Tree Paine, Swift’s longtime publicist, responded, tweeting, “Enough is enough with these fabricated lies about Taylor from Deuxmoi. There was NEVER a marriage or ceremony of ANY kind. This is an insane thing to post. It’s time for you to be held accountable for the pain and trauma you cause with posts like these.”
Enough is enough with these fabricated lies about Taylor from Deuxmoi. There was NEVER a marriage or ceremony of ANY kind. This is an insane thing to post. It’s time for you to be held accountable for the pain and trauma you cause with posts like these. pic.twitter.com/cFi0wQc9cp
Instead of just fading away in fear of potential Swiftie wrath, Deuxmoi poked the bear.
In their Instagram Story, they shared some messages from others showing support for them over the Swift situation. One reads, “I believe you. It just feels like now that Taylor is with Travis [Kelce] they don’t want anything positive about Joe to be out there. Like girl you were with him for 6 years so obviously some of it was good. Why are we blowing him up because you found someone better for you. Like I said I’m a Swiftie but some of her moves lately are really turning me off.”
Another says, “‘pain and trauma’… are very strong words. I understand why they’d be bothered, but Tree (and Taylor) are livid. Of all things, why are they so angry about this particular claim that they felt the need to respond?” Deuxmoi added to that one, “A lot of people are starting to figure out why & it’s all good…why not celebrate the love & happiness???”
Somebody else wrote, “I don’t understand why Taylor’s PR would respond directly to this. It is so out of character. There are so many rumors always circling about Taylor. Why would Tree shut this one done directly? The potential of Taylor and Joe having some time of commitment ceremony is not bad publicity. So there has to be reason why Tree would say this now. I am thinking either 1. Taylor & Travis Engagement announcement coming soon. And Taylor doesn’t want anything diluting that. 2. There is some other evidence or something that will be leaked. It’s all very strange. I need to know, why now!?”
Then there was one post that was a direct response to Paine from Deuxmoi, which reads, “Well I make zero dollars from lying… can publicists say the same [shrugging emoji]. Also, to relate something that is in reference to something that happened years ago to ‘pain & trauma’ after what just happened seems like a poor choice of words. Either way, I apologize to Taylor.” The “after what just happened” bit is seemingly a reference to the fan who died at one of Swift’s recent Brazil concerts.
Deuxmoi responds to Taylor Swift’s publicist Tree Paine by hitting below the belt:
“to relate something that is in reference to something that happened years ago to ‘pain & trauma’ after what just happened seems like a poor choice of words.”
The responses to the whole situation are starting to come in. One person tweeted, “Not sure why anyone takes anything DeuxMoi, a source who posted that they’d heard those submarine people were still alive and shared that Woody Allen was hosting SNL last season, says seriously.” Another wrote, “I want to know what deuxmoi’s idea of ‘I make zero dollars’ from lying looks like… those subs are not free & neither is that book,that’s before we even get into the merch, podcast & ads. Salacious gossip sells even if not true. She is making a tonne of income off of all of this.”
Not sure why anyone takes anything DeuxMoi, a source who posted that they’d heard those submarine people were still alive and shared that Woody Allen was hosting SNL last season, says seriously.
— The Girl With the Garfield Tattoo (@shelbyboring) December 1, 2023
I want to know what deuxmoi’s idea of “I make zero dollars” from lying looks like… those subs are not free & neither is that book,that’s before we even get into the merch, podcast & ads. Salacious gossip sells even if not true. She is making a tonne of income off of all of this pic.twitter.com/xcyybiz3ET
Did Squid Game become Netflix’s biggest hit because of or despite its extreme violence? It’s hard to say, but it’s a (literally) bloody good time. Instances of gore on the South Korean series include “a character’s leg is bitten and has a chunk of flesh torn off,” “a woman takes out a piece of glass from her gut,” and “a woman splashes a coffee pot on a man’s face and then puts a knife near his throat as a threat while putting his head bended backwards” (I could spend the rest of my day reading the show’s “Parents Guide” on IMDb.)
One act of violence that wasn’t depicted on Squid Game was a character having their toes cut off by a chainsaw — but it happened to a cast member in real life. According to TMZ, Geoffrey Giuliano, who portrayed VIP #4, is “minus two toes after a chainsaw severed them in a bizarre accident. Seems he was doing some home renovations when a construction worker was buzzing away, but then accidentally dropped the chainsaw. Apparently, the tool hit the floor and then bounced onto Giuliano’s foot, cutting off the two toes.”
