Donald Trump is set to meet with one of his biggest supporters at the White House this week. Kanye West is scheduled to sit down with Trump on Thursday, October 11th. Ahead of their meeting, Kanye reportedly reached out to Hot 97 morning host Ebro to arrange a phone call with NFL quarterback Colin Kaeperinick. “I want to bring Colin Kaepernick with me to meet Donald Trump,” Kanye told Ebro, explaining that he intended to “open dialogue” between Kaepernick and Trump. (Trump has criticized Kaepernick’s decision to kneel during the National Anthem in protest of institutional racism and police brutality.) Ebro declined to assist Kanye in arranging the phone call, saying he would not let Kanye and Trump use Kaepernick as a political pawn. “What do we need to have dialogue about? Donald Trump should come out and apologize to Colin Kaepernick for coming for his job,” Ebro told Kanye. Even without Kaepernick’s participation, Kanye and Trump will have plenty to talk about. They can discuss source https://consequenceofsound.net/2018/10/kanye-donald-trump-white-house/ via Tumblr Kanye West is visiting Donald Trump at the White House this week
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Echo and the Bunnymen share first album in four years The Stars The Oceans & The Moon: Stream10/6/2018 Echo and the Bunnymen has returned with their first new album in four years,The Stars, The Oceans & The Moon. Spanning 15 tracks, this collection strings together reimagined versions of songs from their back catalogue along with two brand new recordings. In other words, if you’re open to the idea of hearing favorites like “The Killing Moon”, “The Cutter”, “Bring on the Dancing Horses” and “Lips Like Sugar” with “strings and things,” this album is right up your alley. But it’s also not for you, according to frontman Ian McCulloch. “I’m not doing this for anyone else,” he insists in a press release. “I’m doing it as it’s important to me to make the songs better. I have to do it.” One would think 30+ years of rampant support would sell him on these songs, but who are we to argue with the guy? Nevertheless, it’s an intriguing experiment and the two new songs — “The Somnanbulist” and “How Far?” — aren’t too shabby either. Stream the full album below via Apple Music and Spotify and consult the tracklist and album artwork shortly after. The Stars, The Oceans & The Moon Artwork: The Stars, The Oceans & The Moon Tracklist: source https://consequenceofsound.net/2018/10/echo-and-the-bunnymen-stars-ocean-moon-stream/ via Tumblr Echo and the Bunnymen share first album in four years The Stars, The Oceans & The Moon: Stream In the November 1987 issue of punk bible Maximumrocknroll, the ever combative Ben Weasel vented his spleen about what he saw as the sorry state of alternative rock at the time. “These writers, critics and even the musicians themselves,” he wrote, “turn their noses up at punk, yet listen to stuff that either used to be loud, aggressive and meaningful and turned into lame, mindless word-spuel [sic] or else shit that is basically Led Zeppelin and CCR rip-offs.” He names names throughout, but the one artist that keeps popping up as the exemplar of a reversion back to “the shittiest music ever created by man” was Sonic Youth. Weasel’s rant is emblematic of the style of unwittingly funny writing that is typical of that magazine even today. And no one found their inclusion in the piece more hilarious than the members of Sonic Youth. So hilarious, in fact, that they reprinted it in the liner notes of their 1987 Master=Dik EP, the group’s final statement on SST Records. It was a flippant move by the band akin to their use of a picture of then couple David Geffen and Cher on the cover of a fan club release of their demos for Goo. But it also served as the final bit of kindling that Sonic Youth used to completely burn the bridges to a stodgy scene that they unwittingly helped build by signing with Black Flag’s label. They loved punk, but they weren’t punk, at least not in the way that bull-headed writers like Weasel define the word. And they were about to bear that out with their clearest and most cohesive statement to date: 1988’s Daydream Nation. The double album, released 30 years ago this month, was the product of a band that had finally found a way to connect their disparate artistic interests into a distinctive whole. For all the greatness in their previous work, particularly the preceding album, Sister, the quartet was still toning their collective muscles as they strained to find the depth in the tinny, frayed production styles of Martin Bisi and Wharton Tiers. The music that they wrote for