Murder FM – Happily Never After

Ah the underground scene, it’s chalk full of all sorts of activity especially music! Like take the music scene within the gothic, industrial, rock, punk, and metal scene, all of these genres have had its …Read More


Taylor Swift's Epic '1989' Tour: Every Night With Us Is Like a Dream

Welcome to New York! Ish! Taylor Swift brought it all back home last night, or at least to New Jersey’s MetLife Stadium, for her 1989 Tour. Never one to do things halfway, Swift has made this a pop show — or rather the pop show, as far as 2015 is concerned. The whole night was a two-hour pop-blitz spectacle, where the songs retain all the teardrops-on-my-guitar intimacy of her early days, except blown up into massive electro-warrior emotional avalanches pushing the can’t-even-ometer into the red. This show had it all: life lessons (“You are not the opinion of someone who doesn’t know you!”), synth-disco raves, acoustic ballads, explosions, video interviews with her cats, sparkle-intensive costume changes, a Weeknd duet and oh yeah, the U.S. Women’s Soccer Team parading through the crowd to “Style” in front of 60,000 screaming fans. That kind of night.

When Bruce Springsteen plays NYC, he likes to joke about how the city’s beloved hometown icons — Sinatra, the Statue of Liberty, the sports teams — are rooted in Jersey. There was an element of that when Swift kicked off with her new theme song “Welcome to New York,” explaining, “Although we’re in New Jersey, our story opens in New York.” But these songs aren’t really about any particular city any more than they’re about any particular boy — they all take place in the galaxy Taylor creates in her songs, one where everything orbits around one girl’s mood swings, where boys are disposable and cats are keepers, where girlfriends matter and lying about your feelings is not how things are done around here. (A handwritten sign taped to a door backstage: “Cats Roaming. Do Not Open.” Only on Planet Tay.) It was the kind of show that could only make emotional sense in a stadium this size.

As always, the hardcore fans were a crucial part of the spectacle, in full gear with their costumes and glowsticks. The crowd was, as Taylor said, “jumping and dancing and loud and lit up and dressed up.” There was a gang of girls with their birthdates bedazzled on their shirts a la the 1989 logo—2004, 2007, etc—while their moms proudly repped 1976. Two girls with matching lightboards, one saying WE’RE TOO BUSY DANCING and the other TO GET KNOCKED OFF OUR FEET. A couple of girls with homemade Mean Girls-style shirts announcing, “You Can’t Swift With Us.” The fan faves were probably the girls carrying giant Starbucks venti cups as big as they were, with the logo tweaked to STARBUCKS LOVERS and Taylor’s face in the middle. That’s how a Swift show works: You love the players and you love the game.

“We all have different insecurities, different fears, different scars,” Taylor announced. “There are many different types of people here tonight. But we have one thing in common: When we feel great amounts of joy or great amounts of pain, we turn to music, and that’s why we’re here tonight.” The show was a marathon—19 songs, stretching almost to midnight. The new songs, despite their studio sheen, really kick live—especially synth-pop epiphanies like “New Romantics” (where Taylor’s male harem of private dancers toted her around on a park bench) and “Blank Space.” She rocked a glow-in-the-dark polka-dot ensemble for “How You Get The Girl,” as her dancing boys twirled neon umbrellas and her band staged an extremely welcome twin-guitar duel. She picked up her trusty acoustic guitar for “Can’t Feel My Face” with the Weeknd, whose hair might have been the most truly 1989 thing in sight.

She radically revised the oldies, which did not stop anyone from singing them. “I Knew You Were Trouble” began with a slow creepy goth-industrial intro — loads of the Sisters of Mercy’s Andrew Eldritch in her vocals! Floodland, holla! — before the drums kicked in and turned it into a rock-me-Amadeus stomp. “Love Story” became a synth ballad, as she whisked around the stadium on her magic levitating catwalk. Even better was the hair-metal version of “We Are Never Ever Getting Back Together,” which has never-ever-ever sounded this nasty–Taylor in leather at the lip of the stage, doing a perfect version of the Slash guitar slouch, shoulders hunched, hair falling over face. Who knows, maybe Tay will do an full-on Headbanger’s Ball album next time.

And because she’s Taylor, she talked the talk. You have never heard a pop star say “Let me clarify that statement” more times in one night. It got heavy, like when she confessed, “Real talk, Jersey: I haven’t always felt like I have real friends, or any friends at all.” She gave the crowd her list of friendship requirements (“You have to like me” and “you have to want to spend time with me,” with various codicils and subclauses). She also told us, “If I had my way, everything would be simple for all of you. I wish nobody would ever mess with your mind. I wish nobody would wait two days to text you back, when you know they had their phone with them the whole time!” That line got one of the biggest roars of the night.

