Is 50 Cent Done With Rick Ross Beef

May 21, 2009

Plus: The new ‘Jerk’ movement, in Mixtape Daily.
By Shaheem Reid

The New Boyz
Photo: Asylum

Fire Starter: The New Boyz

Word to Navin R. Johnson. Thirty years ago, Steve Martin made the word “jerk” iconic — and now pair of kids from Cali called the New Boyz are trying to make “jerk” a movement. Dominic “Legacy” Thomas and his partner Ben J (born Earl Benjamin) have one of the hottest records on the West Coast right now, “You’re a Jerk.”

The bass on the record is undeniable. It sounds like something tailor-made for Compton’s the Game to display his guerilla gangsta-rap tactics, or even Crooked I to throw his acclaimed abstract poetics against. But the bass-laden track was inspired by the duo getting dissed, and they aren’t ashamed to tell the story on the song — sped-up vocals of somebody saying “You’re a jerk” are looped throughout the record.

“The jerk movement is big. It’s about to be worldwide. The jerk is a dance that came from the ’90s or something. The old people used to do it — just groove,” Ben J said, surrounded by the young dance crew called the Power Rangers.

The duo have remixed the dance and put their own stank on it — thus, you have “jerkin’.”

” ‘Jerkin’ is a swagged-out fun dance,” Ben declared.

“People used to go to parties gangbanging,” Legacy said. “Parties would get shot up. But now people go to parties to jerk. It’s something positive. People think we made the dance [but] we didn’t make the dance. It came from out here in L.A. It was a gangbanging dance, but people started seeing it and swagging it out.

“Everybody used to make jerkin’ songs,” Legacy said of the song. “Instead of coming in and making songs about jerkin’, we called ourselves jerks. And the girl on the record is trippin’ on us. She’s like, ‘You’re a jerk,’ on our head — but at the same time, it’s a dance too.”

Who’s next and who dominates — right here, all week long!.

»Mixtape Daily Main Pick: Eminem

»Other Notables: Tony YaYo

»Celeb Faves: Green Day, Alchemist

The duo came together in high school. Their birthdays are just one day apart, so they used to pool the money their friends and family gave them to buy studio equipment. In October, both kids were grounded and, while serving out their punishment, they snuck and recorded the song. It built up organically through YouTube and reached the top slot of Power 106 and KIIS-FM radio in Los Angeles. Their debut, Skinny Jeans and a Mic, is due for release later this year on Asylum Records.

“We’re pretty much trying to make jerkin’ a genre of music, so everybody could be doing it,” Legacy said. “It’s a lot of smart creative kids out there doing it.” Just check YouTube — you can see Puff Daddy’s son Christian Combs and his cousin Roxy dancing to the record just like thousands of other kids.

The Streets Is Talking: News & Notes From The Underground

DJ Whoo Kid says a 50 Cent mixtape is right around the corner. While Fif has been holed up in the lab working with Dr. Dre on Before I Self Destruct, he’s found time to devote some records to the streets.

“Fifty’s done 10 freestyles,” Whoo Kid revealed. “I’m waiting on like, two more. I guess he’s trying to figure out the tile. And I’ve been a doing a lot of those Radio Planet videos, so I’m gonna put together a 50 Cent video. Those are my video mixtapes I’ve been putting out, killing the Web waves.”

Whoo Kid also said that the tape won’t be devoted to 50’s squabbling with Rick Ross — that’s a done deal.

“The Rick Ross sh– is outta here,” Whoo Kid described. “It’s over, he’s done his promo — 50 promoted his album very well, so Rick Ross is outta here. Now he’s worried about his own sh–. They got the Tia book out there. That should be the last level of anything that has anything to do with Rick Ross.”

Whoo Kid is also working on mixtapes by Tony Yayo, Gucci Mane, Yung LA, Juvenile, Snoop Dogg, and Soulja Boy.

