Watch Carrie Brownstein, Tiffany Haddish, More in Trailer for New Movie The Oath

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The dark comedy is about “surviving life and Thanksgiving in the age of political tribalism”

Jack White Is Performing At A Tesla Factory For Its Workers Tonight

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Jack WhiteTesla has been in the news a lot lately, and not always for the best reasons. Founder Elon Musk, known in music circles as Grimes’ boyfriend, gave a melodramatic interview to the New York Times about the company’s struggles this week — struggles that include an S.E.C. investigation and heavy critique … More »

Jack White to Perform at Tesla Factory for Workers

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White, a longtime Tesla fan, once called Elon Musk “the Henry Ford of the 21st century”

NMF Roundup: The Knocks keep things groovy, Leftwing and Kody revive Kelis’ ‘Milkshake’ + more

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NMF Roundup: The Knocks keep things groovy, Leftwing and Kody revive Kelis’ ‘Milkshake’ + moreRave Picture

The most important day of every week: New Music Friday. As each week brings a succession of new music from some of electronic music’s biggest artists, here’s a selection of tracks that shouldn’t be missed.


Leftwing and Kody resurface 2003 hit “Milkshake” with a dynamic remix that layers in electronic synths while keeping Kelis’ vocals a focal point of the track.


Hardwell links up with Maddix for main stage anthem “Bella Ciao” with a big room chord progression that bounces into a forceful drop.


Matisse & Sadko return to STMPD Records with bouncy new release “Saga.”


Madison Mars teams up with Nevve for catchy pop-leaning release, “Like Far,” with Nevve‘s polarizing vocals carrying the track into a commercial drop.


Nyxen brings the chill vibes with her new tune, “Chains,” which features a smooth alt-electronic backdrop with soothing vocals.


“Coffee Shop” blends Sunnery James & Ryan Marciano‘s club-ready house chords and Kes Kross’ vocals with elements of tech house interlaced throughout.


Brazilian talent Illusionize releases immaculately layered track “We Go Together” with a combination of sounds and synths that make for a unique backdrop juxtaposed with alt-rock-skewing vocals.


Julia Thompson‘s vocals are seemingly the hook into “The One,” but the surprise main attraction of the track is the unexpected future bass drop from Dreweybear.


Laarsen takes the listener on a melodic journey, blending instrumentals with electronic production backdrops in new four-track Lavafields EP.


Don’t call it a comeback — Sidney Samson is at it again with another rocking electro house number, this time with G Wise in tow. “Soldier” marches on through the airwaves and onto the dancefloor, where it detonates among hungry ear drums craving a drop.


A deceptively airy opening tumbles into monsterous synths in Afrojack‘s newest release, “Bassride.”


Rolo Green and Dezza team up for Anjuna‘s latest release, “Sunburn,” with heady chants that merge with uplifting trance chords to create a unique whole.


Tough Love‘s latest will put the listener at ease with pleasant progressive chord progressions that lay the framework for energetic vocals.


Riggi & Piros have kicked up the energy a notch with their progressive house spin of “IDWK,” originally by DVBBS and Black Bear.


QUIX and Vincent team up for “Hero,” which is a hectic compilation of melodic moments, piercing synth drops, and a commanding bassline connecting the track together.


Ladytron has mastered the retro vibes with new alt-electronic “The Island,” which blends disco synths with airy chords to support the enamoring vocalist.


1788-L is back with a new original track. “NU/VER/KA” seemingly takes sounds out of horror movies and fuses them into a slow and steady beat. The track eventually gives way to a commanding chord progression that envelopes the listener until the song’s conclusion.


The Knocks are back with a groovy “Goodbyes” featuring Method Man, and this hip-hop electronic fusion bounces between blaring saxophone and hip-hop vocal segments.


An entrancing opening gives way to light future bass chords for the perfect chill tune to unwind to in Sj‘s latest “If We Could Stay High.”


Fancy being pummeled with fast tempos and pungent kicks, yet also given a moment of sweet, euphoric release? John Askew‘s got this mix down to a science in his sentimental new tune, “On The Rocks.”


Blanke has managed to add more energy to Carmada & Tribe’s “Ready For It.” He’s twisted the drop into a robotic cacophony of synths that pummels the ears in a war-like fashion.


House heads can get their fix with Del-30’s new two-track EP that flirts the line of tech house and is sure to keep the listener dancing.


Photo credit: MayDay True Rave

Kristi Coulter’s Playlist for Her Essay Collection "Nothing Good Can Come from This"

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Nothing Good Can Come from This

In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book.

Previous contributors include Jesmyn Ward, Lauren Groff, Bret Easton Ellis, Celeste Ng, T.C. Boyle, Dana Spiotta, Amy Bloom, Aimee Bender, Heidi Julavits, Hari Kunzru, and many others.

