A week ago, Brooklyn rapper Joey Badass kicked the year off issuing an open challenge to the rap world with his song “The Ruler’s Back.” Equally inspired and irked by the fanfare over Kendrick Lamar’s outstanding year prior, Joey carried the combative energy of “Like That” and “Not Like Us” into his song while declaring there was perhaps a bit too much praise being heaped on the West Coast as a result.
Well, Kendrick’s former labelmate Ray Vaughn has taken issue with Joey’s new song, publishing his response with “Crashout Heritage.” “What’s with the sneak dissin’? Takin’ shots at us, then hide the Uzi,” he wonders. “‘Cause the only badass the world was recognizin’ is Boosie / Please don’t get confused with shootin’ the movies, we really shootin’ / Was on Soul album, so if you ask me, you look like a goofy.”
Meanwhile, Badass wasn’t the only target Vaughn aired his grievances with on the song. Among the hip-hop figures who get mentions in “Crashout Heritage” are Tory Lanez, DDG, and Mal from The Rory & Mal Podcast. However, the track overall is geared more toward uplifting Los Angeles’ hip-hop community than sending darts at potential enemies. “We raised Pac, Dre and Nip, that’s a heavenly trinity / And all we had was DJ Hed to back us in the industry,” he reminds listeners. Thanks to Kendrick, that’s begun to change, and it doesn’t sound like any of Kendrick’s contemporaries have any plans on letting that change anytime soon.
You can watch Ray Vaughn’s “Crashout Heritage” video above.
It’s been five years since Great Grandpa released Four Of Arrows, and for a time, it seemed like it might be their last album. The members of the Seattle-based indie rock group — Al Menne, Carrie Goodwin, Cam Laflam, Dylan Hanwright, and Pat Goodwin – were being pulled in different directions in life. But in 2023, Great Grandpa reconvened and started working on a new album, Patience, Moonbeam, which comes out March 28th.
Described as Great Grandpa’s “most ambitious and confident-sounding album yet,” Patience, Moonbeam is “a testament to the band’s musical and spiritual connection.”
In a statement, Hanwright said, “We’re all like individual swinging pendulums, and every now and then we come into sync for a few rotations. Sometimes it’s two of us, sometimes three of us, often it’s not any of us. But when it does come together, it’s really beautiful.”
You can listen to rootsy single “Junior” above, and check out the Patience, Moonbeam tracklist and Great Grandpa’s tour dates below.
01/29 — Washington, DC @ Songbyrd (with Grumpy)
01/30 — Philadelphia, PA @ Johnny Brenda’s (with Grumpy)
01/31 — Brooklyn, NY @ Baby’s All Right (with Drench Fries)
02/01 — Boston, MA @ Something in the Way Fest
03/21 — Los Angeles, CA @ Highland Park Ebell (with Gracie Gray)
03/23 — San Francisco, CA @ Rickshaw Stop (with Stephen Steinbrink)
Patience, Moonbeam is out 3/28 via Run For Cover Records. Find more information here.
Shortly after her performance at halftime of the Baltimore Ravens/Houston Texans game on Christmas (which is now being affectionately referred to as the Beyoncé Bowl), Beyoncé teased… something coming on January 14. Since then, the BeyHive has been buzzing with speculation about just what she’s got coming down the pike. Considering how secretive she’s been about past projects — whether they’re music releases or product launches — we aren’t likely to learn exactly what the big announcement is until the day, but here are a few possibilities:
A New Album
While this would be the most exciting thing Beyoncé could announce, it also unfortunately seems least likely. After all, she’s still yet to go on tour for Cowboy Carter, and after the blowout, yearlong promo cycle for Renaissance, you would think she’d want to give Cowboy Carter the same treatment — especially with how important the album’s themes seem to be for her.
The Cowboy Carter Tour Dates
In the same spirit, this seems like the likeliest announcement. Fans have undoubtedly been stacking their coins (or recuperating from the last tour), so giving them a few months heads-up before the tour would kick off in the summer seems like it would be a wise idea. Cowboy Carter wasn’t quite as beloved as Renaissance thanks to its departure from the pop-centric sounds we’re used to, so it’d give fans more time to learn those lyrics and put those cowboy boots on layaway (Klarna, Afterpay, same difference).
