The Flaming Lips' Wayne Coyne created a new wrapping paper design for a charity project based in the band's native Oklahoma City. The kaleidoscopic pattern – a variation of the band's cover art for their most recent LP, 2016's Oczy Mlody – benefits the Wrap Up Homelessness initiative of The Curbside Chronicle, a local street paper that employs individuals hoping to escape homelessness, The Oklahoman reports.
Coyne posted a photo of the wrapping paper on Monday with a characteristically enthusiastic caption. "Yessss!! Beautiful Flaming Lips Wrapping Paper is now available!!!" he wrote. "Click the link in bio!! You can get single sheets or a package !! Check it out AND ALL THE $$$$ goes to helping the homeless in OKC!! Cool peeps at @curbsideokc always doin cool shit!!!!"
Curbside Chronicle director Ranya O'Connor told The Oklahoman that Coyne was eager to contribute his "psychedelic" design, which includes Christmas-styled touches like Santa Claus heads. "Wayne gave it a holiday twist, and we're super excited he worked with us," she said.
Panic! At the Disco will release a new live album, All My Friends We're Glorious, on December 15th. The career-spanning, 21-track LP documents the pop-rock band's tour behind their fifth LP, 2016's Death of a Bachelor. The record will be available as a limited-edition double-vinyl and digital download, with a pre-sale launching Tuesday, November 21st at noon EST at the band's website.
All My Friends We're Glorious includes material throughout Panic! at the Disco's catalog, from a medley of their emo-styled 2005 debut, A Fever You Can't Sweat Out, to their baroque-pop hit "Nine in the Afternoon" to the majority of Death of a Bachelor. The LP also features cover versions of several songs, including Billy Joel's "Movin' Out (Anthony's Song)" and Queen's "Bohemian Rhapsody."
Death of a Bachelor – the band's first release following the departure of founding drummer Spencer Smith and bassist Dallon Weekes – debuted at Number One on the Billboard 200 and earned a Grammy nomination for Best Rock Album at the 2017 ceremony.
Singer Brendon Urie recently made his Broadway debut in a summer production of Cyndi Lauper's musical, Kinky Boots.
Panic! At the Disco – All My Friends We're Glorious Track List
1. "Don't Threaten Me With A Good Time" 2. "LA Devotee" 3. "Ready To Go (Get Me Out Of My Mind)" 4. "Golden Days" 5. "Vegas Lights" 6. "A Fever You Can't Sweat Out Medley" 7. "Hallelujah" 8. "Nine In The Afternoon" 9. "Miss Jackson" 10. "This Is Gospel" 11. "Death Of A Bachelor" 12. "The Ballad Of Mona Lisa" 13. "Movin' Out (Anthony's Song)" 14. "Emperor's New Clothes" 15. "Nicotine" 16. "Crazy = Genius" 17. "Let's Kill Tonight" 18. "Girls/Girls/Boys" 19. "Bohemian Rhapsody" 20. "I Write Sins Not Tragedies" 21. "Victorious"
On her first LP in seven years, singer-actressCharlotte Gainsbourg (daughter of Sixties French pop star Serge Gainsbourg)exudes the same droll, distracted sense of uneasy whimsy she's brought to herscreen performances and previous music projects. Fans of spacey Nineties lounge-pop like Air or Broadcast will drift along happily to pillowy confections suchas "Ring-a-Ring O'Roses" and "Rest," a collaboration withDaft Punk's Guy-Manuel. She also teams up with Sir Paul McCartney for theinspired No Wave pop of "Songbird in a Cage," which suggests theWaitresses produced by Brian Eno.
Nick Cave is facing backlash from prominent musicians including Roger Waters and Brian Eno for his decision to play two sold-out concerts in Tel Aviv, Israel.
Last month, the "Artists for Palestine" wrote an open letter to Cave, urging him to avoid performing in Israel "while apartheid remains." Cave responded on Sunday, November 19th – the first night of the back-to-back shows at Menorah Mivtachim Arena – in an unapologetic press conference, claiming he first performed in Israel with his band the Bad Seeds "20 years ago" and instantly felt "a huge connection" that he "couldn't really describe."
He also addressed the open letter in his remarks, noting that musicians who perform in Israel are now forced to "go through a sort of public humiliation from Roger Waters and co." Cave said his Israel performances marked "a principled stand against anyone who tries to censor and silence musicians," noting that the protests contributed to his decision to play in Israel.
Now Waters and Eno – along with others from the Boycott, Divestment and Sanctions Movement – have criticized Cave's rationale in numerous statements.
"Nick thinks this is about censorship of his music? What?" Waters wrote. "Nick, with all due respect, your music is irrelevant to this issue. So is mine, so is Brian Eno's, so is Beethoven's. This isn't about music – it's about human rights." He added, "We hurl our glasses into the fire of your arrogant unconcern, and smash our bracelets on the rock of your implacable indifference."
