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10 New Albums to Stream Now: Rolling Stone Editors’ Picks

Lana Del Rey, Lust for Life
While the world-weary chronicler of post-millennial love is smiling on the cover of her fourth album, sadness still lurks at the edges of its dreamy, nostalgic songs. Arriving just in time for the summer-bummer dog days, Lust for Life features cameos from the Weeknd, Sean Ono Lennon and Del Rey’s spiritual godmother Stevie Nicks.
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Nine Inch Nails, Add Violence EP
The second in a planned trilogy of EPs from Trent Reznor’s main project “contains all the aggression, abjection and self-loathing that solidified his position as alt-rock’s Original Angster, but with the measured restraint of a man his age,” writes Kory Grow. 
Read Our Review: Nine Inch Nails’ ‘Add Violence’ EP Matches Angst With Restraint
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

Romeo Santos, Golden
The king of bachata – newly enshrined at Madame Tussaud’s after a successful online campaign to get the former Aventura leader cast in wax – presents love songs that simmer and sigh as they combine traditional Dominican dance music with modern-day beats. A few big-name guests drop by: megaproducer Swizz Beatz assists on the sparkling “Premio”; reggaeton masters Daddy Yankee and Nicky Jam turn up the heat on “Bella y Sensual”; R&B upstart Jessie Reyez faces off with Santos on the torch-y “Un Vuelo a la”; and loverman Julio Iglesias brings charm to “El Amigo.” But Santos’ silky voice is the main attraction, sneaking between and through the intricate guitar lines that define bachata while also tempering the vibe on more club-ready tracks like “Sin Filtro.” Maura Johnston
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Meek Mill, Wins & Losses
The third full-length from North Philly’s hip-hop everyman has a stacked guest list that includes Rick Ross, Quavo, Future and The-Dream.
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Steve Aoki, Steve Aoki Presents Kolony
The showman DJ and entrepreneur’s latest collection has a slew of big-name guests from the hip-hop world, including Lil Uzi Vert, Migos, Gucci Mane and Lil Yachty. “This album was largely based on relationships and friends,” he tells Rolling Stone. “Most of these artists you can’t just call their manager and do a song with these artists, because you have to develop a relationship – most of these artists already have their favorite producers, [and] they have their own albums to attend to. If they’re going to do a feature, it’ll be with their friend, or someone that they really respect. I cultivated great friendships with a lot of these artists that, I’m proud to say, led to the completion of the album.”
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

Damian Marley, Stony Hill
“Between LPs with Nas (Distant Relatives) and Mick Jagger (SuperHeavy), and more recent tracks with Jay Z (4:44‘s ‘Bam’) and Skrillex (‘Make It Bun Dem’), Damian Marley has been his late father’s rangiest ambassador,” writes Will Hermes. “His first solo LP in a decade is an inspiring 18-track tour de force, flexing authority on both roots jams and dancehall bangers, on political meditations … as well as come-ons (see the Drake-ian ‘Grown and Sexy’).”
Read Our Review: Damian Marley Keeps Family Legacy Alive on ‘Stony Hill’
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

Nicole Atkins, Goodnight Rhonda Lee
This Jersey-born, Brooklyn-based singer-songwriter finds her subtle way to rethink the Fifties and Sixties – blurring Roy Orbison, the Mamas and the Papas and Aretha Franklin, suggesting an alternative history where the Brill Building opened satellite offices in in Memphis and Nashville and charming female pop crooners could sing the word “horny” and still get jukebox spins. Recorded at the same Fort Worth, Texas studio used by Leon Bridges, Atkins’ fourth LP is stately yet earthy, from the walking-after-midnight desire of “A Little Crazy” to the breezily forlorn “Sleepwalking” to the bright soul shouter “Listen Up.” The result is a charming LP that makes familiar moods feel new. Jon Dolan
Hear: Amazon Music Unlimited | Apple Music | PledgeMusic | Spotify | Tidal

Cornelius, Mellow Waves
The first album in 11 years from the Japanese composer and musical wizard Keigo Oyamada – who’s also a member of the new-look Plastic Ono Band – is a chilled-out affair that collects mellow guitar pop and dreamily abstracted synth meditations. 
Hear: Amazon Music Unlimited | Apple MusicSpotify | Tidal

