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Back in October, Travis Barker and Kourtney Kardashian got engaged after the Blink-182 drummer’s grand, romantic beach proposal. Now, after a few months of being engaged, it appears the two have gone ahead and officially tied the knot.

Barker popped up at this past weekend’s Grammys, drumming as HER, Lenny Kravitz, and others performed Kravitz’s “Are You Gonna Go My Way.” Barker’s night apparently didn’t end there, as TMZ reports that after the show, Barker and Kardashian made their way to a Las Vegas (where this year’s Grammys were hosted) wedding chapel at around 1:30 a.m. and got married, complete with a marriage license and an Elvis impersonator conducting the ceremony. TMZ notes having the Elvis impersonator officiate the ceremony was important to the couple.

Furthermore, TMZ notes that following the ceremony, there will be “several” other celebrations of the marriage.

This is Kardashian’s first marriage; While she and Scott Disick have three kids together, they were never actually married. As for Barker, this is his third go at matrimony, as he was previously married to Melissa Kennedy for nine months in 2002 and to Shanna Moakler for about two years before filing for divorce in 2006.

Blink-182 is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

It’s been about four years since Joyce Manor‘s last album, Million Dollars To Kill Me. Since then, they’ve reworked old material and dug up unreleased songs with Songs From Northern Torrance, as well as remade their crashing 2011 self-titled debut in honor of its ten-year anniversary. Today, they’ve finally returned with brand new music, announcing their sixth studio album 40 Oz. To Fresno. The single “Gotta Let It Go” is out today.

“Gotta Let It Go” is an invigorating, building anthem that shows frontman Barry Johnson using his voice to his advantage by yelling, singing, and even coming close to screaming. 40 Oz. To Fresno was produced by Rob Schnapf, who also produced Cody, and the band recruited Motion City Soundtrack’s Tony Thaxton on the drums.

“This album makes me think of our early tours, drinking a 40 in the van on a night drive blasting Guided By Voices and smoking cigarettes the whole way to Fresno,” Johnson stated.

Watch the video for the searing “Gotta Let It Go” above. Check out the 40 Oz. To Fresno artwork and tracklist below, as well as the band’s upcoming tour dates.

1. “Souvenir”
2. “NBTSA”
3. “Reason To Believe”
4. “You’re Not Famous Anymore”
5. “Don’t Try”
6. “Gotta Let It Go”
7. “Dance With Me
8. “Did You Ever Know”
9. “Secret Sisters”

04/11 — Salt Lake City, UT @ The Union
04/13 — Denver, CO @ Mission Ballroom
04/15 — Royal Oak, MI @ Royal OakMusic Theater
04/16 — Chicago, IL @ Radius
04/18 — Pittsburgh, PA @ Stage AE
04/19 — Cleveland, OH @ Agora Theater
04/20 — Baltimore, MD @ Rams Head
04/22 — NYC @ Terminal 4
04/23 — Boston, MA @ Roadrunner
04/24 — Philadelphia, PA @ Franklin Music Hall
04/26 — Richmond, VA @ The National
04/27 — Atlanta, GA @ The Eastern
04/29 — Orlando, FL @ Hard Rock
04/30 — Nashville, TN @ Cannery Ballroom
05/03 — Dallas, TX @ The Factory In Deep Ellum
05/04 — San Antonio, TX @ Vibes Event Center
05/06 — Tempe, AZ @ Marquee Theater
05/07 — Los Angeles, CA @ Shrine
05/08 — San Francisco, CA @ The Warfield
05/10 — Portland, OR @ McMenamins Crystal Ballroom
05/11 — Seattle, WA @ Showbox SoDo

40 Oz. To Fresno is out 6/10 via Epitaph Records. Pre-order it here.

In another life, he was an ex-Fleet Foxes drummer who transitioned with little fanfare to a career as a sad-sack singer-songwriter known as J. Tillman. Then Josh Tillman had a revelation. “Joseph Campbell and The Rolling Stones / Couldn’t give me a myth / So I had to write my own,” he sang on his 2012 debut under the name Father John Misty, Fear Fun. “I never liked the name Joshua / I got tired of J.”

