The opening of the clip features those first two actors, in what clearly is definitely not a real film, but God knows it could be: "Expectant Dads" will send two zany dudes to Vegas -- as they're expecting their first babies. And, seriously, they made a website for the thing. Look.
Oh, but that's not even the bulk of this monster. "Moves: The Rise and Rise of The New Pornographers" is the main attraction, a preview of an imaginary movie about the indie rock band. Who plays who? You'll have to wait, but just know that a protest against Canadians, red-headed jokes, snorting coke off of a pizza and Brooklyn's cement shithole Death By Audio are all included in this little adventure through the band's fake past.
...And You Will Know Us By the Trail of Dead's "Tao of the Dead"
Credit: Richter Scale Records/Superballmusic
As much as …And You Will Know Us By the Trail of Dead has garnered a reputation as a neo-prog band, they’ve made one of the most modern-rockiest albums in their career in “Tao of the Dead.”
It’s an album in two sections: an 11-song concept set for A-side and five-song suite for the B-side. The theme is a gander down the valley of the shadow of death, in essence, as Conrad Keely reports what the Other Side may look like through a series of exhilations on death and primal screams that the Foos should fully consider before shining off that new album of theirs.
“Summer of All Dead Souls” – previewed here – has all the elements of a rock radio stomper, but simmers down abruptly to “Cover the Days Like a Tidal Wave” where our narrator asks “Are you lost, again?”. Apropos, as the swell ominously builds with the help of some space-age synths and the skronking urgency of what sounds like 30 guitars.
A quartet of good ideas under three minutes makes a “Dead” processional, including the militaristic “Fall of the Empire” and surprisingly sunny “The Wasteland,” pushing those vocals way, way up front.
Those “Ebb Away” rumbles from the bass and the low strings on electric will bring you back to the mid-‘90s, when Smashing Pumpkins had not yet made “Machina” and Sonic Youth was still on DGC. The band then shines things off to the strains of repeating '70s-psych patterns, a pageant of all their misfit toys giving one last howl with the help of producer Chris “Frenchie” Smith.
Keely sometimes gets tangled up in the fantastical vocabulary that’s the heart of the “Tao” concept, but it’s at the very least entertaining. It teaches and reaches, the story turning on itself like the Dead are the villains and the goodly ghosts.
You can tell the Trail of Dead doesn’t take the whole thing too seriously, by naming its theme “Pure Radio Cosplay” twice on the first set – cosplaying being role-playing, a costume, a “pure radio” wink at the very gall of a concept composition to begin with, all in the key of D.
This, all before the unfortunate incident of “Part II.”
Side Two of this drama, titled “Strange News From Another Planet,” which the band wanted consumed in a 16-minute whole. There’s some chattering samples and the return of a half-hearted “theme” -- it’s not a good idea, especially after we just got off the Side One rollercoaster. “Know Your Honor” has melody to last it at least two minutes, but the lack dynamic doesn’t carry it right into the next shoegazey movement, “Rule By Being Just.” It meanders without punch – surprising, coming from producer Chris Coady (Beach House, Yeah Yeah Yeahs) -- and takes the wholesale aesthetic of “Part I” and spins it without the same ache.
Everything about Cold Cave just screamed "bah humbug" to me. Their sour grapes promo photo looks like somebody watched too many hours of "The Kardashians." The title of their track "The Great Pan Is Dead" looks like it was pulled from a publishing template of Nostalgic Melancholia. Two artists that Pandora pulled up as a "like" Cold Cave were Xiu Xiu and Suicide.
And yet this song, culled from their forthcoming full-length "Cherish the Light Years," is one of the most mystifyingly electric, intuitive, ballsy demon exorcisms I've heard this year, at least from the synth-rock camp. Wesley Eisold moans about salvation and "crushing fears," as a machine gun of high-frequency keys will ward away any unwanted teenagers from your door stop. It's like literate Faint run through a grossly righteous mix and lush lessons from Spiritualized. I promise, those four minutes fly.
