Daily Archives: May 19, 2017

Solange Dominates Space, Tears Down Walls at Masterful Guggenheim Show

Solange transformed one of the world’s best-known art institutions, New York’s Guggenheim Museum, into a personal gallery where her 2016 album A Seat at the Table could live, breathe and take up all the space it deserves.

Draping the Frank Lloyd Wright-designed rotunda of were bodies clad in mostly white – she made the request that attendees come dressed in the color. Before the show even starts, the very image of a sea of matching outfits is something to behold, with the white clothes standing along the white, cylindrical ramps or sitting cross-legged on the white marble floor. The punctuation was mostly skin and its various colors.

The chatty, excited murmurs of fans were halted by the same loud riff of dissonant noise protruding from the speakers repeatedly. Descending from the top of the rotunda was a processional of black and brown women in all white, punctuated by Solange and her two back-up singers in matching brown outfits. The noise mixed with the emotionless, consistent pace of the women as they glided swiftly down the ramp made the room feel like the center of a campy Fifties sci-fi film. The neutral colors popping from the stark white felt futuristic and intimidating. On the floor, they joined the six members of her band, who wore all-red, yellow, blue, black or brown ensembles.

The dancers moved to “Scales” before departing and leaving Solange with her band and singers to perform the opening track off A Seat at the Table, “Rise.” The short song was blown out, with the original track’s final note being expanded and repeated as the three voices filling the room. Much of what the artist did with her complex, personal, triumphant album during Thursday’s Red Bull Music Academy–backed show was open up songs to take up the space, working in tandem with the strange acoustics of the Wright’s architecture to make the sound of the voices and band bounce of the walls and reverberate through every dip and slope.

Diving into “Weary” and “Cranes in the Sky,” background vocalists Franchelle Lucas and Isadora Mendez-Scott not only showed off their incredibly powerful voices but never missed a beat as they moved as one. Solange very rarely separated herself, creating one body with the two others. At times, the band would join, moving in unison with either each other or Solange as they held and played their instruments.

With a new arrangement of “Mad” came one of the show’s finest moments, almost serving as a thesis of what the project hoped to accomplish by interpreting and adapting the album’s lyrics into an interdisciplinary performance piece. Solange brought drama to the song’s breakdown of the “angry black girl” stereotype in order to declare her own right to feel rage and anger towards anything. While hitting lengthy high notes, she opens them up into guttural wails. All three singers on the floor let out tantrum-level shrieks at once, a cathartic release even for those doing nothing else but bearing witness.

Release and catharsis are integral to the second half of the show, as the strict choreography and reactionless faces loosen up. During “FUBU,” she walks through the seated audience members on the floor to sing lyrics like, “This shit is for us” specifically to the black attendees, kneeling down and dancing with them. She even allows for a twerk break, a sign of the more erratic and soul-bursting dancing to come. By the end of the show, she threw herself on the floor, writhing and kicking before jumping around and running back and forth across the floor.

The show ended as it began. Brown and black women and men in all white or neutral colors descended along the rotunda, many of whom were horn players hidden for the majority of show and only revealed themselves during “Mad.” They joined Solange on the floor, creating a mass of around 60 bodies that moved as one before departing once more to allow bows from the band and vocalists.

After a standing ovation, she returned alone to the floor to give a quick speech about the show’s intent. Adamantly she declares that “inclusion is not enough” and that it’s time to enter institutions and tear “the fucking walls down.” The artist did exactly that, creating a masterful, transcendent experience that took an already excellent composition into a brand new universe. Solange did more than just “put some colored girls in the MoMA,” as her brother-in-law Jay Z pleaded on the track “That’s My Bitch.” She also did more than just demand and encourage more representation in the art world from black women. She carved out and confidently filled space, made noise and took ownership. The performance was one of the finest ways an album has been presented in years, and Solange firmly placed herself as someone who will be regarded as one of her generation’s finest and most forward-thinking artists and innovators. 