“The Visuals”
That being said, the thing that most of her fans have clamored for since the release of Renaissance has been the storied “visuals” — a collection of music videos accompanying the glittering, gritty songs Beyoncé has put out so far. It’s an understandable ask; ever since the surprise release of her self-titled album in 2014, which included a music video for every one of its tracks, the star’s releases have been paired with stunning visual components like The Lion King: The Gift, showcasing a new set of dazzling looks and crisp choreography for the Hive to swoon over. However, during the Renaissance tour, Bey did undermine fans’ hopes with a tongue-in-cheek message — although that hasn’t stopped them from asking.
For our money, it’s probably the tour announcement. We watched her roll out Renaissance on a similar timeline, and there’s no reason to assume she’d shake things up just yet. We’ll all find out together on January 14.
In 2023, Trevor Powers released Heaven Is A Junkyard, his first album under the Youth Lagoon name since 2015. Now, he’s keeping that train going in 2025, as today (January 8), he announced a new album, Rarely Do I Dream, set for release on February 28. He also shared a video for the new single “Speed Freak.”
The album was inspired by Powers revisiting some childhood home videos. He said in a statement:
“What I was really consumed with was how much I could zoom in on my actual history. I wanted to really make someone feel like they were inside my living room in 1993, but rearrange the furniture a bit… The more I rewind the tapes of my life, the more I can hear the voice of my soul. This isn’t nostalgia. Life’s much more messy than that. It’s a dedication to all the parts of who I was, who I am, and who I’m going to be.”
Watch the “Speed Freak” video above. Below, find the Rarely Do I Dream cover art and tracklist, along with Youth Lagoon’s upcoming tour dates.
Youth Lagoon’s Rarely Do I Dream Album Cover Artwork
03/27 — Spokane, WA @ The District Bar at Knitting Factory
03/28 — Missoula, MT @ Zootown Arts Community Center
03/29 — Boise, ID @ Treefort Fest
04/03 — Portland, OR @ Aladdin Theater
04/04 — Vancouver, BC @ Biltmore Cabaret
04/05 — Victoria, BC @ Upstairs
04/06 — Seattle, WA @ Crocodile
04/08 — San Francisco, CA @ August Hall
04/09 — Los Angeles, CA @ The Regent
04/10 — San Diego, CA @ Casbah
04/11 — Tucson, AZ @ Club Congress
04/12 — Albuquerque, NM @ Launchpad
04/14 — San Antonio, TX @ Paper Tiger
04/15 — Austin, TX @ Mohawk
04/16 — Dallas, TX @ Deep Ellum Art Co.
04/18 — Nashville, TN @ Exit/In
04/19 — Atlanta, GA @ Masquerade (Altar)
04/20 — Chapel Hill, NC @ Local 506
04/21 — Washington, DC @ The Atlantis
04/22 — Philadelphia, PA @ The Foundry
04/24 — Brooklyn, NY @ Warsaw
04/25 — Jersey City, NJ @ White Eagle Hall
04/26 — Hamden, CT @ Space Ballroom
04/27 — Cambridge, MA @ Middle East Downstairs
04/29 — Montreal, QC @ La Sala Rossa
05/01 — Toronto, ON @ The Axis Club
05/02 — Detroit, MI @ El Club
05/03 — Cleveland Heights, OH @ Grog Shop
05/04 — Louisville, KY @ Whirling Tiger
05/05 — Indianapolis, IN @ Hi-Fi
05/07 — Chicago, IL @ Outset
05/08 — Milwaukee, WI @ Vivarium
05/09 — Madison, WI @ High Noon Saloon
05/10 — St. Paul, MN @ Turf Club
05/12 — St. Louis, MO @ Atomic Cowboy
05/13 — Lawrence, KS @ The Bottleneck
05/15 — Denver, CO @ Marquis Theater
05/16 — Salt Lake City, UT @ Kilby Block Party
Rarely Do I Dream is out 2/21 via Fat Possum. Find more information here.
The Miami Heat rolled the Golden State Warriors on Tuesday night in San Francisco despite being without Jimmy Butler, as he is serving a 7-game suspension from the team for conduct detrimental to the team after he issued a trade request. It has been brewing for about a month, but hit a boiling point over the last week when Butler looked disinterested on the court and claimed he had lost his “joy” and couldn’t get it back in Miami.