Kristi Coulter’s essay collection Nothing Good Can Come from This is a witty and poignant examination of her transition from drinking to sobriety.

The Minneapolis Star Tribune wrote of the book:

“Deeply human. Taken together, the collection is about more than sobriety. It’s a celebration of the quotidian, a love letter to the breathtaking beauty of the mundane.”

In her own words, here is Kristi Coulter’s Book Notes music playlist for her essay collection Nothing Good Can Come from This:

“Jesus’s Hands,” American Music Club
I was never a woo-girl kind of drinker; even as a teenager I was always using booze to try to tap into something grave and serious and bigger than myself, the way more efficient people might use hallucinogens. (In some ways I was trying and failing to be a boy-poet drinker in the Bukowski/Tom Waits mode.) Drinking for me held the promise of the kind of warmth and connection and acceptance embodied here in the voice of Mark Eitzel, one of the great boy-poet drinkers.

“The Fear,” Pulp
Have you ever woken up after a night of drinking feeling sick and regretful and worried about something you might have said or done? There’s some small-f fear in that. Have you ever woken up sick and regretful and worried more often than not for months or even years on end, even though you promise yourself every night that you’ll only have two glasses of wine? And when you wake up sick and regretful and worried, do you already know you’ll be making and breaking that promise again tonight, because you don’t know how to stop yourself from doing this thing that you actually hate? That’s the Fear with a capital F, and this is the song that finally named it for me.

“My Backwards Walk,” Frightened Rabbit
This song is about trying over and over again to leave a relationship, but I associate with the four thousand years I spent trying to become a moderate drinker rather than quit completely. (Pro tip for anyone stuck in that morass right now: it’s way easier to just quit. I know, I didn’t believe it either. But it’s true.) Also, I tripped on a stair the night I first heard it performed and bruised my knee, and for years it hurt when I put pressure on the wrong spot. I called it my Drunkard’s Knee, because I like old-timey sounding ailments and because I needed bad things that happened to me while I was drinking to seem madcap vs. stupid. Scott Hutchison, the brilliant and funny frontman for Frightened Rabbit, wrote frequently about his own destructive drinking. He killed himself a few months ago. I eventually saw him play this live a half-dozen times and I wish I could again.

“Lived in Bars,” Cat Power
Because not all my drinking was a drag, or I wouldn’t have done so much of it. A lot of it was great. And when it was great, it felt like this.

“Thank U,” Alanis Morissette
The essay “Desire Lines” explores my lifelong fear of being what science would now call ‘basic.’ A few unpopular years in middle school resulted in decades of aversion to Yankee Candles and flavored lattes. So it’s probably karmic justice that within days of quitting drinking I had this song on a loop in my head. I didn’t even know I knew it! But the line “the moment I jumped off of it is the moment I touched down” is exactly what quitting felt like for me. I didn’t feel “ready” to stop drinking when I did; I just didn’t have anything else left to try. But almost as soon as I stopped I realized that while getting sober was going to be hard, it wasn’t going to be the full-on horror show I’d imagined it to be. I’d jumped, and landed. Five years later I still love this song, and I also still wonder what the ‘thin transparent dangling carrots’ are all about. (Are they earrings? I keep picturing them as earrings.)

“Strong Swimmer,” Shelby Earl
Shelby is a local singer-songwriter and former co-worker I’m pretty crazy about, and not only because she was such a good sport about how we liked to say her name as though announcing her in Branson, MO: “Shelllllllllby Earl!” (It’s just hard not to.) I’ve done a lot of athletic training where you have to go through the slog and soreness of building new muscles, and that’s what new sobriety was like for me. You’ve got to swim the laps and do the dumb kickboard exercises and all the other un-fun stuff, knowing eventually you’ll be a strong swimmer. There’s really no shortcut.

“Scent of Lime,” the Long Winters and “Rainfall,” Hey Marseilles
Nothing Good Can Come from This is very much a Seattle book, and these are two of my favorite Seattle bands. I used to have both of these songs on my running playlist—yes, I do enjoy running to slow, demotivating music–and in early sobriety a line from “Scent of Lime” became sort of a mantra: “The worst you can do is harm.” When I first quit drinking, my only job on any given day was just not to drink. “The worst you can do is harm,” I’d tell myself when I felt shaky. Even now, I lean on that line sometimes in a bad situation. Just don’t make it worse, I think. Start there.

“Clean Get-Away,” Lori Carson
I went through this lovely period in my first or second year of sobriety where I thought my slate was wiped clean, and none of my old habits or problematic relationships would ever be an issue again. Oh, it was wonderful while it lasted.

