All Time Low shared some exciting news and a treat for fans on Friday morning (Feb. 17), announcing they’ve signed with Fueled By Ramen and are releasing a new single and video, “Dirty Laundry.”
The Maryland-hailing foursome have been teasing the prospect of new music over social media the past week, tweeting clips and stills from the “Laundry” shoot.
The new single encapsulates the best of the band’s roots and growth, mixing rock with pop and electronic tendencies. Starting off slow with a hypnotic guitar riff, an underlying dance-esque beat builds before breaking into the chorus.
As the visual opens, Alex Gaskarth is found sitting, fittingly, in a laundromat, entranced by the whirl of the dryer. Cut to him standing centered between an aisle of washers as people jostle and change him, All Time Low’s emblem emblazoned as a neon sign in the background.
Gaskarth croons about secrets kept and skeletons hidden in the closet singing, “Dirty laundry is piling in her room/ She’s got her secrets/ Yeah, I’ve got mine too/ I don’t care about what you did/ Only care about what we do/ Dirty laundry looks good on you.”
The band’s previous album, Future Hearts, was released in April 2015 and peaked at No. 2 on the Billboard 200.
Watch the magnetic “Dirty Laundry” video below.
Showtime will help bring The Beach Boys‘ Pet Sounds‘ 50-year celebration to a close this April with the release of a documentary chronicling the seminal album’s creation.
Beach Boys: Making Pet Sounds features interviews with Pet Sounds mastermind Brian Wilson, as well as fellow surviving Beach Boys Mike Love, Al Jardine, Bruce Johnston and David Marks. It takes viewers through the fraught recording of the 1966 set, which included such hits as “Wouldn’t It Be Nice” and “God Only Knows.” Pet Sounds was first released on May 16, 1966.
In addition to the exclusive interviews, the documentary includes archive footage and rare studio outtakes from the recording sessions. The documentary first ran on the BBC; Showtime has changed the title and added footage not seen in the original doc.
Last June, Capitol Records released Pet Sounds (50th Anniversary Edition) in several configurations, including a 4CD/Blue-ray audio collectors edition. Meanwhile, Wilson continues his Pet Sounds: The Final Performances tour through this year, including stops at Los Angeles’ Pantages Theater May 26-27 and a show in London Aug. 1.
In 2004, Showtime aired Beautiful Dreamer: Brian Wilson and the Story of Smile, a David Leaf-directed documentary that chronicled the release of the Beach Boys’ troubled Smile album which was shelved until its release that year.
Stephen Colbert loves to hop on the mic. The Late Show host proved his vocal prowess on Saturday night (Feb. 4) at a benefit for the Montclair Film Festival in Montclair, New Jersey, where he busted out killer cover of the Talking Heads‘ “Once in a Lifetime.” He went full method for the homage to the new wave icon’s 1984 Stop Making Sense documentary, shaking in his suit and waving his hands like former Heads singer David Byrne.
Check out the performance:
The Lumineers had a very special couple of nights in New York City. As part of their world tour supporting Cleopatra, which debuted at No. 1 on the Billboard 200, the folk rockers sold out Thursday (Feb. 2) and Friday (Feb. 3) at Madison Square Garden.
After opening with “Submarines,” the third track off their self-titled, debut album, lead singer Wesley Schultz explained to the crowd that he and other founding member, Jeremiah Fraites, grew up only 12 miles away from the famed arena. “I saw one of my first concerts here, so tonight is a really special night for us. Thank you for being here,” said Schultz.
All of the band members abandoned their stationary instruments to join Schultz at the front of the stage for their smash “Ho Hey” somewhat surprisingly early in the set, during which the voices of people singing along echoed throughout the Garden beautifully. Following “Ho Hey,” Schultz dedicated the title track “Cleopatra” to the all of the women who participated in the Women’s March on Jan. 21, including his mother and sister.
This wasn’t the only time the band worked a political remark or two into its set — but it was all done without calling out any specific names. Before performing “Charlie Boy” on an elevated spectacle of a B-stage in the middle of the arena, Schultz reminded the audience that regardless of who’s in charge of the country, whatever they say “means a lot” and we should be conscious of it.
While the Lumineers may not play the most uptempo music, they certainly kept the audience on their toes (and made it impossible not to pull your phone out and put every second up as Instagram stories) with their mesmerizing lighting and the previously mentioned dynamic B-stage. Images and colors were constantly projected onto their backdrop, which had six illuminated chandeliers hanging that resembled organ pipes. At one point, Schultz even jumped off the stage and went into the crowd — fearlessly hurdling over seats — in the middle of the set.
