MusicFreaks

Tag: Rock music

  • New Order’s Morris, Gilbert Not Touring For ‘Foreseeable Future’

    In a move that brings a sense of quiet reflection to the storied career of New Order, founding members Stephen Morris and keyboardist Gillian Gilbert have announced a pause on their touring activities due to personal health reasons.

    This decision comes as the group prepares for a significant milestone: their induction into the Rock and Roll Hall of Fame on November 14. The news arrives draped in an air of bittersweet nostalgia, prompting fans and observers to reflect on the enduring legacy of a band whose influence stretches back to the revolutionary sound of Joy Division.

    The statement confirmed that Morris, 68, and Gilbert, 65, are unable to perform “due to personal health reasons.” The message was delivered by the founding members, accompanied by expressions of regret from Bernard Sumner, Phil Cunningham, and Tom Chapman, who noted that the circumstances made touring impossible.

    While the focus is understandably on their health and time, the backdrop for this news is rich with history and complex relationships. New Order’s journey in the last decade has seen a notable reduction in live activity, reflecting a slower pace of life for the group. In recent years, the band has played fewer than thirty shows annually, underscoring a deliberate shift away from relentless touring.

    The anticipation surrounding the upcoming Hall of Fame induction adds an intriguing layer to this pause. It might serve as a moment for reflection on the decades of creative output and the evolution of the group’s sound.

    Adding another layer of complexity is the potential dynamic between Morris, Gilbert, and former bassist Peter Hook. Hook, who was fired from the band in 2007, has maintained a noted history of friction with the members in the press. This context suggests that this period of reduced activity may be more than just a temporary health break; it could signal a time for reevaluation.

    When asked about the future, Morris offered a wonderfully pragmatic perspective. In an interview from 1985, he reflected on stardom and the pursuit of success, stating that while there is no desperate need for fame, all one truly desires is the means to continue moving forward. He noted that the focus should remain on simply carrying on with the next thing, rather than chasing illusions of stardom.

    Ultimately, this announcement serves as a reminder that even legendary acts navigate their paths through personal challenges. As New Order looks toward their legacy and the future, the silence surrounding their immediate touring schedule is punctuated by an enduring story of rock history, resilience, and the complicated bonds that define a career built on noise and emotion.

    Credit: Spin

  • Stephen Morris and Gillian Gilbert aren’t playing live with New Order “for the foreseeable future”

    When a band announces a pause, it often sends ripples through the music world. For New Order, the news has been that drummer Stephen Morris and guitarist Gillian Gilbert will be stepping away from live touring for the foreseeable future, citing personal health reasons.

    This announcement marks a significant moment for a band steeped in post-punk history, reminding us of the complex tapestry woven by its members. Morris was a crucial rhythmic force in Joy Division alongside Bernard Sumner, Peter Hook, and Ian Curtis, before the formation of New Order following Curtis’ passing in 1980. Gilbert joined the fold shortly after, becoming instrumental in steering the band’s evolution from post-punk into the wider landscape of electronic music.

    The current live configuration of New Order has been centered around Sumner, Morris, and Gilbert since the band’s return in 2011, a period that has seen them solidify their unique sound. This lineup shift brings a fresh perspective to their ongoing story, particularly as they look toward their future performances.

    The narrative of New Order is also intertwined with the history of Peter Hook, who departed the band in 2007. While a full and final settlement regarding ownership and assets was reached in 2017, the relationship between Hook and the core members has remained an interesting subplot. Hook himself has commented on the situation, suggesting that music, like life, sometimes demands separation, even when strong ties exist.

    In a lighthearted reflection on these complex dynamics, Hook joked that perhaps Oasis could act as peacekeepers for the estranged bandmates, imagining them uniting to play classics like “Transmission“ and “Blue Monday“.

    Despite the current hiatus in touring, New Order remains vibrant, continuing to celebrate its legacy. The band has recently announced a remastered collection, “The Best & The Rest Of New Order”, set for release on July 17, which features classic singles alongside rare remixes.

