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Electro-Industrial-Metal Trio Hexxes Arrive With a Dark and Bewitching Debut Single “Fragile Things”

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Hexxes have arrived, and “Fragile Things” is exactly the kind of debut single that makes an immediate case for paying attention.

The Portland, Oregon trio comes out swinging with a track that weaves classic post-punk, 1990s electro-industrial, and gothic metal into something genuinely distinct. Mechanized industrial textures run underneath aggressive metal rhythms and shadowy atmospheres, anchored by Agatha Hexx’s seismic basslines and complex synths. Alastair Hexx’s chugging guitars grind and soar through the mix, while Scarlett Hexx’s vocals carry an intense urgency balanced with gothic rock romanticism. The combination lands hard.

The song speaks directly to collective anxiety and uncertainty, a rallying cry toward personal strength in dark times. “Fragile Things” makes clear that outcomes are not pre-ordained and that resilience is a choice. That message doesn’t soften the sonic edge; if anything, it sharpens it.

The band draws from a specific and well-chosen lineage. Gary Numan, Switchblade Symphony, and Ministry are the obvious reference points, and Hexxes honors those influences while carving out their own corner of the darkwave landscape. The Pacific Northwest setting feels right for this kind of music, damp, isolated, atmospheric, and slightly ominous.

Each member brings a defined role to the sound. Agatha Hexx drives the rhythmic and electronic foundation. Alastair Hexx delivers the guitar noise and distortion. Scarlett Hexx conjures the melodies, harmonies, and lyrics that pull the whole thing into focus. Three distinct voices building one cohesive and compelling debut.

Video: Andy Summers Opens His Santa Monica Home and Venice Beach Studio for Life in Six Strings

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Kylie Olsson’s Life in Six Strings series has built a strong track record of getting legendary guitarists to open up in their own spaces, and the Andy Summers episode delivers exactly that. The Police guitarist opens his Santa Monica home studio and walks through his photography collection, spanning his years with the band through to the present, before the conversation moves to his Venice Beach recording studio where guitars come out on the rooftop and Summers teaches Olsson to play “So Lonely” in the California sun. Summers has always been one of the most harmonically sophisticated guitarists in rock, his use of suspended chords and effects shaping a sound that defined an era, and hearing him talk through that approach in his own environment carries a different quality than a standard interview. The episode has already pulled over a million views, which reflects both the depth of the Police fanbase and the specific appeal of seeing where an artist actually lives and works.

Watch Diego Calva Walk the Criterion Closet and His Tattoos Tell the Story Before He Does

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Diego Calva’s Criterion Closet picks reveal an actor who came to film through genuine obsession rather than professional necessity. He talks through studying Charlie Chaplin’s performance in ‘City Lights,’ pulls selections from Harmony Korine and Andrea Arnold’s coming-of-age work, and touches on Mexican cinema and cult classics that shaped his sensibility before Hollywood found him. The most specific detail in the whole video arrives early: Calva has tattoos dedicated to Martin Scorsese’s ‘After Hours’ and Richard Linklater’s ‘Slacker,’ two films that don’t exactly announce themselves as obvious choices for permanent ink, which tells you everything about how seriously he takes this.

Antibalas Take the KEXP Studio and Fill Every Corner of It

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Recorded in the KEXP studio, this full Antibalas session runs four tracks, “Solace,” “La Ceiba,” “Hourglass,” and “Oasis,” and the eleven-piece New York collective fills the room completely. Founded in Brooklyn in 1998 and rooted in the tradition of Fela Kuti, Antibalas has spent more than two decades refining a sound that is simultaneously politically charged and physically irresistible, built on interlocking percussion, layered horns, and vocals that carry real urgency. The KEXP format suits them well, the studio close enough to capture the detail of what each player is doing while the ensemble sound stays intact and powerful. Martin Perna on baritone saxophone, Marcus Farrar on vocals and shekere, and the full horn section of Drew Vandewinckel, Michael Pallas, and Andrew McGovern give the performance its spine, and the rhythm section underneath holds everything with complete authority.

Jill Scott Performs “Beautiful People” on GMA and Talks Her First Album in More Than a Decade

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Jill Scott stopped by Good Morning America to perform “Beautiful People” and discuss ‘To Whom This May Concern,’ her first album in more than ten years, and the appearance serves as a reminder of exactly what has been missing from R&B during her absence. The performance is warm, controlled, and completely assured, the kind of television moment that makes you pull up everything she’s ever recorded immediately after. Scott has always been one of the most naturally gifted vocalists in contemporary soul music, and hearing her on new material after this long a gap is a delight.

