A landscape in Liddesdale, where Richard Skelton currently lives and works.

Grief, hallucinations and exhumed violins: the astonishing music of Richard Skelton | Music


‘It’s not a landscape that’s there for people to go and look at,” says Richard Skelton. The countryside around the Anglo-Scottish border doesn’t share its secrets willingly, but a few hours spent in the passenger seat of Skelton’s MG hatchback reveals some of its strange charms. Wide, arrow-straight roads are a mesmerising constant that switches one’s focus to the granular details – the textures of the road surface, the ditches flanking each side, and the occasional cartoonish tree. The effect is hypnotic. “It’s kind of maze-like, and you don’t know where you are half of the time,” Skelton says. “I feel like I could drive around here for decades and not really get the measure of it.”

Skelton is one of the UK’s most prolific and consistently impressive experimental musicians, the creator of slow-moving yet unexpectedly gruelling drone-based music, and his work often communes with landscapes like these. He’s seen plenty of them at the mercy of the rural renting market. The Lancashire-born musician and his wife, the poet and publisher Autumn Richardson, have lived in Cumbria, Fife, Ireland, and now Liddesdale, just over the border into Scotland. After six years there, they’re preparing for another move, but not before Skelton ends this chapter with Selenodesy, a drone album of yearning swells and searing intensity, motivated in part by the region’s dark skies.

Skelton, 49, has been a prodigious creator of experimental music since 2005, self-releasing more than 60 albums, although that’s far from his only creative output. Skelton and Richardson founded Corbel Stone Press, a small independent publisher, publishing the literary journal Reliquiae from 2013 to 2022, and Skelton has written poetry and prose himself, including nature writing. “I feel like there’s kind of an institutional mistrust of people who do more than one thing,” he says when we stop for coffee in a busy tearoom. He’s also just written the brooding score for Drive Your Plow Over the Bones of the Dead, the new production by esteemed theatre company Complicité. What drives him? “I characterise it, at least in myself, as a kind of compulsion,” he says. “I see it as a kind of psychosis, and I don’t think that it’s a healthy thing.”

Richard Skelton: Faint Ray Systems – video

Skelton’s first wife, Louise, died in 2004. At that point, he moved back to his parents’ home in Wigan, and spent time in the West Pennine Moors, “reconnecting with a sense of that childhood wonder, completely refracted through the prism of grief”. Music was always out of reach for a younger Skelton, be it on the violin (he wanted to play left-handed) or in the school choir (an awkward voice break that never quite righted itself), but rocked by Louise’s death, he found solace in solitary musical experimentation. Borrowing a friend’s car, Skelton would take his instruments (a guitar, a cheap violin bought from Manchester music shop Johnny Roadhouse, and later, a mandola) to uninhabited farmhouses on the moors early in the morning, and play as he tried to connect with the forgotten voices of previous inhabitants. “When you’re feeling everything really powerfully, and not knowing what to do with it, [making music] was a way of trying to open the gates to let it pass through me, so it wasn’t collecting inside of me,” he says.

Grief spilled from Skelton, and accumulated in objects that quickly became heirlooms. In his early records, Louise’s acoustic guitar became a proxy for her; he made percussion instruments out of her rings. It extended beyond sound, too. Skelton would turn scans of the art Louise left to him into composite artworks for each record, released under pseudonyms – A Broken Consort, The Inward Circles, Riftmusic – to ensure collaborations didn’t seem one-sided. He attached handwritten labels to carefully constructed albums filled with dirt, seeds and twigs, released and sold as editions of one. “I’m a lot less precious about things now,” he says, “but in those days, everything had incredible significance, and everything had to be incredibly meaningful.” Skelton is stoic as we talk, but he wells up now.

Music was also Skelton’s escape capsule from his day job as a graphic designer for a website company in Cheshire. “I’d have this precious window of time at the weekends when I got to do it, and then it was gone. And then I had five days optimising images of dildos to look forward to.” Skelton would have panic attacks on his long commutes across Lancashire, and handed in his notice in 2008.