But it was more than a mythic persona. Father John Misty became the protagonist of Tillman’s songs. He gleefully regaled listeners with stories of this outlandish provocateur’s drug-fueled dreams and problematic misadventures, never tipping his hand in terms of a tidy moral judgement for the charismatic cad. Even when he used his own name, it was through the Misty prism — a proxy commenting on the author commenting on the proxy. The character proved to be an effective vehicle for communicating Tillman’s core obsession, that omnipresent human paradox about how we all know that we’re doomed and yet we can’t stop caring about the multitudes of bullshit minutia that swamp us daily. In Misty, Tillman discovered the necessary subterfuge — ironic, sardonic, decadent, untouchable — to smuggle his own relatively straightforward earnestness about the need to love and be loved in an otherwise soul-crushingly ephemeral world.

By 2018’s God’s Favorite Customer, however, the mask appeared to be slipping. The Misty/”Josh Tillman” character now seemed shattered, exhausted, and a little too vulnerable. A song cycle about a dark six-week period in his marriage, the album blurred the line between “Josh Tillman” and the real Josh Tillman like never before. This was no longer a man adopting a pose as both artistic license and personal protection. The myth had been breached, revealing the broken man behind the wall.

Perhaps it shouldn’t come as a surprise then that the new Father John Misty album out this Friday, Chloë And The Next 20th Century, is the least FJM-centric FJM record yet. In fact, the usual protagonist has gone completely missing. Rather than write about the familiar swaggering anti-hero, Tillman has instead focused on his other made-up characters — the titular “borough socialist” Chloë, a striving entertainment biz creative named Simone, the actress known as Funny Girl, an unnamed pair of ex-lovers who are reunited by their recently deceased cat Mr. Blue. As for revelations about Tillman’s personal life, it appears that the author has (smartly) retreated into the life of a family man who is suddenly averse to oversharing or further exposing himself to a hostile outside world. (This extends to the promotion of Chloë — once a reliable driver of traffic for indie-music sites, he hasn’t given an interview in several years.)

For some long-time followers, this might register as an unwelcome development, like tuning into a new season of Mad Men and noticing that Don Draper no longer is part of the show. As it is, Chloë is by far the least accessible album Tillman has made under the Father John Misty moniker. The easy entry point that the character provided — like Draper, Misty provided both vicarious bad-boy highs and bracing morning-after lows — has gone missing. The album presents Tillman at his most writerly, unfolding more like a collection of short stories observed from a distant remove than the exaggerated autobiography of the previous records. Also, the lustrous folk rock he is known for has been leavened with cocktail lounge jazz and dreamy bossa nova, giving the album a somewhat distant, ghostly vibe that evokes the chilliness of The Shining-era Stanley Kubrick.

This is not, in other words, a record that immediately ingratiates (in the manner of previous FJM albums) with stately piano melodies and gripping revelations about armageddons both personal and universal. It takes a while for these songs to reveal their dazzling charms, but Chloë ultimately is another breakthrough for Tillman — as a lyricist, as a melodicist, as a singer, as a builder of worlds. If concocting the Father John Misty persona was a way for Tillman to transform into something more than just another indie-dude guitar-slinger who stares at his shoes too much, this new album feels like him coming full-circle. After a decade as the hip-swinging, journalist-taunting, and buttons-pushing shaman, he is back to being merely an excellent songwriter.

While Chloë And The Next 20th Century feels like a break from the other Father John Misty albums, it is tethered in one crucial way via Tillman’s long-time collaborator, producer Jonathan Wilson. These men are connected musically over their mutual interest in creating big-sounding (and occasionally even hyperbolic) records. After the relatively stark God’s Favorite Customer, they’re back to filling the sonic frame with loads of expertly executed instrumental tones, including a string quartet and a small orchestra rounded out by trombones, bassoons, oboes, and clarinets.

But whereas I Love You, Honeybear and Pure Comedy could be almost aggressively grandiose, Chloë is markedly gentle, echoing the intricately wrought, story-oriented lyrics. Comparing the stunning “Goodbye Mr. Blue” to Harry Nilsson’s “Everybody’s Talkin’” is such an obvious observation that Tillman must have welcomed it, but the impossibly warm melange of acoustic guitar, keys, and strings truly speaks to the high level of craft here. Equally lovely is “(Everything But) Her Love,” in which Tillman finally perfects the mellow, semi-psychedelic, post-Pet Sounds SoCal pop sound he’s been chasing since Fear Fun.

The music on Chloë is so consistently beautiful and well-conceived that it can lull you into a false sense of numbness. And that is precisely where Tillman wants you. What felt like a weakness upon my early listens — nothing on the album hits with the emotional directness of “Holy Shit” or the most confessional God’s Favorite Customer songs — gradually turned into a strength as the songs slowly opened up, like a novel that comes together in the final third.

