<p>The Gaslight Anthem</p>

The Gaslight Anthem

Credit: Island

Gaslight Anthem's new single 'Rollin' and Tumblin': Could the rockers top the charts?

New Jersery band returns with new album 'Get Hurt' in August

"You say I'm hopelessly devoted to misery..."


The Gaslight Anthem are back with their particular brand of high-octane, heartbroken New Jersey-bred rock in new single "Rollin' and Tumblin'."

The song is from the group's next album "Get Hurt," due on Aug. 19, and they'll be previewing it on tour all summer, some dates with Against Me! (who we caught up with last week).

"Get Hurt" comes on the heels of 2012's "Handwritten," which put the band on the map with the help of single "45." Their first album in 2008, "The '59 Sound," didn't crack the 200; 2010's "American Slang" made it to No. 16. "Handwritten" peaked at No. 3, so I'm thinking August may be a celebratory month for The Gaslight Anthem, who could potentially hook their first No. 1 on the album sales chart.

Now, back to the song: I will say this won't be the first time I (and many others) have compared Gaslight Anthem to their hero Bruce Springsteen. It won't be my last. And at this juncture, they're simply trolling me with the line "Baby, I was born on the 4th of July."

Here is the tracklist for "Get Hurt":

1. Stay Vicious
2. 1,000 Years
3. Get Hurt
4. Stray Paper
5. Helter Skeleton
6. Underneath the Ground
7. Rollin’ and Tumblin’
8. Red Violins
9. Selected Poems
10. Ain’t That a Shame
11. Break Your Heart

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<p>Robin Thicke in &quot;Get Her Back&quot;</p>

Robin Thicke in "Get Her Back"

Yes, Robin Thicke's music videos have always been bad: 'Get Her Back' and more

R&B singer's play to win back wife Paula Patton may recall many of his other offenses

Robin Thicke released his new music video for "Get Her Back" today, which has everybody abuzz with a similar sentiment: um, what a creep.

The singer is shirtless, with waves of ghostly lady-figures haunting his narration. "I never should have raised my voice or made you feel so small / I never should have asked you to do anything at all," he sings at his now-estranged wife Paula Patton, for whom he's made this song, this video and his entire album -- I kid you not -- "Paula." His face is bleeding and texts fly across the screen.

"I made an album for you."

"I don't care."

"This is just the beginning..."

Girl, change your number.

While the brazen attempt to "get her back"  is bold at the very least, there are a few issues that come up in this A/V adventure that have been repeated in Thicke's YouTube playlist. The R&B star has been offending the senses in a myriad of ways in the past decade, and sometimes in the same ways.

Let's dive in, starting with this one:

I have confuse. Did they get into a physical fight? Is it an allegorical fight that's wearing domestic violence as its trade in barbs? Whatever the implication, the crooner is crying and shirtless but otherwise motionless, as bare women's arms swipe across his unclothed chest, an invitation to the notion, "I can see how Thicke sexiness would be a problem in this monogamous relationship, 'mrite?" then high-five your neighbor.

If these texts are real, then he's airing some of his own seriously dirty laundry and -- what's the word? -- embarrassing her yet again with them. If they're not real, then you're courting drama, mama. At least Shia LaBeauf took on visitors when he said #ImSorry.

"Blurred Lines": Might as well open this old wound now. Thicke and his merry band of gray-zoned boners beam as mostly-naked ladies put on a little show for them. The good girls' infantilism mingles easily with sexual positions, which director Diane Martel described as "it’s very, very funny and subtly ridiculing... It also forces the men to feel playful and not at all like predators." Lol, satire, and as Thicke put it to GQ, "What a pleasure it is to degrade women."

There's intention, and then there's perception.

"Do It 2 U": Thicke must get tired easily because here he is, cooling his heels, as hundreds of women spin around him. Using black women's bodies as sexualized props and accessories is no new feat, but step squads, cheerleading teams and other dance troupes of a certain persuasion are used to literally celebrate Robin Thicke and his featured artists.

