Lords of Acid at the Echoplex, Los Angeles, CAContact: evanjthomaspr@gmail.comWeb: lordsofacidofficial.comPlayers: Praga Khan, keyboards, programming, backing vocals; Carla Harvey, vocals; Olivier Adams, percussion, keyboards, programming; DieTrich Thrall, bass

Belgian electronic rockers Lords of Acid sure know how to put on a show. The sex-obsessed party animals have been knocking around since 1988, when acid house musician Praga Khan got it into his nut that he wanted a band of his own, and so the Lords of Acid were born, appealing to fans of industrial rock/metal, as well as Khan’s existing house aficionados.

In the years since, the lineup has shifted with members coming in and out. Khan’s the constant—he’s the creative force. And there has always been a female frontperson, a strong woman to keep the crowd in check. Oddly but interestingly, a few of the former Lords of Acid singers and musicians have come together as of late, as the Queens of Acid. 

At the Echoplex, in the Echo Park area of Los Angeles just as summer was kicking into gear, the Lords of Acid rolled into town and hosted the most gloriously hedonistic, debauched, and decadent gig that the region has seen in some time. With genres and genders blurred with equal enthusiasm, it felt very much like a throwback to the sort of Berlin cabaret vibes celebrated in Hedwig and the Angry Inch. 

Each and every opening act brought it, from trans electro-rapper Mz. Neon to theatrical synth-pop stars-in-waiting Tony & the Kiki, from larger-than-life diva Princess Superstar to dark Denver crooners Dead on a Sunday. The whole event was about a celebration of sexual freedom, and freedom of sexuality. And in these dark times, that’s something to take Pride in.

All of that said, nobody was stealing Lords of Acid’s thunder. The most recent addition to the ranks is powerhouse singer Carla Harvey, formerly of the Butcher Babies and also a member of The Violent Hour. While previous LOA singers have had a sultry growl and coo, Harvey is a proper singer and it initially makes for an odd fit. She’s also a tremendous show-woman though, and the pairing works.

There are some new tunes, notably “Karaoke Superstar,” featuring guest vocals from the returning Princess Superstar. The dudes from Tony & the Kiki also pop back up for their recent collab with LOA—"El Mundo Está Loco.”

Meanwhile, Harvey does a great job on tunes from the early albums, including “Drink My Honey,” “Rough Sex/Take Control,” and the closing “I Sit on Acid.” There’s no subtlety here, but we don’t want any. The Echoplex simply embraced the filth and had a blast doing it. The post Lords of Acid at the Echoplex, Los Angeles, CA first appeared on Music Connection Magazine.

UMG’s hospitality arm to open its first UK hotel on London’s Denmark StreetIt will be UMHL's first hotel in the UK, and its second in Europe after UMusic Hotel Madrid, with Madrid the only UMusic Hotel currently operating.
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The Story Behind The Beatles' 'A Day in the Life' — The Two Songs That Became OneHow did The Beatles create “A Day in the Life”? Discover how John Lennon and Paul McCartney combined two unfinished songs into one iconic masterpiece.

Donald Trump’s administration just sided with OpenAI in a key ‘fair use’ case. Here’s what it means for music’s fight with Anthropic and Suno.It appears to be the first time Washington has intervened in any of the copyright cases now stacked up against AI companies
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Release Radar: Post Sex Nachos Go Big (and Bad) on their Latest AlbumLet's get this out of the way: Post Sex Nachos is still one of the best band names in indie rock, and it's still doing a disservice to how much this Midwest outfit can wreck you emotionally in under four minutes. Their new album Big Bad is out in a matter of weeks, and it might be the most vulnerable thing they've put their name on yet—which, for a band that turns anxiety spirals into songs you can dance to, is saying something.

Formed by Sammy Elfanbaum and Chase Mueller, Post Sex Nachos built their reputation the old-fashioned way: relentless touring, sets at Lollapalooza, Summerfest, Mile of Music, and Bonnaroo, and an independently organized, 1,000-plus-attendee Nacho Fest that sounds like it shouldn't work on paper and clearly works great in practice. Their Booster Pack EP gave the world "Supergirl" and "SOS"—the latter currently sitting at No. 1 Spun on SiriusXM Alt Nation. Big Bad is the next chapter, and by the sound of it, a bigger swing.

Ask Elfanbaum what inspired the record and you don't get a vague answer about "growth" or "the journey." You get this:

"The inspiration behind Big Bad was that the boys and I both separately and together were going through some big changes in our lives. I wanted the lyrics to be very personal. Some of the songs are about anxiety, and like, in this world we're living in I feel like every song should be about that. I don't know how you could live in America right now and not be anxious."

That's the emotional spine of the album, but Elfanbaum is quick to clarify this isn't a 40-minute panic attack. "There's uplifting stuff mixed in there too, and some classic PSN love songs about partners and friendship. Not all doom and gloom, but hopefully you cry maybe once while listening to the record?"