    This period of reflection comes as the band celebrates milestones in music history. The members—Ian Curtis, Gillian Gilbert, Peter Hook, Stephen Morris, and Bernard Sumner—are all slated for induction into the Rock and Roll Hall of Fame later this year, a recognition that acknowledges their profound and lasting influence on the genre.

    Gillian Gilbert’s role in the band’s trajectory is particularly celebrated. Artists like Kelly Lee Owens have widely championed her contribution, calling her a “synth queen” whose presence in the 80s and 90s was iconic and deeply cool.

    Beyond New Order, Morris and Gilbert have continued their creative partnership outside the band as The Other Two, releasing albums like “The Other Two & You” in 1993 and “Super Highways” in 1999.

    New Order’s ongoing commitment to their sound is evident in other recent releases; Joy Division, the band’s predecessor, also recently announced “Eternal”, a massive new live recordings box set that captures the band’s influential career. The story of New Order continues to unfold, rich with history, artistry, and enduring musical impact.

    Credit: NME

  • Low Cut Connie Provides a Soundtrack to the Struggle

    The world of music often deals in whispers, but sometimes, the truth demands a shout. In the arena of contemporary songwriting, Low Cut Connie’s Adam Weiner is not interested in whispers; he delivers declarations. His art is raw, unapologetic, and packed with an undeniable energy that cuts through the noise.

    At the heart of this explosive creative force lies a palpable intensity. Weiner approaches his craft with an eloquence that is both sharp and deeply felt, transforming personal turmoil into universal anthems. There is an undeniable anger in his delivery, yet it is channeled not as mere frustration, but as potent, dynamic fuel for his melodies.

    This emotional landscape is perfectly mirrored in his music. The sound itself is kinetic—a high-octane blend of grit and grace that refuses to settle into easy comfort. It is music that doesn’t just tell a story; it demands that you feel every furious, exhilarating beat alongside the performer.

    Central to this powerful aesthetic is his track Livin in the USA. This song is far more than a simple musical arrangement; it functions as an impassioned statement against the status quo. It captures a defiant spirit that stands firmly outside of polite convention, celebrating the tumultuous reality of existence with both resistance and deep-seated inspiration.

    Weiner’s work possesses a unique ability to bridge the gap between personal struggle and collective experience. By refusing to soften the edges of difficult topics, he invites listeners into an honest confrontation with life’s complexities. The result is music that doesn’t simply reflect emotion; it actively motivates change and sparks introspection.

    The enduring power of Livin in the USA lies in its ability to act as both a rallying cry for those who feel marginalized and a source of profound inspiration for anyone seeking the courage to live authentically. It is a testament to the fact that true eloquence often comes wrapped in an energetic, unforgettable sound.

    Credit: PopMatters

  • Ice Nine Kills on their “intense” ‘Dead By Daylight’ collab and why horror will never die

    The world of survival horror has always held a potent fascination, but recently, rock music has jumped headfirst into the shadows, forging an electrifying new path. Boston-based band Ice Nine Kills have done just that, teaming up with the immersive, tense world of online multiplayer gaming to create an anthem that doesn’t just play—it forces you to feel. Their new single, Play Dead, is a perfect example of how music and dread can collide in a spectacularly immersive experience.

    The collaboration stems from the universe of Dead By Daylight, a game renowned as one of the most played horror titles in history. This game plunges four players into the nightmare of being survivors attempting to escape a relentless killer, a digital crucible that has already drawn inspiration from iconic cinematic and gaming franchises like Stranger Things, Saw, Alien, and classics such as Resident Evil and Silent Hill.

    For Ice Nine Kills, entering this digital realm felt less like a detour and more like stepping into a shared creative DNA. Lead singer Spencer Charnas shared that collaborating with the game world felt like encountering a universe already rich with their artistic sensibilities. “It has built such a strong legacy, and we have a lot of respect for the game’s strange, sinister, and completely immersive atmosphere,” Charnas noted.