Little Silver, Somewhere You Found My Name
The elegantly understated debut from this Brooklyn band does what great, grown-up indie rock at its best has always done: It maps out states of personal, emotional and historical in-betweenness with careful, intelligent grace and rhyming guitars. You can hear trace elements of Fairport Convention and the Bats in the way Steve Curtis (formerly of the roots-y band Hem) and Erika Simonian join their voices, and while songs like “The Slowing and the Start” and “Longest Day of the Year” take their time building from muted beauty to closely held grandeur, this LP isn’t just about genteel craft: “One Stepper,” which chugs along like a chill New Pornographers, uncorks the bare-knuckled couplet “I left you shaking at the church/I let you call me a fucking jerk” and only gets more complicatedly heated from there. Jon Dolan
Hear: Apple Music | Spotify | Tidal

Declan McKenna, What Do You Think About the Car?
Articulate 18-year-old Declan McKenna is already a rising and buzzing star in England, and his debut LP proves he deserves the hype. His songwriting can suggest a debt to the watery alt-pop of Travis or Keane, but his writing is sharp and smart in the vein of Nick Lowe and Elvis Costello. “Leelah Alcorn” is about the suicide of a transgender teen in Ohio; “Paracetamol” takes on the way the media portrays LGBT communities; “Isombard” deals with racism in policing. If he were only singing about whiling away rainy days in his bedroom or getting roughed up by the pangs of disprized love, his crisp little tunes and cute genre moves would be enough. But he’s got a world to take on: “I am everyone else,” he sings on one ringing charmer, like a radical humanist Ray Davies. Jon Dolan
Hear: Amazon Music Unlimited | Apple Music | SoundCloud Go | Spotify | Tidal

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Review: Damian Marley Keeps Family Legacy Alive on ‘Stony Hill’

Between LPs with Nas and Mick Jagger, and morerecent tracks with Jay-Z (4:44‘s “Bam”) and Skrillex (“Make ItBun Dem”), Damian Marley (a.k.a. Jr. Gong) has been his late father’srangiest ambassador. His first solo album in a decade is an inspiring 18-trackcollection, flexing authority on roots jams and dancehall bangers, politicalmeditations (“Walking home a youth gets killed/Police free to shoot atwill,” he sings on “Slave Mill,” with his dad’s indomitableruefulness) and come-ons (the Drake-ian “Grown and Sexy”). It’s areminder that reggae remains a potent pop force, especially when it’s in the handsof a master.

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Watch Foreigner Reunite With Three Members for First Time in 37 Years

Foreigner reunited with three key former members for the first time since 1980 as Lou Gramm, Al Greenwood and Ian McDonald joined the group onstage Thursday during a concert at Jones Beach, New York.

Gramm, who fronted Foreigner from their inception in 1976 until 2003, sang lead with the band for the first time in 14 years, while multi-instrumentalist McDonald and keyboardist Greenwood, both founding members of Foreigner, last performed with the group in 1980.

Together again after 37 years, the reunited iteration of Foreigner performed three tracks: “Long, Long Way From Home,” “I Want to Know What Love Is” and “Hot Blooded.”

“It was great to have Lou, Al and Ian join us onstage last night, and certainly brought back some special memories,” guitarist and founding member Mick Jones said in a statement.

“All the original guys are out there playing live shows and working on studio projects. A performance by the entire original band for a Rock & Roll Hall of Fame induction next year would be a great way to cap off our 40th Anniversary celebrations.”

Earlier this year, Gramm and Jones hinted that a Foreigner reunion could be in the works in some capacity as the band embarked on their 40th anniversary tour; their self-title debut album was released in 1977. The duo last performed together in 2013 at their induction ceremony into the Songwriters Hall of Fame, Ultimate Classic Rock notes.

Foreigner recently embarked on a summer tour with support from Cheap Trick and Jason Bonham’s Led Zeppelin Experience. It’s unclear whether Gramm, Greenwood and McDonald will appear at upcoming stops or if the reunion was a one-off until a potential Rock Hall induction.