Daydream formed the strongest links between the avant garde sounds that had marked much of their earliest work, their abiding love of classic rock (Neil Young, Grateful Dead), and the growing school of underground bands, many of which were also name checked in Weasel’s rant (Das Damen, Hüsker Dü, Green River). It was an amalgamation that demanded a fuller, more dynamic sound, which they found with the guiding hand of Nick Sansano, a producer and engineer whose previous experience included working with The Bomb Squad, the team behind the music on Public Enemy’s first four albums. Daydream Nation starts with a feint. The slow, chiming chords and Kim Gordon’s cooing vocal turn suggesting a dreamier turn by the group. But after about 90 seconds, Sonic Youth’s true intentions become clear with the crackling chords that kick off “Teen Age Riot” proper. Guitarists Thurston Moore and Lee Ranaldo twist and bend around each other, leading to the album’s first big drive: a tune that abstractly imagines a world in which Dinosaur Jr. leader J Mascis was our president. Everything surges forward from there, cranking up the intensity briefly with the furious “Silver Rocket” but otherwise maintaining a steady flow and pace for just over an hour. (It remains one of the most perfectly sequenced albums of all time.) They allowed themselves a much wider canvas to play with, giving them room for longer intros, more drawn-out instrumental breakdowns, and, to close out the record, a suite of songs where the accelerated ascent of “The Wonder” slowly settles into the cruising altitude of “Hyperstation”. All the songwriters are allowed more space to shine. Ranaldo bumps his usual one song per album contribution up to three, lending Daydream some of his best ever work. His trio of tunes seem cut from the same cloth as Love’s Forever Changes, with Beat poetic imagery that explored the dark underbelly of the ‘60s (“There’s one big dead end in my head/ And not a moment of peace”). Gordon’s contributions are true to her feminist ideals, as she takes on the guise of a skeevy movie producer (“Kissability”) or borrowing from a postmodern Denis Johnson novel to express unbound female desire (“The Sprawl”). Daydream Nation had a marked impact on not only the band but the entire underground scene of the time. Just as it helped thrust Sonic Youth ahead, raising their profile and giving them freedom to reach an even more accessible sound with their first few DGC releases, it became a guiding light for artists like Mercury Rev, Swervedriver, and Teenage Fanclub, not to mention much of the post-rock scene of the ‘90s, to make their own fearless, gleaming guitar masterpieces. Like Gerhard Richter’s painting of a candle on the album’s cover, Daydream Nation remains a beautiful, resolute, and illuminating source of inspiration. Essential Tracks: “Teen Age Riot”, “The Sprawl”, and “Hey Joni” source https://consequenceofsound.net/2018/10/classic-album-review-sonic-youths-daydream-nation/ via Tumblr Classic Album Review: Sonic Youth’s Daydream Nation A rare piece of artwork from Banksy went up for auction this evening — only to self-destruct moments after it was sold. According to The Art Newspaper, a copy of Banksy’s iconic “Girl with Balloon” painting was auctioned at Sotheby’s in New York City on Friday night. However, almost immediately after the record-setting bid of $1.1 million was announced aloud, an alarm was triggered inside the frame and proceeded to shred the painting to pieces. “It appears we just got Banksy-ed,” said Alex Branczik, head of contemporary art, Europe. “He is arguably the greatest British street artist, and tonight we saw a little piece of Banksy genius.” Branczik maintained that Sotheby’s was “not in on the ruse.” “We are busy figuring out what this means in an auction context,” Branczik added. “The shredding is now part of the integral art work. We have not experienced a situation where a painting has spontaneously shredded, upon achieving a record for the artist.” Last year, Banksy opened the Walled Off Hotel, a full-service art hotel located in the West Bank city of Bethlehem billed as having “the worst view in the world,” with musical contributions from Massive Attack’s 3D, Trent Reznor and Atticus Ross, Flea, Hans Zimmer, and more. In 2015, Banky constructed his very own Dismaland “bemusement park” in London. source https://consequenceofsound.net/2018/10/banksy-painting-self-destructs/ via Tumblr Banksy’s painting self-destructs after selling for $1.1 million in auction Audrey Wells, a veteran screenwriter who penned several notable films including The Hate U Give, has died following a lengthy