On Tuesday night, the Inside the NBA crew ran the highlights of Miami’s win over Golden State, featuring Chuck trying to crack some jokes on the Warriors and Heat, and eventually led to a lengthy discussion (~5:30 mark of the above video) of the entire situation. Barkley thinks Butler is handling all of this poorly and took issue with the idea that aging stars need to be paid at a max level when they’re past their prime. Kenny partially agreed with Chuck and tried to explain why he felt Butler was approaching this the wrong way, while Shaq was far more understanding of Butler’s position — which is perhaps not surprising as he once had a similar standoff with Riley in Miami.
While there was a little bit of the Shaq-Chuck shouting that tends to happen in these situations (and Ernie reprimanding Chuck for swearing on TV), it was more an interesting conversation between the three former players that illustrates how all of this happens in a bit of a gray area. Barkley has long voiced his opinion that players should be more grateful for the money they make to play basketball, and can’t figure out why any team would want to trade for Butler without a guarantee he’ll stay around beyond this season. That is also something Butler and is camp are banking on, as they’ve apparently issued warnings to the Grizzlies and others that they shouldn’t trade for the star, as he continues to push his way to one of his preferred destinations (Phoenix or Golden State) despite initially indicating he’d take a trade anywhere.
Shaq is far more on the side of guys maximizing their worth and has fewer issues with a guy leveraging whatever he can to make that happen. Kenny falls somewhere in the middle, but thinks there’s a right way and a wrong way to go about this kind of situation and believes Butler falls into that latter category. We are still a month away from the trade deadline, which means there’s plenty of time for this saga to get even stranger, and it’s likely not the last time this entire situation is up for discussion.
At a critical juncture in James Mangold’s recent Bob Dylan biopic A Complete Unknown, we hear leading man/reigning it-boy Timothée Chalamet plainly state the film’s central premise. “Two hundred people in that room and each one wants me to be someone else,” Timmy-as-Bob mumbles after exiting a folk-singer soiree. “They should just let me be.”
If the climactic moment of A Complete Unknown — Dylan, spoiler alert, goes electric –seems less-than-momentous to younger audiences weaned on a lifetime of “plugged-in” music, the rebellion of “they should just let me be” nevertheless has immediate contemporary relevance. Bob Dylan did not invent subverting audience expectations or (to put it in 1960s terms) “upsetting the squares,” but he did set a template for future pop geniuses inclined to not give the people what they want. Because, sometimes, that is what people want, at least in the long run. Like “Fast” Eddie Felson says in The Color Of Money, “Sometimes if you lose, you win.”
The latest musical iconoclast to follow this path is Hayden Anhedönia, the self-described multidisciplinary artist from Florida who performs as Ethel Cain. In 2022, she unveiled Preacher’s Daughter, a 75-minute magnum opus broadly classified as Americana, though the music also bore traces of singer-songwriter pop, ambient metal, lo-fi indie rock, and ancient dust-bowl country. The lyrics addressed themes of doomed romance, lawless murder, wanton insanity, religious corruption, and Middle American desolation. Given its stately, dark-hued, film-noir-on-the-plains sensibility, Preacher’s Daughter immediately garnered comparisons to Lana Del Rey. But it’s more accurate to suggest that Cain is attracted to the same American underbelly that has also entranced artists as varied as David Lynch, Bruce Springsteen, Walker Evans, Michael Lesy, and Harmony Korine. (Might as well add Dylan and his concept of the “old, weird America” to that pile as well.) Each new generation gets their version of this kind of art. And Cain’s flair for epic melodrama on Preacher’s Daughter might be enough to convince a certain kind of listener at a certain impressionable age that they are listening to the deepest and most haunting music ever made.
The record grew the cult following that Cain earned with 2021’s Inbred, an EP supposedly written, produced, and mixed by the author in the basement of an abandoned church. (No one can ever accuse Cain of not committing to the bit.) Her tally of 2.6 million monthly Spotify listeners is modest by superstar pop standards, but the stan-level devotion of her fans speaks to the powerful hold that Cain’s cinematic, world-building songs has on a rapidly expanding fanbase.
