METZ release new album Strange Peace: Stream

Today, METZ release their new album, Strange Peace, and subscribers of Apple Music and Spotify can stream it in full below

Strange Peace is the Canadian noise-rock outfit’s third full-length overall following METZ II in 2015. It was recorded live to tape with renowned studio genius Steve Albini (Robert Plant, Cloud Nothings). Taking on mixing duties was Graham Walsh of Holy Fuck, who’s previously worked with the likes of Alvvays and Operators.

“We tracked fourteen songs in four days. It was the first time we felt confident enough to just play live and roll tape,” METZ guitarist/vocalist Alex Edkins explained of the recording process in a press statement. “Strange Peace is much more diverse and varied than anything we’ve done before, which was exhilarating, but terrifying, too. We took the tapes home to Toronto feeling like we’d made the record we wanted to make.”

In terms of theme, the album’s 11 tracks are said to be about “uncertainty.” “They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears,” Edkins continued. “They’re about finding some semblance of peace within the chaos.” Early previews included the pummeling “Mess of Wires” and rock ‘n’ roll cut “Cellophane”.

To support the latest record, METZ will tour North America and Europe this fall, including dates alongside Modest Mouse and Protomartyr. Of particular note is METZ’s September 25th at Chicago’s Thalia Hall, which is presented by Consequence of Sound. Grab your tickets for that show here.

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Strange Peace Artwork: 

metz strange peace album METZ release new album Strange Peace: Stream

Strange Peace Tracklist:
01. Mess of Wires
02. Drained Lake
03. Cellophane
04. Caterpillar
05. Lost in the Blank City
06. Mr. Plague
07. Sink
08. Common Trash
09. Escalator Teeth
10. Dig a Hole
11. Raw Materials

METZ 2017 Tour Dates:
09/22 – Detroit, MI @ The Princess Boat !
09/23 – Madison, WI @ Majestic Theatre
09/25 – Chicago, IL @ Thalia Hall (Presented by CoS)
09/29 – Toronto, ON @ Lee’s Palace *
09/30 – Toronto, ON @ Lee’s Palace *
10/02 – Boston, MA @ Sinclair #
10/03 – Philadelphia, PA @ The First Unitarian Church #
10/04 – Brooklyn, NY @ Music Hall of Williamsburg #
10/05 – New York, NY @ Bowery Ballroom #
10/06 – Washington, DC @ Rock & Roll Hotel #
10/07 – Hamden, CT @ The Ballroom
10/08 – Montreal, QC @ La Sala Rosa
10/10 – Providence, RI @ Lupo’s $
10/11 – Sayreville, NJ @ Starland Ballroom $
10/18 – Halifax, NS @ The Marquee (Halifax Pop Explosion)
11/02 – Prague, CZ @ Futurum !
11/03 – Wroclaw, PL @ Klub Firlej !
11/04 – Warsaw, PL @ Klub Hydrozagadka !
11/06 – Berlin, DE @ Bi Nuu !
11/07 – Copenhagen, DK @ Loppen !
11/08 – Hamburg, DE @ Knust !
11/09 – Zwolle, NL @ Poppodium Hedon ^
11/10 – Kortrijk, BE @ De Kruen
11/11 – Utrecht, NL @ Le Guess Who? Festival
11/12 – La Havre, FR @ Le Tetris %
11/14 – Nimes, FR @ La Paloma %
11/15 – Bordeaux, FR @ Theatre Barbey %
11/16 – Toulouse, FR @ Club Metronum %
11/17 – Barcelona, ES @ La (2) De Apolo %
11/18 – Madrid, ES @ Moby Dick %
11/20 – Nantes, FR @ Pole Etudiant %
11/21 – Paris, FR @ La Trabendo %
11/22 – London, UK @ The Garage %
11/23 – Bristol, UK @ The Fleece %
11/24 – Leeds, UK @ Brudenell Social Club 5 %
11/25 – Brighton, UK @ The Haunt
12/07 – Seattle, WA @ Neumos
12/08 – Vancouver, BC @ Cobalt
12/09 – Portland, OR @ Doug Fir
12/11 – San Francisco, CA @ Independent
12/12 – Los Angeles, CA @ Teragram
12/13 – San Diego, CA @ Casbah
12/15 – Austin, TX @ Mohawk &
12/16 – Houston, TX @ Studio at Warehouse Live

! = w/ Protomartyr
* = w/ SUUNS
# = w/ Uniform
$ = w/ Modest Mouse
^ = w/ Brian Chase
% = w/ Drahla
& = w/ Cherub

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Godspeed You! Black Emperor release new album Luciferian Towers: Stream/download

Today, Godspeed You! Black Emperor return with a new album, Luciferian Towers, via Constellation Records. Subscribers of Apple Music and Spotify can stream it in full below.

