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Staytus Unleashes ‘Kiss N Tell,’ A Dark Industrial-Grunge Anthem

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Alternative-rock force Staytus channels pure industrial-grunge adrenaline on her new single “Kiss N Tell.” Dark, seductive, and cinematic, the track dives deep into obsession and temptation through thunderous drums, distorted guitars, and haunting vocals — a perfect storm arriving just in time for Halloween. It’s fury and beauty colliding in three and a half minutes of chaos and confession.

Produced by Grammy-winning hitmaker Mikal Blue (OneRepublic, Jason Mraz, Colbie Caillat), “Kiss N Tell” finds Staytus backed by an all-star lineup — Jeff Friedl (A Perfect Circle, Puscifer, DEVO) on drums and Anthony Laurie of Thredge on guitar. Together, they create a sound that feels both mechanical and human, fusing industrial pulse with grunge emotion. “It’s about temptation and consequence,” says Staytus. “The things we hide, the lies we tell ourselves, and the chaos that comes from wanting too much.”

The visual world of “Kiss N Tell” draws from The Silence of the Lambs, with Staytus embodying secrecy and metamorphosis — a gothic butterfly across her lips. The single follows “68 Kill,” continuing her rise as one of industrial music’s most daring new voices. Staytus doesn’t just perform songs — she builds cinematic worlds where danger, beauty, and truth all share the same stage.

Elliot C. Way Strikes True With ‘Fool’s Gold’ A Modern Outlaw Anthem Born In Vancouver

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Vancouver alt-country artist Elliot C. Way returns with “Fool’s Gold,” a gritty, soulful anthem that blends ’70s swagger with outlaw honesty. Nearly three years after his acclaimed debut All I Know, Way delivers a song that hits like a shot of bourbon — smooth, raw, and burning with truth. Once a fan favorite from his former band The Wild North, “Fool’s Gold” now shines brighter than ever, reimagined through Way’s signature modern outlaw sound.

Recorded with original Wild North members — many now playing with City & Colour — and produced by longtime friend Erik P.H. Nielsen, “Fool’s Gold” captures the spirit of survival and persistence that defines Way’s journey. The track was cut at a former CBC studio in Vancouver, its walls echoing with the ghosts of past sessions and the pulse of a new era in Canadian roots music. When Way sings, “I’ve been on this mountain since I was 20 years old,” it feels less like nostalgia and more like gospel for the restless heart.

Through his North Country Collective label, co-founded with Nick Lawton and Bob Sumner, Way continues to carve his own road — one paved with timeless storytelling, backroad grit, and late-night anthems built for howling at the moon. “Fool’s Gold” isn’t just a song; it’s a statement. This is country music that lives, sweats, and breathes — the kind Waylon might have called the real thing.

Just Jayne Heat Up With ‘Climate Change’ From Netflix’s ‘Nobody Wants This’ Soundtrack

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Country-pop trio Just Jayne turn up the heat with their euphoric new single and video “Climate Change.” Featured on the official soundtrack to Netflix’s Emmy-nominated rom-com Nobody Wants This, the track joins a powerhouse lineup that includes Chris Stapleton, Kacey Musgraves, and Ella Langley. It’s a bright, head-over-heels anthem that feels tailor-made for summer love and cinematic daydreams.

Made up of Taylor Edwards, Jillian Steele, and Rachel Wiggins, Just Jayne light up “Climate Change” with the kind of harmonies that shimmer like sunlight through car windows. Produced by Johnny Simpson (Jonas Brothers, Tori Kelly), the song races forward on pulsing beats and vivid storytelling — the moment friendship catches fire and turns into something more. With its addictive hook (“You’re not even tryin’, you’re makin’ the climate change”), it captures that universal rush of realizing someone you’ve always known suddenly feels brand new.

The video, directed by Kate Bowling, brings the fun full circle. Playing co-anchors of Just Jayne News, the trio deliver the forecast of their lives — dodging tornadoes, lightning, and love — all with charm, choreography, and a wink to the camera. Just Jayne say it best: “Mercury is rising and it’s in retrograde — that’s hot!”

Late Aster Illuminate With ‘City Livin’’ A Dazzling Debut That Reimagines ‘Miss Ohio’ In Neon

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Today, San Francisco, experimental electronic duo Late Aster release their debut full-length album, City Livin’, via Slow & Steady. With it they share a video for their cover of Gillian Welch’s “Look at Miss Ohio,” simply titled “Miss Ohio.” The artwork for City Livin’ was created by acclaimed New York-based Norwegian artist and photographer Tonje Thilesen.