"Feel Good": I like to think that Robin Thicke wears his bowtie untied because Robin Thicke doesn't know how to tie a bowtie and has hired a hoard of pantsless zombie lady-dancers wearing bowties to tie it for him.

"All Tied Up": After laying in a bed in a manner in which no woman ever lays in a bed even as she's come-hithering, notice how Thicke then gets the bed while she gets the floor. "Stroke my ego," indeed. Also, this video was made for $5 and a brassier from Anthropologie.

Amount of energy exerted by Thicke, other than what it must have taken him to lift his arms so his assistant could take his tank top off: zero. And a see-through lace swimsuit cover-up does not a pair of pants make.

"Pretty Lil' Heart": THE MAN LITERALLY HAS TO STAGGER AND THEN LAY DOWN ON THE GROUND. He is EXHAUSTED. Still, though, for ladies, this remains a pants-free zone. At least the monkey gets a shirt.

"Lost Without You": Ah, 2006, the first video Patton did with Thicke. This, the man who compliments his lady love by saying she's "the perfect weight." A man who sings while his wife tries to find a pair of pants, fails, then takes a shower.

"Love After War": Finally to what you could call the prequel to "Get Her Back." "Don't you love it when we fight?" he coos back when things were still fun in 2011, when the love affair with Beats was going strong and her clothes were long gone. "The beginning..." it warns at the end. "I never should have asked you to do anything at all..." echoing.

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<p>Pearl Jam&#39;s Eddie Vedder</p>

Pearl Jam's Eddie Vedder

Pearl Jam covers 'Let It Go' for one shining moment during 'Daughter'

It's all done now: Video

For a magnificent 40 seconds in time, Pearl Jam covered "Let It Go" from "Frozen."

The rockers slipped in the chorus during an extended jam of "Daughter" as part of their setlist on Friday in Milan, Italy.

You're welcome. And it's over now, we can all go home. "Let It Go" is finished now, as it is said in the scriptures.


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<p>Corb Lund</p>

Corb Lund

Credit: New West

Exclusive: Corb Lund plus Sun Studio equals 'Hair In My Eyes Like a Highland Steer'

Injecting rockabilly into your weekend

Corb Lund and his band the Hurtin' Albertans had only two days in Sun Studio, but it's obvious from this new release they made good use of the hours.

"Counterfeit Blues" is the result, the country and rockabilly band roaring through songs culled from seven previous albums and more. Playing together with the same guys for more than 10 years probably helped the live-performance recording process.

"Partly because we know the songs inside out and have played them live a thousand times and partly because recording at Sun is a very old fashioned, low-tech process that ends up sounding really great if you can pull it off," Lund said in statement about the studio that housed Elvis, Johnny Cash, Roy Orbison and others you could call Lund's forebears.

The sharp groove of "Hair In My Eyes Like a Highland Steer" (originally out in 2005 on the album by the same name) pokes out to me most, with Lund's yodel and devilishly smart arrangement. You can check out the exclusive premiere of that above.

"Counterfeit Blues" is out as a CD/DVD set (and digital, and on vinyl) in the U.S. on July 1. Sit in wait for a full album stream next week.

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<p>&quot;Wish I Was Here&quot;</p>

"Wish I Was Here"

The Shins' give new song 'So Now What' to Zach Braff's new film 'Wish I Was Here'

Bon Iver, Coldplay and Cat Power contribute fresh tunes to the soundtrack

The Shins have a great tune "So Says I," but now it's time for a hazy "So Now What."

The indie rockers -- who have been curbed more recently as James Mercer has pursued other musics with Danger Mouse in their project Broken Bells -- contributed the new tune to Zach Braff's "Wish I Were Here" film, which went the crowd-funding route last year.

As you'll remember, Natalie Portman famously put headphones on Braff's head to the tune of The Shins "New Slang" in the former "Scrubs" star's directorial debut "Garden State" (2004). "It'll change your life, I swear," her character Sam says. Well, it certainly did change the band life of The Shins. So the circle of life continues.