A landscape in Liddesdale, where Richard Skelton currently lives and works.
A landscape in Liddesdale, where Richard Skelton currently lives and works. Photograph: David Kilpatrick/Alamy

He has been working full-time as a musician, writer and publisher ever since. His work gravitates to the borders of myth and history, marrying self with surroundings as much as possible. Skelton dedicated his 2015 album Belated Movements for an Unsanctioned Exhumation August 1st 1984 to the phenomenon of bog bodies, centuries-dead buried people who have been naturally preserved in peat soil; for the album Nimrod Is Lost in Orion and Osyris in the Doggestarre (2014), Skelton buried a violin, exhumed it, hooked it up to some microphones and experimented with the unplayable husk. For Selenodesy, he picked up an old science textbook, and scoured it for interesting words – “albedo”, “isostasy” – that would eventually become track titles. They piqued an interest in a mind that was already seeing stars: medication for chronic pain in 2017 left Skelton with night-time hallucinations, “green phosphorescent images that slowly coalesced into really vivid, hyperreal objects, strange bodies, shapes and architectures”. Being awake at an hour where the region’s dark skies reveal their splendour added more to his collage.

If this all sounds quite fringe, it’s because he is. “​​The edges of places that aren’t the conventional focus of attention somehow speak more loudly,” he says of choices of location, but it could easily be said of his eerie, punishing music too – it’s as if you’re thrown into a shadow world, with no map or waymarkers, and have to fend for yourself among the unidentified shrieks of the night. “For the past 13 years, I haven’t really listened to music apart from my own,” he says. The last gig he went to? “My Bloody Valentine in Manchester, maybe 10 or 15 years ago.” The idea of being influenced fills him with dread.

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Does he feel like a northern artist, at least? Skelton tilts his head. “I’m an artist of northern landscapes,” he replies. He certainly feels drawn to the area, over, say, the south. But not communicating with other musicians in the extended locality – in Carlisle, or in Newcastle’s prosperous DIY scene – makes him an artist truly on the periphery. “It’s almost by necessity, the kind of work that I do is a solitary activity,” he says. “I want to make music that’s a process of discovery, given the limited means available to me.” This feeds back into his art – having moved past grief, Skelton says he has also shed questions of identity: “I think about myself getting out the way as much as possible.”

Existing without a wider artistic support network can be a vulnerable place. A 2016 residency in Orkney, which saw Skelton and Richardson planting birch trees on the beaches of Papa Westray, caused a crisis of creativity. He remembers thinking: “This afternoon I’ve spent planting trees has been more tangibly productive, more meaningful, than any of the work that I’ve done for the past 15 years.” He still pressed on with music. “I’d like to say that I’ve had a revelation, or something happened to persuade me of the merit of what I’ve been doing,” he says, but he has gradually accepted himself in recent years. “Just because you aren’t doing things that are tangible, doesn’t mean you’re not having an effect.”

Skelton’s heightened productivity is part of his determination to make a living as an independent DIY artist: “I’m an evangelist for people doing things themselves.” He scarcely performs, but admits that he’s beginning to compromise by making his compositions more suitable for live performance. Now, he stands at a crossroads. The impact of Brexit has made him seriously consider Corbel Stone Press’s future, and there’s talk of joining an intentional community, buying some land in Richardson’s native Canada, or finding a practice-based postdoctoral research role – he’s just completed a PhD about magico-religious practices in north-west England during the last ice age. “I’m not a person that needs to know where I am,” he says as we drive along another identical road.

Selenodesy is out now on Phantom Limb

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Owner confirms restaurant coming to old pawn shop is not ‘fake news’


The old A1 Pawn building is in escrow with a buyer who plans to remodel it into Maricopa’s largest restaurant/bar/music venue, to be known as Duke’s Roadhouse. [Brian Petersheim Jr.]

Duke’s Roadhouse will be Maricopa’s largest restaurant/bar/music venue

A restaurant/bar/music venue is, indeed, headed for Maricopa in the vicinity of the proposed Maricopa Station, as reported last week by InMaricopa.

Chandler developer Steve Kovach is in escrow to buy the A1 Pawn building with plans for heavy remodeling to convert it into Duke’s Roadhouse. [Photos by Brian Petersheim Jr.)

