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By most accounts, Halsey‘s If I Can’t Have Love, I Want Power has been a commercial and critical success, expanding her horizons working with Nine Inch Nails pair and film scoring partners Trent Reznor and Atticus Ross who produced the album. But while audiences are loving the music, it’s also had quite the impact on both the artist and her producing collaborators.

“I fucking love this record,” Ross told Billboard, adding, “The one thing that we didn’t change was any lyrics or melody. I can listen to the album and get lost on an emotional level.”

Reznor added, “We’re always looking for things that make us feel inspired and less cynical. We came out the other end changed, in a good way, and revitalized. It has been invigorating and inspiring, and I can tell you we both needed it, just with what the world has been like the last couple of years.”

For Halsey, this is a collaboration long in the making, but now on her fourth album having the confidence to make the ask. “I was thinking, ‘Ugh, I don’t want it to be some corporate, ‘Hello, would you please be interested in working with our young pop star?’ So I wrote them a letter and just kissed their asses as much as I possibly could… and crossed my fingers that they would even respond.”

She continues, “I had been basically poorly plagiarizing their work forever. Every single time I started an album, I thought, ‘Well, maybe this will be the one.’ But imposter syndrome is huge, and I didn’t think they had any idea who I was. It turns out they didn’t, but that’s OK. This time, I thought I had something special.”

The vocalist says she initially had an idea for a darker, more conceptual record, and that as the demos were coming together, she began to see a record form in a narrative manner just as she learned she was pregnant. “So I had this nightmarish, dark album, and I wanted to share it with the world in a way that was really compelling and visceral. Obviously, the first people I thought to call were Trent and Atticus,” she explains.

For Reznor, Halsey’s letter definitely captured his attention. “It was intriguing, and I thought, ‘It’d be easy to just say no, but let’s hear some stuff.’ We got a few songs [“Easier Than Lying,” “1121,” “Whispers” and “Honey”], and the original ask was, ‘Could you contribute to these to help tell the story that I want to tell?’ And we thought internally, ‘Let’s just keep the vocals and try a new piece of music around the song and see what happens.’ Right off the bat, the songs sprang to life. Suddenly, I’m leaning in and listening to the lyrics, and now I’m getting goosebumps.” After the initial songs were sent back, an ask to work on the full album followed.

As for their contributions to the album, Reznor stated, “Halsey’s songs seem to come from a place of pain or catharsis. It has an authenticity to it that you can pick up on. We felt our job in this record was simply to put a nice frame around it so that it helps achieve that message. It wasn’t creating the message, it wasn’t even altering the message: It was just hanging it on the right wall with the right light on it so that you would pay attention to it.”

Initially having concerns over how their touches would be perceived from the singer’s pop fans, Reznor recalls, “I think initially, we were intimidated. ‘Is it a pop star, and does that mean there are big businesses affiliated with it and it has to feel a certain way?’ We don’t want to fuck that up, and we’re not out to troll. We were envisioning, to go to [the] worst-case scenario, ‘At some point, someone’s going to talk sense into Halsey that this could be career-sabotaging because it’s not going to be a TikTok track.'”

But the end result was something impactful and that everyone was proud of. “We were really impressed with [Halsey’s] artistic fearlessness,” says Reznor. “What matters is good music and having something to say that feels authentic and communicates with people. And on a real level, it’s not filtered through an algorithm or a group-think element weighing in.”

The Trent Reznor and Atticus Ross-produced Halsey album If I Can’t Have Love, I Want Power arrived at No. 2 on the Billboard 200 Album Chart, featuring a guest lineup that included Dave Grohl, Lindsey Buckingham, Dave Sitek and more. It’s already yielded the singles “I Am Not a Woman, I’m a God” and “You Asked for This.”

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Unto Others, the Oregon-based goth metal band formerly known as Idle Hands, just released new album Strength last month. But due to the season, they’ve returned in short order with two new songs from their limited 7″ single called I Believe in Halloween.

Those tunes, “Out in the Graveyard” and “Dalmation,” were made available to stream exclusively via Bandcamp on Thursday for 10 days only. After Oct. 31, the tracks will solely be available physically on the vinyl and cassette from Unto Others’ own Lone Fir Records.

Hear the songs toward the bottom of this post.