"Wish I Was Here" also has new songs from the likes of Bon Iver, Coldplay and Cat Power, plus previously released songs from The Head and the Heart and Hozier. The set goes up for sale on July 15; the movie, co-starring Kate Hudson, is in select theaters on July 18 and wide on July 25. It made its premiere at Sundance earlier this year, and raised more than $3 million via Kickstarter from about 46,000 contributors.

Complete tracklist below the new song. What do you think of it?

1. The Shins – So Now What
2. Gary Jules – Broke Window
3. Radical Face – The Mute
4. Hozier – Cherry Wine (Live)
5. Bon Iver – Holocene
6. Badly Drawn Boy – The Shining
7. Jump, Little Children – Mexico
8. Cat Power & Coldplay – Wish I Was Here
9. Allie Moss – Wait It Out
10. Paul Simon – The Obvious Child
11. Japanese Wallpaper – Breathe In (feat. Wafia)
12. Bon Iver – Heavenly Father
13. Aaron Embry – Raven’s Song
14. The Weepies – Mend
15. The Head and the Heart – No One To Let You Down

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<p>Andy Richter... and Ashanti!</p>

Andy Richter... and Ashanti!

Exclusive: Andy Richter joins Ashanti and more on new comedy track 'Escape from New York'

One of many funny songs from benefit album featuring Patton Oswalt, Neko Case, Reggie Watts

We already established that Neko Case and Kelly Hogan's comedy song "These Aren't the Droids" is the best thing ever. Now get ready for the next best thing ever, from the same compilation album.

The unlikely combo of Andy Richter with Ashanti, Baron Vaughn, Alonzo Bodden and Loaded Lux erupts all over "Escape from New York," from benefit album "2776." It's not monsters, earthquakes, terrorists or climate that will get the U.S.'s largest city down: this skyscraper-sized hip-hop track has news for you.

"Escape from New York," "These Aren't the Droids" and more appears on satire comedy and music album "2776," with sales going toward Onekid Oneworld, in "their efforts to promote education in Kenya and El Salvador."

Pre-sale for the album -- which goes up on July 4 -- is already running on CD Baby.

Ed Helms, Aimee Mann, Andrew W.K., Aubrey Plaza, Patton Oswalt, Ira Glass, Kids In The Hall, Margaret Cho, Reggie Watts, Will Forte, Triumph the Insult Comic Dog, Mike Mills, Bobcat Goldthwait, Sally Timms,  k.d.lang, Will Arnett, Alex Trebek, Samantha Bee, Cobie Smulders and others also contributed.

Listen to ALL available preview tracks below, including another favorite from Eugene Mirman ("Satan's got Kentucky...").

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<p>Against Me!</p>

Against Me!

'Drinking with the Jocks' music video: Catching up with punk rockers Against Me!

'Transgender Dysphoria Blues' continues to demand your attention

In 2012, Against Me! lead singer Laura Jane Grace came out as transgender, making her one of the highest-profile music artists to have ever done so. As she made her medical transition, she and her band worked to complete "Transgender Dysphoria Blues," their hard-heeling sixth studio album.

I heard Grace refer to the 2014 album at one point as having catchy songs about "a dark thing," and considering the title and the punk band's propensity to leave in their rough edges, one can start to imagine. But there's something that I adore about "Transgender..." that goes well beyond what you could call simply "bravery" -- an overused but noble term about being personal, to airing of laundry. It's dauntless, in its takedown of the ugly, gender-dominated cultures in an eyebrow-blazing speed with heavy, dark things.

"Drinking with the Jocks" is one of these, skidding to a halt and setting fire to things in only 1:50 time. Informed people don't wave the word "faggot" around easily. "Look at all of them bitches, yeah / I'm gonna f*ck them all... / Fill them up with cum," Grace sings on the sex-and-death speed reel above. It's language-as-blunt-object, as a tool or a weapon. Worth a listen.

Against Me! is on tour now, dates below.

