Lil Wayne is being investigated after allegedly pulling a gun on his security guard

He also alleged that Carter “brandished a firearm during the altercation.” When police tried to make contact with the rapper, “he was no longer at the residence,” they said.

Lil Wayne. CREDIT: Kevin Mazur/Getty Images

No charges have yet been filed and authorities are currently investigating the allegation.

It comes months after Wayne was pardoned by Donald Trump over a federal firearms charge relating to a December 2019 incident, in which he was arrested for illegal possession of a handgun during a flight on his private jet from California to Florida.

The rapper pled guilty to the charge and had been set to appear in court, facing a maximum sentence of 10 years in prison, before Trump intervened.

Meanwhile, the rapper recently announced ‘Tha Carter Singles Collection’, which will feature 19 past singles in a limited seven-inch vinyl boxset.

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The singles are taken from Lil Wayne’s highly successful ‘Tha Carter’ series of albums, which comprise five releases: 2004’s ‘Tha Carter’, 2005’s ‘Tha Carter II’, 2008’s ‘Tha Carter III’, 2011’s ‘Tha Carter IV’, and 2018’s ‘Tha Carter V’. The boxset will come complete with liner notes and a booklet of rare photos.

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Spotify removes top comedians’ content in royalty payments dispute

Following a breakdown in negotiations though, Spotify has removed hundreds of comedians’ content. Spoken Giants wrote on Twitter: “Spoken Giants did not demand or even request that Spotify take down any comedy content. Spoken Giants wants the jokes written by the comedians it represents to be heard and enjoyed by as many people as possible across as many platforms as possible. Spoken Giants just wants comedians to be paid for the jokes they write, just like songwriters get paid for the songs they write”.

Spoken Giants did not demand or even request that @Spotify take down any comedy content.
Spoken Giants wants the jokes written by the comedians it represents to be heard and enjoyed by as many people as possible across as many platforms as possible. #StandUpOnSpotify

— Spoken Giants (@SpokenGiants) December 2, 2021

In a statement to the WSJ, a spokesperson for Spotify said: “Spotify has paid significant amounts of money for the content in question, and would love to continue to do so. However, given that Spoken Giants is disputing what rights various licensors have, it’s imperative that the labels that distribute this content, Spotify and Spoken Giants come together to resolve this issue to ensure this content remains available to fans around the globe.”

In other news, Spotify‘s CEO Daniel Ek’s recent investment in artificial intelligence defence technology was met with backlash by artists and users on the streaming platform.

Ek announced that he was investing 100million euros (£85.2 million) into defence company Helsing and he was joining the board.

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The deal has angered artists including producer Darren Sangita, who wrote on Twitter: “#BoycottSPOTIFY now! Cancel your subscription today. Artists and music lovers must not support the military #AI industry! Register your anger at the #Spotify involvement in sponsorship of Arms Corporations. This is so vile. Music is NOT War! Just wrong on every level.”

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Every Time I Die are working on issues with singer Keith Buckley “privately”

“Now that I have seen the ‘official statement’ indicating that ETID is finishing the tour without their singer, I think I’m ready to tell you all a little bit about exactly WHY my mental health has had to become a priority over ETID,” he tweeted.

Buckley went on to allege that his brother, lead guitarist Jordan Buckley, “[told] an outsider that ETID had been in talks to replace me this entire time”. But as evidenced by the band’s insistence to perform without a stand in vocalist, the singer continued, “[Jordan’s] concern was a cruel trick”.

Following the statements from Buckley, Every Time I Die announced that they would be cancelling the last three shows of the tour, and emphasised that they were trying to resolve any issues before the gigs.

“We apologise to the fans this weekend for the cancellation of the remaining three shows of the Radical tour,” the band wrote.

“Keith Buckley is a crucial member of EVERY TIME I DIE and we apologise if our previous statement made it seem as if he was in recovery or came off as insensitive to the issues at hand. We are working on things privately now.

“Please give us a moment. And we will all see you at Tid The Season.”

We apologize to the fans this weekend for the cancelation of the remaining 3 shows of the Radical tour.

Keith Buckley is a crucial member of Every Time I Die and we apologize if our previous statement made it seem as if he was in recovery or came off as insensitive to…..

— Every Time I Die (@everytimeidie) December 4, 2021

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Every Time I Die released their ninth album, ‘Radical’, on October 22 via Epitaph. It featured the singles ‘AWOL’, ‘Post-Boredom’ and ‘Planet Shit’, as well as the double A-side ‘A Colossal Wreck’/‘Desperate Pleasures’.

‘Radical’ marked Every Time I Die’s first album in five years, following 2016’s ‘Low Teens’. In the years since that LP’s release, the band have both toured extensively and pursued other projects. In 2019, Buckley returned to helm punk supergroup The Damned Things for their second LP, ‘High Crimes’.

Every Time I Die will take ‘Radical’ to the UK in 2022, with a nine-date tour alongside The Bronx, scheduled to kick off in January.

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The Regrettes share soothing new single ‘You’re So Fucking Pretty’

“I always felt like I couldn’t validate my own feelings because I had never been in a relationship with a girl. But I had a pretty big crush on one of my friends a while ago and this song is an exaggeration of that, but it’s still coming from a very real place. It was the first experience where I was like, ‘Oh, these are real feelings, this isn’t just a sexual attraction,’ and that helped me realise I wasn’t straight.”

She continued: “This song means so much to me because it also represents the time we spent in Joshua Tree and opening up to my whole band about that experience and not feeling embarrassed or scared of talking about it. Writing this was important for me because it just validated my own sexuality.”

Guitarist Genessa Gariano added: “As a queer person growing up, it definitely felt like there weren’t many songs I could relate to fully and I feel like this song would have been something I would have held really close to my heart as a kid. I hope that happens with other people.”

In a recent interview with NME, Night explained how their new album is finished, and ultimately “feels free”. “Sure, it’s the ‘poppiest’ and ‘danciest’ album we’ve ever made but it’s also the most experimental, the weirdest and the most vulnerable,” she said.

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“Our first album [2017’s ‘Feel Your Feelings, Fool’] was about having fun in high school, and the surface-level relationships that came from that. The second [2019’s ‘How Do You Love?’] followed this storyline of a downfall of a relationship, but this album – it’s all about me.”

