Daily Archives: September 11, 2017

Tencent Music Entertainment Group Highlights New Music Experiences and Innovative Business Models Driving the Next Era of China's Music Industry

SINGAPORE, Sept. 12, 2017 /PRNewswire/ — Tencent Music Entertainment (TME) Group delivered a keynote address at the 2017 Music Matters highlighting key trends driving the next generation of growth and evolution for China’s music industry. The company, which is a presenting sponsor…

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Hear Mark Hoppus' New Pop-Punk Song For Hurricane Harvey Dog Relief

Blink-182 frontman Mark Hoppus released a new song, “Not Every Dog Goes to Heaven,” for his charity album Dog Songs. Album proceeds will go to the American Society for Prevention of Cruelty to Animals (ASPCA) for dogs affected by Hurricane Harvey.

“Not Every Dog Goes to Heaven” is a slice of vintage-sounding pop-punk, full of rapid drums and power chords. Drummer Travis Barker, the bassist’s Blink-182 bandmate, also co-wrote and performed on the track, along with Goldfinger singer-guitarist John Feldmann.

Hoppus and company drew inspiration from classic 1983 film comedy National Lampoon’s Vacation, starring Chevy Chase as the flailing patriarch of the holiday-bound Griswolds. “All I wanted was a happy family/ Then you peed on the picnic basket/ Ultimate cock-block,” Hoppus sings to the film’s ill-fated pup, Dinky. “Albatross from our cousin Eddie/ Tied you up to the car behind me/ You could not keep up.”

Musicians Allie Goertz and Casey Boyd organized the Dog Songs project. Hoppus organized his sessions with Barker and Feldman, finishing the song in only a few hours.

“I became friends with Allie Goertz on Twitter awhile ago, and she reached out about writing a song dedicated to a dog from a movie or TV show, to benefit the ASPCA via a compilation album,” Hoppus explained in a statement about the LP. “As a dog lover, I was honored to be asked. I wanted to write an anti-tribute to Dinky, the total bummer of a dog from Vacation, one of my favorite films of all time. 

“Last week I went into the studio with John Feldmann and we bashed out the guitars, bass, and vocals in a morning,” he continued. “Travis came in that afternoon and absolutely destroyed the drums. It was all finished in a matter of 3-4 hours. In a matter of days it went from an idea in the back of my head to a song on an album out in the world. It’s a fun, energetic track that I’m proud to have included on the album, and it’s for a great cause.”

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Kid Rock Fires Back at Critics, Stresses 'I Love Black People'

Kid Rock fired back at critics in a lengthy Facebook post Monday, claiming the recent controversy regarding his past use of Confederate flags onstage is a distraction created by the “extreme left” in an an attempt to “stir the pot” due to his potential, and presumably fake, Senate run in 2018

“My track record in Detroit and Michigan speaks for itself, and I would dare anyone talking trash to put theirs up against mine,” the singer said, responding to the backlash after he was selected to headline the first six shows – launching Tuesday, September 12th – at the city’s new Little Caesars Arena.

Some publications, including Detroit Free Press, and civil rights groups have called the Kid Rock bookings an insult to the city, which has an 80 percent black population. The performer began using Confederate flags during concerts in 2001 but stopped the practice a decade later after receiving a NAACP Great Expectations Award

Prior to the NAACP event, roughly 50 protesters gathered at the Cobo Center, the site of a corresponding awards dinner. But the ceremony moved forward, and the singer accepted his award, which recognized his ongoing support for the city. “I love America, I love Detroit and I love black people,” he said during his speech.

Now the musician claims the reinvigorated protest is politically motivated, citing his past concerts in the city as proof. “Pretty funny how scared I have them all and their only agenda is to try and label people / me racist who do not agree or cower to them!!” he wrote. “No one had a word to say when we sold out the 6 shows at LCA back in January! My track record in Detroit and Michigan speaks for itself, and I would dare anyone talking trash to put theirs up against mine. I am also a homeowner and taxpayer in the city of Detroit, so suck on that too!”

Kid Rock, who dubbed himself the “King of Detroit Love,” pointed the finger at local charities who failed to support him during the media cycle, writing, “I will focus my philanthropy efforts on other organizations besides the others I supported in the past.” He also stood by his criticism of NFL quarterback Colin Kaepernick, who, during numerous pre-game performances of national anthem, famously took the knee in protest against police discrimination.

“To be clear – Fuck ANYONE who takes a knee or sits during our national anthem!” he fumed. “Pretty sure if Russell Wilson or Tom Brady were doing it they would have no problem finding a job playing for any team they wanted in the NFL! So cut the bullshit!”

Before ending his note with a climactic “God bless,” the rap-rock artist added, “I know I should probably not even have posted anything about these bottom feeders but I will always stand up for myself, my family, my friends, my fans, my city, my state, my country and the good in human nature! P.P.P.P.P.S. I LOVE BLACK PEOPLE!!”

Kid Rock unveiled his Kid Rock For Senate website in July. While many critics wrote off the unveiling as a promotional stunt for new music, Massachusetts senator Elizabeth Warren warned that history could repeat itself.