Luciferian Towers is the group’s third release since reconvening in 2010, and sixth overall. It follows 2012’s Polaris Prize-winning ‘Allelujah! Don’t Bend! Ascend! and 2015’s Asunder, Sweet and Other Distress.

According to a press statement, the project came to fruition “in the midst of communal mess, raising dogs and children. Eyes up and filled with dreadful joy – we aimed for wrong notes that explode, a quiet muttering amplified heavenward. We recorded it all in a burning motorboat.”

The Canadian experimental outfit goes on to note that Luciferian Towers was informed by “an end to foreign invasions”; “an end to borders”; “the total dismantling of the prison-industrial complex”; “healthcare, housing, food and water acknowledged as inalienable human right”; and “the expert fuckers who broke this world never get to speak again.”

Early teasers include the ominous “Undoing a Luciferian Towers” and the chaotic “Anthem For No State, Pt. III”. The group is currently on the road supporting the record.

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Luciferian Towers Artwork:

godspeed you black emperor luciferian towers stream album listen Godspeed You! Black Emperor release new album Luciferian Towers: Stream/download

Luciferian Towers Tracklist:
01. Undoing a Luciferian Towers
02. Bosses Hang, Pt. I
03. Bosses Hang, Pt II
04. Bosses Hang, Pt. III
05. Fam/Famine
06. Anthem For No State, Pt. I
07. Anthem For No State, Pt. II
08. Anthem For No State, Pt. III

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Knox Fortune releases debut album Paradise: Stream/download

Today, rising Chicago musician Knox Fortune celebrates the release of his debut album, Paradise. Apple Music and Spotify users can stream the LP in its entirety below.

Though his first official full-length, the 11-track effort follows a handful of impressive collaborations. Over the last few years, the Grammy-winning artist/producer has linked up with some of Chicago’s finest, including Joey Purp (iiiDrops), KAMI (Just Like the Movies), and Chance the Rapper (Coloring Book selection “All Night”).

For Paradise, Knox Fortune is again joined in the studio by both Joey Purp and KAMI. He also welcomed new special guests in Will Miller of WhitneyTwin Peaks’ Colin Croom, Nico Segal, fka Donnie Trumpet, and Lido.

In a recent interview with Complex, Knox Fortune spoke about the creative process behind the new songs:

“I’ve been working on some of these songs for an incredibly long time. Some songs have probably been around for three and a half years. The opener, ‘No Dancing,’ is an example of an older one. ‘Lil Thing’ might have been the last song written for this project, but so many of these tracks are kind of a blur. They’ve evolved so much since I started out with them, either writing in my house or in between studio sessions.

I really kicked it into gear after Chance’s project came out and I realized that I’d be tweaking if I didn’t pursue my own music. I was given this amazing platform and I didn’t have material to follow that up. When we recorded ‘All Night,’ it was right before the project dropped and I had no idea it would end up on it. I’m happy I didn’t put out what I had because it wouldn’t have been ready. Realizing that was the turning point for me to really make a project I could be proud of.”

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Paradise Artwork:

knox fortune paradise Knox Fortune releases debut album Paradise: Stream/download

Paradise Tracklist:
01. No Dancing
02. Lil’ Thing
03. Help Myself
04. Stars
05. Torture
06. 24 Hours
07. I Don’t Wanna Talk About It
08. Strange Days (feat. KAMI)
09. Stun (feat. Joey Purp)
10. Keep You Close
11. Spill

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Matt Cameron (Pearl Jam, Soundgarden) releases debut solo album, Cavedweller: Stream/download

Photo by Danny Clinch

Matt Cameron is one of alternative rock’s most acclaimed drummers, performing with Soundgarden entering the Hall of Fame with Pearl Jam. Now, he’s stepping front-and-center for the first time with his debut solo album, Cavedweller.

Cameron took on multiple roles for the album, singing and playing guitar on songs he also produced and wrote himself. Supporting him on the record are two members of David Bowie’s backing band from his final final opus, ★ (Blackstar): drummer Mark Giuliana and bassist Tim Lefebvre.

