Author: djfrosty
Gracie Abrams reclaims the No. 1 spot on the ARIA Albums Chart this week with The Secret of Us (via Interscope/Universal), marking its third non-consecutive week at the top, while Australian artist Dope Lemon earns another top 10 debut with his latest release Golden Wolf, which enters at No. 8.
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Golden Wolf marks Angus Stone’s fifth album under the Dope Lemon moniker. The project continues a strong run on the ARIA Albums Chart, following previous entries Honey Bones (No. 11 in 2016), Smooth Big Cat (No. 2 in 2019), Rose Pink Cadillac (No. 2 in 2022), and Kimosabe (No. 9 in 2023). Stone also reached No. 2 with his 2012 solo release Broken Lights and has enjoyed chart success as one half of Angus & Julia Stone, including two No. 1 albums — Down the Way (2010) and Angus & Julia Stone (2014).
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On the ARIA Singles Chart, Alex Warren’s “Ordinary” remains at No. 1 for a seventh consecutive week. It now holds the title for the longest-running No. 1 by a solo male artist since Morgan Wallen’s “Last Night,” which spent eight weeks at the top in 2023.
Meanwhile, rising New York artist Sombr makes a major leap with “Undressed,” which jumps from No. 11 to No. 2, earning him his first top 10 hit in Australia. His second entry, “Back To Friends,” also climbs this week, moving from No. 19 to No. 12. Ravyn Lenae’s “Love Me Not” enters the top five, rising from No. 12 to No. 5 to become her first top 10 hit.
Legendary U.K. rock band Pink Floyd debuts at No. 27 with Pink Floyd at Pompeii – MCMLXXII, which captures their historic 1971 concert and is now available on vinyl for the first time.
Aussie punk group Press Club also scores a chart entry this week, landing at No. 71 with To All The Ones That I Love, their fourth studio album and follow-up to 2022’s Endless Motion, which peaked at No. 62.
Other notable chart placements this week include Dope Lemon topping the ARIA Vinyl Albums Chart, and Vance Joy’s enduring “Riptide” holding steady at No. 1 on the Australian Artist Singles chart.
50 years since bassist and vocalist Lemmy Kilmister formed heavy metal icons Motörhead, a long-lost album from 1976 is set for release.
Originally recorded in August 1976, The Manticore Tapes is a snapshot of the first recording with the band’s classic ’70s and ’80s lineup, including Kilmister, drummer Phil “Philthy Animal” Taylor and guitarist “Fast” Eddie Clarke.
The 11-track release came to be when the group set up at Emerson, Lake & Palmer’s Manticore Studio to rehearse and record with Ron Faucus. Ultimately, the tapes of this session were lost, but have since been recovered, with restoration undertaken by Cameron Webb and mastering done by Andrew Alekel.
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The result is a record which captures Motörhead in their formative period, fresh from the early lineup which recorded the tracks that would later make up 1979’s On Parole album, yet hungry with the ambition that would turn them into one of the U.K.’s biggest heavy exports of the ’70s and ’80s.
Many of the tracks present on The Manticore Tapes are early versions of those found on the band’s 1977 self-titled debut and On Parole. This includes the likes of the eponymous “Motörhead,” “Vibrator” and “The Watcher.”
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Additionally, the new package features alternate takes and instrumental versions of “Iron Horse/Born to Lose” and their cover of John Mayall & the Bluesbreakers’ “Witch Doctor,” and an early version of Eddie Holland’s “Leaving Here,” of which a re-recorded version would be issued as the band’s debut single.
Word of the newly-announced collection also comes alongside the single release of “Motörhead,” allowing listeners to gain a deeper insight into the evolution of the track as it flirts with R&B and blues before making the leap into the hard rock classic it would become.
The Manticore Tapes is officially set for release On June 27, with a deluxe edition also featuring their Blitzkreig on Birmingham ’77 live record, and a previously-unreleased 7″ single titled Live at Barbarella’s Birmingham ’77.
