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Lee Fields & The Expressions Bring Funky Soul Sounds To Portland (PHOTOS)


The Youngest Make Immediate Impact With ‘See It Through’ (ALBUM REVIEW)

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youngest2With their second album See It Through, The Youngest discover a fine line between the wistful and the resolute. The blend is not only impressive, but memorable as well, a divide that finds the band standing apart from their contemporaries with a sound that’s instantly accessible while boasting an unmistakeable allure all its own. Their’s is a blend of subtlety and finesse that generally avoids the obvious, but still makes an unavoidable impression all the same.

To be sure, The Youngest are no slackers when it comes to delivering an emphatic presence. Initial tracks “Built To Last” and “Red Corolla Rental” are as emphatic as the determined rockers offered up by the competition, but their ability to temper the proceedings with the upward spiral of songs like “In Gulf” and “Minyone,” not to mention the meditative musings of closing track “Kind Like Gravity,” provides an additional emotional additive, one that gives pause and reason for reflection. This is a band with a greater degree of finesse than most, and despite its prevalent pop sound — the perky “Big Brother’s Love” being one of the album’s best examples — it offers cause for repeat hearings, if for no other reason to probe the subtleties and suggestion that reside just below the surface.

Consequently, though only two outings into their career, The Youngest have already distinguished themselves as a band well watching. The presence of Pat Sansone (Wilco)and a sizeable contingent of support musicians doesn’t hurt either. Yet, for whatever the reason, See It Through emerges as one of those albums that creates an immediate impact, signalling the start of a career that boasts infinite possibilities. The Youngest belie the inexperience their handle otherwise suggests, and yet make no mistake. It’s not the work of wizened old men, but rather a collective consciousness that’s both worldly and wise regardless

The post The Youngest Make Immediate Impact With ‘See It Through’ (ALBUM REVIEW) appeared first on Glide Magazine.

Stevie Nicks and The Pretenders Rekindle Nostalgia & Hits in St. Paul (PHOTOS)

Film Bits: ‘The Fate of the Furious’ Looks Ridiculous; ‘Spider-Man: Homecoming’ Sequel Sets Release Date

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‘The Fate of the Furious’ Looks as Absurd as You’d Expect

Look…I’ll level with you. I haven’t seen a Fast/Furious movie since the original. I’ve barely even kept up with the fact that they’ve just kept fucking making these. But here we are. In 2017. On part 8 (Fate, get it? GET IT?!) and we couldn’t be farther removed from where the series began oh so many years ago. In hindsight, the original movie looks downright subdued compared to what I’m seeing here, which features a lambo in the arctic, a wrecking ball, a tank, and Charlize Theron. According to what I’ve read about the series since watching this trailer, this is about par for the course. I’m probably going to hate it. But if it’s for you then, hey, it’s for you. The Fate of the Furious opens April 14, 2017.

(Universal Pictures)

‘Spider-Man: Homecoming’ Sequel Gets Release Date

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So the trailer for Spider-Man: Homecoming dropped last week. Remember that? It was super exciting! Looking forward to its release next summer. Seems that’s too shortsighted of me, however, as we’ve already got the sequel to look forward to. Sony, who is co-helming the franchise with Marvel Studios these days, set July 5, 2019 as the target date for the next entry into the franchise, a full two and a half years from when I’m writing these words. As fast as they’re pumping these out nowadays, Homecoming will be old news by the time it hits on July 7, 2017. Who knows when we’ll be talking about 3? Sometime after Christmas would be my guess, judging by the rate we’re going.

(The Hollywood Reporter)

‘Moana’ Stays on Top, Despite Best Efforts of ‘Office Christmas Party’

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Disney’s latest animated hit Moana tops the box office for the third weekend in a row, bringing in $18.8 million. Hot on its heels was the irreverent comedy Office Christmas Party with $17.5 million. The heat surrounding Fantastic Beasts and Where to Find Them has finally cooled down some, as it earned $10.7 million. Arrival, which moved up slightly weeks, fell back down to fourth place this weekend with $5.6 million. Rounding out the top five was Doctor Strange, which is still conjuring box office magic in its sixth week of release, earning $4.6 million. With Rogue One dropping this Friday, who knows how the box office will respond but, if history is any indication, these films have all seen their last days at the top. For the full top ten, seen below.

  1. Moana-$18.8 million
  2. Office Christmas Party-$17.5 million
  3. Fantastic Beasts and Where to Find Them-$10.7 million
  4. Arrival-$5.6 million
  5. Doctor Strange-$4.6 million
  6. Allied-$4 million
  7. Nocturnal Animals-$3.19 million
  8. Manchester by the Sea-$3.15 million
  9. Trolls-$3.11 million
  10. Hacksaw Ridge-$2.3 million

(Box Office Mojo)

The post Film Bits: ‘The Fate of the Furious’ Looks Ridiculous; ‘Spider-Man: Homecoming’ Sequel Sets Release Date appeared first on Glide Magazine.

Bob Weir, Alison Krauss, The Last Waltz Band Spark Warren Haynes’ Christmas Jam (PHOTOS)

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The 28th Annual Christmas Jam took place December 10th at the US Cellular Center in Asheville, NC. Presented by Warren Haynes, this year’s outing featuring his Last Waltz Band that Haynes will be touring with next year featuring Michael McDonald, Jamey Johnson, John Medeski, George Porter Jr., Terrence Higgins and Don Was. Other featured performers included Bob Weir, Alison Krauss, Branford Marsalis, Marcus King, Holly Bowling and  Steve Kimock. Photos by Brad Kuntz.

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Jamey Johnson + Alison Krauss
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The post Bob Weir, Alison Krauss, The Last Waltz Band Spark Warren Haynes’ Christmas Jam (PHOTOS) appeared first on Glide Magazine.

Bob Weir, Michael McDonald, Alison Krauss And More Make 28th Warren Haynes’ X-Mas Jam One For The Ages

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There was tangible excitement around the 28th iteration of the Christmas Jam that hadn’t been felt since the astounding 25th anniversary blowout in 2013. The chilly weather in Asheville, NC signaled the true start of winter in the region, but even without that motivation, people seemed more anxious than ever to get inside the US Cellular Center and spend 8 hours experiencing the always-satisfying show. Considering the individual musicians, the 2016 Jam will be remembered as one of the most impressive lineups in the event’s long and legendary existence – the announcement of Warren Haynes, Bob Weir, Michael McDonald, Jamey Johnson, Alison Krauss, Branford Marsalis, Don Was, Steve Kimock, John Medeski, Terrence Higgins, Eric Krasno, Jeff Sipe, Marcus King, and more stoked anticipation to a frenzy in the weeks leading up to the big night.

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Continuing one of the Jam’s more recent traditions, live music filled the void between sets. This year, Holly Bowling played four “tweener” sets while also participating in other parts of the show. Her solo piano interpretations have garnered a lot of attention lately, and she filled the set breaks with riveting takes on Phish (“A Song I Heard The Ocean Sing”, “Taste”, “The Inlaw Josie Wales”) and Grateful Dead (“Terrapin”, “Crazy Fingers”, The Other One”), often providing interesting segues between songs from both bands. After Haynes’ ceremonial two-song acoustic set – which, as always, included “And It Stoned Me” – Jamey Johnson and Alison Krauss offered enchanting harmonies on their generational country megahits “When You Say Nothing At All” and “In Color”, along with a smattering of Johnson’s solo material and a few more ballads, including “Make The World Go Away”.