Despite several parties on social media labeling the initial report “fake news,” a hot-button expression in a politicized world from those eager to bash the news media, the report is true.

Specifically, as reported, a party is in escrow for the old A1 Pawn building, 19395 N. Maricopa Road, with plans to convert it into the city’s largest restaurant/bar/music venue. The deal is expected to close in the coming 10 days.

The buyer is the principal in the popular Nashville-based The Stillery restaurant/bar chain, which has a busy shop in downtown Chandler.

Where miscommunication came into play from the city to InMaricopa was that it isn’t the “Steve” who developed The Stillery concept, Steve Sargent, who is behind it.

It is the “Steve” who is the chain’s principal and handles its business and real estate side, Steve Kovach, a Chandler developer who is branching off on his own for this one-off project in Maricopa, he confirmed Monday.

Sargent, is not involved, Kovach said.

The restaurant, Duke’s Roadhouse, will seat 250 with bar, balcony, patio, large dance floor and a menu broader than that of The Stillery, Kovach said.

With a capacity of 250, it will be roughly double the next-largest restaurant and bar in Maricopa.

No fake news about any of that, Kovach said.

When refurbished early in 2024, the former A1 Pawn will become Maricopa’s largest restaurant/bar/music venue with a wide-ranging menu.

“It will be very similar to The Stillery in operation because that’s what I know, but it isn’t going to be a carbon-copy of The Stillery,” Kovach said. “I didn’t want to saturate Arizona with The Stillery, but this community has such a need for something like this.”

Kovach said after he takes ownership of the building, interior demolition will begin immediately. He is hopeful of an opening in about eight months, or sometime near the first of the year.

“We’re gonna need to hit the ground running. There’s no run up,” Kovach said. “The day the deal closes the architects are on the clock.

“I want to keep it separate from The Stillery. It will be different from The Stillery. It’s Duke’s Roadhouse. The big similarity is live music. It will be country and western, Thursdays through Sundays.”

And the big difference is no pizza. However, Kovach said the broader menu will include such items as green-chili pork, stuffed jalapenos, dry-rub chicken wings, several salads, teriyaki tuna bowl, country-fried chicken sandwich, various pastas, grilled-chicken skillet, barbecue pork ribs, Korean short ribs, Angus burgers, pork chops, eggplant parmesan and meatloaf.

He said he will submit the project to the Maricopa Planning and Zoning Commission as soon as he takes ownership of the building.

Duke’s Roadhouse will sit on the edge of the proposed Maricopa Station development.

Asked if a patron could have dinner and a couple of drinks and escape for less than $50, Kovach responded, “Oh, yeah, I’m a value guy.”

Kovach’s partners in Duke’s Roadhouse are Jim Sampley, a contractor and Kovach’s best friend for 25 years, and Patrick Denney, a family friend who “finds the money,” Kovach said.

Sargent, meanwhile, acknowledged that the initial news report was more a miscommunication than “fake news,” as Sargent posted on Facebook, setting off a social-media firestorm.

“Yeah, I jumped in and I said that because I wasn’t getting a response right away when I asked for the story to be clarified,” Sargent said. “I’m also a little bit of a (son of a gun), which I sometimes need to be.”

Duke’s Roadhouse is the latest proposed in a city whose residents continue to clamor for sit-down restaurant options that are not national chains.

A1 Pawn is moving to Ahwatukee, where it plans to open within two weeks, a spokesman said.


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Composer brings music of ‘Our Planet’ Netflix series to Charlottesville


Fans of the Emmy Award-winning Netflix series “Our Planet” found themselves enthralled by a world of disciplines, including eye-catching cinematography of majestic animals and landscapes and stirring narration by David Attenborough. A concert version coming to the Paramount Theater at 7:30 p.m. on Sunday will give audience members a chance to immerse themselves in the music.

Composer Steven Price said he has been looking forward to sharing the “Our Planet” live concerts with audience members since 2018. His all-new orchestrations will unfold while footage from the series appears on the Paramount’s massive screen.

