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Los Angeles, CA – Today, The Faim have partnered with Billboard to premiere the official video for “Summer Is A Curse,” the third single from their forthcoming debut album. Watch it exclusively HERE.
The highly-anticipated new video follows frontman Josh Raven and his love interest on the run from the law, eventually escaping before it all goes up in flames. It also showcases the band delivering a stellar live performance with the Welsh countryside as a fitting backdrop.
The song was co-written with Ashton Irwin of 5 Seconds of Summer, and according to Josh, “ ‘Summer is a Curse’ is a reflection of our journey as a band. Being placed out of Australia and in LA for the first time as a band, we got thrown into this whole new world of exciting experiences and pressures. As frightening as it was, and no matter our feelings at home, it became this tunnel vision of realizing that we had this chance to make our dreams a reality. Our music video reflecting that exact same feeling of freedom was so important for us.”
Fans can stream and purchase “Summer Is A Curse” HERE.
Confirmed to Support Sum 41 and Waterparks on Tour This Summer
Although the Aussie four-piece only started touring a few months ago, they recently played their 50th show at the legendary Download Festival in the U.K. Following tours with Lower Than Atlantis, Sleeping With Sirens, PVMNTS, The Dangerous Summer, and PVRIS, The Faim will support Sum 41 and Waterparks in August for a run of dates across Germany, the Netherlands, and Switzerland. The four-piece will also return to the U.K. in August to play the esteemed Reading & Leeds festivals. Tickets to all shows are available HERE.
The Faim Tour Dates:
June 23rd – Perth, AUS @ Amplifier Bar %
June 24th – East Victoria Park, AUS @ Vision Studios %
August 21st – Wurzburg, Germany @ Posthalle # ^
August 22nd – Leipzig, Germany @ Parkbuhne # ^
August 24th – Reading, UK @ Reading Festival (Lock Up Stage)
August 25th – Leeds, UK @ Leeds Festival (Lock Up Stage)
August 27th – Amsterdam, NL @ Melkweg OZ ^
August 28th – Oberhausen, Germany @ Turbinenhalle # ^
August 29th – Zurich, Switzerland @ Dynamo Werk 21 ^
Scottsdale, Ariz. – The all-female band Vixen brought 80s glam-rock back to BLK Live in Scottsdale, AZ on June 16, 2018. The band, according to the Vixen website, is the only all-female 80s band to reach platinum status and have six #1 videos on MTV. Vixen, which disbanded in the early 90s, reunited in 2014 with three of the original members, and has been performing since.
Vixen performed a selection of hits from their first self-titled album Vixen, released in 1988; their Rev It Up album, released in 1990; and a few covers from other rock legends such as The Beatles, Deep Purple and Humble Pie. Vixen’s lead vocalist, Janet Gardner, gave a strong, high energy performance, opening the show with “Rev It Up” from the band’s 1990 album Rev It Up. During the second song, “How Much Love,” newcomer and lead guitarist, Britt Lightning, shredded an incredible guitar solo. Lightning joined Vixen in 2017, replacing Gina Stile.
Throughout the show, Gardner had amazing stage presence and worked the crowd. She shouted from the stage, “Scottsdale, let’s get a lil’ rowdy!” before she performed “One Night Alone.” Then, as she performed the song “Cryin’”, she came down from the stage and walked through the crowd, high-fiving and greeting fans.
When back on stage, she proposed a contest for a free Vixen t-shirt for the first person to jump into BLK Live’s swimming pool. There were a few people sitting on the edge with their feet in the water, but they weren’t fast enough. A single guy at the front of the stage jumped right in fully clothed, holding his beer above his head. Gardner was a bit disappointed her contest didn’t start a pool party frenzy, but she wasn’t going to let that hold her back. As she started into their fifth song “Cruisin’,” Gardner executed a perfect high-kick into the air.