Unto Others vocalist-guitarist Gabe Franco tells Decibel, “I’ve been sitting on the idea of a Halloween 7″ for a couple years now. I wanted to do this back in 2019 actually as I already had ‘Out in the Graveyard’ written, but there was simply not enough time for it to materialize.”

He adds, “These songs were considered for Strength, but the record was already crowded and I felt they needed their own platform. I jumped at the chance to finally do a Halloween release.”

The title of the single, Franco continues, “alludes to imagination. For Halloween, that means death and fear, both of which only hold power if you believe in them. So you have two horror stories. In ‘Out in the Graveyard, a young man dances with death during an unfortunate walk through the local cemetery. On ‘Dalmatian,’ man’s best friend is not all that he seems; a young boy hears whispers from his loyal companion, pushing us to ask ourselves, who is the servant, and who is the master? Listener beware.”

Listen to I Believe in Halloween below or check it out at untootherspdx.bandcamp.com. Pre-orders for the physical editions from the band are now available at lonefirrecords.com.

NEW MUSIC PLAYLIST: Keep up with each week’s new songs by following Loudwire’s “Weekly Wire” Spotify playlist, featuring 50 tracks with updates each Friday.

Unto Others, I Believe in Halloween

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No, you’re not getting déjà vu, Canadian power metal legion Unleash the Archers really are heading back out on tour once more with Aether Realm and Seven Kingdoms on their second North American tour leg this December.

The three groups traversed the United States all throughout September and will start up all over again on Dec. 8 in Minneapolis, Minn. with no days off throughout the jaunt, which comes to a finish on Dec. 20 in Toronto, Ontario.

Excited for part two of the tour, Unleash the Archers frontwoman Brittney Slayes commented, “What if we had some good news for a change? When life gives you lemons, make lemonade… So this is us making some lemonade! As you might know, we recently had to cancel our European tour, but we have been working our butts off this last week to do a quick scheduling of dates in the U.S. for this December. To start, we are going to replace the five shows that were cancelled in September (Minneapolis, Chicago, Detroit, Pittsburgh and Rochester) and are super excited to add some additional dates in Canada and the surrounding U.S. as well.”

“Again, we are so sorry to everyone in Europe that we are going to be missing, but hopefully everyone who had a show cancelled on them earlier this year in the U.S. will get a chance to come rock out with us before the year is over! Also, Aether Realm and Seven Kingdoms are on board again so that’s some great news too,” Slayes added before exclaiming, “See you all in December!”

See the list of stops below

Earlier this year, Unleash the Archers earned a JUNO award in their home country of Canada for ‘Metal/Hard Music Album of the Year’ for 2020’s Abyss, their fifth overall record.

Unleash the Archers, Aether Realm + Seven Kingdoms 2021 North American Tour Dates

Dec. 08 — Minneapolis, Minn. @ Cabooze
Dec. 09 — Milwaukee, Wis. @ Miramar Theater
Dec. 10 — Joliet, Ill. @ The Forge
Dec. 11 — Indianapolis, Ind. @ Irving Theater
Dec. 12 — Pontiac, Mich. @ Crofoot Ballroom
Dec. 13 — Cleveland, Ohio @ Odeon Concert Club
Dec. 14 — Reading, Pa. @ Reverb
Dec. 15 — Rochester, N.Y. @ Montage Music Hall
Dec. 16 — Boston, Ma. @ Middle East Downstairs
Dec. 17 — Brooklyn, N.Y. @ Brooklyn Monarch
Dec. 18 — Montreal, Quebec @ L’Astral
Dec. 19 — Ottawa, Ontario @ Brass Monkey
Dec. 20 — Toronto, Ontario @ The Opera House

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As Loudwire reported last month, on a night intended to celebrate the latest and greatest in rock and metal, things were swiftly cut short when the Heavy Music Awards 2021 caught a righteous case of nip slips and fat bass rips that resulted in the Twitch stream being cut short.

Streaming live from the 02 Forum London on Thursday Sept. 2, fans enjoying a raucous performance from Trash Boat and Wargasm bassist Milkie Way — or some patiently awaiting Sleep Token’s headlining set — were left disappointed when Twitch removed the stream after Way’s nipples peeked out from under her chained vest.

Among the bewilderment and bosom talk across social media and in news headlines, what transpired in the aftermath of it all was the ugly reality of the stark double standards between men and women that sadly still exist in rock, and it may take longer than we think to erase them.