Clarke would later depart Motörhead in 1982, and Taylor would follow in 1984 though he rejoined for five years from 1987. Both musicians would briefly appear onstage with Motörhead again in 2014, though Taylor would pass away in November 2015 at the age of 61, with Kilmister following the next month at 70, ultimately putting an end to the band. Clarke would later pass away in 2018 at the age of 67.
Fans wishing for a reunion from the Dead Kennedys and Jello Biafra will have to petition the former singer, founding guitarist East Bay Ray has claimed.
Ray (whose real name is Raymond Pepperell) has served as the guitarist for the San Francisco punk icons since their formation in 1978, stepping away from his role only during the band’s inactive period between 1986 and 2001.
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Though the Dead Kennedys reformed in the 21st century, they’ve not once been fronted by Biafra, whose relationship with Ray and drummer Klaus Flouride (aka Geoffrey Lyall) remains fraught to this day. As Ray explained in a recent interview with Guitar World, he’s open to the concept of a reunion with the classic lineup, though Biafra remains the sticking point in any potential plans.
“It’s not an issue for me or Klaus,” Ray explains. “It’s Biafra that turns down any offers for us to do something; we don’t have any problem. He got caught with his hands in the till and wants to blame us for getting caught, but he should never have put his hands in there in the first place.”
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Ray’s claims relate to a 1998 lawsuit in which Ray, Flouride and drummer D.H. Peligro (aka Darren Henley, who would pass away in 2022) accused Biafra and his Alternative Tentacles label of withholding royalties. In 2003, Biafra was ordered by California’s Court of Appeal to replay the outstanding royalties with additional punitive damages.
Ray, Flouride and Peligro reunited the Dead Kennedys in 2001, with various singers fronting the band until the appointment of Ron “Skip” Greer in 2008. Attempts to reunite the classic members of the Dead Kennedys have taken place over the years, including by Chicago’s Riot Fest in 2017.
“Dead Kennedys had a sincere invitation to play a reunion show at Riot Fest in Chicago this fall,” Ray wrote on social media at the time. “Jello Biafra turned it down. Klaus Flouride, DH Peligro and I were looking forward to doing it.”
The Dead Kennedys’ original eight-year run resulted in a string of singles and four studio albums, including their 1980 debut Fresh Fruit For Rotting Vegetables. The conclusion of the band’s lawsuit in 2003 gave members the right to reissue past Dead Kennedys albums, including a 2022 release of their debut which left Biafra displeased.
“We actually wrote as a band, where in effect, due to the chemistry between us, it was a case of two and two equaling five, you know?” Ray rold Guitar World. “None of us has had a solo career that was bigger than Dead Kennedys, which, to me, shows the power of a bunch of talented people getting together and creating something that was far greater than the sum of its parts.
“Jello didn’t bring in the songs. I know he’s created the myth that he wrote them all, but the question here is that if he did, why didn’t he ever do anything significant after leaving the band?” he added. “Iggy left the Stooges and had a career; ditto Lou Reed with the Velvet Underground or Morrissey with the Smiths. Where’s Biafra’s solo career with a bunch of great songs?”
Miley Cyrus just unlocked a vulnerable new layer of her upcoming visual album Something Beautiful, dropping fourth single “More to Lose” Friday (May 9) just a few weeks ahead of the LP. Singing over cinematic piano, guitars and strings, the pop star steps fully into the power of her voice on the new track. “I […]
Halsey and Amy Lee of Evanescence are feeding fans well this week, serving up new collaboration “Hand That Feeds” for new movie Ballerina on Friday (May 9). Haunting and cinematic, the track matches the intensity of the June-slated film as the two musicians harmonize with one another. “Too late ’cause you know you can’t turn […]
2025 could be Doechii’s year. The TDE rapper continued her winning streak on Friday (May 9) with her surprise guest appearance on The Weeknd and Playboi Carti’s “Timeless (Remix).”
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Days after rumors ran rampant on social media of Doechii hopping on the Pharrell-produced hit, the “Timeless (Remix)” landed on streaming services on Friday (May 9).