This is the first song on the forthcoming full-length... it existed in some half-finished way in my head for almost two years. It had to be the first song on the album and serve as a declaration of everything I want to assert through Cold Cave," Eisold explains. "It’s a love letter to the path that has led me to where I am now, to loss and love and friends and enemies and the dizzied and blurred ways of the world. This song and record is about magic, preservation, youth and movement... I miss a lot of people. I used to deal with that by assuring myself I’d see them again. I know that can’t be true. This song is dedicated to all of them."
So I was kinda wrong about the frownie-hipster thing, so sorry guys. This track is a real gem. Download it for free at the band's Tumblr.
"Cherish the Light Years" is out on April 5 via Matador.
“Submarine” certainly was a unique movie at Sundance, and with it came a similarly rare soundtrack.
Alex Turner, frontman for the Arctic Monkeys, headed up the charge with a handful of brand new solo tracks, and I can happily reveal when fans outside of film festivals can get a gander.
“Submarine” soundtrack songs will be released digtally, under Turner’s name, on March 14 in the U.K., and in the U.S. some time during the same month, exact date TBA. It will be a “completely separate release than the new Monkeys album,” a spokesperson for Domino Records told HitFix. That would be the indie Co. behind the Arctic Monkeys’ music, publishing via EMI.
While its still unclear which songs will be on the as-yet-untitled set, Turner and the Weinstein company have a few to choose from: the tracks “Stuck on the Puzzle,” “Hiding Tonight,” “Glass in the Park,” “It’s Hard to Get Around the Wind” and “Piledriver Waltz” all made the cue. I smell EP.
UPDATE: In a release (2/7), Domino has given the effort a March 15 drop date in the U.S. The tracklist will include all six tracks mentioned.
I don't know much about The Builders and the Butchers except that they're touring with Murder By Death, some righteous Midwesterners who have one of my favorite band names of all time.
But B&B have turned out a mighty good tune with a great video to match.
"Lullaby" features a little death by murder of its own, combating the serenity of its title with axes, a haunting and beards. Who doesn't like a long shot of slow-mo fire? Not this girl.
The track itself reminds me of the blues/garage heart of Two Gallants and O'Death, and of The Decemberist's Colin Meloy when he isn't hate-f*cking the dictionary. The drum mix took me aback for a moment, but then I'm like, What the hell, it's almost Friday, let that business all hang out; let that bass fritter away in what sounds like a tornado shelter while frontman Ryan Sollee yowls and yowls. It's the freakin' weekend.
The Builders and the Butchers, from Portland, Ore., are releasing their third full-length "Dead Reckoning" on Feb. 22.
Download "Lullaby" for free here, and watch it below:
Rapper and noted sports nut Lil Wayne is making it no secret which team is his pick to win the Super Bowl this year.
Wiz Khalifa's "Black & Yellow" -- one of my top 30 tracks of 2010 -- has served as the unofficial anthem of the Pittsburgh Steelers' march to the NFL's Big Dance this year. Weezy's co-opted the tune and put his own rhymes to it, now, for "Green & Yellow," to make it a track for the Green Bay Packers.
And he doesn't hold back on your favorite processed foods for his disses (even though "this ain't a diss song").
"I'm a Cheesehead / y'all n*ggas Cheeze Whiz," he raps, playing off of Wiz' good name.
In his newest contribution to the hashtag rap meme: "We gon' toast these n*ggas / Poptarts"
He name checks the Lambeau Leap and makes sure to clarify, "[Though] I'm form New Orleans..." he's a Packers fan. Anyway, Brees had his time in first round of the playoffs.
The announcement comes after a few years of other projects from Jack White and a complete disappearance on Meg White's part.
In a statement posted on the White Stripes website, the duo said that they are "feeling fine and in good health," but for many reasons, they will discontinue in order "to preserve what is beautiful and special about the band and have it stay that way."
It's worth noting that Jack's Third Man Records imprint -- which has ties to Warner Bros. distribution -- will continue to release rare material from the blues/rock 'n' roll group.
The White Stripes last released studio set "Icky Thump" in 2007 and a live/concert album "Under Great White Northern Lights" with an accompanying film last year.
Jack has contributed to several other projects like the Raconteurs and the Dead Weather, plus film appearances and production on Third Man sets. Meg took off from touring, on and off, due to acute anxiety issues, some of which were captured in "Northern Lights."
The complete statement from the band is below.