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Avril Lavigne hails Olivia Rodrigo for reviving “rock’n’roll in the charts”

“From ‘Driver’s License’ to ‘Good 4 You’ to ‘Deja Vu,’ Olivia’s singles from her album ‘Sour’ are part of the collective psyche of 2021, and she wrote every single one of them.”

Lavigne released her debut album ‘Let Go’ (2002) shortly before she turned 18-years-old, the age Rodrigo was when her first record ‘Sour’ landed earlier this year.

Accepting the award, Rodrigo added: “I’ve been writing songs since I was like five-years-old and my favourite part about all of this is that feeling of writing a song that perfectly captures how I feel better than any conversation could have. So to accept an award for songwriting is really meaningful to me.”

Olivia added it has been “beyond a dream come true” to have so many people from all walks of life and backgrounds, regardless of their gender or sexuality, identify with her honest and heartfelt music.

This is the second time Lavigne has praised the singer. Earlier this year she hailed Rodrigo for being “an honest voice” to her young female fans.

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“Her songs are her truth, and you can really feel that. You can tell it’s real by the way all of her fans grab onto every single word she says,” Lavigne added.

In an NME review, ‘Sour’ received four stars and was described as “pop’s brightest new thing proves she’s not just a flash-in-the-pan, but a multidimensional artist who’s in it for the long haul.”

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Banksy pledges to help save Reading Jail

Banksy said: “Oscar Wilde is the patron saint of smashing two contrasting ideas together to create magic. Converting the place that destroyed him into a refuge for art feels so perfect we have to do it.”

Matt Rodda, the Labour MP for Reading East, added: “I’ve been speaking to Banksy and his team for some months now and I’m impressed with his commitment to saving the prison.

“I do hope the government now listen and consider this bid – both the money from the council and the arts community – and look at this again, and help us turn the jail into an arts hub for our community and the country as a whole.”

Kate Winslet CREDIT: Rich Fury/Getty Images

Among the supporters of the campaign are Sir Kenneth Branagh, Dame Judi Dench and Kate Winslet. Winslet, who was born in Reading, spoke to the BBC about the pride she felt at seeing the new artwork, and promised to perform on the opening night if the prison is turned into a new arts venue as reported.

“I just felt incredibly excited for Reading to have a Banksy,” she said. “If Reading had a legacy space like that, to hand on to generation after generation, it could really be as valuable as some of those central London theatres.”

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In other news, two limited-edition Banksy prints donated by Massive Attack raised over £140,000 at a charity auction in October, a world record sum for the artist’s prints. The print of I Fought The Law fetched a record £78,100 while Bomb Middle England sold for £77,000. Altogether, the auction, which featured over 70 items, raised a total of £181,510.

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Primal Scream hit at out at government’s new drug proposals

Police officers will also be handed powers to go through drug dealers’ phones and contact their clients with warnings about drug use in a bid to spook them into changing their behaviour, according to The Guardian.

It comes despite the Sunday Times reporting (via BBC News) that traces of cocaine had been found in several lavatory areas in Parliament, which House of Commons Speaker Sir Lindsay Hoyle said he found “deeply concerning”.

He has promised to raise allegations of drug use in Parliament with the Metropolitan Police this week.

Parliament drug use claims to be raised with police this week https://t.co/snpt8Acbat

— Primal Scream (@ScreamOfficial) December 6, 2021

There's gonna be a lot of folk w no passports at Screamadelica shows next year

— Primal Scream (@ScreamOfficial) December 6, 2021

As a result Primal Scream have hit out over both incidents on Twitter, sharing articles on both before writing: “Nixonian levels of paranoia and cynicism….”

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In reference to the government’s proposals, the band added: “There’s gonna be a lot of folk w no passports at ‘Screamadelica’ shows next year,” in reference to their forthcoming ‘Screamadelica’ UK tour.

The band recently added two extra dates to their tour, which will mark the seminal album’s 30th anniversary.

Primal Scream’s 2022 UK tour dates are as follows:

JULY 2022

1 – Glasgow, Queen’s Park
8 – The Piece Hall, Halifax
9 – Manchester, Castlefield Bowl

16 – London, Alexandra Palace Park
22 – Alexandra Head, Cardiff Bay 

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Pete Tong announces 2022 UK Ibiza Classics Heritage Orchestra arena tour

The tour will kick off in Cardiff on November 23, 2022, eventually finishing up with two dates at London’s O2 Arena on December 2 and 3. Tickets go on general sale this Friday (December 10) at 9.30am GMT here.

We’ll be back in Nov 2022 with a brand new show!
Register at https://t.co/3IMdAHFhUN now for advanced access to tickets and the chance to win a trip for 2 to Ibiza!
Pre sale tickets go on sale 9.30am on Weds 8th December 2021.
See you next year!@IbizaClassics_ pic.twitter.com/jt4A696AJw

— Pete Tong mbe (@petetong) December 3, 2021

Last Saturday (December 4), Tong completed his COVID-rescheduled Ibiza Classics Tour at the O2 Arena. Meanwhile, in December 2020, he returned to The O2 for a one-off livestream of his acclaimed show with the Heritage Orchestra.

Pete Tong’s 2022 Ibiza Classics Heritage Orchestra arena tour is:

NOVEMBER
23 – Motorpoint Arena, Cardiff
24 – Brighton Centre
25 – Motorpoint Arena, Nottingham
26 – AO Arena, Manchester
30 – OVO Hydro, Glasgow

DECEMBER
1 – Utilita Arena, Birmingham
2 – O2 Arena, London
3 – O2 Arena, London

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In November, Tong was honoured with the prestigious Music Industry Trusts Award. “I’m seriously thrilled and humbled to be standing here receiving the MITS Award because I think this is recognition of dance music’s and club culture’s influence and success,” he said at the ceremony.

“Looking round this room, there are so many people that have been on that journey with me so this is for all of you.”

Back in 2013, Tong was awarded an MBE for his services to music and broadcasting.

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Noname cancels upcoming album ‘Factory Baby’

“Most days I’m not sure if I’ll ever make music again,” she said on her Instagram Story, as reported by HotNewHipHop. “The last time I was consistently making songs was four years ago. It’s been so hard to find producers to link up with and who I genuinely connect with sonically. I’m truly grateful for the art I was able to release but that might be it from me.”