Doechii bats leadoff and wastes no time bleeding her swagger into “Timeless” with a braggadocios assist flexing on the competition.
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“Hop in the booth, I advance on the beat/ B—h, it’s a wrap like lettuce and cheese/ Why would I f–k a n—a that’s fanned over me/ I do what you n—-s do with my hands on my knees/ This s–t too easy,” she raps.
The Swamp Princess closes out her guest appearance with a nod to her record label and Kendrick Lamar’s pgLang.
“Top Dawg cashin’ out Doechii stock/ Pull up to the pgLang on the dot/ Now I got a timeshare wrist watch/ I been that girl since hopscotch, I’m too legit,” she boasts.
“Timeless” sits at No. 35 on the Billboard Hot 100 and could receive a boost in the coming weeks thanks to the timely remix.
Coming off a Grammy Award win and her Met Gala debut, Doechii’s been in the mix for the first half of the year and it’s all eyes on when her anticipated debut album will arrive.
As for The Weeknd and Playboi Carti, they’ll kick off the After Hours Til Dawn Tour in Glendale, Arizona’s State Farm Stadium on Friday.
The XO singer and Carti will be invading stadiums throughout North America with stops in Detroit, Chicago, Inglewood, Las Vegas, New Jersey, Philly, Miami, Toronto, Montreal, Atlanta and Orlando before wrapping up in San Antonio on Sept. 3.
Listen to the “Timeless (Remix)” below.
The Academy of Country Music Awards celebrated a major milestone with this year’s ceremony, commemorating 60 years of feting many of the top performers and artists in country music. Held Thursday night (May 8) and livestreamed on Amazon Prime Video, the ACM Awards featured performances that highlighted six decades of enduring hits, as well as […]
Save this storySaveSave this storySaveMiley Cyrus’ ninth studio album Something Beautiful arrives at the end of the month. Now, she’s shared another single from the record; “More to Lose” follows “Prelude,” “Something Beautiful” and “End of the World.” Cyrus wrote the song alongside Autumn Rowe and Michael Pollack, and directed the accompanying music video with Jacob Bixenman and Brendan Walter. Watch it below.The follow up to 2023’s Endless Summer Vacation, Something Beautiful is out May 30 via Columbia. A companion film also directed by Cyrus, Bixenman, and Walter will receive a theatrical release in June. Cyrus co-wrote “Prelude” with Model/Actriz’s Cole Haden, and Molly Rankin and Alec O’Hanley of Alvvays both have writing and production credits on “End of the World.” She has previously described Something Beautiful as like Pink Floyd’s The Wall, “but with a better wardrobe and more glamorous and filled with pop culture.”Revisit Jill Mapes’ column “The Miley Cyrus “Black Mirror” Episode Makes a Tired Argument About Pop.”
Put American actor Nicolas Cage and Australian musician Nick Cave in the same room, and it seems no one can tell the difference – at least that’s what the former has claimed in a recent interview.
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Cage (that’s the actor, not the musician) is currently promoting his recently-released film The Surfer, which was both filmed and set in Cave’s home country. Speaking to The Guardian, Cave responded to a reader’s question about a 2022 tall tale from Cave which recounts the pair apparently meeting based on their similar names.
“I don’t think there’s a day that goes by where I’m not mistaken for Nick Cave,” Cage explains. “People also say: ‘Hey, Nick, you were great in The Hunger,’ which is this great David Bowie movie.”
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Though Cage didn’t appear in Tony Scott’s 1983 film The Hunger (and neither did Cave), the actor turned his attention to an anecdote in which he claims to have met the musician.
“I do remember that Cave was very nice,” he continued. “We were at an animal sanctuary, I believe – I think Sealy Animal Hospital in Texas – and he was terrific. I said hello and wanted to shake his hand. I said: ‘Only one letter separates us – G. Nick Cave, Nick Cage.’”
