Category Archives: INDIE MUSIC NEWS

Hear Chris Cornell and Daughter Toni Duet on Prince's 'Nothing Compares 2 U'

Chris Cornell‘s daughter Toni shared a recording of her and her late father covering Prince’s “Nothing Compares 2 U” to mark Father’s Day.

“Daddy, I love you and miss you so much. You were the best father anyone could ask for. Our relationship was so special, and you were always there for me. You gave me courage when I didn’t have any,” 13-year-old Toni Cornell wrote in the caption of the song, which was posted on Chris Cornell’s YouTube page.

“You believed in me when I didn’t. I miss your love everyday. Recording this song with you was a special and amazing experience I wish I could repeat 100 times over and I know you would too. Happy Father’s Day daddy, nothing compares to you.”

Cornell debuted his bare bones acoustic rendition of “Nothing Compares 2 U,” the Prince-written track popularized by Sinead O’Connor, in September 2015 and shared a studio version following Prince’s death in April 2016. Cornell ultimately performed the song live nearly 100 times before his own death in May 2017.

Toni Cornell performed alongside OneRepublic to cover Leonard Cohen’s “Hallelujah” as a tribute to both her father and Linkin Park’s Chester Bennington, who delivered the same song at Cornell’s funeral.

On Father’s Day 2017, Toni Cornell penned a poignant note to her father just one month after his death. In the note, Toni wrote talked about their shared love of Prince and Chris’ favorite song, Purple Rain‘s “The Beautiful Ones.”

“‘This song is so special it doesn’t even belong in a genre. When I was in my twenties, I saw this in the theatre and some guy started cracking up laughing at this scene and song. It got me really mad,’ you said. I fell in love with the song too and listened to it on repeat,'” Chris told Toni, his daughter wrote.

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Steve Albini Wins World Series of Poker Event

Steve Albini won his first World Series of Poker tournament late Saturday night as the renowned producer and Big Black rocker finished first in the $1,500 Seven Card Stud event.

The producer of albums like Nirvana’s In Utero and Pixies’ Surfer Rosa beat out 309 other players to win the $106,000 prize and a coveted World Series of Poker (WSOP) gold bracelet, Pitchfork reports.

“I am ecstatic that a player as mediocre as me can outlast all of these better players and end up with a bracelet. There’s still hope for everybody,” Albini told WSOP following his win. He added that a pair of concurrent events that drew accomplished seven-card stud players aided in his surprising victory.

“This year the stud event occurred simultaneously with the Seniors Event, and simultaneously with the $50K [Poker Players Championship]. So the field for the stud tournament, I think, was kind of historically weak, which allowed a sucker like me to make it to the final table. With some prescient coaching from my friends and a good run of cards – I ran pretty fucking good as well. I hit a lot of hands early in the final table.”

Albini, who according to his WSOP bio “began playing poker in 1969 when he was taught by his great grandmother,” more than doubled his previous WSOP earnings with the win; the Chicago-based recording engineer previously competed in a variety of WSOP events, with his best finish coming with a 12th place in the $1,000 Seniors No-Limit Hold’em Championship in 2013.

Albini’s band Shellac had just concluded a European tour when he squeezed in the trip to Las Vegas for the tournament.

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How Beyonce and Jay-Z Defy Western Art Tradition in 'Apeshit' Video

In the video for Beyoncé and Jay-Z‘s “Apeshit,” the first visual from the pair’s surprise joint album Everything Is Love, the two stars romp through the Louvre in Paris, seizing center stage in a high-culture palace that – like most Western art museums – historically made little room for non-white artists.

Some of their mission involves the strategic highlighting of non-white images already in the Louvre. Beyoncé and Jay-Z rap in front of an Egyptian sphinx, and in galleries filled mostly with neo-classical French paintings – white artists, white subjects – the camera singles out black faces. (The video is directed by Ricky Saiz, who also helmed the “Yonce” video from Beyoncé’s eponymous 2013 album.) Viewers catch brief glimpses of a pair of black figures in Paolo Veronese’s painting “The Wedding at Cana,” where Jesus turned water into wine, as well as a quick look at Marie-Guillemine Benoist’s “Portrait d’une Négresse,” a depiction of a black woman staring guilelessly back at the viewer.

But the Where’s Waldo? moments highlighting black figures are fleeting – the possibilities for this in the Louvre, or any major Western art museum, are limited from the start. So Beyoncé and Jay-Z set about interjecting blackness into a space that has never placed much value on it, claiming one of the centerpieces of European culture with gleeful defiance. They frequently film themselves moving in opposition to the frozen stillness of paintings by Jacques-Louis David, a French neoclassical artist whose work – like “The Oath of the Horatii” and “Madame Récamier” – invokes the Greco-Roman tradition.

