Despite legal woes and assault allegations, Woody Allen working on new film project in Spain 

In addition to renewed public scrutiny over his long-standing allegations of sexual assault, Woody Allen is tangled up in an intense legal battle with Amazon Studios regarding his terminated movie deal with the company. However, that hasn’t stopped the veteran filmmaker from moving forward with his other projects.

According to the New York Times, Allen will head to Spain to begin filming a new project. He will be working with Mediapro, the same production house who assisted on his films Vicky Cristina Barcelona and Midnight in Paris. Neither a title nor a premise for the film has been revealed, but location scouts have been spotted in the Basque city of San Sebastián.

(Read: Woody Allen believes he should be the “poster boy” for the #MeToo movement)

News of this project comes just two weeks after Allen filed a $68 million dollar lawsuit against Amazon following the company’s decision to pull the plug on his multi-film contract. All legalities aside, the first few projects of the contract have yielded mostly only more drama for Allen and Amazon, due to the myriad sexual abuse allegations against the filmmaker.

The first entry, Wonder Wheel, had trouble finding willing distributors and eventually flopped when it finally did see release. As for the second planned project, A Rainy Day in New York, fared even worse, drawing controversy for the inclusion of a sex scene between a 44-year-old man (played by Jude Law) and 15-year-old girl (played by Elle Fanning), before cast members Rebecca Hall, Griffin Newman, and Timothée Chalame all distanced themselves from the project and donated their salaries to organizations such as Time’s Up and RAINN (the Rape, Abuse, and Incest National Network). Amazon ultimately opted to shelve the film altogether.

John Krasinski to direct A Quiet Place sequel, Emily Blunt to star 

When A Quiet Place became an unstoppable blockbuster last Spring, a sequel was green lit almost over night. However, at the time, director John Krasinski expressed interest only in writing the screenplay. Now, he’s officially signed on as a director.

What’s more, EW confirms that star Emily Blunt (and Krasinski’s wife) will return to star. This means we’re getting a direct sequel as opposed to a prequel or a completely new ensemble of characters as Krasinski mulled over last year following its release.

“This is a world you can play in, this isn’t just a character to remake, it’s actually a world,” Krasinski had told EW, “which is a whole different, very unique experience. “It’s not like Alien or Jaws where the main villain is the thing you’re repeating; it’s an actual entire set of rules and the circumstance that the world has undergone that you can play in very different facets.”

(Read: A Quiet Place writers to adapt Stephen King’s “The Boogeyman”)

In the same interview, Blunt had admitted “the idea of seeing who these people were before this all happened would be interesting,” though argued that “I think people feel very invested in this family.” Said family also included Krasinski, though it’s unlikely his character will return, barring any flashbacks, which leaves fellow co-stars Millicent Simmonds and Noah Jupe to join Blunt.

We’ll know soon as our return to Krasinski’s treacherously silent world begins on May 15th, 2020.

The Fast and the Furious director Rob Cohen accused of sexual assault by daughter 

The Fast and the Furious director Rob Cohen has been accused of sexual assault by his own daughter.

On Thursday, Valkyrie Weather, the eldest of Cohen’s children, published a harrowing post on Facebook, accusing her father of raping her at a young age.

“When I was very young, Rob used my body for his own sexual gratification,” wrote Weather, a transgender 32-year-old woman born Kyle Cohen. “My mother [Diana Mitzner] witnessed one of the assaults when I was between two and two and a half years old, and has since confirmed what she saw.”

In the same post, Weather also claimed that Cohen took her to see sex workers across Thailand and the Czech Republic when she was “only 13 or 14 years old,” which she presumed was “an effort to turn me into the straight son that he wanted me to be.”

Weather has since elaborated on the accusations with The Hollywood Reporter, where she explained that these memories have haunted her all these years, but that “it was so painful that I couldn’t verbalize it for a long time.” She pointed to her own transition as a moment of catharsis.

“It’s an incredibly introspective time for most people who come out as trans as adults,” Weather contended. “It was through that reopening of the past as an adult that my mom and I had a conversation.” It was then, she said, that her mother confessed what she had witnessed.