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Subduction – Bad News from the Inner Solar System

May 21, 2009

Subduction is an experimental electronic band formed in 2008. It is a collaborative effort by my good friend William (Brian) Van Huss and Ian Briscoe. Ian Briscoe builds and plays his own moog synthesizers, including those heard on this album and he also contributes vocals on the track “Celebrate”. I have known Brian for several years, and consider him to be my closest friend. This album could be considered a “return to roots” album for him. One of his first bands, Ghoul Feeding, was a noise rock band that experimented with improvised sounds using found instruments. He would later go on to record more structured rocks songs, primarily focusing his efforts on punk rock and power pop music.

“Bad News from the Inner Solar System” is anything but a conventional album, and attempting to pigeonhole it into a specific genre would be futile. “How Very Much (I’ve Loved You)” utilizes tape loops, moog synthesizer, and various other elements. The tape loops are samples from the notorious “death tape” recordings of the Jonestown massacre, discovered by the FBI during the aftermath. The samples, accompanied by what sounds like blasts of steam, along with an eerie moog give the track a very haunting sound remeniscent of early industrial musicians such as Throbbing Gristle.

The next track uses samples in a much more upbeat way. All of the samples used in “Greetings” are from the Voyager Golden Record, a gold plated phonographic record containing sounds and images selected to portray the diversity of life and culture on Earth, which both Voyager spacecraft carried during their launch in 1977. The track opens with a sample of a female singing a Peruvian wedding song recorded by John Cohen, followed by samples of songs from Indonesia and Africa, and finally the U.N. President’s greeting for those who might discover the Golden Record. These samples are backed up by a groovy beat, which wouldn’t seem out of place in an old school hip-hop record. One might normally expect to hear such songs accompanied by bongo or djembe drums, yet it works perfectly in this case and helps to tie it all together.

“Celebrate” is the only track on the album which features vocals contributed by the artists involved. Ian Briscoe delivers the vocals on this one, which backed up by Van Huss on stylophone and short wave radio. It could be considered EBM (Electronic Body Music), as it combines elements of both industrial and electronic dance music.

The grand finale of the album is the epic “Anything In here”, which clocks in at just under 23 minutes. It could be considered an electronic jam session of sorts, as it was recorded live in one session. As with the previous tracks, it features a variety of different synth instruments, audio samples, and various other sound effects. Some of the samples used are taken from the movie “The Fly”. The sound similar to a fax machine heard throughout is actually the teleportation device from the movie.

This is an outstanding debut release from the duo of Briscoe and Van Huss. “Bad News from the Inner Solar System” is at times earthly, at others celestial, often desolate, and yet heartening also. If the goal was to make a statement concerning the human condition, it achieves it remarkably. If you consider yourself a fan of experimental music, or the other genres mentioned, you owe it to yourself to listen to this.

Year of Release: 2009
Label: Psyche Zenobia
Genre: Experimental, Sound Collage, Electronic
Bitrate: 256kbps

Track List:
1. How Very Much (I’ve Loved You)
2. Greetings
3. Celebration
4. Anything In Here

Kris Allen Reassures Adam Lambert Fans: ‘He’s Gonna Be A Megastar’

May 21, 2009

‘He’s probably gonna be bigger than me, so don’t worry about him,’ Allen tells MTV News ‘American Idol’ expert Jim Cantiello.
By Katie Byrne, with reporting by Jim Cantiello

Kris Allen talks to MTV News after season eight’s “Idol” finale
Photo: MTV News

“American Idol” fans might have been surprised by Kris Allen’s victory over Adam Lambert on Wednesday night, but no one was more floored than Kris himself.

When “Idol” expert Jim Cantiello caught up with the new champ backstage, he talked about fans Googling his wife, working with Kara DioGuardi and what he has to say to all those heartbroken Glamberts.

Kris Allen: I know Jim — I don’t even know how to pronounce your last name.

Jim Cantiello: Holy crap! It’s Cantiello.

Allen: Cantiello.

Cantiello: How do you know me, man? I’m just some silly blogger dude.