Noname Credit: Alamy

She continued: “Like, it shouldn’t be this hard. No lie this sh*t actually makes me incredibly sad and I rarely leave the crib these days. I don’t want to keep lying and saying there’s an album on the way when there’s not. I’m sorry I’ve lead y’all on. I wanted to believe things would change but they haven’t.”

‘Factory Baby’ would have been the follow-up to 2018’s ‘Room 25’. In a five-star review of the album, NME‘s El Hunt wrote, “‘Room 25’ is not only smartly constructed and laced with intricate subtlety – it’s laugh-out-loud funny, too.”

‘Rainforest’ marked the first new song from Noname since ‘Song 33’ last year, which was written in response to apparent criticism she received from J. Cole in his song ‘Snow On The Bluff‘.

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She later apologised, writing on social media that she regretted writing and releasing the song. “I tried to use it as a moment to draw attention back to the issues i care about but i didn’t have to respond,” she said.

“My ego got the best of me. i apologize for any further distraction this caused.”

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Primavera Sound to launch in LA with Arctic Monkeys, Nine Inch Nails, Lorde and more

More acts are to be announced.

All previously purchased tickets will be valid for Primavera Sound Los Angeles 2022.

For exclusive access to three-day general admission full festival and VIP passes, register for the pre-sale now here.

The pre-sale starts this Friday (December 10) at 10am PT (6pm GMT) and any remaining tickets will go on sale to the general public the same day at 2pm PT (10pm GMT).

Three-day general admission tickets start at $399 plus fees and three-day VIP tickets start at $925 plus fees. Visit here for tickets and more information.

Hola Los Angeles!
✨Primavera Sound LA ✨
Sign up now for the pre-sale that starts Friday 12/10 at 10AM PT.
All tickets starting at $50 down.
➡️ https://t.co/00Aq4fOQt0 pic.twitter.com/69AsbfoHl2

— Primavera Sound L.A. (@Primavera_LA_) December 6, 2021

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Meanwhile, Primavera is set to return to Barcelona across two weekends in 2022.

The festival’s line-up includes The StrokesTame ImpalaLordeDua LipaMegan Thee Stallion, Yeah Yeah Yeahs and many more acts.

In addition, the festival is running indoor gigs to bridge the gap between the two weekends with appearances from Beck, Disclosure, Jamie xx and others.

News that Arctic Monkeys will play the inaugural LA event follows recent confirmation of several 2022 festival appearances as well as a European tour.

The band’s drummer Matt Helders revealed recently that the group’s upcoming seventh album – the follow-up to 2018’s ‘Tranquility Base Hotel & Casino’ – was “pretty much” finished and is likely to arrive ahead of the summer shows.

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Moderat confirm London show at Alexandra Palace in 2022

The trio has previously hinted at new live show called ‘MORE D4TA’ on their Instagram page before a full list of tour dates was revealed. It will be their first live-tour since 2017.

View this post on Instagram

A post shared by Moderat (@moderat_band)

Fans have also been rearranging this cryptic post to ‘Moderat Four’, and think a new album could be on the way too.

The group have also been announced for Barcelona’s Sónar Festival in June and Berlin’s Parkbühne Wuhlheide in September.

You can see a full list of dates below

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MODERAT: 2022 TOUR

JUNE
2 – Paris, We Love Green Festival
10 – Rome, JMF at Rome Summer Fest
11 – Lyon, Les Nuits De Fourvière Festival
12 – Marseille, Marsatac
17 – Barcelona, Sónar Festival
26 -Kyiv, Secret Venue

JULY
1 – Werchter, Rock Werchter
2 – Beuningen, Down The Rabbit Hole
7 – Bilbao, Bilbao BBK Live
23 – Katowice, Tauron Nowa Muzyka Katowice

SEPTEMBER
1 – Lisbon, Kalorama Festival
3 – Berlin, Parkbühne Wuhlheide
22 – Oakland, Fox Theater
23 – Los Angeles, The Wiltern
24 – San Diego, CRSSD Festival
27 – Denver, Mission Ballroom
29 – St. Paul MN, Palace Theatre
30 – Chicago, Riviera Theatre

OCTOBER
1 – US-Detroit, The Fillmore Detroit
3 – Toronto, History
5 – Montreal, MTELUS
7 – New York, Avant Gardner
8 – Washington DC, The Fillmore Silver Spring
24 – Copenhagen, Grey Hall
28 – Amsterdam, AFAS live
29 – Offenbach am Main, Stadthalle Offenbach
31 – London, Alexandra Palace

NOVEMBER
1 – Paris, Le Zénith Paris – La Villette
3 – Nantes, Stereolux
5 – Toulouse, Le Bikini
9 – IT-Milan, Alcatraz
11 – Zurich, X-TRA
12 – Stuttgart, Wagenhallen
13 – DE-Hamburg, Zeltphilharmonie

DECEMBER
9 – CZ-Prague, Forum Karlin
12 – AT-Vienna, Gasometer
14 – DE-Munich, Zenith

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Listen to Moses Sumney’s stripped-back new single, ‘In Bloom (In The Woods)’

The accompanying film, Blackalachia, was directed by Sumney himself and shot in one-take.

Listen to the new song here:

Sharing a taste of the forthcoming work, Sumney released the album’s version of ‘Bystanders (In Space)’, along with its visual counterpart last month.

Speaking of the forthcoming album in a press statement, Sumney said “Over the course of two days, we filmed 14 songs, totally live, the trees as our audience, the grasshoppers our background singers.”

“Live From Blackalachia is a wild imagining of what can happen when we seek not just to reclaim nature, but to reintegrate with it.”

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NME gave Sumney’s ‘græ’ four stars in a review last year, describing the sprawling 20-track record as “complex”.

“Nothing is straightforward on this intimate, soul-searching record, which veers from jazz to art-pop, the form matching the message that life contains multitudes,” NME said.

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Watch Doja Cat’s futuristic new music video for ‘Woman’

Check out the futuristic looking visuals from the video here:

 

Last month, Doja said that she isn’t enjoying her career as much as she thought she would, and that it’s been “maybe five years” since she last had fun making music.

he rapper – who was recently nominated for eight Grammys ahead of next year’s ceremony – took to Instagram Live (via The Neighbourhood Talk) to share her disappointment in the way the music industry has made her feel.