In his previous work, Tillman has exhibited a fascination with how life-changing swings of fate appear suddenly amid the banality of daily existence, often in ways that said banality prevents us from noticing or understanding in the moment. But this theme really comes to the fore on Chloë And The Next 20th Century, with Tillman repeatedly putting his characters in situations they are incapable of comprehending until circumstances overwhelm them. In the title track, a woman who acts as a Benzedrine hookup for the narrator takes a shocking plunge off her balcony on her 31st birthday. In “Q4,” an over-ambitious playwright plagiarizes her own dead sister before being “outed for her privilege.” In “We Could Be Strangers,” a romantic encounter between two ships passing in the night eventually is shown to be a near-death dialogue between two car-accident victims.

These are the kinds of songs that you can see in your head as you hear them, and then long to read on the page once you play them again. Tillman’s ability to craft a witty quip lampooning contemporary discourse cliches remains unmatched — “What’s ‘deeply funny’ mean anyhow?” from “Q4” is a personal favorite — but his eye for narrative details really makes Chloë come alive. I’ve taken to describing verses from this album as scenes, like the part in “Funny Girl” in which the author muses that a young starlet’s “schedule’s pretty crazy / doing interviews / for the new live action Cathy.” I’m now deep enough into the world of this record that a new live action Cathy kind of already exists in my mind.

Whether Chloë And The Next 20th Century marks a new era of Randy Newman-like story songs remains to be seen. But I suspect we won’t be seeing as much of Father John Misty on future Father John Misty albums. The album’s most menacing and ambitious track, “The Next 20th Century,” comes last and points away from all that precedes it. A slow-moving seven-minute synth-pop crawl that erupts into a startling prog-rock guitar solo, the song revisits a theme that Tillman last explored on Pure Comedy, describing a world that’s changed so fast that humans are unequipped to rationalize it, so we instead retreat into an imaginary nostalgic existence fostered by technology, the media, and our own collective narcissism. A 20th century that never ends.

“I don’t know ‘bout you,” he finally sings. “But I’ll take the love songs / if this century’s here to stay / I don’t know ‘bout you / but I’ll take the love songs / and the great distance that they came.” Like the characters in his songs, Tillman doesn’t know the way out, so in the meantime he’s blissing out on the minutia. If transcendence eludes us, perhaps a new myth will do.

Marcel the Shell with Shoes On is about a shell named Marcel who wears shoes. It’s just about the cutest thing you’ve ever seen. Created by Jenny Slate and Dean Fleischer-Camp, Marcel was a viral hit in 2010 (the original video has over 32 million views) that was later turned into a children’s book series. It’s also been expanded into a feature-length film by A24, the home of less-cute fare like Green Room, Spring Breakers, and The Witch (Black Phillip the Goat with Satan Horns On?).

You can watch the whimsical and poignant Marcel trailer above. Here’s more:

Marcel is an adorable one-inch-tall shell who ekes out a colorful existence with his grandmother Connie and their pet lint, Alan. Once part of a sprawling community of shells, they now live alone as the sole survivors of a mysterious tragedy. But when a documentary filmmaker discovers them amongst the clutter of his Airbnb, the short film he posts online brings Marcel millions of passionate fans, as well as unprecedented dangers and a new hope at finding his long-lost family. A beloved character gets his big-screen debut in this hilarious and heartwarming story about finding connection in the smallest corners.

Marcel the Shell with Shoes On opens in theaters on June 24.

Tucker Carlson could barely contain his glee after learning that Elon Musk now owns a significant 9.2% of Twitter‘s shares. Despite admitting that Musk isn’t an “orthodox conservative” like the overwhelming majority of Fox News viewers, Carlson praised the power grab as a victory for free speech. The controversial host thinks the social media platform is sorely lacking in that department because it does things like (barely) moderate comments for hate speech and violence. There’s also the fact that Twitter is a private company, and not the government, therefore it has a right to censor the content on its platform, but why let reality get in the way of a good Fox News rant?

“He’s already the world’s richest man, he does not need the money,” Carlson said. “Could this be the first move in a hostile takeover of Twitter that transforms Twitter into a platform for free speech? Seems that way.”