Allen: I think the “American Idol in 60 Seconds” is the funniest thing ever.

Cantiello: Shut up!

Allen: No lie.

Cantiello: I’m usually pretty nice to you. I’m a big fan.

Allen: I know, right? Usually.

Cantiello: Sorry, I have to be honest.

Allen: I’m critical of myself as well, so don’t worry about it.

Cantiello: All right, cool. Let’s talk. You won the big show. Holy crap.

Allen: Holy crap, right?

Cantiello: I want to know: What are you going to do with “No Boundaries” to make it a hit? You’ve got a big mountain to climb.

Allen: [Laughs.] And hurricanes. It’s a decent song. It’s got a good message, and Kara [DioGuardi] was amazing to work with, she really was. She’s a great songwriter, and I hope to sing it as well as I can.

Cantiello: So I have to ask: Your wife is one of the biggest Google trends out there. After every show, “Kris Allen wife” is one of the top three searches. How does that make you feel? It’s a little creepy, right?

Allen: Maybe a little creepy, but she’s beautiful and she’s great and I’m glad to have her in my life. That’s weird, though, that they would be searching my wife. She’s a star too now.

Cantiello: So what are we going to hear from your album?

Allen: I felt like I put who I’m going to be on the stage during the performances on “American Idol.” And I think you’re gonna hear more of that kind of stuff.

Cantiello: Any dream collaborators you want to work with? Producers, writers, you want to work with Kara some more?

Allen: Yeah, I’d love to work with Kara. She’s a great songwriter, a great person, she’s a lot of fun to work with. I felt like just that little bit that we worked together, it made me better, and I really appreciated that. There’s plenty of people out there. I have no idea, and I hope people will knock on the door.

Cantiello: They definitely will. You put out stuff on your own before “Idol.” Any of that stuff gonna be reworked in a big studio setting?

Allen: Maybe so, but that’s something that’s a long time ago and in a different place. Hopefully new stuff will come out.

Cantiello: Last question: There’s some heartbroken Adam Lambert fans on the Internet. What do you say to them right now to cushion the blow a little bit?

Allen: OK, here’s the deal: Adam is gonna be fine. He’s gonna be a megastar. He’s probably gonna be bigger than me, so don’t worry about him. He’s great. I’m really happy for him.

Cantiello: Happy for him, and super happy for you. Congratulations, Kris.

Allen: Thanks a lot.

Cantiello: Enjoy the ride.

Are you an “American Idol” expert? Take our ultimate “Idol” quiz to find out! Plus, get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.

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Cringer – Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo

May 19, 2009

Really the main reason I posted this was so I could write ‘Tikki tikki tembo no sa rembo chari bari ruchi pip peri pembo’. I always wanted to do that. Also I am a big fan of Lance Hahn (Lance passed away on Sunday, October 21, 2007, due to complications from kidney disease). I’ve seen both Cringer & J Church many times at Gilman St. & other Bay Area venues & parties. There are mixed feeling about this release, but Cringer was a true voice of their time & place when this came out. The Bay Area anarchist punk scene was just exploding at this time. Lance had taken over the vocal duties from Gardner who was now concentrating on bass. Derek Imose, from Hawaii was playing drums. Lance was now singing his own lyrics, bringing a much more personal delivery of his mix of political, personal, & sometimes impressionistic songs.

Cringer started in Hawaii in 1984 with Lance Hahn, Ed Tarantino, Gardner Maxam & David Carr. Lance & Ed had previously been in the straight edge/skatecore band, Scarred For Life. David had been in several different bands including the Vacuum & Devil Dog. Gardner had been in Hawaii’s first hardcore band, the Sharx. This line-up played several times live on KTUH & recorded three demo tapes: a split with Scarred For Life, We Are All AOK & The Vinegar Tasters. They relocated to Los Angeles in 1986. The group got their major debut with a track from an early demo appearing on the Mystic Records compilation, We Got Party. Hooking up with Vinyl Communications in Chula Vista, this line-up recorded their first 7″, Perversion Is Their Destiny.

