Tacha flirts with Naira Marley on Instagram

Nigeria’s most talk about celebrities, Tacha and Naira Marley seem to have a thing for each other as they were seen flirting on Instagram.

Tacha who could not hide her feelings took to the comment section of a video Naira Marley posted on IG to tell him she wanted all of him.

In the video, Naira Marley was seen flaunting his six packs and he captioned it asking “Do u want all or some??”

Tacha on the other hand replied saying “ALL!!!!!!”

See their conversation below;

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Daddy Showkey celebrates his son as he turns 23 (Photos)

Legendary Reggae star, Daddy Showkey is celebrating his son who just turned 23, with beautiful words and throwback photos of the young man.

The veteran singer shared photos taken when his son Raymond was born, when he was a boy, including recent photos of him as an adult.

He also shared an adorable video of him and Raymond spending time together while driving.

“Happy birthday to one nicest human being I have ever seen my son,” he began, adding, “I am very happy to be called Papa Ray! Ba Raymond! I cannot forget today”.

In another post, he wrote: “Happy birthday to my son. Today 23 years ago, I became dad.”

This content was originally published here.

Game of Thrones star Kristofer Hivju tests positive for coronavirus | The Independent

Game of Thrones star Kristofer Hivju is the latest Hollywood actor to test positive for coronavirus

The 41-year-old, best-known for playing the loveable character Tormund on the hit HBO series, shared his diagnosis on Instagram and told fans he is currently self-quarantining in Norway with his family.

“Sorry to say that I, today, have tested positive for COVID19, Corona virus,” Hivju wrote. “My family and I are self-isolating at home for as long as it takes. 

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“We are in good health — I only have mild symptoms of a cold. There are people at higher risk for who this virus might be a devastating diagnosis, so I urge all of you to be extremely careful; wash your hands, keep 1.5 meters distance from others, go in quarantine; just do everything you can to stop the virus from spreading. 

“Together we can fight this virus and avert a crisis at our hospitals. Please take care of each other, keep your distance, and stay healthy!”

Hiviu’s diagnosis comes shortly after he was cast in the second season of Netflix’s fantasy show The Witcher

Other actors to have tested positive for coronavirus including Tom Hanks and his wife Rita Wilson, Idris Elba, and former Bond star Olga Kurylenko

Hanks and Wilson have since left hospital after testing positive in Australia, where Hanks was filming Baz Luhrmann’s currently untitled Elvis Presley project. 

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Elba confirmed his diagnosis and also revealed he had not felt any symptoms prior to testing positive for Covid-19. The actor also urged his followers to “really think about social distancing [and] washing your hands”.

Ukraine-born actor and model Olga Kurylenko said she had been feeling ill for a week, and that “fever and fatigue” were her main symptoms. 

The coronavirus pandemic has also caused the global shutdown or postponement of a number of major film, TV and music projects, including Grey’s Anatomy, Jurassic World: Dominion, Fantastic Beasts 3, and the Avatar sequels.

Events including SXSW, the Met Gala, Coachella and the ACM Awards have also been postponed or cancelled. 

This content was originally published here.

Harry and Meghan take ‘appropriate measures’ after possible coronavirus exposure | UK news | The Guardian

The Duke and Duchess of Sussex are understood to be taking “appropriate measures” over coronavirus after it emerged Prince Harry could have been exposed to it during his final UK engagements this month.

Harry hugged Formula 1 driver Lewis Hamilton as the two opened the Silverstone Experience Centre on 6 March.

Two days before, Hamilton was photographed at the WE Day UK charity events in London alongside actor Idris Elba and Sophie Trudeau, the wife of the Canadian prime minister – both of whom have since tested positive for Covid-19.

Trudeau announced last week that she had put herself in quarantine, having been tested after experiencing mild symptoms on her return from London.

Elba revealed on Monday he had tested positive via a video on Twitter, in which he said he felt OK and that he had no symptoms but had decided to self-isolate. The Luther actor said he only got tested after coming into contact with someone who later confirmed they had coronavirus, but did not give details of who that person was.

Hamilton has urged fans to take coronavirus seriously, and has posted a video showing how to hand-wash on his Twitter account. It is not known if he has been tested for the virus.