“I wanted it to feel like a standalone journey – a proper trip around the planet,” said Price, who will conduct an 18-member orchestra. “There are moments we hope you might laugh, and moments when you might cry.”

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A manatee’s search for its mate stirs a variety of emotions, for example. Price also recommends keeping an eye out for footage from the Arctic that is “terrifying in one way and kind of beautiful in another.” 

Being back in front of live audiences has been rewarding after long delays created by pandemic safety precautions that shuttered performance venues, he said. Price said the live experience is well worth the wait.

"Our Planet" Live in Concert

Musicians perform in an “Our Planet” Live in Concert” event in the United Kingdom. Audiences can expect HD cinematography from the Emmy Award-winning Netflix series with new orchestrations of the stirring music.

“We were supposed to do this tour in 2020,” Price said, adding that he took advantage of the delays to work on the music. “The whole theme is just sharing the planet, and that it’s worth preserving. It has felt more and more like a celebratory show.”

Price said the show is appropriate for all ages, and there’s no age limit on sheer wonder.

“It’s amazing to watch people’s faces,” Price said. “I think being with people in a communal experience reminds us that we’re all in it together. We try to take people on a journey.

“I look out and really see people immersed in the audience. It’s for everyone, and that’s one of the happiest things for me.”

Price said that delaying the concert version made it possible to include encouraging updates about conditions some of the animals featured in the footage and their habitats are facing.

“There’s a lot of hope in this show,” he said. “There’s a whole sequence in the show about solutions.”

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The British film composer, a guitarist since the age of 5, won an Oscar for best original score for “Gravity” in 2013. He made his film-scoring debut with the horror-comedy “Attack the Block” after contributing to “The Lord of the Rings” trilogy and “Batman Begins.” In another project focusing in the wonders of the natural world that teamed him up with Attenborough, Price picked up a British Academy Television Craft Award for his work on the 2015 predator-prey series “The Hunt.”

The Charlottesville performance is happening about a week before Earth Day, which falls on April 22, and Price said that working on the “Our Planet” music has deepened his own appreciation for the earth and its creatures. 

“One of the incredible things for me was working with the filmmakers and the World Wildlife Fund, which has been with it from the beginning,” Price said. “Certainly, I felt more connected to it. I used to watch the news and get overwhelmed by it.” After his enriching experience with the project, now he realizes that “everything links to everything else. It’s a big interest of mine.”

Tickets for the Paramount concert are available in person from the box office, online at theparamount.net and by phone at (434) 979-1333. A donation will be made to the World Wildlife Fund for each concert.

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Mötley Crüe Fake-Plays to Recorded Music on Tour, Guitarist Claims


Mötley Crüe has been an active band since 1981, but having over 40 years of history didn’t prevent its members from being involved in a nasty legal battle. Mötley Crüe guitarist Mick Mars has filed a lawsuit in which he claims that he is being forced out of the band and denied his fair share of profits from touring and merchandise.

But, another assertion in the lawsuit is certain to stand out more to fans. Mars claims that the other members of the band do not actually play all of their music live during their concerts. According to him, bassist Nikki Sixx, lead singer and guitarist Vince Neil, and drummer Tommy Lee often use pre-recorded music and fake-play their instruments along to the songs at live shows.

Through their lawyer, Mötley Crüe has responded to Mars’ claims about his status in the band and about allegedly not playing live on  tour. Read on to find out more.

READ THIS NEXT: See Van Halen Frontman David Lee Roth Now at 68.

Mick Mars performing in London in 2007
landmarkmedia / Shutterstock

In October 2022, Mars announced that he was retiring from touring with Mötley Crüe due to his struggles with Ankylosing Spondylitis. According to Mayo Clinic, this is “an inflammatory disease that, over time, can cause some of the bones in the spine, called vertebrae, to fuse.”

In a statement to Variety, a representative for the guitarist said, “Mick will continue as a member of the band, but can no longer handle the rigors of the road.”

However, a day later, the band released a statement to Variety indicating that Mars was leaving the band altogether.

“While change is never easy, we accept Mick’s decision to retire from the band due to the challenges with his health. We have watched Mick manage his Ankylosing Spondylitis for decades and he has always managed it with utmost courage and grace,” the statement reads, in part. It goes on to announce John 5 as the band’s new guitarist.