Drummer Roxy Petrucci kept a beat going as they transitioned from one song to the next, keeping the crowd pumped. Her facial expressions complimented the lyrics for each song, as she twirled her drumsticks on the off-beat. She was at the back of the stage, but she did not fade into the background. During the song, “Love Is A Killer,” Petrucci stood up and performed a perfectly executed chime segment on the symbols for the melancholy rock ballad.
There was one song the crowd waited with anticipation to hear, and it was well worth the wait. After they performed a 90-minute set, the ladies left the stage before returning for their encore number, “Edge of a Broken Heart.” This song was written by Richard Marx and Fee Waybill, and was one of two songs to make it into the Top 40 for Vixen in 1988. To make this hit, and the other songs played, sound true to their original tracks, Vixen had Tyson Leslie, the only male on stage, performing on the keyboard.
When Vixen finished their last number, the crowd was wild with excitement. From the set performed by Vixen, to the opening act, the crowd got what they came for; a night filled with 80s rock and strong female vocals.
Dierdre
Arizona local band Dierdre, fronted by female rocker Dierdre Evans, opened the show with a stellar night of rock n’ roll; performing original songs off their album I’ve Come to Lifeand two cover songs – “Black Dog” by Led Zepplin, and “Down to the Bottom” by Dorothy.
Evans opened the set for Dierdre with the femme fatale track, “Black Widow.” The song featured Evans’ rock-opera vocals, punchy drums played by Dwain Miller, and fast metal riffs played by Michael Arms and Jimmy Caterine on guitars.
Their third song, “Between the Lines,” featured rhythmic guitar and a steady drum beat, which allowed Evans’ voice to carry the songs melody before it entered the gritty chorus. The lyrics entice the listener and ask them, “You know you want it; don’t you?”
Evans’ vocal range stands out and brings distinction to each song. The song “I’ve Come To Life” starts out with her vocals breathless and low, and she sensually raises her vocals until her voice literally ‘comes to life’ when performing the chorus and refrain.
Evans writes all of her own music, and even though she sings the song “Suffer” like a rock and roll angel, it is a badass reminder to whomever inspired this song; she is not taking you back, and will gladly watch you suffer.
Evans mentioned after the show that the band Dierdre has been together for approximately 3 years, and have really enjoyed opening for other bands in the rock genre. Prior to opening for Vixen, Evans said that in just the last six months, Dierdre opened for big-name bands such as Warrant, Quiet Riot, and Candlebox.
Vixen is currently touring, and soon heading overseas to Europe this summer, according to their website. If you need your new Vixen fix, Gardner mentioned the band has a live album being released on July 6th via Rat Pack Records.
Los Angeles, CA —Today, FRND (a.k.a. Los Angeles-based musician Andrew Goldstein) is excited to share his new single, “Erase.” The upbeat, melodic track is his first new offering in nearly a year and is the first song from his upcoming EP, Before U I Didn’t Exist, out September 28th (via Crooked Paintings/BMG). Fans can stream and purchase “Erase” HERE.
According to Goldstein, “ ‘Erase’ is about someone coming into your life and wiping out lingering sadness from the past. When you realize the effect they have on you, you can’t help but fall for them.”
To fully experience the intriguingly glitchy pop of FRND, you need to understand his obsession with koala bears. As surrogates in his videos re-living his experiences, they are depicted sweetly, soulfully, even hallucinogenically. “The koala is almost like an alter ego who represents a version of myself,” explains Goldstein. “They might be chill on the outside, but there’s a lot of emotion. It embodies this journey I’m going through.”
FRND | Photography: Sara Kiesling
Animated avatars notwithstanding, the musings on romantic woe woven through FRND’s intimate 2017 EP, In Your Dreams, proved all-too-human. Its first single, the levitating “Friend” (“My friend….We’ve come to an end”), first captured ears after appearing on Spotify’s New Music Friday playlist, subsequently hitting No. 1 on Hype Machine. Meanwhile, the ebbing-and-flowing sting of “Substitute” clocked a staggering 16-plus million streams. (Not surprisingly, Goldstein’s knack for capturing the human spirit by way of sticky hooks previously led him to pen songs for Demi Lovato, Britney Spears, and blackbear.)