David & Ed split soon after the 7″ was recorded. Francis Sippin from Free Will joined on vocals for a short period of time. Simon Barry, who had previously played in the UK anarcho band Flowers In The Dustbin, joined on guitar. This line-up recorded the second 7″, Zen Flesh, Zen Bones as well as tracks for the Exclusion compilation on Nabate, Metal Gives Us A Headache on Hippycore & “Cottleston Pie” for The Thing That Ate Floyd on Lookout.

Derrick Imose from Hawaii joined & Simon eventually split. Nigel Wong joined & the group recorded their first album, Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo.

Year of Release: 1990
Label: Vinyl Communications VC-12
Genre: Punk


Side Yin:
A Song about Hawaii
Peace and Harmony
The Dumb Song
Anti Climax
El Salvador
Berlin Wall
Walk In Closet

Side Yang:
Two Friends
Just the Same
This Town
Take Back the Night (revisited)
Funk Song
Zen Hana Hou

Download: Cringer – Tikki Tikki Tembo No Sa Rembo Chari Bari Ruchi Pip Peri Pembo
Download Size: 101MB (ripped at 320Kbps)

Levi & the Rockats – Live at The Louisiana Hayride

May 19, 2009

The Louisiana Hayride was a radio broadcast from the Municipal Auditorium in Shreveport, Louisiana, that during its heyday helped launch the careers of some of the greatest names in American country music, names that included Hank Williams, Jim Reeves, Johnny Cash, Elvis Presley, & Johnny Horton. Elvis first debuted “That’s All Right Mama” on October 16, 1954. He stayed with the Hayride for a year before moving on to sign with RCA Records & Colonel Tom Parker. The next big name to hang his star on the Hayride door was Johnny Horton. He remained a member of the Hayride until his death. On November 5, 1960, Horton was killed instantly in a head-on collision with a drunk driver on Highway 79 at Milano, Texas while he was returning home from a performance at the Skyline Club in Austin.

In November 1977, Levi Dexter & his band, The Rockats, made their debut at the Royal College of Art, within the shadow of The Royal Albert Hall. Johnny Thunders jammmed at the end of their set. The headliner band that night was the reggae band Steel Pulse. On December 26, 1977, Levi & the Rockats closed the “Boxing Day Relapse” concert at The Music Machine in London with Siouxie & the Banshees & Adam & the Ants, establishing them as the first neo-Rockabilly band to emerge from the burgeoning London punk scene. In March 1978, Levi records “Evil Minded Mama”, a duet with Jayne County & The Electric Chairs. They toured England, Scotland, & Wales together on the first ever Ted/Punk Tour. By May 1978 Levi had relocated to the U.S. to get an ‘American Perspective’, moving first to Los Angeles where they were welcomed by bands like X. On November 10th 1978, Levi & the Rockats made their U.S. debut at Max’s Kansas City in New York opening for The Cramps.

On July 14, 1979, Levi & the Roackats, a neo-Rockabilly band from England, newly transplanted to Los Angeles, became the first rock performers to play The Louisiana Hayride since Elvis Presley played there nearly 25 years before. This is the live recording of that historic show.

Levi & the Rockats are: Levi Dexter – vocals; Eddie Dibbles – guitar; Guy Hemmer – rhythm guitar; Smut Smiff – bass; & Dean Thomas – drums. The Rockats were the last act ever introduced by legendary emcee Frank Page, who had emceed the Hayride for over 30 years & who had introduced Presley in 1954. His introduction is the opening track.

Year of Release: 1981
Label: Posh Boy PBS-162
Genre: Rockabilly


Side A –
Introduction by Mr. Frank Page
Rock-a-Billy Idol
She Ain’t No Angel
Tired & Sleepy
Lonesome Saturday Night
Side B –
Room to Rock
Crazy Baby
Love this Kat
Other Side of Midnight
Note from the South.