Mick Mars performing in Denver in 1997
TDC Photography / Shutterstock

As reported by Entertainment Weekly, Mars filed a lawsuit on April 6 requesting to review Mötley Crüe’s accounts. The lawsuit claims that the band reduced Mars’ profits from touring and merchandise—from 25 percent to five percent—and tried to remove him from the band entirely after he announced that he could no longer tour. As noted by Deadline, the defendants are not his bandmates, but rather various LLCs and companies related to the band and its touring engagements.

Mars’ new lawsuit is in response to arbitration started by the band in January in regard to his transition out of the band.

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Mötley Crüe perform during the 2014 iHeartRadio Music Festival
Ethan Miller/Getty Images for iHeartMedia

In his filing, Mars claims that the other members of Mötley Crüe don’t always play their instruments on tour, instead pretending to play them along to a recording.  This came up in the filing because Mars asserts that Sixx was “gaslighting” him by telling him that fans were complaining about his guitar playing.

“Astonishingly, Sixx made these claims about Mars’s playing while he (Sixx) did not play a single note on bass during the entire U.S. tour,” the filing reads, as reported by Deadline. “Ironically, 100 percent of Sixx’s bass parts were nothing but recordings. Sixx was seen fist pumping in the air with his strumming hand, while the bass part was playing. In fact, a significant portion of Neil’s vocals were also pre-recorded. Even some of Lee’s drum parts were recordings. Some fans actually noticed that Lee was walking toward his drum set as they heard his drum part begin.”

Mötley Crüe at a press conference in 2012
s_bukley / Shutterstock

Through their lawyer, Mötley Crüe responded to Mars’ claim about the use of pre-recorded music. They counter that it was Mars who was having issues playing music at gigs.

“Mötley Crüe always performs its songs live, but during the last tour, Mick struggled to remember chords, played the wrong songs and made constant mistakes which led to his departure from the band,” attorney Sasha Frid told Variety. “There are multiple declarations from the band’s crew attesting to his decline. The band did everything to protect him (and) tried to keep these matters private to honor Mick’s legacy and take the high road. Unfortunately, Mick chose to file this lawsuit to badmouth the band.”

The band’s legal representation says that Mars will continue to receive royalties from recordings but that he can no longer be a full-fledged member of the group. Frid explained, “Retiring from touring is resigning from the band. The band’s primary function is to tour and perform concerts. And as you saw from the amendment, if a shareholder resigns, he cannot receive any compensation from touring—which is what Mick is trying to get. It’s clear-cut that Mick is not entitled to any more money.”

Nikki Sixx performing in Canada in 2016
mirjana simeunovich / Shutterstock

In addition to the statement’s from the band’s lawyer, Sixx posted about the rift on social media.

“Sad day for us and we don’t deserve this considering how many years we’ve been propping him up,” Sixx wrote on April 6, along with a link to the Variety article about the lawsuit. “We still wish him the best and hope he find’s lawyers and managers who aren’t damaging him. We love you Mick.”

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DJ Cassidy Unites 25 Hip-Hop Pioneers for ‘Pass The Mic Live!’ – Billboard


Big Daddy Kane, Doug E. Fresh, Rakim and Slick Rick are among the 25 New York hip-hop icons that will be gracing the Radio City Music Hall stage when DJ Cassidy brings his “Pass The Mic Live!” concert franchise to the Big Apple venue.


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In celebration of the genre’s 50th anniversary, the July 21 one-night-only event — in partnership with the Black Promoters Collective (BPC) and presented by Martell Cognac — will also feature rap pioneers such as Roxanne Shante, The Sugarhill Gang, Monie Love, Kurtis Blow and Kid ‘N Play along with surprise guests.

