#Heatseekers Chart

[trapangeles]

Slim Rose’s Explosive Track ‘Get Out My Clique’ Takes Over trapLAxRadio and Hits 1 Million Views on Instagram

Slim Rose is proving that authenticity and unapologetic self-expression can take an artist to the top. Her latest single, Get Out My Clique, a bold and unfiltered diss track targeting betrayal by former friends, has not only captured the L.A. rap scene’s attention but has secured the #1 spot on the trapLAxRadio Heatseekers chart for two straight weeks. With over 1 million views on Instagram, Slim Rose is turning heads across social media and rising as one of L.A.’s fiercest voices in hip-hop.

Slim Rose Defends Her Own With Powerful Lyrics

In Get Out My Clique, Slim Rose doesn’t hold back. Opening with the bold line, “All you lil fake ass hoes make me sick, kick you bitches out, yeah, get out my clique,” she sets the stage for a relentless call-out of former friends who betrayed her trust. From exposing personal secrets to putting past backstabbers on blast, Slim Rose has created an anthem for anyone who’s dealt with fake friends.

Set against the backdrop of the luxurious Beverly Hotel and Spa, the music video embodies her message with both elegance and raw emotion. The visuals of Slim Rose performing in front of a mirror symbolize her reflection on self-worth, confidence, and growth. The track has not only captivated listeners but is sparking conversations about loyalty, betrayal, and the strength it takes to keep moving forward.

Heavy Rotation on trapLAxRadio—Tune In!

Slim Rose’s Get Out My Clique is in heavy rotation on trapLAxRadio, where fans can tune in to hear it alongside the hottest indie tracks in the West Coast rap scene. Listeners can stream it on trapLAxRadio, experiencing Slim Rose’s powerful lyrics as they climb the charts. With trapLA’s largest indie rap platform behind her, Slim Rose is unstoppable and showing the world that she’s here to stay.

If you haven't seen the video yet, don't miss out! Head to Instagram and watch Slim Rose’s video that’s making waves with over 1 million views. Join the movement, feel the energy, and see why Get Out My Clique is taking over L.A.

Stream Get Out My Clique on Your Favorite Platform

Want to feel the fire yourself? Stream Get Out My Clique on your favorite streaming service and let Slim Rose’s message remind you of the power in cutting out the fakes and keeping your circle tight. Keep an eye on Slim Rose as she rises—she’s just getting started.

Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

Like & Listen To Our Spotify Playlist

trapLAXradio On The Air Now!

The Latest Music, Videos, News, Entertainment……

[thejoyofviolentmovement]

New Video: Matt B and Eddy Kenzo's Sultry "Gimme Love"

New Video: Matt B and Eddy Kenzo's Sultry "Gimme Love" @mattbworld @eddykenzoficial @vitaerecords @phillyflyboy @WMA

Matt B is a Chicago-born, Los Angeles-based singer/songwriter., known globally for crafting romantically-driven, chart topping R&B: His debut, Love & War and his sophomore album Dive landed at #1 on the iTunes R&B charts. Building upon a rapidly growing profile, 2018’s Bryan-Michael Cox-produced EP Rise and his 2021 Cox and Tricky Stewart-co-produced Stateside debut, 2021’s EDEN landed in the Top…

[doyoulikethissong-poll]

Radio Company - Drowning 2019

Radio Company is an American collaborative rockband formed in 2018 by actor and singer-songwriter Jensen Ackles (known from Supernatural, The Boys, Dark Angel) and singer-songwriter Steve Carlson. The two artists have been friends for years and have collaborated previously. Ackles and Carlson were originally roommates when they began writing together.

In the past, the two previously wrote a song titled "Different Town" for Carlson's Rockumentary of the same name. In 2018, the two formed Radio Company in Austin and began writing their first album, Vol. 1, which was released later that fall. The album peaked at number 151 on the US Billboard 200, number 18 on the US Top Rock Albums chart, and at number 1 on the Top Heatseekers chart where it stayed for two weeks. The band debuted at number five on the US Emerging Artists chart.

"Drowning" received a total of 65,2% yes votes!

[marlynnofmany]

Early Efforts

 I was keeping Wio company in the cockpit, because piloting can be boring in empty space, when an alert dinged. Wio paused her story about an underwater race she’d won on her home planet. I held my questions while she tapped the controls, tentacles dancing across the console. Finally she sat back and relaxed.

 “Nothing big,” she told me. “Just a bit of metal junk among the rock.” One of the smaller screens zoomed in on a patch of space that turned out to hold a tumbling asteroid. “It doesn’t register as any known weapon, so it’s probably not a lost mine or what-have-you.”

 Surprised, I looked around the cockpit as if it would give me a view through the walls. “Is this area known for those?”

 “Nope,” said Wio. “But space is big and time is long. It wouldn’t be the first time idiots fighting each other didn’t give a flip about the rest of the universe.”

 “Yeah, or the last,” I agreed. “So what is it, if it’s not dangerous? Can we tell?”

 Wio turned a few knobs and flicked a switch. “Not from this distance. The readings I’m getting are of common ship-building materials.”

