far)

Weinberg and Young’s version was naturally a sparse affair, but in Barnett’s company it takes on a slightly more rich form, bolstered by the Sydney-born artist’s hardened electric guitar. Still, Barnett adapts quite a bit of Laurel Canyon’s laid-back vibe, especially on the track’s sunbaked chorus.

Take a listen to the full Spotify Singles session below.

Barnett is currently on one of the season’s hottest tours, which has since included a memorable set at the Newport Folk Festival.

Digital Garbage is the forthcoming album from Mudhoney, due out September 28th through Sub Pop. The 11-track collection follows 2013’s Vanishing Point and marks the alt-rockers 10th in their 30-year career.

Previously, Mudhoney churned out the driving lead single, “Paranoid Core”. Now, the Seattle-bred outfit is back today with “Kill Yourself Live”, which features a line that inspired the album’s title and comments on “the way notoriety goes viral.” Vocalist Mark Arm elaborated:

I’m not on social media, so my experience is somewhat limited, but people really seem to find validation in the likes — and then there’s Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop.

In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there — even if no one digs it up, it’s still out there floating somewhere.

(Read: The Top 10 Grunge Albums of All Time)

Hear the crunchy, nearly five-minute cut below.

Mudhoney recently kicked off a North American tour in support of Digital Garbage. Find their full itinerary here. Over the weekend, Arm made a surprise appearance during Pearl Jam’s hometown Seattle concert.

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Our weekly coverage of Hulu’s Castle Rock continues as Losers McKenzie Gerber, Dan Caffrey, and Michael Roffman head into the forest for “Filter”.

Join the Club: Support The Losers and Grab a T-Shirt!

Together, they talk about Ruth’s chess board, the sounds of the universe, Pangborn’s junkyard trip, and whether or not this series is heading to Mid-World.

Listen above and stay tuned next week for another episode recap. In the meantime, make sure you keep reading It and that you leave us a glowing review on iTunes.

Chapters include: Intro, Greetings from Castle Rock (12:25), Heroes and Villains (18:25), Shining Moments (47:00), The Sematary (52:15), Misery (55:35), King’s Dominion (1:00:00), Room 237 (1:04:30), Final Thoughts (1:12:30), and Outro (1:17:15)

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— Listen and Follow: Coach Hop

— In Case You Missed It: Recapping Castle Rock: “Harvest” Reveals an Even Darker Side to Bill Skarsgård (And Not Just His Ass)

— Editorial: The Generation That Grew Up on Stephen King is Taking Him Back

— Editorial: Let’s Not Fuck Up This Stephen King Renaissance, Okay?

Feature: Behold, The Stephen King Cinematic Universe!

— Guide: Stephen King in Five Films

— Ranking: Every Stephen King Movie, Miniseries,...

New Zealand psych pop singer-songwriter Connan Mockasin has announced a new album, Jassbusters. Set for an October 12th release via Mexican Summer, the record is Mockasin’s third overall but first with a full band.

Jassbusters is also a concept album, built around a fictional band of music teachers led by an instructor named Bostyn. In fact, the eight-track effort is designed to be listened to after watching Mockasin’s accompanying five-part melodramatic film about the imaginary musicians, Bostyn ’n Dobsyn. The movie follows Botsyn, played by Mockasin himself, and his prized student, Dobsyn, portrayed by Mockasin’s childhood neighbor Blake Pryor. Taye Digg’s brother Gabriel also makes an appearance.

Both the film and album were created in the summer of 2016, with the former being filmed in Los Angeles and the latter coming together at Paris’ Studios Ferber. As a first taste of both, Mockasin has shared the video for the Jassbusters track “Con Conn Was Impatient”, which features footage from Bostyn ’n Dobsyn. Check it out below.

Pre-orders for Jassbusters are now live. Find the album art and tracklist below.

Jassbusters Artwork:

Jassbusters Tracklist:
01. Charlotte’s Thong
02. Momo’s
03. Last Night
04. You Can Do Anything
05. Con Conn Was Impatient
06. B’nD
07. Sexy Man
08. Les...

Earlier this year, Father John Misty released God’s Favorite Customer (one of the best albums of the year so far) and offered up enticing visuals for cuts like “Date Night” and the title track. Now, the LA-based songwriter has returned with a new Spotify Singles performance, which includes a new wave reinterpretation of God’s Favorite Customer’s “Mr. Tillman” and a cover of Gillian Welch’s “Everything Is Free”, which comes from the Americana singer’s 2001 album, Time (The Revelator).