Weather explained that Mizner “thought she was sacrificing her relationship with me by telling me what she saw and she was, in a way, right. I said, ‘You saw this and you did nothing?’ I called her every name and I broke off contact and I didn’t talk to her again for a long time. We have recently taken steps to bridge that.”

Weather noted that when she initially approached her father following her mother’s confession, “He basically said that my mother was psychotic and likened her to the Son of Sam killer in terms of the depth of her psychosis.”

Cohen, who has also directed films xXx and The Mummy: Tomb of the Dragon Emperor, has denied the allegations. Following Weathers Facebook post and subsequent interview, the veteran filmmaker sent The Hollywood Reporter an entire statement, all of which you can read below.

This is extremely painful. My beloved child has accused me of the most awful thing imaginable. Knowing that it is categorically untrue is painful enough. Having to write this and saying that my kid is not telling the truth is heart wrenching. I hope and pray that one day, my child will come into the realization that no matter what anyone says or tries to convince her was the case when she was a child, it is both untrue and unimaginable.

When Valkyrie’s (Kyle at the time) mom and I were getting divorced, she accused me during the custody court proceedings of many things, including a similar accusation to this one. After a very long trial, the court appointed psychiatrist awarded me full custody, in spite of these false accusations. Subsequently, my ex-wife appealed, and after another lengthy trial, I was awarded full custody once again. At this point Kyle was about 14 years old, and when asked about his preference on which parent to live with, he chose me.

Recently, my child chose to live her life authentically and transition to the woman she is today. When she wrote me about it, I told her that she has my continued love and support, as well as how beautiful and brave I think she is. I have kept these emails, as I have many things that have to do with my children. I will continue to support any son or daughter of mine and encourage them to be their authentic selves. I have never raped anyone. I know I have been married multiple times, but that is because I fall in love and I still believe in the institution of marriage and family. I am blessed to have wonderful children and as God is my witness, I have never harmed any of them. I may have not been a perfect husband. I am, as all of us are, a person and a parent who has made mistakes along the way, but never ever would I harm any of my children, or any child for that matter.

I am in great despair now. I am certain certain that my daughter Valkyrie is also hurting. I pray that she will come to know the truth, and that one day in the future, we can all be whole again.

23 Years Ago, Sepultura Unearthed the Tribal and Relentlessly Heavy Roots 

A number of rock and metal bands have remained true to their original sound and direction throughout their entire careers (AC/DC, Motörhead, Ramones), while others branched out over the course of several albums. Sepultura certainly belong in the latter category — especially with their groundbreaking 1996 offering, Roots.

Hailing from Brazil, Sepultura (which is a Portuguese word for “burial”) started off as a black metal/death metal band — especially on such early offerings as 1985’s Bestial Devastation and 1986’s Morbid Visions. But after solidifying what is now largely considered their classic lineup — Max Cavalera (vocals/guitar), Andreas Kisser (guitar), Paulo Jr. (bass), and Igor Cavalera (drums/percussion) — Sepultura soon began reaching outside their earlier one-dimensional direction.

By the time of 1991’s Arise, and especially, their major label debut, 1993’s Chaos AD, Sepultura had begun increasingly embracing their native culture — especially evidenced in some of their lyrics, and also, the percussive work of Igor. But it was not until Roots, that it all crystallized, into one of the most original — and heavy — metal releases of the entire decade.

And the arrival of the album couldn’t have come at a better time in the world of heavy metal. Thinking back to the mid ‘90s when the album emerged, metal’s popularity was probably at an all-time low — MTV and radio was seemingly obsessed with grunge, punk, and alt-rock, some of metal’s biggest names were going through rough periods with replacement singers (Priest, Maiden, Crüe, Anthrax), while some lost the plot for a while (namely Metallica and Megadeth).

In the book Survival of the Fittest: Heavy Metal in the 1990s, Max looked back on the album’s creation, and what set it apart from the rest of the pack. “What’s cool about Roots was we took a chance to do something different. We were coming from Chaos AD, that was really different from Arise, and the band just kept going further. Really not afraid to change and to do different stuff.”