If it’s not trolls reporting nipples, it’s women across the creative field being quizzed on their expertise level, or condescendingly congratulated that they’re “good for a girl.” In 2021, here’s what we can learn from the double standards in rock.

Christ Almighty, that was quite a show.

Dawning a custom designed crucifix vest created by designer Anine Irdem, Way’s iconic outfit left jaws dropped from the red carpet to the queue for the toilet.

Chatting with the bassist herself, Way says “God forbid I wanted to dress up and wear an outfit that made me feel sexy and amazing after being locked away in our houses for nearly two years.” She goes on to explain that this isn’t the first time this has happened to her, in fact, she’s getting tired of it. “People are haters. I’ve had people at gigs and on live streams shouting/commenting for me to get my tits out and then this it’s like… what the fuck do you all want from me?!”

Though originally many fans and artists alike assumed that Twitch was at fault, a quick glance of Twitch’s Terms of Service revealed that any nudity of any kind is banned. It reads “Nudity and sexually explicit content or activities, such as pornography, sexual acts or intercourse, and sexual services, are prohibited.”

Twitch has a moderation team to oversee these ToS, but as stated in their “How To File A Report” guidelines “If you come across a broadcaster or user on Twitch whom you feel has violated Twitch’s Terms of Service (ToS) or Community Guidelines (CG), you have the ability to send a report to our Moderation team for review.” This would suggest that the most likely reason Twitch took down the stream was because users manually reported it to their team.

One look at the tweets directed toward Way that night reveals a sea of trolls and their inappropriate comments. However, no such comments were directed toward Tobi Duncan of Trashboat who also had his nipples visible in a mesh vest.

Many of her fellow artists and industry peers vocalized their equal frustrations with this, including Alicia Taylor who said “nothing will send people into a frenzy like a woman’s body.”

While many came to her defense, the hate tweets became overwhelming very quickly.

One person wrote “I mean could’ve just followed Twitch’s ToS and not ruined it for everyone by being selfish, but good for you I guess?”

Another boldly called Way a “selfish bitch” for her choice of outfit.

If nothing else, this debacle illustrates that the double standards we are so desperately trying to escape still exist between men and women in rock and metal and have just taken new forms. We thought we’d rid ourselves of them in the 2000s by hiring more women, but the spaces we’ve created for these women are still riddled with toxic ideologies that are stuck in the past. Just because there’s more women in rock doesn’t mean they’re being treated well.

This isn’t a prim and proper genre. It’s rock and metal! If someone hasn’t got their nipples out, sweaty, head banging and covered in dirt and grime, what’s the point?

This isn’t anything new, in fact, it’s getting kind of old.

This incident joins metal’s hall of fame for “times women did nothing and everyone got angry.” If you talk to anyone who’s a woman and into alternative music — photographers, tour managers, crew members and fans — they’ll share similar stories of their own experiences being shunned from this genre.

What was the 2000s if not ripping into Hayley Williams for doing the absurdly risky thing of simply being a woman in pop punk — gasp, how dare she?! In an interview with journalist Eve Barlow for Vulture, Williams brands pop-punk in the early 2000s as brutally misogynistic. “The pop-punk and emo scene in the early 2000s. It was brutally misogynistic. A lot of internalized sexism, and even when you were lucky enough to meet other bands who were kind and respectful, there was other shit that wasn’t. And I was really feisty,” she explained.

A more recent example that echoes the same concerns of double standards in the alternative music industry is Phoebe Bridgers smashing her guitar and getting hounded by elitists on Twitter.

In February 2021, Phoebe Bridgers closed her Saturday Night Live debut by smashing her guitar with the blessing of the company who makes it. Despite being a rock ’n’ roll cliche that numerous stars have partaken in — from Jimi Hendrix, Kurt Cobain, Slipknot, Green Day, and more recently Machine Gun Kelly during his MTV’s VMA performance —  Phoebe Bridgers was massively criticized across social media for being “unprofessional,” “annoying” and damaging expensive equipment.

Again, this is an age-old rock cliche dating back to the 50s/60s, is it not odd that when a woman does it she is looked down on, but her male counterparts are still able to keep their edgy, bad boy images?