“As a 10-year-old DJ, I grew up idolizing every single one of these legendary hip-hop heavyweights,” DJ Cassidy tells Billboard. “Their records were my first pieces of vinyl. Their posters were on my wall. Their tapes were in my Walkman. Together, they laid the foundation for what was to transform the world musically, culturally and beyond. I am truly grateful to be celebrating them and their profound impact on the culture, just days from the 50th birthday of hip-hop [Aug. 11] and minutes away from where Kool Herc DJ’d the first hip-hop party in 1973. Uniting 25 native New York icons of hip-hop’s golden age on one stage for one night in the birthplace of hip-hop, also my hometown, will be the greatest honor of my life.”

“Pass The Mic Live!” at Radio City Music Hall will be the second in Cassidy’s series of live one-night-only events taking place this year — featuring their own unique star lineups — in partnership with the BPC.

The concert series’ earlier announced inaugural show is set for May 12 at the Prudential Center arena in Newark, New Jersey with Ashanti, Fabolous, Ja Rule, Lil Kim, Ma$e, Ne-Yo, Robin Thicke, 112 and surprise guests. 

The live concert franchise is the latest evolution of DJ Cassidy’s “Pass The Mic: Volume One” digital series, which premiered during the height of the pandemic on July 7, 2020. “I could have never imagined my little living room series transforming into a series of primetime television specials [BET], let alone a series of live one-night-only concerts,” says Cassidy. 

“When Cassidy called me about his ‘Pass The Mic’ project in the middle of lockdown, I immediately saw it as a way to reach out to my peers and my fans … to bring some light to dark times,” says Rakim, among the hip-hop icons who will be performing at Radio City Music Hall. “From that first stream, I’ve watched it evolve into a whole celebration of hip-hop; curated in a way I think only Cass could pull off. But it’s also a celebration of all musical genres and all musical ages. Being a part of bringing it to its physical form is going to make for an incredible night.”

Adds fellow performer Doug E. Fresh, “I’m honored to be a part of the ‘Pass The Mic’ legacy. In rough times, you see who people are. And Cassidy demonstrated the kind of man he is by showing love to so many of the people he calls his musical heroes. A lot of them don’t often receive the love they deserve. They say love is in the details, and Cassidy always shows love with his carefully curated compilations. If you enjoyed the virtual versions of ‘Pass The Mic,’ wait until you see the Radio City show. It will definitely be one to remember.”

Tickets for “DJ Cassidy’s Pass the Mic Live!” at Radio City Music Hall go on presale to American Express card members from April 11 (10am ET) through April 13 (11:59pm ET).  Tickets go on sale to the general public starting April 14 (10am ET) via Ticketmaster.

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Depeche Mode’s Dave Gahan: ‘Bowie’s music transformed something for me and gave me the ability to believe’ – Music News


Depeche Mode perform three songs for BBC Radio 2’s Piano Room, accompanied by the BBC Concert Orchestra at the BBC’s Maida Vale studios.

Gary: Good morning to you. So good to chat to you again because I think the last time you and I spoke was about forty years ago when we were both babies.

Dave: Well, you look terrific. You haven’t aged.

Gary: Oh, I can’t believe this, but this is the first time you’ve ever performed at Maida Vale.

Dave: Yeah, I mean it was sort of shocking to us, too. To be honest, when I first heard about the idea of doing it, I was all over it. I thought it was a great idea and something we’d never done before. And Martin was a bit more sceptical. He was a little worried, but Peter and Christian and the other two members of the band were into it as well. And when we got to London and showed up, it was just, it was mind-blowing to be honest, how the songs (the three songs that we chose) transformed. And how unique that felt to actually be in a room with all these fantastic musicians and just it all coming together, really, really was quite special. We both walked away from it like Martin told me later on. He was just like, ‘I think that’s one of the best things we’ve ever done.’

Gary: What are your memories of recording it [Walking In My Shoes] back in the day?

Dave: I don’t have many. That’s not a good thing, but I really don’t remember recording that song and it was a particular time when we were all having too much fun outside of work and I guess it caught up with us, but it’s one of those songs that never gets old when you perform it. It always evolves. And over the years, songs do that if they’re good songs. They take on different meanings, depending on what’s going on in your life at that time and in the world around us and it’s one of those really. It’s why we keep it in the set.

Gary: Do you know a few weeks ago we had Bono and The Edge from U2 in the Radio 2 Piano Room and Bono has that song on his ‘sixty songs that saved my life’ playlist. Did you know that?