Jamey Johnson + Alison Krauss

Jamey Johnson + Alison Krauss

Whenever George Porter Jr. steps on stage, a party atmosphere pervades the venue. This certainly held true at the Christmas Jam. That the set featured the first real danceable, funky moments of the night only served to intensify its effect; it felt like the real beginning of the Jam. Porter was joined by Medeski, Krasno, Was, Higgins, and Marsalis, and proved his normal boisterous self on opener “How Much Time” and “He Bite Me (The Dragon)”, while Marcus King joined in to add guitar and vocals to “Just Kissed My Baby”, and Bob Weir appeared – eventually – to ignite the night with an extended “Sugaree” and a jubilant “Iko Iko” set closer.

Michael McDonald, who will be touring with Haynes, Was, Medeski, Johnson, and Higgins next year on The Last Waltz tribute tour, smoothly performed a short set of his most recognizable songs. “What A Fool Believes”, “I Keep Forgettin’” (with Marsalis) and “Takin’ It to the Streets” (with Krasno) kept the upbeat feeling alive, and the arena was crackling with energy by the time Bob Weir stepped out for his set. Weir presided over a long and varied set, opening with a solo acoustic version of Little Feat’s “Easy to Slip, welcoming Krauss for “Peggy-O”, and directing one of the most memorable segments in Christmas Jam history. Marsalis and Haynes joined Weir’s band (Kimock, Was, Duane Trucks, Bowling) for a luxurious “He’s Gone”, followed by a monstrous “Eyes of the World”, a song in which Marsalis notably thrives. His solos were sheer perfection, and led the band to fantastic heights for over 15 minutes before they settled down and slid into “Truckin’” and ended the set with “Ripple”.

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The aforementioned “Last Waltz Band” finally got their turn around midnight, and McDonald and Johnson handled most of the vocal duties. Leading off with “Up On Cripple Creek” and making quick work of “The Shape I’m In”, “Stage Fright”, and “Georgia On My Mind”, the band and their considerable horn section were joined by Weir and Krauss for a stirring version of “The Weight”. Weir hilariously butchered his verse and promptly called himself out. A late highlight was Krauss’ appearance on “Helpless”, the Neil Young masterpiece so inextricably associated with the concert film. The set took a bluesy turn as guitarist Bob Margolin and harmonica legend Smoky Greenwell added their stamp to “Mannish Boy” and “Further on Up the Road”, then closed on a big “The Night They Drove Old Dixie Down” singalong.

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Any Gov’t Mule set at the Christmas Jam is bound to be a sprawling, jam-filled affair, and this edition was doubly so. Mule drummer Matt Abts had a family emergency, so a litany of drummers stepped up to fill in. Rocky Lindsley handled “Mule” and “32/20 Blues”, the latter of which featured Marcus King and Smoky Greenwell in their natural environment, trading notes like such things are scarce. Jeff Sipe then took over drum duties on “Sco-Mule”, and Marsalis also joined in for more jam-mongering fun. It really is convenient for Carolina music fans to have such a saxophonist residing nearby, and lately he’s been unable to resist a jam. Finally, completing this true “Mule and Friends” set, Duane Trucks and Paul Riddle combined to provide layered dual drummer beats for a 25-minute run through Allman Brothers Band touchstones “Dreams” and “Mountain Jam”.

There were a few sound issues throughout the night, and the sense of organized chaos that sometimes pervades the Christmas Jam was intermittently present. But overall, the 28th version of Warren Haynes’ favorite holiday party was yet another rousing success, another feather in the cap of a singular event that helps define a genre, a season, and a city.

Check out a full gallery of photos shot by Brad Kuntz!

The post Bob Weir, Michael McDonald, Alison Krauss And More Make 28th Warren Haynes’ X-Mas Jam One For The Ages appeared first on Glide Magazine.

Americana Musician and Producer Gurf Morlix Announces Ninth Solo Album ‘The Soul & The Heal’

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Even if you have never heard of Gurf Morlix, you have most likely listened to a classic record he produced, or one on which he played. Morlix is well-known as Lucinda Williams’ guitarist and band leader, an Austin Music Hall of Fame member and an Americana Music Association “Instrumentalist of the Year” winner.  His resume includes “who’s who” of music, folks like Ian McLagan, Patty Griffin, Robert Earl Keen, Buddy Miller, Mary Gauthier, Tom Russell, Butch Hancock, Slaid Cleaves and Ray Wylie Hubbard, just to name a few. Their desire to work with him reflects not only his immense talent, but his integrity.

With that talent and integrity comes his ninth solo release The Soul & The Heal, out February 3, 2017.  The album kicks off with the raw, guttural feel of the first track “Deeper Down.” The blues chord progressions continue throughout the album. “Bad Things” takes the listener way down to the depths of Delta blues, with fierce guitar and the devil just behind it. “Love Remains Unbroken” and “Quicksilver Kiss” are infused with hope, especially when Morlix sings “just me and you trying to make our way.”

About The Soul & The Heal, Morlix says, “It is about the healing of the soul. The damage we do to ourselves and what we inflict on others. And hopefully, we recover.” Although the album was written prior, it seemed like a prophecy when Morlix suffered a heart attack. “The past records were darker, about friends who had died. Although The Soul & The Heal has somber moments, it definitely offers more hope and love,” claims Morlix.

Shortly after release, Morlix heads out on February 19 on Cayamo:  A Journey Through Song, a cruise which sails to Mexico and Honduras.  The cruise features top artists including Emmylou Harris, Brandi Karlile, Patty Griffin, Richard Thompson, Steve Earle and many more. The seven days of music, storytelling, jam sessions and fellowship are certain to be one of the musical highlights of 2017. Morlix has select tour dates in November and December, and will also be on the road in 2017 in support of The Soul & the Heal. Tour dates are below, and head to gurfmorlix.com for the latest updates.

Gurf Morlix Tour Dates:

2016:

November 25            Austin, TX                               Evangeline Café (with Bill Kirchen)

December 2               Lake Charles, LA                    Lake Charles Racquet Club

December 3               Baton Rouge, LA                    Red Dragon

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February 3                 Dallas, TX                               All Good Café –Record Release Show

February 19              Departs from Tampa, FL      Cayamo Cruise

May 6                         Hastings on Hudson              Common Ground Community Concerts

May 18                       Cambridge, MA                      Club Passim

May 19                       Dover, NH                               Red & Shorty’s

May 21                       Brick, NJ                                  Rosie’s Cafe

 

Photo: Mathew Sturtevant

The post Americana Musician and Producer Gurf Morlix Announces Ninth Solo Album ‘The Soul & The Heal’ appeared first on Glide Magazine.