But the hugest moment had to be “Style,” when she brought out the U.S. soccer team, just a few hours after their ticker-tape victory parade. They looked like they were having a blast, strutting down the catwalk, waving giant flags. (After the show they gave her a SWIFT #13 team jersey.) She also brought out Project Runway host Heidi Klum, who if memory serves is from one of the countries the U.S. team aufed in the tournament. (Let the healing begin!) Tay’s been preaching the girl-bonding gospel so long, it’s easy to take that part of her game for granted — but that’s just a measure of how much she’s changed the pop-star landscape. For “Bad Blood,” she struck a pose with video comrades Hailee Steinfeld, Lily Aldridge, Gigi Hadid and Lena Dunham — she shows off her girlfriend collection the way rock bands like Guns N Roses or Great White used to make videos where the girlfriends lounge around the soundstage.

(And speaking of Taylor girlfriends, a sincere question: have Haim always been this good? I wasn’t a fan going in but their opening set was fire, roughing up their pop hits and doing a fantastic version of “Oh Well,” by the Peter Green edition of Fleetwood Mac, which sounds sounds so snotty as a sullen-teen-girl anthem — “Don’t ask me what I think of you / I might not give the answer that you waaant me toooo.” Somewhere, Peter Green must be proud these black magic women have given this song a new life.)

As usual for a Swift show, the quiet moments were some of the most intense, especially “Clean,” “This Love” and the piano medley of “Enchanted” and “Wildest Dreams,” where she whipped out the piano-hair windmills. One of the highlights was “You Are In Love”—not just a deep cut, but a bonus track—where she led the whole crowd in a sing-along. Funny how all the state-of-the-art special effects can’t hold a glowstick to the visceral power of 60,000 fans singing about love pains.

It all ended with “Shake It Off,” with fireworks, confetti and dancing boys in purple Angus Young schoolboy outfits. All night, the Eighties concept took many different forms — from the pre-show mix tape (Human League, Toto, Fine Young Cannibals and my girl Tiffany) to the beats. But mostly, it’s in the way she embodies the Eighties ideal of a pop star — Madonna, Prince, Bruce — as an auteur who makes every album, every tour something new. Honestly, if Taylor Swift had just done the Red tour all over again, plugging in the new songs with some greatest hits, that would have been fine with absolutely everyone. Taking the easy way would have been 100 percent good enough. It just wasn’t what she wanted to do. Instead, she wanted to push a little harder and make a gloriously epic pop mess like this. What a night.

Set List:

1. “Welcome to New York”
2. “New Romantics”
3. “Blank Space”
4. “I Knew You Were Trouble”
5. “I Wish You Would”
6. “How You Get the Girl”
7. “I Know Places”
8. “All You Had to Do Was Stay”
9. “Can’t Feel My Face” with The Weeknd
10. “You Are in Love”
11. “Clean”
12. “Love Story”
13. “Style”
14. “This Love”
15. “Bad Blood”
16. “We Are Never Ever Getting Back Together”
17. “Enchanted”/“Wildest Dreams”
18. “Out of the Woods”
19. “Shake It Off”

Terror’s Releases Video for “Bad Signs”

Terror has released a new video for “Bad Signs”. Check it out HERE.


Blessthefall "Up In Flames" New Single Released

Blessthefall has released a new single “Up In Flames” off their new album “To Those Left Behind” due out September 18 via Fearless Records. Check it out HERE.


Miss May’s Video for I "I.H.E." Released

Miss May I have released a new video for “I.H.E.”. Check it out HERE.


Children Of Bodom Releases New Song "Morrigan"

Children Of Bodom have released a new song “Morrigan”. Check it out HERE.


Morrissey on Ed Sheeran, Sam Smith: 'Things Can't Possibly Get Any Worse'

Eating meat, Live Earth, fur coats, Johnny Marr and the current state of music: These are the things that Morrissey dislikes. In a new interview, Morrissey lamented about how marketing dictates popularity in the music industry nowadays as well as the predictable nature of record labels. He then admitted to Boulder Weekly that he considers fellow British crooners Sam Smith and Ed Sheeran to be the absolute nadir in music, adding “things can’t possibly get any worse.”

“There are no bands or singers who become successful without overwhelming marketing. There are no surprise success stories. Everything is stringently controlled, obvious and predictable and has exactly the same content,” Morrissey said. “So, we are now in the era of marketed pop stars, which means that the labels fully control the charts, and consequently the public has lost interest. It’s very rare that a record label does something for the good of music. Thus we are force-fed such as Ed Sheeran and Sam Smith, which at least means that things can’t possibly get any worse. It is sad, though. There’s no spontaneity now, and it all seems to be unsalvageable.”

