Le nouveau produit phare PLAY:5 de Sonos est proposé en précommande dès aujourd'hui

Les haut-parleurs seront dans les commerces le 20 novembre aux États-Unis et le 25 novembre dans le reste du monde

SANTA BARBARA, Californie, 29 octobre 2015 /PRNewswire/ — Sonos®, le leader du son intelligent pour la maison, a annoncé que les précommandes de…

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Rihanna Cast in Luc Besson's 'Valerian'

Rihanna is returning to the big screen. Director Luc Besson, the man behind Lucy, announced via Instagram that the singer has been cast for his upcoming sci-fi movie, Valérian and the City of a Thousand Planets. The film is set to release on July 21st, 2017.

The film stars Cara Delevingne, Dane DeHaan and Clive Owen. Based on a French graphic novel set in the 28th century, it explores the concept of time travel. There’s no word yet on what role Rihanna will play, but Besson wrote that “she has a big part.” This will be Rihanna’s third big film role. She starred in this year’s Home and in 2012’s Battleship alongside appearances in 2014’s Annie and 2013’s This is the End.

 

RIHANNA is in VALERIAN!!!!! ….and she has a big part!! I’m Sooo excited!!!

A photo posted by @lucbesson on Oct 28, 2015 at 7:44am PDT

Rihanna has been readying her long-anticipated eighth album, Anti. She recently revealed the cover art, featuring original paintings by artist Roy Nachum. The cover depicts a child wearing a gold crown that covers its eyes and a message written in braille. “He sees things beyond the surface, which is why we even decided to collaborate,” Rihanna said of the artist. “It felt like there was another spirit, another layer to the art. After we met, we talked about what I wanted visually, what would make me the happiest girl in the world. This is my favorite album cover ever.” A release date for Anti has yet to be announced.

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LOS ANGELES, 28 de outubro de 2015 /PRNewswire/ — A Getty Images, líder mundial em comunicação visual, será o fornecedor oficial de conteúdo fotográfico para The Hollywood Reporter (THR), principal marca do setor de entretenimento, e para a Billboard,…

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Black Sabbath Scrap Final Album Plans to Focus on Tour

A little over a year after Ozzy Osbourne announced that Black Sabbath would record a second reunion record, the band has abandoned plans to go into the studio. A rep for the group has confirmed to Rolling Stone that Black Sabbath have opted out of recording another studio album for Universal. Instead, the band has booked a lengthy farewell tour it has dubbed “The End.”

The singer had told Metal Hammer last September that the group would record one more record – which would follow up 2013’s chart-topping 13, an album that is also home to their Grammy-winning song “God Is Dead?” – and do a final tour. The vocalist said the idea arose at a time when he deciding whether or not to work on a new solo album, so he asked his wife and manager, Sharon, what was going on with Black Sabbath.

Osbourne told the magazine he’d like to record “sooner rather than later,” and the circumstance of recording at the time came down to guitarist Tony Iommi’s battle with lymphoma. “He’s obviously got his cancer treatment, but we’ll get onto it next year,” Osbourne said. “I don’t know if we’ll be writing in England or Los Angeles, but I’ll fly to the fucking moon for it if I have to.”

This week, as Osbourne prepped for a solo appearance at New Orleans’ Voodoo Fest, he told the city’s Times-Picayune that Sabbath had chosen not to do another LP. “It’s the end of Sabbath, believe me,” he said.

The group will kick off its final tour on January 20th in Omaha, Nebraska, with a first leg of U.S. dates running through February 27th. After international touring, they will return to North America for a run that begins in Wantagh, New York on August 17th and go through September 21st.

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Conor Oberst Briefly Hospitalized, Cancels Desaparecidos Tour

Desaparecidos has canceled the remainder of their tour after singer-guitarist Conor Oberst was hospitalized. The announcement, which the band shared on its website, followed its show cancellation in Jacksonville, FL, on Tuesday.

“Regretfully, we need to cancel our Jacksonville show on 10/27. Conor has a case of laryngitis and needs to rest his voice on doctor’s orders,” the band tweeted on Monday.

On Wednesday, the quintet posted a more detailed statement on its website, where it announced the tour is cancelled. “Desaparecidos has been forced to cancel the remainder of their US tour dates. Conor Oberst fell ill whilst on tour in Jacksonville, Florida and was briefly hospitalized due to laryngitis, anxiety, and exhaustion,” the statement said. “In consultation with his doctors, the band has reluctantly agreed to cancel all scheduled live dates. Conor will be heading home to Omaha to recuperate. We wish him a speedy recovery.”