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Review: Nine Inch Nails’ ‘Add Violence’ EP Matches Angst With Restraint

Trent Reznor has always aspired to the artistic malleability of David Bowie, tweaking his sound and vision with each release while twisting his kaleidoscope of grays into different shades of anguish. Like the late Thin White Duke, he’s made missteps (his remix EPs never “fixed” anything, and his glitchy How to Destroy Angels space-pop detour could be his Tin Machine), but also like Bowie, he’s always regained his footing, funneling his anxieties into new teeth-gnashing horrorscapes. His soundtrack work in recent years with his Nine Inch Nails partner Atticus Ross has given him an outlet to experiment outside of his nom de synth-rock, forcing new vitality into his NIN outings of late for even harsher, more potent music.

His latest, the five-song EP Add Violence, contains all the aggression, abjection and self-loathing that solidified his position as alt-rock’s Original Angster but with the measured restraint of a man his age. Like Reznor’s early Nine Inch Nails work, it’s a mostly insular affair – only he and Ross are credited here, with two women singing backup on opener “Less Than” – and it’s the inherent loneliness that makes Add Violence compelling, especially when contrasted with last year’s Not the Actual Events EP, which sounded a little scattered despite guest shots from Daves Grohl and Navarro and Reznor’s wife and How to Destroy Angels partner Mariqueen Maandig.

The simplicity of the duo’s approach drives Add Violence from the start, as “Less Than” opens with a plinky, Depeche Mode–styled keyboard riff before Reznor’s voice wrests it into a catchy, chin-down single. “Welcome oblivion,” he sings at the end. “Did it fix what was wrong inside?” But since that feeling of nothingness, which Reznor has paid homage to on practically every release of his career, has never fixed anything, it becomes the third member of Nine Inch Nails on the rest of the EP.

That isolated sensation overwhelms “Not Anymore,” one of the harder hitting and most self-deprecating tracks on Add Violence. “I won’t forget – I know who I am,” he sings. “No matter what, I know who I am/And what I’m doing this for … ” And then he screams, “Well, not anymore.” It’s vintage Reznor hostility, and it’s all the more cutting when sandwiched between the shadowy, ominous “This Isn’t the Place,” which could be a soul song if presented differently, and overdriven closing track “The Background World,” which opens with Reznor dejectedly scorning someone, “You left me here,” before eventually building to eight minutes of an overdriven synth loop, adding more and more distortion with each repeat, recalling Nine Inch Nails’ Broken EP.

The only weak moment here is “The Lovers,” a blippy, meandering ballad of sorts that’s sometimes too mopey for its own good – even for Reznor – as he suffers an identity crisis (“I know who I am, right?”) and settles “into the arms of the lovers” before deciding, “I am free/Finally.” It slows down the momentum of what is an otherwise strong declaration of anxiety, one that, if he and Ross blew it out a little more into an album, could stand with the band’s best.

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Puff Daddy & the Family’s ‘No Way Out’: 5 Things You Didn’t Know

In 1997, Bad Boy Records dominated hip-hop like perhaps no label has before or since, with Sean “Puff Daddy” Combs declaring “10 years from now, we’ll still be on top.” Twenty years later, Combs, now better known as Diddy, is well on his way to becoming a billionaire, and recently released Can’t Stop Won’t Stop: A Bad Boy Story, a documentary about the label’s storied history and the reunion that toured arenas last year. No Way Out, the blockbuster solo album that turned the producer and label exec into a multiplatinum rap star in the summer of ’97, remains a landmark moment in his remarkable career.

To celebrate the album’s anniversary, here are some lesser-known facts about No Way Out.

1. No Way Out has a title track that was left off the album
No Way Out opens with “No Way Out (Intro),” a dramatic 80-second interlude with helicopter sound effects. But Puff Daddy also had an actual song called “No Way Out,” featuring Kelly Price and Black Rob, that was left on the cutting room floor, released later that summer on the soundtrack to the Chris Tucker comedy Money Talks. On it Puffy raps, “They can’t hurt me no more than they already did/They killed Big, in my heart he forever lives/ There’s no way out, like you got Berettas to my wig.”

2. Jay-Z turned down the chance to write “I’ll Be Missing You”
It’s no secret that Sean Combs, who famously declared “Don’t worry if I write rhymes, I write checks,” didn’t pen many of his lyrics on No Way Out, even his chart-topping emotional tribute to his slain friend the Notorious B.I.G. A relatively unknown Brooklyn rapper named Sauce Money got the gig to write Puffy’s somber verses on “I’ll Be Missing You” after his old Marcy Projects friend Jay-Z was asked first. Jay, still a rising star at that point who was routinely collecting checks as a writer for Puffy, Ma$e and others, decided to pass on this gig, even though he was affected by Biggie’s death and paid tribute on many of his own songs. “It could be difficult to open up and try to eulogize a good friend,” Sauce Money told Genius last year, explaining that he used the death of his own mother as inspiration for the lyrics.