    The band aimed to ensure their track, ‘Play Dead’, wasn’t merely influenced by the horror world but felt organically woven into it. This required meticulous attention to detail, working closely with longtime Dead By Daylight composer Michel F. April and engaging directly with the game’s creative team and diehard fans to capture the authentic tension and atmosphere.

    This fusion isn’t new for the band; Ice Nine Kills have a history of exploring darker themes through their music, having released several horror-themed albums and contributed to soundtracks for films like Scream 7 (‘Twisting The Knife’) and Terrifier 3 (‘A Work Of Art’). This latest project simply continues that tradition of weaving intense emotional landscapes into their sound.

    When asked about the unique combination of horror, gaming, and guitar music, Charnas highlighted the power of immersive storytelling. “At their best, each of those things is not only intense but completely immersive,” he explained. “It can be equally thrilling to get swept away into the stylistic storytelling of a great game, a killer movie, or a captivating song.”

    The aesthetic appeal of this cross-media phenomenon lies in its ability to create a trifecta of creative and aesthetic experiences. Whether it’s the killer scores in the first Scream film or the haunting music driving hours of gaming, bringing these elements together creates powerful fandoms that seamlessly cross over into different worlds.

    This fascination with cinematic terror naturally extends to games. Charnas reflected on his love for classic games, noting how essential the old Tony Hawk’s Pro Skater games were not just for gameplay but for their curated soundtracks. These titles served as immersive pathways, introducing him to diverse bands like Dead Kennedys and My Chemical Romance.

    As the world navigates uncertainty, horror often finds a uniquely compelling place. While some genres focus on social commentary or true crime, horror as an art form offers something distinct: a potent form of escapism. It allows us to safely engage with deep-seated fears and profound questions in ways that are often wonderfully silly, smart, and intensely thrilling.

    The journey from making musical love letters to contributing to iconic horror franchises like Dead by Daylight demonstrates a powerful reconnection between art forms. Ice Nine Kills is proud to contribute to bringing energy back to the intersection of rock music and cinematic dread, proving that the genre never truly dies, and there is always room for exhilarating, challenging inspiration.

    The band is also gearing up for further sonic exploration, with recent singles like ‘The Art Of Dying’ and ‘The Great Unknown’ continuing to paint a picture of their expansive creative identity. Their presence in the evolving landscape of horror and gaming continues to push boundaries, confirming that intensity and immersion are the ultimate goals when crafting art.

    Credit: NME

  • Television icon Tom Verlaine’s huge personal record collection to go on sale

    A Lifetime in Vinyl: The Iconography of Tom Verlaine’s Record Collection Goes Public

    The world of music is celebrating a significant milestone this week as the extensive personal record collection of Television frontman Tom Verlaine is being released to the public. Following his passing in January 2023 at the age of 73, this archive offers fans a unique and intimate glimpse into the eclectic musical tastes of the trailblazing New York artist.

    Spanning an astonishing four thousand records, Verlaine’s collection is far more than just music; it is a physical map of a lifetime spent immersed in the art form. The first batch of these treasured items is now available for purchase through Discogs, with further titles slated for sale in person at Academy Records’ location in Brooklyn later this summer.

    What makes this collection particularly compelling is its sheer diversity. It pulls from the rich tapestry of musical history, encompassing jazz, avant-garde, garage rock, psychedelia, and experimental sounds. This breadth perfectly mirrors Verlaine’s own adventurous spirit as a musician and collector.

    Among the treasures within are personal copies of Television’s foundational work, including their debut single Little Johnny Jewel and their landmark 1977 album, Marquee Moon. Beyond his own band, the collection features records by a wide array of influential artists, such as The 13th Floor Elevators, Nico, Albert Ayler, The Sonics, Love, and Slint.

    This archive doesn’t just document Verlaine’s musical interests; it illuminates his constant engagement with the wider world of music. As one observer noted, the collection acts less like a mirror and more like an X-ray, revealing an active pursuit of discovery rather than simply chasing established masterpieces.