“The mastermind behind some of today’s most exciting tracks” – NYLON
This has culminated in FRND’s much-anticipated follow up EP, Before U I Didn’t Exist. A collection of melodic, nuanced tracks, they sort through the disenchantment that permeated In Your Dreams. “You erase/ Erase all the hurt that I felt before,” he sings hopefully on Before U’s first single “Erase,” all percolating beats and sweet nothings. “You replace/ Replace it with something I can’t ignore.”
“I called my last project In Your Dreams, because I dreamt about some of these songs over and over again,” he says. “It was an awakening that I didn’t feel until I had those experiences.” Before U I Didn’t Exist attempts to exorcise those ghosts. The intoxicating title track (“Stay with me/ Hold on tight/ Fill my heart with pretty lies…”), for instance, is a relatable portrait of escapism. What it doesn’t deliver in closure, it does provide in a contact high through singsongy vocals and bright synthscapes.
“Always infectious” – Entertainment Weekly
FRND’s pop may not always be pretty, but his journey is an exhilaratingly authentic one—lust, laments, and all. “FRND is really this place you don’t think you’re capable of going until you actually get there,” he says. “You realize how much of life is driven by emotion versus thinking logistically.” In the end, there’s still hope for a happy ending. “Once you navigate through these emotions, you get to the next level. That’s what happened for me,” he adds.
PHOENIX —SHE is a dark horror comedy film that was produced in the Valley by Gravel Road Production and lead actress Hannah McKay; it will premiere on July 5, 2018 at a private screening at Filmbar. The 90-minute film has already stirred some controversy, having been described as a jarring film about female empowerment. The plotline involves an Airbnb owner, who uses her sexuality to manipulate her male guest into doing her evil bidding.
(Viewer discretion is advised – some scenes may not be suitable for all audiences.)
Q & A with Film Writer/Director Will Goldstein
SHE’s Writer and Director, Will Goldstein, spoke with Burning Hot Events about the film and it’s impact:
What is your background in filmmaking?
I’ve been making films since I was a teenager. I studied film production as an undergrad at U of A, then got a Masters at USC. Since then I’ve directed or produced a handful of indies that you can find on Amazon.
Your IMDB profile shows credits dating back to 2010 – How long have you been doing it?
The first short films I made that actually got shown publicly were screened as early as 2010, so that IMDB timeline makes sense.
What inspired the plotline for this film?
My original goal was to write a horror movie that took place in one location, and had a dynamic female lead. When I set out to write, the sexual assault scandals had been all over the news and I think that subconsciously influenced the tone and narrative arc of the film, and it became less of a horror movie and more of an outrageously over-the-top dark, dark comedy.
In your opinion, what are some films that would be favorites of someone who would enjoy SHE?
Ah, cool question. The film that inspired me the most is a bizarre Greek movie called Dogtooth, though fans of that film are few and far between. It’s a lot to stomach. A more mainstream comp might be Kill Bill, if it was directed by the Coen bros. And that’s on SHE’s ‘best’ day.
What do you think makes this film different from others in the same genre?
I’ve been personally struggling with the film’s genre. I think that’s what makes it so unique, though. It’s an amalgam of a few genres.
How long did it take to write the script?
About 3 weeks.
What style of cinematography was utilized for this film?
It’s a very raw, verite style. A good comparison visually might be the films of Kathryn Bigelow.
Some would describe the Phoenix filmmaking scene as a desert. Why do you think that filmmaking has been underrepresented in our arts & culture scenes?
There’s a ridiculous amount of filmmaking talent in Phoenix. The issue is, in my opinion, that these artists don’t have a significant mouthpiece in the local media. For instance, azcentral only employs film reviewers that review theatrical fare. There’s no appointed person in a position to cover local productions.
How has the film provided opportunities for local talent, and in what ways do you think the film will help the production communities in Phoenix in the future?