“I found the concept of going back to our own roots of Brazil,” he continued. “The more time I spent outside Brazil, the more I grow fond of Brazil/roots stuff. Brazil is a land really rich in art, and I thought recording with the Indians would be the coolest way to show the real roots of Brazil, because they were there before the samba, before the blacks, there were the Indians — the original people of Brazil. So that’s where the idea of Roots came from and recording with the Xavantes. The whole experience gave birth to the album cover, to the pictures, to the idea of the songs — it became a whole thing evolving in the visit to the tribe. It became part of the enigma of that record.”

In addition to injecting elements of their native culture into their sound, it’s hard not to immediately be taken by the overall heaviness of the record from a sonic standpoint, courtesy of producer Ross Robinson and mixer Andy Wallace. And Max recalled that this was done on purpose — and inspired by a specific band. “We tuned really low for that record. We recorded where Korn recorded [Indigo Ranch in Malibu, California], and we kind of ‘borrowed’ the Korn tuning for the record and put it in our music. It’s very different from Korn. And it works really good.

“When I think of songs like ‘Roots Bloody Roots,’ ‘Attitude,’ ‘Cut-Throat,’ they’re heavy as shit, because they’re so low,” Max added. “But it’s a great groove — it’s a powerful, big groove behind those songs. It was a fun record. We had Mike Patton, Jon [Davis] from Korn on ‘Lookaway.’ We had Carlinhos Brown on ‘Ratamahatta,’ a Brazilian artist. A lot of percussion. We did percussion in the valley by the studio. It was a really great album to make, had a lot of fun making it. It’s one of my favorite records I’ve ever done.”

Released in late February 1996 in Europe, and a few weeks later in the United States, Roots quickly became Sepultura’s most successful album — peaking at #27 on the Billboard 200 and eventually obtaining gold certification (and impressively, becoming a Top 5 album in Australia, Austria, France, and Sweden, and Top 10 in the UK, Germany, and the Netherlands). But just as global mega-success seemed to be a slam-dunk for Sepultura, Max exited the band (allegedly over a disagreement concerning management) and formed Soulfly, while the remainder of the band carried on with singer Derrick Green.

Despite Roots being over two decades old by this point, it remains as ferocious as ever, and continues to inspire others, including Foo Fighters frontman Dave Grohl, who told Mojo magazine in 2017, “Roots came out, produced by Ross Robinson and mixed by Andy Wallace: sonically the most powerful album I had ever heard. Made everything else sound like a flea fart. That record became the gauge for every studio album Foo Fighters did for ten years. ‘That sounds pretty good, but see how it stands up to that Sepultura record…’ There’s no way we ever got anywhere close. But it gave you perspective — this is heavy. What you’re doing? It’s okay, but this is heavy.”

Sepultura’s Roots is available on vinyl and other formats via Reverb LP.

R Kelly charged with 10 counts of criminal sex abuse 

A grand jury in Chicago has indicted R Kelly on 10 counts of criminal sex abuse, according The Chicago Sun Times.

The charges relate to Kelly’s alleged sexual interactions with four women between 1996 and 2010. Nine of the 10 counts involve victims ranging in age from 13 to 16 years old. Each charge is a class 2 felony and carries a maximum sentence of three to seven years in prison.

Over a dozen of Kelly’s alleged victims reportedly testified before the grand jury. Additionally, prosecutors obtained a video allegedly showing the singer raping an underage woman.

A warrant has been issued for Kelly’s arrest and he is expected to appear in bond court on Saturday afternoon.

Kelly was previously charged with child pornography in 2002, but was later acquitted by a jury. In the years since then, the singer has been dogged by allegations of sexual abuse, engaging in sexual relationships with underage women, falsely imprisoning women for the purpose of sex, and knowingly transmitting sexual diseases. The airing of the Lifetime’s docu-series Surviving R Kelly, brought renewed interest in the allegations, and led to the launching of several criminal investigations.

In addition to the case in Chicago, Kelly is the subject of a criminal investigation in Georgia over claims of assault and imprisonment. Additionally, a second grand jury has been assembled in the Southern District of New York, based on federal investigations by the F.B.I. and the I.R.S., according to The New Yorker, and a third grand jury could soon be convened by the Department of Homeland Security over allegations of sex trafficking.