    The importance of this legacy is underscored by the tributes that followed his passing. Legendary artists across the spectrum paid homage to Verlaine’s impact, including Michael Stipe, Flea, Kim Gordon, and Steve Albini. Patti Smith also shared a heartfelt reflection on his unique presence, noting, “There was no one like Tom. The love in his eyes and his turtle laugh.”

    Television remains one of the defining voices of the 1970s New York punk scene, emerging from the gritty atmosphere of CBGB alongside contemporaries like Patti Smith, Ramones, Blondie, and Talking Heads. Their debut album, Marquee Moon, remains a touchstone for influential guitar music of that era.

    The release of this collection is a powerful testament to Tom Verlaine’s enduring influence—a reminder that the pursuit of music is an endless journey, filled with adventure and discovery. His 4,000 records offer not just artifacts, but a vibrant chronicle of a remarkable artistic life.

    Credit: NME

  • These are Mick Jagger’s favourite Rolling Stones songs and albums

    Mick Jagger Divides His Musical Legacy: A Look at Stones Classics and Future Collaborations

    Rock legend Mick Jagger, known for his undeniable taste, recently opened up about the vast musical catalogue of the Rolling Stones, offering a glimpse into which albums and tracks hold the deepest meaning for him. From blues-rooted foundations to psychedelic explorations, his choices reveal a journey through the shifting landscapes of rock history.

    When asked about his favourite Stone releases, Jagger pointed to foundational works that defined the band’s evolution. He affectionately singled out Sticky Fingers for its impact, while also giving high praise to Beggars Banquet, which marked a return to the band’s potent blues and roots-rock origins following earlier psychedelic experiments.

    The range of his appreciation extended beyond just albums. Jagger enjoyed tracks like Sympathy For The Devil, Start Me Up, Angie, and Honky Tonk Women, showcasing a mastery over the diverse styles that define the Stones’ catalogue.

    The band’s legacy is rich with sonic milestones. Sticky Fingers, released in 1971, stood as their first album on the Rolling Stones Records label, featuring iconic tracks like Brown Sugar and Wild Horses. Meanwhile, Beggars Banquet, released in 1968, cemented their roots with classics such as Sympathy For The Devil and Street Fighting Man.

    The Stones are now embarking on an exciting new chapter with their 25th studio album, Foreign Tongues. This record is a rich tapestry of collaboration, featuring contributions from musical heavyweights including Paul McCartney, The Cure, Robert Smith, Steve Winwood, and drummer Chad Smith of the Red Hot Chili Peppers. The album was produced by Andrew Watt, who also contributed to their recent work, Hackney Diamonds.

    Hackney Diamonds, released in 2023, marked the band’s first collection of original material in eighteen years, providing a fresh perspective on their established sound. This new record followed the passing of drummer Charlie Watts, though Watts made posthumous appearances on two tracks.

    Jagger’s enthusiasm for music extends beyond the band itself. He has also shared his opinions on contemporary artists, praising Geese for being very experimental and Rosalía for her conceptual work on Lux. Despite this appreciation for diverse modern sounds, Jagger remains grounded, suggesting that much of the current music landscape is simply rubbish.

    The journey of the Rolling Stones continues through new ventures, including their official podcast series, Speaking In Tongues, which accompanies Foreign Tongues and features deep dives with band members and producers like Andrew Watt. It’s a celebration of enduring rock history, paired with an open-minded view on the music that surrounds us.

    Credit: NME

  • Watch Kings Of Leon headline first ever State Fayre Festival: “It feels like coming home”

    When the UK’s largest music and barbecue event rolls into town, things get hot, hungry, and incredibly loud. The inaugural State Fayre festival delivered a sizzling start at Hylands Park in Chelmsford last weekend, setting a high bar for what a massive outdoor celebration can achieve.

    Leading the charge was the legendary Kings of Leon, who kicked off the festivities with a headline set that felt less like a performance and more like coming home. Amidst the record-breaking UK heatwave, as the smell of barbecue drifted across the site, frontman Caleb Followill captured the mood perfectly, telling the crowd, “it feels like being home.”