“I know a lot of people are thinking: this is some sort of joke, right?” the Democrat wrote in an email to supporters with the subject line “Senator Kid Rock (R-MI).” “Well, maybe this is all a joke – but we all thought Donald Trump was joking when he rode down the escalator at Trump Tower and announced his campaign, too.”

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Watch Harry Styles' Faithful Cover of Fleetwood Mac's 'The Chain'

Harry Styles stopped by the BBC Radio 1 Live Lounge for a short set that included a cover of Fleetwood Mac’s “The Chain.” After performing his singles “Sign of the Times” and “Two Ghosts” from his self-titled solo album, Styles and his band launched into a faithful rendition of the Rumours track.

The song originally featured Lindsey Buckingham on lead vocals, with feathery background harmonies by Stevie Nicks and Christine McVie. Styles achieved a similar sound with help from his keyboard player, Clare Ushima, and drummer, Sarah Jones, who added vocal layers to mimic original song. 

Styles revealed to Rolling Stone that his father, Desmond, had raised him on classic rock groups like Fleetwood Mac. And earlier this year, Nicks joined Styles onstage to sing a trio of tracks including “Two Ghosts,” “Landslide” and “Leather and Lace.” 

Styles’ first solo tour begins next week.

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Review: Living Colour Return With Bluesy Take on Righteous Rage

Veteran art-metal crew Living Colour stretch across time and genre for another serving of righteous rage. But for sixth album Shade, they fold blues music into their singular crunch: Tracks like “Freedom of Expression (F.O.X.)” and “Who’s That” (with trombone by ex-Dirty Dozen Brass Bander Big Sam Williams) sound like an alternate 1967 where Otis Redding sang for Cream. The record’s covers span the nearly 60 years between from Robert Johnson’s “Preachin’ Blues” to Marvin Gaye’s “Inner City Blues” to the Notorious B.I.G.’s Brooklyn street-dread blues of “Who Shot Ya.” And while a few tracks do sound like retreads of their familiar monolithic grooves, songs like “Come On” are intensely contemporary, tweaking LC’s sound with the inhuman ADD sound-warping of modern dubstep.

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Selena Gomez: 'I Feel Like I Know Everybody, But Have No Friends'

Selena Gomez opened up about her struggles with mental health and the necessary culling of her social circles in a new interview with the Business of Fashion.

The singer and the world’s most-followed person on Instagram took a three-month break from social media back in 2016; she says she reached out to a number of people that she looked up to for guidance when she hit that breaking point.

“I asked teachers, coaches, managers, people that I respected [because of] the way they’ve lived their life. I asked them, ‘How did you get to this place? What were you like when you were 25? What were the things that you were thinking about?’ And from there, being with like-minded people. You are who you surround yourself with – 100 percent,” she said of the necessary steps she took toward self-care.

“If you’re around people who think that stuff is dumb, that think it’s ridiculous – ‘You’re crazy! You’re fine!’ – but you don’t feel that way, then maybe it’s time to reevaluate that,” she continued. “It’s a lonely journey to really figure out where all this stuff is coming from. And to detach from it. It becomes an addiction, it becomes a habit, retraining your mind to not go to these negative places when you say something wrong, do something wrong, when you wear a certain thing or represent a certain culture. But it is lonely, I had to lose a lot of people in my life to get there.”

Following her three-month social media break, the “Fetish” singer gave an emotional speech at the 2016 American Music Awards after she took home the win for Favorite Pop/Rock Female Artist, in which she finally gave voice to the reason why she had to step out of the spotlight.

“I think it’s safe to say that most of you know a lot of my life, whether I liked it or not, I had to stop. Cause I had everything and I was absolutely broken inside” she said at the time. “I’m not trying to get validation, nor do I need it anymore. But if you are broken, you do not have to stay broken. And whether you respect me or not, that’s one thing you should know about me, is I care about people.”

Even now, with 126 million Instagram followers, Gomez explained that she still often feels isolated in her fame.

“You have to figure out the people that are in your circle,” she told the Business of Fashion. “I feel like I know everybody but have no friends. I have like three good friends that I can tell everything to, but I know everyone. I go anywhere and I’m like, ‘Hey guys, how’s it going?’ And it feels great to be connected to people, but having boundaries is so important. You have to have those few people that respect you, want the best for you and you want the best for them. It sounds cheesy, but it’s hard.”

Added the social media maven of today’s Millennial and Gen Z fans: “I see a disconnect from real life connections to people, and that makes me a little worried. I do think social media is an amazing way to stay connected, to learn more things about what’s going on outside your little bubble, but sometimes I think it’s too much information.”

