<p>The Killers</p>

The Killers

Listen: The Killers' new 'Night' song is very obviously produced by M83

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Band's greatest hits album due in November: one of two new songs

The Killers and M83 got together, and their song together, "Shot at the Night," sounds precisely what you'd think an M83-Killers combo would sound like.

A little space-rock meets John Hughes closing credits jam meets Brandon Flowers' fatalistic longings in "Night," which is one of two new songs that grace "Direct Hits," the Killers' newly announced greatest hits album now due in November. "Direct Hits" includes tunes like "Mr Brightside," "Human," "Smile Like You Mean It" and "Miss Atomic Bomb," songs from the rock-pop band's four studio sets.

The other previously unreleased song on "Direct Hits" is "Just Another Girl," a collaboration with producer Stuart Price, who helmed the Killers' "Day & Age" (2008). The Deluxe version of "Hits" will include a Calvin Harris remix of "When You Were Young," the demo of "Brightside" and "Battle Born's" "Be Still." A fan deluxe version (oh, we're playing this little game...) will have the deluxe version of the album plus a DVD of a documentary on the band and five 10" vinyl records of the songs off of "Direct Hits." A fan deluxe supernova includes a hug from Flowers. I made that last one up.

"Direct Hits" is out on Nov. 11, aka Lady Gaga "ARTPOP" Day.

Check-in at the breakdown circa 3:00 and blast off. Seems like a much more short-term appropriation of Anthony Gonzalez' talents than that "Oblivion" soundtrack...

Here is the tracklist for "Direct Hits":

1.   Mr Brightside
2.   Somebody Told Me
3.   Smile Like You Mean It
4.   All These Things That I’ve Done
5.   When You Were Young
6.   Read My Mind
7.   For Reasons Unknown
8.   Human
9.   Spaceman
10. A Dustland Fairytale
11. Runaways
12. Miss Atomic Bomb
13. The Way It Was
14. Shot At The Night
15.  Just Another Girl

Deluxe Version Also Includes...

16. Mr. Brightside (Original Demo)
17. When You Were Young (Calvin Harris Remix)
18. Be Still

**Plus a never-before-seen Killers Documentary DVD**

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<p>Daft Punk</p>

Daft Punk

Daft Punk kindly requests you 'Lose Yourself to Dance' in new music video

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Pharrell offers you his shirt

Come, ye, to the great altar of dance. Daft Punk, Pharrell Williams and Chic's Nile Rodgers hold their liturgy to funk and disco in the new music video for "Lose Yourself to Dance," the new single off of "Random Access Memories." They found a collection of followers who dance as rag-tag and fevered (and, sometimes, as badly) as you do for their worship. The eras of fashion co-mingle. Rumps look the same shaking now as they did in the days of yore.

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<p>Lady Gaga with Andy Cohen</p>

Lady Gaga with Andy Cohen

Credit: Bravo

Lady Gaga's drunken interview on 'Watch What Happens Live': 10 things we learned

Bravo's Andy Cohen brings out some fun moments from Mother Monster

Lady Gaga has been on the cover of magazines, led performances at the MTV VMAs and "Good Morning America" and is all over radio with her new single "Applause" these days. And, frankly, she was all over the place during Andy Cohen's Bravo show "Watch What Happens Live" and the after-show this week, partially due to that magic white wine she was drinking.

I'll admit, I'm very entertained by the performer here, getting a sniff of realness and fun. But -- as I do all things -- I think of Cyndi Lauper, high priestess, in instances like these, where in even the most laid back, unsober, unscripted circumstances, I'd expect her to maintain control and earn her audience. Gaga kinda loses it at times, as she's dressed in her mermaid/siren gear with shell-cup bra and wave-wrought wig.

Still, some good new (or at least interesting) facts learned. Play along, and watch the clips below plus all the others on "WWHL's" website. Gaga's new album "ARTPOP" is due Nov. 11.
 

Here are 10 things we learned from Lady Gaga's Watch What Happens Live interview:

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<p>David Bowie</p>

David Bowie

David Bowie, Disclosure, Laura Marling make Mercury Prize shortlist

Nope, no Mumford & Sons: Stream the 12 nominees

David Bowie, Laura Marling, Discolsure, James Blake, Arctic Monkeys and seven other artists have been named to Britain's 2013 Mercury Prize shortlist.

