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The LeadSinger D4vd has been charged in the United States with murder in the death of Celeste Rivas Hernandez, a 14-year-old girl who was last seen alive nearly a year ago. The 21-year-old musician, whose legal name is David Burke, faces first-degree murder and additional charges, including lewd acts with a minor and mutilation of a body.The Charges Against D4vdD4vd pleaded not guilty on Monday to the serious charges. Authorities said the case includes special circumstances – lying in wait, committing crime for financial gain and the alleged killing of a witness – making Burke eligible for life without parole or the death penalty. Los Angeles County District Attorney Nathan Hochman said prosecutors would decide later whether to seek the death penalty. Burke was arrested at a home in Hollywood and is being held without bail.The Victim's StoryRivas Hernandez had disappeared in 2024 when she was 13. According to allegations in a criminal complaint, the singer engaged in continuous sexual abuse of her for at least a year from September 2023 to September 2024. Authorities believe the girl went to D4vd's Hollywood Hills home on April 23, 2025, and 'was never heard from again.' The witness he is alleged to have killing is Rivas Hernandez herself, who could have given testimony about the sex crime allegations.The Discovery of EvidenceThe prosecutor said Rivas Hernandez's dismembered and decomposed body was discovered in September inside an apparently abandoned Tesla linked to the singer. Court documents reveal that police investigators searching the Tesla in a tow yard found a cadaver bag 'covered with insects and a strong odor of decay.' Detectives partially unzipped a bag and found a head and torso. A second black bag was found under the first, containing dismembered body parts. No cause of death has been publicly revealed.The Legal ProceedingsBurke's lawyers maintained his innocence, stating: 'The actual evidence in this case will show that David Burke did not murder Celeste Rivas Hernandez and he was not the cause of her death. We will vigorously defend David's innocence.' The singer had been under investigation by a Los Angeles County grand jury looking into the death. The probe was officially secret, but its existence was revealed in February when his family objected in a Texas court to subpoenas demanding they testify.The Artist's BackgroundD4vd gained popularity among Gen Z for his blend of indie rock, R&B; and lo-fi pop. He went viral on TikTok in 2022 with the hit Romantic Homicide, which peaked at number 4 on Billboard's Hot Rock & Alternative Songs chart. He signed with Darkroom and Interscope Records, and released his debut EP, Petals to Thorns and a follow-up, The Lost Petals, in 2023. When the body was discovered, the singer continued his North American tour, but canceled shows after reports of his possible involvement spread widely.

Background and Early Years Bob Mould – former frontman of Hüsker Dü, solo artist after 1988. 1991: Mould writes songs that become Copper Blue while grunge explodes via Nirvana. 1992: Formation of Sugar with bassist David Barbe and drummer Malcolm Travis. Rise of Sugar and *Copper Blue* The debut album Copper Blue blended metallic guitar walls with melodic pop, earning critical plaudits and commercial success unprecedented for an underground act. It reached the UK Top 10 and won NME’s 1992 Album of the Year – a win Mould likens to “winning an Oscar.” This chart position represented a shift from niche indie sales (typically under 50,000 units) to mainstream exposure, roughly a 5‑fold increase in album‑move volume. Impact of Kurt Cobain’s Death In April 1994, while recording their second album at Triclops Studio, Mould learned of Kurt Cobain’s suicide. The shock prompted him to “pull the plug” on the recordings, erasing the tapes and stating there was “nothing worth saving.” This abrupt halt illustrates how the post‑Nirvana cultural landscape forced alternative bands into a new celebrity‑driven paradigm, pressuring them to navigate fame and personal trauma simultaneously. Second Album and Disbandment 1994: Release of the EP Beaster, reaching No 3 in the UK charts despite its dark religious themes. 1995: After a rushed three‑month writing session for File Under: Easy Listening, internal pressures and Barbe’s family commitments lead to Sugar’s dissolution. Reunion and Legacy After three decades of solo work, Mould, Barbe, and Travis reconvened in 2026. The band announced a European and US tour from May to October, adding two new tracks to commemorate the reunion. While Mould remains non‑committal about future recordings, he emphasizes enjoying the live experience—a contrast to the “no‑time‑for‑reflection” era of the early 90s. Key Takeaways Copper Blue transformed Sugar from an underground act to a mainstream chart‑breaker. The death of Kurt Cobain acted as a cultural inflection point, prompting Mould to abandon a nearly finished second album. Three‑decade‑long hiatus underscores the lasting influence of 90s alternative rock on today’s touring circuits. Fans are advised to bring earplugs—the band’s signature “colossal, metallic, thunderous” sound remains as punishingly loud as ever.

