Neko Case and Kelly Hogan's new video warns: 'These Aren’t The Droids'

Neko Case and Kelly Hogan's new video warns: 'These Aren’t The Droids'

But it may be just what you're looking for

We've already pointed out the many splendor thing about Kelly Hogan and Neko Case's very silly and strong feministing song "These Aren't The Droids." I giggle every time at the "sexbot with only holes" line.

But the music video to the comedy track may also be a fun primer for some of you leading up to San Diego Comic-Con, first, for some great cosplay ideas. Secondly: tips on dining table etiquette and what to do with your tasers. Third, it's a reiteration of how people shouldn't treat  girls (geeky or not) like second-rate space citizens. We may get you pregnant by pointing at you.

Ellie Kemper also co-stars, so you've got that.

"These Aren't The Droids" is a track off of the benefit album "2776," which boasts contributions from other music and comedy acts including Patton Oswalt, Reggie Watts, Aimee Mann, Ed Helms, Will Forte and more. As a matter of fact, I premiered a different song, "Escape from New York," by Ashanti, Andy Richter and more. Proceeds go to OneKid OneWorld.

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Fred Armisen says his Supporting Actor Emmy nomination is a 'Portlandia' team win

Fred Armisen says his Supporting Actor Emmy nomination is a 'Portlandia' team win

HitFix interview: Will Seth Meyers pull him in for musical duties at the ceremony?

This morning, Fred Armisen used the words "really," "exciting" and "group" extensively as he hopped on the horn to discuss "Portlandia's" six Emmy Nominations for the 2014 honors.

The IFC program earned nods for a varied crop of comedy and variety series awards, some of which are more elaborate than others: Art Direction For Variety, Nonfiction, Reality Or Reality-Competition Program; Directing For A Variety Series; Single-Camera Picture Editing For A Comedy Series; Guest Actor In A Comedy Series; and Writing For A Variety Series.

But a surprise first for Armisen was in a major category, for Outstanding Supporting Actor In A Comedy Series.

In my second interview in a half year with Armisen, I ask about his newly minted Supporting Actor nominee status, the snub of Brownstein for Supporting Actress, and what role (if any) he may play at the ceremony in August with "Late Night" buddy and Emmys ceremony host Seth Meyers.

Check out the television shows with the most 2014 Emmy nominations here.

Congratulations! What has your morning been like, did you get up bright and early for the announcement?

Fred Armisen: We have to get up fairly early anyway for pre-production, but I definitely woke up to a whole bunch of really excited texts from friends and the group. 

I mean, I really love TV. I love watching TV so much. Thank you so much, I'm just... yes.

This is the first time you've earned an Actor Emmy nomination. Does that feel any different than "Portlandia's" other former nominations?

It's all a huge honor, all the way through. It's all because the way we work on the show, we do everything in a group. It's very harmonious. It's just really exciting.

I assume you feel pretty strongly that Carrie should have gotten an actress nomination?

I feel like is all part of the same thing. There's nothing singular about my nomination in the category. We do everything together.

When I went to sleep last night, I was think about the group, not in sums of should or shouldn't. It's all celebration. We're lucky to be doing comedy at all. We're lucky to have a show on air. Even that is a really huge honor to be in anything.

We really all write together, perform together. She's nominated for writing. It's all very much in the same room.

The Emmys have special rules for comedy actors in a variety series, about submitting as Supporting as opposed to Leads. You're obviously a co-lead in "Portlandia," but your nomination is for Supporting Actor. Do you have any strong feelings about those inner workings, anything you'd want to change?

I just don't know how everything... works. I just feel like we all get to go and be part of it. It's not for me to say what should and shouldn't be. There are people who are definitely better with questions like that.

Has Seth [Meyers] dialed you in for any musical duties for the ceremony?

We haven't talked about it yet. I hope that may come somewhere down the line. We've been texting all this morning.

Any other nominees this morning that knock your socks off?

Oh man. I sit down at my TV and I've got "Veep," "[Inside] Amy Schumer," "Key & Peele"... in the future, we're gonna look back at this time period and think, "People really did some great shows, great work, great art." "Orange Is The New Black," are you kidding me? "Girls?" All of it I love it all, how exciting.