Though the album was only announced earlier this month, Cameron said his past collaborators already have heard many of the recordings. “I played some of it for [Chris Cornell] last March,” Cameron revealed. “He really liked it. He was always very supportive of me writing music for the band and kind of going for it. That was great. And I played some of it for Eddie [Vedder] and he really liked it, too.”

Fans’ first taste came with the psychedelic hard rocker “Time Can’t Wait”, and now you can listen to the whole thing below via Spotify or Apple Music.

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Cavedweller Artwork:

matt cameron cavedweller artwork Matt Cameron (Pearl Jam, Soundgarden) releases debut solo album, Cavedweller: Stream/download

Cavedweller Tracklist:
01. Time Can’t Wait
02. All at Once
03. Blind
04. Through the Ceiling
05. One Special Lady
06. In the Trees
07. Into the Fire
08. Real and Imagined
09. Unnecessary

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Album Review: Wolf Alice – Visions of a Life

When Wolf Alice released “Yuk Foo”, the first promotional single from their second full-length, Visions of a Life, it wasn’t clear if this was a new Wolf Alice, but it was definitely a louder Wolf Alice. Beyond the flippant inversion of the title, “Yuk Foo” turned singer Ellie Rowsell loose, cooing her way through the verses and shouting her way through the chorus. Abrasive by design, the song’s most repeated lyric, “I don’t give a shit,” could well substitute as a thesis statement for a band in search of itself on its sophomore record.

This ethos can surely be freeing, but, for the many virtues involved in not giving a shit, there are as many pitfalls. Visions of a Life suffers from all the bildungsroman challenges of a band stuck between stations without any of the dangerous, productive energy of creative adolescence. Does a band that really doesn’t give a shit name their lead single, “Yuk Foo”, instead of its vulgar, right-side-out brother? For someone who doesn’t give a shit, they seem to spend a lot of time giving a shit. Like much of the rest of Visions of a Life, the project feels burdened, not free, and noise is not a replacement for substance.

All is not lost on songs like “Delete the Kisses”, where Rowsell meets a delightful arrangement near the top of the room, screaming, “You and me were meant to be.” It’s a line nearly as satisfying as, “Are you wild like me?” from their first big single, “Bros”. Repackaging the best parts of ’90s mainstream alternative with a 21st century gloss endeared the band to many on their satisfying debut, My Love Is Cool. The band’s best moments feel like anachronisms pulled from the soundtrack for the 1996 movie Fear — Mark Wahlberg and Reese Witherspoon crashing over the top of a roller coaster into infinity. The sweeping “Planet Hunter” does this romantic work well, moving from a sparse guitar arrangement to a crushing, shoegaze wall of sound. “Heavenward”, the album’s lead track, similarly pursues the ethereal guitars in a loud-quiet-loud formation.

But then there’s trying schlock like “Beautifully Unconventional”, which, you won’t believe this, tells the story of a beautifully unconventional girl, in this case, Winona Ryder’s character from Heathers. “Beautifully Unconventional” is to alternative rock what Zooey Deschanel is to DIY culture. The chorus is a nearly shot-for-shot recreation of Tenacious D’s “Tribute”, only here Rowsell wails: “She seems to be from the best place in the world/ Must be the best place in the world.” Jack Black would be calling his lawyers if there existed a world where RCA Records made money on this record. The best compliment about huge sections of Visions of a Life is that the drum mix is remarkable, and “Beautifully Unconventional” is no exception. There might not be a cleaner mix on a snare drum this year. The rest of the song, regretfully, appears in the mix, too.

For all its bombast, the best moments of Visions of a Life are the most vulnerable ones. “Sadboy” sounds little like what the band has done before, finding a finishing kick somewhere in the middle, and then slinking out over the span of four slow, buzzing minutes. It might find its closest approximation in “Your Love’s Whore” from My Love Is Cool, another of those moments where the band felt unapologetically unencumbered. “Sadboy” opens with a rumbling bass line, and Rowsell’s admonishment “You think too much.” This advice could easily apply to second records, too. Merely saying you “don’t give a shit” isn’t synonymous with any new creative freedom. Visions of a Life is often full, seeming to overflow. But the substance is lacking, resulting in a tiring trip through a band gamely trying not to merely cover itself. The worst reaction you might feel near the end of a front-to-back listen of the record is exhaustion. Perhaps the band feels the same way, stuck somewhere between being themselves and someone else, between not caring what anyone thinks and wanting to sell some albums. Like Visions of a Life, it’s both a lot and not enough.