Dave: I didn’t know that. No, but I do know he is a fan of the song and over the years we crossed paths, many times… Yeah. There’s a connection. We were in a rehearsal room in New York a few years back and playing the song. And we came out the rehearsal room and Bono was standing in the hallway and he was eavesdropping on the song and we had a little chat after about it. He told me that it was one of those songs that he wished he’d written.’

Gary: I must talk to you about The Last Of Us, the TV Show which recently featured Never Let Me Down Again. Were you aware that that song was going into the series?

Dave: All I know, it was years ago, actually, when it was first in development, we were approached by the producer or whatever to be able to use the original version – and we pick and choose quite carefully – and we did. And I think maybe it was just in production a long time. Maybe then the pandemic hit. Or maybe it wasn’t a great time for that to come out, but it was kind of perfect timing and when it happened, I was actually watching the show. I was in bed with my wife. I was falling asleep and the show came on and I was watching it a bit. And then I fell asleep. And then suddenly in my dream, I could hear the beginning of Never Let Me Down and I sat up and like a boxer, hearing the bell, like going to go in and fight or something. And I heard it. And so I watched that scene and I liked it as well because the song represents that particular time in music. It represents trouble, it means trouble was coming. That was the code and I thought, ‘This is perfect for that.’ But, yeah. I mean, we got such a reaction from that song. We kind of went back in the charts or whatever the charts are nowadays. All different countries all over the world.’

Gary: We asked our listeners if they had any questions to ask you.

Who is your idol?

Dave: Yeah, I mean straight away, even when you’re saying that sentence, it’s always been and always will be Bowie. I got to know him a little bit as well in the last few years of his life and our daughters’ went to the same school in New York. So I would see him sometimes you know. We’d have a little nod to each other, as dads at school with daughters. But his music transformed something for me and gave me the ability to believe that I could imagine something else and create something else and find some kind of way to navigate my way through life and through music and his music always does that for me.

Stormzy: Hello. It’s Stormzy here and this is my question for you. Who is on your fantasy festival line-up?

Dave: I know. That’s easy. Bowie. So supporting acts: Kraftwerk. The late, great, Mark Lanegan.

Watch Depeche Mode’s Radio 2 Piano Room performance on BBC iPlayer or listen on BBC Sounds.

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Breaking News Live Updates – 10 April 2023: Read All News, as it Happens, Only on News18.com


FOR 10th April 2023

Minute-by-minute news updates of happenings from around the world, with special focus on India. From daily coronavirus news about the probable third wave, number of infections, vaccination, and reopening of places and activities to all developments in the fields of politics, education, business, entertainment and sports – everything you to need to know, as it happens, and all in one place.

Get instant news about elections, governments and political parties; updates on school and college exam results and admissions; and information about developments in the stock market, start-up sector and buzz about cryptocurrencies.

If movies, daily soaps, web series and music are your interests, read latest updates about film and TV celebrities, their work and their personal lives, along with a sprinkling of gossip. Get news about trends in showbiz and exclusive interviews with your favourite stars. Find out what celebrities are posting on Instagram and Twitter…Read More

Read more

If movies, daily soaps, web series and music are your interests, read latest updates about film and TV celebrities, their work and their personal lives, along with a sprinkling of gossip. Get news about trends in showbiz and exclusive interviews with your favourite stars. Find out what celebrities are posting on Instagram and Twitter and get quick updates about their lives.

Sports lovers can follow ball-by-ball commentary of cricket matches involving India, latest news about football, tennis, Formula One, badminton and various other Olympic sports.

All-in-all, if it is news, then News18.com’s breaking news live updates page is your one-stop-shop.

Read all the Latest News here

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Jack Black Drops ‘Peaches’ Music Video From ‘Super Mario Bros. Movie’ – Billboard


Jack Black‘s music video for his Super Mario Bros. Movie ballad is peach perfection.

Black, all decked out in a Bowser-green suit and seated at a peach piano in a peach room, croons an ode to Princess Peach in the colorful clip. A framed photo of Peach sits atop his piano, along with a bowl of peaches.