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<p>Weezer at the Firefly music fest in June 2014</p>

Weezer at the Firefly music fest in June 2014

Credit: AP Photo

Weezer reveal release date, title, 'Blue'-ness of 'Alright' new album

Why old albums are like a home remodeling television show

Did you ever watch an episode of, say, "Extreme Makeover: Home Edition" and there's a young kid in the family and the designer asks "What do you like?" and kid's like "I like baseball and blah blah blah," and then all of a sudden when the reveal happens, the kid's room is ENTIRELY covered in baseball wallpaper and decals and baseballs and paraphernalia and you think, man, they are just gonna outgrow that if you shove it down their throats.

We were like that kid -- "I liked the Blue album and 'Pinkerton!'" -- when it comes to Weezer and it was iterated enough that Weezer heard.

The Blue album came out in 1994, "Pinkerton" in 1996. The band -- after a number of hit singles, a number of maligned albums, some bonkers pop experiments and funny, fun live shows -- heard the cry "I like those albums" and reissued "Pinkerton" and made a tour out of it in 2012. (I saw it, it was tight.)

So maybe now they think that's all we ever want?

"If you took the 'Pinkerton' band and then play all the other records," drummer Pat Wilson today told EW, "that's what we sound like now. Bombastic, loose, kind of booming. This record sounds like it's going to have the tight structure of Blue album with a little bit more abandon like 'Pinkerton.'"

Weezer have announced the release date of "Everything Will Be Alright In The End" (which, as a title, sounds much more like Shins meeting Modest Mouse but I digress), which is due Sept. 30. There is a preview for it above, with the song "Return to Ithaca." It was produced by the Cars' frontman Ric Ocasek, who you'll remember produced the Blue album (OK OK OK and "The Green Album" in 2001).

Hoping it's all you ever wanted.

Everything Will Be Alright In The End

Here are Weezer's tour dates:

7/24/14                            London, ON @ Rock The Park 2014
7/25/14                            Belleville, ON @ Empire Rockfest
7/26/14                            Rimouski, QC @ Les Grandes Fetes du St-Laurent
8/1/14                               Las Vegas, CA @ The Cosmopolitan
8/2/14                              Del Mar, CA @ Del Mar Thoroughbred Club Summer Concert Series
8/9/14                              Bethlehem, PA @ Musikfest PNC Plaza
8/13/14                            Southaven, MS @ Snowden Grove Amphitheater
8/14/14                            Lake Charles, LA @ L’Auberge Casino Resort
8/31/14                            Los Angeles, CA @ Made In America
9/6/14                              Charlotte, NC @ 106.5 The End presents Weenie Roast ‘14
9/12/14                            Paso Robles, CA @ Vino Robles Amphitheatre
9/13/14                            Sacramento, CA @ Aftershock Festival
9/14/14                            Chicago, IL @ Riot Fest
9/19/14                            Denver, CO @ Riot Fest

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<p>Why is this man smiling</p>

Why is this man smiling

Nobody's buying what Robin Thicke's selling: 'Paula' tanks in first week's sales

Although, we may be complicit in a bounceback...

Robin Thicke's last album became his first No. 1 on The Billboard 200 album sales chart when it bowed in the U.S. in 2013: "Blurred Lines" was the name, and "Blurred Lines" it boasted. The runaway hit single (and it's breast-bearing "unrated" music video) help propel Thicke's name back into consumer consciousness because, consider, Thicke was a hot dog in 2008 for "Something Else" (No. 3) then dropped down a bit with hilariously named "Sex Therapy: The Session" (No. 9) and "Love After War" (No. 22) in 2009 and 2011, respectively.

So maybe it was the success that doomed Thicke's new album "Paula," which apparently sold just more than 500 (five hundred) copies in the U.K. last week, and made it to No. 9 on The Billboard 200 this week with only 24,000 copies. To put that into perspective, "Blurred Lines" sold 177,000 copies when it came out last summer. "Love After War" (that No. 22) sold more than 40,000 in its debut week.

Lots of factors can go into this. "Get Her Back," the lead single, was only just added at radio in the last couple of weeks. It starts at No. 82 on the Hot 100. It's an OK song, but it doesn't snap like "Blurred Lines."

"Get Her Back" has been promoted via TV appearances, but so has a couple other choice cuts from "Paula," which may not point consumers at a singular touchstone for buying.