Essential Tracks: “Don’t Delete the Kisses”, “Heavenward”

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Film Review: Battle of the Sexes

On September 19, Emma Stone walked into The Late Show with Stephen Colbert holding a book. Usually when stars waltz into talk shows, they’re not holding anything — not purses, not coffees, not umbrellas. They have people who do that stuff for them. So when Emma Stone carries a book, it’s not by accident. When that book is Hillary Clinton’s What Happened, it’s even less likely that she was just leafing through it on the way over. It’s possible that Stone wanted to get the thing signed — the former Secretary of State was a guest of Colbert’s for that show, as well — but that entrance was meant to be photographed, with the book’s title turned carefully out. She carried it to make a statement, and not one that’s hard to read. It wasn’t subtle, and she didn’t care. See also: Battle of the Sexes.

That’s not a dig — well, not a big one, anyway. Under the lively direction of co-directors Jonathan Dayton and Valerie Faris (Little Miss Sunshine), Battle of the Sexes is an effervescent biopic and a compassionate depiction of sexual awakening, as well as a mostly effective sports movie and a broad, if well-intentioned, statement film. If that sounds like a lot for one two-hour movie to tackle, that’s because it is, and the film suffers for it. But it’s also a very entertaining way to spend a few hours, and if all that popcorn comes with a side of good-for-you, so much the better.

It’s 1973, and Billie Jean King (Stone) has this totally bonkers idea that women deserve equal pay. When she and tennis luminary Gladys Heldman (Sarah Silverman) discover that the tennis world’s powers-that-be (represented by Jack Kramer, Bill Pullman’s perfectly coiffed misogynist) intend to pay them 10 times less than their male counterparts, the pair opt to form the Virginia Slims tour, taking the world’s most accomplished female tennis players on the road and leaving the male establishment behind. Then Bobby Riggs (Steve Carell) calls — would Billie Jean play against him for a boatload of cash, a “women’s libber” against a “chauvinist male pig”? She passes.

That’s not the end of the story, of course, because Battle isn’t really about the battle. In another example of the film’s tendency to do a few too many things at once, Battle of the Sexes is something of a dueling character study, pitting Stone’s driven King against Carell’s boisterous, secretly sad-sack Riggs. King fights for equality while confronting her own sexuality, thanks to the presence of the warm, flirtatious hairdresser Marilyn (Andrea Riseborough, wonderful). Riggs joyfully deals with his gambling addiction by not dealing with it, despite the fact that it’s destroying his marriage to the frustrated but nevertheless enraptured Priscilla Wheelan (Elisabeth Shue). King’s a pro, Riggs a hustler. King’s conflicted, Riggs is bored. King is lonely, and so is Riggs. They’re both sad, they both love tennis, and they both know how to put on a show.

That last point can also be made about the film’s stars, two of Hollywood’s most innately appealing personalities. While they spend little of the film’s runtime together, Carell and Stone make a hell of a pair, the latter’s palpable intelligence and focus playing nimbly off the former’s engaging buffoonery. Neither is so easily summed up, of course, and it’s one of the film’s regrettable missed opportunities that Carell in particular isn’t often challenged to dig deeper into Riggs, but these are two winning, engaging performances. Along with Risenborough, they bestow the film with a substance it would otherwise lack. Stone brings an inescapable through-line of confusion, panic, and joy to the proceedings, while Carell lends Riggs a level of pathos that lessens the potency of his deeply sexist circus act. (In the press screening, a woman sitting nearby let out a loud “Ha!” as Riggs slumped sadly onto a bench, but followed it up immediately with a quiet but sincere, “aww, oh no.”)

Of the two, it’s Stone’s performance that emerges as the more noteworthy, but then she also has a lot more to work with. Of all of the different films contained within this one, Battle is best described as a Billie Jean King biopic, and that’s the best-developed thread and, unsurprisingly, the most successful. Like the best of its kind, it focuses on one chapter in the life of its subject, a sexual awakening that runs parallel to her fights for equality and fancy trophies. Particularly successful is an early scene between King and Margaret in a hair salon; without so much as a glimpse of skin, it’s sexier than most of what you’ll see onscreen this year. In that scene, as in others, Stone frames King as a bundle of raw nerves, stumbling through an unexplored emotional landscape, wrestling with guilt and shame, love and euphoria in roughly equal measures. But for both King and the film, love has to take a backseat to tennis, especially when the fight for equality is at stake.