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Smino: Meet the Midwest MC Behind One of the Summer's Coolest Love Songs

The 25-year old rapper and crooner Smino is set to be one of the next big voices to burst from the Midwest. His gorgeous love-funk single “Anita” is currently at a million plays across YouTube and SoundCloud, he’s currently on a headlining tour and his self-reflective rhymes and melodic delivery anchor a recent debut LP, Blkswn. This moment has been years in the making: He’s literally lived in studios and moved back and forth between his native St. Louis to Chicago; all the while developing a signature sound that combines elements of funk, electro, soul and hip-hop. And not even a fractured right foot can slow him down.

Only a few dates into the Swanita tour, he hurt himself in an impromptu mosh pit. Injured yet unfazed, the rapper born Chris Smith Jr. will perform on crutches for the remainder of the tour. The circumstances haven’t affected his spirits or his high energy performance. On stage Smino is animated, compelling and visibly ecstatic. He attributes this gift for performing – as well as his overall approach to songwriting ­­– to an upbringing in church “Like, the ability for me to find a melody or a harmony or like move a concert? It’s just me seeing how churches work,” he says.

The day after an explosive performance ­– a sold-out show at New York’s Bowery Ballroom – Smino is basking in the afterglow in an Airbnb’d duplex on Manhattan’s Midtown East. Sporting a do-rag, T-shirt and sweatpants, Smino is laying back on a leather sectional flanked by his band and touring party, who are polishing off some Popeye’s and sorting the small vacuum-packed bags of weed that have just been delivered. Surrounded by some of Chicago’s finest young musicians (producer Monte Booker; singer, rapper, and video director Jean Deaux; multi-instrumentalist Phoelix), Smino tells Rolling Stone about Blkswn, how the diaspora fuels his funk and how to write a love song in 2017.

What are the origins of Blkswn?
My album was called Zero Fatigue at first—

Which is your crew’s name.
Which is another reason I didn’t name the album Zero Fatigue. Zero Fatigue is much bigger than one album, it’s some continuous shit for us. I did the Red Bull Sound Select thing where they put a producer with an artist and Sango was my produced that they [put me with]. I requested the nigga Sango ’cause I always liked his beats.

Y’all did that joint, “Lemon Pon’ Goose” together. Do you, Jean or Sango have a Caribbean backgrounds?
So look, Sango spends a lot of time traveling. He love Brazil and he’s just really into all that. And he told me his grandfather brought him up on African drums like they used to just play [and] play till they hands get tired and so I came up learning African drums as well. I don’t know which region of Africa I’m from or none of that. I know how to play bongos, congas, all kinds of auxiliary percussion instruments and stuff like that so that’s just in me and she’s [turns to Jean Deaux] How do you say it? Afro Latina. So it just was me understanding that aspect of the music and being inspired by it and then Sango just knowing to do. We was in the studio, she was like, “Me ah go and steal ya heart” and he was like, “Me ah go and steal ya ‘art.” It was just a collective effort of us just studying some shit that was already pretty much in us. Just trying to bring that out. That’s something we do a lot as black people these days anyway.

It’s some diaspora stuff. Now that we’ve moved into this global phase of having easy access to music from everywhere, we’re getting in touch with all of this stuff. Like if you listen to Drake or the Wale record or a lot of stuff that’s happening with black people in London or Nigeria or the Caribbean … 
Everything is pretty much mixed up right now, but I fuck with it, bro. I’m a drummer, so my first love in life is the drum and my favorite thing that I learned how to do is play a 3/2 clave pattern but put in on like: [mimics the sounds with his mouth]. Like I can’t do it right now, my foot fucked up, but after I learned that so much shit got unlocked. I’m like damn, my body feel free! Like I’m not as stiff as I was. Shit like that helped my rap patterns and even with “Lemon Pon’ Goose” I was able to do [patterns] like [flowing rapidly] “I’m feelin’ amazing/I’m gettin’ acquainted with shawty.” Some Sean Paul shit! Actually the same Sean Paul flow.