Dig into Cain’s backstory and it’s clear she didn’t exactly come out of nowhere. Preacher’s Daughter was released in conjunction with the publishing company owned by the beleaguered pop producer Dr. Luke. One can imagine he was drawn to Cain after hearing her most popular song, “American Teenager,” which sounds like a pop-rock anthem from Taylor Swift’s Red era rendered in the style of Springsteen’s one-man-band demos for Born In The U.S.A. But while the song opens Preacher’s Daughter with an addictive sugar rush, Cain goes back to that well only intermittently. Much of the album is taken up by long songs that favor atmosphere over immediate-gratification hooks. My favorite of these tracks is “Thoroughfare,” a nine-and-a-half-minute mood piece that slowly builds to a soaring guitar solo that sounds like it could have been played by Slash right before he tossed his axe into a desert canyon.
In a New York Times profile, Cain says that Dr. Luke initially pushed to make her songs simpler and catchier. But she resisted.
“Creatively, I have no need for him,” she says. “I have no need for anyone.”
Not that she needed to say that. Preacher’s Daughter announces Cain’s stalwart artistic M.O. in clear, obvious terms. And then there’s Perverts, a new release out today (January 8) classified as an EP even though it’s 15 minutes longer than Preacher’s Daughter. The record is aptly named — it will sound to more pop-inclined ears like the most perverse project put out by a budding star in quite some time. The songs, often, barely sound like songs at all, but rather 10-plus-minute blocks of noise and doom-y room tones with only ghostly snatches of threadbare melodies hovering in and out of the blurry morass. It feels less like a proper album (or EP) than an act of public insouciance, akin to an ear-splitting squall of feedback you unleash on an unsuspecting audience when you want 80 percent of them to leave.
Depending on your perspective, that will either register as a devastating criticism or the highest praise imaginable. I, for one, lean toward the latter.
In that New York Times article, Cain lays out a potential career path for herself. “For this first record, I’ll play Miss Alt-Pop Star and I’ll parade myself around and do photo shoots and whatnot, and then I’ll end up like Enya and Joanna Newsom, where I come out of my little hidey-hole every five years to drop an album,” she says. “But I know I have to earn that legacy. I’m gritting my teeth.”
That sounds like something a Gen X artist — not a Zoomer raised in the unapologetically careerist Taylor Swift era — would say. So, it makes sense that Cain has pivoted to a trope most associated with the fame-wary alt-rock stars of the nineties, the “fame freakout” album. Nirvana’s In Utero and Radiohead’s Kid A are the two most famous examples of records allegedly designed to downscale a popular act’s fame via alienating, “challenging” music. (Though both albums “failed” by becoming multi-platinum fan favorites.) In more recent years, Kanye West’s Yeezus and Kendrick Lamar’s Mr. Morale & The Big Steppers have updated the model for the hip-hop generation, eliciting mixed receptions in which respect for artistic integrity doesn’t exactly equate to genuine love. Such is the audience’s relationship with the “fame freakout” album: Nobody wants to think of themselves as one of the fuddy-duddies at that stuffy party who want Bob Dylan to be something that he is not. At the same time, sometimes you just want to hear your fave to pull out the proverbial acoustic guitar and play the tunes you already love.
The canon “fame freakout” album that most resembles Perverts is Bon Iver’s 22, A Million, even if it is only a third as long. Like Cain, Justin Vernon became indie-famous by playing beautiful, deconstructed heartland rock songs, and then he reacted to that fame by taking an ugly sonic razorblade to all those pretty soundscapes. Though Cain goes several steps further on Perverts. The 12-minute title track sets a distorted voice that sounds lifted from a decrepit 1980s-era answering machine against foreboding atmospheric clanking that might as well have been serendipitously recorded at an abandoned tire factory. Finally, at around the 11-minute mark, a somewhat melodic synth line floats in, a small reward for those that hung in for the preceding 660 seconds.
