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Tag: Rock (11-20 of 540)

Meet Profound Lore Records founder Chris Bruni, the face of modern metal

Chris-Bruni

Next week sees the release of Foundations of Burden, the second album by Arkansas-bred doom metal band Pallbearer. Their first album, 2012’s Sorrow and Extinction, was a critically-beloved collection of heavy tunes that not only announced the arrival of a great act but also cemented Pallbearer’s label, Profound Lore Records, as the best source of new material for headbangers everywhere.

The 10-year-old label, based out of Kitchener, Ontario, has put out a staggeringly excellent series of releases by some of the best groups currently working in the extremely fertile metal underground. Just this year, Profound Lore has released stellar collections from Lord Mantis, the Atlas Moth, Alraune, Dead Congregation, and the Must List-approved Agalloch. Pallbearer comes out next week, with a new album by Witch Mountain not far behind. These bands dig deep into metal subgenres, conjuring up remarkable darkness via black metal, death metal, prog, hardcore, folk, and whatever else is available to get the turned-to-11 point across.

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Priory's 'Weekend' is keeping the arena-rock anthem alive

Recent pop history has been notably light on the kind of epically-scaled rock anthems built for fist-pumping, arena-shaking singalongs that dominated the radio throughout the ’80s and ’90s. Portland duo Priory is singlehandedly reversing that trend with their song “Weekend,” which for the past month has been slowly gaining momentum on radio and seems destined to go onto even bigger things.

Brandon Rush and Kyle Sears met at shows around Portland, but the idea to collaborate musically didn’t come until Rush moved into a punk house that Sears was living in. “We just sat down for the first time with acoustic guitars and it was kind of instantaneous,” Sears says. “Literally I think the first time we sat down we wrote the foundations for like two songs.”

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Dance-floor queen Kiesza goes acoustic to cover Nirvana

One of the most delightful singles of this summer is Kiesza’s “Hideaway,” which has been steadily climbing the charts off the strength of its very accurate emulation of the kind of club-pop that ruled radio in the early ’90s. It’s a great sound, and a great point in the retro revival cycle to specialize in it, but the Calgary-born singer appears to have more range than the average dance-floor diva.

For her installment of British music mag NME‘s Basement Sessions video series, Kiesza covers Nirvana’s “Heart-Shaped Box,” an unexpected choice made even more surprising by the sparse arrangement of bluesy vocals and flamenco-inflected fingerpicked guitar that she brings to it.

Hustle and Drone live out their hoop dreams in 'The Glow' video

Ryan Neighbors played keyboards for the proggy rock band Portugal. The Man until 2012, when he left to form the synth-heavy power trio Hustle and Drone. After a spending the past couple years woodshedding in Portland, the group is preparing to release their first LP, HOLYLAND, September 2 on Red Bull Sound Select.

The album’s lead single, “The Glow,” has the fist-pumping energy of an arena-rock anthem, so it makes sense that the group shot its video in the Moda Center, home to the Portland Trail Blazers, fulfilling what Neighbors calls “a childhood dream.” The clip features high-flying, slam-dunking luchadores and a whole lot of fake blood, not to mention enough synthesizers to stock a Guitar Center keyboard section.

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Watch Charli XCX slay 'I Want Candy'

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Between her assists on massive singles by Iggy Azalea (“Fancy”) and Icona Pop (“I Love It”) and her own chart-scaling single “Boom Clap,” Charli XCX has earned herself a well-deserved reputation as a go-to performer of potently exuberant, candy-colored pop songs. There are few songs in the modern pop songbook that fit that same description as well as “I Want Candy,” originally performed by an ad hoc group called the Strangeloves in 1965, but thoroughly owned by Bow Wow Wow since they recorded a cover in 1982. So it’s not unexpected that Charli covering “I Want Candy” would work out pretty well.

What is surprising is how raw and–to use a shudderingly uncool word–rocking it is. Charli has been touring in front of a crack power trio, and “I Want Candy” is a much better showcase for their skills than acoustic versions of “Boom Clap.” Their version is just a little too fast and just a little too loud, and it’s pretty ragged around the edges, which is to say pretty much the ideal way of tackling this particular song. (Thanks in part to the usual lack of practice time before promotional duties like covering songs for internet TV shows, probably.) If Charli ever decides pop stardom isn’t for her, she and her girls could probably find a home making noise on the DIY punk circuit without much trouble. READ FULL STORY

Buffalo Clover unveils slow-burning ballad 'Hey Child'

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Buffalo Clover is a Southern six-piece that blends vintage rock and soul influences in a way that makes them sound sort of like the Band, if instead of breaking up after The Last Waltz the Band had just turned the whole guest-star-filled soiree into an ongoing supergroup. On August 12, the group is releasing two albums, a studio record called Test Your Love and a live album called Live at Five recorded at Nashville’s The Five Spot.

The former album will feature “Hey Child,” a smoldering soul ballad dedicated to a child that the group’s founders and primary songwriters, Margo Price and Jeremy Ivey, lost to a rare heart condition soon after he was born in 2010. READ FULL STORY

Danny Trejo talks about starring in Train's 'Angel in Blue Jeans' video

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Danny Trejo is an American treasure. At age 70, the star of Machete and Machete Kills (and possibly a third installment entitled Machete Kills Again… in Space) still projects the same inimitable badass vibes he’s been bringing to the screen since he broke into the business with 1985’s Runaway Train.

Which keeps him in high demand. Along with his usual packed schedule of projects, he recently starred in the video for “Angel in Blue Jeans,” the folk-pop-inflected lead single from Train’s upcoming album, Bulletproof Picasso, which includes a truly uncanny moment where he lip-syncs lead singer Pat Monahan’s part.

Trejo, who’s as affable offscreen as he is intimidating when he’s in character, talked to EW about the experience.

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Jenny Lewis' 'The Voyager' started as a challenge from Ryan Adams

Jenny Lewis’ excellent new solo album The Voyager doesn’t officially arrive until this Tuesday, July 29, but you can currently stream it in its entirety over at Amazon Music. It’s a remarkable album, full of sweet summertime memories and vivid storytelling.

Several of the tracks from The Voyager have already been released, including the Hollywood cross-dresser assisted “Just One of the Guys,” the breezy “She’s Not Me,” and the stark, heartbreaking title track. READ FULL STORY

In the studio: Weezer discusses lyrics, the new album title, and Ric Ocasek

We’re still a few months away from the arrival of Weezer’s new album Everything Will Be Alright in the End, but you can get a good sense of what to expect by reading about EW‘s exclusive visit to the studio. I spent two days with the men of Weezer, and we had a ton of conversations both about the new album and about the stuff bands talk about between takes.

But of course there was not enough room to get all of the gems into the piece. If you’re hungry for more, here are a handful of awesome bits that were left on the cutting room floor. READ FULL STORY

In the studio with Weezer: Bandmates debate Bob Seger vs. BTO

About a month ago, I spent a few days in the studio with Weezer as they put the finishing touches on their new album, Everything Will Be Alright in the End. Despite the fact that this is their ninth proper studio album, the process of making records hasn’t gotten any easier. “Making records is weird,” drummer Pat Wilson said after a particularly intense session. “It’s different every time.”

But there’s also time for fun, and one of the things the band really drove home during the course of our conversations was how much they have really been enjoying each other lately. There hasn’t always been harmony, but at the moment they are a pretty cohesive unit.

That being said, they are not without argument. Case in point: After recording wrapped one day, Wilson and bassist Scott Shriner stuck around to play me some rough tracks and talk about the recording process. But we soon drifted away from Everything Will Be Alright In The End to a standing argument between the two.  READ FULL STORY

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