So, why is it called Blkswn?
I was just in the studio with Sango making the song. I only said the words “black swan” in the song once: “I ain’t never ain’t in no rush, I ain’t no Russian, I’m a black swan.” If you listen to Blkswn I’m coming to grips with a lot of shit. It’s a lot of shit I done figured out and I’m 25 now. So it’s a lot of shit that I done figured out, a lot of shit that I done been through, fuckin’ failed at and like realized this is what I’m supposed to be doin’ at the end of it. And it’s always been [music]. I just wrote this album as honestly as I could. I didn’t tell any stories that weren’t true to me. I didn’t do any storytelling, there wasn’t anything but my own truths. This whole album is just straight up day-by-day shit that I’ve experienced. Blkswn is going from feeling alienated on [2015 EP] Blkjptr to like becoming this muhfuckin’ black swan and being comfortable in that shit.

You grew up in the church, how do your parents feel about you making secular music?
They proud as hell of me. My parents ain’t prudes, man. There’s a difference between being in the church, being religious and having faith. I don’t hold my faith to another person’s standards – anybody’s. One thing I learned in church is your relationship with God is personal. I make the most honest music I can to myself. I don’t try to appease anyone. I just make the most honest shit I can. My music is positive too. The most crazy shit i talk about is gettin’ pussy but [sucks teeth] everybody get pussy. That’s nothin’ major, that’s our biology.

There aren’t too many love songs in rap these days, can you talk about “Anita”?
I just got a lot of love around me. I get a lot of love from women and I got a lot of love for women. Women go through a lot of shit, bro. My mama been through a lot of shit. Every woman I’ve ever known been through hella more shit than me. I don’t know, bruh, it’s hard for me to make a song [that doesn’t express that].

That’s refreshing.
I don’t understand how these niggas be really hate women out here. I think misogyny has a lot to do with overthinking your part as a man. You seen Baby Boy? It’s this attitude like, “I’m your man and I do for you, so I can do whatever the fuck I want.” I have to stop myself from that [kind of thinking] all the time. I’m not above this. I’m definitely a misogynist [at times], definitely guilty of that.

You grew up in a society that’s sexist.
But I also grew up in a house with four big sisters and my mama. And my dad with my mama. I’m lucky, I understand some shit. That’s why I don’t be on niggas’ heads. Y’all didn’t come up like me, I get it. I just get some shit y’all don’t get right now. If y’all willing to listen y’all would prolly get more pussy. It’s just a lot of shit that we discredit women for and we don’t understand the amount of shit they have to deal with.

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See Alabama Shakes Play 'Killer Diller' for Jack White's 'American Epic'

The Alabama Shakes reinterpret the blues classic “Killer Diller” in the latest clip from The American Epic Sessions, the Jack White co-produced odyssey into the music of the 1920s.

As the video notes, the Alabama Shakes recorded the Memphis Minnie cut one of the first electrical sound recording system invented in 1925 – the last one of its kind in existence. No editing or enhancements were made to the Alabama Shakes’ recording.

Previous American Epic Sessions clips have included White teaming up with Nas for the Memphis Jug Band’s “On the Road Again.” T Bone Burnett, a co-producer on American Epic, explained to Rolling Stone why the music for the 1920s was so foundational. 

“It was a watershed time for the record industry,” Burnett said. “The record companies that couldn’t sell music in New York went down South and started recording people where they didn’t have electricity. This whole process was begun of inventing rock & roll and hillbilly music and everything else that led to the Beatles and Nas.”

The three-part American Epic began airing on PBS on May 16th, with the second and third installments set to broadcast on May 23rd and May 30th. The American Epic Sessions – featuring White recording with Alabama Shakes, Beck, Elton John, Nas, Taj Mahal and many more – premieres June 6th on PBS.

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Linkin Park, Little Steven, Snoop Dogg and 26 More Albums to Hear Now

Rolling Stone Recommends:

Jlin, Black Origami
The most talked-about electronic album of the year is rooted in the decades-percolating rhythmic traditions of footwork ­– a high-octane, disorientingly polyrhythmic dance music beloved by Chicago kids who move in frenzied blurs. But the second album from Gary, Indiana producer Jlin explodes footwork’s textural palette, making a pointillist fricassee of horror movie tension, wheedling noise, thumb piano buzz, digital woodwinds and other sounds that live in the uncanny, Cronenberg-ian dream world between the real and the synthetic. Whereas most footwork relies on repeated samples of movie dialogue and rapper boasts, Jlin inhabits a mystery land of disembodied syllables, flecks of sound and the occasional trumpeting elephant with assists from minimalist composer William Basinski and ASMR enthusiast Holly Herndon. If the frenzied press hype is to be trusted, a regional dance music has just produced the next Aphex Twin; if not, Black Origami is still a one-of-a-kind album of twinkle and jitter, pulsating with of virtual-reality expressionism and mind-rattling rhythms. Christopher R. Weingarten
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

Low Cut Connie, Dirty Pictures (Part 1)
Philadelphia party rockers put down the Yuengling for a second and get ruminative. “The weight of the world is really with them on album four,” writes Jon Dolan, “and it’s helped add depth and power to their music.”
Read Our Review: Rock Revivalists Low Cut Connie Face Reality on Dirty Pictures
Hear: Amazon Music Unlimited / Apple Music / Spotify / Tidal

Man Forever, Play What They Want
And what might that be? Maximalist drummer John Colpitts (a.k.a. Kid Millions) of indie-rock abstractionists Oneida explodes the intensely physical beatscapes of his current project with a busload of genre-agnostic kin. “You Were Never Here” is a samba-tinged cosmic-jazz journey with Yo La Tengo’s incantatory vocals; “Twin Torches” features Laurie Anderson meditating on stars and self alongside the billowing Quince Contemporary Vocal Ensemble. There are Harry Partch-like processionals and epic krautrock grooves, with harpist Mary Lattimore and pianist/composer Sam Yulsman adding bursts of color. Indie-rock-jazz-modern-classical fusion? Nah – that’s way too dull a tag for this intensely heady, ritualistic rhythm-magic. Submit. Will Hermes
Hear: Apple Music / BandcampSpotify

Casey Dienel, Imitation of a Woman to Love
No longer operating under the name White Hinterland, the Massachusetts-born, New York-residing producer and singer Casey Dienel sounds liberated on her first album under her own name since 2006’s Wind-Up Canary. On this sprawling, stunning collection, Dienel takes on the racket that is femininity in 2017 with clamorous, winding tracks that get a jolt from searingly honest lyrics (“I didn’t say a word/Swore not to complain/Held my arms Christlike/While they made the best of my silhouette,” she gasps on the churning “Complicated Silhouette”). The twisted travelogue “High Times” puts the lie to the romantic ideal of the no-strings vacation hookup; the hiccuping “Chill and Natural” ticks off a list of societal expectations in a world where “girls are shaving themselves for marriage.” The twists and turns taken by Dienel’s expansive, urgent compositions show that the other side of the feminine ideal is a pretty fun place to be. Maura Johnston
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

Also of Note:

(Sandy) Alex G., Rocket
The Philly-based singer-songwriter’s eighth album includes hushed lo-fi ballads and clamorous, low-end-heavy freak-outs.
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

Chastity Brown, Silhouette of Sirens
This Minneapolis-based singer-songwriter’s stripped-down soul gets a jolt from her no-nonsense delivery. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Como Mamas, Move Upstairs
Como, Mississippi’s premier gospel trio raise their voices on stirring songs of praise. 
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / SoundCloud Go / Spotify / Tidal

DragonForce, Reaching Into Infinity
The British power-metal outfit are back with more rapidfire drum breaks and finger-twisting solos—as well as the occasional downtempo track, which shows off frontman Marc Hudson’s impressive range.
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Erasure, World Be Gone
The New Wave legends take on the world’s ills on their 17th album. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Faith Evans and the Notorious B.I.G., The King & I
The Faith Evans-helmed album of duets with her late husband honors his legacy with fiery tracks and cameos from key Biggie acolytes. “It’s about bringing B.I.G. back, letting them know what he did for the culture,” says Jadakiss, who appears on the track “NYC.” 
Read Our Feature: Faith Evans on Her ‘Musical Movie’ About Life With the Notorious B.I.G.
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Nick Hakim, Green Twins
The debut from this Brooklyn-based soul man showcases his quixotic, impassioned spin on R&B.
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