Giuliano “collapsed in his own blood” (no), but had the presence of mind to collect his toes (absolutely not) so they could be reattached (I’m going to faint) by doctors. “It hurts like crazy today,” he said. “The doctors told me I’m lucky to be alive, but I don’t feel lucky. A chainsaw almost killed me.”
Imagine stepping into a winter fairytale where your favorite Christmas stories are not just told but spectacularly frozen in time. This is what awaits you at the Gaylord Hotels’ renowned ICE event. Each year, these iconic hotels transform into a frosty wonderland, where millions of pounds of ice are intricately carved into breathtaking scenes from beloved holiday tales.
It’s not just an exhibit; it’s an immersive journey through the heart of winter’s magic. Whether you’re a fan of the whimsical, the nostalgic, or just looking for a unique holiday experience, the ICE event at Gaylord Hotels promises a dazzling fusion of art and festivity, genuinely making it a standout holiday destination.
The magic of the Gaylord Hotels’ ICE event doesn’t just appear out of thin air. It’s the handiwork of over 40 master ice artisans hailing from Harbin, China – a city celebrated for hosting the world’s largest ice and snow sculpture festival. These artists travel thousands of miles to bring the stories to life, dedicating over six weeks to sculpting over two million pounds of ice.
Each stroke, carve, and chisel is a testament to their unparalleled skill. They transform colossal 300-pound ice blocks into delicate scenes, capturing the essence of holiday classics with astonishing precision. This intricate art form is more than just sculpting; it’s a way of storytelling that these artisans have perfected, turning ice into a canvas for holiday wonder.
At Gaylord Opryland in Nashville, the beloved holiday tale “The Polar Express™” springs to life in a frozen panorama. Imagine wandering through a world where the storybook train, the North Pole, and the enchanting characters are all intricately carved from ice. This isn’t just viewing art; it’s like stepping into the book.
The artisans’ mastery shines in every detailed sculpture, capturing the warmth and wonder of the story in a paradoxically cool setting. Each scene, from the steam train’s billowing smoke to the twinkling lights of the North Pole, is crafted to draw you deeper into the magical journey, making the Gaylord Opryland’s ICE event a spellbinding experience that goes beyond mere spectacle.
Step into Gaylord Rockies, and you’re stepping into a scene straight out of “A Christmas Story™.” This Colorado location turns the timeless holiday film into an icy reality. Imagine gliding down ice slides beside Ralphie’s house or peeking into the frosty windows of Higbee’s department store, all sculpted from ice. It’s an interactive playground where the story’s most cherished moments are frozen in time, offering a unique twist on the traditional Christmas narrative.
The ice tunnels, resembling the streets of a snowy Indiana town, add to the immersive experience. Each slide, tunnel, and sculpture invites you not just to see but to actively participate in a winter adventure, capturing the essence of the beloved classic in a way you’ve never experienced before.
At Gaylord National in Maryland, the timeless charm of “Rudolph the Red-Nosed Reindeer™” is brought to life in a whimsical winter wonderland. As you wander this icy marvel, you’ll meet Rudolph, Clarice, and the entire gang, all beautifully carved from ice. It’s a scene that ignites childhood memories and creates new ones for families.
Picture the joy of snapping photos next to a life-size ice sculpture of Bumble the Abominable Snow Monster or standing beside the glowing red nose of Rudolph himself. This Maryland extravaganza is more than just a visual feast; it’s an interactive experience where every corner offers a new opportunity for families to bond and capture memories that will last long after the ice melts.
At the heart of Texas, the Gaylord Texan transforms into a Dr. Seuss wonderland with “How the Grinch Stole Christmas!” Each sculpture in this icy expanse brings the whimsy of Whoville and its quirky inhabitants to life. Visitors are invited to wander through scenes straight from the beloved book, encountering the Grinch, his loyal dog Max, and the cheerful Who-folk, all expertly captured in ice.
It’s a place where Seuss’s playful rhymes meet the magic of the holiday season, offering a delightfully unique spin on festive celebrations. From the Grinch’s cave to the bustling streets of Whoville, these sculptures are not just impressive in scale but in the joy they bring, creating an unforgettable holiday adventure deep in the heart of Texas.
In the sunny setting of Florida, Gaylord Palms takes a nostalgic turn with “A Charlie Brown Christmas.” Here, ice transforms into a sentimental journey back to the simpler joys of the holidays, as seen through the eyes of Charlie Brown and his friends. As you stroll through the exhibit, the beloved Peanuts characters, from Snoopy’s doghouse to the iconic sparse Christmas tree, are all vividly recreated in ice.