The Strokes Guitarist Nick Valensi Talks Side Project CRX (INTERVIEW)

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The Strokes guitarist Nick Valensi missed playing live music in front of crowds, so he started his own band, CRX. Stepping out from his support role in the Strokes, Valensi has adapted to his lead role as writer/singer/frontman incredibly well. The band’s latest effort, New Skin, bears the unmistakable mark of its producer – Queens Of The Stone Age frontman Josh Homme. New Skin ventures beyond Strokes territory and into harder, rougher, dirtier riffs that have their own unique charm. We recently caught up with Nick on tour as he made his way to Austin for Saturday night show at the legendary venue Stubb’s BBQ.

I know after the last Strokes album, Comedown Machine, you were unable to go on tour. How is it being back on the road?

It’s been so much fun to be honest with you. We are having a really good time playing cool clubs that I haven’t played since our first early Strokes tours. Last night we were in San Diego and we played a club called the Casbah that I played in 2001 with the Strokes. It’s cool pulling into these clubs, I find myself walking in and feeling like this is exactly why I wanted to start this band and this is exactly what I want to be doing right now.

How did you bring the guys in CRX together?

It was something I started on my own, almost in secret, with a feeling that I wanted to put something together. I wasn’t sure if I wanted to sing on it or front the whole thing. I was desperate to get back on stage and get back on tours. I basically started writing songs at home on my laptop and spent the better part of a year doing that. I got about three quarters of the way through and then hit a wall and kind of lost perspective a little bit. I had a feeling that I was on to something good, but I needed help to finish it. So I reached out to some friends that I had a lot of respect for musically and had trust in. I reached out to them, played some of my demos and got some positive feedback. That feedback turned into collaboration pretty quickly and before I knew it I had these guys helping me finish writing this album.

You’ve said this album has a grungier, heavier feel than Strokes songs. Are you a closet metalhead? 

It’s no secret. I am not in the closet. I’m not trying to hide it. One of the first bands that I loved that my parents didn’t expose me too was Guns N Roses. I’ve always loved early 80’s thrash stuff and British metal. I don’t think it’s a guilty pleasure. I’m not embarrassed to admit I like music like that. Even bands like Mastodon or System of a Down, there are still bands out there making awesome, heavy shit.

Josh Homme produced your album. I hear he is a bit of a perfectionist, how was it working with him?

It was great. I’m really grateful to have gotten him onboard with the record. He was so instrumental in shaping the sound of it and making it what it is. He was a great person for me to reach out to because he wasn’t the singer in his first band, he was a lead guitar player that reluctantly transitioned to a lead singer, and that was what I was facing as well. So there was no one better to reach out too and get insights from than him. To be honest, he was one of those friends I reached out too at the time when I needed help finishing the record. At first I was just looking for feedback, but his response was really positive and we started talking about all these ideas around production. One thing led to another and I just asked him to do it and he jumped on board.

Did he have any unorthodox tactics in helping you record? 

There was one song we were working on – I can’t remember which one. We were having a tough time nailing the low end of this song and it was a mixing thing. He just wanted this modern hip-hop vibe. He said, ‘I want you guys to listen to this and I’ll be back in 45 minutes’, and then he put on Missy Elliot’s “Get Your Freak On” and didn’t return for several hours.

 On one hand, you don’t have all the expectations that come with a new Strokes album, and on the other this is you stepping out on your own. Do you feel a higher degree of pressure being that this is your own project?

Look, I want people to like it but I don’t feel like I have anything to prove. I started this thing because I wanted to be playing music more. I wanted to have fun with music and I think that I’ve achieved that. This band was never about me trying to prove anything to anyone.

I saw that you are a big fan of Hamilton the play. Have you ever thought of crossing over to entertainment. Like film, plays, or television?

It’s never been on my radar but I would never be opposed to doing that. I love doing music in any capacity. I would love to do movie soundtracks or anything like that.

You’ve got kids now and touring is pretty different than when you first went out with the Strokes in 2001, what is the best part of touring now?

That’s a good question. My favorite part of touring is the same today as it was in 2001; it’s just getting to do the show every night. That makes the whole thing worth it. That’s why I’m sitting in a van with eight men right now, which to be perfectly honest, that part is not fun. Driving six or seven hours everyday in a fucking van, that sucks. But getting to do a show every night for people who love what you do and who are there to see you, that’s why I do it and I love that.

2016 was a rough year in that it saw a lot of musicians pass. If you had to teach your kids about one of the musicians who passed, who would it be? Who had the greatest impact on you?

Its tough to pick favorites, we lost a lot of legends. I mean I listen to Bowie the most – he would be in my top five artists of all time. In terms of teaching my kids, its not that hard, I have really cool kids. It was my daughter’s birthday not long ago, and she made a birthday gift list. It was the coolest request from a ten year old girl. First on her list was a record player and she wanted me to start her vinyl collection with the Beatles, Bowie, Prince, and Nina Simone records and the Hamilton soundtrack. I got that list from her and I just thought how lucky I am that I have the coolest kids on the planet.

I ran into Albert Hammond Jr. in Austin a few months ago. Do you ever come to Austin on vacation? 

I do, I have visited Austin for personal reasons for many times. We recorded part of the new CRX record in Austin. I got to go to Arlyn Studios in the South Congress area and worked on several tracks with Gus. Shout out to Arlyn studios!

Morning or Night person?

Morning

NYC or LA?

LA

Beer or wine?

Wine

Cars or Pretenders?  

The Cars

Is This It or First Impressions?  

(Laughs)Don’t make me pick

The Ramones or Sex Pistols?

The Ramones

Talking Heads or Blondie?

Blondie

NY pizza or LA tacos?

NY Pizza

In their prime: CBGBs or Mercury Lounge?

No one can touch CBGBs in the 70’s.  Absolutely no question.

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Pretty Lights, Chromeo, Disco Biscuits, Moby Top 2017 Euphoria Lineup

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Following two dynamic phases of artist announcements, Euphoria Music Festival has revealed the third and final phase and completed its lineup for the sixth annual event on April 6 – 9, 2017. Already earning considerable buzz with its first two phases for 2017, Euphoria is closing out the year strong with what promises to be the best lineup yet, including new additions: Chromeo; Knife Party; Moby (DJ set); Oliver Heldens; Post Malone; Auto Body; Bakermat (Live); Lost Kings; Russ; Chet Porter; FKJ; Minnesota; Prince Fox; Turkuaz; Eric Dingus; Forgotten Space; Magna Carda; Melvv; Montu; Abe Masaryk; Resonant Frequency; Thoreau; and Whereisalex.

With this latest announcement, Euphoria now boasts a lineup of over 70 artists from around the globe and it’s own backyard, including headliners: Alesso, Pretty Lights Live, Wiz Khalifa, Young Thug, Zeds Dead, The Disco Biscuits and The Floozies. Additional artists announced include: Alan Walker; BadBadNotGood; 2017 GRAMMY nominated artist, Bob Moses; Chronixx & Zincfence Redemption; The Knocks (Live); Mija; Papadosio; Spag Heddy; Yotto; CID; Codeko; Dr. Fresch; The Funk Hunters; Ganja White Night; Grum; Ill-Esha; Manic Focus; Petit Biscuit; Poolside; Raven Felix; Slaptop; Tennyson; Unlike Pluto; Asadi; Blunt Force; Brede; Capyac; Carlyle; Craetion; Evanoff; Flamingosis; Henna Rosso; Lemurian; Jamiroqueen; Maddy O’Neal; Medasin; Psymbionic; Sip Sip; Slice Gang; The Widdler and Willgood.