Buckingham Palace declined to comment on whether Harry and Meghan were self-isolating at their Vancouver Island retreat. One source said that that the couple would be taking “appropriate measures and following government advice”.

Harry flew back to Canada just before Justin Trudeau announced the closure of Canada’s borders to stop the spread. Trudeau has urged Canadians to stay at home “as much as possible”.

This content was originally published here.

17 Emerging Irish Artists You Need To Hear Right Now

Rich in Celtic culture and melancholic history it may be, but Ireland seems to be perennially underrated as a breeding ground for raw rock talent. From Therapy? to Thin Lizzy, though, the Emerald Isle has produced more than its fair share of seminal heavy bands.

Indeed, it’s tempting to list the veteran acts who blazed trails, or those still ruling stages worldwide – Gama Bomb, Primordial, Ash, Stiff Little Fingers, Mourning Beloveth, Mael Mórdha, Sweet Savage, Mojo Fury and , to name a handful – but we thought it’d be more fitting, this St Patrick’s day, to spread the good word about the next generation of Irish talent you’re (probably) yet to encounter.

From Northern Irish punks energized by Ulster’s apparently endless political travails, to the leading lights of Dublin’s thriving metal scene, to daring experimentalists way out West adding new threads to their homeland’s rich musical tapestry – and everyone in between – this is the next generation of talent on whose shoulders Irish rock is forging forth, and with whom every modern rock fan should get familiar…

“When you can’t find the music you want to listen to, you have to make it yourself,” explains New Pagans bassist Clare Miskimmins of Belfast/Derry alt-rock collective New Pagans. “That’s how this band came about.”

Rounded out by local-legend vocalist Cahir O’Doherty (previously of Fighting With Wire/Jetplane Landing and an occasional member of Frank Turner’s Sleeping Souls), drummer Conor McAuley and singer/guitarist Lyndsey McDougall, New Pagans deliver a slinking, swaggering brand of alternative punk perhaps best exemplified by latest single, It’s Darker, which just dropped on 11th March.

“The five of us came from different musical backgrounds,” Clare explains the potent mix of influence at play. “Believe it or not, this is actually Lyndsey’s first band.”

In a part of Ireland caught between its troubled, fiercely traditionalist past and the bright possibility of the future, one doesn’t have to look far to find the causes around which those disparate members rally. “There’s enough happening around us in Northern Ireland and beyond these days to spark a fire inside anyone,” Clare says. “New Pagans want to harness that. All our favorite bands had that same voice: Sonic Youth, Nirvana, Pixies… It’s about anger and aggression with pop sensibilities, and something interesting to say.”

Named after James Shirley’s poem of the same title, melancholic Dubliners Death The Leveller present a darkly distinctive interpretation of the afterlife. It’s a striking poem about the fact that – at the end of the day – all humans are the same,” explains veteran drummer Shane Cahill (also of Mael Mórdha). “We die, turn to dust and return to the world where we came.”

Completed by bassist Dave Murphy, guitarist Gerry Clince and vocalist Denis Dowling, the quartet rose to attention with 2017’s discreetly-titled I: a record transfixed with the mysteries of mortality.

“Our idea is to have three further releases,” Shane explains of their medium-term plans, “exploring the life, energy, death, dust and revival, exploring the multi-universal energy of that concept across four songs on each. Next up, II will have a sex/death theme, linking our animal nature and our spiritual yearnings. It’s about the question of ‘Why?’ and the acceptance of death. There’re elements of pseudo-Jungian energy and even Egyptian magical themes and imagery. Even the artwork ties in. II will be represented by The Hourglass. III will be The Boatman, and so on…”

Harking back to their esteemed forbears in Primordial and Mourning Beloveth, DTL’s music is a densely textured skein of sound dark sound and even darker themes. “In a nutshell, we’re exploring our relationship with death. Yes, the people left behind are at a terrible loss, but death is not something that should be feared. It’s something we should embrace as the next step in our existence; a new journey; a new beginning whether we turn to dust, another living form or simply as some form of energy. Whatever that may be…”

Across the U.S. and Europe, the revival of shoegaze’s 80s and 90s sounds are going strong, with bands like Philadelphia’s Nothing, Belgian collective Slow Crush and L.A.’s excellent Teenage Wrist leading the way. The genre has some notable Irish ancestry, too, however, with the legendary My Bloody Valentine emerging from Dublin in 1983. Now, Just Mustard – based an hour and a half up the M1 in Dundalk – have seized that baton, with a sound alive with abrasive metallic screeches, hypnotic basslines, swirling claustrophobia and ethereal threat.