This Florida spectacle taps into the heartfelt essence of the season, reminding us of the warmth and joy that come with holiday traditions. It’s a place where each frozen scene, from Charlie Brown’s quiet contemplation to the jubilant group gathering, resonates with the timeless message of holiday spirit and togetherness.
But the wonder at Gaylord Hotels extends beyond the ice. Each resort turns into a holiday hub, brimming with activities for all ages. Think dazzling light shows, snow tubing adventures, and even encounters with Santa himself! Culinary delights await at various dining venues, offering everything from festive treats to gourmet meals. And let’s not forget the captivating live shows, ranging from acrobatic performances to heartwarming musicals.
Each Gaylord Hotel becomes a comprehensive holiday destination, offering an array of experiences to make your festive season truly unforgettable.
On December 20, Disney+ will air BTS: Monuments: Behind The Star to give super fans insight into how they reached international success. For member Jung Kook, the key to his career victories is evident based on his latest release—consistency. With his debut album, Golden, out now, the singer continues to flood the music space with star-studded remixes to past tracks. First, he secured Justin Timberlake to refresh “3D.” Now, he’s calling on Usher to spruce up “Standing Next To You.”
The track is a funky love letter dedicated to those brave enough to wear their hearts on their sleeves. On the record, co-produced by Andrew Watt and Cirkut, Jung Kook and Usher blend the most captivating pop and R&B music elements for a melting pot of sonic bliss.
“Stop, can you feel that? / It’s like heaven and earth moves whenever we touch / No, for real, I know you feel that / The universe approves when you and I dance / So elegant and heaven sent these vibes, yeah / It’s way, way too early to leave, we go away / You know that, all night long, we rock to this (All night) / Screamin’, I’ll testify this lovin’,” sings Usher.
Listen to Jung Kook’s “Standing Next To You” (Usher Remix) above.
Golden is out now via Big Hit. Find more information here.
“I’m just a @noahkahanmusic fan,” Abrams captioned an Instagram screenshot of texts between her and Kahan, “pregaming our release.” “‘Everywhere, Everything’ ft me is out now [hug emoji] thank you so much for having me.”
Kahan mirrored Abrams’ post alongside an even more sentimental caption, reading, “‘Everywhere, Everything’ ft the incredible Gracie Abrams is out now. Gracie puts her whole heart into every song she writes and note she sings and I found myself completely swept into her world the first time I heard her. So incredibly excited for you all to hear her incredible take on this song :)”
In the hypnotizing, folky acoustic ballad, Kahan and Abrams’ voices mesh beautifully during the visceral hook: “Everywhere, everything / I wanna love you ’til we’re food for the worms to eat / ‘Til our fingers decompose / Keep my hand in yours.”
Abrams follows in the footsteps of Kacey Musgraves and Post Malone as featured artists on revamped Stick Season tracks. Previously, Kahan brought Musgraves on to “She Calls Me Back,” and Posty boosted “Dial Drunk” from Kahan’s June Stick Season (We’ll All Be Here Forever).
After Warner Bros. unleashed the first trailer for Furiosa, a prequel to George Miller’s action masterpiece Mad Max: Fury Road, fans didn’t know how to react to the explosive trailer thanks to one very wild creative choice: Chris Hemsworth‘s prosthetic nose.
Through much of the trailer, Hemsworth is barely recognizable as he interacts with Anya Taylor-Joy’s young Furiosa and cements himself as another bombastic villain in Miller’s post-apocalyptic saga. Clearly, the Thor star bares a close resemblance to his brother and future Witcher Liam Hemsworth. Social media, on the other hand, decided to let the Bradley Cooper jokes fly. The actor wore a controversial prosthetic nose for his performance in Maestro, and Hemsworth may be giving that schnozz a run for its money.
You can see some of the reactions to the Furiosa trailer below:
Everyone is talking about the CGI in the Furiosa trailer but what about Chris Hemsworth’s nose?!?!?! pic.twitter.com/4MarzMCM1B
So did George Miller give Chris Hemsworth that prosthetic nose because otherwise long haired, bearded Hemsworth in barbarian gear just scans “Thor” to the general audience?
So, anyone else thinking that Chris Hemsworth is playing pre and post breathing mask Immortan Joe? Would explain the prosthetic nose.pic.twitter.com/w5s6eYzwcI
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.