This film was made entirely by local talent, excluding the sound editor. The producers, actresses, actors, and crew are all Phoenicians. I’m hoping that, with this film, which will definitely play as controversial to a variety of audiences, we’re able to galvanize the media to take a more active look at local film productions.
Why did you choose Filmbar for the premiere?
Filmbar is the best. It’s the indie film hub of the community. They have a ravenous spirit for the weird and avant garde. And our film is definitely that.
What importance do you think a venue like Filmbar plays in our society?
Indie theaters like Filmbar are so few and far between outside of major cities like LA and NY, and that’s unfortunate because they’re so necessary as a distributing outlet for artists that are taking chances and making challenging films that aren’t afraid of alienation at the cost of vanity.
Will the audience have the opportunity to meet you and/or the cast at the premiere?
Of course!
Jordan White (Vocalist) – Jane N’ The Jungle Photography: Brian Dellis
Local band Jane N’ The Jungle provided the title track for the film. Will they be doing anything for the premiere?
They’ll be in attendance.
In the past, you worked with the band when you created their music videos for “Wild Side” and “Killed Someone”. What made you feel that JNTJ would be a good fit for the film’s soundtrack?
JNTJ are genius at disguising contentious subject matter as fist pumping, radio friendly anthems. I think that’s really brilliant in a subversive way, and that’s primarily why I think they’re a great fit. Subversion.
In the current climate of the entertainment industry with the #metoo movement, and recent killings that have been tied to self-proclaimed “incels” (involuntary celibates), some individuals and groups believe that women use their sexuality as a weapon. In the renaissance era, paintings were made of women having relations with demons and animals because female sexuality was so heavily feared. Can you explain how you think the film is progressive in terms of female empowerment? And how do you think viewing the film would impact someone who shares those viewpoints on female sexuality?
I think everyone is going to have differing opinions on this front, and part of the construction of this film is to incite a reaction, whether positive or negative. Without giving anything away, I will say that the film subverts the traditional sociological role of ‘agency,’ as it’s respective to gender.
To your second question, I honestly can’t say. I can’t purport to know how anyone will react specifically, but we’ll find out soon enough.
The lead character is shown to be calling the male guest (Troy) a “pussy” on multiple occasions. Does the film shed light on the topic of toxic masculinity?
I think it does. I was aiming for a meaner, satirical display of toxic masculinity.
Still frame taken from the film SHE
Can you tell us more about what other/related controversy has been triggered by the film?
I can tell you that it involves subject matter that will have some people heading for the doors.
Do you feel that controversy can bring about anything positive?
Absolutely. In the jaded world we live in, I think controversy has to be stoked to even start a debate.
Would SHE pass the Bechdel test?
Actually, it would. Barely. But it would.
It’s admirable that Hannah McKay both served as a producer, and lead actress of the film. How did McKay initially become involved in SHE, and what lead to her to wearing both hats in the production?
I would say it’s more than admirable. The role of producer is demanding enough itself. If you add to that a leading role, with a character that has pages of dialogue that not only has to be memorized, but delivered so precisely take after take for hours a day, I don’t think ‘admirable’ is the most apt term. Maybe ‘superhuman.’ I dare any actress or actor to try to pour themselves out emotionally for 6 hours straight while simultaneously worrying about the status of film permits, actor’s schedules, and whether or not lunch will be prepared in time.
I met Hannah on the set of JNTJ’s “Killed Someone” video shoot. She played the lead in that video. She’d had no prior acting experience. I thought she had a natural, honest demeanor on camera, and that’s such an unbelievably difficult trait to come across, so I asked her if she’d be potentially interested in acting in a film. Luckily, she was.
Did McKay have a lot of input on how her character, Jane, was portrayed?
When you’re working with actors, you’re collaborating. The script version of the character takes on a new form in a new body, and together you try to make this new entity as honest as it can be. So of course that requires an open mind, suggestions, and encouragement.
How did the actresses and actors influence the final product?