Angelina Jolie leads the new fashion‑driven drama Couture, bringing a rare level of personal honesty by confronting a storyline that mirrors her own double mastectomy performed to prevent breast cancer. While her performance is undeniably courageous, the film’s overall execution falls short of its ambitions.The plot follows Maxine, an American indie filmmaker (Jolie) who arrives in Paris to direct the opening short for a prestigious runway show. She discovers, through a compassionate doctor played by Vincent Lindon, that a recent biopsy confirms she has breast cancer, forcing her to consider postponing or abandoning her next project. Jolie conveys the shock and denial with subtlety, yet the script, penned by director Alice Winocour, often lapses into glib dialogue that undermines the emotional weight of the situation.Supporting characters include Ada, a fledgling South Sudanese model (Anyier Anei), makeup‑artist‑turned‑writer Angèle (Ella Rumpf), and the brooding first‑assistant director Anton (Louis Garrel). Their subplots—most notably Ada’s ankle injury that threatens the runway performance—remain underdeveloped, serving more as decorative set‑pieces than integral narrative threads.Visually, the film captures the glamour of Parisian haute couture with polished cinematography, yet this sheen accentuates the story’s lack of depth. The fashion world is presented with a “precious” aesthetic that feels specious, offering little insight beyond surface‑level allure.Despite these shortcomings, Jolie’s star power shines through. Her willingness to align a fictional role with a deeply personal health battle adds a layer of authenticity that the surrounding screenplay fails to sustain. ‘Couture’ will be available on digital platforms from 20 April, offering audiences a chance to appreciate Jolie’s performance even if the film’s broader ambitions remain unfulfilled.

Endless Cookie arrives as a daring, hand‑crafted animation that immerses viewers in the everyday chaos of a Canadian Cree household in the remote Shamattawa First Nation. The project, conceived and voiced by half‑brothers Seth and Peter Scriver, took nine years to complete, a fact the film humorously acknowledges through its meta‑narrative and frequent self‑parody. The visual style feels like a cross between Cheech and Chong antics and the digressive storytelling of Tristram Shandy, with scenes that oscillate between vivid surrealism and grounded family moments. From a post‑apocalyptic Toronto backdrop to a sprawling story map described as “bulging like a distended colon,” the animation pushes the boundaries of conventional indie filmmaking. Beyond its eccentric humor, the film tackles weighty themes with a wry yet respectful tone. It shines a light on police racism and historic land theft, while celebrating ancestral continuity and community resilience. The narrative deliberately sidesteps the Scrivers' own cultural positions, allowing the Indigenous perspective to remain front and centre. Key vignettes include a chaotic caribou stakeout, a punk‑era flashback to 1980s Toronto, and a bizarre encounter with a clingy snowy owl—each episode underscored by the presence of the family’s twelve dogs, two of which are humorously named Cheech and Chong. The film’s funding source even appears as a talking slide rule, adding another layer of self‑referential comedy. Critics have likened the animation’s energy to a “SpongeBob SquarePants episode after an afternoon of smoking DMT,” while also noting its lineage to the counter‑cultural spirit of Fritz the Cat. The result is a work that feels both hallucinatory and deeply affectionate toward its subjects. Endless Cookie becomes available for streaming on Mubi starting 17 April, offering audiences a rare glimpse into a vibrant, self‑determined Indigenous narrative that challenges mainstream cinematic conventions.

Renowned jazz composer and pianist Jason Moran recently discovered a fake album on Spotify bearing his name. The album, titled For You, had a moody Japanese anime-style cover and featured indie pop music, which was a far cry from Moran's actual work.Moran is not alone in this experience. At least a dozen famous musicians, including Benny Green, Antonio Hart, and Dee Dee Bridgewater, have been targeted by AI bots impersonating them on music streaming platforms. The issue has led to frustration and surreal experiences for the musicians, who are now having to deal with the deluge of AI-generated music.Spotify has acknowledged the problem and has taken steps to address it, including removing over 75 million "spammy tracks" from its platform in the past year. The company is also working on a new tool to give artists more control over what shows up under their name.However, for musicians like Moran, these fixes aren't enough. He's concerned about the additional work for artists who don't put their music on Spotify, and for musicians who are no longer alive. Morgan Hayduk, a co-CEO of Beatdapp, estimates that 5% to 10% of all streams across the industry are fraudulent, which breaks down to a value of $1 billion to $2 billion per year.The issue highlights the challenges of regulating AI-generated content and the need for more effective solutions to prevent music impersonation on streaming platforms.