Furiosa: A Mad Max Saga rides into theaters on May 24, 2024.
A full decade has passed since the Grand Theft Auto world pushed out a fresh Rockstar Games edition, and it’s (finally) almost time for GTA 6. Rockstar Games still hasn’t revealed an exact release date for the game, but trailer time will soon be upon us.
Rockstar Games has announced that the earlier predicted December mark was definitely on the nose. In fact, the trailer will materialize on December 5 at 9:00am EST.
The feast for the senses will both sate some thirst and probably compound existing gamer cravings at the same time. Why? Further questions exist, including whether GTA 6 will exist on PS4 and if PC users are out of luck for a day-one release on their platform of choice. And yup, the holiday season is also upon us, which makes these questions even more interesting.
All of this follows news of an in-the-works GTA TV series, Vice City, which might be linked to 50 Cent, who apparently hinted at its existence a few months ago. Word on the streaming street is that the show will surface on Paramount+, which won’t simply be the place with an impressive back catalogue movie and a zillion Taylor Sheridan shows anymore.
As well, that source code leak of the past can finally erased as a bad memory. Fingers crossed for a release date soon.
The first time I saw Daniel Donato play live, he already seemed like an arena star. It didn’t matter that the show, which took place in late October, actually occurred inside a sold-out, 600-person capacity club in St. Paul, Minnesota. Donato treated his environs like Madison Square Garden, starting with his insistence on playing for three hours over two sets without a headliner.
“When I first started playing down on Broadway, it used to be four sets,” Donato tells me over Zoom a few days later. The 28-year-old Nashville native is referring to his past life as a teenaged guitar prodigy who regularly gigged at the iconic downtown honky-tonk Robert’s Western World. Back then, he played for four hours a night, four days a week.
“I ended up seeing that our community just really wanted to have as much of us as they can,” he said of his current following. “Openers just get in the way of what we do.”
Befitting a guy raised in the cradle of the country-music industry, Donato plays blazing licks on a Fender Telecaster that recall the twangy highs of classic records by Merle Haggard and Buck Owens. But Donato’s growing fanbase doesn’t derive from the country audience. Rather, his star is rising on the jam-band circuit — he’s performed with Bill Kreutzmann’s Grateful Dead side project Billy And The Kids, toured with the improvisational roots outfit Greensky Bluegrass, and garnered praise from Trey Anastasio of Phish. At the show I saw, Donato alternated between sharp leads that nodded to old-school Bakersfield country and crunchier solos targeted at the spinners in the audience. It’s a potent mix of tradition and spontaneity that echoes one of the scene’s brightest young stars, Billy Strings, who has similarly married bluegrass virtuosity with a Dead-friendly sensibility on the way to becoming a top touring attraction.
That’s what Donato would like you think at any rate. During our interview, his ambition was palpable and unwavering. He referred often to the phrase “Cosmic Country,” which is both the name of his backing band and a catch-all brand for the vibe he’s trying to propagate. It’s a feeling pitched between the retro country associated with Sturgill Simpson and Chris Stapleton and the “conversational music” (his term) of the jam world. It comes across with uncommon clarity on Donato’s latest album, Reflector, which dropped in mid-November. Working with producer Vance Powell, whose work with Anastasio and Stapleton made him an ideal collaborator, Donato was able to convey the expansiveness of his live show without taking focus away from his songwriting, which is reminiscent of the pioneering country-rock records made in the late ’60s by L.A. bands like the Byrds and the Flying Burrito Brothers. (Gram Parsons’ “Cosmic American Music” is an obvious grandparent of Donato’s “Cosmic Country.”)
The thing that immediately drew me to your music is the classic twangy tone of your Fender Telecaster. I am a sucker for that sound.
It’s the sound of America, even just on the value level. Leo [Fender] was an entrepreneur who came from an immigrant family, and he had this vision, and he had a talent and a work ethic to get it done. When that happened, it was at the time of industrialization and America was setting up the economy to be fruitful enough to where people could go and start enjoying art, and they could create new kinds of music. And that sound of the entire early part of what Fender was doing created the American sound in a lot of ways. Granted, we’re in a way different spot today then we were in 1954, for better or worse.
It’s a simple tool that can do a lot of complex things when it’s in the right hands. And that’s what I love about it. There’s really no buffer between your skill and your vision in that instrument. You could go ahead and sound like Joe Strummer. You could sound like Bruce Springsteen. But if you really have more sophisticated and nuanced ideas, you could sound like Danny Gatton or James Burton or Don Rich or Roy Nichols.