Funny you ask that. I think the actresses and actors are the reason this film evolved from a horror into a dark comedy. And it’s so much better because of that.
Are there any opportunities left for local artists to be involved with SHE?
Definitely. I would love to work with a variety of local musicians on the soundtrack. JNTJ did a cover song that works perfectly in the film, and I’d love to get other local acts on the team if there are any willing to collaborate.
What is the biggest piece of advice you would give to someone that dreams to be a writer and/or director?
Learn all the “rules,” and then do whatever you can to break them.
What is your favorite inspirational quote?
“I’ll rebel against powers and principalities, all the time. Always, I will.”
– Paul Thomas Anderson
Is there anything else you’d like to tell us about SHE?
Don’t watch it.
Phoenix band Jane N’ The Jungle does incendiary title track for brash indie film SHE
Jordan White (Vocalist) – Jane N’ The Jungle Photography: Brian Dellis
Popular local PHX band Jane N’ The Jungle is expanding their repertoire to film soundtracks, covering Aloe Blacc’s “The Man” as the title track for the contentious local indie flick, SHE, that has been stirring debate here in the Valley. The song was selected by the film’s director and frequent JNTJ collaborator, Will Goldstein.
“The original song is sung by a man, with male-dominated lyrics. When we perform it, the song takes on an opposing point of view,” says Jordan White, the band’s front-woman.
At a time when sexism has been a featured topic during the #metoo movement, the irony of a woman performing such a male-centric song is intended to spark discussion about a male-dominated culture that undermines female power. The raw, stripped down performance by Jane N’ The Jungle, has a haunting grit that embodies the controversial film.
LOS ANGELES – Transcendent, two-time GRAMMY® Award-winning rock band Evanescence have released the official music video for their latest single “Hi-Lo”, featuring a virtuosic violin solo by acclaimed Billboard Award-winning electronic violinist Lindsey Stirling. Watch the music video HERE.
Off the latest Evanescence album Synthesis, “Hi-Lo” marks the first time front woman Amy Lee and Stirling have collaborated on a track together, and features the full band backed by an orchestra and Lee’s signature powerhouse vocals. Directed by P.R. Brown, the video includes live performance footage from Evanescence’s critically acclaimed Synthesis tour along with orchestra footage. Stirling makes a cameo to deliver her signature blend of dance moves while performing a powerful electronic violin solo. The song was written by Amy Lee and Will Hunt and arranged by David Campbell.
Tickets for Evanescence and Lindsey Stirling North American Co-Headline Amphitheater Tour on Sale Now!
Evanescence and Lindsey Stirling will embark on a co-headlining 2018 summer amphitheater tour across North America. The tour, produced by Live Nation, will kick off July 6 in Kansas City, MO at the Starlight Theatre and will make stops in 31 North American cities. Tickets are available now at LiveNation.com. Both artist’s shows will be accompanied by a full orchestra, highlighting both acts musicality and their incredible performance abilities that continue to blow fans away. The orchestrated performances will also perfectly accent the astounding amphitheater venues across the U.S. and Canada that the two will be performing in, making for a magical summer evening.
Rock Guitar virtuoso Adrian Galysh has revealed the first single, “So Close… So Far,” off of his upcoming Venusian Sunrise: 20th Anniversary Edition. Due out July 10, 2018, Venusian Sunrise: 20th Anniversary Edition will include completely re-recorded tracks, the remastered original record, and bonus live tracks.