Jade Jackson, Gilded
This California country-punk’s new album was produced by kindred spirit and Social Distortion frontman Mike Ness. “He was like a father to me,” she tells RS. “If he thought I could improve on something, he’d tell me and I’d try it.”
Listen to Our Interview: Hear Jade Jackson, Chris Shiflett Talk California Roots, Mike Ness 
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

Jarami, Sketches
The Swedish duo behind Frank Ocean’s “Chanel” offer up an EP of hazy grooves. 
Hear: Amazon Music Unlimited / Apple MusicSpotify / Tidal

Linkin Park, One More Light
The nu-metal titans plunge into pop’s deep end with hooky tracks that add zeitgeist-y touches (including a cameo by Kiiara) to their rap-centric mix. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Little Steven, Soulfire
The longtime E Street Band returns to center stage on his first solo album since 1999. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Magic Giant, In the Wind
The debut full-length from these buzzy, EDM-tinged indie-folkers, who are set for this summer’s Firefly Festival. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

The Mountain Goats, Goths
Singer-storyteller John Darnielle’s long-running musical concern ditches the guitars as it tells tales of outcasts.
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / SoundCloud Go / Spotify / Tidal

Oxbow, Thin Black Duke
Long-running weird-rock troupe Oxbow return after a decade with a heavily orchestrated rock opera of sorts that plays off Bowie’s mid-Seventies persona. Mercurial vocalist Eugene Robinson whines, whispers and wheezes a Waitsian narrative about the titular character with quixotic asides like, “When the Duke talks, he speaks like a mime.” While the band fuses doomy rock, jazz and intricate arrangements in fascinating and sometimes beguiling ways, Robinson makes it a point to put listeners on edge, challenging them in ways that are at times appealingly unpleasant. Kory Grow
Hear: Amazon Music Unlimited / Apple Music / BandcampSpotify / Tidal

Papa Roach, Crooked Teeth
The ninth album from the angsty alt-metal stalwarts. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Pokey LaFarge, Manic Revelations
The St. Louis-born rock revivalist returned to his hometown for this taut, soul-fueled collection. 
Hear: Amazon Music Unlimited / Apple Music / SoundCloud Go / Spotify / Tidal

Rascal Flatts, Back to Us
The country-pop superstars’ new album is a back-to-basics affair that was produced at bassist Jay DeMarcus’ home studio. “You have to take a deep breath and say, ‘Wait a minute, people fell in love with us for distinct reasons. Let’s get back to what it was people loved about us at first,'” DeMarcus says. 
Read Our Feature: Rascal Flatts Talk Past Missteps, Debut Chris Stapleton’s ‘Vandalized’
Hear: Amazon Music Unlimited / Apple Music /  Spotify / Tidal

Maggie Rose, Dreams > Dollars
This country upstart’s new EP blends the spunky (“I Won’t”) with the shimmering (“Body on Fire”).
Hear: Amazon Music Unlimited / Apple Music / Spotify / Tidal

She-Devils, She-Devils
This Montreal duo’s beguiling, yet slightly menacing indiepop sounds filtered through an AM radio, with lead singer Audrey Ann Boucher’s come-hither whisper recalling Nancy Sinatra at her most coy while her partner in crime Kyle Jukka creates spaced-out textures that gently beckon even as Boucher’s singing of revenge (on the sinewy “Make You Pay”) and alienation (on the jittery “The World Laughs”). She-Devils dance across the line between dreampop and surrealistic nightmare fuel, winking the whole way. Maura Johnston
Hear: Amazon Music Unlimited / Apple Music / BandcampSoundCloud Go / Spotify / Tidal