Cage’s comments somewhat echo the 2022 story which Cave shared on his Red Hand Files website, responding to readers who respectively asked if Cave has ever met Cage, or added an “untrue component to a story to make it more interesting than it actually is.”
“People mix me up with Nicolas Cage all the time,” Cave recalled. “Like, I’ll be going through customs and the customs officer will look at my passport and say, ‘Happy to have you with us, Mr Cave. Loved you in Face/Off’. Or whatever. Sometimes it can be a bit of a pain in the neck, but you get used to it.”
Cave then continued with a lengthy tale about how he was apparently mistaken for Cage while purchasing a didgeridoo for his late son Arthur from the gift shop of the Healesville Sanctuary in his home state of Victoria. On their way home to Melbourne, Cave claims their meal at a local pub was interrupted by an apparent interaction with Cage.
“I follow the security guy into a small private room, adjacent to the main bar. Sitting there is Nicolas Cage,” Cave writes. “He is wearing a pork-pie hat and holding a didgeridoo. Nicolas Cage shouts, ‘Only one letter separates us!’ and leaps from his seat and eagerly pumps my hand. I’m pretty confused by all of this, but say, ‘It’s an honour to meet you, Mr Cage. Have you just been to Healesville Sanctuary?’ and he shouts, ‘Yes!’ and I say, ‘Well, me too.’”
Though it remains to be seen whether Cage’s own claims of mistaken identity are truthful (and for that matter, where the truth – if any – lies in Cave’s own story), Cage also used his interview with The Guardian to comment on the existence of Australian band Nicolas Cage Fighter.
“I think they’re terrific,” he explained. “Their songs are empowering. The lyrics are all about taking ownership of your mistakes, never being a victim, figuring out how you can fix your problems.”
After winning the Latin Grammy for best new artist in 2024, Colombian singer-songwriter Ela Taubert finally released Preguntas a las 11:11, her debut album, on Friday (May 9). The 16-track set, which took two years to bring to life, is a reflection of her deepest thoughts and her tendency to overthink.
All the song titles are framed as questions except for one, which is simply titled “Pregunta” (Question) and is the 11th track on the album.
“I’ve always overthought things since I was little, and that hasn’t changed now that I’m an adult,” explains the 24-year-old artist to Billboard Español. “When I started writing [these songs,] I realized all that came out were questions, which I think reflect my tendency to question everything. Obviously, when all the songs started to have this kind of title, we said, ‘Well, it’s going to be Preguntas, and a las 11:11 (at 11:11) because at home we always make a sacred wish at 11:11. So we unified these two universes.”
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Sonically, Taubert says that for this album — released under Universal Music Latina and featuring the singles “¿Cómo Pasó” (with and without Joe Jonas, and in a third live version with Morat), “¿Quién Diría?” and “¿Cómo Haces?”, among others — she drew inspiration from the pop superstars she grew up listening to.
“I used to watch the Hannah Montana movies. I literally wanted to be like that, a pop star. I’d wear sparkly gloves and everything,” she says enthusiastically. “Maybe I’m still holding on to that childhood dream of bringing the sound of the artists I listened to as a kid, like Miley [Cyrus], Taylor Swift, and Adele, to our language, Spanish — obviously while keeping my Latin roots super present, because I also grew up listening to Reik and Jesse & Joy. So I’d say it’s like a fusion.”
Designed to be listened to from start to finish, the LP weaves a narrative that feels both intimate and universal, addressing themes like love, heartbreak, and the complexities of human connection in songs like the focus tack “¿Trato Hecho?” as well as “¿Es En Serio?”, “¿Te Imaginas?”, “¿Qué Más Quieres?”, “¿Si Eras Tú?”, and more.
“This album is like a midnight diary for me. It’s about those moments when there’s no TV, no phone, nothing, and you can’t sleep, so you start thinking about 45,000 things at once,” Taubert summarizes. “I hope that the people who listen to me, who support me, find refuge in each of these songs and see themselves reflected in them. That’s been one of the most beautiful things about these last two years — growing the family, realizing I’m not the only one who feels the way I feel, and learning to grow together through this whole process.”