The band was in the midst of its tour for its punk-tinged Payola, its first album in 13 years, which was released in June. The 21-date cancellation included its appearance at Fun Fun Fun Fest in Austin, TX, on November 7th alongside a benefit concert for the Florence Immigrant & Refugee Rights Project with Tom Morello and The So So Glos on November 10th in Phoenix, AZ. Oberst also cancelled a December 2nd solo show at New York’s Webster Hall.

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Justin Bieber Unveils 'Purpose' Songs via Graffiti

Justin Bieber spent his Wednesday teasing fans with song titles from his forthcoming album, Purpose. On Wednesday afternoon, he began tweeting and sharing on Instagram the album’s track list via photos of graffiti on walls located around the world.

The first one, “Mark My Words,” was from Sydney, Australia. Track two, “I’ll Show You,” came by way of London. “What Do You Mean?” was from Stockholm, Sweden. The single, “Sorry,” featured graffiti from Paris, France, while the fifth song, “Love Yourself,” showcased a wall in Oslo, Norway. The sixth artful script, “Company,” was taken in Berlin, Germany.

 

Track 16 #purposealbum @nas

A photo posted by Justin Bieber (@justinbieber) on Oct 28, 2015 at 4:09pm PDT

The singer took a several-hour-break before resuming his song posts up, with art from North American cities. The album includes high-profile collaborators, including Big Sean on “No Pressure,” Travi$ Scott on “No Sense,” “The Feeling” with Halsey and “Where Are You Now” featuring Diplo and Skrillex of Jack Ü. Skrillex also serves as the co-producer of “Sorry” alongside Blood.

Purpose is Bieber’s fourth LP and his first since 2012’s Believe. He released Journals, a compilation of new songs in 2013. His new Kanye West-assisted album is out November 13th.

Purpose Track List

1. “Mark My Words”
2. “I’ll Show You”
3. “What Do You Mean?”
4. “Sorry”
5. “Love Yourself”
6. “Company”
7. “No Pressure” featuring Big Sean
8. “No Sense” featuring Travi$ Scott
9. “The Feeling” featuring Halsey
10. “Life Is Worth Living”
11. “Where Are Ü Now” featuring Jack Ü
12. “Children”
13. “Purpose”
14. “Been You”
15. “Get Used To Me”
16. “We Are” featuring Nas
17. “Trust”
18. “All In It”
19. “What Do You Mean” (Remix)

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Keith Urban Exhibit to Open at Country Music Hall of Fame

Earlier this week, Keith Urban fans began looking toward the future and the anticpicated release of the “Break on Me” singer’s upcoming album, Ripcord. But beginning next month, a brand-new exhibit at the Country Music Hall of Fame and Museum will be all about looking back — “Keith Urban So Far” tracks the origins of the guitar player’s phenomenal career.

Opening November 20th, the new exhibit will run through May 2016. The items on display will trace Urban’s path to music superstardom and include his 1989 Fender Custom Shop 40th Anniversary Telecaster (dubbed “Clarence”) and the Levinson Blade electric guitar that he played on the first of his 19 Number One hits, “But for the Grace of God.”

Along with handwritten song manuscripts and other items culled from scrapbooks of his childhood and teen years in Australia, visitors will also see the shirt Urban donned for the cover of his self-titled 1999 debut LP.

“Keith Urban So Far” also emphasizes the philanthropic entertainer’s passionate commitment to music education and the arts. Since 2009, he has co-hosted (with Vince Gill) the star-studded “All for the Hall” concert events in support of the Hall of Fame and Museum’s education-based efforts.

Urban’s upcoming LP Ripcord is the follow-up to 2013’s Fuse and already has a hit with “John Cougar, John Deere, John 3:16,” which recently became Urban’s 34th Top 10 single.

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Brothers Osborne Ready Debut Album 'Pawn Shop'

With a CMA nomination for Vocal Duo of the Year and a Top 15 hit in “Stay a Little Longer,” John and TJ Osborne, collectively known as Brothers Osborne, are gearing up for the release of their debut album. Titled Pawn Shop, the LP is set for release January 15th on the EMI Nashville label.

Featuring 11 tracks, all of which the Maryland-born siblings had a hand in co-writing (with heavyweight writers including Barry Dean, Craig Wiseman, Shane McAnally, Jessi Alexander and more), Pawn Shop is the Osbornes’ bid to deliver music that they believe will have some staying power. The siblings produced the record with Jay Joyce (Eric Church).

“I think people are tired of the bullshit and are ready for the real substance,” guitarist John Osborne told Rolling Stone Country earlier this year, after the pair’s debut single “Rum” was released.

“We went through an era of big hit songs that no one is going to listen to 10 years from now,” says lead vocalist T.J. “And we’re about to hit a decade of country that I think is going to be played for a long time. It’s about to hit the same stride it hit in the Nineties.”