While his attorneys maintain that the singer is innocent of all allegations, Kelly himself has been hiding out in Chicago’s Trump Tower, and was recently admitted to the hospital with panic attacks. He’s also been dropped by his longtime record label, and his manager was arrested for making terroristic threats against Kelly’s accusers.

HBO’s Barry gets premiere date and Season Two trailer: Watch 

“Barry, there is an inherent darkness in you,” Gene (Henry Winkler) tells our titular anti-hero. No joke. As expected, the stakes for the second season of HBO’s Barry are quite high, and that’s something you can certainly glean in the season’s first full-length trailer.

As you’ll see below, Bill Hader’s assassin-turned-thespian is struggling with all sorts of new demons, mostly stemming from the fallout of the first season. The good news is that he and Sarah Goldberg appear to be “happy” and that Stephen Root is still kicking it.

Oh, who are we kidding? NoHo Hank (Anthony Carrigan) is the sweetheart sidekick we’re amped to see again, and rest assured, he’s going to be quite a central figure in this go-around. Be prepared to follow him on Team Badass when Barry returns March 31st.

Barry was one of Consequence of Sound’s top 25 series of 2018, slotting in at number five, in which we called it “a taut half-hour of television that manages to feel like a greatest hits of its very form.” Read our original review.

It’s also one of 50 TV shows you’d be crazy to miss in 2019.

Peter Frampton announces “Finale the Farewell Tour” 

Rock icon Peter Frampton has announced his retirement from the stage. After rousing crowds for more than 50 years, the music legend will take his final bow on a North American farewell tour.

The expansive “Finale the Farewell Tour” runs from June 18th all the way to October 12th and will see Frampton hit nearly every major city. Memphis, Pittsburgh, Montreal, Philadelphia, Boston, Detroit, and Chicago are listed on his schedule. The 68-year-old veteran guitarist is also marked down to appear in Minneapolis, Atlanta, Miami, New York, Phoenix, Las Vegas, Los Angeles, Portland, and Seattle.

(Read: The 30 Best Live Versions of Songs)

Select dates on the trek will see Frampton share the stage with Jason Bonham’s Led Zeppelin Evening, as well as his own son, Julian Frampton.

Consult Frampton’s full farewell itinerary below. Tickets go on sale beginning Friday, March 11th via LiveNation. Once they sell out, you can get tickets via StubHub.