The two cuts couldn’t be more different, with this version of “Mr. Tillman” riding along spacey synths and auto-tuned vocals that give it an otherworldly feel. “Everything Is Free”, on the other hand, is backed by only some fingerpicked guitar, a light drone, and, in the end, a lovely piano solo.

Hear them both below.

Here’s the story of a gigantic fool who thinks there’s some kind of demarcation between punk and politics. Tim Hildebrand, a Trump-supporting farmer, was shocked, apparently, to learn that Social Disortion’s Mike Ness, a 40-year vet of the punk scene, was critical of right-leaning politicians. After Ness trashed our president onstage at a July 17th show at Sacramento’s Ace of Spades, Hildebrand found it necessary to verbally spar and hold up his middle finger (for multiple songs) in “silent protest.” Surprise, the 56-year old Ness, who’s been quite vocal about his distaste for Trump as of late, did not appreciate that.

In the below video, you can see Ness offer up both a loogie and a finger of his own before diving into the crowd to throw some punches. Hildebrand left the show with two black eyes, a busted lip, and a concussion. He claims that he “wasn’t able to defend myself” due to people in the crowd holding him back. Not very alpha, bro.

“I pretty much said I paid for your music, not your politics,” Hildebrand told CBS-13, adding that he plans to press charges against Ness. “I stood pretty much with my silent protest with my middle finger up for the next two songs.”

He added, “If he wants to have a talk someday, man to man, I would love that but he would have to not be a child about it.”

No, conservatism is not the...

James Gunn is not coming back to Disney.

Despite everyone’s best efforts — and by everyone, we mean the cast of Guardians of the Galaxy and several million fans online — the Mouse House has zero intentions of backpedaling on their decision and reinstating the director.

According to a report by Variety, Gunn and his UTA reps secured a meeting with studio chairman Alan Horn, which was described as “civil and professional.” However, it still ended with Disney and Marvel giving the ol’ fuck you to the director who’s made them billions of dollars.

Sadly, Marvel president Kevin Feige, who’s been rumored to be in Gunn’s corner, wasn’t present at the meeting. Sources tell Variety that Feige “stands by the studio’s decision,” which again doesn’t bode well for Gunn, but that’s okay, seeing how he’s apparently being courted by other studios.

As previously reported, Gunn was taken off the film after old tweets by the filmmaker were dug up by conservative personality Jack Posobiec. The tweets, which date as far back as 2009, include offensive jokes about topics like rape, transphobia, and pedophilia.

The search begins for a new director.

Traditionally, it takes at least a few years to get a new Wes Anderson film. Not this time around, so it seems, as the filmmaker is reportedly aiming to shoot his follow-up to this year’s Isle of Dogs within the next few months. In fact, we even have an idea on what to expect.

According to French newspaper Charente Libre, Anderson’s making a post-World War II musical set in France, which is why he’s looking to set up shop in the French area of Angoulême. So far, that’s all we know, but with filming to begin either later this year or early 2019, we’ll likely get details soon.

(Ranking: Every Wes Anderson Movie from Worst to Best)

Shot in the dark, but we can probably expect to see Bill Murray factor into the equation, maybe a left-field veteran like Michael Keaton or Dianne Wiest, and ostensibly someone young and new — spitballing here, but how about Timothée Chalamet? Wouldn’t that be nice.

In the meantime, catch up on Anderson’s entire oeuvre by listening to our past season of Filmography below. Hosted by Film Editor Dominick Suzanne-Mayer, the series goes through each one of the filmmaker’s works, from Bottle Rocket to Tenenbaums to Moonrise to Dogs.

During Pearl Jam‘s recent “Home Away” show in Seattle, frontman Eddie Vedder played a solo acoustic version of The White Stripes’ “We’re Going to Be Friends”. On Monday night, Jack White returned the favor, as he covered Pearl Jam’s “Daughter” during his own gig in Seattle. Listen to an audio recording below.

Earlier this summer, White joined Pearl Jam on stage for “Rockin’ in the Free World” during the latter’s headlining set at NOS Alive Festival in Portugal. White also teamed with Pearl Jam for “Off the Earth” during a surprise concert at White’s Third Man Records in 2016.