There was only about a month put into promoting this album cycle.

And, also, "Paula" is really weird, and puts fans in a really weird place.

It's said that new album sales are a reflection of the last album, and if you'll remember, "Blurred Lines" (the song) put many fans and potential fans in an awkward spot, ultimately because of content. Obviously, the T.I. and Pharrell Williams-featuring single had (and still has) loads of support as a party and radio song. But it wasn't all good feelings, with it's "blurred" messaging in the lyrics and the video, giving many people a stink-face about Thicke, who went on a weirdly Weiner-esque defense of the song. For instance, that "Today" show head-scratcher. Plus, people got sick as sh*t of it as it mixed with the peak of Miley Cyrus twerk hysteria.

Then, there's "Paula," an album that my cohort Melinda Newman called a mix of apologies and revenge. It's devoted to his estranged wife Paula Patton, and he's made it explicit that this album was intended to "win her back." That in itself makes it a liability for a singer who is airing his and his wife's dirty laundry with such slap-dash commercial gusto.

I love Usher's "Confessions." It's also an album about splitting up and divorce and marital issues. But it sure as hell isn't called "Tameka." In R&B, there's a requisite demand for intimacy and authenticity, for the listener and by the performer. And there's also an art to keeping it personal, despite the famous-ness of its artist. That you can call a blurred line. The explicit shame-training artlessness to "Paula" -- months after the dick-swinging of "Blurred Lines" and the conversations about sexism and womanizing it started -- doesn't seem so much as a "confession," but a power and publicity play, so air and embarrass. Whether wrongdoing in the Patton-Thicke marriage was on his part, or her part or their combined parts (heh), there's a creep factor Thicke should have considered before his showed up with a busted-up face in the truly terrible "Get Her Back" music video.

Speaking of music videos, most of Robin Thicke's aren't doing him any favors, so there's that.

"Paula" wasn't working for consumers. Again, I think it's healthy and good for music fans to have complicated relationships to their artists. Robin Thicke is forcing those complications, as he's smiling and winking at the camera the whole time.

Perhaps Thicke will be thankful that his low albums sales in the U.K. and the U.S. will raise awareness that he even has a new album out. Hell, you could see this article and think the same thing, though I'll warn it's densely mediocre. Go give a spin to Trey Songz' "Trigga" instead (he's No. 1 this week).

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Watching Fifth Harmony's 'BO$$' video with the sound off

Watching Fifth Harmony's 'BO$$' video with the sound off

A too-close reading: Grab a drink, sit down

Literally the first shot of this video sets you into a state of confusion: are those doctors jackets or blazers? And where are their pants?

The first phrases emblazoned across the screen is "Think Like A Boss... Dreams Don't Work Unless You Do... Find Yourself And Be That." These are in two different fonts: the first phrase is in Impact and the other font and words make me want to buy organic bath stuffs.

So far, the outfits are quite literally binary: white or black. Each seems to lay claim to different choreography schemes with white denoting unity and black meaning individuality. Each require complex arm movements denoting bossness.

Boss means strutting on a catwalk and extreme arm movement. If I didn't know that the most-used phrase in this song was "Michelle Obama," I wouldn't be doing the dog-headtilt thing here.

Holding up signs that look like enlarged Scrabble letters, I am told the quintet is "confident." Now, pretend legs are butterfly wings and that explains what their preceding floor move is.

Confident women air-hump chairs.

Seconds later, they kick those chairs, with heels on. But I thought they liked the chairs?

Boys and girls approach a small table and they don't like each other. There's a fight, or at least some aggressive smack talk. It may be political.

A girl and a guy face off, because this is a battle of the sexes. There's an ingredient in this drink, I wish I knew what it was because it tastes so obvious.

Based on physical strength, everybody here knows she would lose this match. Everybody. If this is a battle for symbolic bossness, then of course she won because that is the name of the song. If this was a battle of the sexes -- and we've established that this is -- can it not end in a draw? Must there always be a superiority and establishment class? I'm alarmed at this symbolic arm wrestling match. Must boss equal female?