Tracey Nelson, a NYC-based singer-songwriter, is set to release his debut album 'Hercules' on July 10. His music is described as beautifully dazed, countrified indie-rock, drawing comparisons to bands like The Clean and The Feelies. Nelson's self-titled 2025 debut EP was a lesser-heard gem, featuring tracks such as 'New Years Flowers' and 'Just Shoot Me Now'.The upcoming album 'Hercules' is co-produced by MJ Lenderman and Colin Miller, and features a lineup of musicians including Lenderman, Miller, Karly Hartzman, and Jack Kraus. The album promises to amplify the country elements of Nelson's previous work while giving him more space to explore his sound.This week's best new tracksPozer – Hulk Hogan (ft AJ Tracey): A standout track in the UK scene, delivering social realism over Jersey club beats, with an excellent verse from AJ Tracey.Zoh Amba – Another Time: A remarkable free jazz saxophonist turns songwriter, blending Appalachian roots with indie rock.One Leg One Eye – Many Are My Names Besides: A haunting track that combines scratchy drone and distorted wailing.Enter Shikari – Dead in the Water: A highlight from their new album, blending rave-rock with elements of Everything Everything and The Prodigy.James K – Peel (Loidis remix): A 14-minute remix turning ethereal dancehall-pop into snappy microhouse.Ambrose Akinmusire and Mary Halvorson – Soundcheck: Disarming trumpet playing and unsettling guitar work.Max F – Dream Channel (Space Ghost Club Remix): Life-affirming piano-centred house instrumental.

In a stunning display at the BCA Kalahari Women’s T20 International Tournament in Botswana, the Brazil women’s cricket side secured a 189‑run win over Lesotho, highlighted by a historic bowling performance.After winning the toss, Brazil posted a formidable 202‑8, propelled by wicket‑keeper Monnike Machado’s 69 runs off just 41 balls. Lesotho’s reply collapsed to a mere 13 runs, the lowest total recorded in a women’s T20I since Mali’s six‑run innings in 2019.The centerpiece of the match was 21‑year‑old right‑arm seamer Laura Cardoso, who captured nine wickets—the best haul ever in any men’s or women’s T20 International. Her spell began with a hat‑trick on the last three balls of her first over, followed by a streak of five consecutive dismissals spanning the first two balls of her second over and the next three deliveries.Cardoso’s final figures read 3‑2‑4‑9, a performance that propelled her to the top of the Women’s T20 best‑bowling rankings, overtaking Indonesia’s Rohmalia Rohmalia. The previous record for wickets in consecutive deliveries stood at four, set by West Indies’ Shakera Selman in 2018.While Brazil’s margin of victory dwarfs many, it falls short of Argentina’s 364‑run triumph over Chile in 2023, when the South Americans posted a staggering 427‑1. Nonetheless, Brazil’s dominance in the six‑team tournament is clear—they sit unbeaten with five straight wins and face Mozambique in their next fixture.

Double 30th‑anniversary celebrations saw Scottish indie‑pop veterans Belle & Sebastian take the stage at London’s Royal Albert Hall on 9 April 2026, performing their debut LPs Tigermilk and If You’re Feeling Sinister in their entirety. Both records originally arrived in 1996, with Tigermilk limited to just 1,000 copies until a 1999 reissue gave it wider exposure.The challenge of translating these lo‑fi classics to a live setting was turned into an advantage. Backed by a nine‑piece ensemble—four of the original six members plus seasoned newcomers—the band expanded the sonic palette, brightening tracks like “You’re Just a Baby” and weaving in subtle nods to Nick Drake, Felt, mariachi brass on “Expectations”, and Stereolab‑style synths on “Electronic Renaissance”.Each song was paired with a brief film that referenced the band’s aesthetic touchstones—second‑hand vinyl, indie comics, 1960s Paris—creating a multimedia experience that reinforced the private universe Stuart Murdoch has cultivated since the mid‑90s.The concert’s second half turned into a “shaggier ramble” through the catalogue, featuring highlights such as the wistful “Lord Anthony” and the propulsive “Lazy Line Painter Jane”. Murdoch, now a more extroverted, Chris Martinesque‑style front‑man, interspersed witty anecdotes, playful digressions, and brief stage invasions that lasted for three songs, showcasing his growth from enigmatic bedsit maestro to confident people‑pleaser.Following the London shows, the duo will continue the two‑concert anniversary tour across Manchester, Mexico, and North America, reaffirming that their early DIY spirit remains as compelling as ever.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.