Y'know who's not on there? Mumford & Sons. Now that we've taken a moment to recognize that, lets focus on the contenders, which leans overwhelmingly, again, toward rock and some toward electronica.

Bowie may be top dog here, with his extraordinary comeback "The Next Day," and because it's Bowie and, jeez guys, he's only been nominated one other time. Veterans Arctic Monkeys and Foals put out fine efforts, too, but can't compare to the Thin White Duke.

Newcomer Jake Bugg, Marling and Laura Mvula are certainly safer, folk and singer-songwriterly choices, though Marling has arguable dropped the album of her career with "Once I Was an Eagle," after already having made her way onto the shortlist with two other efforts in her minute time on this blessed earth. (Villagers are the dark, dirty little interlopers that could fit with the folk-rockers too.)

Blake's "Overgrown" may not be his best effort, but it's among these other dance/electronic groups that he'd be most recognizable. That, Hopkins' techno nightmare "Immunity" and Rudimental's lesser-known "Home" can't compare to Disclosure's exceptional "Settle," an album so emotionally sprawling and technically proficient, I hope the judges live and breathe it for this contest.

But 2013 didn't yield a big amount of diversity on this list. Mvula, Marling and all-women rockers Savages rep for the ladies. Mvula is the only lead who is a person of color; and besides her, Disclosure's samplings and Blake's sullen-soul/R&B, there's little music of color, with traditional R&B, jazz and rap shut out in this final tally. That doesn't mean the Merucury Prize hasn't been inventive in its choices in previous years, it's just particularly monochrome this year. Perhaps the Hopkins lobotomy will jog everyone's mind for next year.

The nominees were drawn from 220 albums submitted for the album of the year battle, and £20,000 will be awarded to the winner, announced on Oct. 30.

Here are the nominees and their albums:

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Exclusive: Watch Phoenix perform 'Rome' for Austin City Limits, as new season launches

Exclusive: Watch Phoenix perform 'Rome' for Austin City Limits, as new season launches

Video of the dance-pop band for the famed television concert series

Famed televised concert series "Austin City Limits" is preparing to launch into its 39th season, and Phoenix fits the bill for this new year of music performances.

The French dance-rock band Phoenix has its ACL premiere during the Oct. 12 episode to air of "ACL," and we got dibs on an early look at the performance, including this video of "Rome."

Staged at the ACL Live theater in Texas' capital, the Phoenix concert was packed into an hour-long show, which will be the second episode of the season. The first airing, on Oct. 5 on PBS, will feature Juanes and Mexican troupe Jesse & Joy. Vampire Weekend, fun., Emeli Sandé, Grizzly Bear, The Lumineers, Emmylou Harris with Rodney Crowell and others are also on tap for this first half of the new season, with the second half to be announced at a later date. Tune in to ACL's live-stream of fun.'s taping on Sept. 13.

After you listen to "Rome" -- culled from the band's 2010 breakout album "Wolfgang Amadeus Phoenix" -- give "Entertainment" a spin, too. Not a coincidence: Phoenix is co-headlining the Austin City Limits Music Festival in October.

A full airing schedule of "ACL" is below the videos. According to a release, Austin City Limits is the longest-running music series in American television history.

Austin City Limits Web Exclusive: Phoenix "Rome" from Austin City Limits on Vimeo.

 

Phoenix on Austin City Limits "Entertainment" from Austin City Limits on Vimeo.

 

October 5 Juanes | Jesse & Joy
October 12 Phoenix
October 19 The Lumineers | Shovels & Rope
October 26 Vampire Weekend | Grizzly Bear
November 2 Emmylou Harris & Rodney Crowell
November 9  Emeli Sandé | Michael Kiwanuka
November 16  fun. | Dawes
November 23 ACL Presents: Americana Music Festival 2013

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<p>Jake Gyllenhaal and Hugh Jackman in &quot;Prisoners&quot;</p>

Jake Gyllenhaal and Hugh Jackman in "Prisoners"

Credit: Warner Bros. Pictures

Set visit: 'Prisoners' actors Hugh Jackman and Jake Gyllenhaal spar

Terrence Howard, Viola Davis and Maria Bello speak on unspeakable abduction drama

When Terrence Howard walked up, he was already crying.

This particular day of shooting for “Prisoners” was set in a hospital in Atlanta. Real and pretend cops walked past real and pretend doctors and nurses up and down its hallways, a tight space for Howard, Viola Davis, Hugh Jackman and Maria Bello to exorcise the most heightened of emotions.
 