Mystery solved: there is a catwalk in this music video because there is a [camera] product placement. The product has its own flash on it, yet we continue to see bursts of those old-timey flash bulbs. I dare to dream it is another symbol in this symbol-rich music video:  the old timey camera flashes are the male establishment and the new petite flashes on the [camera] are representative female and because Fifth Harmony were paid to host a brand in the video, they (and by proxy females) are boss, despite the aesthetic advantages of a male flashbulb state.

The women salute a flag that says "Boss / Fifth Harmony," delivering on another unsolved mystery: they are in the military, and more specifically, privates in the sexy nurses branch. They pledge allegiance to themselves.

Returning to the arm wrestling match, we have another face-off. Finding herself immediately outmatched, our female snatches the ballcap from her rival's head and puts it on her head, an assertion of flirtation, sexual dominance, gender reversal and "wiles." Wiles are looked down upon by the male troupe, who deem wiles irresistible and, thus, unjust. She solidifies the victory by using two hands instead of one, a slight breach in traditional arm wrestling etiquette. Considering the pre-established military state of Fifth Harmony, one can only conclude that the tussle between the sexes here is over the female recruit physical requirements for the integration into Marine ground combat units. A hot topic! It is political.

He takes off his shirt, a momentary inverse on the male gaze, her spoils of winning the war.

The [camera] is turned on the male photographers, who are revealed to be the ladies' arm wrestling rivals. Like an explorer photographing a newly exposed native peoples, she reveals she has captured their souls with her flashy boxy thingie.

Since bossness, and superiority in arm strength and arm movement is confirmed, the women now are ready for marriage, which could be the sole and only explanation for their virginal,  lace- and satin-dominated floor length white gowns. The camera, the gaze and conservative value is reclaimed. Marital availability becomes an indicator light for bossness. The First Lady iterations become inextricable interwoven with Annie Leibovitz retro.

I can't anymore. This song and its video is playful but pedantic. Fifth Harmony's "BO$$" went on sale yesterday, and will be included on "The X Factor" ensemble's first full-length album, out in the fall.

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<p>Cat Power and Coldplay&#39;s Chris Martin</p>

Cat Power and Coldplay's Chris Martin

Slow dance with yourself on Coldplay and Cat Power's collab 'Wish I Was Here'

For Zach Braff's 'indie' film of the same name

Just like Jon Favreau could loop in Robert Downey Jr. and Scarlett Johanssen into his indie ("indie") movie "Chef," Zach Braff was able to secure some heavy-hitters of his own for his indie flick "Wish I Was Here." The guy can bat at a level that you send a draft of your film to multi-Grammy winner Chris Martin and come out on the other side with a brand new song from Coldplay and Cat Power titled after your movie.

And the tune could leave you swooning.

Led by piano and Chan Marshall's twilit voice, "Wish I Was Here" started out as an idea Martin bumped off his band, with a gap open for a female lead singer, according to NPR. Marshall has been somewhat quiet since 2012's "Sun" and a proceeding tour that was marred by cancellations, frustration and illness. She sounds as strong as ever, very comfortable with Martin's harmonic mumble.

No news if this marks a period of activity for Marshall, but keep in mind that "Wish I Were Here" has been around since Sundance in January.

The soundtrack to "Wish I Were Here" is out on July 15 with the theatrical run starting two days later. Also from the tracklist, check out the new song from the Shins, "So Now What," here.

Hold me close now, Cat Power.

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Exclusive: Stream 'The Rover' score, plus a Q&A with its director and composer

Exclusive: Stream 'The Rover' score, plus a Q&A with its director and composer

On music for Robert Pattinson and Guy Pearce and 'that' pretty girl scene

For anybody who has and will see David Michôd's "The Rover," there's another strong lead besides Robert Pattinson and Guy Pearce: its soundtrack is like another character. The score for the film was composed by Antony Partos and performed by sound designer Sam Petty. (They both also helmed the sounds for Michôd's "Animal Kingdom.")

Michôd initially presented his cast with previously recorded and powerful songs from accomplished saxophonists and composers Colin Stetson and William Basinski, post-rockers Tortoise, Italian composer Giacinto Scelsi and -- yup -- pop star Keri Hilson. Partos and Petty chewed on them too, and riffed on the descending scenery for Pattinson's Rey and Pearce's Eric. What they weaved in became a gorgeous black mass of ominous, dissonant, agitated and aggressive compositions to rove to in the Australian outback.