Overall, the Lumineers put on a show that was equal parts heartfelt and exciting. Check out the rest of their tour dates and get tickets here.
Metallica has postponed its Sunday night (Feb. 5) concert in Copenhagen due to frontman James Hetfield falling ill. The show was one of four scheduled this week at the city’s new Royal Arena.
“We’re very disappointed to have to share with you that unfortunately as Saturday has progressed, James’ health, and specifically his throat, is not improving and he is under strict doctor’s orders to not sing one single note. So sadly we have to report that we will be postponing tomorrow’s show at the Royal Arena until September 2, 2017,” the band wrote in a note posted to Facebook.
Metallica’s note refers to Friday night’s (Feb. 3) gig at the Denmark arena, where Hetfield soldiered through the performance despite admitting he wasn’t in top form. (In a clip from the show, seen below, he can be heard addressing the crowd, whose cheers encouraged him to stay: “It’s not fair to you guys, man. You paid a lot of money to come see your favorite band, and we don’t sound good. I want to leave it up to you, man. Would you rather hear us sound better another time?”)
On Facebook, the band thanked fans who remained supportive at Friday’s concert. “To those of you who were there yesterday, we appreciate you encouraging us to carry on . . . that meant the world to us! We all felt really bummed that we were unable to give you the maximum Metallica experience; it was one of the most challenging shows we’ve ever played, but your love and support got us through,” Metallica’s message said.
“We are monitoring James’ voice on a day-to-day basis so watch this space for updates,” the band added.
Ticketholders for Sunday night’s show will be able to attend the rescheduled date of Sept. 2. Alternately, a limited number of tickets for the band’s shows on Feb. 7 and 9 may be available through Ticketmaster Denmark to those who were attending the now-canceled Feb. 5 concert. Refunds are being offered from Ticketmaster to those who cannot attend any of the dates.
Metallica is slated to perform at this year’s Grammys on Feb. 12, after wrapping its run in Copenhagen.
Before throwing amorous lyrical shade became standard chart-topping fodder, there was “Go Your Own Way.” The first single from Fleetwood Mac‘s legendary album, Rumours, spelled out Lindsey Buckingham‘s then trouble-in-paradise relationship with bandmate Stevie Nicks. Their romantic relationship (surprise!) did not last, but the track became something of a cult favorite for musicians to put their own take on through the years. So in honor of Rumours turning the big 4-0 today (Feb. 4), here’s a roundup of some “Go Your Own Way” go-to covers.
Don’t let the fact that this appears on a Nicholas Sparks movie soundtrack scare off the more discerning of listeners. The folk singer’s rendition, from her 2011 Covered Up With Flowers EP, is full-on angsty power ballad at its finest.
In 2013, for a Grammy Reimagined Series, they chose to put their own twist on the Fleetwood Mac hit. Their slower tempoed-take has that more stripped down, melodic quality you’d want and expect from the band.
The trio’s rendition — from their 2004 album of covers, California — is, well, quintessential Wilson Phillips. The reason you still feel the need to wave a lighter in the air at a concert.
The singer covered the hit on his 2011 studio album Ordinary Alien, which he has performed at some more intimate concerts. The feel-good composition has a reggae undertone to it with that eclectic “get up and dance” signature of the pop icon.
This cover, from their 2009 album A Shipwreck in the Sand, is heavy metal death growl meets early-aughts boy band. A crowd pleaser punctuated by moments that leave you #woke.
This cover, from the Irish exports’ 1996 Faithful Departed album, does not disappoint with its upbeat tempo, solid electric guitar action, and the occasional Enya-esque voice notes.
The British alt-rock band, who are known to eschew guitars and rely more on the piano, have never shied from covering the greats. In a 2010 radio performance they unveiled their Fleetwood Mac nod. We nominate the rumba shaker for the cover’s MVP.
By the time Glee went off the air in 2015, there were few songs that hadn’t been showcased. But a second season episode, titled “Rumours,” was devoted entirely to the Fleetwood Mac album’s songs. Whether you A) loved the show B) pretended you didn’t watch the show but secretly did, or C) protested its existence, Lea Michele’s take undeniably did it justice.
Originally released on a 1993 EP, their cover also makes a memorable appearance on the Clerks movie soundtrack. The sound is textbook grunge out of 1990s Washington state.
In a 2007 Fashion Rocks show the country singer — still relatively fresh music blood — went all out. Lindsey Buckingham must have approved, because he joined her on stage.
The Californian likes to break out her rendition of the song at concerts. Her version is faster than you would expect from the musician behind “Bubbly” and “Realize.”