There’s a handful of instances like this in recent years that further the point, PowerPlay Magazine’s “Clitoris Allsorts” incident springs to mind. The U.K. magazine did a feature of fantasy band lineups and relegated female musicians to an “all-girl” lineup called “Clitoris Allsorts.”

These double standards are so deeply ingrained into the foundations of the genre, and yet many still choose to ignore it or bat it off as “overreacting.” How many more events like this need to happen before we admit women are treated unequally in our spaces?

Being “good… for a girl”

Two decades later,  knee deep in another pop-punk renaissance, and it’s glaringly obvious that the same sexist attitudes that hindered the likes of Hayley Williams and Avril Lavigne are now being projected onto rising stars such as Olivia Rodrigo and Willow Smith.

Despite only recently making their debut into alternative music, the astronomical success of their careers is overshadowed by jabs that reduce them to nothing more than “budget Hayley Williams.” It’s one thing that rock and metal spent many years tearing down Williams herself, but to twist the knife into her back further, any woman who even remotely touches pop punk is doomed to face the comparisons against Paramore.

Sure, being compared to Hayley Williams is almost dreamlike, but most of these comments would not be made if these artists were not women. It’s the fact that they are women who make pop punk that they’re being compared to another woman in pop punk.

Not only does this suggest all women in rock sound the same — and overshadow the absolute success of two young women of color in still a very white, male-dominated genre — it just completely ignores the blatant repetition of pop punk’s catalog from 90s-2015, with most male-centred pop punk bands straight up copying each other like a strange game of pass the parcel, just with bouncy choruses and lyrics about hating your hometown.

These comments of being “good… for a girl” or being “like (insert only other female singer they can think of)” have gotten so annoying for women in music. Spiritbox’s Courtney LaPlante went to the extent of launching her own podcast “Good For A Girl,” to create a space where herself and other women in the industry can discuss their shared experiences.

From nip slips and fat bass riffs — it’s time we cut women some slack.

So why? Why are women cursed with the “name three songs” cliche, why are they belittled and provoked at any given point by elitists who can list every single band member’s birthday, birth place and the last thing they ate for dinner.

It’s clear that this problem extends beyond the stages; women across the whole music industry echo the same frustrations. We sat down with TikTok creators Katie Pepper and Kyra Robinson, both young women who love alternative music but like to dress very feminine and fashionable. They’ve gained a large following and notoriety due to the unbelievable hate and backlash received for not dressing “alternative” enough.

“Nine times out of 10 all my hate comments are men; I get called fake etc.I don’t think I’d get the same negative comments if I was a man,” Kyra explains.

“I personally try not to let it affect me,” says Pepper. “But I do think it’s a shame there aren’t more female creators, especially in the alt scene. It makes you wonder if more girls want to do it and maybe they’re too scared to put themselves out there in fear of the hate they are going to get about being a female and liking that kind of music.”

Brii Jameson, previously an Australian artist rep for huge artists and digital content manager for bands and outlets such as Rock Sound Magazine, echoes her own struggles that suggest ways we can begin to move forward. “I had an experience when I was the digital content manager at Rock Sound,” she explains. “A male publicist said to my colleague that he didn’t like working with me because he saw me as a ‘fangirl.’ This kind of narrative is still pervasive in the industry — and is something that our male counterparts aren’t subjected to. Wouldn’t a publicist rather have someone who understands and likes the band to be pitching content for them, than someone who doesn’t care at all?”

Much like Jameson, Svalbard’s Serena Cherry echoes a similar point of how differently she has been treated for being a woman in metal. Though a phenomenal vocalist who’s just getting her foot in the door, much of her career has been shrouded by sexist comments in online metal communities. “Whenever my band upload a new video, there will always be comments on how I look,  people debating if they would have sex with me. I never see comments of this shallow nature directed to the three men in Svalbard. Ever. They get treated as musicians, I don’t. I get treated as a sex object.” Cherry issues her concern in how this behavior can often be overlooked as “joking around,” but she’s seen these misogynistic attitudes spill over into her real life. “I have had guys try to take upskirt photos of me on stage, guys groping me as I load out of a venue, guys trying to force me to drink alcohol they have purchased at the bar then calling my bandmates “cockblockers” for sticking up for me when I say no. The comments are horrible, but sadly they are just the tip of the iceberg.”