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“From top to bottom, this is Euphoria’s most amazing lineup to date,” says festival producer Mitch Morales. “We have major players, institutions, exciting up-and-comers and even a GRAMMY nominee – all of which cross a multitude of genres, yet still reside within our euphoric musical vibe. I cannot wait to host our festival family, both new and old, again this April.”

As the region’s largest independent music festival, Euphoria attracts over 50,000 fans each year, all while maintaining the qualities that land it on many annual Top 10 lists. Conveniently located just minutes from Downtown Austin, the multi-stage music and camping festival will return to Carson Creek Ranch on the banks of the Colorado River and offer world-class visuals, unique stage designs, artist workshops, interactive experiential installations, enhanced camping options and much more. In addition to the previously announced camping enhancements, direct shuttle service and added greening initiatives deemed “Ecophoria” – the festival will also be offering wedding ceremonies. Tapping into the power of music and community to evoke emotions and forge connections, Euphoria is creating a beautiful space for couples to celebrate their union. Full details can be found at www.euphoriafest.com/weddings.

General Admission passes are available now for $149, plus fees for a 3-Day festival pass and $249 for a 3-day festival pass with camping. 3-Day “Fly Life” VIP packages with preferred viewing areas, private bars, VIP restrooms and showers, concierge service, luggage drop off, and express entrance are available starting at $269 (without camping) and $419 with camping. The Early Entry pass, which allows Wednesday access for up to 2,500 fans is available for $30. Price will remain frozen, until December 16th. Euphoria will be continuing its partnership with Affirm, offering clear, simple financing to split Eventbrite orders into 3 or 6 monthly payments. This offers patrons the most flexible option yet for affording festival passes. Tickets are available online at www.euphoriafest.com. Euphoria is an ages 18 and over event.

Euphoria Music Festival is produced by Vivid Sound Entertainment. Visit www.euphoriafest.com for the most up-to-date information. Stay connected on Twitter at www.twitter.com/EuphoriaFest and on Facebook at www.facebook.com/EuphoriaFest.

The post Pretty Lights, Chromeo, Disco Biscuits, Moby Top 2017 Euphoria Lineup appeared first on Glide Magazine.

Weyes Blood Shares 2017 Headlining Tour Dates

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Weyes Blood has announced a run of headline dates for 2017 in support of her acclaimed album Front Row Seat To Earth. (Tour dates below).

The tour weaves its way up the West Coast including a stop at Noise Pop before a special performance at Marfa Myths with Perfume Genius and Weyes Blood’s largest headline show to date at Music Hall of Williamsburg in Brooklyn on March 30th.

The tour announcement follows a recent string of 2016 headline dates across North America and Europe including sold out shows last month in New York City, London, Paris, Chicago, Toronto, Montreal, Berlin, and more.

Front Row Seat To Earth has landed on many recent year-end lists including Pitchfork’s “The 50 Best Albums of 2016,” Pitchfork’s “Top 20 Rock Albums Of 2016”, Exclaim’s “Top 10 Folk & Country Albums of 2016,” Gorilla Vs. Bear’s “Albums of 2016” and more.

This Thursday, Weyes Blood caps off her stellar year with a hometown headline show at The Echo in Los Angeles. A full list of dates is below with more to be announced soon.

Front Row Seat To Earth is currently available on Mexican Summer.

WEYES BLOOD TOUR DATES:
Thu. Dec. 15 – Los Angeles, CA @ The Echo (tickets)
Thu. Feb. 16 – San Diego, CA @ Soda Bar (tickets)
Fri. Feb. 17 – Pomona, CA @ Acerogami (tickets)
Sat. Feb. 18 – Costa Mesa, CA @ The Wayfarer (tickets)
Mon. Feb. 20 – Santa Cruz, CA @ The Crepe Place (tickets)
Tue. Feb. 21 – San Francisco, CA @ Swedish American Hall (Noise Pop) (tickets)
Wed. Feb. 22 – Arcata, CA @ The Miniplex
Thu. Feb. 23 – Portland, OR @ Mississippi Studios (tickets)
Fri. Feb. 24 – Seattle, WA @ Sunset Tavern (tickets)
Sat. Feb. 25 – Vancouver, BC @ The Cobalt (tickets)
Thu. Mar. 9–Sun. Mar. 12 – Marfa, TX @ Marfa Myths (tickets)
Thu. Mar. 30 – Brooklyn, NY @ Music Hall of Williamsburg (tickets)

 

The post Weyes Blood Shares 2017 Headlining Tour Dates appeared first on Glide Magazine.

Margo Price Announces 2017 Headlining Tour Dates

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Margo Price has confirmed new 2017 tour dates in support of her debut LP ‘Midwest Farmer’s Daughter’, out now on Third Man Records. Tickets go on sale this Friday, December 16 at 10am local time. Full list of dates below.
2016 has been a historic year for Price – ‘Midwest Farmer’s Daughter’ landed on year-end lists everywhere from Rolling Stone, Entertainment Weekly to NPR Music, who called it “the hard-won arrival of an artist who feels like she’s always been here….her crystal-clear voice tells tough stories with both rubber-band twang and stainless-steel edge.”
Last month Price appeared on Charlie Rose and Seth Meyers, took home the Emerging Artist of the Year award at AmericanaFest, and performed with Jack White on an episode of A Prairie Home Companion. Watch her Charlie Rose performance here: http://www.bloomberg.com/news/videos/2016-11-17/margo-price-charlie-rose
Earlier this year, Price landed performances on Saturday Night Live, Colbert, Fallon, CBS This Morning + more, as well as major profiles in NY Times Magazine, New Yorker, Rolling Stone, Fader + Pitchfork.
Link to full 2017 tour dates here: http://margoprice.net/ 
Feb 23 – Bijou Theatre – Knoxville, TN
Feb 24 – Lyric Theatre – Blacksburg, VA
Feb 25 – The Southern – Charlottesville, VA
Feb 26 – Civic Center Mountain Stage – Charleston, WV
Feb 28 – The Grey Eagle – Asheville, NC
March 1 – Throne Theatre – Wilmington, NC
March 3 – Haw River Ballroom – Saxapahaw, NC
March 4 – Revelry Room – Chattanooga, TN
March 5 – WorkPlay – Birmingham, AL
March 24 – Emo’s – Austin, TX
March 25 – The Kessler Theater – Dallas, TX
March 26 – ACM@UCO Performance Lab – Oklahoma City, OK
March 28 – 1884 Lounge @ Minglewood Hall – Memphis, TN
March 29 – Headlines Music Hall – Louisville, KY
April 2 – 20th Century Theater – Cincinnati, OH
April 4 – The Basement – Columbus, OH
April 5 – HiFi – Indianapolis, IN
April 7 – Thalia Hall – Chicago, IL
April 8 – First Avenue – Minneapolis, MN*
* = on sale December 16 at 12pm local time

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The Force is Strong with ‘Rogue One’ (FILM REVIEW)

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Rogue One is neither the best nor worst among the pantheon of Star Wars films. It sits safely among the middle, pushing no boundaries and changing no games, but working well within the framework it’s been provided. There are those who might mistake “middle of the road” as being something akin to “less than stellar” but that would be a mischaracterization. In the lexicon of a galaxy far, far away, middle of the road is still decidedly spectacular, which is what, above all else, a Star Wars film should strive to be.