Much of Perverts unfolds (or doesn’t unfold) in similar fashion. The most song-like tracks feel more like interstitial instrumentals borrowed from a relatively normal goth record, like the self-explanatory “Punish” or the Cure-like “Etienne.” Of the four (!) songs that push beyond the 10-minute mark, the 13-minute “Houseofpsychoticwomn” is the most effective, with Cain repeating “I love you,” mantra-like, over a chop-block beat and droning keyboard. That might not sound like much on paper, but the piece has a wandering, creeping pull that’s reminiscent of the “quiet” halves of David Bowie’s Low and Animal Collective’s Feels.
So, yeah, this record is not exactly an easy, “throw it on” toe-tapper. (Even I couldn’t quite stomach the tedious meandering of the 15-minute “Pulldrone.”) But while I don’t expect to play Perverts as much as I have Preacher’s Daughter, I can’t help but admire Cain’s willingness to resist the aggressive advances of our omnipresent bop economy. For an artist who has expressed out-right revulsion at relocating to a crowded metropolis like New York City or Los Angeles, her music evidences the benefits of living amid wide open spaces in which time is allowed to stand still. Cain tries to recreate that state of suspension in her music, and while Perverts won’t slot easily (or at all) on your favorite workout playlist, this record will take you somewhere if you give it your time at full volume on a pair of good headphones.
The chronically overused and sort of meaningless adjective “experimental” will likely be applied here. But Perverts isn’t so much about discovering “new” sounds as it is an attempt (successful, to my ears) by Cain to de-center herself and the character she created from her own record. In that respect, the album recalls the title of a much different Dylan movie: I’m Not There.
Although 2024 was a relatively bad year for Drake, it’s indisputable that he’s one of rap’s biggest names and has been for at least a decade. Meanwhile, for much of that time, Rolling Loud has been the premiere hip-hop festival, expanding to eight countries and multiple events across the US with some of the biggest names in rap today. For reference, this year’s lineup will be headlined by ASAP Rocky, Playboi Carti, and Peso Pluma.
However, while Drake and Rolling Loud joining forces sounds like it should be a no-brainer, the star has apparently “ducked” the festival for the past seven years. According to the festival’s founder, Tariq Cherif (you can check out Uproxx’s interview with him here), Drake has actually turned down some pretty unusual offers, including one to have him headline all three nights of the festival. During an interview with Los Angeles radio personality Big Boy, the host asked Cherif if there were any white whales Rolling Loud hasn’t booked yet, and with no hesitation, Cherif answered, “I’ll say it, I don’t care. I feel like Drake’s ducking us.”
“I got no beef with Drake,” he clarified. “I like Drake, I feel like he’s a great artist. We’ve been trying to book him forever. We even offered Drake three nights of Drake… he’d be the headliner for three nights.” Cherif hints that another festival appears to be angling for the same deal, but shrugs it off.
It’s hard to see why Drake wouldn’t do Rolling Loud — especially after the year he’s had. If nothing else, it could get him back into the good graces of hardcore fans and begin repairing his damaged connection to the culture (more than appearing on livestreams with… questionable politics anyway). Perhaps it’s in the cards in the future, but for now, it sounds like Rolling Loud will continue to be a Drake-free zone — and had the chance to do the funniest thing ever with another artist they’ve yet to book.
One of the year’s most-anticipated music festival lineups is here. Bonnaroo 2025, held as always in Manchester, Tennessee, is being headlined by Luke Combs and Dom Dolla on Thursday; Tyler, The Creator, John Summit, and Glass Animals on Friday; Olivia Rodrigo, Avril Lavigne, and Justice on Saturday; and Hozier, Vampire Weekend, and Queens Of The Stone on Sunday.
There’s also Goose, Tipper, Wallows, MJ Lenderman, Glorilla, Hot Mulligan, Beabadoobee, Shaboozey, Barry Can’t Swim, and Remi Wolf, who is throwing an “insanely fire 1970’s pool party superjam.” Another fun addition to this year’s lineup is King Gizzard & The Lizard Wizard playing a mini-residency with three sets over the course of three days.
Tickets for Bonnaroo 2025, which goes down from June 12-15, go on sale on Thursday, January 9, at 10 a.m. CT. Four-day general admission starts at $420; there’s also four-day GA+ for $695, four-day VIP for $999, four-day platinum for $3,995, and four-day platinum (“an exclusive experience that will bring you into the inner workings of the festival from a unique vantage point”) for $26,000. You can find out more here.