6/21 – Clisson, FR @ Hellfest
6/24 – Paris, FR @ La Maroquinerie
6/27 – Toronto, ON @ Pride Toronto
7/18-20 – Louisville, KY @ Forecastle Festival
7/19 – Bloomington, IN @ Rhino’s Youth Center *
7/22 – Chattanooga, TN @ Track 29 *
7/23 – August, GA @ Sky City *
7/24 – Wilmington, NC @ Ziggy’s By The Sea *
7/25 – Charlottesville, VA The Southern *
7/26 – Amityville, NY @ Revolution *
7/27 – Portland, ME @ Port City Music Hall *
7/29 – Hartford, CT @ Webster Theater *
7/30 – Pawtucket, RI @ The Met
7/31 – Quebec City, QC @ Mountain Bike World Championship
8/01 – Kingston, OH @ Ale House
8/01-03 – Montreal, QC @ Osheaga Festival
8/23 – Los Angeles, CA @ FYF Fest
9/10 – Washington DC @ 9:30 Club #
9/12 – Philadelphia, PA @ Mann Center for the Performing Arts #
9/13 – Holmdel, NJ @ PNC Bank Arts Center #
9/16 – Boston, MA @ House of Blues #
9/27 – Oakland, CA @ Fox Theater #
9/30 – San Diego, CA @ House of Blues #
10/01 – Tempe, AZ @ The Marquee #
10/03 – Tulsa, OK @ Cain’s Ballroom #
10/07 – Atlanta, GA @ Buckhead Theatre #
10/08 – Nashville, TN @ Marathon Music Works #
10/10 – New Orleans, LA @ Civic Theatre #
10/14 – Kansas City, MO @ Uptown Theatre #
10/15 – Minneapolis, MN @ First Avenue #
10/16 – Chicago, IL @ Aragon Ballroom #
10/17 – Pittsburgh, PA @ Stage AE #

* = w/ Jenny Owen Youngs and Creepoid
# = w/ The Gaslight Anthem

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<p>Kate Upton in Lady Antebellum&#39;s &quot;Bartender&quot; music video</p>

Kate Upton in Lady Antebellum's "Bartender" music video

Credit: UMG

Kate Upton battles Tony Hale in Lady Antebellum's 'Bartender' video

'Veep's' Gary gets a neck tat

There's rounds at the bar, and rounds of boxing, and in the music video for Lady Antebellum's "Bartender," you get both.

Kate Upton plays a girl who needs to get over her guy, invited out on a night with the ladies. And Tony Hale is her bartender.

While it's simply entertaining on its face that Gary from "Veep" has a neck tattoo here, it's an altogether clever little video for a pretty simple song. Lady A made their green at first with breakout hit "Need You Now," the perfect salute to drunken booty calls. The trio's "Hey Bartender" made our Summer Songs of 2014 cut specifically because they go the upbeat, sassy route.

Now, you got this next round or what?

"Bartender" is off of the trio's fifth studio set, whenever that arrives. The group is currently on tour; their last album was "Compass," from 2013.

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Review: 'Ultraviolence' by Lana Del Rey
Credit: Interscope

Review: 'Ultraviolence' by Lana Del Rey

You are an ashtray

Lana Del Rey has come a long way from her debut “Born to Die.” New “Ultraviolence” is legions more cohesive, conceptually stronger and packaged better than her scarlet starlets of 2011.

The improvements are still in want. Del Rey is wearing, again, the troubled, beautiful and bored persona for this experiential album, which upfront demands a certain suspension of reality. From psyche-lilting opener “Cruel World” to dead-eyed cover “The Other Woman,” “Ultraviolence” doesn’t so much get exhausted as it exhausts you on this lethargic fantasy. She and producer Auerbach need for you to go there, even as you side-eye the payoff.