Eno took issue with Cave's stance about "silencing" artists, calling the claim "rather grating when used in a context where a few million people are permanently and grotesquely silenced." He continued. "Israel spends hundreds of millions of dollars on hasbara, and its side of the argument gets broadcast loud and clear. Coupled with the scare-tactic of labeling any form of criticism of Israeli policy as 'antisemitic,' this makes for a very uneven picture of what is going on."
"We thank Nick Cave for making one thing abundantly clear – playing Tel Aviv is never simply about music," they wrote. "It is a political and moral decision to stand with the oppressor against the oppressed."
In July, Radiohead performed their longest concert in 11 years in Tel Aviv, following a series of public, often acerbic exchanges between Waters and the band's Thom Yorke.
The sequel to Tove Lo's raw Lady Wood,like her stylized longform videos, deals explicitly with derangement – sexual,emotional, drug-induced. It'd be easy to dismiss as softcore shock-pop ifher songwriting wasn't so formidable. The nicely-titled "Disco Tits" isa lustily convincing club single; "Don't Ask Don't Tell" and "Struggle"tunefully unpack messy relationship psychology, E.M. Forster's "only connect" repurposed for the dancefloor. More problematic is "Bitches,"an icy banger evidently involving unsafe sex and gynophobic hook-ups. Like muchof Tove Lo's work, it's admirably uncensored, but may leave you craving ashower, however close to home it lands.
When Harry Styles sat down for an October 15th segment on CBS This Morning, the normally press-shy singer's solo debut was already five months old and he had no new tour dates to promote. But to experts, his timing was perfect – the Recording Academy had just mailed ballots to 12,000 Grammy voters to decide the nominees for the January ceremony. "Harry Styles is in the conversation for Album of the Year, so that gives him visibility during the voting period," says a record-label source. Adds another, "Harry doing something for an older demographic like CBS This Morning is just what a good PR manager would advise: 'We want voters to know you're not one-fifth of a teen-pop band, you're a serious artist.' "
In recent years, Grammy contenders have been more aggressively campaigning for awards, which can be a major boost for sales and streams. Taking cues from Hollywood, labels push artists to take part in Grammy Foundation events and secure voter-friendly media bookings; before the 2016 Grammys, Kendrick Lamar taped Austin City Limits for PBS and did a prominent NPR interview. "I want to win them all," he told one reporter (he won Best Rap Album). Some even pay for access to mailing lists that claim to reveal Grammy's secret voters. "It gets more intense every year," says Daniel Glass, president of Glassnote Records, which is pushing Childish Gambino for a Grammy. "I am getting hit personally, as a voter, with 'For your consideration, please vote for me!' e-mails that I have not seen at this level. The lines of decorum and class are being broken down."
Grammy voter committees change every year; to be a voter, you must have contributed to at least six commercially released tracks. To get in front of voters, some artists take part in the Grammy Museum's intimate onstage conversations. Styles, Julia Michaels, Zac Brown Band, Steve Martin, and Fleetwood Mac's Lindsey Buckingham and Christine McVie have all participated in those Q&As this fall – and they are all possible nominees for next year. "It heightens awareness of your act," says Bob McLynn, manager of Lorde, Sia, Green Day and others. "You do events throughout the year to garner favor, the same way an actor who's up for an Oscar will do a bunch of events for the Academy." Some artists are playing an even longer game; indie band the Head and the Heart visited the Grammy offices and played Tom Petty's MusiCares Person of the Year event earlier this year. While the band saw it only as a way to honor a hero, the event is considered a great way to get in front of likely voters. Adds someone close to the band, "When artists go on the road, you also try to see if they can do the Grammy school [programs], where kids ask them questions. Artists find it rewarding, and you become part of the fabric of the Grammys, and get in their newsletters."
There are also back-channel methods. Monique Grimme, co-owner of New Jersey indie label Bongo Boy Records, networked, gained access to a voter-only message board and several secret Facebook groups, and compiled a list of 8,000 probable voters. Clients can pay $125 for her to send an e-mail blast to her list, highlighting a group or artist. She says successes include indie performers like Fantastic Negrito, the Oakland singer who won 2017's Best Contemporary Blues Album. "We were trying to figure out how to differentiate ourselves," says Negrito's co-manager, Philip Green, adding that the e-mails were just one part of a long campaign. But a prominent label source warns these lists aren't reliable: "I feel so bad when folks hire those third-party people, because their lists are not reaching our members."