Snoop Dogg, Neva Left
Though Snoop Dogg would become a pop icon, rap legend and TV star for songs like “Gin & Juice,” one of the most endearing traits of the Long Beach teenager that took the world by storm in the Nineties was his enthusiastic love of covers and tributes – a spin through Doug E. Fresh and Slick Rick’s “La Di Da Di” on Doggystyle, a booming update of Biz Markie’s “Vapors” on Tha Doggfather, a version of Too $hort’s “Freaky Tales” for a covers comp. For anyone who loves Snoop the human oldies station, his 15th album is a living mixtape. Though he does live in the present for a booming song with K Camp (“Trash Bags”), much of the album is a WhoSampled.comp user’s gangsta paradise. “Neva Left” lets the Wu-Tang “C.R.E.A.M.” sample spin out longer into its original source, the Chantels velvety 1967 song “As Long As I’ve Got You”; “Big Mouth” is a lush remake of the 1984 Whodini classic; “Moment I Feared” turns the Slick Rick jam into slapping Oakland mobb music with Rick Rock. KRS-One, B-Real, Too $hort, Redman, some talkbox and scratching from DJ Battlecat add old school bonafides. “How can you get it if you ain’t been through shit,” he raps, “I’m just a seed that was planted by Ruthless.” Christopher R. Weingarten
Hear: Amazon Music Unlimited / Apple MusicSpotify / Tidal

Tricot, 3
“Power math rock” is a slightly awkward phrase, but it’s the best way to describe this explosive Japanese trio, whose stop-start rhythms and manic riffing are the stuff dreamworld’s mosh pits are made of.  
Hear: Amazon Music UnlimitedSoundCloud Go / Spotify / Tidal

Various Artists, Dirty Dancing (Original Television Soundtrack)
The made-for-TV remake of the Catskills romance gets a cover-filled companion album where teen heartthrob Greyson Chance takes on Eric Carmen’s “Hungry Eyes,” country smoothies Lady Antebellum tackle “Hey Baby” and Bea Miller gives “Be My Baby” a dancepop makeover.
Hear: Amazon Music Unlimited / Apple MusicSpotify / Tidal

Wavves, You’re Welcome
The sun-soaked slacker rockers, led by Nathan Williams, sneer and shout on their sixth full-length. 
Hear: Amazon Music UnlimitedApple Music/ BandcampSoundCloud Go / Spotify / Tidal

Jane Weaver, Modern Kosmology
The future-minded producer and singer returns with a collection of otherworldly synth-pop.
Hear: Amazon Music Unlimited / Apple Music / Bandcamp / Spotify / Tidal

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Watch Heart's Ann Wilson Honor Chris Cornell With 'Black Hole Sun' Cover

Heart singer Ann Wilson paid tribute to the late Chris Cornell with a smoldering cover of the Soundgarden frontman’s signature track, 1994’s “Black Hole Sun,” during Thursday’s Jimmy Kimmel Live!

Wilson is the rare rock singer capable of navigating the song’s wide range and earnest delivery. Backed by Kimmel’s house band, the Cletones, she utilized her signature rasp and heavy vibrato throughout, improvising breathtaking runs during the final stretch. “No one sings like you anymore,” she sang on the iconic chorus, with the line taking on extra resonance in this setting.

Cornell died from suicide early Thursday morning at age 52. After the tragic news, Wilson and sister/Heart bandmate Nancy Wilson both issued statements honoring their late friend.

“It’s important now to keep thoughts of Chris positive,” Ann wrote. “He is on his way. We loved him well, now wish him well on his journey. He was and is a beautiful soul.” Nancy added: “No one is ever prepared to hear about a death in the family. And today Chris Cornell my brother from my Seattle music family is gone. I thought his voice would forever grace the world of music. Devastating.”

Vicky Cornell, the Soundgarden singer’s widow, issued a statement Friday remembering her husband and speculating that his suicide may have been caused by taking too much anxiety medication. 

The singer’s most memorable moments: Soundgarden’s grunge classics, Audioslave’s hits and his poetic solo material. Watch here.

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Dead Asylum Releases New Song "Defiance"

Dead Asylum has released a new song called “Defiance”. Check it out HERE. http://www.nataliezworld.com/search/label/News


Death of Kings Releases New Song “Sojourn”

Death Of Kings has released a new song called “Sojoun”. Check it HERE. http://www.nataliezworld.com/search/label/News


Chris Cornell Dead at 52

Chris Cornell vocalist of Soundgarden and Audioslave was found dead at the age of 52. Find out more details about his untimely death right HERE. http://www.nataliezworld.com/search/label/News