It’s in that fight where the film finally stumbles in a more noticeable way. Dayton, Faris, and screenwriter Simon Beaufoy (Slumdog Millionaire) are good with the personal, great with the humorous, and terrific at capturing the era (just wait for an airport sprint to coin-fed TV chairs), but they’re lacking when it comes to the sports movie. The climactic match lacks suspense, and it’s not because one visit to Wikipedia will tell you who won. It’s filmed like a televised match, with each serve and volley clearly captured. It’s easy to follow, but what matters here isn’t who scores when and how, but what it means, how it feels, and what it does to these people we’ve been following for two hours.

Like most of the film, it’s likely to leave you just a little unsatisfied, skipping lightly across the surface rather than plunging beneath. But if Battle of the Sexes is more than a little slight in places, it more than makes up for its shortcomings through sheer entertainment value. There’s a great supporting cast, notably Alan Cumming, Natalie Morales, and the aforementioned (and terrific) Silverman; there’s a lively pace, a sense of fun, and a solid hero’s journey; there are giggle-inducing costumes, one solid piece of Ricardo Montalban footage, and a pretty great credits anthem from Sara Bareilles. But with the exception of King’s well-developed relationships, it’s hard not to wish the film explored its territory more closely, especially in the realm of the political.

One terrific scene between Kramer and King is the exception that proves the rule. King lays out the nature of her objection to Kramer’s involvement in the exhibition match, and the difference between Riggs’ brand of misogyny and Kramer’s: Riggs is “a clown,” he’s not serious, it’s all about the show. Kramer, though, is the boss who never really hears you when you speak, the boyfriend who wants your life to exist on his terms, the guy who tells you to smile, the politician who thinks he knows what’s best for your body, the friend who decides he’s been “friend-zoned.” “When we dare to want a little bit more,” King says, “just a little bit of what you got, that’s what you can’t stand.” Kramer doesn’t deny it. 

The clown is dangerous, but he’s dangerous because of what he says to the guy across the table, the guy who cuts the checks, the guy who’s a perfect gentleman. He’s dangerous because of what he makes acceptable. “Business, sports, you name it,” Kramer says. “At the very top, it’s a man’s world.”

So Emma Stone carries Hillary Clinton’s book into a television studio, making explicit what the movie mostly hints at: for all the progress we’ve made, there’s still a lot of misogyny in the world. That there are still no shortage of men willing to exploit the bigotry of others to make themselves rich, famous, powerful, or all of the above. Faris and Dayton know this; so does Stone; so did Billie Jean King. It’s to the film’s credit, and to King’s, that both this film and the tennis match on which it centers are so entertaining. The stakes are high, but if you’re going to try to change things for the better, you may as well have some fun along the way.

Trailer:

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Young Thug & Carnage drop collaborative EP Young Martha: Stream/download

After sharing the exciting singles “Homie” and “Liger”, Young Thug and Carnage’s hotly anticipated collaborative EP entitled Young Martha has officially arrived. In typically unique Young Thug fashion, the inspiration for the project was none other than the deceptively hip queen of home improvement and Snoop Dogg’s homie, Martha Stewart.

“[I wanted] to take like everything we love about Thug, and put steroids in that. It’s just, you know, Martha Stewart, in her prime when she was making billions of dollars,” Carnage recently told Hot New Hip Hop. “She’s a boss. Before she had to take that L, but when she was takin’ them dubs… That was Young Martha. This whole thing is going to be so dope.” The pairing is a successful one, and Thug’s who-knows-what’s-coming-next flow seems to have inspired Carnage to dig deeper into his bag of producer’s tricks than ever before.

Stewart has yet to comment on her providing the project’s inspiration, but I’d suggest she take to trip to her pal Snoop’s house for some herbal inspiration before she gives the EP a spin. You can check that out below, along with the Young Martha cover art and tracklist.

This marks Thugger’s second big project this year, the first being June’s excellent Easy Breezy Beautiful Thugger Girls, which Thug called his “country album.” Carnage has stayed busy as well with the release of his Step Brothers EP, which was a joint effort with Bay Area MC and Lana Del Rey muse G-Eazy.

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Young Martha Artwork:

young martha1 Young Thug & Carnage drop collaborative EP Young Martha: Stream/download

Young Martha Tracklist:
01. Homie (feat. Meek Mill)
02. Liger
03. 10,000 Slimes
04. Don’t Call Me (feat. Shakka)

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Artist of the Month Phoebe Bridgers releases her debut album, Stranger in the Alps: Stream/Download

Artist of the Month Phoebe Bridgers has revealed debut full-length, Stranger in the Alps. Listen to the entire thing below via Spotify or Apple Music.