Via Mediaite:

“Not a lot of CEOs talk this way. In fact, none. They’re not allowed. The fact that a CEO who does talk this way may take over one of the most communications platforms in the United States is cause for celebration. Real celebration. The censors are powerful but it turns out they may not be all-powerful.”

Like Lauren Boebert, who is someone you never want to be compared to, Carlson assumes that Musk will have control over the day-to-day operations. If anything, Musk is in a position to be bought out and make a tidy profit because, even though he doesn’t “need” the money, when has that stopped a billionaire from trying to get some more? That’s Capitalism 101, Tuck.

(Via Mediaite)

Syd returns with her much-anticipated second studio album Broken Hearts Club this month. Ahead of the album’s release, the “CYBAH” singer spoke with NME about the creation of her new project and the events leading up to it.

Looking back at her days in Odd Future — the hip-hop collective comprised of the likes Tyler The Creator, Frank Ocean, and Earl Sweatshirt — Syd admitted she doesn’t think about those moments fondly.

“It feels like a lifetime ago,” Syd said. “I don’t have any real memories of that time. I was just floating through it. I wasn’t in a good place then and so I don’t really reminisce on those moments.”

In the early 2010s, Odd Future became infamous for their homophobic and misogynistic lyrics. While the men of the group were revered for their craft, Syd, then known as Syd Tha Kid, was often the one held accountable by the public for the group’s behavior. The openly queer singer left Odd Future in 2016 and released her solo debut album, Fin, the following year.

Earlier in the interview, Syd, who is also the lead vocalist of The Internet said, “The next Internet album will also be our last. I have no idea what’s next. I don’t know. Maybe we’ll create an Internet label. We talked about that — just signing ourselves.”

Broken Hearts Club is out 4/8 via Columbia. Pre-save it here.

Paula Patton did something that might actually unite the internet, in a strange enough way, because everyone is confused as heck about what’s going on with her fried chicken recipe that she’s crediting to her mom. And this recipe is reminding people of a certain scene from the most recent Atlanta season premiere (in which a pair of foster moms completely butcher said recipe).

First, the necessaries: Here’s Patton’s video (she Instagrammed this thing on March 4, well before April Fool’s Day and the relevant Atlanta episode):

A month later, and this reaction video has gone viral because, well, it’s so funny. It’s particularly bizarre to note how Paula is either seasoning or non-seasoning (really seems like the latter), and how she actually takes a bite at the end.

The same goes for the “fowl stuff” quote from the WuTangKids Twitter account.

In short, everyone is confused as heck here. Why is Paula seasoning chicken after putting it into the grease?

Don’t even get people started on how she’s rinsing off the chicken with water and calling it clean before leaving it all pink inside and calling it cooked. Yikes. And this is offending everyone who loves fried chicken while probably even confusing vegans.

The Se7en and Will Smith jokes hit particularly hard.

And everyone piled on, roasting and frying this horrible chicken, which some have dubbed a culinary “abomination.”

The Atlanta jokes rolled in as well, for solid reason.

Maybe Paula should stick to casseroles?

Jake Johnson knows exactly what he’s doing on HBO Max’s Minx. On the period comedy series which chronicles the fictional story of Minx – a feminist magazine in the 1970s with male nude spreads ala Playboy – Jonhson plays Doug Renetti, the publisher at Bottom Dollar, which publishes titles including Milky Moms. Secretary Secrets, and Feet Feet Feet. Johnson’s dynamic, confident performance as Doug works against expectations for the actor, while still integrating his signature effortless allure that made New Girl’s Nick Miller an icon.

On the surface, Doug is the ultimate 70s sleaze. At the beginning of the first episode, Joyce (Ophelia Lovibond actress), a Type A feminist with a dream for a magazine for women meets Doug at a magazine festival where people can pitch their magazine ideas to publishers. Doug’s hair is long and uncombed, he has a scraggly beard, and he unbuttons his button-down shirt to reveal his chest hair and gold medallion necklace. He’s smoking a cigarette. Joyce rolls her eyes at Doug (to be fair he does a little mansplaining), and assumes he is also there to pitch an idea for a magazine. Joyce learns at the end of their conversation that Doug is a publisher. Doug is, shockingly, more interested in Joyce’s idea for a feminist magazine than Conde Nast. “Chicks are changing,” he says. But there’s a catch: the magazine has to have dicks in it.