Peter Frampton’s 2019 “Finale the Farewell Tour” Dates:
06/18 – Tulsa, OK @ Hard Rock Hotel
06/20 – Little Rock, AR @ Robinson Performance Hall
06/22 – Montgomery, AL @ Wind Creek Casino
06/23 – Chattanooga, TN @ Tivoli Theatre
06/26 – Memphis, TN @ Orpheum Theatre
06/27 – Nashville, TN @ Ascend Amphitheater *
06/29 – Salamanca, NY @ Seneca Allegany Resort *^
06/30 – Bethel, NY @ Bethel Woods Center for the Arts *
07/02 – Pittsburgh, PA @ Benedum Center for the Performing Arts
07/03 – Syracuse, NY @ St. Joseph’s Health Amphitheater *
07/05 – Montreal, QC @ Montreal Jazz Fest
07/07 – Gilford, NH @ Bank of New Hampshire Pavilion *
07/09 – Boston, MA @ Rockland Trust Bank Pavilion *
07/10 – Philadelphia, PA @ The Met Philadelphia *
07/12 – Cincinnati, OH @ Riverbend Music Center *
07/13 – Stayner, ON @ Roxodus Music Festival
07/23 – Traverse City, MI @ Interlochen Center for the Arts
07/25 – Detroit, MI @ DTE Energy Music Theatre*
07/26 – Morgantown, WV @ MountainFest Motorcycle Rally *
07/28 – Chicago, IL @ Huntington Bank Pavilion *
07/29 – Cedar Rapids, IA @ McGrath Amphitheatre
07/31 – Morrison, CO @ Red Rocks Amphitheatre
08/02 – Minneapolis, MN @ Grand Casino Hinckley Amphitheater *
08/04 – St. Louis, MO @ Hollywood Casino Amphitheatre *
08/05 – Kansas City, MO @ Starlight Theatre *
08/08 – Cleveland, OH @ Blossom Music Center *
08/11 – Atlanta, GA @ Ameris Bank Amphitheatre *
08/16-21 – Barcelona, ES @ Keeping the Blues Alive Cruise +
08/30 – Charlotte, NC @ PNC Music Pavilion *
09/01 – Albany, NY @ Saratoga Performing Arts Center *
09/02 – Uncasville, CT @ Mohegan Sun Arena *
09/04 – Jacksonville, FL @ Daily’s Place *
09/06 – Miami, FL @ Coral Sky Amphitheatre *
09/07 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre *
09/10 – Simpsonville, SC @ CCNB Amphitheatre *
09/11 – Washington, DC @ The Anthem *
09/13 – New York, NY @ Madison Square Garden *#
09/14 – Raleigh, NC @ Coastal Credit Union Music Park *
09/21 – Houston, TX @ Cynthia Woods Mitchell Pavilion *
09/22 – Dallas, TX @ The Pavilion *
09/24 – Albuquerque, NM @ Sandia Resort & Casino *+
09/26 – Phoenix, AZ @ Comerica Theatre *
09/28 – Las Vegas, NV @ Red Rocks Resort Spa & Casino +
09/29 – Temecula, CA @ Pechanga Casino *+
10/02 – San Diego, CA @ Cal Coast Credit Union Open Air Theatre *+
10/03 – Paso Robles, CA @ Vina Robles Amphitheatre *+
10/05 – Los Angeles, CA @ The Forum *+
10/06 – Tuoloumne, CA @ Black Oak Casino Resort *+
10/09 – Seattle, WA @ Paramount Theatre *+
10/10 – Portland, OR @ Ilani Resort & Casino *+
10/12 – San Francisco, CA @ Concord Pavilion *+

* = w/ Jason Bonham’s Led Zeppelin Evening
+ = w/ Julian Frampton

Peter Frampton Finale Farewell tour dates 2019 rock concerts

Frampton spent much of his early years with bands Humble Pie and The Herd before later settling into a solo career. His solo release Frampton Comes Alive!, which just celebrated its 43rd anniversary, is one of the top-selling live albums of all time.

Over the course of his decades-long career, Frampton has also worked alongside fellow legends like Ringo Starr, David Bowie, and members of Pearl Jam; additionally, he’s known for turning in multiple appearances on The Simpsons and Family Guy (as himself). Most recently, Frampton performed as part of the star-studded Chris Cornell tribute concert, “I Am the Highway: A Tribute to Chris Cornell”.

Revisit two of Frampton’s biggest hits below. Pick up Frampton’s releases on vinyl by heading to ReverbLP.

Jonas Akerlund, Rory Culkin, and Emory Cohen Dive Into the Mayhem That Is Lords of Chaos 

Lords of Chaos, a new movie based on the tumultuous and terrifying story of the Norwegian black metal band Mayhem, recently debuted in theaters.

The film centers around Øystein Aarseth, aka Euronymous, played by Rory Culkin, as he forms Mayhem and experiences the highs and horrific lows of the band, including the suicide of singer Per Yngve Ohlin, aka Dead (played by Jack Kilmer).

We also see the evolution of Varg Vikernes (played by Emory Cohen), who starts out as an awkward fan of Mayhem, but goes on to create his own music as Burzum. Eventually, he joins Mayhem, embraces Nazism, burns down a few churches, and takes part in the infamous and gory climactic scene between him and Euronymous.

The real-life story of Mayhem is the stuff of legend in the metal world, and director Jonas Åkerlund, known for his work in music videos, has brought it to life with a film that is, at times, quirky and disturbingly violent.