As to that, Rogue One is a resounding success. LucasFilm (Disney) has taken a massive risk in this endeavor. The idea of making a Star Wars film outside the scope of what we’ve come to expect—no Jedi, no Skywalkers, minimal lightsabers—seems audacious and, really, it kind of is. But stripped of most of what we’ve come to know about what a Star Wars film should be, Rogue One is able to breathe and stretch it legs, becoming something of a reminder of why it is we love the series in the first place.

Like the rest of the franchise, Rogue One is a musing on good vs. evil. Good, in this case, is embodied by Jyn Erso (Felicity Jones), a rough and tumble scalawag in the vein of Han Solo imprisoned by the Empire. Evil is represented by Orson Krennic (Ben Mendelsohn), the Imperial leader who oversees the building of the Death Star, using Jyn’s father Galen (Mads Mikkelsen) as his chief engineer. Jyn, after being rescued by rebel forces, is drafted into a mission to locate her father and find plans for the superweapon in order to identify any weaknesses.

Of course, we know that said weakness exists, having already seen the Rebel Alliance exploit it in the original movie forty years ago. One might think that knowing the outcome would lessen the drama as it unfolds, but one would be wrong. Director Gareth Edwards and screenwriters Chris Weitz and Tony Gilroy ingeniously use our pre-knowledge of the outcome to focus our attention onto other matters. Rogue One offers a real boots-on-the-ground approach to the tale as we know it, giving us the only real glimpse at the reality of this galactic civil war that we’ve ever been given.

Previous movies have been heavy on the fantasy elements of the Star Wars universe, owing heavily to creator George Lucas’ areas of interest. For all the battles we see, we never see the effects of war on the citizens of the galaxy. Here, we’re taken directly into conflict to get a better idea of how this war plays out from a citizen’s perspective.

Children cry as blasters ring out; regular people flee as rebel forces face off against Stormtroopers. It’s a gritty view of Star Wars, one that puts everything that Luke, Leia, and Han eventually fight for into new light. While the prequel trilogy shed light onto the Machiavellian machinations of the Emperor and the government he wished to usurp, and while the original trilogy made sure we knew that the Empire was evil (it doesn’t get much more evil than blowing up a planet, after all), never before have we gotten to see what daily life must have been like for the denizens of this universe.

No, previous films have shown us this universe from the perspective of the people in power. We like to think of Han, Luke, and Leia as part of a ragtag team of upstarts, but the truth is that they all wield considerable power and influence from their position as generals. It would be like a Vietnam War movie told from the perspective of McNamara and Westmoreland—interesting, sure, but the human effects are lessened considerably. Here, we see the war from the perspective of the grunts. Jyn and her crew are little more than pawns of the Rebel Alliance, and even Krennic is a marginalized force within the Imperial chain of command. This allows for considerable forays into grey areas—good is accomplished through questionable means; evil is enacted through laudable goals.

Because the reality is that war is dirty and war is hell. Even wars that take place among the stars. Odd as it feels to say, Rogue One is a grounded film. Stripped of (most of) its fantasy elements, as it is here, Star Wars becomes something entirely different, and entirely real. That’s a fine line to walk, and it would be very easy for one misstep to cause the whole idea to collapse in on itself.

It doesn’t, however. Rogue One, in fact, despite not necessarily changing the game in any meaningful way, narratively speaking, ranks among the top 50% of Star Wars films, easily besting the entire prequel trilogy and Return of Jedi in terms of quality. The middle of the road/give em what they want approach to the film works as well as one could hope, creating a Star Wars story that will at the very least please fans, if not downright delight them.

It’s everything you want from a Star Wars movie, packaged in a way you never knew you wanted. This mix of the old and the new bodes well for their plans for an anthology series overall, and if Disney keeps, at the very least, meeting the bar they set here, fans will have plenty more to look forward to in the coming years. There’s no need for mind tricks to convince you that the force is strong with this one. Here’s hoping the trend continues as both the saga and the anthology goes on.

Rogue One opens everywhere on December 16.

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Wannabe Reviews PUP’s ‘The Dream Is Over’

Reed Turchi Is Humbled By North Mississippi Blues On Stripped Down ‘Tallahatchie’ (ALBUM REVIEW)

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a0824542545_10It’s no secret that some of the best music arises from the hardest times, especially when it comes to the blues. The young musician Reed Turchi has long been a student of the blues with an ear for the driving groove of the North Mississippi style. In the last year, Turchi took things in a different direction with his band the Caterwauls, leading the group of musicians down a promising experimental path of pop, funk, soul, and roots. Following the release of their debut album and some touring, the Caterwauls dissolved in the way the bands sometimes do. Other unfortunate circumstances along the way humbled Turchi and propelled him back to what he knows best. Before long, the musician found himself with an album on his hands that he has called Tallahatchie.

The songs on Tallahatchie are far from new. In fact, you could call them classics at this point. Here Turchi sticks to the North Mississippi Hill Country canon with his takes on tunes from RL Burnside, Fred McDowell, and Otha Turner. He presents them raw and simple, relying simply on his own vocal growl, slide, acoustic guitar, and a wooden chair on a wooden floor. Tallahatchie is indeed an album of covers, but you can feel a closeness to the material here on the part of Turchi, who manages to make each song feel like a personal expression. “Let It Roll” sets a quiet if not suspense-building tone before a subdued yet lively acoustic take on R.L. Burnside’s “Old Black Mattie”. “Like a Bird Without a Feather” haunts and meanders before the foot-stomping romp of “Long Haired Doney”, and “You Got To Move” feels like a delicate dance of bluesy slide guitar playing.

Turchi is hardly near the age of the people who wrote the songs he’s playing, but he proves to be an old soul in his picking style, which is both sharp and loose in songs like “Jumper On The Line” and his sinister take on “Goin’ Down South”. Turchi’s stripped down, somber take on these songs is not too far from the recent work of North Mississippi Allstars’ Luther Dickinson. But with Turchi we feel like we are sitting right there in some lonely cabin deep amongst the pines and the kudzu sipping whiskey and listening to him play his heart out.

There’s a feeling on Tallahatchie that the songs were recorded fast in a burst of musical inspiration. This has its ups and downs, and in this case Turchi definitely had something to get off his chest. Though the album does not mark a major departure from Turchi’s older work, it is nonetheless refreshing to hear an artist so honestly exorcising his demons by recording the blues music he loves.