“Venusian Sunrise was recorded in my parent’s basement on a single Alesis 8-Track ADAT recorder. While the performances are commendable for their time, given limited resources at the age of 22—it lacks what 20 years of experience and advancement in recording technology can now easily provide—richer guitar tones, advanced recording techniques, the palatial keyboard and realistic orchestral sounds of today, and maybe most importantly…real drums!” – Adrian Galysh
Track List:
1. Venusian Sunrise (2018)
2. What On Earth (2018)
3. The Blue Jungle (2018)
4. Lullaby of South Aiken St. (2018)
5. Drifting Memories (2018)
6. So Close… So Far (2018)
7. Lydian Dreams (2018)
8. Miss Fabina The Ballerina (2018)
9. In The End (2018)
10. Venusian Sunrise (1998)
11. What On Earth (1998)
12. The Blue Jungle (1998)
13. Lullaby of South Aiken St. (1998)
14. Drifting Memories (1998)
15. So Close… So Far (1998)
16. Lydian Dreams (1998)
17. Miss Fabina The Ballerina (1998)
18. In The End (1998)
Bonus Tracks:
19. The Blue Jungle (Live in LA 2011
20. Lydian Dreams (Live in LA 2011)
Los Angeles-based guitarist Adrian Galysh is an in-demand solo artist, session guitarist, published author, and educator with an illustrious career spanning five studio albums.
Praised by artists like Carl Verheyen and outlets like Guitar Player and Fireworks magazines, Galysh has a successful trajectory that includes numerous collaborations and performances with industry giants like Uli Jon Roth, Yngwie Malmsteen, Robben Ford, Mike Keneally, George Lynch, Warren DeMartini, and many more.
Galysh is also a Guitar World Magazine online lesson columnist and Education Coordinator for Guitar Center Lessons. He’s the author of the book Progressive Guitar Warm-Ups and Exercises. He uses Brian Moore Guitars, D’Angelico Guitars, Suhr Guitars, SIT Strings, Seymour Duncanpickups and effects, Straptight Straplocks, Voodoo Lab and Morley pedals.
PHOENIX — The Melvins concluded the spring portion of their ambitious two-part 2018 tour schedule to promote the April 20th release of their album, Pinkus Abortion Technician, at The Crescent Ballroom on Thursday, May 31. Los Angeles-based rock band All Souls warmed up concertgoers with songs from their newly released self-titled album.
Rockers of all ages flooded the intimate venue to experience the heavy, experimental sounds of one of the most influential and notable grunge/sludge metal bands to pave the way for the likes of Nirvana and Pearl Jam. The drinks flowed and the smell from the food being run from the kitchen to Cocina 10 permeated the venue as All Souls hit the stage.
After a quick introduction, they jumped right into the music with their melodic, guitar-heavy sound that ranges from deep and dark, to grunge, to downright ethereal. All Souls, comprised of Drummer Tony Tornay, (formerly of Fatso Jetson), bassist Meg Castellanos and guitarist/vocalist Antonio Aguilar (both formerly of Totimoshi) as well as guitarist Erik Trammell (formerly of Brothers Collateral) proved that, though they’ve only been together for 3 years, they’ve uncovered a winning combination of musical talent to generate a polished sound worth listening to on repeat. At then end of their set, Trammell thanked the Melvins for a “blissful” five week tour together to which Meg added that it also included a broken foot. This concluded the band’s stint with the Melvins, who take a small break and then tackle another ambitious 5-week tour schedule to include four nights in Canada.
Following All Souls’ performance was the anxiously awaited Melvins who planned to take listeners on a musical trip through their discography that spans 34 years. Their newest creation to add to their collection is Pinkus Abortion Technician, which pays homage to the likes of The Beatles and The James Gang. The album brings bassist Jeff Pinkus from the Butthole Surfers back on a collaboration once again to create a whole new sound along with fellow bassist, Steven Shane McDonald, who joined the band in 2015. The Melvins have toured with two drummers and also with two lead guitars, but having two basses is a first. Being the experimental musicians they are and willing to take a chance, they brought forth a sound rarely experienced. The walls reverberated with what felt like a collective heartbeat, a depth of sound that had audience members moving their heads in unison.