Regarding the decision to tackle Gillian Welch, Late Aster’s Anni Hochhalter notes. “We tried to preserve the raw, spontaneous qualities while recasting ‘Miss Ohio’ into this electronic world.”

Since their formation in 2019, the San Francisco-based Late Aster has released one studio EP, 2021’s True and Toxic, and one live EP, 2023’s Light Rail Session. “I’ve always been interested in this idea of creating the coolest wallpaper you could think of,” Messing muses. “We’re like Daft Punk, if they were band nerds.”

The equation has paid off with a feature in Tape Op, praise from the SF Chronicle, who called their sounds “unprecedented” and “as impressive a local debut as I’ve heard this year.” And Under the Radar, who called their music, “a fascinating exploration of juxtaposition and expectation.”

Messing and Hochhalter are both classically trained; Messing studied Trumpet Performance at Northwestern University, and Hochhalter studied French Horn Performance at the University of Southern California. Environmental attorney by day, synth and visualizer obsessive by night, Messing began solo, recording an EP of voice, piano, and trumpet with animated visual accompaniment; Hochhalter is a founding member of the Billboard Traditional Classical chart-topping wind quintet WindSync.

The essence of the sound of City Livin’ then, lies in Late Aster’s embrace of a relatively simple, DIY-friendly recording device from the late ‘90s: the TASCAM Portastudio 414 MKII, which offers a low-fidelity quality and omnipresent fuzz. By virtue of its overall sonic aesthetic, the album is a nod to lo-fi ambient and hip-hop. But in keeping with Late Aster’s typical output, the album grabs from every genre within arm’s reach, then mixed, once again, with engineer Charles Mueller.

The duo settled on the album’s title City Livin’ after the track itself was created, inspired by the song’s gravitation around a monochromatic core. While there are some melt-your-face components like the peculiarity of the synth and high repetition of the off-beat hi-hat, the song almost reads as numb. It whizzes past you and feels pretty good but is strangely featureless, almost opaque. It’s a backhanded reflection of that idea: plenty of shiny objects from food, to people, to art, to parks in the city to distract you from what is essentially the blandness of the human experience—birth, life, and death as a single unit of a massive unknowable universe.

Another highlight is a cover of singer/songwriter great Gillian Welch’s “Look at Miss Ohio,” from her 2003 album Soul Journey: “We tried to preserve the raw, honest qualities while recasting ‘Miss Ohio’ into this electronic world,” Hochhalter says.

Hochhalter chalks up Late Aster as “an electronica duo, filtering brass instruments through dozens of effects pedals.” It’s the distinct personality they bring to the party — as well as a distinctly sticky way with songcraft — that makes that “wallpaper” truly sparkle.

City Livin’ tracklist:
  1. City Livin’
  2. Folsom
  3. Miss Ohio
  4. Razaab
  5. Yellow Orange Blue
  6. Virtuous
  7. Ctrl-F Discipline
  8. French Horn Girl
  9. Watts
  10. The Coda

Alex Fernet Unveils ‘Modern Night’ A Cinematic Journey Through Neon Soul And Post-Funk Dreams

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Post-funk artist Alex Fernet has released his new album Modern Night via Bronson Recordings. Alongside the record comes the final single “Hey Lady,” following “Sunlight Vampires” and “The Nightdrive.” Together, these songs create a world of hazy night drives, neon reflections, and quiet emotion.

“Hey Lady” moves like a whispered confession in a smoke-filled room. Fernet channels intimacy through groove and synth, crafting a sound that glows with late-night warmth. It’s cinematic, romantic, and alive with nostalgia — the kind of track that plays through a car stereo parked under a flickering streetlight.

Self-produced and mixed by Maurizio Baggio (Boy Harsher, The Soft Moon), Modern Night blends post-industrial funk, vintage soul, and analog texture into something human and breathing. Each note feels lived-in and intentional. As Fernet says, “In an era of over-edited sound, the most radical act might be to let things breathe.”

CANTERVICE Returns With ‘The Masquerade’ Remix By Toronto Is Broken & Zardonic

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The revolution has a soundtrack. On the heels of their debut album Zero Hour, American concept-rock visionaries CANTERVICE return with The Masquerade (Toronto Is Broken & Zardonic Remix) — a ferocious collision of electronic chaos and dystopian truth. Where guitars once raged, now thunderous basslines and cinematic drops shake the walls, turning rebellion into rhythm.

This isn’t just a remix — it’s a transmission from the future. Toronto Is Broken and Zardonic take CANTERVICE’s politically charged anthem and supercharge it with industrial adrenaline, transforming its apocalyptic message into a high-octane drum & bass storm built for the dancefloor and the revolution alike.