3. Puffy’s lavish videos were inspired by Guns N’ Roses
No Way Out spun off several videos, each more ambitious and star-studded than the last, culminating in the epic action-movie-themed clip for “Been Around the World” and the ominous, dramatic $2.7 million dollar short film for “Victory,” still one of the most expensive music videos ever made. In a recent interview with the New York Times, Sean Combs listed his top 5 favorite videos, including “November Rain,” explaining that Axl Rose’s penchant for opulent visuals had inspired his own. “I was a big fan of Guns N’ Roses, and I found out what their budgets were, and I was like, that’s got to be the budget of my video.”

4. Missy Elliott helped mastermind “It’s All About the Benjamins”
“It’s All About the Benjamins” was Puff Daddy’s gritty mixtape hit that set the stage for his solo career, featuring two-thirds of the L.O.X., and remixed for No Way Out with Lil Kim and the Notorious B.I.G. But one major star not officially credited on the song that apparently had a major hand in shaping that track was Missy Elliott. In a 2013 interview with Cipha Sounds, the L.O.X.’s Sheek Louch revealed that Elliott, then a songwriter on the rise, ran the session for the original track, judging the verses they wrote and ultimately making the call to leave Styles P off the song.

5. “Young G’s” has been an interesting piece of sample recursion for Diddy and Jay-Z
No Way Out is famous for its gaudy use of recognizable pop and R&B samples, but the album left such a huge mark that it’s been sampled multiple times in its own right. One of the first times was when one of the album’s guests sampled themselves – a few months after Jay-Z kicked a classic verse on No Way Out‘s “Young G’s,” he sampled his voice on the track for the hook of the In My Lifetime, Vol. 1 highlight “Where I’m From.” In 2010, Diddy created a sort of sample inception when he sampled the “Where I’m From” beat for Diddy-Dirty Money’s single “Angels.” 

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Prophets of Rage Explore Homeless Crisis in ‘Living on the 110’ Video

Prophets of Rage – the supergroup/“elite task force of revolutionary musicians” featuring members of Rage Against the Machine, Public Enemy and Cypress Hill – have unleashed their video for their new single “Living on the 110,” a song about the homeless crisis along the titular Los Angeles highway.

The video takes a hardened look at a handful of homeless people “living on the 110,” how long they’ve been on the streets and what they aspired to be before they got stuck in their seemingly unending situation.

In addition to focusing on the plight of the homeless, the video also spotlights examples of wealth inequality throughout, like how “the richest 400 people in America owns as much wealth as the poorest 150 million.”

The video concludes with a quote from Nelson Mandela, “Overcoming poverty is not a gesture of charity. It is an act of justice. It is the protection of a fundamental human right. The right to dignity and a decent life. While poverty exists, there is no true freedom.”

Prophets of Rage, the group’s self-titled debut LP, is out September 15th. The band will celebrate the arrival with four intimate “album release” shows, starting September 7th at Boston’s Paradise Rock Club. Gigs at Asbury Park’s Stone Pony (September 9th), Philadelphia’s TLA (September 10th) and New York’s Apollo Theater (September 12th) will follow.

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Stone Temple Pilots Remember ‘Beacon of Light and Hope’ Chester Bennington

Stone Temple Pilots have issued a statement in remembrance of their former singer Chester Bennington, who died by suicide Thursday at the age of 41. The Linkin Park star fronted STP from 2013 to 2015.

In a post titled “Chester,” the band wrote, “It is a sad day today to know that so many of us will no longer share in your laughter, friendship and love. You showed us time and time again what it is to be an incredible human being.”

The band continued, “A beacon of light and hope is what you will always be to us. We love you Chester. We will miss you.”

Bennington’s death marked the second time the members of Stone Temple Pilots mourned a former vocalist: In December 2015, Robert and Dean DeLeo and Eric Kretz paid tribute to Scott Weiland following that singer’s death.