Portugal. The Man recently joined the Grammy push,taking out full-page ads in some major newspapers. "You have to have aprofile during that [voting] period, otherwise people won't remember yourrecord," says their manager, Ritch Holtzman. Chance the Rapper did thesame in 2016, paying huge for a full-page Billboard ad solely to reachthat small voting pool. "At first I was like, 'People take out Grammy ads– why? That seems lame,' " Chance tweeted. "Then I was like ... 'I'mgonna make a bunch of these.' "
It's a late August afternoon, and John Dwyer is sitting in his Los Angeles backyard, sipping an iced coffee. His beagle, Buddy, zips around the bramble and the sound of a Robert Fripp record trickles out from inside the house, which doubles as Dwyer's studio. It's a rare moment of downtime for the heavily tattooed frontman of California psychedelic rock group Oh Sees (formerly known as Thee Oh Sees, and sometimes as OCS), a man who has spent the past two decades in fanatical service to his DIY creative muse.
Dwyer is never not on: Within the first 10 minutes of his conversation with Rolling Stone, he's touched on tattooing his grandparents' names on his chest, pasta that resembles little ears, and how you can see the namesake of his neighborhood, Eagle Rock, from his porch.
Dwyer just wrapped a European tour, and he's already gearing up for the next leg. "I bought 500 white T-shirts and yesterday all day long I smoked weed, stood in my living room with a big setup, watching Seinfeld all day, just twisting shirts to do 500 tie-dyes, which I'm going to do today," the 43-year-old says. He turns down an offer of assistance. "Oh no, no, that's OK. This is, like, my zen thing that I have to do alone. But I appreciate it. I got 10 days to do 500 shirts and the first step is done, and then I have to make 200 posters which I still kind of need to draw up. But I think I can do it. I like working."
That's one way of putting it. Dwyer recently marked his 20th OCS release – not counting his many side projects and other bands – with Memory of a Cut Off Head. It's a beautiful and unusual record, even for him, hewing closer to reflective chamber pop than the manic, brain-frying work Dwyer is best known for, and it marks the welcome return of longtime collaborator Brigid Dawson on vocals and keyboards. Like any Dwyer product, it's just one piece of a large puzzle that includes his label, Castle Face Records, his solo project Damaged Bug and his obsessive devotion to touring.
Originally from Providence, Rhode Island, Dwyer first got into music via skating culture. Yet the emotional aspect of his art stemmed from a lifetime of playing a certain role-playing game. "Dungeons and Dragons was a huge part of my childhood, even before I got into smoking weed," he says, in reference to the fact that the album he released back in August is named Orc. "It was the first taste I had of imagination-based stuff. I still get immense enjoyment out of writing and playing live, because it's like that magical dopamine kick of creating from nothing."
Exposure to acts including the Cramps at all-ages joints, and a vibrant warehouse scene that gave birth to the likes of noise-rock heroes Lightning Bolt, also jolted a young Dwyer. At age 20 he picked up a guitar, and shortly after moved to San Francisco. He lived there for 17 years and became instrumental in helping build city's DIY garage-rock culture, a fact that led Ty Segall to once dub him "the mayor of San Francisco." Along the way, Dwyer cultivated a reputation for putting on some of the most dynamic, high-energy performances in live music. Onstage, his signature vocal delivery – marked by falsetto howls, gasps and moans – has become a rallying cry for fans (especially in set mainstays "Dead Energy" and "Tidal Wave").
In 2006, Dwyer co-founded Castle Face. The label's name came from one fateful night when OCS' original drummer got too stoned from a particularly potent joint and "his mouth looked like a drawbridge," Dwyer explains with a chuckle. Since then, the label has released work by garage- and psych-rock luminaries such as Segall and Australian rockers King Gizzard and the Lizard Wizard.
Dwyer seems indifferent to his reputation as a scene godfather. But he does allow that he's gotten better at recording himself, and that over the years his band has become more collaborative. "Maybe – I'm sure [the band] would disagree with this – I'm more easygoing than I used to be," he says with a laugh.
The secret to his success might be the fact that he isn't trying to escape his DIY milieu. Oh Sees tend to play the same venues, ones they like, when making the rounds on tour (with the exception of rare one-offs – over the summer, they played a wedding in southern Italy). Just staying busy is enough. "It seems like the whole world is in a tumultuous vibe, not just with politics but psychically," Dwyer says. "The only way you can try and deal with it, I think, is to make good work and be a good person.
"That's why I use the work as my system of getting through everything."
Megadeth's Dave Mustaine had an auspicious introduction to AC/DC: At a record store at a California mall near where he grew up, he'd trade drugs for free records. One day, a female employee named Willow gave him a copy of the band's 1977 album Let There Be Rock. "God bless her for that," he recalls. "It was like someone had unscrewed the lid off something evil. The guitars sounded so demonic. It was something I'd never heard before."
Mustaine devoured the band's catalog (preferring the original, Bon Scott-era lineup) in subsequent years, played AC/DC songs in a band, and, with Megadeth, had the chance to open for AC/DC on tour. Along the way, the late Malcolm Young, who died over the weekend of dementia and other complications, became, in Mustaine's words, "a hero of mine." Here are Mustaine's thoughts and memories of Young.