    The band delivered an absolutely packed performance, diving deep into their catalog with anthems like ‘Find Me’ and fan favourites including ‘The Bucket’, ‘Use Somebody’, and the explosive energy of ‘Sex On Fire’. The setlist was a masterclass in rock exhilaration, showcasing their enduring appeal.

    Kings of Leon‘s appearance was just one vibrant thread in a sprawling weekend lineup that mixed rock, Americana, and country influences with American-inspired food, decor, and classic fairground attractions. The festival featured powerhouse acts such as The Black Crowes, Stephen Wilson Jr, Kingfishr, Alanis Morissette, Skunk Anansie, The Lumineers, Elvis Costello & The Imposters with Charlie Sexton, and Counting Crows.

    The sheer diversity of talent across the weekend ensured there was something for every taste, providing a rich tapestry of music as attendees enjoyed the spectacle.

    Beyond the main stage highlights, Kings of Leon is gearing up for an extensive tour, continuing their UK and Ireland dates next week in cities like Belfast, Limerick, Glasgow, Manchester, and Leeds, with further stops including Madrid.

    The band’s recent work has been highly regarded; their 2024 album ‘Can We Please Have Fun’ was praised as one of their most promising and liberated records for over a decade. During interviews surrounding the release, the band spoke about rediscovering their excitement while making the music, noting that they allowed themselves to be musically vulnerable on the record.

    Credit: NME

  • Former Guns N’ Roses manager Doug Goldstein dies aged 65

    The world of rock music has recently lost a guiding voice, as Doug Goldstein, the longtime former manager of Guns N’ Roses, passed away at the age of 65.

    The news arrived on Thursday (June 25) when Brandon Weissler, host of the podcast Appetite For Distortion, shared the sad announcement. No details regarding the cause of death were provided, but the tribute quickly focused on Goldstein’s profound and personal impact on one of rock history’s most enduring bands.

    Weissler reflected on Goldstein’s role far beyond that of a mere manager. He described Goldstein as a supportive voice and a sensitive man who offered crucial support during an incredibly tumultuous period. In his words, he highlighted how Goldstein had played a vital role in the band’s history, noting that he saved Axl Rose’s life in many ways over the years.

    Goldstein carried a deep devotion not only to Guns N’ Roses but also to his friends, family, and the fanbase. He navigated life’s struggles with resilience, never giving up on the people and the music he cared about.

    His connection to the band was forged early on. Goldstein first entered the orbit of Guns N’ Roses around the release of their landmark 1987 debut album, ‘Appetite For Destruction’, initially working as a tour manager before becoming co-manager with Alan Niven.

    The partnership with Niven eventually dissolved, but Goldstein remained central to the band’s most explosive years. He was intimately involved throughout the chaotic ‘Use Your Illusion’ tour, an era marked by legendary moments, including the infamous 1991 riot in St. Louis following a performance.

    As the group continued through changes in lineup and creative direction, Goldstein remained involved. He worked alongside Rose during periods when the classic GNR line-up splintered, eventually seeing the band through the early years of the long-delayed ‘Chinese Democracy’ era.

    Despite shifting managerial roles over time—including his involvement with the 1999 live album ‘Live Era ’87–’93’—Goldstein’s loyalty remained evident. Following the band’s reunion in 2016, he publicly praised the current management team for achieving goals that he himself had been unable to realize.

    Doug Goldstein leaves behind a legacy rooted in supportive dedication and deep personal commitment to the music world. He is survived by his two sons, Jake and Eli, and by the indelible history he helped manage.

    Credit: NME

  • How The Hives Conquered Latin America in Spanish & Portuguese: ‘We Really Like It Here’

    The energy in Peru’s National Stadium was electric as lead singer Howlin’ Pelle Almqvist launched the performance with a command in Spanish, signaling that the show was about to begin. The roar of the crowd responded instantly, echoing the chorus of “Enough Is Enough.” This moment perfectly captured the deep connection The Hives forges with their Latin American audience, showcasing not just explosive rock and roll, but a genuine immersion into the region’s vibrant culture.