“I just mean, make music like, willy nilly, have fun and just jam and make some shit. I haven’t done that in maybe five years it feels like,” she explained. “I’m doing all this shit that I don’t fuckin’ wanna do. I don’t want to take fuckin’ pictures. Like, yes, planning a photoshoot is very fun. Capturing a concept, capturing a visual idea, like something like that… I love fashion. I really do.”

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“Do I want to do that shit because I have to? No! No I don’t! But I feel pressured to do shit like that. I don’t want to do that. I want to be home. I wanna play fuckin’ – I wanna make music. I wanna play fuckin’ video games.”

Elsewhere, Doja Cat said in a recent interview that she’s going to start being more selective with who she works with in the future.

“I have been trying to be more careful about who I’m collaborating with,” she said in conversation with ExtraTV.

“Not to say that the people on my album are – they’re incredible. They are the perfect features on my album,” she added. “But I do want to be more choosy about what I’m doing because I feel like a lot of features are coming out. It feels like people are just getting on each other’s songs for the sake of having them on each other’s songs.”

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Britpop band Gene unhappy with Pale Waves’ tour support for using same name

“Genuine question. What should we do about this?” Rossiter tweeted yesterday (December 4), sharing a screenshot of the other Gene’s Twitter account which shows he’s been blocked by them. “I don’t want to financially screw over any up and coming musicians but they’ve taken our name. They’re on a poster supporting @palewaves and it feels wrong.

He added: “They clearly know about us because they’ve already blocked me without… having had any contact with me on Twitter. I’d be interested in people’s thoughts. Thanks.”

having had any contact with me on Twitter. I'd be interested in people's thoughts. Thanks 2/2.

— Martin Rossiter (@MartinRossiter) December 4, 2021

In a pair of follow-up tweets shared today (December 5), Rossiter said he had discovered that Mills and Pale Waves had been subject to some “unacceptable abuse” following his initial tweets, which he doesn’t condone.

“Please read and RT,” he began his tweet. “I have discovered that the lead singer of @genetheband and @palewaves have been receiving unacceptable abuse on various social media platforms. It’s okay to have an reasonable opinion about this issue but the abuse (which I’ve seen) is fucking atrocious. STOP”

I asked for people's opinions (which I now regret) and a lot of people have offered valuable advice but to abuse people is just unacceptable especially women in a space which is already hard enough for them to exist in.

— Martin Rossiter (@MartinRossiter) December 5, 2021

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Rossiter said he now regrets asking for people’s opinions. “I asked for people’s opinions (which I now regret) and a lot of people have offered valuable advice but to abuse people is just unacceptable especially women in a space which is already hard enough for them to exist in,” he wrote in a follow-up tweet.

Last month, Pale Waves shared a live performance video of ‘Fall To Pieces’ – taken from their second album, ‘Who Am I?‘ – from The Pool in London.

They also recently revealed that they’ve written a new song inspired by Netflix’s Sex Education.

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Listen to Kim Petras’ provocative new single ‘Coconuts’

“Music is such a powerful thing because it’s supposed to break barriers and it doesn’t really matter in music what gender you are, or what sexuality or what skin color you have – music is a very universal thing.”

The song itself is quintessentially Petras’, melding bright and confident vocals to a bubbly disco-pop instrumental primed for the dancefloor. In a choice passage of ‘Coconuts’, she sings: So juicy and so ripe/ You wouldn’t believe/ I give ’em different names/ Mary-Kate and Ashley/ They ask me what’s my size/ Just give ’em a squeeze.”

Take a look at the lyric video for ‘Coconuts’ below:

‘Coconuts’ marks Petras’ second new track for 2021, following the release of ‘Future Starts Now’ back in October. Both songs will appear on her as-yet-untitled second album, which is due to land sometime in 2022. Petras confirmed in July that the upcoming record was “fully done”, and would feature “no sad songs”.

In a four-star review of Petras’ debut record ‘Clarity’, NME‘s Nick Levine called it a “hook-packed” and “complex album that’s boastful but never one-note,” adding that Petras “already sounds like a legit pop star”.

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Since releasing ‘Clarity’ in June of 2019, Petras has also released two standalone singles: the sun-kissed ‘Malibu’ and the Halloween-themed ‘Party Till I Die’.

Meanwhile, Petras revealed at last year’s NME Awards that she wants to work with Robyn. “I would die. She’s the queen of the Earth,” the German singer-songwriter said, before adding how much she admires Courtney Love. “She’s an icon… a badass forever,” Petras said of the Hole musician.

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Starsailor’s James Walsh: “There’s a misconception we were a stop-gap before The Strokes”

He continued: “But I remember our gigs and it was exciting to be part of the New Acoustic Movement with Turin Brakes and Coldplay. The people coming were passionate, and it certainly didn’t feel like a stopgap.”

In 2001, Starsailor were eulogised on the cover of NME as “The best new band in Britain”, won ‘Brightest New Hope’ at the NME Awards, and ‘Love Is Here’ reached Number Two in the UK Top 40 – shifting over a million copies and beaten only by Kylie Minogue’s ‘Fever’.

However, since then, the New Acoustic Movement – the moniker given to the wave of acts including Starsailor, Travis and Coldplay who prioritised songwriting about rock ‘n’ roll bacchanalia – has often been presented as a lull in between Britpop and the skinny-tie-and-skinny-jeans indie early noughties boom. “Journalists have revised history, saying: ‘No, I never said the New Acoustic Movement was amazing and we’re the best bands they’d heard. We were always waiting for The Strokes to come along,” laughed Walsh.

After his impressive performance in our longstanding quiz feature Does Rock ‘N’ Roll Kill Braincells?!, where he reflected on memorable run-ins with Oasis, collaborating with Brandon Flowers and touring with The Rolling Stones, Walsh caught up with NME for a quick chat about two decades of their debut and life since.

Hello James. How do you look back on ‘Love Is Here’ 20 years on from its release?