A reasonable request from a band that's earned the right to make it.

Big Bad came together over roughly six months in the studio with producer Aaron Wagner (VEAUX), and according to Elfanbaum, he didn't just twist knobs—he pushed the band somewhere new. "There were definitely some surprises in the studio, mostly good ones! I think Aaron really pushed us to be the best we could be and the record would not be the same without him."

It also marks the band's most collaborative process to date. Instead of arriving with finished songs, instrumental ideas came from across the whole lineup before lyrics and top lines got layered in—which tracks with how unified and deliberate the record sounds. It's the difference between a band writing songs and a band building something together.

If you want the emotional thesis statement of Big Bad in one song, it's the BAILEN collaboration. Elfanbaum explains the origin: "I've always wanted to write a song about a ride-or-die kind of friendship. Everybody has that person they can call up at any time and pick up right where they left off, no matter how long it's been."

He brought the concept to BAILEN, and things moved fast from there. "I brought this idea to BAILEN and they absolutely ran with it. We came up with the chorus together over a Zoom call, and came back with our respective verses a couple weeks later." The verdict, unprompted: "BAILEN really elevated this track, making 'A Lot to Lose' my favorite song on the record."

Ask Elfanbaum to pick favorites and he'll actually pick favorites, which we appreciate. "I think my sleeper pick on the album is called 'Insane.' But my favorite is probably 'All For You' or 'Junk.'"

Consider that your starter pack.

If there's one thing Elfanbaum wants clear before you press play, it's that this isn't a band coasting on their old formula. "I want the world to go in with an open mind when listening to Big Bad. We stepped outside of our comfort zone and pushed ourselves, taking a lot of big swings. We have definitely transformed as a band through making this record and I think it paid off."

And despite the confidence, there's real nerve behind the release too—the kind that comes from actually caring. "I hope listeners walk away connecting with at least one song. I hope it makes them think about their lives or the state of the world. I think it's our best album yet and I am equally nervous and excited for it to be out in the universe."

Post Sex Nachos aren't just dropping the album and disappearing—they're bringing it straight to a stage near you. Asked about the rest of 2026, Elfanbaum kept it simple: "Shows, baby! Come see us on tour in the fall!"

The North American Fall Headline Tour kicks off September 25 in Nashville at The Basement East and wraps November 7 in Chicago at Bottom Lounge, with VIP packages available for the fans who want the full experience. Big Bad will also be available on vinyl, along with exclusive merch bundles for anyone who wants to hold this era in their hands.

Between the anxiety anthems, the friendship ballads, and at least one guaranteed cry, Big Bad is Post Sex Nachos at their most honest. Go listen with an open mind—they asked nicely!

Big Bad drops on September 18, keep an eye out.

Photos by Sophia BiancoThe post Release Radar: Post Sex Nachos Go Big (and Bad) on their Latest Album first appeared on Music Connection Magazine.

Sony Music Needs a VP, D2C Fan EngagementThe VP is accountable for the quality and commercial performance of D2C fan engagement across the roster, and for the relationships that make it work: with label marketing, creative and commerce teams, with the international marketing team, and with partners across The Greenhouse. Much of the work is proposing rather than deciding - the label approves throughout - which makes credibility, judgement and influence without authority central to the role.

The role leads a team of five to six spanning creative direction and design systems, design and production, D2C product management, and CRM and lifecycle marketing. The ideal candidate combines strong D2C product instincts, fan marketing expertise, creative sensibility and operational rigour, with a deep understanding of how fans engage with artists, music, merchandise and culture across global markets.

Apply via ZipRecruiter.The post Sony Music Needs a VP, D2C Fan Engagement first appeared on Music Connection Magazine.

Premium subscription streaming generated $3.1B for rightsholders in the US in H1 2026, up 7.8% YoYIndustry wholesale revenues hit $5.97 billion, up 6.9% YoY
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How David Bowie Saved a Falling-Apart 70s Band With One SongDavid Bowie saved Mott the Hoople from breaking up by giving them “All the Young Dudes,” a song that became a major hit and revived their career.

"Petal" by Ariana GrandeRepublic Records, Babydoll MusicProducers: Ariana Grande, Ilya, Max Martin

If you are expecting a grandiose pop album from Ariana Grande, then Petal is not the album for you. Grande takes a step back with her eighth studio album—it’s more experimental with a strong focus on its pop synth arrangements. The production is airy and haunting especially on tracks like “freak” and “like i do.” Grande’s subdued vocals are a divisive stylistic choice as it makes all the songs sound repetitive and muddled. As a result, none of the songs really stand out. It’s nice to see Grande get out of her comfort zone and do something different, but it’s also disappointing that she’s hiding her amazing vocals through the production. 

The post "Petal" by Ariana Grande first appeared on Music Connection Magazine.

