Press Play At Home: Watch jxdn Perform An Electric Rendition Of "Angels & Demons" With Travis Barker
In the latest Press Play At Home video, witness rising pop-punk prince jxdn perform "Angels & Demons" with Travis Barker—his co-writer and label boss—on drums
We all have unforgettable moments in life that illuminate our path forward. For jxdn, born Jaden Hossler, one big spark came to him while in the mosh pit at a Juice WRLD concert; the connection he felt to the late rapper's music and emotional honesty inspired him to make his own tunes.
In the latest episode of Press Play At Home, witness the 20-year-old rising pop-punk prince slay "Angels & Demons" with Travis Barker—his co-writer and label boss—on drums. The 2020 track was jxdn's debut on Barker's DTA Records; the singer was the first artist signed to the new imprint.
Check out jxdn's rockin' performance of "Angels & Demons" above and enjoy more episodes of Press Play At Home below.
Photo: Harmony Korine
Iggy Pop Announces New Album, 'Free', Shares Title Track
"By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long. But I also felt drained… I wanted to be free," the Godfather of Punk explained
Today, GRAMMY-nominated punk forbearer Iggy Pop revealed the details for his forthcoming 18th solo studio album, along with its short—at under two minutes—yet spacious title track, "Free." The 10-track LP is due out Sept. 6 and follow's 2016's GRAMMY-nominated Post Pop Depression.
"This is an album in which other artists speak for me, but I lend my voice," Pop explains in a press release.
The statement notes jazz trumpeter Leron Thomas and L.A.-based electric guitarist Noveller as the "principal players" collaborating with Pop on this exploratory new project. On "Free," Thomas' horn and Noveller's guitar add layers of depth, somberness and exploration, as Pop's echoing voice cuts through twice to proclaim, "I want to be free."
Pop adds that his last tour left him feeling exhausted but ready for change, and the shifts eventually led him to these new sounds:
"By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long. But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that's an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need—not happiness or love necessarily, but the feeling of being free. So this album just kind of happened to me, and I let it happen."
Post Pop Depression earned the former Stooges frontman his second GRAMMY nod, at the 59th GRAMMY Awards for Best Alternative Music Album. It was produced by GRAMMY winner Josh Homme of Queens of the Stone Age and as a tribute of sorts to David Bowie, Pop's longtime friend the producer of his first two solo albums, and was released shortly after Bowie's surprising passing.
As the press release states, "While it follows the highest charting album of Iggy's career, Free has virtually nothing in common sonically with its predecessor—or with any other Iggy Pop album."
ReImagined At Home: Watch Ant Clemons Croon The Cosmic Blues In Performance Of Bill Withers' "Ain't No Sunshine"
Singer/songwriter Ant Clemons puts his own spin on Bill Withers' immortal "Ain't No Sunshine" in an exclusive performance for ReImagined At Home
Why has Bill Withers' immortal hit, "Ain't No Sunshine," endured for decades? And, furthermore, why does it seem set to reverberate throughout the ages?
Could it be because it's blues-based? Because it's relatable to anyone with a pulse? Because virtually anyone with an ounce of zeal can believably yowl the song at karaoke?
Maybe it's for all of those reasons and one more: "Ain't No Sunshine" is flexible.
In the latest episode of ReImagined At Home, check out how singer/songwriter Ant Clemons pulls at the song's edges like taffy. With a dose of vocoder and slapback, Clemons recasts the lonesome-lover blues as the lament of a shipwrecked android.
Giving this oft-covered soul classic a whirl, Clemons reminds music lovers exactly why Withers' signature song has staying power far beyond his passing in 2020. It will probably be a standard in 4040, too.
Check out Ant Clemons' cosmic, soulful performance of "Ain't No Sunshine" above and click here to enjoy more episodes of ReImagined At Home.
Fleetwood Mac in 1975
Photo: Michael Ochs Archives/Getty Images
Poll: From "Dreams" To "The Chain," Which Fleetwood Mac Song Is Your Favorite?
"Dreams" experienced a charming viral moment on TikTok after a man posted a video skateboarding to the classic track, and now it's back on the charts, 43 years later
In honor of Fleetwood Mac's ethereal '70s rock classic "Dreams," which recently returned to the Billboard Hot 100 thanks to a viral TikTok skateboard video from Nathan Apodaca, we want to know which of the legendary group's songs is your favorite!
Beyond their ubiquitous 1977 No. 1 hit "Dreams," there are so many other gems from the iconic GRAMMY-winning album Rumours, as well as across their entire catalog. There's the oft-covered sentimental ballad "Landslide" from their 1975 self-titled album, the jubilant, sparkling Tango in the Night cut "Everywhere" and Stevie Nicks' triumphant anthem for the people "Gypsy," from 1982's Mirage, among many others.
Vote below in our latest GRAMMY.com poll to let us know which you love most.
Photo: Christopher Polk/Getty Images
The Making Of Paramore's "Ain't It Fun"
Hayley Williams and Taylor York recall the creative process for their first GRAMMY-winning song, including an unexpected emotional element
(The Making Of GRAMMY-Winning Recordings … series presents firsthand accounts of the creative process behind some of music's biggest recordings. The series' current installments present in-depth insight and details about recordings that won 57th GRAMMY Awards.)
(As told to Chuck Crisafulli)
Taylor York: This song was a complete surprise. I came up with a lot of ideas that I thought sounded like what we were supposed to write — big rock guitar riffs that would have fit on our earlier records. As I played each idea for Hayley she'd say, "Yeah, that's cool but what else do you have?" I went through everything I had until I got to the last idea — one that I wasn't planning on showing her because I thought she'd hate it. But it was all I had left. She got excited about it and from there the song just built organically and naturally. It all came together in a sound and a style that we had never really explored. The fact that "Ain't It Fun" came together so easily and worked so well really was the turning point for the writing process of the whole record, and it helped us fall in love with the writing and recording process at a new level. The music was something that I had felt connected to, but I didn't think it was Paramore. It turned out that whatever we feel connected to absolutely is Paramore.
Hayley Williams: I remember walking into Taylor's hotel room one of the first days [after] our move to L.A. to make our next album. He played that little marimba part on a loop. I thought it was so cool — I went straight back to my room to get pens and a notebook. By the time I got there I already had a melody, and by the time I got back to Taylor's room I already had the first few lines of lyrics.
We started demoing vocal parts in Taylor's room and when we got to the bridge we felt like we needed to hold on a root note and let the tension build with a lot of voices. Taylor and I stacked our voices about 10 different times and it sounded unbelievable — but not in a good way. We decided that we needed really good singers to come in and get it right. A couple of months later we're recording at Sunset Sound and a local gospel choir comes in, and by the second practice run-through it was perfect. I welled up with tears because I've loved gospel music all my life and to hear a choir singing our parts — belting out that harmony — it just felt insane to be in a band that could have that kind of amazing moment as part of our song. All of a sudden we felt big, like we had really made it. Yes, we've got a gospel choir on our record. This is really happening.
(At the 57th GRAMMY Awards, Paramore's Hayley Williams and Taylor York won Best Rock Song for "Ain't It Fun," marking the first GRAMMY wins of their respective careers. Paramore are scheduled to kick off a U.S. theater tour on April 27 in Augusta, Ga.)
(Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis and Elvis: My Best Man.)