As the series progresses, Jake Johnson’s performance gives Doug more and more layers, a challenging feat for a character with such a unique look who makes his money off of selling sex. Doug is a complicated guy: he’s charming, progressive, devoted to his work and hopelessly devoted to the success of Minx as well as a button-down in a loud print with tight flared pants. But while Doug is championing a feminist magazine, he still has some setbacks that indicate he desperately needs to read his own publication: he calls women chicks, and he sends Joyce away during business conversations. He also does business with the mob and other nefarious characters.

Jake Johnson made an impact with his role as Nick Miller, the messy but lovable bartender with a Peter Pan complex on FOX’s New Girl, who, it must be noted, did not think that towels need to be washed. Johnson’s performance as Miller felt so authentic and personal that Nick Miller became Jake Johnson. On Minx, Johnson is pushing against that with ease. Nick and Doug are both a bit sleazy at first glance, but beyond their irresistible charm (despite their glaring flaws), they don’t have much in common Nick Miller was a bit lazy, insecure, and lacked ambition whereas Doug Renetti is confident, fearless, and driven.

At the end of Minx’s third episode, Doug orders drinks at a bar for himself and his business partner Tina (Idara Victor): a Maker’s and a banana daiquiri. The bartender hands the Makers to Doug, and the banana daiquiri to Tina. Without a word, Doug picks up the tiny umbrella-clad banana daiquiri in front of Tina, while Tina picks up the Makers.

This is the kind of narrative nugget that only works if the performance is working. There was never any indication that Doug enjoys fruity cocktails. Instead, it’s the small, delicate details and layers within Johnson’s performance that sell the moment and make it make sense. It’s Johnson’s awareness of his charm that makes him so good. On New Girl, Johnson captured an almost childlike charm, the male equivalent of the girl-next-door. On Minx, Johnson confidently carries loud prints, bellbottoms, gold chains, and chest hair — and the unlikely mentor role. Frustratingly endearing and slightly cheesy characters are what Jake Johnson does best, and on Minx he’s proving he has so much more to offer than anyone imagined.

Chicago trio Horsegirl announced their debut album Versions Of Modern Performance in March after signing to Matador Records. Singles like “Anti-Glory” and “Billy” flexed emotive, cathartic vocals and prominent, hypnotic bass lines; the sound is the vein of Porridge Radio or Horse Jumper Of Love.

The band has released the new track “World Of Pots And Pans” that builds up their appeal even higher, opening up with sharp, reverberating riffs and dismal words uttered in a mesmeric deadpan, “Emma was my brand new friend / Fun to see how this one ends.”

About the song, the band said:

“’World Of Pots And Pans’ is the first love song Horsegirl has ever written — or the closest thing to it. We wrote it in Penelope’s basement while preparing to leave for our first ever tour. The lyrics, inspired by the misinterpretation of a Television Personalities lyric, imagine a (possibly unrequited) romance unfolding through references to Tall Dwarfs, Belle & Sebastian, and the Pastels.

We made the lyric video in a couple hours. The three of us had a fully formed vision of what it should look like and were able to quickly execute the real-time ‘animation’ in only two takes. It feels special to showcase our creative chemistry, and Nora was able to finally carry out her childhood dreams of making an OK Go (ish) type video.”

Listen to “World Of Pots And Pans” above.

Versions Of Modern Performance is out 6/3 via Matador Records. Pre-order it here.

In recent days, The Weeknd has been teasing that his new video for “Out Of Time” would be dropping soon, and it turns out “soon” is today, as the clip premiered this morning.

In it, he stars alongside Jung Ho-yeon, who is best known for her recent role as Kang Sae-byeok in Squid Game. In the clip, the pair enjoy some time together by singing “Out Of Time” on karaoke and hanging out in a hotel. Thinks take an odd twist towards the end, though, and that’s when Jim Carrey, whose voice was already featured on the song, pops up.

Ahead of the release of Dawn FM, Carrey offered his thoughts on the album, tweeting, :I listened to Dawn FM with my good friend Abel @theweeknd last night. It was deep and elegant and it danced me around the room. I’m thrilled to play a part in his symphony. ;^•.” The Weeknd shared the tweet and added, “Thank you for being a part of this. It’s kismet. Full circle [single tear emoji].”

Meanwhile, The Weeknd as we know him might be gone soon, in that he may be considering changing his name, as he tweeted, “I feel like i should change my stage name to ABEL at this point lol. Maybe pull a YE and just legally change my name to ABEL. no last name. Like Madonna or Cher or Prince.”

Watch the “Out Of Time” video above.