battle with cancer. She was 58 years old. Wells’ first major script came in 1996 with the romcom The Truth About Cats and Dog. A year later, she penned Disney’s George of the Jungle starring Brendan Frasier. In 2003, Wells wrote and directed an adaptation of Under the Tuscan Sun, which earned Diane Lane a Golden Globe nomination for Best Actress. In more recent years, Wells wrote A Dog’s Purpose in 2017 and The Hate U Give, which opened in limited theaters today. The latter film, an adaptation of Angie Thomas’ 2017 young adult novel of same name, has earned universal acclaim. In a statement, Wells’ husband Brian said: “Over the last five and half years, Audrey fought valiantly against her illness and she died surrounded by love. Even during her fight, she never stopped living, working or traveling, and she never lost her joy, wonder and optimism. She was, simply, the most incredible wife and partner imaginable, and she knew always that she was loved by Tatiana, me, and the friends who were her chosen family. She said just recently, ‘We’re so lucky, honey. We got to live a love story. Who gets to do that?’ We will carry her forward with us forever — as a mother, as a wife, as an artist and creator, and as a friend. She was irreplaceable.” source https://consequenceofsound.net/2018/10/r-i-p-audrey-wells-obituary/ via Tumblr R.I.P. Audrey Wells, screenwriter of The Hate U Give has died at 58 POND returned this past summer with “Burnt Out Star”, their first new music since 2017’s The Weather. Now, the Australian weirdos are back with another slice of psychedelia with “Sixteen Days”, the latest single from a new LP due out in the spring of 2019. “‘Sixteen Days’ is about, once upon a time, being jealous and paranoid, too ground down and mad to enjoy love and Genoa,” says frontman Nicholas Allbrook in a press release. Its accompanying video, directed by Kristofski, has a cable access vibe, and features cloaks a slew of shirtless hunks in glitter and fog. Of the video, Allbrook adds, “Goulburn Valley Gold. Ruthless business. Fierce steals the show – World Champion (note – mirror ball helmet).” Okay then. Watch it below. POND plays California’s Desert Daze and Treasure Island Music Festival later this month, and will follow those gigs with sets in cities like Seattle, Portland, Salt Lake City, Chicago, Detroit, Montreal, Toronto, and Brooklyn. Head here to see their full list of dates. source https://consequenceofsound.net/2018/10/pond-sixteen-days-video/ via Tumblr POND share new single “Sixteen Days”: Stream Broadway’s no stranger to musicals based on famous movies, but rarely is the source material as compelling as the Oscar-nominated Girl, Interrupted, which is apparently in the process of being turned into a musical. That news comes from Aimee Mann, of all people, who made the project even more appealing by revealing in a Los Angeles Review Of Books interview that she’s writing the music. The pairing makes sense: Mann’s last album, after all, was titled Mental Illness, and Girl, Interrupted tells the story of a young woman’s 18-month stay at a mental hospital in the 1960s. “So literally right up my alley—it’s about crazy ladies!” Mann joked, saying she doesn’t know when it will premiere as “plays always take forever.” (Read: Top 50 Cover Songs from Movies) Mann also revealed that she’s working on another musical, one she describes “my own thing,” with playwright Jonathan Marc Sherman. source https://consequenceofsound.net/2018/10/aimee-mann-girl-interrupted-musical/ via Tumblr Aimee Man is writing the music for a Girl, Interrupted stage musical Dave Grohl has a busy weekend ahead of himself: Foo Fighters will host and headline the second annual Cal Jam Fest, and it also looks like there will be some sort of Nirvana reunion. Still, Grohl found time on Thursday night to headline a benefit gala for autism awareness, as Alternative Nation points out. He brought along his 12-year-old daughter Violet, who joined her father on stage to perform a pair of covers: Adele’s “When We Were Young” and Billie Eilish’ “Idontwannabeyouanymore”. Watch footage below. Violet previously teamed with her father to cover “When We Were Young” during a benefit concert back in March. Her vocals have grown all the more impressive since then, no thanks to a summer apprenticeship serving as a Foo Fighters backing singer. Needless to say, Frances Bean Cobain isn’t the only Nirvana offspring to have inherited some stellar musical chops. source https://consequenceofsound.net/2018/10/dave-violet-grohl-adele-cover/ via Tumblr Dave Grohl and daughter Violet cover Adele and Billie Eillish at benefit concert: Watch |