The band came out to experimental pedal and guitar sounds that primed the audience for the journey they were about to embark on for the next few hours.The musical journey began with visceral and gritty “Sesame Street Meat” off their 23rd studio album from 2014, Hold It In, on which bassist Jeff Pinkus collaborated. Drummer Dale Crover was immediately seated and fitted with his over-the-ear mic, while outgoing bassist McDonald dazzled with a series of high kicks. Bassist Jeff Pinkus took stage right, where he remained the majority of the evening deeply engrossed in his music and showing an occasional glimmer when his guitar hit the light just right. Guitarist and lead vocalist Buzz Osborne restlessly moved about the stage as though energy were traveling through him in a higher capacity than he could possibly emit. Next stop was 25 years in the past with “At A Crawl”, followed by a zig zag to “Kicking Machine” from 2008’s Nude With Boots, which brought the crowd to a higher level of excitement when a mosh pit ensued. Next were two covers: David Bowie’s “Saviour Machine” sung by Steve McDonald and Red Kross’ “What They Say” which had all-hands-on-deck vocally.
Buzz Osborne took front and center once again with “Anaconda” off of their 1991 album, Bullhead. Next up, Buzz got into character over dead silence and sauntered up to the mic with a smirk to tell everyone, “Well… well… well, I’ll be moooving down to Floriduh,” to kick off the Butthole Surfers’ “Moving to Florida” with a mix of their new song “Stop Moving to Florida” off Pinkus Abortion Technician.
Other notable mentions are McDonald’s long locks blowing in the wind of the fan off on stage left, his Superman move of pulling his blazer open to show his sparkly “punk rock” written across his chest, and one cannot forget the slower tempo of “Don’t Forget to Breathe” off of the new album, with credits for writing going completely to Pinkus.
The Melvins ended their energy-fueled, seventeen-song setlist by taking fans all the way back to the beginning with “Eye Flys” from their debut album Gluey Porch Treatments. Drummer Dale Crover’s elbows were moving at seemingly lightning speed, reminding everyone why he was worthy of a shout out during Nirvana’s 2014 Rock and Roll Hall of Fame induction.
As the crescendo of the last notes of the night filled the room, shook the ground, and flooded the ears of each fortunate audience member, Crover stood up and dropped his drumsticks to a crowd of sated fans who uproariously applauded. Drenched with sweat and playing with the same amount of gusto as the first moment they set foot on stage, it was evident that the Melvins have the masterful talent of a band that has been around for 34 years and the ambition to put on a show for their fans like a band that is just up and coming.
Los Angeles, CA —Hollywood Undead’s highly-anticipated new single, “Gotta Let Go,” is out today! The summery tune exposes a more melodic side of the band and showcases their impressive songwriting chops. By stripping things down to their core, the quintet unveils a new side of themselves, while still remaining uniquely Undead. Fans can listen HERE and stream and purchase the track HERE.
“At times when we look at the past, we only see the struggles and the hardships. We too often forget about the good moments because we are blinded by the pain we all go through. This song is about letting go of that pain, so we can see that life can be a beautiful experience,” says Johnny 3 Tears, Hollywood Undead’s vocalist and bass guitarist.
Since the release of FIVE (October 2017 via Dove & Grenade Media/BMG), Hollywood Undead have crossed an impressive one billion U.S. streams across their catalog, as well as 1.7 million total Shazams. In addition to debuting at #7 on the Billboard Top Albums Chart, FIVE has also racked up 56 million total global streams, and all six music videos from the record have garnered 30 million views cumulatively. Watch them here:
Set to Play Rock am Ring, Rock im Park, and Reading & Leeds Festivals
After touring tirelessly worldwide throughout the past year, Hollywood Undead will head back out on the road this weekend, playing Rock AM Ring and Rock IM Park in Nuremberg, Germany, followed by a run of headline dates and festival performances across Europe and the U.S. In August, the band will also return to Europe for the Reading & Leeds Festivals in the U.K. A full list of tour dates is included below, and tickets are available HERE.
Stay tuned for more new music from Hollywood Undead!