Video: “Weird Al” Yankovic Takes the Colbert Questionert and It Goes Exactly as Well as You’d Hope

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“Weird Al” Yankovic sitting down for Stephen Colbert’s rapid-fire Questionert is one of those pairings that writes itself, and the execution delivers fully. Over several minutes, Yankovic fields questions covering his favorite action movie, the five words he’d use to describe the rest of his life, unconventional sandwich preferences, and nostalgic moments from a career that now spans decades of musical parody at the highest level. Yankovic has always been a more interesting interview subject than people expect, precise and thoughtful underneath the absurdist surface, and the Questionert format is perfectly calibrated to let both qualities show up simultaneously. For anyone who grew up with “Eat It,” “Amish Paradise,” or “White & Nerdy,” this one lands.

Emi Grace and Her Band Flip Red Hot Chili Peppers’ “Scar Tissue” Into a Punk Anthem in Just a Few Hours

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Musora brought Emi Grace and her band to EastWest Studios in Los Angeles, the same room where the Red Hot Chili Peppers recorded ‘Californication,’ and handed them one of that album’s most beloved songs to completely reinvent on the spot. What follows over about 22 minutes is a genuinely compelling behind-the-scenes look at the creative process in real time, the band working through tempo debates, riff rewrites, halftime versus double-time questions, and how far they can push “Scar Tissue” before it stops being recognizable. The answer turns out to be pretty far. The final performance threads the needle between honoring the original and flipping it into something punchier, louder, and distinctly their own, and the process of getting there is as interesting as the result.

Timothée Chalamet Rates Unpopular Opinions on BBC Radio One and Ends Up Singing Happy Birthday

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Timothée Chalamet stopped by BBC Radio One for a game of Unpopular Opinions with Greg James, and the result is exactly as entertaining as putting one of Hollywood’s most culturally omnivorous young stars in front of a format designed to catch people off guard. Over about 14 minutes the conversation covers table tennis as the next big sport, the merits of sitting exams, whether birthdays are stupid, pineapple-flavored cottage cheese, and the choice between looking after a newborn baby or a puppy. Chalamet also discusses ‘Marty Supreme’ and the EsDeeKid phenomenon, two subjects that reveal just how genuinely plugged in he is to internet culture and niche sports subcultures. The moment where he sings to Greg James is worth the whole video on its own.

Pearl Jam Played “Hail, Hail” on Letterman’s Commercial-Free Show in 1996 and It Still Kicks

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On September 20, 1996, Pearl Jam took the Late Show stage during one of David Letterman’s commercial-free broadcasts and delivered “Hail, Hail,” the opening track from ‘No Code,’ their fourth studio album released just weeks earlier. The performance captures the band at a complicated and fascinating moment in their career, having stepped back from mainstream visibility while simultaneously releasing one of their most sonically adventurous records. “Hail, Hail” is a muscular, riff-driven track that translates immediately to a live setting, and the Letterman performance has the kind of contained intensity that made Pearl Jam one of the great live acts of their era. The commercial-free format gave it room to breathe, and watching it now, the song holds up completely.

GQ Gets Sam Rockwell to Walk Through More Than 50 Films and the Result Is 31 Minutes Well Spent

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Sam Rockwell has one of the most genuinely interesting filmographies in Hollywood, and GQ’s decision to sit him down and work through more than 50 of them one by one was exactly the right format for an actor this specific about his craft. Meisner trained and consistently drawn to characters who carry both intensity and vulnerability, Rockwell walks through everything from his 1989 horror film debut in Clownhouse all the way through to ‘Good Luck, Have Fun, Don’t Die,’ his current theatrical release. Along the way he covers ‘Three Billboards Outside Ebbing, Missouri,’ ‘Moon,’ ‘Galaxy Quest,’ ‘Confessions of a Dangerous Mind,’ ‘The Green Mile,’ ‘Iron Man 2,’ ‘Jojo Rabbit,’ ‘The Assassination of Jesse James by the Coward Robert Ford,’ and dozens more, sharing behind-the-scenes stories, technical challenges, and what each role actually demanded of him. Over three decades of work, very few actors have moved as fluidly between studio films and independent cinema, between leading roles and supporting ones.