 “So it’s from a crash? Do you think it was that crash?” I pointed over my shoulder, again as if we could simply look back to see the wreck I meant. I probably wasn’t even pointing in the right direction. We hadn’t seen the joyriding accident in person, just heard about it when we picked up our latest cargo.

 “Ehh,” Wio said, studying a complicated set of imagery. “Don’t think so. Pretty sure the angle’s wrong. Possible, but unlikely.”

 “If it is, do you think they’ll want their part back?”

 “Depends on what shape it’s in,” Wio said with a wrinkle of her octopuslike forehead. “We’d have better odds selling it for scrap at the next station with a good mechanic’s sector.”

 I scanned the many screens and readouts, trying to get a feel for how much of a detour it was. “Do you think that’s worth checking?”

 “Sure do,” Wio said cheerily, tapping buttons and touchscreens, adjusting dials and fiddling with a couple odd bits on the console that I’m pretty sure were there just for fidgeting purposes. Wio was rarely still.

 “Should we — oh, you already pinged her.” I spotted the little red light that said the captain had been called. I expected a comm call as soon as Captain Sunlight got a spare moment, but she must have been nearby, because she just showed up at the door.

 “Yes?” asked Captain Sunlight, posture as regal as ever and scales a slightly brighter yellow than usual. I still hadn’t found a polite way to ask if the Heatseekers on the ship polished their scales or shed them in privacy for that occasional fresh look. Now certainly wasn’t the time.

 Wio spun in her chair. “Permission to make a minor detour for potential salvage?”

 “Show me.” The captain walked over for a better look, about head height since I was sitting down. She peered at the various readings and gave permission.

 And, since it really was a very minor detour, she just stood there and waited while we closed in on the lump of rock and metal. Soon enough we could see it on the main screen: turning end over end, traveling in roughly the same direction we were, just much slower.

 “No radioactivity,” Wio reported. “No air pockets either, and the chance of germs is near-zero.”

 “The components seem relatively straightforward for a bit of simple machinery,” said the captain, reading a chart that I’d thought listed something else.

 While they went over the analysis, I reflected that I really should ask Wio to teach me the basics of the controls in here. Not enough to fly — I was fully aware of how much training went into that — but just enough so I didn’t feel like an idiot Earthling who’d never been to space before when more than one screen was active.

 “Let’s use the grabber,” Captain Sunlight said. “I’ll prep the cargo bay.” She made several calls to different parts of the ship while Wio unfolded a portion of the controls that I hadn’t seen yet. It was labeled “Grabbing Arm.”

 “Ooh, how’s that work?” I asked.

 “It’s nice and intuitive for once,” Wio said as she ignored it for long enough to steer us right alongside the spinning lump. She locked the speed in (but didn’t make us spin to match it, thankfully. That would have been a bit much). Then she turned her attention back to the panel. It held several regular-sized buttons and one large black one — oh wait, that was a hole.

 When Wio stuck her tentacle in to manipulate the grabbing arm, I quietly shook my head. Of course it’s that kind of arm, I thought as a mechanical tentacle uncurled into view outside. Why would I expect anything with fingers on a ship made by Strongarms? 

 Captain Sunlight finished talking to whoever was in the cargo bay, and gave Wio the go-ahead. I watched the main screen as the grabber lined up carefully with the spinning mass of rock and metal, then gave it a calculated whack. A piece broke off and it stopped spinning.

 Wio peered at a readout. “Nonvaluable mineral,” she said. “I’ll just get the big part.”

 “How big is it?” I asked belatedly, not sure of the grabber’s size for reference. One of the screens probably said.

 “Small enough to fit!” Wio said. With a look of intense concentration (and several tentacles fidgeting behind her), she wrapped the metal grabbing arm around the asteroid and pulled it in.

 “I’m off to the cargo bay,” announced Captain Sunlight. “Keep it nice and gentle.”

 “Will do. No explosions of dirt on the floor if I can help it.”

 Captain Sunlight nodded, even though Wio was watching the screen, and she left. I looked between the two.

 “I’m going to see if I can help,” I said, getting up.

 “Sure thing. I’ll watch from here.” Wio gestured with another tentacle at a small screen on the side that had a great view of the cargo bay. Several crewmembers were waiting by the airlock.

 I hurried down the hall on my long human legs. I wanted to see what this thing was. Maybe it was important, or valuable, or both. Probably not, but who knew?

 When I got there, the airlock was already closed again, and Eggskin was putting away their hand scanner. Blip and Blop each had a hand on the lumpy rock about the size of a two-person hoverbike. They seemed to be the designated “hold it in place” team, which they were good at, because of all the muscles. The goggles they wore and the pickaxes shoved in their waistbands said that might not be all they hoped to do.

 Eggskin said, “No trace of anything biological,” and moved to stand beside the captain. The two Heatseekers were a healthy distance from the rock, clearly to give the Frillian twins plenty of pickaxing room. I thought I could see a bit of metal among the lumps, but it was hard to make out. The rock looked like several pieces had clumped together around it. I couldn’t say whether they were stuck with glue, welding, or just gravity and time. A smattering of gravel had already fallen to make the floor treacherous.