Howard with Davis and Jackman with Bello play working class parents two families, each with daughters who have been kidnapped. Each actor, in real life, is a parent. It shows, said Howard, who has spent the latest scene in yet another state of what he calls “messy moments.”
 
“I hope I don’t get in trouble saying, but it feels like ‘The Silence of the Lambs’ in a sense because you have this whole couple with this horror,” he said. “It's like this anxiety on steroids.”
 
Watch the trailer for the film – which made its debut at TIFF this week – and you can understand how this “horror” is rooted in reality. One minute, there are two little girls and the next moment, they’re missing. The biggest lead comes from a suspect (Paul Dano) who one could typically qualify as looking like a pervert. Search teams scan the woods, the statistics of missing persons reports becomes grounded in actual faces and names in the Dover and Birch families.
 
For the scenes shot at the hospital in Atlanta, Howard, Davis, Jackman and Bello look like the walking dead. In the plot at that moment, there had been some developments in the short days that have followed the kidnappings. Far from the glamor that each actors’ more recent roles have allowed, their makeup is in shades of purple, their lines deepened, their real tears falling between frizzy and unwashed locks and unkempt facial hair.
 
“Normally you want to look your best, and every day is them making you look your worst,” Howard laughed after he wiped his eyes again. “And you feel like that 'cause everybody that looks like you, they have the same makeup. And it's like ‘Man, we are f*cked up.’”
 
--
 
Director Denis Villeneuves, who helmed Oscar-nominated “Incendies,” pushed each of his characters in the film react to the abduction in different ways, similar and contrasting ends to the reactive equation of “What if it were your kid?”.
 
Jackman’s character Keller, who is “religious,” has a survivalist streak, and “believes in being ready, ready for anything. One of the first scenes in the movie where he has that chat with his son, where he says ‘Basically don't rely on anybody in life,’” Jackman said, looking like a sack of potatoes in a hospital waiting room chair. Like the other actors, the story hurts him as it hit close to home. “I’m a parent. It's even difficult to even vaguely go there.”
 
“Trauma is the main characteristic [in ‘Prisoners’], if you could imagine losing your own child. But we all deal with it in such different ways,” Bello said “My character [Grace] deals with it with putting her head under the covers and taking a lot of medication and not being able to really to get out of bed hoping her daughter's just going to show up.”
 
“…But the thought that they're suffering and waiting and crying and hoping on you, that's the thing that doesn't allow you to rest,” Howard said separately.
 
“I gravitate towards it because I felt like it had something very interesting to say about the human psychology of vigilantism,” Davis hinted. “We all have smokescreens that we kind of put to on ourselves to give us the stamp of good or bad or evil or good. And then when we're questioned and we have to step up to the plate of morality, then you don't know what's gonna come out of you.”
 
The unpredictable elements to the very real human drama of missing children are the authorities working the case. And in this case, it’s Jake Gyllenhaal as Detective Loki, who looks upon all parties suspiciously, acting as the “audience’s eyes,” as he explained it.
 
“I do skepticism relatively well. We're in the perfect environment for it right now,” he smiled, fresh from a scene where he further questioned the Dover and Birch parents (and a newly hospitalized key to the puzzle). “When everyone is a mystery of some sort, you get to be the audience's eyes. Therefore, it'll be a more interesting film to watch 'cause you see in a way the case unfolds through Loki’s eyes… in that way I think there's a relative amount of paranoia and skepticism that every audience member kind of walks into when they're being [told] a story, when they're being entertained that I weirdly revel in.”
 
Gyllenhaal was described as being upbeat between scenes, and a good, stoic sparring partner for the other actors. He could be seen laughing and smiling between scenes as Jackman’s Keller skulks in his muted colors in a livid nightmare.
 
“It's been a dream really to have this cast. And Jake, who's so silly in between, and then he gets so serious because all of us are suspects,” Howard said. In missing persons reports, “parents are the first suspects. So Jake, not-shooting-Jake is the funniest thing. And then he turns into this cop, and he doesn’t give you anything.”
 
Loki plays his part as an objective policeman; Keller’s moral compass disorients into a sleep deprived psychopathy. Both did their research and homework into these circumstances. Both have to lead their characters down into appropriately dark roads.
 