For CANTERVICE, music is a manifesto. Their world is one where freedom has been commodified, technology weaponized, and reality rewritten by those in power. “Freedom is an illusion,” they warn. But behind every lyric and every drop, there’s a spark — an invitation to wake up, question, and fight back before the silence becomes permanent.

Dr. Zeus, Pressa, Lady Leshurr, and Deep Jandu Unite for Global Punjabi Hip-Hop Anthem ‘Rider’

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Dr. ZeusPressaLady Leshurr, and Deep Jandu have combined on “Rider,” an allstar Punjabi Hip Hop-infused anthem that unites borders. Out now, this global hit brings together voices from the UK, Canada, and India.

Directed by Ricky MKKirt Malli, and Ricky J, “Rider’s” music video is captivating, featuring silky-smooth transitions and scenes that depict the artists in a dual reality of earthly luxury and cosmic scenes. The production is layered with 808s and a vibey undertone thanks to UK producer Dr. Zeus’s imprint. Known for his signature Punjabi and Bhangra beats, Dr Zeus oozed class on yet another production delivering an earworm beat that carries the tempo of the song. BJ Gill from E3 Entertainment put the project together, with the single being released by Manu Kaushish at Create Music Group.

Elevating the beat, each artist’s verse on “Rider” leaves a lasting impression. Pressa kicks off the song with a standout verse, effortlessly gliding through the beat and showcasing why he’s one of the most exciting acts in the Canadian music scene. He has been on an impressive run adding “Rider” as a single complementing his previous release “President’s Choice (PC)” dropped in June. He then passes the mic to Lady Leshurr, who delivers a melodic and impactful performance, ensuring the UK is powerfully represented. Finally, Deep Jandu’s presence is felt from his opening line, as he adds Punjabi flair, completing this global anthem with a memorable verse that will keep fans talking.

Watch the official music video for “Rider” here and stream the track on all available platforms here.

Every Single Person and Thing on The Beatles’ ‘Sgt. Pepper’s Lonely Hearts Club Band’ Album Cover

When The Beatles released Sgt. Pepper’s Lonely Hearts Club Band in 1967, they didn’t just change how albums sounded—they changed how they looked. Created by artists Peter Blake and Jann Haworth, the cover was a pop-culture explosion in cardboard form. A band within a band, surrounded by an audience of legends, eccentrics, philosophers, and icons, all packed into one technicolor moment that’s still studied, debated, and loved today.

The vision was simple: a new band posing after a concert, with fans—real, fictional, dead, or alive—cheering them on. Blake and Haworth turned that concept into history, with life-sized cutouts of everyone from spiritual gurus to Hollywood stars. And, yes, Adolf Hitler and Jesus Christ were both modeled but ultimately left out.

Sri Yukteswar Giri
Aleister Crowley
Mae West
Lenny Bruce
Karlheinz Stockhausen
W.C. Fields
Carl Jung
Edgar Allan Poe
Fred Astaire
Richard Merkin
The Vargas Girl
Leo Gorcey (removed)
Huntz Hall
Simon Rodia
Bob Dylan
Aubrey Beardsley
Sir Robert Peel
Aldous Huxley
Dylan Thomas
Terry Southern
Dion DiMucci
Tony Curtis
Wallace Berman
Tommy Handley
Marilyn Monroe
William S. Burroughs
Sri Mahavatar Babaji
Stan Laurel
Richard Lindner
Oliver Hardy
Karl Marx
H.G. Wells
Sri Paramahansa Yogananda
James Joyce
Stuart Sutcliffe
Max Miller
George Petty’s Petty Girl
Marlon Brando
Tom Mix
Oscar Wilde
Tyrone Power
Larry Bell
David Livingstone
Johnny Weissmuller
Stephen Crane
Issy Bonn
George Bernard Shaw
H.C. Westermann
Albert Stubbins
Sri Lahiri Mahasaya
Lewis Carroll
T.E. Lawrence
Sonny Liston (wax model)
George Harrison (wax model)
John Lennon (wax model)
Ringo Starr (wax model)
Paul McCartney (wax model)
Shirley Temple (appears three times)
Diana Dors (wax model)
Albert Einstein
Bette Davis
Bobby Breen
Marlene Dietrich
American Legionnaire
Mahatma Gandhi (removed)
Adolf Hitler (removed)
Sophia Loren (obscured)
Marcello Mastroianni (obscured)
Timothy Carey (obscured)
Unidentified laughing figure
Jesus Christ (not modeled)