 Blip and Blop seemed aware of that, since they moved their feet by sliding instead of stepping. At Eggskin’s declaration, the captain nodded a go-ahead, and the Frillians grabbed their pickaxes.

 A voice from behind me complained, “I was going to watch…”

 I turned to see Zhee retreating back into the hallway, all gaudy purple exoskeleton and disapproval.

 He continued, “But I think I’ll wait out here.”

 I asked, “Do you think the chips are going to—” then the first pickaxe hit with a thunderous clang, and I hustled out to join him. Captain Sunlight and Eggskin had also backed up further. I was pretty sure one or both of them were saying words of caution, but I couldn’t make it out for sure.

 Zhee clicked his pincher arms and angled his antennae in disapproval. He probably had opinions about the best way to disassemble the chunk of rocks and nonsense. Zhee always had opinions.

 A concerned voice from down the hall asked, “What’s happening?”

 I called back, “Salvage.”

 Paint trotted up, her expression worried and her mottled orange scales less shiny than the captain’s. I’d definitely have to ask about the polishing sometime. Maybe.

 “What kind of salvage?” she asked.

 I told her, “Rocks and metal.”

 Zhee said, “Loud and messy.”

 Before Paint could press for details, the axe noises were replaced by a minor avalanche of rocks etcetera collapsing onto the cargo bay floor. The silence afterward made me rub my ears.

 Paint looked around the corner, then dart forward. Zhee and I followed.

 The pickaxes were already set down in favor of hands for picking through the mess. Blip and Blop pulled out something long and angular, each grabbing a different end and having a split-second tug of war like two puppies with the same stick. Then they held it up for the captain together.

 “Got it!”

 “Look at this!”

 We all looked. It was dented gray metal, long with a couple of joints, and with wires dangling out the bigger end. Straightened out, it would have been a little taller than the Frillians.

 I asked the obvious question. “What is it? Broken antenna?”

 Blip rotated it, peering at the wires, then the bent sections. “I don’t think so. These parts seem supposed to move.”

 “Yeah, and this end’s serrated!” Blop said, pointing at the narrow end. “It’s almost like…” He grabbed the last two segments and wrenched them together. The metal screeched. The serrations fit together perfectly, in a startling imitation of Zhee’s pincher arms.

 We all looked at him.

 Zhee hissed quietly and angled his antenna into extreme displeasure. “Keep breaking,” he said.

 “What? Why?” I asked.

 Zhee pointed a pincher. “It is old enough to be ugly. An embarrassment to Mesmers everywhere.”

 A few careful questions and one angry rant later, it became clear that this Mesmer at least was certain that every one of his species would be personally offended by the sight of this relic’s lack of vibrant colors and/or gemstone decorations.

 No, it hadn’t lost its decorations; there were no sockets for gems. No, it hadn’t lost its paint; there were no traces, and paint was only for utter peasants who couldn’t anodize metal.

 “Ask Trrili,” Zhee challenged. “She’s from a different moon entirely.”

 Captain Sunlight quietly called Trrili to the cargo bay to give her opinion on something unspecified. Trrili arrived in a storm of shiny black and blood-red, taller than Zhee and curious why she’d been summoned. She caught sight of the relic.

 “Throw that out the airlock immediately,” Trrili hissed.

 Zhee said, “I suggested they break it.”

 “That’s good too.”

 I said, “I can’t believe no Mesmer ever would want to keep this for historical value, if it’s as old as all that. It’s a ship’s grabber arm, right? It might have broken off in some historical battle or something! It could be incredibly important!”

 They said, “It’s not,” in perfect unison.

 Wio’s voice came over the loudspeaker from where she’d been watching on the cameras. “There’s a Mesmer colony not far from here. Public info says it’s relatively new, so not the one that lost that, but it would take some detailed math and a huge map to track how far it could have drifted in that many centuries anyway. It can’t hurt to ask them if they want it for a museum, right?”

 Zhee said that would be deeply embarrassing to even ask.

 Trrili wanted nothing to do with it.

 Captain Sunlight decided it was worth a shot.

 Both Mesmers stalked out of the cargo bay with loud declarations that they would be on the other side of the ship, and not to bother them until the shame was done with.

 The captain asked Blip and Blop to clean the thing up as best they could. Paint volunteered to help, and ran to get brushes.

 I asked permission to be in the cockpit during the phone call. Surely that opinion couldn’t be universal. Surely.

 Or, I learned soon after, maybe it could.

 “A what?” asked the local authority, a pink-and-blue Mesmer with glittering chips of crystal forming intricate whorls on her exoskeleton. “I don’t think I heard you correctly.”

 Captain Sunlight addressed the screen with dignity. “A historical artifact of Mesmer design. It appears to be a mechanical version of your glorious blade-arms, made of gray metal.”

 “That’s disappointing,” the authority said with a flick of both antennae. “Kindly throw it into the nearest sun.”

 I blurted, “What?”

 Captain Sunlight gave me a look, but didn’t say to be quiet. I took that as permission to keep talking.