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Thievery Corporation Energizes Philadelphia’s Fillmore (PHOTOS)

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Thievery Corporation stopped in at Philly’s Fillmore Saturday night 12/10/16. for a very special night in support of their 20th Anniversary Tour. They played a highly energetic diverse set and were backed, as usual, by many guest musicians and vocalists. For fans it was a night to celebrate the wonderful unique music they have put out over the years. Photos by Cathy Poulton

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The Wisdom of Weyes Blood, Songstress Natalie Mering Inspires (INTERVIEW)

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Somewhere between the crossroads of classical Celtic tones and Americana folk lies the sweetness of Weyes Blood- the solo project of songstress Natalie Mering who will be playing the Echo in L.A. on December 15th. Having lived everywhere from Portland to LA and the East Coast, Mering’s eclectic and diverse background led her to find solace and rebellion in music. Weyes Blood’s dreamy, melodic concoctions have their pillars anchored in a classically based foundation that is layered with constellations of fuzzy psychedelic and sonically rich harmonies that ebb and flow freely.

With the romanticism of Joni Mitchell and Karen Carpenter, and a warm vocal quality that is evocative of Neko Case, Weyes Blood adds light to intricate melancholy tunes that sound like something from a past life. Mering’s latest release Front Row Seat to Earth provides a lyrically raw and uninhibited perspective on all things life and love, with tracks like “Seven Words” and “Generation Why” providing an ode to looking ahead and contemplating the uneasy world we live in. Tender and delicate vibrato lines float over panoramic and linear moody guitar rhythms that pair with cascading synth chords, leaving a resonant and haunting after-glow. In a recent interview with Weyes Blood, Mering provided an insight into everything from her interesting childhood to the inner workings of her latest album.

 You’ve been touring quite a bit this year, how is everything going?

Everything is going great. Our tour is going to be quite a long jaunt and I’m looking forward to it.

 You’ve been working on new material this past year.

Yeah, there’s been a lot of buildup with this release. It’s the most amount of videos that I’ve done and I’m just really excited to play it for people. I’ve been stepping away from some of the promo stuff and just performing which is my favorite thing to do.

 It must be refreshing to get out of the studio and be able to share the new material with your audience.

It’s the most rewarding and the most connected you can get with people. It’s been really great to be able to play with a band because I usually play alone. There’s a lot of pressure when you’re doing everything yourself, so having musicians to play with on stage is something that I get really excited about. When you work with a band, you have other people singing the harmonies and it can bring the richness that you hear on the recording into a live setting. I couldn’t play the record entirely by myself on stage and even though some people like to use pre-recorded backing tracks, I don’t like to use too much of that. Having the band allows me to focus on just singing and being able to do the things that I do best.

How did you end up meeting your bandmates?

One of the guys was from this band called Delicate Steve and I had heard from a lot of people that he was an amazing drummer. When I invited him to play on my record, he really made the songs come alive. He did exactly what I wanted and what I heard in my head- it’s pretty rare to find someone that can recreate your imagination. I felt really blessed when he was like “Yeah, I really like this, let’s do a tour.” He’s incredibly talented and I feel really lucky to be able to play with him. My bassist and my keyboardist were roommates that live in LA and were just total music guys and they’re on the level in terms of harmony and improvisation. It’s really cool to have a band that can just jam and we can go on a tangent and be pretty secure. They don’t need to know what exactly is going on. They can just feel it and sound great.

What shaped your singing style?

I always had kind of a low voice. It had a lot of personality, so I used to sing kind of old school music growing up. I used to sing a lot of Judy Garland, Patsy Cline, Joni Mitchell, and Linda Ronstadt. I was in a lot of choirs in high school and that really helped me develop my sense of harmony and my ability to stay in tune. When you’re touring you are singing almost every night, and you gain this almost athleticism with your voice. You can do whatever you really want with it and have a more controlled and powerful style of singing.

How did you get your start in music? Did you grow up in a pretty musical household?

Yeah, both my parents played music and my dad was especially musical. He had bands before he became religious. My parents became born again Christians. They were religious during my childhood- if anything, they’re a little less religious now. There was always a piano in the house and guitars. Though there was no virtuosity- like I was never forced to practice or anything, but I was definitely encouraged to be creative.

Did you ever feel like music served as a form of rebellion for you during your childhood?

Definitely. My music as a teenager was way darker- my parents didn’t really want me to pursue music. They’ve always thought I had a decent voice but didn’t think my music was that great.  It took a really long time for them to come around. They’ve only very recently come around and now they’re very encouraging. There were years that they were really bummed that I didn’t have anything real going on.

How did your relationship start with Mexican Summer?

I did a house show with Quilt, and Shane really liked my stuff and introduced it to Mexican Summer. They heard demos that I had made and were like “Yeah, let’s put this out”. It was really casual- nothing big, no pressure. It was actually like a really low key thing. In the beginning I had a lot of really tough learning curves with adding other people into the mix as up to that point I was doing everything by myself. I had a very specific thing going on, and bringing other people on board was very confusing at the start.

What did you grow up listening to?

There was this golden age of the internet that was around 2005 and 2006 where you could listen to any record that ever existed. I was really into weird kind of stuff, like outsider music at that time. I was constantly looking for things that nobody had heard of.

Your music has a diversity of styles you incorporate. Where do you draw your inspiration from?

Trying to reconcile styles that don’t always seem compatible is a goal of mine. It’s kind of like alchemy. I like bringing together different sounds that you wouldn’t think went together.

Your whimsical video for Seven Words is a paradox to the heaviness of this song. Can you talk about that?

The song is about having to leave a situation, just like in the video where a sea creature has to return to the sea. I made that video with a woman named Charles who is like a twenty-year-old savant director. She had a lot of wonderful ideas. While we were making it, I thought she was totally crazy, but it turned out great. I almost drowned in the mermaid tail- it was really epic. The whole time I was working with Charles I couldn’t tell if she knew what she was doing, but she’s actually quite brilliant. It’s a testament to her director style that while we were making it I didn’t really know what was going to happen. She was making magic happen.

So you were working with Ariel Pink for a little bit. How did that collaboration come about?

That was really fun. That was through Mexican Summer. Ariel and I did a week long residency and recorded four songs together. It was a ridiculously fun and a super wild experience. It was long hours in the studio and endless and crazy Ariel anecdotes. We were in this really strange desert town that was in the middle of nowhere and it turned out to be a pretty interesting time. Ariel only eats Chinese food, so they had to drive thirty minutes away to get him Chinese food while we were recording. He’s a really funny guy. He’s both a handful and a total genius. Working with him in the studio, he would have the whole song we were working on mapped out harmonically in his head. He’s a savant when it comes to harmonies and arrangement. He’s really brilliant.

With everything that’s out there right now, your music is really different and refreshing in terms of song composition and lyrics. What would you like your audience to take away from this latest album?

I guess I would like to see themselves reflected in it and kind of have a personal experience with it. There’s a lot of symbolism on the record about the relationship between the micro and the macro and how the personal subjective experience is very similar to the macro global experience.