“We make an experimental blend of alt-rock, noise, trip-hop and electronica,” explains the band when asked to pin down their defining characteristics. Quoting influences as eclectic as Warpaint, Aphex Twin and Portishead, the band are evidently unwilling to be curtailed by the limitations of the genre they’re helping rejuvenate, stressing the importance of capturing the sound and the experience of witnessing the band in their “natural state.”

Regardless of from whence they’ve come, Just Mustard’s debut LP Wednesday – released in May 2018 – feels like a promise they’re headed for big things. “We make music that excites us and which we enjoy playing,” they say with a shrug.

“Ten Ton Slug oozed its way out of the bogs of Connemara in the West of Ireland in early 2014, and is now based in Galway,” says guitarist/vocalist Sean Sullivan, who originally formed the band with his drummer and brother Michael as Auditory Shrapnel. “It has ingested four humans and left a trail of riff-filled sludge metal in its wake…”

There’s a brilliant sense of pride and drama as Sean describes Ten Ton Slug, a band completed by lead-vocalist Rónán Ó hArrachtáin and bassist Pavol Rosa. Their superbly-titled releases Brutal Gluttonous Beast and Blood & Slime live up to the promise that “The Slug is inspired and influenced by both the landscape of Ireland’s West, and bands like Crowbar, Pantera, Orange Goblin, Black Sabbath and Melvins…”

The Slug also shows noticeable shades of the heavyweights with whom they’ve shared stages, such as Black Label Society, Corrosion of Conformity, Crowbar and Conan. “The Slug is all about riffs and groove with guttural roars and piercing screams, and this year will see the band focus on a new record while bringing their own blend of sludge to audiences across Ireland, the UK and Europe.”

“The Slug is hungry,” says Sean gleefully. “The Slug shows no mercy.”

Ten Ton Slug Pic

The Wood Burning Savages

“We’re like a live triage ward for those in need of a boost of reassurance and stability in these fucked-up times,” laughs The Wood Burning Savages’ uber-charismatic frontman Paul Connolly. Safe to say, politics play a big part in the music of these fast-paced Derry punks. “People come to our shows with all sorts of weight on their minds and we try really hard with every show to lift them up. The merciless [economic] cuts and insipid bonus-culture of the Tories and the disgusting racism of Brexiteers are not the things that will define our generation.”

Completed by bassist Daniel Acheson, drummer Elliot Finlay and guitarist Michael Woods, TWBS have been toiling away for years on the Irish underground, but with the release of 2018’s debut LP, Stability – a record that echoes to the classic punk of Sex Pistols and The Clash and even, whisper it, the soulful post-punk of early U2 – they feel like they’re finally ready to take on the world.

“We’re a band of flesh and bone, not a moody, male fashion exercise in how hip, out-there and esoteric our trousers and bookshelves are,” the singer says, listing influences as varied as Alice In Chains to Megadeth to Wu-Tang Clan to Kurt Vile and Irish authors like Flann O’Brien and Seamus Heaney. Beyond replicating the messages of their heroes, though, the band exists to precipitate long-overdue change.

“Northern Ireland’s political sphere is like something from the 17th century,” Paul Concludes. ” We have a Voltairean focus on using our music as a tool to fight for equality. We want to bring Northern Ireland back into step with the rest of the modern world.”

From The Bogs Of Aughiska

“Legend has it that the Devil is an Irishman,” grins From The Bogs mainman Conchúir O’ Drona, “and, as they say, the Devil does have all the best tunes…”

Mysterious purveyors of “Apocalyptic witchcraft” from the legendary music and matchmaking town Lisdoonvarna, FTBOA’s avant-garde ambient black metal really is the sort of stuff that needs to be heard to be believed. Numbered-up by Conchúir’s co-conspirators Bryan O’ Sullivan, Ronan Hayes and Padraic Farrelly, they’ve developed their twisted, chilling, defiantly swampy sound across 2010 self-titled LP, 2013’s Roots Of This Earth Within My Blood and last year’s Mineral Bearing Veins.

