Do you ever just look at the stars and, like, confess your dreams? Do you see Brandon Flowers there, or is he the manifestation confession?
The Killers have unleashed their music video for single "Runaways," a combo of the abstract and performance video that leave vapor trails of fist-pumping, tear-streaming rock sonically akin to Asia's "Heat of the Moment." The band opts for brilliant pops of color with a lot of black background as frontman Flowers recounts his seemingly doomed romance. It also looks like the performance screen for "Rock Band," without the actual game. Everybody looks good, refreshed.
They should be. It's been four years since the band's last "Day & Age," and with the new album "Battle Born" due on Sept. 18, it will have been almost exactly two years since Flowers dropped his solo debut "Flamingo."
"Runaways" bowed on the Hot 100 this week after its first week of radio and sales, at No. 78.
Every opportunity I have to run this Darkness promotional photo, I will
Finally. Cock-rockers The Darkness have released the studio version of their Radiohead cover "Street Spirit (Fade Out)." The prophecies have been fulfilled, the earth can now enter a period of raining frogs, the seven horsemen and all the trimmings of the 2012 apocalypse.
There are natural limitations to hair metal revisited, but the English band delivers in stripes on this track, particularly since "The Bends" original last for about 4:15 and this one clocks in (in my mind) at about 35 seconds, more or less. Tenacious D may have cornered the market on tongue-cheeking '80s hard-rock, but the Darkness are straight-up making out with it.
One could say that the now-canceled TV show "Firefly" was simply ahead of its time. Childish Gambino's track "Fire Fly" makes a similar argument for why it's taking the rapper so long to be appreciated among peers.
The music video for the song is a little combination of both. The narrative features an underdog that very much looks like Donald Glover, put on the trail to intergalactic travel. But a more traditional action plot unravels, there's conflict, and dude even gets to kiss The Girl. Queue the lens flare.
"I used to get called 'Oreo' and 'faggot' / I used to get more laughs when I got laughed at / Oh you got a mixtape? That's fantastic," he raps. "It's hard to make Hov the footsteps you followin' / Especially when your n*ggas look like Carlton... No live shows, cause I can't find sponsors / For the only black kid at a Sufjan concert... Now I'm firefly like a burning kite / And you'sa fake f*ck like a Fleshlight."
Perhaps a "Revenge of the Nerds" plotline would be more befitting, but space travel also fulfills that "Living well..." adage.
Sonically and thematically, Owl City and Carly Rae Jepsen's "Good Time" occupies the space between Miley Cyrus' "Party in the U.S.A." and Katy Perry's "Last Friday Night (T.G.I.F.)." And it's accompanying music video is as predictably squeaky clean as fans have come to expect from Owl City mastermind Adam Young.
It's all Slurpees, fishin' poles and daisy chains for Young's band of marauding Hollister models and from "Call Me Maybe" star Jepsen's flower children's children. I need a toothbrush and a rare steak after all that sugar.
Fresh off the announcement that Kanye West's G.O.O.D. Music label compilation has a due date, and that 2 Chainz is still not an official associate of the label, Ye and the Atlanta rapper have dropped "Birthday Song."
No, it's not the "Birthday Song" you know and love: "All I want for my birthday is a big booty girl."
I'm not even going to pretend I can look past the literal twist on "pay for play" exchange of sex acts for one's birthday, even when Rihanna says it. That, combined with lazy, entitled opening verse from 2 Chainz, the gender classicism and the abhorrent repeated "You in first place," means this won't sit well for some.
But if you don't like it, don't bring your drama to the table, West warns you "actresses."
For the record, ladies, a sweater is a perfectly nice gift (hell, so is a "coupe"). If your man -- famous rapper or not -- tells you to "do better" and insinuates you grab a friend to bring her into the bed for some crew-love, you can certainly inform him nary a birthday will be happy again until that sainted day when he's buried next to "two bitches."
Mercury Prize-nominated songwriter Bat For Lashes is back, and out the gate, she's... solemn.
"Laura" -- the first track from forthcoming album "The Haunted Man" -- has a music video featuring a haunted man and an interpretive dance honoring the song's namesake. The nervous, slow waltz showcases BfL's ringing voice, which would sound just marvelous in a velvet red curtained room.
But I also can't shake what it reminds me of: "Ooo Laura, you're more than a superstar" is eerily reminiscent of Barry Manilow's "Mandy" (or if you prefer The Simpsons version, "Margie / You came and found me a turkey"). The video is gorgeously shot, so any unintended Laura-Mandy-Margie similarities are forgiven.
"The Haunted Man" has a fantastic, NSFW album cover shot by nudes specialist Ryan McGinley, and will be out Oct. 23 via EMI.
There have been only a few instances lately where I felt inclined to turn up a Snoop Dogg tune. His new track, "La La La" under the Snoop Lion moniker, is one of them.
The West Coast rapper combined forces with "executive producers" Major Lazer and churned out this reggae-drenched weirdo. Diplo and Ariel Rechtshaid engineered the thing to sound like a legitimate island diamond, rather than a thin attempt to branch out into a traditionally un-Snoop genre.
But it doesn't take long to get from point A to point B, considering the weed-loving rhymer's affinity for reggae's greenest trope. It's what brought he and Willie Nelson together for a country ode "Roll Me Up" back this spring.
The title is a nod to her label home, Jay-Z's Roc Nation, which obviously hopes to attract a pop crossover crowd combining the rock influence with R&B vocal appeal. I can't help but to compare the refrain to "Roc the Life" to Nicki Minaj's "Moment 4 Life," but then again, Roc Nation/Def Jam is always interested giving Cash Money a run for it's, well, money. What's unique about this flirtation with top 40 is the live drum and guitar sounds, which operate outside of the pure, drop-the-bass dance tyranny that seems to have a stranglehold on most other solo female pop musicians on radio right now.
In other words, Pink should have put this one out instead of her wounded-animal single "Blow Me (One Last Kiss)."
"Roc the Life" is the newest single from the 21-year-old singer's cleverly titled "Ora," due Aug. 27. Do you hear gold?