 

WEYES BLOOD TOUR DATES:
Thu. Dec. 15 – Los Angeles, CA @ The Echo
Thu. Feb. 16 – San Diego, CA @ Soda Bar
Fri. Feb. 17 – Pomona, CA @ Acerogami
Sat. Feb. 18 – Costa Mesa, CA @ The Wayfarer
Mon. Feb. 20 – Santa Cruz, CA @ The Crepe Place
Tue. Feb. 21 – San Francisco, CA @ Swedish American Hall (Noise Pop)
Wed. Feb. 22 – Arcata, CA @ The Miniplex
Thu. Feb. 23 – Portland, OR @ Mississippi Studios
Fri. Feb. 24 – Seattle, WA @ Sunset Tavern
Sat. Feb. 25 – Vancouver, BC @ The Cobalt
Thu. Mar. 9–Sun. Mar. 12 – Marfa, TX @ Marfa Myths
Thu. Mar. 30 – Brooklyn, NY @ Music Hall of Williamsburg

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A Garbage Winter Finale Ends A Garbage Half-Season Of ‘The Walking Dead’, America’s Most Popular Garbage Show (TV REVIEW)

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 “Hearts Still Beating”

As the winter finale (I refuse to use the term ‘mid-season-finale’) opens on a shot of Maggie sitting beside Glenn’s grave at the Hilltop, it’s an almost-too-late reminder of the circumstances that brought us the (so far) completely dreadful seventh season of The Walking Dead. After season six ended with a now notorious and widely-derided cliffhanger on who Negan killed when he confronts the Ricktatorship, the season opened with a long, painful, snot-covered close-up of Rick’s psychological breakdown. Those impacted by the deaths were pushed far to the margins, and only Maggie got a few brief seconds at the end to call for retaliation.

Any payoff for that reckoning was put on hold for weeks on end while we sat through an introduction of a public school-turned-fantasy castle, led by a purposefully delusional former community theater actor and his pet fucking tiger, watching Darryl being held prisoner at the Saviors’ compound, and Tara run around on an island for 75 minutes. Then, like someone who’s supposed to get ready for work in the morning but spends all their time mindlessly surfing the internet, it suddenly occurred to producers of the show that advancing the storyline — even incrementally — should be something they get around to eventually.

The only real character in a position to do this right now is Carl, who snuck into the back of a truck and takes out two Saviors before Negan decides to take him under his wing, clearly planning to turn him into one of his soldiers, the same fate he intends for Darryl after a planned psychological breakdown.

Negan then decides to return to Alexandria with Carl in tow so as to continuing his pillage of their community, while Rick and Aaron are off desperately looking for supplies. Which they have to cross a lake to get to, in an elaborate sequence that was described on Talking Dead as “harrowing” but only seemed to succeed in being comically ludicrous.

With Negan back behind Alexandria’s walls, he begins to assert himself as a mock man-of-the-house, teaching Carl to shave (side note: shaving is not an interesting plot point, no matter how many fucking times this garbage show attempts to prove otherwise), and making a spaghetti dinner for him, Carl, Judith, and Olivia, whose job of cowering and sobbing in fear was brought to an abrupt end later in the episode.

Speaking of, Negan lording his presence over Rick’s home was (I assume) meant to invoke some kind of uncertain tension, mostly out of fear for Judith’s life, but to a lesser degree some nagging sense that someone would be killed before he left that day. The problem is that it no longer produces that sensation, which has instead been replaced with a kind of bored clock-watching while we wait out the inevitable.

So, Negan kills Spencer after he asks Negan to kill Rick in another scene that’s taken almost word-for-word from the comics, further undermining any uncertainty as to what’s going to happen next. Rosita tries to kill him with the single bullet Eugene made for her last week (an extremely short-sighted plan, even for a character on this show), which ends up costing Olivia her life.

In the meantime, Darryl breaks out of the Saviors compound with almost no difficulty whatsoever, recalling the Saviors of season six who were so regularly overpowered it became a question of how they’d be able to be perceived as a threat at all. He also kills the fat guy guarding the motorcycles after begging him for mercy, which (again, I assume) was supposed to be some kind of morbid fan service that Darryl was back in action, but really came off as just cruel and unnecessary. Oh, and Jesus showed up, and the two seemed to have no issue getting out of this elaborate, well-guarded compound filled with hundreds of militants, because ¯\_(ツ)_/¯.

Speaking of unnecessary, Carol’s still determined to be a quaint hermit of the apocalypse, having settled into a bungalow out somewhere close enough that members of the Kingdom, including Morgan, drop by with fresh produce despite her petulant “leave me alone” protests.

Also worth noting: the side plot with Michonne in a car with a member of the Saviors ends up being notable, not because it revealed anything new or interesting, but it ranks as the longest car ride in Walking Dead history.

Finally, the remnants of the Ricktatorship eventually meet back up at the Hilltop in what (once again, I assume) is supposed to be an emotional reunion of characters whose storylines weren’t deemed important enough to follow for more than one episode at a time. Darryl seems to have gotten over his guilt over being the one who got Glenn killed, Rosita seems not concerned at all with being the responsible for Olivia’s death (a pristine example of the show’s newfound infatuation with cruelty for cruelty’s sake), and everyone seems primed for an takedown of Negan, despite the fact that now they’re completely out of ammo, only have one gun which Darryl gives to Rick, and the one character who knows how to make bullets, Eugene, is the newest prisoner of the Saviors.

Oh, but hey, Maggie wore Glenn’s cap in one scene, possibly the most facile and lazy attempt at fan placation from a show that’s defined by its facile, lazy attempts at fan placation.

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Film Bits: Rest in Peace Alan Thicke; ‘Dunkirk’ Releases Full Trailer

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R.I.P.: ‘America’s Dad’ Alan Thicke Dies at 69

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Beloved actor of film and television Alan Thicke died last night at age 69 of an apparent heart attack. Best known as the patriarch Dr. Jason Seaver on the 80s sitcom Growing Pains, Thicke earned the nickname “America’s Dad,” taking his place among the who’s who of American sitcom fathers who, in their own way, helped guide the development of so many TV watchers. In addition to his acting, Thicke was also an accomplished composer of TV theme songs, penning the classic openings for Diff’rent Strokes, The Facts of Life, and Wheel of Fortune, among others. Thicke had recently guest starred in an episode of Netflix’s Fuller House, and was still actively making appearances on various TV shows as a special guest, often in recurring roles. He leaves behind three children, including singer Robin Thicke, and his wife.

First Full-Length ‘Dunkirk’ Trailer Showcases Christopher Nolan’s Strengths

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Warner Brothers debuted the first full trailer for director Christopher Nolan’s latest effort, Dunkirk today, giving us a better glimpse at the visionary director’s World War II story of hope and survival. Featuring frequent Nolan collaborators Cillian Murphy and Tom Hardy, the film follows evacuation of Allied forces from a besieged beach in Dunkirk, France in 1940. From what we see here, Nolan once again flexes his directorial muscles with stunning visuals and instantly recognizable style. It’s been a few years since Nolan’s last film, Interstellar, and he seems to be moving forward with the same large scope, sweeping epic feel of that film, though admittedly done in a more grounded way. Still, any time a new Nolan film is on the horizon is a good time to be a moviegoer, and being as it’s serving as a mid-summer anchor, 2017 is already shaping up to be an exciting time to watch some films. Dunkirk is expected on July 21, 2017.