With Lords of Chaos expanding into more theaters this weekend, and available via Video On Demand, we recently sat down with Åkerlund and stars Culkin and Cohen to dive into the movie, and get their thoughts on black metal music, Åkerlund’s own time in the extreme metal band Bathory, Varg’s reaction to the film, and more:

On whether there was concern that Lords of Chaos, despite depicting real-life events, paints a disturbing picture of heavy metal to the rest of the world

Jonas Akerlund: Not really. Number one, it happened so long ago, and I think a lot of people know this is isolated to these few people at that very moment. I don’t think this represents metal or extreme metal, in general, in any way. And anybody who knows anything about metal probably wouldn’t be offended. If the rest of the world looked at this film, and thought this is what metal is like everywhere, I think that would be a big failure for me. Because obviously, it’s about these characters at that time.

Rory Culkin: I have a great deal of respect for black metal, doing the research and everything, but I think if I had to choose, my allegiance is more with Øystein and his family. If anything, I’m trying to tell the story of a person, and not of Euronymous, the demon.

On the approach to inject the characters with humor and quirkiness in between the bloody moments of the film

JA: I think that’s real. I think that’s the life they had, especially the first act. They were silly, they were awkward with girls. They were trying to figure out their sound. They couldn’t really play — and styling their hair, and finding their look. All that happened in the first act.

And I think they went into adulthood very early, so there’s still a lot of childish behavior that goes throughout the whole film. And rock ‘n’ is fun. There’s got to be a sense of humor. Spinal Tap is still the best rock ‘n’ roll movie ever made. I felt that to make this movie just dark, and not have any of these jokes, it wouldn’t work.

RC: From the outside, the choice would to play into the legend. But as soon as you start learning about [Euronymous], it’s like, oh, his favorite food was spaghetti. He’s a person. He wasn’t this character 24/7. And I think he was sort of playing a character. There’s that one interview with Euronymous, the audio interview where he’s speaking Norwegian, and I think he’s putting on a voice. I think he’s trying to deliberately sound spooky.

On playing Varg Virkenes, who starts out in the film as a nerdy fanboy but then turns into dark sinister character

Emory Cohen: Well, you need to have somewhere to go with Varg. You can’t start off and he’s already found himself. I mean he even changes his name throughout the movie. I really liked looking at Varg as a shy kid who wanted to play Legos with the other boys. The scene where Varg is just at the party, and he’s watching everyone. I remember thinking about what it was like going to a new school for the first day, and watching all the other kids play, and wanting to make friends, but not knowing the rules. He didn’t know the rules.

On the decision to not have Norwegian or Scandinavian accents for the characters

JA: I went through the whole thought process. I was writing this in Swedish and Norwegian years ago. And it was a little bit of a conflict because the first thing I thought of was to make this true and real and as close to the realities as I possibly could. But I also feel like this movie translates into a much wider audience than just a Scandinavian audience. So, for me, I just felt like I had to write it in English, and work with English-speaking actors. And for us to work in an accent was never really an option.

We tried to have a transatlantic type of non-accent in there, but I felt like if this was every going to be an issue, the movie had bigger problems. So, we didn’t really pay much attention to it, and I was actually ready for more questions about it. You bring it up now, but it hasn’t really come up that much. And I’ve also scene movies where they add an accent, and it never really works.

On the research they did on Mayhem, Varg, and the black metal scene, and if they contacted the surviving Mayhem members

RC: Sure, we spoke to Attila, who’s the current lead singer of Mayhem — and his son actually plays him in the film. And some of the girls who were hanging around the scene. It was pretty beneficial.

JA: And I was in contact with all of them early on, which I had to do, because I needed the music in the movie. I couldn’t have done the movie without the music. I wanted to treat, especially Euronymous’ parents and Per’s brother, with respect, so they read early versions of the script, and were involved. Same with [surviving Mayhem members] Necrobutcher and Hellhammer. Problem was that Euronymous gave a lot of credit, like every song had like 10 different people who had to approve the usage of the music. So that was a big challenge. But I’ve been in contact with pretty much everybody except Varg.

Varg has been the one that has been the most outspoken, and he told this story so many times. So, I never really felt like I needed him. And never asked for his music, because I know he was going to say no, so there was no point. And we felt in terms of developing the character, it was already there. He told it so many times, so we knew enough from him.

On Varg making anti-semitic comments about Emory playing him in the movie

EC: Who better to play him than a nice Jewish boy from the Upper West Side!