 “But this is part of your history! A record of how you got where you are!”

 “Ah, a human,” the Mesmer said with a sigh. “Tell me, when your offspring commit an act of art for the first time, you are proud, yes? And so are they, for a while? You might even put it on display. But then they grow up and never want to see it again out of shame? This does not deserve a place on the fridge. Into the sun it goes.”

 Nothing I could say would sway that decision, not that Captain Sunlight let me try for long. She turned the conversation to business, and ended up convincing the Mesmer authority to pay us a small fee for the inconvenience of going out of our way. (We were on official courier business, after all, and time was money.) (Yes, people say that even in space. The Mesmer didn’t bat an antennae at it.)

 The final agreement also included an escort ship, partly to make sure we really did get rid of the thing, and partly to help us do so. It had a tractor beam thingy that could be set in reverse to punt things across the starfield. Very handy for launching artifacts into the sun. No, I didn’t ask what they normally used it for. That kind of tech could easily have been an accidental discovery, and I wasn’t about to bring up any other possible sources of cultural embarrassment.

 But I was going to quietly give my respects to the ancient bit of machinery before it was atomized. I stood in the cleaned-up cargo hold next to the unassuming piece of dull, dented metal. Crouching, I ran my fingers over it, committing the feel to memory: from the torn wires to the crooked serrations. A couple of those little teeth were bent. I’d never know what bent them.

 Loud conversation approached, and my crewmates entered the room, bustling around to prepare. I stepped back as the captain arrived, and I took up a position by the door. I had a good view of the airlock from there.

 As Blip and Blop in their exo suits hefted it to throw, as Wio angled the ship to get us in line with the escort, as Captain Sunlight gave the command and the relic was launched toward the distant sun, I silently gave my respects. I sent mental appreciation to the ages-ago Mesmers who had made it.