James: “With a lot of fondness – maybe more so than even five years after the album’s release. When you’re younger and continually making records, you want to keep moving ahead and proving that you’ve got more strings to your bow than what the previous album displayed, and I think we listened to some of the criticism of ‘Love Is Here’ and the backlash a little too much. So with our second album ‘Silence Is Easy’ and our third ‘On the Outside’, we tried to move away from the sound of ‘Love Is Here’, and prove there was more to the band than sensitive and acoustic songs. But 20 years later, I think: ‘No, it’s a really good album’. It’s only through playing shows and seeing how much it continues to mean to people that you accept how much it means to you.”

You’ve remade five songs from the original album – ‘Good Souls’, ‘Alcoholic’, the title track ‘Love Is Here’, and ‘The Way to Fall’. How did it feel to reinterpret them?
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“It was a good experiment. When we play the songs live, we stay faithful to the originals so it was interesting to re-approach the tracks with everything we’ve learnt and our musical influences now, which are slightly different to what we had then. The new version of ‘Love Is Here’ is more electronic and experimental than the original. We re-approached ‘Way To Fall’ – the track that was in Metal Gear Solid 3 – in a more delicate and stripped-back way, and it really works. When we play ‘Good Souls’ live, it’s more aggressive than the album, so we wanted to document that, turn the amps up and make it this big celebratory track it’s become for us. We’re proud of the album but the songs have evolved and we wanted to recognise that.”

Whenever the history of music is written, it tends to jump from Britpop to The Strokes-chaperoned new garage rock revival. Do you feel your post-Britpop period is overlooked?

“Yes, we do get overlooked or unfairly maligned at times. One of the big misconceptions is that people were stood around at our gigs waiting for The Strokes and The White Stripes to come around, like they needed this big explosion. I love The Strokes, but there’s a perception music fans needed this injection of life. But I remember our gigs and it was exciting to be part of the New Acoustic Movement with Turin Brakes and Coldplay. The people were coming were passionate, and it certainly didn’t feel like a stopgap. Journalists have revised history, saying: ‘No, I never said the New Acoustic Movement was amazing and we’re the best bands they heard. We were always waiting for The Strokes to come along’. It’s like: ‘Come on, mate!’”

Apparently Chris Martin was supportive during the backlash…

“Yeah, he was pretty friendly to us and said the usual stuff about staying true to yourself and enjoying your little bubble and trying not to pay too much attention to what everyone out there is saying.”

Will this anniversary release and tour lead to new Starsailor music?

“Hopefully. To be blunt, the main complication is money. I release a lot of music on my own and it’s easy to sit with an acoustic guitar in front of a microphone and release it through distributors. As soon as you start recording drums and get into a studio, you need a deal where somebody’s going to pay for you to not only record, but also to have a daily allowance to live on as well. It’s tricky getting a six-week period where everyone can afford not to work and to make this record. In the old days, it would pay for itself 12 times over, but now it’s a more uncertain time. We’ve got the songs and enthusiasm and energy for it; it’s just creating the right environment where we can relax and concentrate on the music instead of worrying too much about the money we’re spending.”

Are the songs for a forthcoming album ready to go then?

“Yeah. There’s been a few things that were mooted to happen that didn’t. The pandemic played a huge factor in delaying everything. We readied ourselves to make a record that we’ve not managed to find the right home for yet.”

What else do you have coming up?

“I’ve got a song called ‘How Can It Be Wrong?’ coming out in December, and an EP in January called ‘People Like Us’. ‘How Can It Be Wrong?’ is inspired by eldest daughter just starting university, and it’s a parallel between her adult life and independent starting and also my own zest for life and feeling a new chapter is around the corner.”

Starsailor’s  20th anniversary deluxe edition of  ‘Love Is Here’ is available on December 10. They’re currently in the midst of a winter UK tour

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Listen to Mike Shinoda’s new “generative mixtape” ‘ZIGGURATS’

Five thousand NFTs were designed by Shinoda, each with their own exclusive cover art for ‘ZIGGURATS’ and music, and sold out within minutes on ziggurats.xyz.

You can take a listen to ‘ZIGGURATS’ below:

Announcing the unique project on his Discord last month, Shinoda said: “I’ve described it to some people as a ‘song that’s not a song’. But it’s also an EP that’s not an EP, an NFT that’s not an NFT, and an art project that’s more than just a picture.”

Inspired by projects like CryptoPunks and Bored Apes, Shinda “liked the idea of a program taking elements and mixing-and-matching to create different outputs. Creating collectible pieces – each one unique. But I wanted to do it with music”.

“Thankfully, I’ve created a lot of material this past few years. I started sifting through all the beats and sketches I’ve made, looking for connections between them,” continued Shinoda. “Similar tempos, similar keys, cool parts. All the best bits got poured into one long session. The track ended up feeling like some of the ’90s hip hop I grew up on, so I decided to start writing some verses.

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“The outcome is a six and a half minute musical project, made of layers. The vocals are the same on each output, but the music and cover art are unique. I’m calling it a ‘generative mixtape.’”

‘ZIGGURATS’ is Shinoda’s first new material since the release of ‘Happy Endings’, which featured iann dior and UPSAHL, back in February.

The track was released alongside an NFT auction with the same name, giving his fans the opportunity to bid for a chance to win an original print of the single artwork signed by Shinoda and contemporary artist Cain Caser.

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Tom Petty to receive posthumous music PhD from Florida university

No further information has been revealed on when the doctoral degree will be issued or whether there will be a ceremony.

Following Petty’s death from an accidental overdose in October 2017, the University Of Florida paid tribute to its hometown hero by playing his song ‘I Won’t Back Down’ during its American Football team the Florida Gators’ next home game.

The tribute has since turned into a stadium-wide singalong tradition. Four years after Petty’s death, Gators fans continue to sing ‘I Won’t Back Down’ at every home game, including a celebratory singalong during the team’s first pandemic-era game against Alabama Crimson Tide. You can see clips below.

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Last month, a new documentary was released on the making of Tom Petty And The Heartbreakers‘ 1994 album ‘Wildflowers’.

Tom Petty: Somewhere You Feel Free – The Making Of Wildflowers is framed around a collection of 16mm archives that weren’t discovered until last year.

It follows the late icon from 1993 to 1995 during the making of his landmark album, which was produced by Rick Rubin and features new interviews with Heartbreakers guitarist and album co-producer Mike Campbell, keyboardist Benmont Tench and more.