Seven days after children go missing, the statistics of finding them are “pretty horrific. And it's clear to all the players in our film, y’know. So every day that goes by, every minute that goes by, statistically things are just getting more and more dire and more and more desperate,” Jackman said.
 
So why go through with a script like this, a story that effects the actors in such a visceral way?
 
“It's an incredibly rich and beautiful drama character piece. You really experience this episode through the eyes and feelings and the emotions of these characters. There's something much more important than story, than acting, than anything really,” Bello said. “We tend to constantly talk about our children, and that's a priority for us.”
 

 

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Listen to Arcade Fire's new single 'Reflektor': Watch two very different videos

Listen to Arcade Fire's new single 'Reflektor': Watch two very different videos

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Anton Corbijn directs one, and you help direct the other

Arcade Fire have finally lifted the veil on their new single "Reflektor" which -- if you're any fan of their more dance-happy, disco-laden songs like "Sprawl II (Mountains Beyond Mountains)" and "Half Light II (No Celebration)" from their last album "The Suburbs" -- will make you pretty happy.

It's more than seven minutes of what most definitely sounds like one of their collaborations with LCD Soundsystem's James Murphy, who co-produced the new album. This title track additionally gets the enhancement of two new music videos, one standard directed by Anton Corbijn and one interactive through some geniuses at Google Chrome with director Vincent Morisset.

For the Chrome version of the video, some of the technology may interfere with your actual ability to view (browser, mobile tech and video cards), but you will get a good idea of what you're in store for by watching this featurette and exploring some of the images. In this version of the video, the user follows the protagonist/dancer Axelle "Ebony" Munezero through the streets in Haiti. Arcade Fire have spent recent years supporting non-profits and causes from the troubled country, where co-founder Régine Chassagne was born.

Visit justareflektor.com to see the interactive video in Chrome.

Corbijn's black-and-white version of the "Reflektor" experience has its own quirks, too, as the band dons oversized papier mache heads like puppet versions of themselves, hunting down the Disco Ball Man and putting the doll versions of themselves in a shiny coffin. As you do. It's actually a really lighthearted look, at times, at the Montreal-based band, who have made a mystery of themselves in promoting "Reflektor" up until this point. Win Butler and Chassgne put on a good show for this epic-length tune, which plays with the ideas of disillusion, self-reflection and reality, much like "The Suburbs" did.

Interestingling, those cartoony heads were a highlight from the "dance-activated" vid for "Sprawl II," which Morisset directed. There's a continuing theme here, if it's just that the band likes a challenge when playing their instruments.

"Reflektor" as a song just goes and goes, with multiple climaxes, points of entry, and would kill as a instrumental-only. Based on the dance moves in the Corbijn clip, they're having a good time playing it, too.

"Reflektor," the album, is out on Oct. 29. Happy Halloween, we know what you're dressing as.

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<p>Eminem and Rick Rubin in &quot;Berzerk&quot;</p>

Eminem and Rick Rubin in "Berzerk"

Eminem's 'Berzerk' video gets Rick Rubin, Kendrick Lamar cameos: Watch

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Old school song, old school music video

Fish eye lens, backtracking, fake VHS stripes, hyper-contrast, oh my! Eminem's music video is kicking it old-school, and the rapper's brought a few friends along in the time machine.

Rick Rubin, Yelawolf, Kendrick Lamar, Em's Bad Meets Evil cohort Royce Da 5'9″ and Kid Rock all make cameos for the new-old clip, which Eminem previewed last night during one of the most awkward live television appearances ever.

If you weren't embracing the boombox retro style of the single before, Eminem is practically begging you too, now. All it's missing is Mike D and Ad-Rock hugging it out with Billy Squier. With this big love-in of contemporaries and protégés, I say "stroke it" indeed.

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Of course Miley Cyrus got naked for her new music video 'Wrecking Ball'

Of course Miley Cyrus got naked for her new music video 'Wrecking Ball'

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Emotional single bares her soul or something

Let me start by saying I actually very much like "Wrecking Ball" as a Miley Cyrus single. It's got that "I Knew You Were Trouble" vibe while also allowing a pristine vocal comp to make the former Disney star sound like an honest-to-God grownup. It hints the tabloid trubs from her engagement to Liam Hemsworth, exposing 100 million times more emotions than her dark comedy/summer hit "We Can't Stop."

There are some problems with this video. Allow me to explain.