“Don’t Dream It’s Over,” Crowded House
Neil Finn solo is the first show I ever saw completely sober, and walking through that door was one of the scariest things I’ve ever done. And I’ve been to so many shows, and always been the kind of person wants to be right up front in the thick of it. I’ve been knocked out cold by a stage diver. Al Jourgenson from Ministry once stepped on my freaking hand. But it was the prospect of seeing nice Neil Finn sing beautiful songs in his cute accent that gripped me with fear. But it was fine. More than fine. I actually see more live music now than I did as a drinker, and I love it.

“Calling Cards,” Neko Case and “If We Never Meet Again,” the Reckless Sleepers
The essay “Fascination” is about discovering my own gaze and capacity for desire in sobriety, after a lifetime trying to look good in the male one. That discovery eventually leads me into…a situation. But as I put it in the book, in the pre-situation years I “behaved myself (mostly).” “There’s an ocean of room in that ‘mostly,’ an interviewer recently noted. Yes. Yes there is, and what’s in that ocean sounds like these two songs.

“Daughters of the Soho Riots,” the National
I almost used a line from this song as the book’s epigraph: “How can anybody know how they got to be this way?” Because I could speculate all day about what combination of genes, experiences, and circumstances led me into alcoholism and out again. I know other people in recovery who’ve got it down to an elevator speech. But ultimately, I just don’t fully know. And I don’t care that much. I was there. Now I’m here. I’m on my way somewhere else. That’s what I care about.

“Do You,” Spoon
I guess this is sort of a summer-barbecue song, but I find it strangely moving and the chorus has become a sort of catechism, a series of questions I ask myself now and then: “Do you want to get understood? Do you want one thing or are you looking for sainthood? Do you run when it’s just getting good?” (Yes but a little bit no; not sainthood; sometimes.) I didn’t ask myself those sorts of questions very much as a drinker—or I’d try, but I would have forgotten the question by the time I had any sort of answer.

“Proclaim Your Joy,” Mark Eitzel
Because the king of boy-poet drinkers can also be exuberant and goofy and full of love, sober or drunk. Because so can I. This book isn’t about everything being one way and then flipping the Light Switch of Betterment. Everything I am now was in me then, for good or ill. I just couldn’t see it, because my field of vision was so narrow, and further contracting every day.

“Unsatisfied,” the Replacements
The book’s epigraph comes from this song because, I mean, my God. How could it not? It’s all in that unbelievable Westerberg vocal that’s daring you to tell him he’s gotten what he wants. Before I quit drinking, I had a vague idea that sobriety would mean a Zen state of perfect contentment, which was both attractive and somehow terrifying. Actually getting sober killed that illusion. I’m here. I’m awake. I want things. No, I’m not satisfied. Are you?

Kristi Coulter and Nothing Good Can Come from This links:

the author’s website
excerpt from the book

Booklist review
Los Angeles Review of Books review
Minneapolis Star Tribune review
Seattle Times review

also at Largehearted Boy:

Support the Largehearted Boy website

Book Notes (2015 – ) (authors create music playlists for their book)
Book Notes (2012 – 2014) (authors create music playlists for their book)
Book Notes (2005 – 2011) (authors create music playlists for their book)
my 11 favorite Book Notes playlist essays

Antiheroines (interviews with up and coming female comics artists)
Atomic Books Comics Preview (weekly comics highlights)
guest book reviews
Librairie Drawn & Quarterly Books of the Week (recommended new books, magazines, and comics)
musician/author interviews
Note Books (musicians discuss literature)
Short Cuts (writers pair a song with their short story or essay)
Shorties (daily music, literature, and pop culture links)
Soundtracked (composers and directors discuss their film’s soundtracks)
weekly music release lists

Watch: Shakewell – “Leglock”

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Is it just me, or does the constant lens zoom out in Shakewell’s “Leglock” give off a hard Kubrick vibe? Basically, switch out Barry Lyndon with that big old beefy boy, and you’ll get the gist. Pretty cool when you think about it. Completely different film, really.

On another note, I guess “Leglock” is viral or some shit since it has over two million views, but I really just wanna celebrate the fact that one of the Browns from Check it Out! makes a cameo. Don’t get me wrong, the track’s a ripper for sure. Just… Kubrick AND Brown. I mean, can you believe it? Wow! Anyway, have a great day!! XOXO!!!

Logic’s New “One Day” Video Sends a Powerful Political Message

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Michael Peña, Judy Reyes, and Luis Guzman star in 7-minute visual about two different children in America

Dreweybear and Julia Thompson create ‘The One’

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Dreweybear and Julia Thompson create ‘The One’The One Artwork

Pay attention to this one.