Much of the potency of the “Apeshit” video comes from the contrasts drawn between the “white” art on the walls and the black women on the gallery floors. In front of David’s “The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine,” a court scene of relentless white extravagance, Beyoncé and eight black dancers hold hands and begin to dance. It takes just a few synchronized sashays to upstage David’s massive painting, replacing an ornate symbol of white authority with a celebration of black bodies in motion. The Louvre’s stature depends on people believing that “The Coronation of Empress Joséphine” is the art, but the eye tells a different story – hanging behind Beyoncé and her dancers, the painting is reduced to wallpaper.

Throughout the “Apeshit” video, Beyoncé and Jay-Z repeatedly upstage some of Western classical art’s most famous images in one of its central sacred spaces. Beyoncé holds a series of chopping micro-poses with her hands before Saiz cuts quickly to an image of a distressed character, hands held up to shield her head, taken from another David painting, “The Rape of the Sabine Women.” The placement of the hands connects the two frames, but Beyoncé’s is virile, aggressive and in charge, while David’s figure seems merely fearful. 

Later, Beyoncé and Jay-Z stand in front of the Venus de Milo, one of the Louvre’s most well-known statues, the kind of white marble creation that is synonymous with European high-art. The statue is inert and famously arm-less; Beyoncé is fluid, fierce and in perpetual motion.

It’s not only Beyoncé who eclipses the art. Just a few scenes before the singer’s victory over Venus de Milo, a line of her dancers sway back and forth in the foreground while another white marble statue, “The Winged Victory of Samothrace,” looms inertly behind them. Everything Is Love‘s cover image, which also comes from the “Apeshit” video, casually one-ups the “Mona Lisa”: A dancer carefully tends to a black man’s hair while Leonardo da Vinci’s beauty languishes in the distance.

Jay-Z’s role in the new clip is more limited – the rapper stands around in pastel suit jackets, gallantly letting his wife do all the work, wrecking frame after frame. He relies on his lyrics to make the points that Beyoncé and her dancers drive home visually. The beat, co-produced by Pharrell Williams, splits the difference between the zaniness of Rae Sremmurd’s “Black Beatles” and the crushing momentum of Future’s “Move That Dope;” Jay-Z raps quickly and cleanly, often while standing in front of Théodore Géricault’s painting “The Raft of the Medusa,” throwing darts at traditional bastions of white-ness outside the museum world, including the NFL and the Grammys. When he raps, “I said no to the Super Bowl / You need me, I don’t need you,” the camera flashes to a line of young black men taking a knee, alluding to Colin Kaepernick and other players’ decision to kneel during the national anthem to protest police brutality.

As the “Apeshit” video comes to a close, Beyoncé overpowers the art once more, happily thrashing around in a poofy white gown in front of “The Winged Victory of Samothrace.” The final shot in the clip is one long pan towards Beyoncé and Jay-Z, who stand nonchalantly in front of the “Mona Lisa” wearing plush suits of purple and aquamarine, respectively. The camera settles on the famous painting itself; by now, any viewer knows that’s the least interesting thing in the frame. 

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THE PARIAH Release "Silent Birds" Video

The Pariah has released a new video of the song called “Silent Birds”. Check it HERE.


Dirty Moonshine Drop New Single and Launch Thundafund Campaign For New Album

Dirty Moonshines have released their new single “Shake The Roof” off their debut album “Bottom of the Barrel” out this summer on July 27th 2018. The band have also launched a Thundafund to help cover …Read More


Serpents Kiss Releases Lyric Video for "Black Wizard" Single

Serpents Kiss has released a lyrical video of the new single “Black Wizard”. Check it HERE.



Grammy Award Winning Megadeth bassist, author, entrepreneur, and Metal Icon David Ellefson has announced the first dates for his BASSTORY tour, a series of limited and exclusive “Storytellers” dates, starting 9/21 in Portland. Dubbed “Basstory: …Read More


DIAMANTE Releases Video for "Haunted"

Diamante has released a new video of the song called “Haunted”. Check it right HERE.


Astray Valley Releases "Constellations" Video

Astray Valley has released a new video of the track titled “Constellations”. Check it HERE.



Canadian metal trio CAULDRON have announced a set of U.S. shows with support act Barrow Wight to celebrate their long-awaited new album entitled :”New Gods” out September 7 through The End Records (North America) and …Read More