    Almqvist, who has spent more than two decades touring the continent, brings a unique linguistic flair to the stage. While he admits his Spanish isn’t perfect, he knows enough to command attention on stage. He recounts that his early exposure came from formative tours in Latin America and personal learning, demonstrating a commitment to bridging cultural gaps rather than simply performing songs.

    The integration of language is more than just performance; it’s a reflection of a long-standing bond. Almqvist shares that he experimented with speaking Spanish and even Portuguese during past tours, finding that the audience responded positively regardless of his proficiency. This willingness to connect personally with fans sets The Hives apart, turning a concert into a shared cultural experience.

    The journey across Mexico, Brazil, Argentina, Colombia, Chile, and Peru is chronicled in their documentary, The Hives Live in Latin America. This film offers an intimate look behind the scenes of their stadium performances, weaving together high-octane rock with the everyday moments of life in these diverse cities.

    Beyond language, The Hives infuse their shows with local cultural elements. In Mexico, for instance, during a performance at Estadio GNP Seguros as the opening act for My Chemical Romance, the band was introduced by the legendary masked wrestlers, luchadores El Hijo del Santo and Santo Jr. Almqvist noted that this interaction mirrored the physical show element they thrive on—a shared entertainment value rooted in local history.

    This cultural immersion extends to the flavors of the region. The band discovered new tastes while touring, finding a particular delight in Mexican tacos al pastor. For Almqvist, this culinary exploration added another layer to their experience, deepening their connection to the communities they visit.

    After more than twenty years of travel and performance, The Hives continue to reaffirm a timeless truth: no matter where they go, the audience remains unchanged by their presence. They miss their Mexican and South American fans deeply, expressing a sincere hope to return sooner rather than later. Their Latin American adventure is a testament to how music can serve as a powerful bridge across borders and cultures.

    Watch to experience the full journey of The Hives Live in Latin America.

    Credit: Billboard

  • Charli XCX on her “mini-break” in Paris with Madonna: “I found it very inspiring to hang out with her”

    The drama surrounding pop superstar Charli XCX and Madonna has cooled considerably, thanks to a spontaneous trip to Paris that reportedly defused weeks of speculation about tension between the two titans.

    The break came after the pair were spotted together in the French capital, signaling that their recent public sparring was likely just noise. The impromptu Parisian getaway served as a much-needed reset for the two artists, demonstrating an undeniable chemistry amidst the intense demands of their careers.

    This seemingly innocent excursion offered a chance to talk openly about their shared musical philosophies. It is worth remembering that Charli XCX had recently stirred conversation by releasing her single Rock Music, which posed a provocative statement about the state of dance music.

    Madonna’s comments suggested a parallel perspective on the music scene, implying that if the dancefloor feels stagnant, it might simply be playing the wrong kind of music—a subtle nod to the evolving landscape of pop art.

    During their time together, the conversation quickly turned to inspiration. Charli shared that hanging out with Madonna was incredibly inspiring, particularly regarding how music functions as art and the exploration of artistic expression. She admitted that her deeper appreciation for Madonna began when she started exploring the idea of music as something deeply artful.

    This creative synergy extended beyond music. The two stars were seen mingling at high-fashion events, including the Saint Laurent menswear show, where they shared moments of connection with other industry figures. Later that night, they danced together to Madonna’s iconic hits like ‘Thief of Hearts’ and ‘Hung Up’.

    Charli later clarified her stance on the title of her new work, explaining that the lyrical choice was less about dismissing dance music entirely and more about her personal experience with the era reflected in her album ‘Brat’. She acknowledged that this period of creative evolution coincided with navigating some personal challenges, admitting she was ‘struggling’ while pivoting into a new chapter across music, fashion, and film.

    As both artists continue to navigate their respective creative paths—with Madonna preparing for her Confessions II and Charli XCX releasing Music, Fashion, Film—their shared journey serves as a vibrant reminder that even in the most competitive world of pop stardom, true inspiration and genuine connection remain the most powerful forces.

    Credit: NME