“We’re heavily influenced by the harsh and majestic nature of the barren west of Ireland and its mythology,” Conchúir continues, with a glimmer of dark humour that’s reflected in the brand-new The Devil Is An Irishman clip they’ve provided us for release. “We consider ourselves to be alchemists of terrifying, dark, ambient sounds, entwining them with black metal and Irish folklore! Just imagine Lustmord remixing Burzum…”

So Long Until The Séance (S.L.U.T.S.)

“We’re a rag-tag gang of miscreants peddling their horror-inspired songs of love and heartache, laced with plenty of 80’s-esque trash and sleazy guitar melodies,” explains S.L.U.T.S.’ frontman Mike Van D, without makeup when we speak, but unable to wipe away the theatricality that’s in his very bones. “Our influences are like a pop-culture Frankenstein’s monster: stitched together from the horror-punk icons like Misfits and Murderdolls and goth-pop outfits like HIM and 69 Eyes.”

Sporting an appropriately B-movie-alike cast of characters – Shadow Lestat (guitar), Gizmo (drums), Tommy D. Bauchery (guitar) and Friar Buckfast (bass) – So Long Until The Séance have already released ear-catching EPs like Seducing The Devil and Vulvar Myiasis, as well as gigging with the esteemed likes of Wednesday 13 and Doyle. They’ve also toured across the UK with ex-Misfits frontman Michale Graves, honing their ghoulish pageantry every step of the way. Now, the band has finally begun working on a full-length EP.

“We started off wanting to be the antithesis of the serious attitudes and personas saturating the current rock and metal scene,” Mike says gleefully. “Now we’re getting to share stages with our heroes.”

So Long Pic

The contemporary Irish scene has more than its fair share of post rock heroes right now, with North-coast experimentalists And So I Watch You From Afar leading the charge and Wicklow’s ponderous God Is An Astronaut not far behind. Capturing the stark Atlantic exposure of the West coast, however, Ealadha are more reminiscent of the likes of mainland British heavyweights 65daysofstatic, Maybeshewill and Mogwai than anything else.

“We jammed for over a year in a run-down empty hotel in the heart of Cork city before playing our very first gig in Mr. Bradley’s bar, just meters up the road,” remembers mainman Dom Murphy of the band’s humble beginnings, cramped in alongside bassist/pianist Cormac Shanley and percussionist Peter Crudge. “We started out as a purely instrumental post-rock outfit in the vein of Pelican, but since then I’ve added some sorrow-filled vocals into the overall eccentric cocktail of sounds. Otherworldliness is definitely something we aim for, and our music has often been described as ‘transcendental’ or ‘cathartic’ but, as much as we steer away from conventional song-structures, we try to be somewhat accessible, even catchy.”

“Getting the first song we ever recorded on national radio was a big deal for us,” Dom smiles, remembering the days before even debut EP Limit Of Our Sight. “We were sandwiched between David Bowie and Soundgarden. That definitely motivate us to write more oddities…”

There’s more than a hint of sardonic relish when locals in the know refer to Haunch as a ‘supergroup.’ That’s not to take anything from the past achievements of guitarist/vocalist/drummer Willy Mundell and guitarist/vocalist Rory McGeown, whose previous post-hardcore outfit Throat is still revered by those who remember it. Nor is it to belittle the achievements of bassist Michael McKeegan, who continues to rumble the roofs off venues with Therapy? It’s more that anything other than resolute modesty gets laughed out the door in this (non)parochial corner of the Irish scene.

Haunch started out as a studio project for myself and Rory,” Willy explains. “We’d played together years ago and had started writing again for a bit of fun. Beyond that, I wanted to get away from ‘front-manning’ and jump behind a drum kit. We roped in Michael to play bass and, as recordings progressed, things started to sound pretty impressive – to us, anyway!”

Haunch are quick to admit that their debut album, Lay My Bones Beside The Others, found its path out into the world almost accidentally. “We originally intended on just throwing it up on Soundcloud or Bandcamp and giving it away, but when our mate Robyn G. Shiels [More on him, later in the list] stepped forward with tales of PR and CD duplication and lured us forth to the dark domain of Black Tragick Records, we were happy to follow!”