Earlier this year, Morrissey parted ways with his label, Harvest Records, which released his 2014 album World Peace Is None of Your Business. In the interview, Morrissey also discussed how the characteristics of the artist and the audience have flipped since he first entered the rock scene in the early Eighties.

“It seems to me that the situation has reversed,” he said. “The bands now strive to stay healthy whereas the music public, especially the very young, dress and look very clichéd rock n’ roll, and with that comes a careless attitude towards drugs. The positives are the rejection of fur and leather and McDonalds and even plastics, all very important no-go zones for the intelligent young people. Then you see someone wearing animal fur and they immediately register as being moronic. So, in amongst the grime, I see lots of good changes, and as soon as animals are off the menu, the world will be a great place.”

Dave Grohl Gives Leg Update: 'It Could Have Been Worse'

When Dave Grohl looks back at the offstage fall that snapped his fibula and dislocated his ankle, at a Swedish Foo Fighters gig last month, he takes solace in one thing: It could have worse. “I could have done some real damage,” he says with a slight rasp, due to a “great show” in Toronto the night before, on an off day before the group’s co-headlining gig at the Festival d’été de Québec. “This is pretty gnarly, but it could have been a lot worse. I’m just blessed to still be talking to fuckin’ Rolling Stone.”

All things considered, he says, he’s happy with his progress and he’s stoked to be back on tour, playing to North American audiences from his giant guitar throne. “The shows are the easiest part of my whole day,” he says with a laugh. “The rest of the time, I’m hobbling around trying to brush my teeth and pack my bags and walk down the street and get a cup of coffee. The challenge is the other 21 hours of the day. But I’m good. I’m just taking it one day at a time.”

Health-wise, things are on the up and up. “I’m starting to do a little bit of rehab exercise and the cast is off,” he says. “The swelling’s down. The pain’s gone. It’s just a matter of getting those kick-drum muscles back, man. I can’t fuckin’ lose those. That’s important to me. So I’m sitting here, moving it around, doing my exercise as we speak. So it’s OK.”

The good news is that now that the cast has come off, he’s moved on to a removable boot that gives him a little more mobility. “The broken bone is only part of my injury,” he says. “The other part of my injury is the ligaments and the cartilage is destroyed when I dislocated it. I had a physical therapist tell me the other day that it was basically like my ankle got into a 40 mile per hour car crash. It’s not just like a sprained ankle; it’s like an ankle that got its ass kicked by Ronda Rousey. It’s just a matter of bringing it back to life, and I’ve always appreciated the challenges of life. I’m up for a challenge. I’ll fucking take it. And this is a big one, but I’m in it to win it.”

Currently, the Foo Fighters have North American dates scheduled through late October. The band will take a short break and then head to Europe in November.

In the meantime, Grohl recently participated in a hardcore supergroup called Teenage Time Killers that Corrosion of Conformity drummer Reed Mullin helped mastermind. The group’s upcoming album, Greatest Hits Vol. 1 features a bevy of punk and metal firebrands, ranging from Dead Kennedys’ Jello Biafra to Slipknot’s Corey Taylor. The group’s song with Lamb of God singer Randy Blythe is streaming here. The record is due out July 31st.

Weekend Rock Question: What's the Best Pearl Jam Deep Cut?

Pearl Jam announced plans this week to perform at Global Citizens Festival in New York’s Central Park on September 26th alongside Beyoncé, Coldplay and Ed Sheeran. They’re heading down to South America in November, but a note on the group’s website says the Global Citizens Festival will be their only U.S. date of the year.

Now we have a question for you: What is Pearl Jam’s best deep cut? That basically includes everything that wasn’t a single or anything that hasn’t become a beloved classic like “Elderly Woman Behind the Counter in a Small Town,” “Black” and “Corduroy.” That still leaves around 95 percent of their catalog. Feel free to vote for an early tune like “Blood” and “Satan’s Bed,” a left-field song like “Bugs” and “Sweet Lew” or a more recent work like “Speed of Sound” or “Future Days.” Pick whatever Pearl Jam deep cut you want, but please only vote once and only for a single selection.

You can vote here in the comments, on or on Twitter using the hashtag #WeekendRock.

The Weeknd, Skrillex, Nicki Minaj, Lil Wayne To Headline First-Ever Billboard Hot 100 Music Festival Along With Very Special Guest Justin Bieber

The Weeknd, Skrillex, Nicki Minaj, Lil Wayne To Headline First-Ever Billboard Hot 100 Music Festival Along With Very Special Guest Justin BieberNEW YORK, July 10, 2015 /PRNewswire/ — The Weeknd, Skrillex, Nicki Minaj and Lil Wayne will headline the first-ever Billboard Hot 100 Music Festival that will also feature a very special performance by Justin Bieber. The highly anticipated festival, produced by Billboard, the…