Black is the voice of Bowser in Illumination and Universal’s Nintendo video game adaptation, which hit movie theaters this weekend. The Super Mario Bros. Movie scored the top global launch ever for an animated pic, and the second-best ever domestically, according to The Hollywood Reporter.



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The music video for “Peaches” was directed by Cole Bennett, who says Black’s suit was both Bowser and Elton John-inspired.

Watch “Peaches” below, as well as a behind-the-scenes clip of the making of the music video.

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India News | Delhi: Pregnant Woman Shot Dead by Neighbour for Objecting to Loud Music, Two Arrested


New Delhi [India], April 10 (ANI): A 30-year-old pregnant woman died during treatment after being allegedly shot at by her neighbour in the Samaypur Badli area for objecting to loud music, police said on Sunday.

Two accused have also been arrested, said Delhi police.

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The deceased has been identified as Ranju.

According to the police, the woman was eight months pregnant and also suffered a miscarriage after the incident.

Also Read | Noida: Body of Missing Two-Year-Old Girl Found in Suitcase in Neighbour’s House in Surajpur, Accused Absconding.

Detailing the incident, the police said, “A PCR call was received at around 00:15 AM on April 3 at Samaypur Badli Police Station infroming that a woman has been allegedly shot by her neighbour when she asked him to stop the DJ.”

The accused has been identified as Harish, added the police.

Police said, “Upon receiving the information over call, the police reached the spot and found that the injured lady was already shifted to Max Hospital, Shalimar Bagh Delhi. The crime scene was inspected by the crime team.

“Doctors at the hospital mentioned that the victim had suffered a gunshot injury in her neck,” added the police.

Later, the police also recorded the statement of an eyewitness, who is the sister-in-law of the injured.

In her statement, the eye-witness alleged, “Harish lives across the street in the same colony at Samaypur Badli area. On April 2, there was a programme of “kuwa pujan” of Harish’s son in which DJ was playing.”

“Hearing loud noise my sister-in-law Ranju and I came to the balcony and asked Harish to stop the DJ. After this, a bullet hit her which was fired by Harish who took the gun from Amit,” added the eye-witness.

“On the basis of the statement of the victim’s sister-in-law, a case U/s 307/34 Indian Penal Code and 27 Arms Act was registered against the accused involved. Both Harish and Amit have been apprehended,” said the police.

The police later also informed that they have added section 302IPC in FIR.

Further investigation into the matter is underway. (ANI)

(This is an unedited and auto-generated story from Syndicated News feed, LatestLY Staff may not have modified or edited the content body)

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Some local radio listeners aren’t happy about the star’s references to Newport News on one of his new songs.

The Newport News Chamber of Commerce won’t be hiring 50 Cent as a celebrity spokesman anytime soon.

“Ski Mask Way,” a new song from the New York City rapper, includes some profanity-laced lines about Newport News, or as he calls it, Bad News.

“I’m trying to stay out them pens, so I switched states. Bad News, VA, now that sounds great,” 50 Cent raps on the tune. “Ski Mask Way” is to be included on “The Massacre,” a CD to be released Thursday. Bootleg copies are currently circulating on the Internet.

Other lines in the tune describe the town as easy pickings for a criminal and make an apparent reference to buying guns from basketball star Allen Iverson’s local crew. It’s all delivered in thick gangsta rap slang, but the message is clear to rap fans.

Some of them aren’t happy with how 50 Cent portrays their hometown.

“People are really upset, especially in Newport News, about the situation,” said Mike Klein, music director for WNVZ-FM (104.5). “Some people are still not OK with it. But some people are looking the other way. It’s really a touchy subject.”

DJs at the station found the song on the Internet. After discussing it on the air, they fielded passionate phone calls from listeners.

Visiting Hampton Roads on Friday on a promotional visit, 50 Cent said the situation had been blown out of proportion. He said he feels affection for Newport News because people here supported him early in his career. Any offense was unintentional.

“Why would I say that about an entire town?” he told listeners on WNVZ’s morning show. “I don’t want a beef with a town. No town, nowhere.” *

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