Today, we exclusively reveal "The Rover" score tracks on their own; below, Michôd and Partos discuss arriving at sounds, customizing bastardized violins, the Keri Hilson "Pretty Girl Rock" scene, and when to try a little tenderness.

David, you had given songs from Colin Stetson, Tortoise, etc. to the cast as "mood signifiers." Had you always known that you definitely wanted some of those songs to end up in the movie too? What was your vision of how those songs would blend with Antony and Sam's original work, or was that planned?

David Michôd: I find music the the clearest and easiest way in to what a movie will feel like - more so than visual references or other movies or dense dossiers of research material. Every now and then I'll send a piece of music or two to people I'm working with -- actors or heads of department - when I think it'll help them get a sense of the kind of movie I'm proposing. Often those pieces will end up in the movie -- sometimes they won't. I build big playlists while I'm writing -- stuff from all over the place, stuff I suspect I'll never use -- and then, as we get closer to production and then the edit, I whittle that list down to the key pieces that somehow embody the movie and its key scenes.

So, yeah, those tracks -- the Stetson, Basinski, Tortoise etc -- were ones I had hoped would find their way into the finished cut. I always knew, however, that there would be strange gaps that needed to be filled -- connecting tissues or pieces requiring something very specific that I hadn't been able to find. That's where the exceptional talents of Antony Partos and Sam Petty come in.

What were the other songs you could have potentially gone with for Robert/Rey's "Pretty Girl Rock" scene? Why and how did you settle on that one?

Michôd: I think once upon a time I had "Don't Cha" by The Pussycat Dolls down for that scene. It was just a signpost in the script. I can't remember how and when Keri Hilson found herself in the mix. I wanted that moment in the movie to function as a potent reminder of the fact that Rob's character is a kid who in different circumstances would just be doing the kinds of things kids do everywhere -- thinking about girls, playing with his hair, listening to music. Instead, he has found himself in the middle of nowhere, tethered to a monstrously damaged drifter.

Antony, can you elaborate how, logistically, you and Sam would split or perform various "duties" for this? Did you call dibs on characters you wanted to write themes for, or were did you assign yourselves specific instruments one or the other would play? Or was it important that everything was created together?

Antony Partos: Working together with David and Sam again after "Animal Kingdom" made it possible to have a certain short hand in terms of decision making.

In a sense this was much a simpler process than with "Animal Kingdom." David had a very strong vision for the musical palette and also distinct ideas about what should be in Sam's domain and what should be score. Sam works a lot of with tonal based textures and is a very nuanced sound designer. In terms of forming a stream lined process on "The Rover," I would send over temp mixes to Sam, so things like key, could be established early on. I also sent over individual musical based sounds for Sam to use as he saw fit.

Aside from being fairly ambient, there's also a very minimal, primitive vibe to the score, an obvious reflection of the visuals.  Did you set certain restrictions or parameters (aside from time cues) in which you could only operate in creating (or selecting) the music -- like number of allowed instruments, types of instruments, keys/tones?

Partos: David was always intent on using some pieces by the extraordinary saxophonist Colin Stetson, so this really set the tone and palette early on in the piece. My brief was to try and evoke a certain sadness and help the two main characters develop an unspoken bond. I was interested in complimenting Colin's pieces by also using saxophones so I created pieces by getting musicians in early on to play in unusual ways. For example, recording baritone and bass saxophones not only in their usual register but also getting them to play harmonics and notes at the extreme high end of the register. I would also play with the pitches after the record by manipulating elements octaves below or higher than their original pitch. This help create a mood that was somehow tender but simultaneously alien. Similar techniques were used with bass Irish whistles and strings.

The string work was recorded individually and used a combination of bastardized custom made violins with strings that could play in either viola or cello pitch as well as electric violin. Once again it help create a mood that was subtly emotional but somehow unfamiliar and lonely.

Music like from the "Homecoming" scene can be downright hopeful, something this movie isn't really about. Were there times you knew you wanted to lighten the film up, even when the story kept going down, down, down?

Partos: My task was to build the trust and love between the two main characters despite their circumstances. I think there is a subtle yet tangible shift that develops two thirds of the way through the story and the score does change in this regard to become more harmonically based compared to the textures that are present in the first half of the film. It was interesting to see how it played with a large audience. There are certain moments in the film that give it relief. This was evident in the script and it was picked up by the audience in the Sydney Film Festival screening.