On Jonas being a member of Bathory in the early ‘80s and how he used that experience for the movie

JA: Obviously, the story [of Mayhem] is very different, but I feel like the first act of the movie was very much like we were when we started out. We were trying to find our sound. We were inspired by a lot of different things. We watched movies. We were only a few years ahead [of Mayhem], so we watched the same movies, we listened to the same music, pretty much looked the same. We were awkward around girls, and we did our small gigs. I also had my sister watching us in the basement telling us we sucked. All those things happened to me, too.

From that point, I left for filmmaking kind of early, and the fact that Euronymous was so driven, we didn’t have that at all. Starting your own label, opening a record store, touring, recording, signing other bands, burning down churches, and killing people, it’s a lot of work, and it required a lot of driven young men to get that done. We were slackers, we were just playing, hoping to make it one day. So it was very different.

On whether the ultra-violent death scenes were difficult to film for the actors and crew emotionally

RC: Yeah, I mean, that’s a given. We would be failing if it wasn’t [emotional]. I think we tried to feel those things as much as we could.

EC: It was also super technical. A lot of it was about the technicality. And when stuff becomes technical, it kind of makes you commit more, because I get scared I’m gonna screw it up. Because if you mess up … if you’re going to want to play a moment differently, that’s one thing, but messing up something technical makes you feel a little silly.

On the choice to have minimal music performance in the movie, other than the one major concert scene

During that time, they were not that productive. They didn’t write that much music. Obviously, they had more gigs. We made one of them, which is the legendary gig that everybody’s know about. We made that as one of the big performances. In the beginning, they play and learn their instruments and find their sound. I kind of like not having the music in there for a while, because the next time we come back to them, we hear that they’re so much better. They found their sound. They got a new singer [Dead] and they play really well. And I think Varg coming in the band, who was way more productive. I mean he recorded way more than Mayhem ever did.

And also, it was never meant to be a movie about music, really. It’s there and it should be there, and it’s part of it. But I think it would have been painful to have more in there. It’s just enough for a big screen to hear that music. Too much is painful.

On the biggest difference between directing feature films and music videos

JA: It’s longer! [Laughs] It’s a different type of commitment, especially this movie, because it’s been a passion project of mine for so many years. And when you do music videos, you’re basically a hired gun, and this is like my project, so it’s a little different.

On whether Rory and Emory have a newfound appreciation for extreme metal after making the movie

EC: Yeah, I mean we spent about a week trying to learn how to fake-play the songs, and that was hard enough. I was learning some stuff on the drums, and I wasn’t even learning the foot pedals, but just realizing how fast and how tight some of their stuff was. That was what gave me an appreciation for it, was understanding that I definitely couldn’t do it. I couldn’t play it. I certainly couldn’t write it.

RC: I’m still working on [Mayhem’s] “Freezing Moon”!

John Mayer drops contemplative new single “I Guess I Just Feel Like”: Stream 

John Mayer has dropped a new song, “I Guess I Just Feel Like”. The track follows “New Light”, a collaboration with famed hip-hop producer No I.D. that was released last May.

The mournful new single offers a glimpse into the singer-songwriter’s more contemplative side, perhaps adding weight to his proclamation that he is no longer a dick. With introspective lyrics that question the “world that’s gone mad,” he creates a gorgeous composition that solidifies him as a consistently masterful if underrated modern guitarist. The blues-inspired solos that run throughout the tune serve as a major highlight, first offering reserved riffs that eventually amp up to close out the number.

Listen to “I Guess I Just Feel Like” below. You can also catch Mayer performing the song when he appears on Ellen on March 1st.

“I Guess I Just Feel Like” Artwork:

john mayer i guess i just feel like it album artwork

“I Guess I Just Feel Like” comes ahead of a busy summer for the pop icon, who will return as the guitarist for Grateful Dead legacy act Dead & Company before embarking on a solo tour through the fall. The solo trek will see him deliver two complete sets back-to-back, with no opening act. See his upcoming itinerary below, and get your tickets here.

Grab vinyl from Mayer over at ReverbLP.