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Avicii Documentary 'True Stories' Chronicles DJ's Stage Retirement

Avicii: True Stories, a new documentary about the arena-packing Swedish DJ, chronicles his explosive rise to fame and surprising decision to retire from live performances in 2016. The film will premiere worldwide with a one-night-only theater screening on October 26th. Full information is available at the doc’s official website

In tracing the EDM giant’s wild career arc, director Levan Tsikurishvili blends fly-on-the-wall footage and interviews, including appearances from Coldplay’s Chris Martin, Chic’s Nile Rodgers, David Guetta and Wyclef Jean. As previewed in the film’s new trailer, Tsikurishvili showcases Avicii’s studio craftsmanship, collaborative spirit and stage prowess – but also the health issues and discomfort in the spotlight that pushed the DJ into an unexpected concert curtain call.

“I was having the time of my life,” Avicii reflects in the clip, which includes high praise from Martin (“You’re so talented, man”) and Jean (“He’s doing this as Bach did what he did”). But the “Levels” producer admits during a radio interview that he was overwhelmed by the onslaught of fame. “I don’t really like being the center of attention,” he says. “That’s the thing, that’s what makes it so weird.”

Tsikurishvili followed the DJ for over four years to create True Stories, aiming to create a “brutally honest” film about Tim Bergling, the real man behind the Avicii moniker. “Everybody knows Avicii, but very few people know Tim,” the director said. “I think this documentary really shows Tim’s struggle and strength of character. Being a worldwide superstar artist is not as easy as it looks on Instagram.”

Screenings of Avicii: True Stories will be followed by a 30-minute concert film documenting Avicii’s final show, which took place August 28th, 2016 in Ibiza, Spain. 

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Review: Alvvays Offer Noise Candy, Pretty Visions of Escape on Second LP

“Did you want to forget about life with metonight?” Molly Rankin sings on the delicate ode to boozy escape thatcloses out this ace Canadian noise-candy crew’s second LP. Alvvays gave us thegreatest indie-rock wedding proposal ever with their 2014 classic “Archie,Marry Me,” and Antisocialites is similarly full of fuzzy-guitarbeauty and shoegazing romanticism. “In Undertow” suggests a snowboundBest Coast, and songs like “Plimsoll Punks” and “Your Type”course with an Eighties Anglophile zeal that’ll have you happily zoning out tolyrics about drowning and getting kicked out of the Louvre for taking pictures. 

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Marilyn Manson Details New Album 'Heaven Upside Down,' Drops New Song

Marilyn Manson has detailed his upcoming 10th studio album Heaven Upside Down and shared the LP’s aggressive first single “WE KNOW WHERE YOU FUCKING LIVE.”

The intense track, which premiered Monday on Zane Lowe’s Beats 1 radio show, finds Manson ominously describing the corruption of a sanitized society while alluding to drones and the surveillance state.

“Fire away,” Manson growls on the chorus. “We know where you fucking live.”

In the song’s closing seconds, Manson cryptically whispers, “What’s a nice place like this doing around people like us?”

The album – which at one time bore the title Say10; the controversial song with that name is on Heaven Upside Down – is due out October 6th and available for pre-order now. Manson’s last LP was 2015’s The Pale Emperor. Although Heaven Upside Down and The Pale Emperor both utilize producer Tyler Bates, the two albums don’t have much in common.

“It’s not very much in any way like The Pale Emperor,” Manson previously told Rolling Stone of his new album. “The people who have heard the new songs said it reminded them of their favorite parts of Antichrist Superstar and Mechanical Animals – but with a new, different approach. It’s pretty violent in its nature for some reason.”

Manson previously announced the North American leg of his expansive Heaven Upside Down Tour, embarking September 27th in Silver Spring, Maryland.

Heaven Upside Down Track List

1. “Revelation #12”
2. “Tattooed In Reverse”
3. “WE KNOW WHERE YOU FUCKING LIVE”
4. “SAY10”
5. “KILL4ME”
6. “Saturnalia”
7. “JE$U$ CRI$I$”
8. “Blood Honey”
9. “Heaven Upside Down”
10. “Threats of Romance”

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Review: Gregg Allman's Farewell Album Vividly Steeped in His Own History

The final album by Gregg Allman, who died in May, is a moving farewell statement à la twilight masterworks by Leonard Cohen and David Bowie. “I know I’m not a young man, and it’s time to settle down,” Allman sings on the roadhouse blues “Love Like Kerosene,” his full-moon growl strikingly undiminished.

Yetwhile Southern Blood is rich with intimations of mortality, it’seasygoing too, with a laid-back generosity that recalls Allman’s kindestSeventies work – see his warm take on Lowell George’s Southern-rock salvo “Willin’.” Allman steepedthe album in his own history, recording with producer Don Was in Muscle Shoals,Alabama, where Allman and his brother Duane recorded in the lateSixties. And while the LP is almost entirely covers, they spool by as one vividbenediction, from Allman’s gorgeously soulful reading of Bob Dylan’s “Going,Going, Gone,” to his gently swaying version of the Grateful Dead’smeditation on aging “Black Muddy River,” to tender folk reckonings byhis friends Tim Buckley and Jackson Browne. Allman opens with anoriginal, the searching blues “My Only True Friend,” sung as aconversation with Duane. “It feels like home is just around the bend,”he sings, the elegiac sound of gracefully moving on.  

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