The blue-collar brothers, who previously toured with Darius Rucker, Little Big Town and Kacey Musgraves, among others, will be hitting the road with Jon Pardi as part of the All Time High Tour. 

Here’s the track list for Pawn Shop, along with songwriting credits:
1. “Dirt Rich” (Brothers Osborne, Barry Dean) 
2. “21 Summer” (Brothers Osborne, Craig Wiseman) 
3. “Stay a Little Longer” (Brothers Osborne, Shane McAnally) 
4. “Pawn Shop” (Brothers Osborne, Sean McConnell)
5. “Rum” (Brothers Osborne, Barry Dean)
6. “Loving Me Back” (Brothers Osborne, Casey Beathard)
7. “American Crazy” (Brothers Osborne, Ross Copperman)
8. “Greener Pastures” (Brothers Osborne, Ryan Hurd and Maren Morris)
9. “Down Home” (Brothers Osborne, Jessi Alexander)
10. “Heart Shaped Locket” (TJ Osborne, Lisa Carver and Andi Zack)
11. “It Ain’t My Fault” (Brothers Osborne, Jessi Alexander)

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Derek Trucks on What He Learned From Allman Brothers

“There was a spirit and reverence they brought to it,” Derek Trucks said in a recent interview, marking the one-year anniversary of his final performance with the Allman Brothers Band, at New York’s Beacon Theater on October 28th, 2014. “I hoped it would be that way,” the guitarist went on, “but I didn’t know how it would turn out. People have a tendency — you let your ego get in the way of the big moments,” he adds, laughing.

“That night everybody got out of the way,” Trucks said, with gratitude and pride evident even over the phone from his home in Jacksonville, Florida. The group’s suriving original members — singer-organist Gregg Allman, drummer Jaimoe and Derek’s uncle, drummer Butch Trucks — “were all thinking about those first days in Jacksonville when they formed the band. I could see my uncle between sets — you could see the wheels turning. It was all in the right spirit. That night was one of the few times you got off stage and feel, ‘That’s how it was supposed to go down.'”

Trucks, 36, was speaking for a story, also featuring fellow Allmans guitarist Warren Haynes, in the current issue of Rolling Stone about their respective lives since the end of that band. Like Haynes, Trucks was talking between gigs — after an extensive summer tour with the Tedeschi Trucks Band, the R&B big band he co-leads with his wife, singer-guitarist Susan Tedeschi; on the verge of a TTB spectacular at the recent Lockn’ Festival in Virginia, honoring the 45th anniversary of Joe Cocker’s historic Mad Dogs & Englishmen tour; and a few weeks before TTB’s own two-weekend run at the Beacon, now a fall tradition in New York City. The Tedeschi Trucks Band has also signed a new deal with Concord Records and completed their debut for the label, Let Me Get By, out early next year.

“I was watching that movie the other day,” Trucks said of the Mad Dogs & Englishmen documentary, fimed on that 1970 tour. “It was kind of the end — maybe the peak, the remnants — of the hippie movement. They did all the drugs, had all the sex, all the fun,” Trucks noted, with another laugh. “And it spun Cocker out for a bit. That tour wore his ass out.”

So when does Trucks relax now, with so much on his itinerary, even without the Allmans?

“That’s a good question,” he replied cheerfully. “There’ll probably be a few days off after the Beacon.” He paused, as if catching his breath. “But then we gear up and head overseas. Mixing the new record, touring, playing — it’s all work.” But after the Allmans, Trucks concedes, “It’s a different level of stress. It’s lower most of the time.”

Do you have more or less time off since the Allmans ended?
In some ways, it’s really close. There is so much going on. But the ability to focus has been really nice — just not having to think about that dynamic, changing hats musically. The Mad Dogs thing — that was a one-off. Outside of that, it’s been nice between touring and working on the record, to keep that in your head at all times.

How would you characterize the new album?
It’s more adventurous sonically and in some of the places it goes musically. It’s more of an extension of what we were doing with my solo group but evolved in a different group. I heard the record for the first time last night, with everything mixed, and I feel like I can see everybody — everybody’s personality in the band — a lot more [laughs]. It feels like hanging on the tour bus.

Was there a point when you wondered if a band that size was economically feasible?
The first few years, it was certainly touch and go. Me and Susan are pretty stubborn — musically, idealistically. “Whatever! It’ll be fine.” But there was defnitely a time when we really had to think about it. It was like going back a decade or so, the early days with the solo band, where everyone makes a living but you.

Did you and Susan have to take out a second mortgage, for instance, to keep the tour bus rolling?
It was right on the edge. But it worked. The momentum for the group caught just in time. Another year or two in the same place — it might have been tough, with hard decisions. We just added a 12th member, and we went out this summer for the first time with our own PA and production. As it builds, you put that energy and cash back into it. You’re feeding the beast.