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Lana Del Rey recalls horrendous early label deal in emotional awards speech

“They picked me out of the bar scenes, lounge singer scenes that I was singing in for about eight years before I met them. They got me out of a deal I made for 11 records for nine grand while I was working at a restaurant and living in a trailer park. Ben did that in one hour and then the next day he flew me to London and let me live with him. In a year, I wrote ‘Video Games’, and I was ready to make good records, I was ready to make a lot of records.”

Thanking Variety for the acknowledgement, she continued: “I’m really always grateful for any acknowledgement and also super grateful for all the criticism – I get a lot. What’s good about it is I really believe what’s reflected back to you is in some way a mirror to what’s going on in your inner life. It’s given me a huge opportunity to look inward and to look at my family of origin and look at my lineage, see what’s going on up there.”

Del Rey then took a moment to pay tribute to her grandma. “I want to take a minute and think about my grandma, who fell ill two days ago,” she explained. “Any of the lightness and funniness and goodness in me I pretty much specifically got from her, so I’m really hoping she takes a turn for the better back in the North Country before I get there.”

She continued: “I’ve been very lucky to follow my muse for the last 18 years, since I was 18. Sometimes that has taken me super far away from music into other mediums and other job opportunities that have nothing to do with the arts at all. I’m very flexible and what I’ve come to understand is that if you follow what you’re interested in, you’ll end up being the most creative in that field.

“Even if you get a nine-to-five after you got the decade award, you need to do what feels right. I always like to say that the way I live my life is my poetry, my lovemaking is my legacy, and I get to make music in between.”

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In September, Del Rey deactivated all of her social media accounts, citing that some of the things she’s currently working on “require privacy and transparency”.

She assured fans that although she was leaving social media she would continue to work on her spoken word albums, her other music projects, and her poetry.

Meanwhile, she also recently revealed that a stipulation in her will prohibits the release of posthumous music by the singer-songwriter following her death.

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Courtney Love calls out Elon Musk, urges him to pay his “fair share” of tax

Musk’s comments didn’t sit well with a number of people – including Love, who made it clear in a pair of tweets that she stands with Sanders on the issue of taxes and the super rich.

“@elonmusk you know your str8, male, PayPal mafia email group? I was on bcc for MONTHS on that thing,” she wrote. “With that information in mind, don’t you think in a ‘civilized society’ one should embrace paying our fair share of tax? Don’t pick on Bernie. It’s Kendall Roy shit.”

She then followed it up with a second tweet: “@elonmusk Relax. I’m a GOOD Queen. Capitalism & the American dream has been good to you. Be good to it. #justpayyourtaxesbuddy.”

@elonmusk Relax. I’m a GOOD Queen 👑 Capitalism & the American dream has been good to you. Be good to it. #justpayyourtaxesbuddy

— Courtney Love Cobain (@Courtney) December 2, 2021

Want me to sell more stock, Bernie? Just say the word …

— Elon Musk (@elonmusk) November 14, 2021

Love’s reference of Succession‘s Kendall Roy follows her recent comments about how she believes her late husband, Nirvana frontman Kurt Cobain, would have been proud of the way the band’s ‘Rape Me’ track was used in a recent episode of the hit HBO show.

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Succession included the controversial 1993 song – taken from Nirvana’s third and final studio album, ‘In Utero’ – in a scene during its October 31 season three episode.

The estate of the frontman is known for being selective about where his music is used. On this occasion, however, Love co-signed its use and said she thought Cobain would have approved.

“I’ve never felt so good about approving a usage of a song of Kurt’s,” Love wrote on Twitter, sharing a clip of the song’s use in Succession. “You understood this: him, it’s beautiful. I’m sure he’s proud.”

She added that she might one day reveal who the song is about, writing: “Ask me who it’s about one day. I might even tell you.”

Meanwhile, Grimes and Elon Musk announced back in September that they have broken up after three years together.

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Listen to Dave Grohl and Greg Kurstin’s kazoo-laced cover of Billy Joel’s ‘Big Shot’

The video’s description reads: “While he claims a secular Long Island upbringing (and has songs full of Catholic and Italian imagery), Billy Joel remains one of the great Jews of musical scripture—here’s his ultimate ode to a true Macher: “Big Shot!”

Watch the cover below:

For their last cover, the pair enlisted the help of Grohl’s daughter Violet a rendition of Amy Winehouse’s ‘Take The Box’.

Violet’s vocals remarkably resemble that of Winehouse’s, with two backup vocalists also participating in the performance. The performance marked the first time Dave hasn’t provided vocals for this year’s Hanukkah Sessions.

‘Take My Box’ followed four other covers Grohl and Kurstin have performed this year so far as part of Hanukkah Sessions: Van Halen‘s ‘Jump’, Barry Manilow‘s ‘Copacabana’, the Ramones‘ ‘Blitzkrieg Bop’ and Lisa Loeb’s ‘Stay (I Missed You)’.

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Meanwhile, Foo Fighters will star in a new horror-comedy film called Studio 666, which is due for release next year.

Alongside the full band – Dave Grohl, Taylor Hawkins, Nate Mendel, Pat Smear, Chris Shiflett and Rami Jaffee – the film will also star Whitney Cummings, Leslie Grossman, Jenna Ortega and more.

Studio 666 will be directed by BJ McDonnell, who described the film as “a perfect combination of all things I love – rock, horror and comedy all tied together in a very thrilling motion picture.”

You can see a snake peek of the film here.

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Alice Phoebe Lou drops surprise fourth album, ‘Child’s Play’

As was the case with her first three albums, Lou released ‘Child’s Play’ independently, sharing it sans announcement on Friday (December 3). The drop came as a shock to fans not just for its lack of any teasers, but for how quickly it followed ‘Glow’ – that album only landed back in March, with its predecessor, ‘Paper Castles’, coming two years prior in 2019.

Have a listen to ‘Child’s Play’ below, then check out the cover art and tracklisting:

 

1. Underworld
2. Sweet
3. Silly
4. Me & The Moon
5. Let Me
6. If You Were Here
7. Care
8. Shake
9. End of the Road
10. Child’s Play

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Last December, the South African artist shared her interpretation of a then-unreleased Paul McCartney track, ‘Deep Deep Feeling’. It came in the lead-up to ‘McCartney III’, as part of a campaign that saw a suite of selected artists from around the world interpret tracks from the record before they were officially released.