So, not that the wheels are moving on the project, what does the future hold? “We hadn’t intended on being a proper performing band, hence the lack of gigs…so far,” Willy teases, “but people seem to want more. We have a few new songs brewing and maybe there’s another Haunch album in the pipes…”

The Magnapinna are not like other bands — not unless you’re thinking of the leftfield likes of Tomahawk, Melvins, Neurosis and Devin Townsend. Delivering caustic alt rock in undulating waves of severity, the ‘No Wave’ collective from Cork, who prefer to speak as a collective, are neither your average listen…nor your average interview.

“Dead presidents, serial killers, lost lovers, Tinder addicts and social media magnates are just some of the fodder chewed up and spat out,” the Magnapinna tell us of their influences. “As members of The Order of Teuthida, the notion of living in the past is anathema to The Magnapinna. The great aim of art, music, and culture is to obtain a seed of originality and foster the growth of something unique. We absorb the zeitgeist in all its forms, from high art to poisonous social media, and declare, ‘This is what you created, now wallow in your own reality!’

The gaze of the many-armed god is upon you, casting judgement,” they continue. “If success is the death of endeavour, The Magnapinna are death of success. We grind in the trenches, comfortable in the knowledge that each slow step forward is another nail in the coffin of our band’s existence. With freedom from the constraints of achievement, we travel through space and time unhindered by aspirations and delve into our musical output with reckless abandon!

“Do you like unexpected pop choruses? Then we’re for you!” conclude the band. “You like joyful nihilism? We’re for you! Do you crave 90’s guitar tone and disco beats? We are for you! Live for constant artistic contradiction? WE ARE FOR YOU!”

Magnapinna Pic

We’ll be honest, riff lords from the tiny Antrim village of Doagh (it’s Game Of Thrones territory, trust us…), aren’t a new band, per se. But they’re an underrated favorites, and they are about to rise again.

“We’ve been playing together since 2002,” explains frontman Dave Hall. “We’re very comfortable with the type of music we make and how we go about it. We love all sorts of rock, from classics like Maiden and Sabbath, to bands like Clutch, Fu Manchu, Deftones, Tool, Soundgarden and everything in between. The music we make is vaguely proggy, kinda’ stonerish, and full of big grooves.”

Though the members have been rattling venues with their riffs for 17 years, Skypilot’s debut LP Monument dropped in 2013. Sadly, the demands of everyday life have slowed the band’s momentum…until now. “Our new album The Affront came together really easily, and we’re excited to get out and play in support of it. We have a load of dates lined-up round the UK and Ireland. Hopefully this time we won’t have any run-ins with the police like on the last tour!”

Wait, what?!

“They thought we had stolen our own van…” Dave laughs. “Well, that plus when we stepped in to stop four guys beating up a homeless kid. It made for a memorable tour! Those four guys will remember us too!”

Some people think of Ireland and envision rolling hills, warm welcomes, and Riverdancing leprechauns hoarding gold at the end of rainbows. Brilliant blackened death collective Malthusian would be happy if those people kindly got a grip on cold fucking reality, and do so with the kind of overwhelming sonic punishment that would have Satan filing a noise complaint.

“We’re born out of the filth, squalor, and begrudgery of fair Dublin city,” explains mysterious spokesman MB. “Our influences are evident in our music and our disdain is evident in our voices. While we love the folklore and traditions in both story and song of our island, we don’t align with the paddywhackery that people associate with it.

Our dark and ancient home fought its way through mass emigration due to avoidable famine, and occupation has made our souls angry and our hearts yearn. All the while, we hide behind broken smiles so people can dye their beers green and regurgitate ‘Top o’ the morning to ya!’ ad nauseam.”

One might wonder if Malthusian wouldn’t be somewhat displeased about being featured in a St. Patrick’s Day list honoring Irish bands. But for the band, any change they can take chip away at the wretched stereotype of where their from is a good one to take,.

“The sole meaning and aspiration behind our music is to create unease and darkness in the listener to share in the plight of our isle,” says MB. “We’ll raise a glass – to the demise of the parody of our homeland.”