Below, Ela Taubert breaks down five essential tracks from Preguntas a las 11:11. Listen to the full album here.
“¿Quién Diría?”
Contextually, the album as a whole is a love story with all its ups and downs and emotions. But “¿Quién Diría?” (Who Would Say?) is precisely the track that starts it all. It’s the only love song on the album, so it opens up this universe and speaks about the first time I truly felt I was in love. I was always very rebellious about that kind of thing on a personal level — like, “I’m not going to fall in love, I’m not in love, I don’t like anything romantic.” And in the end, I fell in love, and that’s how the story begins. That’s why it’s so special, because it opens up this world. And also because fans were always asking me, “When are you going to release a love song?” So it’s like giving them a little taste of the fact that love has existed in my life — and it still does.
“¿Cómo Pasó?”
I think this was one of the most fun songs to make and also one of the quickest. It’s about my first heartbreak as a teenager, the first time I felt like my heart was broken. But it’s very beautiful, because when we started writing it — obviously I’m in a different place now. The idea behind this song was that I wanted people to feel exactly what I felt during that strong heartbreak. I wanted to share how I truly felt. That’s why at first it gives you the sense that it’s a love song — just like how I felt when I got my hopes up — and then suddenly, your world falls apart and you think, “Wow, this is a heartbreak song.” I wanted to allow people to navigate that emotion with me, the way I felt that intense disappointment.
And the twist with Joe Jonas — well, that was a dream come true for me. Joe was one of my childhood idols. I think he was for everyone, honestly, for people who watched Camp Rock and all those kinds of childhood series. It was a blessing, and I’m proof that dreams really do come true. Right when I got nominated for the Latin Grammy, I decided to look for a video of myself as a little girl singing, and I found one of me singing “This Is Me” from Camp Rock. So I wrote him thanking him for inspiring me, and then it was crazy, because a few days later, he replied — which blew my mind, because I never thought he’d reply. And the rest is history. This version is something I’ll carry in my heart forever, thinking about how it fulfilled my inner child’s dream.
“¿Cómo Haces?”
This is a very special song for me. It’s track No. 7 on the album because, for me, 7 is the number of my family. Everything has its reason. I wrote it for my mom, because my mom has been my anchor and my grounding force — she’s always there. It’s a very beautiful song, and I also realized it’s a song for all the people who’ve been there for me — the fans, everyone. So when we announced the album, the most beautiful way to do it was paying homage to her, to my whole family, my friends, and everyone who’s been there. That’s why, at the end of the song, during last year’s tour, after 40 attempts during the show in Bogotá where my mom was, where the fans were, everyone learned the song and we were able to record them and include them in the song [with a live snippet at the end].
“Preguntas”
Well, “Preguntas” (Questions) is the epicenter of the album. “Preguntas” represents where I’m at in my life right now on a very personal and emotional level. It’s the 2.0 version of a song I wrote for my first EP called “Crecer”. It talks about that difficult moment I experienced back then, about how hard I found it to grow up. I left my country alone at 18 or 19. It was really hard for me as an only child. So this song is very special to me, and honestly, “Preguntas” feels like the answer, almost three years later, to what I’m living now and how I see growth now. The fans will understand it deeply because they know what this symbolizes for me. That’s why it’s the 11th track, because it’s the most vulnerable part of me, and it’s the epicenter where questions are born.
“¿Trato Hecho?”
This is one of my favorites. To me, writing music is immortalizing memories, but this song specifically — the lyrics teleport me over and over again to that same place and bring me so much peace, for some reason, [even though] is a super sad song. Sonically, it’s one of the ones I feel most proud of as well, in the sense that I was able to pour all the emotions I felt in that moment into the song. That’s why it’s the focus track and why it’s the third track — it connects the whole story of the album very well. It’s been one of those promises, so to speak, that I’ve broken. It’s like a trato hecho (done deal) that we wouldn’t see each other again, but we saw each other again and tried again.