Del Rey battles some of the tiresome tropes of fame (“Money Power Glory”) or the bitter backbiting (“Fucked My Way To The Top”) that have nipped at her heels during the last couple of years, during her rise to pop prominence, co-writing every song. But she does it in the most world-weary ways at times, with slurs and sighs and cartoonishishly lethargic composure. Her “Ultraviolence” characters are disillusioned and addicted to other misanthropes, as if she has no agency to fall out of love with the worst of them. (This is fine, by the way, until the self-mockery of “The Other Woman” breaks the will to breathe). The woozy anthems like “Sad Girl” are so pitiable, “Brooklyn Baby” so sarcastic, it makes it almost seems like she has skin in the game.

She has Auerbach making some lush choices to echo this culty purview, particularly with some guitar lines that hover over the mess like Del Rey’s reverb-dripping hum.  Pretending she can’t sing for the sake of “Pretty When You Cry” is helped by an equally janky arrangement; a Wah-wah pedal cries out over the angelic “Shades of Cool” like a maternity ward. Sharp co-writers and –producers like Daniel Heath and Greg Kurstin, snap onto the lyrical and sonic template with eerie accuracy. All the skeletons are out of the closets and arranged and organized so impeccably on the lawn. If only it hit a different note.

In the track-by-track review below, I try to highlight the finite differences.


“Cruel World”: Nearly 7 minutes baby babble with a Black Angels jam. Bibles and guns, women and fun (and heroin), Del Rey says that she’s “so happy now that you’re gone,” but can you believe the protagonist is capable of happiness? That may be exactly the point.

“Ultraviolence”: It’s too bad the best lyrics here – which summarize the story – are borrowed (“He hit me and it felt like a kiss”). This one is a grower, a dirge on the moon. Why ruin it with a spoken word bridge?

“Shades of Cool”: Lana Del Rey is the spinning ballerina in your musical box, the one where you keep all your cocaine. I love the blue mood of the coherent and interesting chorus, which helpfully puts her voice in a key that plays up her talents.

“Brooklyn Baby”: What is more annoying than hipsters? Complaining about hipsters.  

“West Coast”: This actually has a nice clip to it, and it wouldn’t be out of the imagination if Auerbach had Danger Mouse behind the wheel of this Laurel Canyon night ride.

“Sad Girl”: Her voice reporting like a slinky trumpet, Del Rey just went into the other room to slip into something a little more cloying. She’s a sad girl and a bad girl, and 92% OKCupid compatible with the dude from “Video Games.”

“Pretty When You Cry”: Slow down an Eagles song, and combine it with a wounded vocal take that doubles as a skin irritant.

“Money Power Glory”: This would be an utter triumph had Pink or Christina (or, OK, Leonard Cohen) growled through it. This is all Kurstin, who tries to amplify the visceral sadness and only has a deflated vocal performance to work with. I wanted something nasty and daring. It’s a paper crane when it could be an eagle.

“Fucked My Way Up To The Top”: Spoiler alert: this song is extra needy. “Lay me down / in linen and pearls / lay me down tonight / I’m your favorite girl.” She’s making a joke, and I’m looking for the bar.

“Old Money”: This song makes me think of people who watch “Wolf of Wall Street” and fail to see Leonardo DiCaprio’s character as the miserable sh*tpile he is. This is some excellent, heart-filled work, all-deserving of the mist and a grand piano.

“The Other Woman”: I am an ashtray, and the last cigarette’s just been stamped out.

"Ultraviolence" is out today (June 17).

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<p>Jon Hopkins</p>

Jon Hopkins

Credit: Steve Gullick

Jon Hopkins' 'We Disappear' video dances in smoke

Featuring Lulu James,

Jon Hopkins' "Immunity" made it into my Top 10 Albums of 2013, so it is only good and right to make sure you hear its opening track, in video form.

"We Disappear" featuring Lulu James is intoxicating and emotional, like a fancy robe in a blacklit room.

It would have fit right in with my recent mix for Vevo, for their Guest List column; I outline other dance and electronica jams to kick your summer off right, including Tove Lo's "Stay High," Sia's "Chandelier," Porter Robinson's "Sad Machine," Gorgon City's "Ready for Your Love," La Roux's "Let Me Down Gently" and Le1f's "Sup." Listen to them all here.

Get ready for your heart to hurt around 1:18.

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