 Great job, you guys. You must have been SO proud. 

~~~

These are the ongoing backstory adventures of the main character from this book.

Shared early on Patreon! There’s even a free tier to get them on the same day as the rest of the world.

The sequel novel is in progress (and will include characters from these stories. I hadn’t thought all of them up when I wrote the first book, but they’re too much fun to leave out of the second).

[vodkaandsnakes]

On this day, June 3, in Type O Negative history:

Type O Negative play Dynamo Open Air in Eindhoven, Netherlands (1995)

Bloody Kisses is #21 on the Billboard Heatseekers chart (1995)

Type O Negative play Ozzfest at the Blossom Music Center with Black Sabbath, Ozzy Osbourne, Marilyn Manson, and Pantera in Cuyahoga Falls, OH (1997)

Type O Negative play Rock im Park in Nuremberg, Germany (2007)

Type O Negative play The Grove of Anaheim with 3 Inches of Blood in Anaheim, CA (2008)

[d-criss-news]

A.C.T.'s 2nd Annual All Hallows' Gala!

October 27, 2023 A.C.T (American Conservatory Theater) 415 Geary St San Francisco, CA 94102

Ticket Information

Special Guest Artist: DARREN CRISS

About Darren Criss

Since bursting onto the pop-culture landscape over a decade ago, Darren Criss has embodied the kind of kaleidoscopic artistry that’s entirely uninhibited by form or genre. The multi-hyphenates illustrious career spans television, film, music and stage. 

Last year, Criss shared the Broadway stage opposite Sam Rockwell and Laurence Fishburne in “American Buffalo,” which received a Tony Award-nomination for Best Revival of a Play. He also co-hosted “The Tony Awards: Act One” with Julianne Hough. The duo kicked off their hosting duties with a rousing performance of singing and dancing to an original tune written by Criss, titled “Set The Stage.” In 2015, he returned to the stage as Hedwig in “Hedwig and the Angry Inch.” In the titular role, critics alike raved, including The New York Timescalling his performance “mesmerizing.” He made his Broadway debut in 2012 as J. Pierrepont Finch in “How To Succeed In Business Without Really Trying.” With Criss at the helm, the revival made just under $4 million, which proved to be the most lucrative three weeks of its 11-month run. 

His portrayal of Andrew Cunanan in Ryan Murphy’s award-winning television series “American Crime Story: The Assassination of Gianni Versace” was met with widespread critical acclaim, earning Criss a Primetime Emmy Award, Golden Globe Award, Screen Actors’ Guild Award and Critics’ Choice Award. Known for playing Blaine Anderson on FOX’s global phenomenon “Glee,” he was nominated for two Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series. He also received an Emmy Award nomination in 2015 for Best Original Music and Lyrics for the song “This Time,” which appeared in the series finale. 

As a singer and songwriter, Criss released his first-ever holiday album entitled “A Very Darren Crissmas” on Decca Records in 2021. In it, he brought his radiant imagination and encyclopedic musical knowledge to a wildly eclectic collection of songs: big-band standards and novelty tunes, mid-century musical numbers and modern-day folk-pop ballads. Criss’ original track “Drunk on Christmas” featuring country chart-topper Lainey Wilson, showcased his effortless ingenuity as a songwriter. The result is an essential new entry into the holiday-music canon, both thrillingly unpredictable and touched with a timeless sense of Christmas magic. Made with Ron Fair, multi-Grammy® nominee and producer of numerous GRAMMY-winning hits, “A Very Darren Crissmas” also featured special guest appearances by Adam Lambert and Evan Rachel Wood. 

“A Very Darren Crissmas” was only the latest evidence of Criss’ singular gifts as a song interpreter. In 2021, he delivered a collection of character-driven singles as part of his solo EP titled “Masquerade” (BMG). In 2017, his EP “Homework” debuted at #1 on Billboard’s Heatseekers Album chart and in the same year, introduced his indie-pop band Computer Games. Through the years he’s also written songs for the comedy musical “Royalties,” “Central Park,” co-wrote “Starting Now” for Disney and performed by Brandy, and headlined the iHeartRadio Music Festival with Steve Aoki. 

Prior to his television career, the San Francisco native pursued his acting degree at the University of Michigan. In his senior year, Criss and his friends created a Harry Potter musical parody entitled, “A Very Potter Musical” as a fun project for their classmates, friends and other Harry Potter fans. Along with starring as the boy wizard himself, Criss also lent several of his songs to be used in the show. Within weeks of posting the musical online, it became a YouTube hit, garnering millions of views and musical theater‐world attention.

Using “A Very Potter Musical” as a springboard, Criss and his writing partners started StarKid Productions. Within a year, they wrote and produced subsequent online hits like “Starship” and “A Very Potter Sequel,” both of which he wrote the music and lyrics for. As a result, the StarKid brand has grown to become just as popular as the shows themselves, spawning an enormous cult following from all over the world. 

Criss and StarKid Productions appeared on the Billboard charts through four separate releases – all within the year 2012. These include the #1 spot on Billboard’s Top Cast Album for “Starship,” the #19 spot on the Top Compilations chart for “A Very StarKid Album,” and the #30 spot on Billboard's Heatseekers chart with Criss’ self‐released EP “Human.” 

Criss’ credits include host of ABC’s “The Queen Family Singalong,” “Muppets Haunted Mansion,” “Midway,” “Girl Most Likely,” “American Horror Story,” “Web Therapy,” and “Eastwick.” He is also the founder of New York City’s first show tunes music festival, Elsie Fest.

[cyarsk52-20]

happy anniversary to both rage against the machine self titled debut and the battle of Los Angeles both turning 25 and 32 years old this week respectively

The Battle of Los Angeles is the third studio album by American rockband Rage Against the Machine, released by Epic Records on November 2, 1999. At the 43rd Annual Grammy Awards, it was nominated for Best Rock Album, and the song "Guerrilla Radio" won the award for Best Hard Rock Performance. In their year-end lists, Timeand Rolling Stone magazines both named the album the best of 1999.