1. In the Crying While Singing genre, you do not start with the crying. This quickly reminded me of Duncan Sheik's 1990s chart-topping single "Barely Breathing," what with the kissing away of saline tears. These may very well be genuine eye leakage, but it's faking your way to emotional orgasm as a video piece.

See Bieber, Justin: "As Long As You Love Me"
See Monae, Janelle: "Cold War"

2. Sexual intimacy with filthy, dirty, destructive objects... I see what you did there. Metaphors! But it's around the first time Cyrus' naked nethers make contact with a literal wrecking ball that remind me of girls who ride the New York subway in skirts and no undies in summer: basic human sexuality takes a turn for the yeccch. While the sight of anybody naked would unfurl many's flags, this just makes me squirm like a bare back on a mound of rubble. Oh wait.

Miley Cyrus licks a sledgehammer for Wrecking Ball

Peter Gabriel, have you anything to say for the example you've set? This is stupid.

3. This video was likely shot before Cyrus' scattershot MTV VMAs performance, which only continued the crescendo cries of "Hannah Montana All Growed Up." Personally, I didn't have a problem with the racy nature of that televised performance, but I did with her use of black women as her personal line of cred(it).

Here, she is subsisting purely on the carnal, erasing whatever good feelings I had for the song by displacing genuine emotional value with a ball-and-chain stripper pole, an image so desperately mixed, she probably had to go method to justify the inanity.

Dotting the soft porn with emotional lip-syncing does not make up for this, nor does it surprise me, the most shocking element being the volume at which I said "DUH" in learning that Terry Richardson directed this pile.

4. Cyrus' handlers are well aware of Billboard's recent rule additions to the Hot 100 now include YouTube views. Yes, Psy and Baauer benefited from this. So did Robin Thicke's "Blurred Lines," as did Justin Timberlake's "Mirrors," both of which feature naked women.

Don't pretend there aren't at a zillion people on the planet who are Googling the query "Miley Cyrus naked," and guess what will pop up as the top entry? (I mean aside from this blog post. You knew what this was.) See you at the top of the charts?

"Wrecking Ball" is off of Miley Cyrus' "Bangerz," due on Oct. 4.

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<p>Nine Inch Nails' &quot;Hesitation Marks&quot;</p>

Nine Inch Nails' "Hesitation Marks"

Credit: Columbia

Album Review: Nine Inch Nails, 'Hesitation Marks'

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Trent Reznor rounds up some killer singles and disappointing gray matter

Nine Inch Nails have had plenty of time and space to regroup. New "Hesitation Marks" is the industrial rockers' first in five years, and first since taking time off from touring in as many moons. It's a fresh lineup and, in the time in-between, Trent Reznor has won and Oscar, launched How To Destroy Angels with his wife and longtime collaborator Atticus Ross and, apparently, made amends with a major labels in time to launch a proper campaign to push a significant and solid radio single.

The result from that pause is a mellower Reznor with big standalone songs, rare rays of sunshine and a run of quixotically forgettable tracks toward “Hesitation Marks’” end.
 
“Hesitation Marks,” NIN’s eighth full-length, eagerly rushes in with the Reznor we’ve known and loved, minus all the yelling. Perfectly dystopic “Copy of A” and single “Came Back Haunted” are quite the pair, kicking off this 14-track set after murmuring intro “The Eater of Dreams.” Reznor intimately croons on piano-dripping “Find My Way” and red-lit “All Time Low,” his chilling voice allowing in a few “baby” fillers along the way.
 
But talk about “Disappointed,” which is the title to a meandering glitch-dirge segueing into a sequence of songs that will try the patience of the average Nine Inch Nails fan. The glittering pop-punk sounds of “Everything” completely disorients the dark-dweller with all that light; “Satellite” has all the soul of a car commercial, with follow-up “Various Methods of Escape” providing no obvious means of escaping this HTDA outtake until three-quarters in.
 
“Running” and closer “While I’m Still Here”/”Black Noise” at least provide some inspired beats, invoking the good ol’ days of trip-hop without gagging on sickly sweet melodies, as on the aforementioned. It’s not that Reznor can’t carry these oddballs; his voice is as strong as ever but is, again, without as much untethered aggression to match all the white noise and his typically fatalistic lyrics. The set could use a good trim or some stronger tent-poles in its latter half. There’s a little too much control.

 

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