It has been 12 years since New York metal act Life of Agony released its last album, 2005’s Broken Valley. That’s a lifetime in the music industry, although in the timeline of Life of Agony, that’s pretty much on schedule. After all, eight years passed between when it released 1997’s Soul Searching Sun and Broken Valley, but nonetheless, fans have wondered if the quartet of singer Mina Caputo, bassist Alan Robert, guitarist Joey Z and drummer Sal Abruscato would ever return to the studio.
They are getting their wish: Life of Agony’s fifth album, A Place Where There’s No More Pain, will be arriving April 28 on Napalm Records.
“What made Life of Agony reunite [now] was the power of music and the power of love — the love we have for each other and each other’s families,” says Caputo. “Not only were the die-hard fans waiting for a new record for a long time now, but I think the individual members in the band were also excited and keen on making a new album as well. The band is notorious for disappearing for quite some time and then reappearing to open up some more wounds: lyrically, melodically and musically speaking.
“We really don’t have a formula to our timeline. We act on impulse and spontaneity,” she adds. “Now more than ever seems to be a perfect time to release a new collection of Life of Agony songs. I think society needs more work and more healing. More hard rock. More authentic music and artists. I also think we needed to heal as a band. I think we’ve achieved just that with A Place Where There’s No More Pain.”
Caputo says it feels empowering to have the backing of the band’s label and fans supporting the group, but it also feels “like we’ve been in labor for years,” she says with a laugh. “To finally pop this baby out is the greatest and most rewarding of all the LOA releases for me. It’s a huge jump in creativity for this band. It sounds like a montage of the very best bits of our life’s work. I’m excited for the world to grasp its claws into it.”
“We all really pushed ourselves on this one to make it the best it could possibly be, without compromising. That’s why I think it took us a bit longer than we anticipated,” explains Robert. “We didn’t want to settle, and we didn’t want to rush it. Hell, we waited 12 years since the last album, what was an extra couple of months!” he jokes. “It was really important to us to get it right. Not just the songs, but sonically. It needed to sound bigger than anything we’ve done before.”
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Robert describes the new album as having “the big guitar riffs and grooves reminiscent of our older records, coupled with really intense vocal hooks. It feels like this is the sound we’ve been chasing all of these years and we finally captured it. Lyrically, it’s very dark and definitely touches a nerve. Lots of familiar themes that we’ve explored throughout our career: loneliness, desperation, alienation and loss. But we also touch on new themes as well.”
Caputo believes that all LOA records have the “overall classic sound” that fans have come to know, but A Place Where There’s No More Pain also has “a new energy” that didn’t exist before. “We are stronger, more confident, more thought-provoking and more colorful and touching,” observes Caputo. “There are elements and ghosts on this album that could never ever be mimicked or copied. I also believe that new ghosts have visited us for this special recording.”
Billboard has the streaming premiere of the title track for A Place Where There’s No More Pain. Listen below:
Caputo describes the song’s inspiration as being about “living your life constantly out of your comfort zone. When the darkest times hit and you seek that safe place or comfort, it’s then and only then that you realize that this comfort, this safe haven can never be reached, and perhaps, never exist.”
“We have a long history of connecting to our fans on an emotional level through our words and music, and that’s why I think there’s something really relevant and timeless about the message behind the title track,” adds Robert. “It’s about facing your problems head on in order to find peace within yourself — a topic that really hits home for a lot of our fans struggling with their own demons. The opening line ‘Running away only makes it worse’ couldn’t be more true, because sooner or later those problems will catch up with you, and when they do, you gotta be strong enough to deal with them.”
Inner demons are subject Caputo is especially familiar with: She came out as transgender in 2011 to the surprise of the metal community after a lifelong struggle her identity. Life of Agony was inactive at that point, and some assumed that her transition meant the group would never reunite. But Robert points out, “I think this band is a part of our DNA. It’s part of who we are as people. Let’s face it: We’re family. At this point, we’ve been in this band longer than we haven’t been. When we started this thing, we were just a bunch of angry and frustrated teenagers and Life of Agony was our outlet. We helped a lot of people cope with their own problems along the way by listening to us. Fans all over the world still come up to us at shows and say that our records helped save their lives. Well, the truth is, those listeners helped save ours.”
Veteran New York new wavers Blondie have called in some serious reserves for their upcoming 11th studio album, Pollinator (due May 5 via BMG), with the set’s first single, “Fun,” dropping on Tuesday (Jan. 31). Among the collaborators on the disc are Sia, Joan Jett, Laurie Anderson, Charlie XCX, Johnny Marr, Blood Orange‘s Dev Hynes, Dave Sitek of TV on the Radio and the Strokes‘ Nick Valensi.