John Mayer 2019 Tour Dates:
05/31 – Mountain View, CA @ Shoreline Amphitheatre #
06/01 – Mountain View, CA @ Shoreline Amphitheatre #
06/03 – Los Angeles, CA @ Hollywood Bowl #
06/04 – Los Angeles, CA @ Hollywood Bowl #
06/07 – George, WA @ Gorge Amphitheatre #
06/08 – George, WA @ Gorge Amphitheatre #
06/12 – Noblesville, IN @ Ruff Home Mortgage Music Center #
06/14 – Chicago, IL @ Wrigley Field #
06/15 – Chicago, IL @ Wrigley Field #
06/18 – Saratoga Springs, NY @ Saratoga Performing Arts Center #
06/19 – Camden, NJ @ BB&T Pavilion #
06/22 – Foxborough, MA @ Gillette Stadium #
06/23 – New York, NY @ Citi Field #
06/26 – Bristow, VA @ Jiffy Lube Live #
06/28 – Charlotte, NC @ PNC Music Pavilion #
06/29 – Atlanta, GA @ Cellairis Amphitheatre at Lakewood #
07/02 – Dallas, TX @ Dos Equis Pavilion #
07/05 – Boulder, CO @ Folsom Field #
07/06 – Boulder, CO @ Folsom Field #
07/19 – Albany, NY @ Times Union Center
07/20 – Providence, RI @ Dunkin’ Donuts Center
07/22 – Philadelphia, PA @ Wells Fargo Center
07/23 – Washington, DC @ Capitol One Arena
07/25 – New York, NY @ Madison Square Garden
07/26 – New York, NY @ Madison Square Garden
07/28 – Pittsburgh, PA @ PPG Paints Arena
07/30 – Toronto, ON @ Scotiabank Arena
08/02 – Detroit, MI @ Little Caesars Arena
08/03 – Columbus, OH @ Schottenstein Center
08/05 – St. Paul, MN @ Xcel Energy Center
08/06 – Milwaukee, WI @ Fiserv Forum
08/08 – Nashville, TN @ Bridgestone Arena
08/09 – Charlotte, NC @ Spectrum Center
08/11 – Atlanta, GA @ State Farm Arena
08/12 – Indianpolis, IN @ Bankers Life Fieldhouse
08/14 – Chicago, IL @ United Center
08/31 – Snowmass Village, CO @ Snowmass Mountain
09/02 – Kansas City, MO @ Sprint Center
09/03 – St. Louis, MO @ Enterprise Center
09/05 – Dallas, TX @ American Airlines Center
09/07 – San Antonio, TX @ AT&T Center
09/08 – Houston, TX @ Toyota Center
09/10 – Phoenix, AZ @ Talking Stick Resort Arena
09/11 – San Diego, CA @ Viejas Arena
09/13 – Inglewood, CA @ The Forum
09/14 – Inglewood, CA @ The Forum

# = w/ Dead & Company

Duff McKagan shares first single, “Tenderness”, off upcoming solo album: Stream 

Guns N’ Roses bassist Duff McKagan has offered up a taste of his upcoming solo album with the first single, “Tenderness”.

The track, like the rest of the album, is produced by Shooter Jennings, whose band backs up McKagan on the song. “Tenderness” has a bit of a Lou Reed vibe, with some GN’R balladry sprinkled in throughout.

Regarding the song (listen below), McKagan said, “The real point of ‘Tenderness’ is not for me to be some damn politician or some other voice to add to what is already way too much noise. This is a song of unity and peace…and I want this record to be a meditation and to bring maybe some healing, if that is not too high-handed or lofty of a goal.”

He added, “I can use what marginal voice I have as an artist, to hopefully help arrest what seems like a fall. As a father, I must say and do something now…because I love my girls and my wife, and I love my country, and I feel I must be strong and use my voice now, do it while I am able, or perhaps never get a chance ever again.”

Along with the new song, McKagan has announced a couple of concerts — one May 30th at TLA in Philadelphia and another May 31st at City Winery in Washington, D.C. As of now, no title or release date has been revealed for McKagan’s solo album, although it is expected sometime in 2019.