The album has been certified double platinum by the Recording Industry Association of America, indicating sales of at least two million units. It would be the last full-length studio album of original material released by the band before their first breakup in 2000 (their next album consisted entirely of covers and was released after the breakup).

singles:

"Guerrilla Radio" Released: October 12, 1999

"Sleep Now in the Fire" Released: November 4, 1999

"Testify" Released: June 7, 2000

Rage Against the Machine is the debut studio album by American rock band Rage Against the Machine. It was released on November 3, 1992, by Epic Records, one day after the release of the album's first single, "Killing in the Name".The album was based largely on the band's first commercial demo tape of the same name, completed 11 months prior to the album's release. The tape contained earlier recordings of seven of the ten songs.

With politically themed, revolutionary lyrical content, the album artwork was notable for its graphic photograph of Vietnamese monk Thích Quảng Đức performing self-immolation in June 1963.

The album was a critical success upon release, with several critics noting the album's politically motivated agenda and praising frontman Zack de la Rocha's strong vocal delivery. Ranked number 24 on Rolling Stone's list of the "100 Greatest Metal Albums of All Time", the album peaked at number 1 on the US Billboard Heatseekers chart and number 45 on the US Billboard 200 and has gone on to achieve a triple platinum sales certification from the Recording Industry Association of America (RIAA) in the US. Multiple publications have ranked it as one of the best albums of the 1990s.[citation needed] In 2020, It was ranked 221 in Rolling Stone's updated list of the "500 Greatest Albums of All Time".

singles:

"Killing in the Name" Released: November 2, 1992

"Bullet in the Head" Released: December 29, 1992

"Bombtrack" Released: June 20, 1993

"Freedom" Released: August 23, 1994

[gaymer-hag-stan]

On the 19th of October, twelve years ago, Girls' Generation released their third Korean full-length album, The Boys.

Musically, The Boys mostly contains uptempo dance tracks and occasionally empowerment ballads.

In order to expand the group's endeavor to the global music scene, the group appeared on television shows in the United States and France.

Upon its release, The Boys received generally positive reviews from music critics. Commercially, the album was a success in the group's native country South Korea, peaking atop the Gaon Album Chart and was the best-selling album of 2011 in the country. The project won the Digital Daesang Awards at both the 26th Golden Disk Awards and 21st Seoul Music Awards. It also achieved success in other Asian countries, including Japan (reaching number 2 on the Oricon Albums Chart) and Taiwan (reaching number 3 on the G-Music chart). The record additionally charted at numbers 64 and 130 in Spain and France, respectively. In the United States, The Boys reached number 2 on the World Albums and number 17 on the Top Heatseekers.

[tensleepshrike]

MILLIE AND SLEEP/DREAMING.

She's a rotisserie sleeper and heatseeker. If you share a bed with her, you can reasonably expect her to roll around the entire night and always have at least one limb draped over you.

Dreams regularly and vividly. Her dreams have occasionally been prophetic in nature but for very mundane events.

Sometimes, while dreaming, enters the Dreamlands, an alternate dimension/reality similar to our own but inhabited by extradimensional beings. She is lucid for these occasions and interacts minimally with her environment, preferring to hide until she wakes so as not to attract any more attention than what she already receives from her progenitor.

When in the Dreamlands, the sleeping vessel she leaves behind on Earth manifests shifting patterns on her skin like those of a dreaming cephalopod. The most common patterns are the vasculature of leaves, raised sigils, and star charts.

Has sleepwalking episodes once or twice a month coinciding with these sojourns to the Dreamlands. She usually ends up pacing around her apartment until she wakes but has been known to make it outside. The furthest she's walked is three blocks away. She can be spoken to in these states but replies in Deep Speech, which has been the ruin of a few good samaritans wishing to help her.

Divinity functions as a somewhat sadistic self-defense mechanism while she is having out of body experiences. Attempts to touch her will result in this happening ( tw for body horror/gore in linked gif! ).

[black-arcana]

STITCHED UP HEART Is 'Already About 20 Songs Into The Next Record'

In a new interview with TotalRock's "Louder With Ore B" radio show, STITCHED UP HEART frontwoman Alecia "Mixi" Demner spoke about the band's plans for the follow-up to 2023's "To The Wolves" album. She said (as transcribed by BLABBERMOUTH.NET): "I think the more we create music, the happier we wanna go. Part of it is [guitarist Merritt Goodwin's] fault, and my fault. 'Cause I feel so brutal — I feel so brutal when I scream. But now the next record — we're already about 20 songs into the next record. We're just going for it. And I'm just, like, 'Just write a breakdown after a breakdown after a breakdown.'"

Added Merritt: "I grew up like listening to melodic death metal from Sweden and Finland and stuff. So, back in America when people are, like, 'Oh yeah, this is metal,' but it's just, like, AC/DC or whatever, I'm, like, 'No, no, man.' We have to really, really downtune and do all the cool pedal notes and stuff.

"But yeah, so the next album, we're just trying to get it the next step to go a little bit heavier and a little bit heavier," he explained. "We're just gonna continue to try to push that boundary a little bit."