(Legendary Pictures)

From a Galaxy Far, Far Away to Sherwood Forest: Ben Mendelsohn Tapped as Sheriff of Nottingham

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Fresh off from his performance as the villainous Orson Krennic in Rogue One, actor Ben Mendelsohn has confirmed his casting as the Sheriff of Nottingham in the upcoming Robin Hood: Origins. He joins Taron Egerton (Kingsman) as Robin Hood, Jamie Dornan (Fifty Shade of Grey) as Will Scarlet, Jamie Foxx (Ray) as Little John, and Eve Hewson (Bridge of Spies) as Maid Marion. The film is to be directed by Peaky Blinders director Otto Bathurst, from a script by Joby Harold (the upcoming King Arthur: Legend of the Sword). Mendelsohn brings a particular ruthlessness to the role of the Sheriff, making him, perhaps, the best cast since Alan Rickman in Prince of Thieves. Though whether or not we actually need another Robin Hood movie (Disney, after all, made the perfect version back in 1973) it doesn’t seem like Hollywood is ever going to stop trying to shove the tale down our throats. If we must see this play out once again, at least it gives us a chance to see Mendelsohn menace once again.

(Variety)

David Ayer and Margot Robbie Reteam for ‘Gotham City Sirens’

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While the resounding critical opinion of last summer’s Suicide Squad was basically “I dunno, parts were cool I guess,” Warner Brothers is now fast-tracking a sort-of-sequel/spinoff of the film titled Gotham Sirens. Based on a popular DC comics title, the film focuses on Margot Robbie’s Harley Quinn in a team up with plant controlling botanist Poison Ivy and acrobatic thief Catwoman. Suicide Squad director David Ayer returns to helm the project, which is being written by Geneva Robertson-Dworet (Sherlock Holmes 3). Robbie is producing the project. Assuming WB learned the lessons of this year—stop with your pointless handwringing and let your DCEU movies be what they’re going to be without making needless cuts—then there’s a chance that this might fare better than Suicide Squad. Of course, that’s probably asking a lot of the studio behind DC’s cinematic output, and chances are that the collective $1.5 billion they earned between Batman v Superman and Suicide Squad this year didn’t teach them anything of significance. Best to approach this with cautious optimism, at best.

(THR)

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Phantogram Bring Dark Brooding Themes and Upbeat Electro-dance to Austin (SHOW REVIEW)

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On tour nearly a decade after their first release, electro-dreamer duo Phantogram have shown no signs of regressing and still dwell on the cutting edge of their intricately curated infectious electro-beats. Josh Carter and Sarah Barthel have known each other since junior high, and their chemistry onstage is undeniably electric, making their live performances a true can’t-miss spectacle. Having recently released their third full-length album, Three, Phantogram ran through new and old hits to a sell-out crowd at Emo’s in Austin on Tuesday night.

Bishop Briggs, an English songstress, opened for Phantogram and delighted the audience with her powerful piano-based songwriting and worked as a perfect primer for Phantogram to follow. Bishop Briggs is an obvious talent with momentum that has previously opened for Coldplay, and her biggest hit “River” received a noticeable vocal response from the audience.

Phantogram opened with “Funeral Pyre” off of Three and that would be a harbinger for the rest of the set, as half of their songs were off the new critically-acclaimed album. Older hits like “Don’t Move”, “Turning Into Stone” and “Black Out Days” fired up the audience early on in the set and locked the crowd into a hypnotic trance-like dance party.

Josh oscillated between guitar and percussive drum machines throughout the set, offering emotive vocals and a perfect counter-balance presence to Sarah. Sarah, however, was force of nature onstage and conducted the audience with maestro-like ability, seductively crooning and dancing with a magnetic noir-mystique.

There are few musical duos that can both write hits and simultaneously embody what it is to be a ‘cool’ rock star, but Phantogram is certainly one. Only perhaps maybe The Kills come to mind as being in the arena of music duos that are the complete package as far as songwriting, performing, aesthetics, and attitude. Phantogram’s wildly successful collaboration with Outkast’s Big Boi on the project Big Grams only goes to show the midas touch they possess, even when crossing genre boundaries. You would be hard pressed to find any audience member that didn’t develop a crush on either Josh or Sarah during the entirety of their set.

Phantogram rounded out their invigorating set list with classic hits like “Mouthful of Diamonds” and “When I’m Small” that recalled their signature sound that put them on the map years ago. However, the most gravitating moment came during the beginning of the encore when Sarah introduced the song “Barking Dog” as a tribute to her sister who had committed suicide during the recording of Three. Family home videos played on a white screen as they played, and a palpable air of pain and sorrow filled the venue.

The show ended strong with my personal favorite new song “Cruel World”, “Fall In Love”, and their largest single off of Three , “You Don’t Get Me High Anymore”, putting a cap on the night. Phantogram shows are still a unique blend of dark brooding themes, upbeat electro-dance, and intimate songwriting, which make their live shows a perfectly unique occasion that others can’t come close to recreating. Phantogram are a decade into the music game and, despite their growing exposure, they somehow maintain the allure and magic of being brand new. May they stay that way forever.

Phantogram Setlist Emo's, Austin, TX, USA 2016, Three

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Chris Robinson Brotherhood Strike Hot On ‘If You Lived Here, You Would Be Home By Now’ EP (ALBUM REVIEW)

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crbWith the release of, If You Lived Here, You Would Be Home By Now EP, The Chris Robinson Brotherhood’s earlier 2016 full LP release Anyway You Love, We Know How You Feel makes more sense. The bandleader of CRB and former founder of the Black Crowes is certainly correct in assessing the unity inherent in the music in this five-track EP because it emanates the vivid authority of the group’s initial two albums, Big Moon Ritual and The Magic Door.

Still their best work to date, the latest release echoes those albums right from the beginning of “New Cannonball Rag,” an inviting mix of lazy shuffle and swagger highlighted by Neal Casal’s slide guitar and, even more importantly, lush swells of the various keyboards manned by Adam MacDougall. Recorded during the same Stinson Beach sessions that resulted in the full-length album released earlier this year, the sound of this EP is much more plush, a virtue that, in turn, highlights the more rootsy likes of material like “Shadow Cosmos;” on that cut, steel guitar and light barrelhouse piano somewhat belie the title,as does Robinson’s own soulful singing as it’s augmented by the guitarist and keyboardist.

There’s a topical relevance in the lyrics of that song almost but not quite hidden in its symbolism, but that only imparts additional depth to the song. Similarly, the blend of lightly funky clavinet and mandolin injects substance into “Roan County Banjo,” but smooth harmony vocals are also a highlight, particularly as that component of the arrangement, plus the peppy rideout led by drummer Tony Leone, sets up the fairly brief, but nonetheless evocative instrumental “From the North Garden.”

With the overt country feel arising from the acoustic guitar base of “Sweet Sweet Lullaby” sounding of a piece with the preceding track, the continuity of If You Lived Here… remains intact over the course of its thirty-minute duration. And that seamlessness not only reflects well on this recording, but places Anyway You Love… in a different and more positive light as well.

The post Chris Robinson Brotherhood Strike Hot On ‘If You Lived Here, You Would Be Home By Now’ EP (ALBUM REVIEW) appeared first on Glide Magazine.

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