Can't say this entirely surprises me -- it seems that the band was reaching and aching for some new sonic direction in their last two efforts, and strained to grow as a group with Meg's abilities and Jack's increasingly busy and budding schedule. I hope for nothing but the best -- and look forward to a reunion at some gigantic music festival in the future. I mean, that's where this is all headed, isn't it?
Regardless, congratulations to many years of multiple hits, groundbreaking rock and electric live shows. Millions of records sold, you deserve to move on on your own terms.
The White Stripes would like to announce that today, February 2nd, 2011, their band has officially ended and will make no further new recordings or perform live.
The reason is not due to artistic differences or lack of wanting to continue, nor any health issues as both Meg an Jack are feeling fine and in good health.
It is for a myriad of reasons, but mostly to preserve what is beautiful and special about the band and have it stay that way.
Meg and Jack want to thank every one of their fans and admirers for the incredible support they have given throughout the 13 plus years of The White Stripes’ intense and incredible career.
Third Man Records will continue to put out unreleased live and studio recordings from The White Stripes in their Vault subscription record club, as well as through regular channels.
Both Meg and Jack hope this decision isn’t met with sorrow by their fans but that it is seen as a positive move done out of respect for the art and music that the band has created. It is also done with the utmost respect to those fans who’ve shared in those creations, with their feelings considered greatly.
With that in mind the band have this to say:
“The White Stripes do not belong to Meg and Jack anymore. The White Stripes belong to you now and you can do with it whatever you want. The beauty of art and music is that it can last forever if people want it to. Thank you for sharing this experience. Your involvement will never be lost on us and we are truly grateful.”
Sincerely,â€¨Meg and Jack Whiteâ€¨The White Stripes
It’s been seven years since Iron & Wine released “Our Endless Numbered Days,” an artistic eternity since Sam Beam last crafted an album of whispered bedroom tones and four-tracked simplicity. His latest “Kiss Each Other Clean” is no surprise at this point, having two albums and EP to expand that sound to horn and strings sections, vocal modulation and a honing of his heart-halting lyrics of divinity in the mundane.
Like Sufjan Stevens and his “Age of Adz,” I wouldn’t want Beam one-noting his whole career, even if just because he’d become bored as an artist.
But I think “Kiss Each Other Clean” is, still, the sound of a work in progress, still shy of a great album in this era of I&W 2.0.
“They’re just so damn nice,” Parker says admiringly of Mormons. “They’re like, ‘You made that “Orgasmo” movie? I didn’t like that, but I appreciate that you did it.’ It’s like, Wow, I wanna feel like you dude...”
“It absolutely rekindles your faith to see the miracle that all these people believe in is shit,” Lopez says, laughing.
“It’s hard to find that fault line with them. If you go, ‘Look, I don’t respect what you believe…’ but there’s no fault line…”
Park holds his hand to his shaking head. “They’re just so damn nice.”
Parker, Stone and “Avenue Q” co-writer/composer Lopez were on hand at a rehearsal studio in Times Square last night (Jan. 31), to preview the first few numbers of “The Book of Mormon” for a couple dozen New York journalists.
This won’t be the first foray into musicals for the “South Park” creators – who’ve endeavored similarly with “Cannibal” and the “South Park Musical – The Movie” – but Stone calls this “reverent to the artform” while it tips its hat to stage productions from “Music Man” to the “Lion King.”
“The Book of Mormon” starts with a brief explanation of the religion’s American founding, to the compulsory missions of its 19-year-old followers, with a tight ensemble opener that puts the “hell” in “hello.” Enter Elder Price and Elder Cunningham (fresh-faced Broadway alum Andrew Rannells and sloppy nerdfest Josh Gad, respectively), an odd couple who have been paired up on their two-year journey to the beautiful budding valleys of… Uganda.
“He has AIDS… she has AIDS…” sings the duo’s overseas caretaker, pointing, in a upbeat African song that loosely resembles “Hakuna Matata” but boasts foreign lyrics that roughly translate into “Fuck You, God.” It’s sung shortly after Cunningham and Price’s suitcases have been stolen by local thugs and a dead donkey is dragged through their path. It ends enthusiastically with a dancing exit and the word “cunt.”