Hollywood Undead Tour Dates:
6/01 – Nuremberg, Germany @ Rock AM Ring
6/02 – Nuremberg, Germany @ Rock IM Park
6/04 – Krakow, Poland @ Klub Studio #
6/06 – Tallinn, Estonia @ Venue TBA #
6/07 – Riga, Latvia @ Palladium #
6/08 – Hyvinkaa, Finland @ Rockfest
6/10 – Gdansk, Poland @ Stary Manez #
6/12 – Warsaw, Poland @ Torwar #
6/14 – Nickelsdorf, Austria @ Novarock Festival
6/16 – Bretigny Sur Orge, France @ Download France
Hell Average are a pop punk band from Perth, Western Australia.
Having recently won a local battle of the bands against other established Perth acts, Hell Average have used the prize money to record their new single “Cold Day In Hell”. The song will be available online Friday, June 1st.
The song is hard hitting and honest, influenced by bands such as Green Day and With Confidence.
Hell Average will be celebrating the release with a launch show at The Boston, Northbridge on Saturday, June 2nd.
American Singer/Song-writer Joe Settineri has released the official music video for his impassioned pop single “Hello Goodbye.” Originally premiered on Paste Magazine, “Hello Goodbye” was written in collaboration with platinum Nashville-based producer Mike Krompass (Smash Mouth, Nellie Furtado).
“Love lost, regret, and the power of saying, “goodbye.” Moving on, though is rarely that simple. Our love lives are tangles of good and bad – pushing and pulling – never wanting to let go, yet, needing to break free. Searching for that allusive feeling of ‘true’ happiness. Did we give up too soon? Will we ever know? Why can’t we forget? Does clarity ever present itself? This song emotively asks these questions and explores the purposeful intention to move on and the confusing, often conflicting emotions that come with it.
I said goodbye, but why can’t I forget?”
Searching for clarity — finding a new path – is never easy.” – Joe Settineri
“Clarity is never an easy path when it comes to this emotion called love, however, what Joe Settineri brings is his ardent musical talents as he carries his lyrics of rich passion simply and understandably. Joe’s vocals and the embracing notes from his piano show his arrival time is welcomed in the world of pop music while the video imagery is the perfect compliment to the heart of “Hello Goodbye.” Simply put, Joe Settineri’s music delivers the power to believe in love again.” – Paste Magazine
“… American singer-songwriter Joe Settineri has a habit of writing love songs, but just listen to his music and you’ll understand why … and understand the power of Joe Settineri.”
Originally from the mid-west, Los Angeles based singer songwriter Joe Settineri was a late bloomer. After the music world wooed him away from a finance career, and years spent being one of a handful of go-to singers in Los Angeles, Settineri established himself as an exceptional singer-songwriter in 2009 with his widely praised first studio album, STAY (LML Records). His second full studio album, BEYOND YOUR CONTROL, was released 2014 and followed up by his most recent EP, BE THE ONE in 2017.
Joe’s newest singles, “HELLO GOODBYE,” “BATMAN CRIES,” and “OXYGEN,” all collaborations with multi-platinum Nashville-based producer Mike Krompass (Smash Mouth, Nellie Furtado), are slated for release in summer 2018.
Joe lives in Los Angeles with his husband and two children.
, proved all-too-human. Its first single, the levitating “Friend” (“My friend….We’ve come to an end”), first captured ears after appearing on Spotify’s New Music Friday playlist, subsequently hitting No. 1 on Hype Machine. Meanwhile, the ebbing-and-flowing sting of “Substitute” clocked a staggering 16-plus million streams. (Not surprisingly, Goldstein’s knack for capturing the human spirit by way of sticky hooks previously led him to pen songs for Demi Lovato, Britney Spears, and blackbear.)
, “Hi-Lo” marks the first time front woman Amy Lee and Stirling have collaborated on a track together, and features the full band backed by an orchestra and Lee’s signature powerhouse vocals. Directed by P.R. Brown, the video includes live performance footage from Evanescence’s critically acclaimed Synthesis tour along with orchestra footage. Stirling makes a cameo to deliver her signature blend of dance moves while performing a powerful electronic violin solo. The song was written by Amy Lee and Will Hunt and arranged by David Campbell.