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Thundercat drops trippy new single ‘Satellite’ as part of ‘Insecure’ soundtrack

‘Satellite’ marks Thundercat’s first original song for 2021, following guest spots on tracks by Haim (‘3 AM’), Silk Sonic (‘After Last Night’), Ace Hashimoto (‘Vaporwaves’), Flying Lotus (‘Black Gold’) and Kaytranada (‘Be Careful’). The genre-bending artist released his fourth studio album, ‘It Is What It Is’, last April via Brainfeeder. 

In a four-star review of ‘It Is What It Is’, NME’s Sam Moore said that “for all of the album’s heavy rumination on life, death and healing, Thundercat can still kick back when required”.

Last August, Thundercat said he’d recorded a full album with his late friend and frequent collaborator Mac Miller. The news put fans into a frenzy on Twitter, though Thundercat tried to quell demand for the album’s release by saying, “Everything isn’t meant to be put out like that.”

November saw Thundercat perform a star-studded show in Los Angeles, featuring appearances from Haim, Flying Lotus, Ty Dolla $ign and more. He also released a deluxe edition of his debut album, ‘The Golden Age Of Apocalypse’, in celebration of its tenth anniversary.

Thundercat fans in the UK and Europe will able to catch him play live in 2022, with an eight-date tour locked in for the last week of March and first two of April. He’ll also perform at the second edition of Wilco’s festival Sky Blue Sky, set to go down in Mexico come January.

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Insecure is currently airing its fifth and final season on HBO. Other artists appearing in the show’s final soundtrack include Saweetie and Duckwrth.

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Haim share modernised cover of Adam Sandler’s ‘Hanukkah Song’

They also end the tune with a not-too-subtle hint at a forthcoming tour.

Check out Haim’s cover of ‘Hanukkah Song’ below, then compare it to Sandler’s original version:

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A post shared by HAIM (@haimtheband)

Over the past few days, ‘Haimukkah’ 2021 has seen the band gift fans a brand new Ludwig drum set, 50 pairs of tickets to the Alana Haim-starring Licourice Pizza(and a signed poster), Este Haim’s personal Fender bass, and the Canter’s Deli aprons they wore on the cover of their most recent album, ‘Women In Music Pt. III’.

For last year’s festivities, Haim dropped their first original holiday song – a Hanukkah-themed rendition of The Waitresses’ 1982 classic ‘Christmas Wrapping’. In 2019, they released a cover of Leonard Cohen‘s ‘If It Be Your Will’ as part of ‘Hanukkah+’, a compilation album that also featured The Flaming Lips and Jack Black.

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Their annual celebration follows the return of Dave Grohl‘s ‘Hanukkah Sessions’ which has so far seen the Foo Fighters frontman cover Lisa Loeb’s breakthrough hit ‘Stay (I Missed You)’ and a rendition of Ramones‘ ‘Blitzkrieg Bop’.

Meanwhile, Haim – who once had a jam session with Flight Of The Conchords – were recently announced as part of the 2022 Mad Cool Festival line-up. They’ll appear alongside the likes of Florence + The Machine, Queens Of The Stone Age, CHVRCHES, Sam Fender and Arlo Parks.

In a five-star review of ‘Women In Music Pt. III’, NME’s Rhian Daly said: “By breaking from what the world might expect from them and letting themselves do whatever the hell they want, [Haim] have produced a record that’s experimental, soothing and vulnerable; it’s a thing of great beauty.”

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Watch Manic Street Preachers cover The Cult’s ‘She Sells Sanctuary’ at Wembley

“This next song is dedicated to a man who produced Wham!, he produced The Boomtown Rats, he produced [1992 single] ‘Motorcycle Empti-fucking-ness’,” said Bradfield. “He passed away this year – a dear, dear friend of ours and an amazing producer, Mr Steve Brown. He also produced this fucking song.”

Check back at NME soon for our full review of the Manics at Wembley.

Manics fans are now eagerly awaiting news of the band’s long-mooted 20th anniversary reissue of their divisive 2001 album ‘Know Your Enemy‘, as well as bassist and lyricist Nicky Wire’s “jazz-meets-C86” solo album.

Asked about the progress on the reissue during a recent conversation with NME, Wire replied: “It is staring at me right now! There are two boxes of stuff. I’m sat in the studio with our engineer and it’s there, confronting me.”

He continued: “It was quite exciting because I’ve actually discovered two songs that have never been released. Unless I’ve made a fuck-up somewhere, there’s a song called ‘Rosebud’, which no-one has ever heard, and another called ‘Studies In Paralysis’ which has never been heard, plus a completely different version of ‘Let Robeson Sing’ that James [Dean Bradfield, frontman] did in his flat in London on a keyboard, and bares no resemblance to what it became.

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“There are actually a lot of goodies. Even I’m quite giddy with excitement. James and Sean [Moore, drummer] weren’t arsed though…”

In terms of other activity in the Manic Street Preachers’ camp, Wire also revealed more about his new “modern, electronic, soothsaying” solo album.

“It’s done,” he told NME. “Whatever, I might bury it in a fucking pond somewhere, I might burn it, I might do it mail order, I might do it on Bandcamp. It’s very fucking fragile. It’s got some very off-kilter modern jazz and some C-86 indie vibes to it.”

This would follow Wire’s 2006 solo debut ‘I Killed The Zeitgeist’. Asked how it compared, Wire replied: “It’s a lot better than that. There’s some ‘Bitches Brew’-era Miles Davis in there, some obscure trumpet-led, and some songs that just sound like The Shop Assistants.

“It features Gav [Fitzjohn] on the trumpet. Sean [Moore, drums and trumpet] refuses to play. He says his lip has gone.”

Manic Street Preachers, 2021. CREDIT: Alex Lake

Earlier this week, they shared the digital album ‘I Live Through These Moments Again And Again’, collecting their long run of duets throughout their career.

The Manics will return to the road in 2022 with a run of festival shows, as well as supporting The Killers as select UK stadium dates.