The music world continues to reel in the aftermath of Bennington’s death, which came just two months after the suicide of the singer’s close friend Chris Cornell; Bennington sang at the funeral of the late Soundgarden vocalist.

Bennington’s Linkin Park bandmates have also paid tribute to their frontman. “Shocked and heartbroken, but it’s true. An official statement will come out as soon as we have one,” Mike Shinoda tweeted, while the band’s Twitter posted a caption-less photo of Bennington onstage.

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NY Court Keeps Order Halting Sale of Madonna, Tupac Prison Letter

Two days after a New York Supreme Court halted the sale of Madonna’s personal items by auction house Gotta Have It Collectibles, a judge ruled Thursday to keep the temporary restraining order (TRO) until more facts come to light in a preliminary injunction hearing. The new court date is scheduled for September 6th. Madonna’s deposition will add key details about how her former friend and personal assistant, Darlene Lutz, came to possess the singer’s personal items in 1995. 

When Lutz consigned the intimate items of Madonna’s this year, she claimed she’d had them for at least 20 years. These items include a breakup letter Tupac Shakur wrote her from prison, a used hairbrush, two letters Madonna wrote to her brother and a letter Madonna wrote in the Nineties wherein she called Whitney Houston and Sharon Stone “horribly mediocre.” 

According to Madonna’s defense attorney, Brendan O’Rourke, the singer had “no awareness of the items” until she saw the auction posting online. “Just because she didn’t know where the items were doesn’t make them any less hers,” O’Rourke stated in Thursday’s hearing. 

In a statement to Rolling Stone, Gotta Have It stated: “At yesterday’s court hearing, Madonna’s counsel conceded that they are no longer pursuing their earlier egregious claims that Ms. Lutz had long ago stolen the Madonna memorabilia. The Judge ruled that Madonna must appear in person for deposition before September 6th. Between now and then, we will show that these items are rightfully Ms. Lutz’s to sell in the next auction.”

O’Rourke declined to comment to Rolling Stone until after the September hearing. Until a ruling is made on that date, Gotta Have It Collectibles is barred from selling or advertising the items in question on its website. (Other, less intimate, items, such as tour clothing and jewelry, remain on the site.) “We know that this is Madonna’s personal property, and some of it acutely personal to her,” said the presiding judge, the Hon. Gerald Liebovitz. Part of this reasoning was that the items will not depreciate in value during that time. If anything, he said, their value will increase.

The task for Madonna’s legal team over the next month will be determining how and whether Darlene Lutz stole her personal items when she consigned them to the auction house. 

On July 10th, Madonna wrote a letter accusing Lutz, her former friend and adviser, of stealing personal property by refusing to return the items upon request (after she found out about the auction). Madonna claimed Lutz had “betrayed my trust in an outrageous effort to obtain my possessions without my knowledge or consent.”

Lutz obtained the items when helping the singer move out of her Miami house in 1995, and they were kept in a number of locations, including Lutz’s warehouse storage facility, during that time. According to Madonna’s attorney, their friendship didn’t end until the mid-2000s. But by insinuating Lutz stole the items, Lutz has now wrongfully suffered “irreparable harm to her personal and professional reputation,” Lutz’s attorney, Judd Grossman, argued at the hearing. He added that Madonna’s letter was a “smokescreen.” 

“The plaintiff has changed her theory because she realized she can’t succeed on her original theory,” Grossman told Rolling Stone after the hearing. “She went with a different version today. At today’s hearing, Madonna’s counsel effectively conceded that Ms. Lutz did not steal these items long ago, as [Madonna] argued to the court earlier this week. But that she stole items that she’s had for 20 years. The Judge granted our request to depose Madonna and through the discovery process we will show that these items are rightfully Mr. Lutz’s to sell.”

At the hearing, Madonna’s attorney insisted conversion occurred when Lutz consigned the materials to Gotta Have It Collectibles after Madonna expressly asked for their return. “There is no question [Madonna] is the rightful owner of the items,” O’Rourke said. “Those were simply not [Lutz’s] goods to give.”

As of Tuesday, several Madonna lots were no longer listed on the Gotta Have It Collectibles website, including the two letters. The auction was originally set to begin July 19th and feature over 100 Madonna items, including costumes, photographs and lyric sheets.

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