Objects and Props:
Hookah (water pipe)
Fukusuke figure (symbol of good luck)
Stone figure of Snow White
Baritone horn
Drumhead by Joe Ephgrave
Idol of the Hindu goddess Lakshmi
Trophy
Antique stone bust of a Victorian man
9-inch Sony television set
Stone figure of a girl
Cloth doll of Shirley Temple wearing “Welcome The Rolling Stones Good Guys” sweater
Three-stringed flower guitar
Stone figure
Garden gnome
Cloth snake
Flowers

The Beatles’ Instruments:
John Lennon – French horn
Paul McCartney – Cor anglais
George Harrison – Piccolo
Ringo Starr – Trumpet

Removed Or Hidden Figures:
Leo Gorcey
Adolf Hitler
Sophia Loren
Marcello Mastroianni
Timothy Carey
Mahatma Gandhi
Jesus Christ
Unidentified laughing figure

Every name. Every face. Every object. The world’s most iconic album cover remains a living collage of music, art, and imagination.

PUP Brings Existential Joy To NPR’s Tiny Desk With A Fierce Five-Song Set

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PUP’s Tiny Desk set is everything you want from a band called Pathetic Use of Potential — loud, funny, and painfully honest. Existential dread never sounded this fun. Five songs, zero small talk, all heart.

13 Very Valuable Records That’ll Make Your Jaw Drop (and Your Wallet Cry)

For music lovers, there’s vinyl, and then there’s vinyl. The kind that makes collectors gasp, auctioneers grin, and your wallet question every life choice. Here are 13 records that turned grooves into gold — alphabetically arranged for your listening (and dreaming) pleasure.

1. The Beatles – “Yesterday and Today” (Butcher Cover)
Infamously pulled for showing the Fab Four dressed as butchers with doll parts, this rare misprint can fetch over $100,000 if it’s sealed. Even Lennon would say that’s a “ticket to ride.”

2. Bob Dylan – “The Freewheelin’ Bob Dylan” (Original Mono)
Some early pressings swapped out four tracks, including “Rocks and Gravel.” If yours has those, congratulations — you’re holding a $35,000 protest song in your hands.

3. David Bowie – “Diamond Dogs” (Uncensored Cover)
The original sleeve showing Bowie’s full anatomy was quickly withdrawn. A clean copy can reach $20,000, making it the most expensive game of peekaboo in rock.

4. Elvis Presley – “My Happiness” (Acetate)
Elvis’ first-ever recording from 1953, bought by Jack White for $300,000, proving The King’s reign still rules collectors’ hearts (and checkbooks).

5. Frank Wilson – “Do I Love You (Indeed I Do)”
Only two copies of this Northern Soul classic exist. When one surfaced, it sold for nearly $40,000 — truly the holy grail of Motown 45s.

6. John Lennon & Yoko Ono – “Double Fantasy” (Signed Copy)
Autographed by Lennon hours before his death, one copy sold for over $500,000. It’s the most haunting intersection of art, love, and tragedy in vinyl history.

7. Nirvana – “Bleach” (White Vinyl)
Sub Pop pressed only 1,000 white vinyl copies in 1989. One sold for $2,500 — proof that grunge never goes out of style (or value).

8. Prince – “The Black Album” (Original Pressing)
Recalled days before release in 1987, this mysterious funk masterpiece was dubbed “The Funk Bible.” Surviving copies spin for up to $42,000.

9. Queen – “Bohemian Rhapsody” / “I’m In Love With My Car” (EMI Promo)
A misprint credited the wrong side as the A-side, making it worth $5,000. It’s a kind of magic — especially for error hunters.

10. Sex Pistols – “God Save the Queen” (A&M Edition)
Only nine copies of the A&M version survived the label meltdown. Each is worth roughly $20,000 — punk may be anarchy, but it pays.

11. The Velvet Underground & Nico – “Banana Album” (First Pressing with Peel Sticker)
Andy Warhol’s peelable banana design defined cool. A clean first pressing with the banana intact? Around $15,000. Pop art meets pop culture perfection.

12. Tommy Johnson – “Alcohol and Jake Blues”
A 1930 Paramount 78 so rare it’s been compared to the Holy Grail of blues. One sold for $37,000 — proof that the Delta still echoes in dollars.

13. Wu-Tang Clan – “Once Upon a Time in Shaolin”
The one-of-a-kind, single-copy album that sold for $2 million. Art, myth, and marketing genius rolled into one — and still, nobody can stream it.

Spin it if you dare. Because somewhere out there, your old record collection might be funding someone else’s retirement.