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Six cases of COVID-19 variant Omicron linked to Steps concert in Glasgow

Given the nature of transmission we would expect to see cases rise, perhaps significantly, in the days ahead. However, health protection teams are continuing work through contact tracing, isolation and testing to slow the spread as far as possible while we learn more about the new variant’s impact. Ministers are also keeping the situation under daily review.”

The gig’s significance was also noted in a statement shared by the Glasgow Herald, wherein an anonymous source said: “The Steps gig has been identified as an area of concern, via [contact tracing app] Track And Trace. 

“One of the people identified from the original event – a function at a club in the centre of Glasgow – subsequently went to the Hydro a couple of days later. It is unlikely that thousands of people will be forced to isolate but there will be Track And Trace information being given to some.”

Steps were forced to cancel shows in Cardiff and Bournemouth last month, after several members of their touring party, including singer Lee Latchford-Evans, tested positive for COVID-19. Those two dates have since been rescheduled for June, with tickets on sale now.

The group were touring in support of their seventh full-length effort, ‘What The Future Holds Pt. 2’, which landed back in September via BMG. 

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SZA shares official version of former SoundCloud demo ‘I Hate U’

Check out the lyric video for ‘I Hate U’ below:

It’s currently unclear whether ‘I Hate U’ – or ‘Nightbird’ and ‘Joni’, for that matter – will appear on SZA’s forthcoming second album. The follow-up to 2017’s ‘Ctrl’ – which sported hits like ‘Broken Clocks’ and ‘Garden (Say It Like Dat)’ – has been teased regularly since 2019, with a suite of standalone singles making up for the radio silence.

In 2018, SZA teamed up with Kendrick Lamar for ‘All The Stars’, which featured on the soundtrack for Black Panther. The following year, she dropped ‘Power Is Power’ alongside The Weeknd and Travis Scott, while 2020 came with ‘Hit Different’ and ‘Good Days’, plus the Justin Timberlake collab ‘The Other Side’

Thus far in 2021, she’s linked up with Doja Cat for ‘Kiss Me More’ (which the pair debuted live at the 2021 Billboard Music Awards), SAINt JHN for ‘Just For Me’ (which appeared on the soundtrack for Space Jam: A New Legacy), and Kali Uchis for a new version of ‘Fue Mejor’. On her own, she released ‘The Anonymous Ones’ as part of the soundtrack for Dear Even Hansen.

She also debuted another new track titled ‘Shirt’ during a livestream in July. In another tweet made today (December 4), she hinted that it could be her next single: “The only reason I didn’t do it first was [because ‘I Hate U’] was technically already fully out,” she wrote. “It wasn’t much to put it on streaming.”

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Also in July, SZA half-joked that she’s considered scrapping her new album and “starting from scratch”. She later released a collection of non-fungible tokens (NFTs) to celebrate the aforementioned livestream.

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Watch the trailer for Juice WRLD’s HBO Max documentary ‘Into The Abyss’

“When you’re a fan of this shit, you look at it from a certain perspective,” Higgins says in a key snippet, “but when you’re in it, you see it for what it really is. I’m still happy I could change the world, but… It’s not what it looks like.”

The film will also touch on Higgins’ struggles with mental illness, and how during his short time in the spotlight, he became “a therapist for millions of kids” and “a voice of that generation”.

Another section of the trailer draws from an interview in which Higgins said: “If you’ve got anxiety [or] depression, they all look at you like you’re crazy; that’s not how it should be [but] that’s how it is, and that needs to change. And hopefully I’m one of those people that could bring that change.”

Juice WRLD: Into The Abyss was directed by Tommy Oliver, whose previous works include the 2013 drama 1982, and last year’s HBO documentary 40 Years A Prisoner. Per HBO, the latter “chronicles one of the most controversial shootouts in American history, the 1978 Philadelphia police raid on the radical back-to-nature group MOVE, and the aftermath that led to a son’s decades-long fight to free his parents”.

Preceding the release of Juice WRLD: Into The Abyss will be Higgins’ second posthumous album (and fourth overall), ‘Fighting Demons’. It’s set to land on December 10 via Grade A / Interscope. Two singles have been shared from it thus far: ‘Already Dead’ and ‘Wandered To LA’, the latter a joint effort with Justin Bieber.

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Thursday also saw Higgins’ mother, Carmela Wallace, share a touching letter in his memory. “Although it has been nearly two years since you’ve been gone,” she wrote (via Complex), “I still think about you every day and losing you has changed my life forever. I’m glad that we always made sure that we said goodbye when we left each other because we didn’t know when we would see each other again.”

The first posthumous record from Juice WRLD – who passed away in December 2019 – came in the form of last year’s ‘Legends Never Die’. In a review of the project, NME wrote: “[The album] is a sprawling 21-track project that pays necessary homage to the talented rapper, but is too bloated and featured-packed to say much about him.”

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Directors of Kanye West documentary ‘jeen-yuhs’ discuss the Netflix project

One part of the sit down hears Simmons recall meeting West – now legally known as Ye – for the first time, when he was a kid coming in for haircuts at a local Chicago barbershop.

“He would come with beats,” Simmons recalls in the clip. “I remember he had the one beat that JAY-Z picked later on in life called H to Izz-O [‘Izzo (H.O.V.A.)’]. Yo, this was so ill. Here was this kid with braces … talented. This dude wasn’t scared of nothing.”

Ozah describes the film is a “whole history lesson of music”. He adds: “We’re crossing generations in three films. At the end, Kanye is collaborating with artists that were babies. But the crazy part is that Kanye’s a throughline; still as relevant at the end as he is in the beginning because his music passes the test of time.”

You can watch the pair discuss jeen-yuhs below:

Earlier this week it was revealed that Kanye West is currently working on a plan to help the homeless population of Los Angeles.

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According to TMZ, the rapper has joined forces with philanthropic organisations in a bid to tackle the problem in the California city. It’s said that Ye recently sat down with Reverend Troy Vaughn, CEO of homeless charity LA Mission, to outline four ways he can help.

The rapper and producer wants to continue providing food to homeless people by partnering with various charities in LA. Additionally, he’s looked at using his own companies to provide education, jobs and housing to those in need.

Meanwhile, the bear costume famously used on tour and in promotional duties for Kanye West‘s 2004 debut album, The College Dropout, has been put up for sale for $1million (£740,000).

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