Jermaine Dupri’s So So Def drops $18m royalty lawsuit against Sony Music after parties ‘resolved the matter’The dismissal was without prejudice, leaving Dupri and his companies free to bring the claims again.
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Classical Reviews August 2026Explore August’s top classical music releases, featuring Peteris Vasks, Mozart, Beethoven, Fauré, Schubert, and more.

Now Sony Music Publishing and Warner Chappell sue Anthropic in multi-billion dollar lawsuit: ‘One of the largest and most blatant ongoing thefts of intellectual property in history.’The publishing arms of all three major music companies are now litigating against the Claude maker
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Coco Smith Signs with VHS RecordsDate Signed: June 2026Label: VHS RecordsType of Music: Singer-SongwriterManagement: mauricemusicmanagement@gmail.com Booking: mauricemusicmanagement@gmail.com Publicity: Kenzie Davis, Big Hassle - kenzie@bighassle.com A&R: Reed Black, VHS Records - reedblacksound@gmail.com Web: instagram.com/cocosmith__

New York singer and songwriter Coco Smith comes from a family of musicians and, as a child, she would regularly listen to The Beatles (courtesy of her dad) and Eleni Mandell (her mom’s influence) in the car. She would sing along, but writing her own songs began in high school.

“I began to feel a lot of strong and deep emotions, probably to do with being gay and my dad’s illness,” Smith says. “I didn’t know any other way to put them out except to write them into music—my parents had already kinda taught me how. Performing and playing the songs solo came soon after, a band came years later, in college. I would probably advise other parents to do the same, if they want their child to make music and still love it as they get older.”

While her sound may have progressed and developed over the years, Smith’s influences remain the same: Big Thief, Pinegrove, Julia Jacklin, John Lennon, and Maisy.

“I think, honestly, I just got more confident, and that changed my sound,” Smith says. “The first couple of years of college, I didn’t think anyone would care enough to play my music with me. It wasn’t until I began playing the basements in Allston that I was like, ‘okay, I want a band so badly.’ I started wanting songs with ‘teeth’ as Sam Skinner would say, and it took me a while to figure out what that meant. I had angry things to say, in a mellow way, like Julia Jacklin.”

Smith’s new album, You Won’t Get My Message but You’ll Hear It, is out now via Brooklyn-based indie label VHS Records. “I found them online,” Smith says. “I wanted an artist-forward label that wasn’t affiliated with any major labels, based in N.Y.C. I also knew Fish Hunt’s music and loved it and had seen People I Love open for my guitarist Ash’s release show for her own project, Wulfer, and loved that too.”

Smith recently dropped “Multiform,” a single taken from the new album. “’Multiform’ was recorded with Sam Skinner, in his studio, with Isaiah, Isaac, and Theo,” Smith says. “It was a part of my album, You Won’t Get My Message but You’ll Hear It. We recorded it last December, for three days. The ‘triumph, despite’ theme was nailed into the ground. That is always what I want for my music, the hopeful tinge out of something horrible, and Sam got it.”

With the album out, Smith is looking forward to more releases this year. “I’m working on a song with my friend, Remy, and a couple long-distance songs with my friends Corbin and Cade,” she says.The post Coco Smith Signs with VHS Records first appeared on Music Connection Magazine.

"Music, Fashion, Film" by Charli xcxAtlanticProducers: A.G. Cook, Finn Keane

Thirteen years after the release of her debut True Romance album, British pop artist Charli xcx has dropped her seventh full-lengther and, while not the year’s best album by any means, it offers further proof that her musical journey is a rewarding one, both for her fans and herself. It’s gratifying to see Charli xcx having a Gaga-esque period of her career where the naysayers, the people decrying her for being over-produced and over-stylized, are being silenced by the sheer quality of her recent output, this album included.

Music, Fashion, Film has also arrived just a few months after Charli xcx’s soundtrack for the recent Wuthering Heights movie, and in many ways, it feels like a continuation of that, more so than 2024’s much-heralded Brat. This is pop, sure, but it’s so much more. The artist, and we use that word deliberately, does her thing of taking the listener on a rollercoaster of emotions with the backdrop of contemporary life looming over everything. But it’s the left turns that she takes on a song like “Yeah” or “Persona,” where she’ll just slam on the brakes seemingly on a whim (though obviously not really). 

There are moments that feel bleak, others that are lush. She lashes out on “Camera,” justifiably so. And then unleashes melody overload on “Magic Metal Montana.” The albums ends with “No One Lasts Forever,” a collab with movie legend David Cronenberg, which included the line “You need to understand the feeling, of the crushing highs and lows of ego.” One gets the feeling that, as she continues this journey, she’s understanding it more and more. The post "Music, Fashion, Film" by Charli xcx first appeared on Music Connection Magazine.

Spotify promotes Joe Hadley to VP of Global Music Content, Partnerships; J.J. Italiano named Head of EditorialSpotify says the new structure will preserve Editorial's "distinct voice, expertise, and decision-making," while creating "a more connected Music team."
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