Initially created by Dreweybear as a rough track while messing around in the studio, “The One” is the product of an off-chance collaboration between vocalist Julia Thompson and producer Drew Marcum. Written during a period of uncertainty in Thompson’s life, “The One” captures the essence of confusion and regret in a dire relationship through emotive vocal drops. Eventually, after a handful of production revisions, “The One” evolved into a contender for summer pop anthem, out Aug. 17on Elixir Records.

Both artists have shown early signs of success in the early stages of their careers. Starting the project in 2016, Drew began posting tracks on SoundCloud and quickly obtained the interest of large labels and tastemakers. After putting out continuous releases, Dreweybear found himself featured on key Spotify playlists including the Viral 50 chart. Today, Dreweybear continues to follow his passion for creating melodic music inspired by the wilderness.

Associated with an incredibly vast vocal range and high-energy pop melodies, Julia Thompson is an 18-year-old singer/songwriter on the rise. Born and raised in Cleveland, Ohio, Julia has been writing and singing throughout her life, often spending hours at the piano singing covers and writing her own original songs. Initially just sharing her music with friends, she decided to take the leap with her debut single, “Hits,” which was released in February.

Documenting the highs and lows of the teenage experience, Thompson uses honest lyrics and a sense of realness in her writing to give people her age something to relate to. Thompson has garnered the attention of thousands of fans across the country as her second single, “Spark,” was a minor viral hit that landed on hot playlists including Fresh Finds and New Pop Revolution.

This Week’s Interesting Music Releases – August 17, 2018

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Mitski

Mitski’s Be The Cowboy is her strongest effort yet, easily one of the year’s best albums.

Oh Sees’ Smote Reverser is another album I can recommend this week.

Reissues include vinyl editions of four Siouxsie & The Banshees albums (Join Hands, Juju, Through The Looking Glass, Tinderbox) and five Teenage Fanclub releases (Bandwagonesque, Grand Prix, Howdy, Songs From Northern Britain, Thirteen ).

This week’s interesting music releases:

Animal Collective: Tangerine Reef
Ariana Grande: Sweetener
Austin Lucas: Immortal Americans
Bad Religion: The New America (reissue) [vinyl]
Beach Boys: With The Royal Philharmonic Orchestra [vinyl]
Blue October: I Hope You’re Happy
Circles Around The Sun: Let It Wander
Conner Youngblood: Cheyenne
Cullen Omori: The Diet
Death Cab For Cutie: Thank You For Today
Dizzy: Baby Teeth
Dragon Inn 3: Double Line
Great Lake Swimmers: The Waves, The Wake
Julee Cruise: Three Demos
Julee Cruise: The Voice of Love (reissue) [vinyl]
Justin Hiltner & Jon Weisberger: Watch It Burn
Miles Davis: Bitches Brew (Quadraphonic Multi-Channel SACD)
Misfits: Famous Monsters (reissue) [vinyl]
Mitski: Be The Cowboy
Neil Diamond: Hot August Night III (2-CD, DVD)
Nicki Minaj: Queen
Oh Sees: Smote Reverser
Papa M: A Broke Moon Rises
Pere Ubu: Cloudland (reissue)
Ra Ra Riot: The Rhumb Line (reissue) [vinyl]
Siouxsie & The Banshees: Join Hands (reissue) [vinyl]
Siouxsie & The Banshees: Juju (reissue) [vinyl]
Siouxsie & The Banshees: Through The Looking Glass (reissue) [vinyl]
Siouxsie & The Banshees: Tinderbox (reissue) [vinyl]
Slaves: Acts Of Fear And Love
Still Corners: Slow Air
Teenage Fanclub: Bandwagonesque (reissue) [vinyl]
Teenage Fanclub: Grand Prix (reissue) [vinyl]
Teenage Fanclub: Howdy (reissue) [vinyl]
Teenage Fanclub: Songs From Northern Britain (reissue) [vinyl]
Teenage Fanclub: Thirteen (reissue) [vinyl]
Toots and the Maytals: Funky Kingston (reissue) [vinyl]
Trevor Powers: Mulberry Violence
Various Artists: Teen Expo: The Cleopatra Label
Wild Pink: Yolk in the Fur [vinyl]
Yo-Yo Ma: Six Evolutions – Bach: Cello Suites

also at Largehearted Boy:

Support Largehearted Boy

weekly music release lists

Book Notes (authors create music playlists for their book)
musician/author interviews
Note Books (musicians discuss literature)
Short Cuts (writers pair a song with their short story or essay)
Shorties (daily book and music news and links)
Soundtracked (composers and directors discuss their film’s soundtracks)

Varien And Swarm Collaborate on Fierce Midtempo Track: Never Ending

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Varien is a legend in the electronic dance world and he is without a doubt one of the most creative producers in the game today. Swarm has burst on the scene displaying exponential greatness with every new terrifyingly dark release. The two artists have collaborated to release Never Ending. Varien is firing on all cylinders

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