Malthusian Pic

There’s an argument that the sort of murder ballad dispensed by Robyn G. Shiels falls outside the traditional rock oeuvre. Endorsed by My Chemical Romance’s Frank Iero, however – with whom Robyn has toured supporting Death Blooms – the shapeshifting darkness beneath the surface of his death-folk compositions has enough of the Devil in it to warrant any headbanger’s consideration.

“I like to think of my music as ‘Doom And Gloom For The Jilted Generation,’” Robyn grins, “or ‘Songs to Uplift the Soulless’. It’s what Death Spells might sound like if they went folk, or Wilco if they lived in Larne…”

The mainman behind the aforementioned Black Tragick Records, Robyn is a pivotal character in the Northern Irish scene before he even strikes a chord, but his addiction of Celtic flavor to the sort of devilish melody favored by artists like Mark Lanegan, Nick Cave, and Ancient VVisdom demands attention in its own right.

“I got into music fairly early in the game breaking my leg dancing in my mother’s kitchen to Millie Small’s My Boy Lollipop, so I musta’ been four years old,” says Robyn. “Many a bone and heart have I broken since, of course…mostly bones, though.”

Perhaps even more so than The Wood Burning Savages, Touts tap into the vibrant musical history of Ireland’s border-city Derry, majorly echoing hometown heroes The Undertones. While singles like Bomb Scare and Go Fuck Yourself have resonated remarkably with generations of young fans unsure where Ireland is headed in the era of Brexit. That said, asked to tell a story that demonstrates who the band are and what they’re all about, Jason details an English festival adventure which ended with the band unwilling/unable to fork our £5 a pint and “liberating” reggae legend Jimmy Cliff’s rider by chucking the beer over a backstage fence.

“We’re inspired by the lives we lead,” explains drummer Jason Feenan. “There’s no overarching theme beyond that. We say what we see. We make observations about what’s around us: politics, nights out, the people we meet…Matthew started playing thanks to Guitar hero 3, Luke was raised with an instrument in his hands and I just bought a drum kit because I didn’t have any friends…What might be our ultimate talent? Maybe the ability to play an entire tour without a single person understanding a word we say onstage.”

“Do we have an ultimate goal?” Jason can’t help himself. “Well, I eventually want to find myself sharing a hot-tub with Eddie Murphy, Ozzy Osbourne and yer’ man from The Da Vinci Code…”

“Music means many things to many people,” explains The Crawling frontman Andy Clarke. “When it comes to extreme metal, music can be one of the most important things in life, shaping who we are. As a creator, it can define an entire existence with vast emotional attachment. This is what The Crawling represents; the translation of emotion into sound, through the form of death-doom metal.”

The Lisburn trio live up to their billing, plumbing apparently depthless reserves of melancholy and despair. “Collectively, the three of us have a love of slow, heavy riffs, with a melancholic edge added through morbid guitar lines, and themes of misery,” Andy continues. “I feel it’s human nature to focus on the negative aspects of daily living, and that’s something I like to explore. My many hours spent listening to My Dying Bride, Type O Negative, and early Peaceville bands may also have taken its toll…

“Whilst The Crawling is still in its infancy, we have all played in other bands for years. We use that collective experience to make this band the best it can be: great tunes, great sound, and a memorable live experience. We simply want to meet and play to like-minded people, and see where the journey takes us.”

“Drown came together over a love of the subversive and perverse,” says frontman Robert Dalton. “Since our inception, we’ve strived to create our own world, marrying the ethereal elements of shoegaze with the urgency and desperation of punk. There’s a brooding intensity within the music. We’re obsessed with the idea of controlled chaos and trying to transmit that to an audience. We’ve been described as angst-ridden, and I suppose we are quite a melancholy bunch.”

Galway’s obsess over the dark side of 80s/90s alternative rock: Joy Division, early Cure and the Smashing Pumpkins — their name itself a nod to the Pumpkins’ epic from 1991’s Gish.

We released our debut single Descent along with our self-titled EP in 2016 after only two gigs,” Robert continues. “It blew up and we spent the year relentlessly gigging around Ireland. We were living and writing in one of the most decrepit houses in Galway, being broke and in general ill health. I actually started using an inhaler that summer because of the mould in the place. It was fucking disgusting!”