When did you come to the conclusion — for yourself, Susan and your family — that it was time to leave the Allmans? You and Warren announced your departures together in January 2014, but he said it had a long gestation.
When I was out playing with Eric Clapton in ’06, that was the first time I sat down with the band and said, “This is going to be my last [Allmans] tour.  I want to focus on my solo band.” I was trying to find a way out that was comfortable with everybody, because it’s family and friendships. Not that I felt leaving would slow the train down. But when the momentum is there, you don’t want to rock the boat too much. I basically gave my notice a few times. And the family loyalty pulls you back in.

Me and Warren had talked quite a bit. He didn’t want to reinvent the band again. So if I was going, he was gonna go too. That factored in to me hanging around. I didn’t want to push him.

How much of your decision to go involved work load, like the time and energy that went into the Beacon residencies each year? And how much of it was about the room left to grow in the band?
Honestly, for me, it was a lot more than that, especially since the band wasn’t in the mode of writing tunes or interested in making records. I love that [classic] material as much as anyone on earth. But I knew you can only do it so many times and feel like you’re making a statement. That’s one of the reasons I put my Derek Trucks Band aside [in 2010]. It wasn’t out of gas yet, but I could feel it coming. I could feel my interest waning.

Warren said that he felt there was half of a new Allmans studio album in the works, in terms of material he had and songs already in live rotation. The problem was getting it past the concept, to something concrete.
A few of the guys just weren’t into making records with the Allman Brothers. My uncle would always say, “This is a live band.” He hated being in the studio. And I get that. But the Allman Brothers made some great studio records. To me, the one big missed opportunity with that [last] incarnation was not making another record. Hittin’ the Note [released in 2003] was good, but there was a better record in there. Having a studio in my backyard where we could have easily recorded the band — between me and Warren, we would have crushed an Allman Brothers record. It only takes time. Get people down here, writing, focused. You have to be mentally into it. And it never came to pass.

“Between me and Warren, we would have crushed an Allman Brothers record.”

What did you take away from your Allman Brothers experience that has influenced the way you and Susan run your band now?
There were some things the Allmans did conceptually that were forward-thinking and high concept. Any of the music the band performed live — it was communal. It wasn’t like because this guy’s been here longer, he gets a different share. Those things, without a doubt, they did not have to do. It was very much in the spirit of the way the music was made. 

Even when the Grammy Lifetime Achievement Award came up [in 2012], they insisted that me, Warren, [percussionist] Marc Quiñones and [bassist] Oteil Burbridge be included, which was an incredibly gracious thing to do. There’s a way you think things should be, and there’s a way the music industry does it. And they are pretty far apart. I’ve always been of that mindset — when you’re writing tunes with people, there’s a traditional way of chopping things up, and then there’s the way that feels right. If people contribute, you hit ’em accordingly.

The other part I took away was the things you don’t do — just the grudges and the saga with [original guitarist] Dickey Betts, the lack of communication at times. Susan and I have been really forward with our band. When things come up, you deal with them. However uncomfortable that is, let’s have this discussion right now.

Why do you think you and Warren connected so profoundly, as soloists and partners, in your time with the Allmans? There was quite a gap in your ages.
The first time I met Warren was when they were making Seven Turns, the [1990] reunion album. I was 9 or 10, down in south Florida playing this bar called Tropics International. Gregg, Warren and [then–Allmans bassist] Allen Woody came and sat in. I remember it because there was this great photo taken. The stage was above a bar, so there’s all these liquor bottles at your feet. My grandparents hung that picture in their living room, but they put a piece of paper over the liquor bottles because they were super-conservative. I always thought that was funny.

Warren and I dove into the Allman Brothers gig at different times, but we both dove into it pretty hard and headfirst. There was so much love and respect for the Duane parts, the Dickey parts, the whole history. That was a pretty big book that we absorbed, and we lived it for awhile. He was there for several years before I joined; then I was there before he rejoined. But having known him since I was 9 or 10, there was enough respect and trust already. It took a few years for us to work through having both played the same role and having to relearn it. But once that settled in, it got really good. There were a handful of years where you didn’t have to think about it at all.

When the Tedeschi Trucks Band does their fall Beacon weekends now, is that your way of keeping the Allmans spring residencies alive in your own way?
It certainly is. It feels like home — and a new tradition. But it’s firmly rooted in that [Allmans] time. You feel those moments and the way it resonates. And for me, the sixth-floor dressing room was where I was, always, for 15 years. My wife and son came up when he was seven days old. The kids have been in those dressing rooms since they were babies. It’s a way to mark time — every time I come up to the Beacon dressing room.

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