The highly anticipated release spans 10 tracks and comes from Dead Oceans. Led by singles “Motion Sickness”, “Smoke Signals”, and “Funeral” (the latter of which Bridgers explained the Origins of exclusive for Consequence of Sound), the album took influence from the singer-songwriters that inspired Bridgers to get into music in the first place. That includes icons like Neil Young as well as contemporaries like Ryan Adams (who released her debut 7-inch on his PAX AM label) and tourmates Conor Oberst and Julien Baker.

Explaining her influences in our AotM feature, Bridgers said,

“I liked singer-songwriters growing up. I never even wanted to start a band or anything, I just wanted to write songs. I remember romanticizing Neil Young and Jackson Browne a lot, especially Neil Young. I thought he was so cool and dark. I learned every Neil Young song on guitar, which is how I learned guitar to begin with. I was obsessed with him and wanted to know everything about him. My mom took me to see him perform live, when I was 12. Of course, I got to the front row… So, I was by myself, in the front row of that show, and I remember being so … I touched the ground because it was vibrating from the guitar, and I thought, “Oh my god, I’m in the same room as Neil Young right now.” How crazy is that? That had never really hit me before.”

In his review of Stranger in the AlpsCoS writer Andrew Bloom called the album “a gentle, wistful, even mournful record that makes for an outstanding coming-out party for Bridgers and a haunting experience for the listener, with melodies and sentiments that linger, softly and poignantly, long after the music ends.” Take a listen to the whole thing below.

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Stranger in the Alps Artwork:

stranger in the alps Artist of the Month Phoebe Bridgers releases her debut album, Stranger in the Alps: Stream/Download

Stranger in the Alps Tracklist:
01. Smoke Signals
02. Motion Sickness
03. Funeral
04. Demi Moore
05. Scott Street
06. Killer
07. Georgia
08. Chelsea
09. Would You Rather
10. You Missed My Heart

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Kevin Gates releases new mixtape, By Any Means 2: Stream/download

Baton Rouge rapper Kevin Gates has been in prison since October of last year, initially for kicking a woman in the face at a show in 2015. As he was about to be released, police found an outstanding warrant for a 2013 weapons charge, and he was reincarnated for another 30 months. Though his career was put on hold from 2008 to 2011 when he was in jail the last time, he’s not saying silent during this stint, as he’s today released his new mixtape, By Any Means 2.

The 14-track effort is a sequel to his 2014 mixtape, By Any Means, and was entirely curated by Gates’ wife, Dreka Gates. It appears the collection features old recordings that Dreka has pieced together for the fresh release, including singles “What If”, “Had To”, and “Beautiful Scars”.  “He’s fully entrusted me w/ everything so there’s a lot of pressure!” Mrs. Gates wrote on Twitter. “I respect real artists and their artistry and to be making ALL of the decisions is scary but rest assured the music is always fire as F!”

Take a listen to the entire thing below.

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By Any Means 2 Artwork:

kevin gates by any means 2 artwork Kevin Gates releases new mixtape, By Any Means 2: Stream/download

By Any Means 2 Tracklist:
01. No Love
02. McGyver
03. Had To
04. Fuckin Right
05. Beautiful Scars (Feat. PnB Rock)
06. Attention
07. GOMD
08. Do U Down
09. What If
10. Came Up
11. Imagine That
12. No Trust
13. Jus Wanna
14. Why I

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The Horrors release their fifth album, V: Stream/download

The Horrors are back with their appropriately entitled fifth full-length, V. Stream the entire thing below via Spotify and/or Apple Music.

The English goth rockers’ follow-up to 2014’s LuminousV was produced by the acclaimed Paul Epworth (Bloc Party, Adele, U2). Keyboardist Tom Cowan said working with Epworth helped the band explore their “most expansive and progressive music” to date. “It’s natural, if you do see yourself as an artist, to progress and not play it safe,” Cowan said. “Bowie pre-empted the modern condition of not being able to stay in one place for very long, and I get frustrated with bands who stay still. Because then it does become a career.”

V was previewed with the singles “Machine” and “Something to Remember Me By”. The Horrors have already played a select handful of US shows in support of the album, and will tour the UK later this fall. Those dates are here, and you can listen to all of V below.

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V Artwork:

34778128663 13fe2383ba k The Horrors release their fifth album, V: Stream/download

Tracklist:
01. Hologram
02. Press Enter To Exit
03. Machine
04. Ghost
05. Point of No Reply
06. Weighed Down
07. Gathering
08. World Below
09. It’s A Good Life
10. Something To Remember Me By

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