“Vircolac are a band that don’t shy away from experimenting within the death metal genre,” explains guitarist ‘BMC’ (Bren) of what makes the Dubliners perhaps Ireland’s fastest-rising heavy force. “There’s also that focus on creating an atmospheric mood. The main intention and meaning behind our music is to provoke a response within the listener on some level, and to provide a real sense of intention and effort in what we are doing. A song should be a journey in itself, and we write them as such.”

Coming together in 2013, the quartet dropped their 2014 demo Codex Perfida, 2016’s The Cursed Travails Of The Demeter EP (the name referencing the ship that brings Count Dracula to England in the novel, whose author Bram Stoker was also a Dublin native), and their brand-new full-length album Masque over what’s been a steady ascent.

“Our influences are a strange collection, across all our members,” Bren continues, “but the bands we have in common are Morbid Angel, Autopsy, Deicide, Dismember, Entombed, Bathory, Metallica. Some of the stranger influences are John Carpenter, Genesis, King Crimson, Goblin, Popul Vuh, Fields of the Nephilim and old horror movie soundtracks.

“Musically, Vircolac band will always do exactly what we want to. And we’ll remain firmly planted within our beloved death metal genre – as it provides endless possibilities.”

Posted on March 17th 2020, 10:22am

This content was originally published here.

Watch Keith Urban Livestream Concert From His Basement – Rolling Stone

Keith Urban performed an impromptu concert via Instagram Live to entertain fans stuck at home during the COVID-19 pandemic. The singer was joined by his wife Nicole Kidman, who danced and sang along to the 30-minute set.

In the video, which is available on Urban’s Instagram, the country musician played guitar and sang in the basement of his Nashville home with the help of collaborator Jeff Linsenmaier on keyboards and percussion. The musician was meant to play a show in Houston this week, but the concert was postponed so he offered up the next best thing.

A post shared by Keith Urban (@keithurban) on

Kidman shared a photo of herself on Instagram after the online gig, writing, “Just loved getting to sing and dance with you all.”

A post shared by Nicole Kidman (@nicolekidman) on

Urban recently released “God Whispered Your Name,” his first new music of 2020, which he performed live on The Late Show earlier this month. Urban was also scheduled to host the 2020 ACM Awards on April 5th in Las Vegas, but that will now take place in September.

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Drake Breaks The Record For Most Billboard Hot 100 Hits Of All Time | Genius

Drake is now the biggest artist of all time by one measure of popularity. The rapper’s Lil Yachty and DaBaby collaboration, “Oprah’s Bank Account,” debuted at No. 89 today on the Hot 100 chart. This marks his 208th entry on the chart, and helping him officially surpass the cast of Glee to become the artist with the most Hot 100 hits in history.

He tied the record back in January with the Future collaboration, “Life is Good.” Drake’s first Hot 100 entry came on May 23, 2009, when “Best I Ever Had” debuted at No. 92. The OVO rapper’s mentor Lil Wayne still stands at No. 3, one spot ahead of Elvis Presley.

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Dierks Bentley Shuts Down Nashville Bar, Pledges $90k for Employees

The country superstar announced Monday he’s closing Whiskey Row in the heart of Nashville on Lower Broadway for a while. The 5-Hour Energy spokesman said his heart goes out to everyone affected by the coronavirus. Dierks also put his money where his mouth is.

The “Drunk On A Plane” singer said he’s immediately giving each one of his 90 hourly employees a thousand bucks “to help in the short run as our community and country try to get a handle on the situation.”

Dierks is just one of several country singers who own bars and have taken the steps to close doors to help stem the spread of the virus. Jason Aldean closed his Jason Aldean’s bar and Florida Georgia Line closed “FGL House.”

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1962 Was The Year – Hollywood Elsewhere

At the end of each year there are always 20 to 25 films that qualify as excellent, very good or good. The creme de la creme is usually between five and ten, but the final tally of approvables is always around 20, and 25 if you want to be liberal about it. But 1962 was different. By my count nearly 50 films that anyone would rank as praiseworthy or seriously noteworthy were released that year. Roughly double the average. The HE rundown is below.