It’s been kind of a while since Uproxx last covered new music from noise-rap clique clipping. Of course, since then, the group’s rapper, Daveed Diggs, has been fairly busy with his acting career, appearing in the live-action remake of The Little Mermaid with Halle Bailey and the Golden Globe-winning indie film Nickel Boys, as well as a bunch of TV shows as a voice actor.
However, it appears the group is back; after releasing “Run It” and “Keep Pushing” last year, they’ve announced their new album today. Dead Channel Sky is inspired by the themes and sounds of the cyberpunk oeuvre, with today’s single, “Change The Channel,” exemplifying the project’s dedication to hard-hitting techno production. It’s a decided departure from their usual, industrial-sounding production, but no less high-concept and left-of-center for contemporary rap styles, but what remains consistent is Diggs’ dedication to proving that he can rap on anything. His labyrinthine rhyme construction sounds just as good here as on any of their prior stuff — and truth be told, the new sonic direction is probably as palatable for mainstream audiences as they’ve ever been. Think the soundtracks for the Blade movies and you’re in the ballpark.
You can listen to “Change The Channel” above.
Dead Channel Sky is out 3/14 on Sub Pop.
clipping.’s Dead Channel Sky Tracklist
01. “Intro”
02. “Dominator”
03. “Change The Channel”
04. “Run It”
05. “Go”
06. “Simple Degradation (Plucks 1-13)” Feat. Bitpanic
07. “Code”
08. “Dodger”
09. “Malleus” Feat. Nels Cline
10. “Scams” Feat. Tia Nomore
11. “Keep Pushing”
12. “From Bright Bodies (Interlude)”
13. “Mood Organ”
14. “Polaroids”
15. “Simple Degradation (Plucks 14-18)” Feat. Bitpanic
16. “Madcap”
17. “Mirrorshades pt. 2” (Feat. Cartel Madras)
18. “And You Called (Interlude)”
19. “Welcome Home Warrior” Feat. Aesop Rock
20. “Ask What Happened”
A few months ago, Darkside announced their first run of North American shows in over a decade, set to start in March. It turns out the tour will be preceded by a new album: Today (January 8), the group (Nicolás Jaar, Dave Harrington, and now featuring drummer Tlacael Esparza) announced their third album, Nothing. The new album follows 2021’s Spiral. They also shared the song “S.N.C.”
A press release notes the project “slips through the cracks of convention with serpentine guitars, extraterrestrial static, and cavernous drums.” It’s further described as “nine transmissions of negative space, telepathic seance, and spectral improvisation” and as having “haunted rhythms, distorted vocals, and uncanny beauty.”
Listen to “S.N.C” above and find the Nothing cover art and tracklist below, along with the group’s upcoming tour dates.
Darkside’s Nothing Album Cover Artwork
Matador
Darkside’s Nothing Tracklist
1. “SLAU”
2. “S.N.C”
3. “Are You Tired? (Keep On Singing)”
4. “Graucha Max”
5. “American References”
6. “Heavy Is Good For This”
7. “Hell Suite (Part I)”
8. “Hell Suite (Part II)”
9. “Sin El Sol No Hay Na”
Darkside’s 2025 Tour Dates: Psychic Spiral Nothing
03/13/2025 — Chicago, IL @ The Salt Shed
03/14/2025 — Detroit, MI @ Masonic Cathedral Theatre
03/15/2025 — Toronto, ON @ HISTORY
03/16/2025 — Montreal, QC @ MTELUS
03/18/2025 — Boston, MA @ Roadrunner
03/19/2025 — Philadelphia, PA @ The Fillmore
03/21/2025 — New York, NY @ Brooklyn Steel
03/23/2025 — Washington, DC @ 9:30 Club
03/25/2025 — Nashville, TN @ Brooklyn Bowl
03/26/2025 — Atlanta, GA @ Tabernacle
04/04/2025 — Portland, OR @ Roseland Theater
04/05/2025 — Vancouver, BC @ Vogue Theatre
04/06/2025 — Seattle, WA @ The Showbox
04/15/2025 — Salt Lake City, UT @ The Union Event Center
04/16/2025 — Denver, CO @ Mission Ballroom
Nothing is out 2/28 via Matador. Find more information here.
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