Download: Levi & the Rockats – Live at The Louisiana Hayride
Download Size: 61.5MB
(Ripped From 28 yr. old PoshBoy Vinyl at 320Kbps)

These Arms Are Snakes/Russian Circles Split 12″ EP

May 19, 2009

Record Store Day 2009 Logo
These Arms Are Snakes/Russian Circles Split

This is the first of a series of promo albums released for Record Store Day that I will be posting over the next few days. These Arms are Snakes is a post-hardcore band hailing from Seattle, while the members of post-rock group Russian Circles are natives of Chicago. Both bands are signed to Suicide Squeeze records, and are touring together at the present moment. This split EP was originally released to celebrate their European tour in November 2008, with only 1,000 copies being pressed on 12″ black vinyl. 500 copies were sold on tour and 500 were available on Sargent House’s webstore. It was reissued once again for Record Store Day, again limited to 1,000 pressings, only this time on 12″ clear vinyl.

Year of Release: 2008/Reissued in 2009
Label: Sargent House
Genres: Post-Hardcore, Post-Rock, Math Rock
Bitrate: 260VBR

Phallus Dei – Pornocrates

May 19, 2009

As I promised several people, more Phallus Dei. If you want more info about the band, go here. Phallus Dei put a lot of time & creative effort into writing their songs. The payoff is an immaculate sounding & composed piece of musick. This is one powerful album.

“Monumental.” On Pornocrates the line-up is the same as Cyberflesh.

Phallus Dei is: Oliver St. Lingam – vocals & sequencing; Mk. E – guitar, acoustic guitar, flute, bass, & keyboards; Joris Huijbregts – bass, keyboards, accordion, & sequencing; & Richard van Kruysdijk – drums, percussion, synthesizer, keyboards, guitar, & sequencing. Written, arranged, produced & performed by Phallus Dei.

Best music

Year of Release: 1994
Label: Paragoric PA 06
Genre: Electronic Industrial


Dog (Prologue)
On Aloneness
The Arising (A New Day Version)
Unguided Love
Pornocrates (Bloodlust a Go-Go version)
The Outer Bone
Circles on Circles (Dreams ov Channel Five version)
Never to Believe (My Release version)
Veiled Statues
Dead Birds Floating
Current Lullabye (Epilogue)

Download: Phallus Dei – Pornocrates
Download Size: 109.9MB

Eminem’s Relapse Inspires Our Fantasy Slim Shady Playlist

May 18, 2009

DJ Drama, the Alchemist, DJ Whoo Kid and more offer up their favorite Em tracks to Mixtape Daily.
By Shaheem Reid

Photo: MTV News

Mixtape Daily Special Report

Eminem has been a beast since his demo tape. We all know that. He’s told us the good, the bad and the disgusting in his life and never held back any punches. He throws haymakers on the mic, from guest collaborations like “Off the Wall” with Redman and “Renegade” with Jay-Z to the album cut “Marshall Mathers.” He’s one of the best to ever to do it, and he’s made a return to spotlight with his new LP Relapse.

In honor of King Mathers coming back, we’re coming double-fisted. First, we have an exclusive, vintage freestyle that Em recorded right here in the MTV offices about a decade ago. As you’ll see, Em was still rocking the blond ‘do and was a monster, coming off the dome back then. He laid his raps while visiting DJ Stretch Armstrong.

Speaking of DJs, we’ve assembled some of the best in the game right now to give us their tracks for a fantasy Slim Shady mixtape. Before you have a heart attack, we couldn’t include all of Em’s greatest songs in one article, but feel free to tell us which ones we should include in part two. Big-up to Alchemist for getting the gig as Em’s DJ while he’s doing this promo run.