I’ve riffed off and on about the ’62 roster over the last 15 or so years, but now there’s a new book that celebrates this mid-Kennedy administration chapter — Stephen Farber and Michael McClellan‘s “Cinema ’62: The Greatest Year at the Movies” (Rutgers University Press). The pub date is 3.13.

For many years the general consensus has been that the greatest movie years were 1939, ’62, ’71 and ’99. Which others?

Excerpt: “Most conventional film histories dismiss the early 1960s as a pallid era, a downtime between the heights of the classic studio system and the rise of New Hollywood directors like Scorsese and Altman in the 1970s. It seemed to be a moment when the movie industry was floundering as the popularity of television caused a downturn in cinema attendance.

On the contrary, “Cinema ’62′ asserts that 1962 “was a peak year for film, with a high standard of quality that has not been equaled since.”

A decade or so ago I wrote about a BAM retrospective on 1962 films. NYFCC chairman Armond White, the apparent architect of the series, wrote at the time that 1962 “was equal to Hollywood’s fabled 1939 so we welcome this great opportunity to learn and revise film history.”

Here’s my updated rundown of 1962 worthies: David Lean‘s Lawrence of Arabia, John Ford‘s The Man Who Shot Liberty Valance, Sam Peckinpah‘s Ride The High Country, Robert Aldrich‘s Whatever Happened to Baby Jane?, Bryan ForbesThe L-Shaped Room, Howard HawksHatari, Francois Truffaut‘s Shoot The Piano Player, Francois Truffaut‘s Jules and Jim, Agnes Varda‘s Cleo From 5 to 7, Luis Bunuel‘s The Exterminating Angel (10)

Orson WellesThe Trial, Vincente Minnelli‘s Two Weeks in Another Town, Denis SandersWar Hunt (which costarred Robert Redford and Sydney Pollack), Philip Leacock‘s The War Lover, Masaki Kobayashi‘s Harikiri, Andre Konchalovsky Ivan’s Childhood, Gene Kelly‘s Gigot, Robert Wise‘s Two for the Seesaw, Herk Harvey‘s Carnival of Souls. (9)

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Precious Emmanuel – Omnipotent God

12-years old fast-rising Nigerian gospel musician, Miss Precious Emmanuel sings about the abilities of God in her new song titled Omnipotent God. 
The born again child of God was born in Lagos to the family of Engr. Emmanuel and Sewuese Iorbume of Benue State is currently a secondary school student (JSS 3). Precious’ flair for singing was demonstrated as early as 2 years in reciting her Nursery rhythms “This little light of mine”. She has been part of singing competitions for kids as little as age 3. The song, Omnipotent God is her debut single.
Her mother, Mrs Sewuese being a lover of Christian music bought one of Imara Joyce’s Album The Psalm while doing her hair in a salon. Precious took interest in the song and started mimicking the gospel singer and crying that she wants to be like her, that no music has interested her like that of Imara Joyce. This forced the mother to send a video recording of Precious expressing her desire to be like Imara Joyce when she grows up.
The Gospel singer was touched and offered to do a recording of Precious’ song, without meeting her one on one.
Imara Joyce arranged and sponsored all sessions of rehearsals and recording of Precious’ Song without even seeing Precious physically. 
According to Precious’ mum, “Indeed Imara Joyce, you are a true reflection of Christ on earth, sowing in the lives of the younger ones, making them be better citizens and productive in the vineyard of God. May the mercy, love, favour and God’s providence never departed from your camp in Jesus’ Name, Amen. God bless, Imara Joyce, and may her anointing continue to soar to greater heights Amen”
Download Omnipotent God by Precious Emmanuel. Listen, and Share with friends and family.
Precious Emmanuel – Omnipotent God Lyrics
You are omniscient God
There is none like you (4-times)
You are the Prince of peace
You are the Lord most high
There is none like you.
There is none like you.
You are omniscient God
There is none like you. (2-times)
You are God alone (3-times)
I give you glory
You are God alone
You are God alone
You are God alone
You are God alone (4-times)
We do not own this song nor the images featured on this Blog. All rights belong to its original owner/owners. No copyright infringement intended. For promotional purposes only.

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This content was originally published here.