Most people don't know AC/DC was Malcolm's band and that they weren't Australian; they were Scottish. Tidbits like that are part of what made them unique. I was in a band that did a bunch of AC/DC covers and doing those songs introduced me a totally different approach to playing, where you don't have billions of layers. It's all based on the riff. Prior to that, rock and roll was all strumming chords and not playing riffs. A riff is a cyclical melody, and if it isn't good, you'll know. A good riff you can play over and over again, and Malcolm wrote a lot of that music. "Kicked in the Teeth" and "Walk All Over You" are two of my favorite songs of theirs.
Malcolm allowed Angus and Bon [Scott] to do their job. He knew he was the best there was at rhythm guitar. He and other guys held down the fort and anchored the rhythm. That was his role, and he loved it.
We went on tour with them a couple of years ago. I didn't know them well. We'd see them once in a while at catering, but they were one of those bands who came in right at showtime and then were gone as soon as the show ended. So Malcolm and I were just acquaintances and exchanged pleasantries, but I would have loved to have been friends with him. He and Angus were so shy. Someone said, "Can I get you a bottle of something?" and someone else said, "All they do is drink tea and smoke cigarettes."
During that tour, I'd stand by the side of the stage and watch. The guys were so little, but the volume was so loud. Pure Marshall amplification. It was mind-blowingly loud. If you wanted to be deaf, you shouldn't stay there for more than a short time. Malcolm would go back by the speakers and then go up to the front and sing and then go back to the amplifiers and just stand there, instead of staying up at the front like someone who doesn't know what to do. That was brilliant.
The morning I heard about Malcolm, I was goofing around on Twitter. Somebody posted about it and said they didn't know if it was a hoax or not. I saw that and went into shutdown mode. I said, "I gotta go" and pushed myself away from the computer. I had to walk away from what I was doing. My eyes filled up with tears, since one of my favorite people in the world was now gone.
A few years ago, my mother-in-law had Alzheimer's and wandered away from a campsite. We found her almost two months later. Her husband had dementia and he went a month later. So hearing about Malcolm was bittersweet. I believe in heaven, and I figure he's in heaven now with Bon and [Malcolm's brother] George.
"We're going to play some rock and roll for Malcolm tonight," Dave Grohl told the audience as a photo of Young was shown behind Foo Fighters on the festival's large video screen.
Earlier in the day in a written tribute to Young, Grohl said that AC/DC's 1980 concert film Let There Be Rock "changed my life."
"That film, a live AC/DC performance from Paris, 1979, is everything that live and roll should be. Sweaty. Loose. Loud. A relentless performance from the perfect band. It was the first time I lost control to music. The first time I wanted to be in a band. I didn't want to play my guitar anymore, I wanted to smash it," Grohl wrote. "Thank you, Malcolm, for the songs, and the feel, and the cool, and the years of losing control to your rock and roll. I will do just that tonight, for you."
Guns N' Roses similarly staged a tribute to Malcolm Young during their Sacramento, California concert Saturday. Although Axl Rose didn't perform alongside Malcolm during his guest stint in AC/DC, the singer remains close to Malcolm's younger brother Angus Young.
"We're gonna dedicate this to Malcolm Young, who will be sorely missed. By none more than his brother Angus," Rose told the crowd as Slash played a solo rendition of Alice Cooper's "Only Women Bleed."
Guns N' Roses then dedicated their covers of both Bob Dylan's "Knockin' on Heaven's Door" and AC/DC's "Whole Lotta Rosie" to the late guitarist.
In a statement to Rolling Stone, Slash said of Malcolm Young, "Malcolm Young was one of the best ever rhythm guitarists in Rock n Roll. He was a fantastic songwriter and he had a great work ethic too. I toured with AC/DC on their 'Stiff Upper Lip' tour. I found Malcolm to be a really cool, down to earth fellow. The entire rock n roll community is heartbroken by his passing."
On all three tracks, singer Skyler Grey filled in for each track's respective guest – Beyoncé, Dido and Rihanna – while also playing piano for "Walk on Water." Eminem and Grey were also backed by a string section and band.
Following the full rendition of "Walk on Water" – which closes with the lyrics "I'm godlike / Me and you are not alike / Bitch, I wrote 'Stan'" – the rapper segued into that Marshall Mathers LP hit before closing out the medley with a few verses from "Love the Way You Lie." Both "Walk on Water" and "Love the Way You Lie" were co-written by Grey.
Bypassing the usual two-segment SNL musical guest format, the medley served as Eminem's entire performance on the Chance the Rapper-hosted episode.
Eminem and Grey previously debuted the live "Walk on Water" at the MTV European Music Awards. The single is expected to appear on Eminem's upcoming album, rumored to be titled Revival.