“Just Don’t Give a F—“
“It was the first record that really introduced me to Eminem. It was unlike anything I ever heard. When I first heard that, I was an instant fan. When I heard that song, I was a complete nobody at that time. I fooled the world by pretending that I had an online Internet radio show. I got in touch with Eminem and [his manager] Paul Rosenberg and their camp when they was doing promo shows. Back then, I got them to come to my mom’s basement, because I was such a fan and I couldn’t wait to hear more stuff from this guy. I got them to my mom’s basement, and we hung out. He was definitely drunk. … Definitely, you could tell he was kinda a live wire. He actually came with Royce Da 5’9″.” – Clinton Sparks

“The Way I Am”
“To me, Eminem is the ultimate personable artist. He always brings you in his life. ‘The Way I Am,’ he was already dealing with so much, really coming into his iconic status. For him to deliver that record and deal with what was going on … it’s amazing that a record like that could be a single. Lyrically, he’s one of the greatest of all time. That’s one of my favorite Eminem records. The flow was ill, as it always is. He delivered quality and gave his Eminem angry approach to it. You could feel the hostility in the record.” – DJ Drama

“Love Me” (featuring 50 Cent and Obie Trice)
“That was a hard record right there. I guess it was so much sh– going on, they didn’t concentrate on that record. It was one of those records we should have done the video and pushed it more, but at that time, Eminem didn’t need no pushing. He was already moving millions of units. It’s hard when you’re moving millions of units — 8 million, 10 million units — what’s the purpose of concentrating on promoting separate records? Everybody heard it, it was poppin’, but I felt they should have put a little light on the record. I think that was the first time we heard Em and 50 together.” – DJ Whoo Kid

” ‘Hello,’ it’s Em saying he’s back. You could tell Dre mixed that record because of the sound. I like some of the cuts and scratches on the hook. That’s the classic Em we love. He’s been away for a second. It’s Em. His flows on the new album, me personally, I like how he rapped on ‘Hello,’ the ‘Beautiful’ record is ill. ‘Bagpipes Over Baghdad,’ I like the style he raps on that. For my personal taste, I like the introspective Em.” – DJ Skee

“When I first heard [Relapse], that was the song I said, ‘This is gonna shut mutha—-ers up.’ Straight up. It would not be an issue. Nobody would be like, ‘I didn’t like this, I didn’t like the flow.’ … When we perform that song, Em takes a spot on the stage, and that’s it. He picks a spot and dumbs out. There’s not a lot of moving. When we’re rehearing the song, you know, ‘This is gonna be something crazy.’ He says, ‘Turn the lights down,’ they put the spotlight on Em, and it’s just snap rap. In the current day and age, you don’t hear songs like that. It doesn’t seem like any of that other sh– going on in the world or in the music industry was going on in his mind when he [made the song]. He was strictly into the craft. I don’t think anybody is f—ing with that.” – the Alchemist

“The first thing I thought when I heard it was, ‘Oh, word? Another thing that happened to him that we’re just finding out about?’ I was like, ‘This guy’s life is worse than people think it is.’ It’s great that he’s not afraid to say it or tell the people. There’s a lot of people out there that sh– happens to them that they feel embarrassed or they don’t know how to do it. Nobody can tell a tale of tragedy better than Eminem and make it f—ing interesting and cool to listen to and make fun out of it. He’s not saying it like ‘woe is me.’ He’s saying, ‘This sh– is f—ed up. F— it! This is who I became because of it. F— you.’ ” – Clinton Sparks

“The Real Slim Shady”
“Em doesn’t get much club play [in the U.S.], but when I go overseas and play ‘The Real Slim Shady,’ that’s a classic over there. When people hear it overseas, they be buggin’ the f— out. The beat is hot. It’s a long verse, but when the hook comes on, everybody is screaming. It’s kinda like ‘Jump Around.’ I did it recently in Beirut, Lebanon, and parts of France. Those songs connect to the rich people and young kids.” – DJ Whoo Kid

“We as Americans”
“That was an old record. That’s when he said, ‘I don’t rap for dead presidents/ I’d rather see the president dead/ It’s never been said, but I set precedents.’ Sh–, man! He always figures a way to step beyond what other mutha—-ers are doing with the bars. I always like that beat too.” – the Alchemist