Elaborating on when fans might be able to expect new music from STITCHED UP HEART, Mixi said: "Yeah, we're just writing [right now]. We were writing before the record came out. We were ready. [Merritt's] super inspired, and we've got a home studio set up. And so we're just having all the pre-production done now. We haven't decided on a full-on producer yet, but as soon as we figure out who's gonna fully produce the record, then we're just gonna go for it."

"To The Wolves" arrived on September 1, 2023 via Century Media Records.

Formed in Los Angeles, California in 2010, STITCHED UP HEART has gained recognition for its intense live performances and deeply personal songwriting.

Mixi is joined in STITCHED UP HEART's core lineup by James Decker on drums, Merritt Goodwin on guitar and Randy Mathias on bass. They released their album titled "Never Alone", which debuted in the Top 10 of both the Billboard Heatseekers and Hard Rock charts. With their single "Finally Free" organically gaining hyper rotation on active rock radio the band paved the way to success for the next two singles "Monster" and "Catch Me When I Fall".

In 2020, STITCHED UP HEART released its sophomore album, "Darkness". Produced by Matt Good, the LP delved further into the band's introspective songwriting and showcases their growth as musicians. Tracks like "Lost" (featuring Sully Erna of GODSMACK) and "My Demon" highlighted the band's ability to blend heavy guitar riffs with anthemic choruses, making a lasting impact on the rock genre.

[doyoulikethissong-poll]

Muse - Endlessly 2003

Absolution (2003) is the third studio album by the English rockband Muse. It was produced by Muse and Rich Costey, with additional production by John Cornfield and Paul Reeve. Costey had worked with acts Muse admired, including Rage Against the Machine and Audioslave, and wanted to help give Muse a bigger, more aggressive sound, and Absolution is more polished and direct than Muse's previous albums.

Absolution reached number 1 on the UK Albums Chart, number 1 on the Billboard Top Heatseekers chart and number 107 on the Billboard 200.. A 20th-anniversary reissue with bonus tracks was released in 2023.

"Endlessly" was the last song to be completed. The band struggled to improve on the simplicity of Matt Bellamy's demo, recorded with a piano and a four-to-the-floor drum machine rhythm. Eventually, they used lighter, jazzier drumming and an old Hammond organ. At first glance it seems like a fairly simple song, but it contains some experimental elements throughout the song. In terms of production, "Endlessly" has some hidden details in the mix, especially reversed elements, such as bongos throughout the song and piano chords in the bridge.

"Endlessly" received a total of 67,8% yes votes!

[thelensofyashunews]

That Mexican OT Shares 'Texas Technician' Mixtape, Twists His Fingers with Moneybagg Yo in New Video

Rolling his r's with reckless abandon as he lays down his rapidfire rhymes, That Mexican OT is Texas to the bone. Today, the Bay City native shares Texas Technician, his new mixtape, and a high-octane tribute to his home state's bountiful rap scene. Refining the all-encompassing sound that he developed for his breakout 2023 album Lonestar Luchador, the new Texas Technician hones in on a sound that has percolated in the Lone Star State for decades–slow moving, warped, haunting, speaker-knocking Texas rap. Along with A-listers from across the country, OT rolls out the purple carpet for fellow Texans, including Trill-era legends like Paul Wall, Slim Thug, Z-Ro, and Propain, and contemporaries like Trapboy Freddy, OTB Fastlane, and his Bay City running mates Drodi and Hogg Booma.

Texas Technician is home to the recent single "02.02.99," a haunting horrorcore heatrock which became one of OT's biggest hits. Released in early January, the song has generated over 34million streams across platforms. "02.02.99" peaked at #74 on the Billboard Hot 100, spending three weeks on the chart. He followed "02.02.99" with "Point 'Em Out," a collaboration with DaBaby that spawned a Pulp Fiction-referencing video. These highlights are joined by 14 new bangers, including the apocalyptic "Chicken Strips & Ass," his latest collab with "Johnny Dang" compadre Paul Wall, the high-rolling "Cowboy In an Escalade" ft. Trapboy Freddy, the screwed-up outlaw story "Crooked Officer" ft. Z-Ro, "Hola," a Fredo Bang-featuring slapper that somehow borrows from both Tejano music and East Coast club, and more. With production from regular collaborators like DJ Skelez and national names like Bankroll Got It, the new tape is an immersive world into OT's day-to-day, filled with dirty syrup, clean Escalades, and an endless parade of sold-out dates.

Another major highlight is "Twisting Fingers," OT's collaboration with Moneybagg Yo, which receives a brand new video today. Produced by Bankroll Got It, "Twisting Fingers" is a low-down, dirty, bass-heavy banger with stabs of horror movie strings, as OT and Bagg each promise to stay loyal to gang no matter how successful they become. Directed by OT's frequent shooter DGreen Filmz, the video is a flashback to the rapper's rambunctious school days. He talks smack on the bus to school, shoots dice in the restroom, and learns lessons in American sign language from Mr. Bagg, aka Moneybagg Yo.

"Point 'Em Out" and "02.02.99" continue OT's hot streak, which started last summer and made him one of the most exciting breakthrough rap stars of 2023. He started his legendary run with "Johnny Dang" ft. Drodi & Paul Wall, which spent 12 weeks on the Billboard Hot 100, earned GOLD status from the RIAA, and appeared on Lonestar Luchador, his acclaimed album. Acclaimed by Pitchfork (7.5), last July's Lonestar Luchador made an immediate impact, reaching #1 on the Billboard Heatseekers Albums chart and peaking at #59 on the Billboard 200. Last fall, That Mexican OT completed the "Lonestar Luchador Tour," the Bay City native's first-ever headlining tour, selling out dozens of dates across the country. The rapper earned "Best Of 2023" notices from The New York Times, Rolling Stone, Billboard, Complex, and Pitchfork,

Recently profiled by the Los Angeles Times, SPIN Magazine, and his hometown Houston Chronicle, and featured on XXL's The Break, That Mexican OT is outta here. Stay tuned for much more from the Bay City, TX rhymer, including a brand new project, as he launches into the stratosphere.