The core trio of original members (singer Debbie Harry, guitarist Chris Stein and drummer Clem Burke) are joined by Sitek on “Fun,” a spiky slab of disco punk featuring the uplifting chorus “You’re my fun when I’m down/ You pick me up again, you pick me up again/ You’re my fun too, much fun/ I get the feeling that you’re changing my mind.”
The album was produced by John Congleton (Depeche Mode, St. Vincent) and was the last effort recorded at New York’s legendary recording studio, The Magic Shop, the site of sessions for David Bowie’s final album, Blackstar, which has since closed due to rising rent costs. Pollinator is the follow-up to 2014’s Ghosts of Download.
Pollinator track list
1. Doom or Destiny
2. Long Time
3. Already Naked
5. My Monster
6. Best Day Ever
8. When I Gave up on You
9. Love Level
10. Too Much
— Debbie Harry/BLONDIE (@BlondieOfficial) February 1, 2017
Young and Pearl Jam memorably joined forces to play Young’s “Rockin’ in the Free World” at MTV’s Video Music Awards in 1993. Pearl Jam regularly covers the song on tour. Members of the band played on Young’s 1995 album “Mirror Ball.”
The Hall also announced Friday (Jan. 27) that Jackson Browne will induct folk legend Joan Baez, and Geddy Lee and Alex Lifeson of Rush will present fellow progressive rockers Yes at the April 7 ceremony in New York.
We included Vagabon in our list of rock artists to watch in 2017 because we thought the Cameroon-born, New York City-based musician Lætitia Tamko was onto something special. Since hitting the city’s DIY scene a couple of years ago, her craft has blossomed — so much, that her debut album Infinite Worlds (out Feb. 24 on Father/Daughter Records) is garnering the sort of widescreen media attention that can vault artists onto myriad critics’ lists and prestigious live opportunities. This already includes an upcoming 25-date U.S. tour with Allison Crutchfield.
Tamko is inspirational and relatable, offering her personal journey in music so openly, that it literally unfolds across Infinite Worlds’ eight songs. This includes the first song she ever wrote, the rumbling, guitar-and-bass indie rocker “Cold Apartment”; she taught herself guitar in high school and, to record the album, picked up drums and bass. It also includes “Mal á L’aise,” the last song she wrote, a hypnotic sound collage written entirely in Logic, which she taught herself along the way.
But the track we’re sharing is one written somewhere in between. A terrifying flight to Minnesota inspired “Minneapolis,” a noisy, rumbling punk rock song with — as Tamko explains — surprisingly proggy inner-workings.
So tell me in your own words how this one came together.
It’s actually the one track on the record that was very unintentional… I was just playing around on guitar, trying to be funny in my practice place and my friend was around doing her own thing. It’s also the one song where the arrangement came before the lyrics. I never write that way. [I was] just trying to make things fun for myself — doing a weird, f—ed-up stop in the middle, counting in this awkward prog time and starting all over. It’s one of those songs I don’t really know how to talk about because it was written to be fun.
My friend Eva [Lawitts] actually played bass on that. The album was played by me and Eva. She’s mostly a prog bassist. That song is basically for her; she had a lot of fun with that one because she can shred in a lot of ways I usually don’t let people shred on my songs.
When you sing about going home, do you mean New York?
No, just the first two lines are very literal. It’s kind of trivial, but that specific flight was very f—ed. The pilot was flying like an intern, like he’d never done it before. So when I’m talking about going home, it’s not a tangible home. It’s just in my headspace.
Where do you think the feeling of dread in the lyrics comes from?
That’s a good question. I have no idea. There’s a lot of anger in that song. It’s a weird, triumphant song. When I’m writing about getting through something — something triumphant — it comes out as the opposite. It wasn’t supposed to be dread; it’s more like a “I used to feel this way, but now I don’t, so I can talk about it.”
I see. I was picking up on the dread in the lines about waking up before everyone else.
That’s a different tour journal. That’s a very literal line. I was on my third tour of the year and kind of feeling insane. In the touring party, I was the very restless… I’d wake up at 6 and the touring party woke up at 11, so I was waiting around for everyone.
Are these the people you made the album with?
No, I’ve only toured alone. My setup is just [me] playing three instruments, with a sampler. It’s usually other bands I’m touring with or other people on the road with me, but not playing with me.
So when you play live, it’s just you onstage?
All the tours have been. I try to keep it that way, even when I play in New York. Once in a while I bring in a live band to play on some songs. And when the record comes out, I’m going back on tour [in the U.S. with Allison Crutchfield] and I’ll have a live band for that. So that’ll be the first tour I do with other musicians around me.
Tamko co-produced Infinite Worlds, which is available for pre-order here.
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