50 Cent’s “Patiently Waiting” (featuring Eminem)
“Classic! 50 and Em over an Eminem beat. 50 in rare form, Eminem in rare form. Both on top of the world at the time. A monster who created another monster. That was just classic. Eminem beats at that time was such gold and had such rich sound. 50 fit the beat perfectly on that. Just the hook alone — ‘I been patiently waiting for a track to explode on’ — summed everything up.” – DJ Drama

“8 Mile Road” and “Lose Yourself”
“That whole ‘8 Mile’ soundtrack, even though it wasn’t Em on the whole thing, it was ill. ‘Lose Yourself,’ that was Em’s best. That’s my favorite commercial Eminem single. That was Em in his prime. It was a great new direction for him. What the people in the mainstream knew him was for some of the funny stuff and all the crazy stuff with Kim. But the inspirational side was great motivation music. I’ve used it to motivate me. To show a white boy from the ‘hood in Detroit can come out and do it, it’s inspirational.” – DJ Skee

Notorious B.I.G.’s “Dead Wrong Remix” (featuring Eminem)
“That was hot too. Em held it down very well. Nobody complained about that. You would never hear Tupac or Biggie doing songs with 60 percent of the artists that are booked on those remix albums. But Eminem, it felt like B.I.G. would have done a song with Em. With the remixes with dead rappers, I don’t pay attention to them, but I wanted to see how Em would alter his lyrics to f— with Biggie. He hung with him.” – DJ Whoo Kid

For other artists featured in Mixtape Daily, check out Mixtape Daily Headlines.

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Blink-182 Talk Reunion, First Tour In More Than Four Years

May 18, 2009

‘I think it’s gonna be amazing,’ Tom DeLonge says of the jaunt, which will include Weezer, Fall Out Boy and other acts.
By James Montgomery

Blink-182’s Tom DeLonge and Mark Hoppus
Photo: Jason Merritt

On Thursday night in Hollywood, Blink-182 ended a four-and-a-half-year hiatus with a surprise performance at a T-Mobile party at Paramount Studios. And now that they’re officially, 100 percent back, how would they rate the reunion so far?

“Awkward, weird … a little standoffish. Me and Travis are on one side [of the studio], behind a brick wall, and Tom is outside the wall knocking,” Blink’s Mark Hoppus told MTV News at the event. “You ever seen that episode of ‘The Odd Couple’ where they drew the line down the middle of the room? Yeah, it’s kind of like that.”

“And there’s a couple holes where we stick various parts of our bodies through,” Tom DeLonge added. “It’s really super strange and weird. But it rocks.”

And judging by what we heard onstage Thursday night, it does, indeed, rock. So now that they’ve got one performance under the belt, what about Blink’s much-hyped summer tour with Weezer, Fall Out Boy and a rotating list of huge acts (Taking Back Sunday, All-American Rejects, Panic at the Disco, Asher Roth and Chester French)? What can fans expect to see out on the road? Well, lots and lots of lasers, apparently.

“I think it’s gonna be amazing. There are amazing bands, they’re all big. When we started talking about doing the tour again … we had all these options start popping up. It was really amazing to be able to end up on the bands we had,” DeLonge said. “Usually when you go out on tour, there’s a lot of negotiations as far as time and who can do what and when they can do it, or whatever … I’m gonna be honest right now. The tour is gonna be good. Mark, after f—ing 17 years, might let me have lasers!”

“It’s true,” Hoppus laughed. “[Lasers] broke up our band at one point, and now it’s lasers that are bringing us back together.”

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Dappled Cities – ‘The Price’

May 14, 2009

Dappled Cities – ‘The Price’ ( mp3 ) Dappled are back! As mentioned before their new material just sound awesome live, and now you can hear two tracks out of their upcoming album Zounds from their newly made website for the album. And here’s the fun bit: you can do a tweet review of their new track The Price on the website below. Stay tuned to these pages for some very exciting album parties coming up!