Sarah Shopdie, who works in PR, events management and journalism, explained that as a dark-skinned Black woman in this industry she struggles even more. “Rock and metal is where I have experienced judgement at the hands of the angry Black woman trope the most. Hanging out with bands or industry professionals where I am often the only Black woman there but there are half a dozen women there; I’ll make a joke and people will react as if it’s off-color or overly aggressive or offensive. But then a woman who looks more traditionally alt and is white will say something very similar or make a joke along the same lines and it’s received much better.”

Though it seems an impossible task, to create an equal playing field the women we spoke to offered many resolutions to the ongoing sexism and gender biases in rock and metal. While Serena suggests a need for significant change in how online abuse can be reported, and both Pepper and Robinson agree that we need to toss away any ideas of what a metalhead “should” look like, Jameson says that it can start with giving women opportunities to thrive, thus helping to break down those barriers. “Hire women,” Brii says. “Build them up. Someone once said to me that young women were riding my coattails — and that metaphor is so lame and incorrect. It’s more like I’m a snowplow — and I’m happy to carve a path through the sexist shit to make it easier for the women coming up behind me. Now that I’m in a position to, I see it as my responsibility to hire female photographers, writers, journalists — and insulate them from sexism.”

Jameson finalizes our chat with a point best suited to close with, one that not only empowers young women to take up space but for men to recognize these biases, question their own internalized toxic masculinity, and use their privilege to call out this behavior. “Men in the industry also have a responsibility,” she explains. “To stand up to their colleagues and call out bad behavior. Be an ally. Show up for women. Show up every time — not just when it’s convenient. Standing up for women can’t be a publicity stunt — it has to be wholly part of your brand.”

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Mythic Quest is leveling up.

Apple TV+ has renewed the critically acclaimed comedy for not one, but two more seasons. Series star and co-creator Rob McElhenney revealed the news in a comedic social media video, featuring a FaceTime call with Season 2 guest star Sir Anthony Hopkins, and Emmy-winning Ted Lasso co-creator/star Jason Sudeikis. Watch below:

BREAKING: Big announcement from Sir Anthony Hopkins and Jason Sudeikis (and Ron something) #MythicQuest is returning for Seasons 3 & 4 pic.twitter.com/OugCaIWwjv

— Apple TV (@AppleTV) October 21, 2021

Created by McElhenney and It’s Always Sunny in Philadelphia cohorts Charlie Day and Megan Ganz, Mythic Quest “follows the team behind the biggest multiplayer video game of all time,” according to the official logline. In addition to McElhenney, the ensemble cast includes Oscar winner F. Murray Abraham, Community‘s Danny Pudi, Imani Hakim, Charlotte Nicdao, Ashly Burch, Jessie Ennis and fellow EP David Hornsby.

“Just like critics and audiences all over the world, we fell in love with Rob and his team’s sharp writing and full-of-heart, relatable characters that make up the world of Mythic Quest,” Apple TV+ head of programming Matt Cherniss said in a statement. “We can’t wait for viewers to see what’s in store in the upcoming seasons of this brilliant workplace comedy.”

Word of Seasons 3 and 4 comes nearly four months after the release of Mythic Quest‘s Season 2 finale, which earned a TVLine reader grade of “A-” (read recap and post mortem). TVLine’s Streaming Scorecard has been updated to reflect the multi-season pickup.

Are you looking forward to two additional seasons of Mythic Quest? Watch the announcement above, then drop your thoughts in a comment below.

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Paul Thomson, the original drummer of Franz Ferdinand, is leaving the band. “It was a bit of a shocker for us when we found out, so it probably will be for some of you, too,” the band wrote. “You don’t spend 20 years touring the world with someone without them becoming like family and that isn’t going to change anytime soon. We’re glad we shared those adventures and experiences together and look forward to hearing what he gets up to next.”

Audrey Tait will be replacing Thomson as the drummer of Franz Ferdinand. “It feels totally natural playing with her and she’s a great laugh,” the Scottish group wrote. “It has been electrifying being in the studio together and we can’t wait to play live for you all.”

Paul Thomson, who joined Franz Ferdinand in 2002, remarked, “Franz Ferdinand was, is, and always will be family and a huge part of me.”

In 2016, Franz Ferdinand’s original guitarist Nick McCarthy left the band. Dino Bardot and Julian Corrie joined the lineup following McCarthy’s departure.

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