[allmusic]

AllMusic Staff Pick: Alex G Beach Music

While the singer/songwriter may have had multiple so-called breakthrough releases as his star rose, this, his Domino label debut, marked his debut on the Billboard side charts (Heatseekers Top Ten), while he was still recording D.I.Y.-style, alone at home. A loose, exploratory album that leaves indentations in dry, windblown sand rather than distinct footprints, it includes tour favorites like "Bug" and "Brite Boy."

- Marcy Donelson

[vodkaandsnakes]

On this day, May 6, in Type O Negative history:

Type O Negative play the Target Center with Queensryche in Minneapolis, MN (1995)

Bloody Kisses is #19 on the Billboard Heatseekers chart (1995)

Type O Negative play Rock City with Entombed and Stuck Mojo in Nottingham, England (1997)

Type O Negative play Sonar with Celtic Frost and Brand New Sin in Baltimore, MD (2007)

[fyeahdprian]

MUSIC: DPR IAN RELEASES ENTRANCING NEW SINGLE “PEANUT BUTTER & TEARS” AHEAD OF RELEASING HIS NEW EP

2023.08.04 | By: Jenna Tokioka

💿 MUSIC: NEW SINGLE 💿

DREAMers! What do you think of DPR IAN’s new single?! From the entrancing melodies, stunning visuals, and of course, DPR IAN’s charming personality on-screen, “Peanut Butter & Tears” has demonstrated his depth and growth as an artist. The anticipation for his new EP, Dear Insanity..., which will be released in October, has come to an all-time high with the release of his new single. As we all wait for the release of his new EP, let’s dive into “Peanut Butter & Tears,” and see what DREAMers can look forward to in the near future in regards to DPR IAN’s activities and promotions.

THIS IS DPR IAN

Born and raised in Sydney, Australia, and currently based in Los Angeles, DPR IAN is a trailblazing artist known for creating music that transcends genres, while constructing his own audiovisual language to communicate things for which there are no words. With his debut studio album, Moodswings In To Order, released alongside a short film he directed and edited, the visual artist blurred the lines of Pop, R&B, Rock, and Electronica to convey an atmospheric exploration of self-reflection and spirituality, as seen through the eyes of his misunderstood alter ego, “MITO.” 

Moodswings In To Order  achieved resounding global success, debuting at No.1 on Heatseekers, No.7 on Spotify’s Top Albums Debut Global and US Charts, and No.146 on the Billboard 200 Chart, earning him spots on esteemed music festival lineups such as Coachella, Head in the Clouds NY and LA, and Lollapalooza. The accompanying MITO short film, further showcased his artistic brilliance, and was brought to life during a sold-out 4-month world tour across North America, Latin America, the United Kingdom, Europe, Asia, and Australia. 

Based in Seoul, South Korea, DPR IAN began composing and creating music under the alias in late 2015, as one of the founding members of the creative collective, DPR ("Dream Perfect Regime"). The collective is known for producing multimedia projects for its diverse roster of talent, with DPR IAN serving as its Chief Director and Editor. His unique artistic vision and meticulous attention to detail have elevated him to a prominent solo artist, whose work resides in the realm between light and shadow. Through the titular character of “MITO,” the 32-year-old artist created his most personal work to date.

NEW SINGLE: “PEANUT BUTTER & TEARS”

Ahead of his festival performances this weekend at Head in the Clouds LA and Lollapalooza, renowned Korean-Australian artist, DPR IAN, makes a triumphant return with his latest indie-pop anthem, “Peanut Butter & Tears.” The electrifying new single, written and produced by DPR IAN, is available to stream on digital platforms, and is from his highly anticipated upcoming EP, Dear Insanity..., scheduled for release on October 06, 2023.

In his signature style, DPR IAN accompanies the release of "Peanut Butter & Tears," with a visually striking and captivating music video, directed and edited by IAN himself! The video delves into the prequel story of his enigmatic alter ego, "MITO," a character previously explored throughout his debut studio album and EP.

DPR IAN:

"‘Peanut Butter & Tears portrays the fading playfulness of our youth, as we embark on a bittersweet journey into adulthood. But before MITO, there was Insanity. The ‘Dear Insanity...’ EP is the prequel story to MITO’s creator, ‘Mr. Insanity.’ This EP follows MITO on his journey to and throughout the dreamlike realm known as ‘The Other Side.’ As he traverses through The Other Side, IAN slowly begins to lose his sanity bit by bit, thus fully turning into his new alter ego, ‘Mr. Insanity’, at the story’s climax.” - DPR IAN.

Pre-save + pre-order DPR IAN'S EP: ‘Dear Insanity...’

CREDITS:

We want to give a big thank you to The Orchard for allowing EVERLAST KOREA to cover DPR IAN’s activities and promotions.The Orchard is a leading music distribution company, operating in 45 markets worldwide. With comprehensive artist & label services offering and including full-service marketing, sync licensing, video services, transparent data analysis, advertising, rights management, digital and physical distribution, and more, The Orchard empowers creators and businesses to grow and adapt in the dynamic global industry. 

SOURCES:

All photos and videos are credited to Dream Perfect Regime (DPR).

FOLLOW DPR + DPR IAN:

DPR - YouTube

DPR - Facebook

DPR - Instagram

DPR - Official Website

DPR IAN - Twitter

DPR IAN - Instagram

DPR IAN - Official Artist Profile  

DPR IAN - Official Streaming Links

#DPR #DPR_IAN #K_POP #K_INDIE #MUSIC #COMEBACK #NEW_EP#NEW_SINGLE #SOLO_ARTISTS #THE_ORCHARD #ARTICLES #MAGAZINE #EDITION_2023 #EVERLAST_WORLD

[radiomaxmusic]

Feature LP / Crystal Waters - Storyteller (1994) / 9am ET / 10-10-24

Storyteller is the second studio album by American singer-songwriter Crystal Waters, released on May 17, 1994, by Mercury Records. The album peaked at number 199 on the US Billboard 200, number 73 on the Top R&B/Hip-Hop Albums chart and number 8 on the Top Heatseekers chart. Four singles were released from the album: “What I Need”, “Relax”, “Ghetto Day”, and the hit, “100% Pure Love”. “Ghetto…