How much do your shows vary from night to night? The gig I saw seemed to have a lot of improvisation.
A lot of people try to set it up where they step in the same grove every night. But that’s illusory. You’re lying to yourself. You have to embrace the chaos of the reality that every night everything is different, so you might as well have that be part of the vehicle that forms your trip. So every night we play is truly very, very, very different than the night before. That’s part of what keeps it alive for people. Now, granted, there’s forms and patterns that are constant just like anyone’s life. But there’s so many variables and elements that make it so different from day to day that it becomes a living real thing.
I’m just so grateful that I have a band where everybody that’s with me on stage is willing to go along with that. Not everyone is. Especially when you live in Nashville. A lot of people just want to get a gig where it’s the same every night, and they play for 75 minutes, and they go back to the hotel. They don’t have to think about it too much.
One thing I find interesting about you is that you are part of this country music world, and you’re also part of the jam world, and those worlds superficially at least seem completely different. Like you said, Nashville is predicated on this fairly rigid musical system that’s the opposite of what jam bands embrace. Do you feel like you fit in anywhere?
We have just our own channel, really. And I’d rather have my own channel than be on somebody else’s channel.
I don’t think even 10 years ago we would’ve been able to do what we’re doing. But ever since streaming became a thing, it’s eliminated any middle man that’s necessary to get us to our demographic. We can just go straight to people that love what we do. And it turns out that there’s a great audience for that. It’s people that like traditional, old-time American music who are also into exploring within conversational music.
You grew up playing in Don Kelley’s house band at Nashville’s Robert’s Western World. How did that experience inform your own music?
It turned me on to a whole vision for my life. And it also endowed me with an insight into a songbook that is just unmatched. It’s just such a wealth of melody and chord progressions and lyrics and stories and values. I went and saw that band every week for about three years. And I would give Don my business card, and I told him, “If you ever need a guitar player, I know all the songs.” It was 100-plus songs. One day he called me, and I ended up getting the gig. And I did 464 shows with him.
We would play four hours a night, four days a week, and I only missed two shows out of my whole stint with him there. So that was kind of my college experience. It taught me all the basic elements that I needed to go ahead and create a live experience that is transcendent and meaningful, not something that is gimmicky or self-assertive. Something that’s really serving of the music and really focused on the listener. That was always the value with Don’s band. The musicianship had to be top-notch every night. There was just no other way to do it.
The strength of Reflector is that you represent what the band does live, but it also works as a record. That’s a needle that many jam-oriented acts aren’t able to thread.
That was one of the things that Trey Anastasio complimented me on. He was like, “Congratulations on making a record that people could actually listen to.” I think it was three things. The first thing was us as a band, we had played all those songs many times, so the songs told us exactly what they wanted and what they didn’t want. The second thing was that everybody in the band has already made a bunch of records. I used to be a session guitarist before I started touring all the time. I was playing on people’s albums all the time. I was doing sometimes five or six albums in a week.
And then the third thing was our producer, Vance Powell. Vance is the perfect guy for a band that is like what we are. Vance has done records with Nashville session bands that don’t ever tour. They’re just made up of session players that stay at home and make records. But he also makes records with bands that are consistent in the studio and on tour together. So he really knew how to communicate with us and how to get the best of our personalities integrated into the sound and have it come alive on our performances.
You’re obviously a great guitar player, and you play a lot of solos in your live shows. But you’re also clearly invested in songwriting. How do you balance those things? Because I can imagine that a segment of your audience cares most about seeing you shred.
With country music, everybody knows that it’s about the story. And that’s the thing I think that keeps us tied into folk/country/Americana or whatever word you want to use. That gives us the bandwidth to have room for really solid stories that have an emotional reality that is real for anybody who has the ears to listen. That’s the downside and downfall and demise for a lot of jam bands, which is they end up just sounding like suburban funk music. Without a story, you have nothing that you can meet people with. Any song that anybody comes and sees us play, that song can also be played acoustically. It’s just a pure storytelling format. I think that comes from my time at Robert’s and listening to all these Tom T. Hall songs and John Prine songs and Johnny Cash songs and Jimmie Rodgers songs.
That was also a focus for the Grateful Dead — you can jam those songs and you can also play them on an acoustic guitar, and they work in either format.