Yes the film is dark -- and I must admit for me I am drawn to a sense of broodiness with my music. But hopefully there is an aspect to tenderness in the score as well.

Some of the abstract samples or scores are like loops, good palate cleansers (or good for brain entropy when you're in a rut). What music or audio do you use to bring order to your creative life? What do you do to mess it all up?

Partos: My life is naturally disorganized. I struggle to bring order to it at the best of times. I think I am wired in a more chaotic manner than most, and I do my best to hide this fact from as many people as possible!

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<p>Demi Lovato</p>

Demi Lovato

Demi Lovato goes to L.A. Pride Parade for 'Really Don't Care' music video

Oh and hey, Travis Barker

Man, nothing says gay pride parade and good will and great fun like Perez Hilton and Wilmer Valderrama cameos!

Demi Lovato, in a transparent offering to her LGBT  (and Jesus) fans, set her new music video "I Really Don't Care" with guest Cher Lloyd at the L.A. pride parade, which took place earlier this month.

The pop star struts on a float in a suit-and-tie combo, and included some quality choreography from dancers and lip-syncers all the while. Forget the limp verse from Lloyd: there's enough perk to go around.

The vid is timed to Lovato's appearance on the Logo network tonight, where she is scheduled to reveal that her grandfather was gay and out in the 1960s. The "Trailblazers" episode will honor LGBT civil rights activists.

Lovato is hitting up another pride parade this weeked in New York; I wonder what other bully (*cough* Hilton) she can feature to drive home the no-bullying ideals?

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Credit: RCA

Sia releases lush new pop song 'Big Girls Cry'

Admit it: You're a cryer

If Sia's "Chandelier" made you feel adventurous, "Big Girls Cry" may bring you down from the ceiling.

The chart-busting songwriter has released another new track from her solo album "1000 Forms of Fear," and it's a little more tame, a little more mid-tempo and a little more heartbroken. I'm gonna let this one sit for a little longer, but it does empower me feel OK about crying during particularly poignant Christmas commercials.

"1000 Forms of Fear" is out on July 8 and was produced by Greg Kurstin, who was behind one of the few songs with any life to it on Lana Del Rey's No. 1 album "Ultraviolence." Listen to another Sia song, "Eye of the Needle" here.

And, no, Sia's still not showing her face in any of her promos. Lena Dunham does some of that for her.

What do you think of the track?

Here is the tracklist for "1000 Forms of Fear":

Big Girls Cry
Burn the Pages
Eye of the Needle
Straight for the Knife
Fair Game
Elastic Heart (*produced by Diplo, co-produced by Greg Kurstin)
Free the Animal
Fire Meet Gasoline
Dressed In Black

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Tech N9ne's 'Fear' music video hits hard

Tech N9ne's 'Fear' music video hits hard

One of the most personal -- and career best -- moments in the rapper's life

Tech N9ne has been at the rap game for 15 years, with more than a dozen proper studio sets to his name.

Time hasn't slowed him down, either: the rhymer introduced a couple of the best songs of his career with latest collection "Strangeulation," one of which is "Fear," a track about dying and the loss of his mother.

"Is there sound when the ground absorbs me?" Tech asks over the emotional loops, and with the video elements added to "Fear," consider yourself hooked. The 5-minute clip starts with a message to his fans:

"On November 27th 2013 I recorded 'Fear,' one of the most emotional songs of my entire career. The Strange Music video team shot the video on April 7th, 2014, days before I left for my tour in the course of waiting for the release, my greatest fear happened on June 6th, 2014, and I lost my ange l- my mother. Maudie Sue Yates-Khalifah.

"It's important for my fans to know that this is the most personal music video of my career and I never could have imagined what it would mean to me today. This is the final version of 'Fear,' for my fans worldwide.

"Thank you everyone for your love and support."

For many who have experienced the "toughest thing to swallow," "when someone who raised you, they gonna forget you" due to disease (Yates-Khalifah suffered from Lupus), it's powerful stuff.

"Strangeulation" is out and features collaborations from the Strange Music roster and made it to No. 4 on the Billboard 200 when it dropped; "Fear" has guest Mackenzie O'Guin.

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