I think it’s really necessary, especially if you’re trying to create something that is really meaningful for people. Something that they can take home after they come and see you, and it has absolutely nothing to do with you afterwards, which is my favorite thing. My favorite thing is when none of us are really the focus of what’s going on, and it’s really just about the music. That’s really the best part, when it’s the least self-assertive.
I’ve spoken with other artists in the jam world about breaking out of that scene, and how challenging it can be. Is that something you think about?
I think about it every day. We just by happenstance happen to fall into the jam world right now. Every step that we do along the way, I try to make it an inclusive experience for everybody, not just somebody who likes jam-band music.
I see a lot of bands that are in the same stage of their career as us right now. A lot of bands that are in sprinters, sleeping in shitty hotels, and eating terrible food every day. Playing venues with tequila limes all over the stage and angry sound guys that have been working there for 10 years. Without naming any names, I see a lot of bands that are set up to not really ever “transcend the scene,” quote, unquote. And that seems like kind of a dismal future. A lot of people don’t think about what happens after the sheen wears off of your newness. But I’ve been doing this for half my life. I can see a couple of chess moves ahead, and I try to set ourselves up for success in that way.
I would say the biggest thing is to just serve the song and serve the story. A lot of jam bands, they don’t serve the song, and they don’t serve the story. They just serve the jam, and that’s not really where it’s at for any of us in this band.
In a word association game with the prompt “Nickelback,” a common first response might be “hate.” The Canadian band is tremendously successful, but for years now, they’ve been a group that many just see as cool to dislike and make fun of. That’s not SZA, though, as she considers herself a fan.
During a conversation with Variety about what SZA has been listening to lately, she said, “The other day, you know what I pulled up? Creed, Nickelback, Train ‘Drops of Jupiter,’ just a whole bunch of that…” The interviewer facepalmed at this point and after some laughter, SZA continued, “I know, I know! Wait, you know what’s crazy? Do white people hate Creed and Nickelback?”
The interviewer gave a, “Well…,” and SZA continued, “Why? Black people love them! They rock! That sh*t is bomb! Why do you all hate it so much? That voice…”
The interviewer replied, “They’re just kind of cliché. Did you know one of Nickelback’s producers is now working with Morgan Wallen?” SZA continued:
“OK, I don’t know if that’s where I was headed in the realm of, ‘Yay, I was listening to Creed and Nickelback the other day in childhood nostalgia!’ [laughs] But I like Creed so much — ‘Higher?’ Why are you hating on it? Have you ever felt more inspired and uplifted in your life? I’m in the car and I’m blasting ‘Higher,’ I feel like it’s a gospel song. The vocals are going crazy and it’s also somehow slightly romantic, it just feels so fun. Because even if it’s cliche, he’s so f*cking dead-ass! I will be a Creed fan forever. Like, it started just on a whim in the shower, ‘Oh, let’s play this,’ and then it became a week of Creed and Nickelback [laughs].”
Keeping track of all the new albums coming out in a given month is a big job, but we’re up for it: Below is a comprehensive list of the major releases you can look forward to in December. If you’re not trying to potentially miss out on anything, it might be a good idea to keep reading.
Friday, December 1
Alicia Keys — The Diary of Alicia Keys 20 (J Records)
Philip Selway & Elysian Collective — Live At Evolution Studios (Bella Union UK)
Porcupine Tree — CLOSURE/CONTINUATION.LIVE (Music For Nations/Sony)
Sonny Vincent — Primitive 1969 – 1976 (HoZac)
Tate McRae — Think Later (RCA Records)
Thomas Bartlett — Standards Vol. 1 (BMG)
TOKiMONSTA and Suzi Analogue — Analogue Monsta: BOOM EP (Young Art Records)
Uncle Lucius — Like It’s the Last One Left (Boo Clap Records/Thirty Tigers)
Various Artists — The Faithful: A Tribute to Marianne Faithfull (In The Q Records)
Warren Haynes — The Benefit Concert Volume 20 (Evil Teen Records/Mascot Label Group)
Wings of Desire — Life is Infinite (WMD Records)
Friday, December 15
Ambrose Akinmusire — Owl Song (Nonesuch Records)
Chief Keef — Almighty So 2 (43B)
Children of Bodom — A Chapter Called Children of Bodom (Final Show in Helsinki Ice Hall 2019) (Spinefarm)
Joshua Roberts — Good For You EP (Epitaph)
Wishy — Paradise EP (Fuzz Club Records)
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
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