Watch the trailer featuring 'Back to Black' cover and new Lana Del Rey
Baz Luhrmann's forthcoming "Great Gatsby" film adaptation will boast some of the A-list-iest of A-lister actors, and the same goes for its soundtrack. Jay-Z was roped in as executive producer and supervisor on the film's soundtrack, so as you can imagine, he showed up, his wife Beyonce showed up and new songs from big names like Florence + The Machine made the cut.
A new trailer for the film dropped this morning, and it includes Beyonce and Andre 3000 previously confirmed cover of Amy Winehouse's "Back to Black"; a fresh track from Lana Del Rey called "Young and Beautiful"; and Florence's new "Over the Love." "Will you still love me when I'm no longer young and beautiful," she sings. (Ugh, Lana.)
Bryan Ferry and his Orchestra show up twice, including for one take on Bey and Hov's "Crazy in Love" with Immaculate Noise favorite Emeli Sande taking the lead.
First collaborator to bat: Giorgio Moroder
The members of Daft Punk like to hold onto their relative anonymity, yet want to promote the hell out of their next studio effort "Random Access Memories." So now they've launched a video channel to feature the album's various collaborators. Problem solved.
Up first to bat: legendary dance producer, label founder and studio-starter giorgio-moroder" class="autolink">Giorgio Moroder, who regales viewers with tales on the come-uppance of dance music, working with disco queen Donna Summer and mentions he's working on a little "rap" with Daft Punk on "Memories."
And like Daft Punk itself, the clip has a high production value, and is nicely educational! Pencils down.
'The Terror' out in two weeks
Is this just a Young Money sex tape in-the-making?
- Critic's Rating C+
- Readers' Rating A+
In the music video for "High School," Nicki Minaj plays the lady-friend of a Latino crime boss, and Lil Wayne shows up as a dude who does business with him. The Young Money imprint founder is soon tussling around a bed with the Young Money signee. I assume they're playing Parcheesi, and both are winning.
So naturally Minaj spends the video in bandages masquerading as dresses and strings serving as swimsuits. Dress code for at the palace for men (well, Wayne, as per usual) is jeans-casual. Toward the end, director Benny Boom attempts to integrate a plot; but judging from Twitter, all anybody really wants is a Nicki Minaj and Lil Wayne sex tape.
Like in several Weezy music videos, Minaj and Wayne resolve into a "this is just a video shoot" posture, bringing the fantasy of mudflap girl poses and swinging slow-motion dreadlocks to a close. Wayne even brought a couple of other extra girls along for this steamy ride, because he has just that much love to give.
Psych-rockers score in songs with fourth full-length
- Critic's Rating A-
- Readers' Rating A+
Does it court controversy more than it raises MJ from the dead?
- Critic's Rating C+
- Readers' Rating A-
Chris Brown has released the sights and sounds of his new single "Fine China" and in it he seems to purposefully conjure images of Michael Jackson... and starts interracial dating warfare of the future.
Brown has intimated more and more he'd like to foray into film and acting, and "Fine China" is a video that showcases a plot at the very least. It opens with a beautiful girl at war with her father, who does not wish for her to date Brown. (Because what father would.) Brown pulls up to her house in a ridiculous car and she runs out to him, ready for a night on the town.
It then diverges into a mix of "Smooth Criminal" and "Bad," hats, leather, studs, lights and all. Brown and his bros dance for his giggling lady love before an Asian gang shows up, first to a martial-arts-dance-battle, and then they're out for blood, with futuristic guns, more ridiculous cars and dunnn dunn duuuuunnnnnn... the girl's father leading the charge. The mafia is met with Brown's gang outside, everybody's guns locked and stocked, and it ends with a "To Be Continued..." vibe.
Now for subtext: François Chau plays the intimidating father, essentially the same hardass, controlling Asian Father role as his character in "21 & Over."
- Critic's Rating B
- Readers' Rating n/a
Put your hood up over your head: we're heading down "Under the Earth" in a new Yeah Yeah Yeah's song.
This groovy trip has a cavernous synth and a bassline that will have the average YYYs fan in ready submersion and the occasional listener curious. After a demented firecracker like "Sacrilege" (and its accompanying, awesome video), this song is a little more eerie but simultaneously more accessible.
"Under the Earth" is off of "Mosquito," due on April 16. It's the rock act's fourth studio full-length, and its first since 2009's "It's Blitz!".
Listen to the song here. Be sure to spend some time with that photo, too.
'Wolf' available for complete test ride
Tyler, The Creator shows up as the Barbie doll you never bought but keeps showing up in your collection and semi-stalking all your other Barbies in "IFHY" featuring Pharrell. The assumption here is that song title stands for "I F*ckin' Hate You," the contrast to what the Odd Future rapper is explaining in this self-described "emo" rhyme. "I love you / I f*ckin' hate you" and there, folks is the crux.
The Barbie of his desires spends most of the video running from him, in part from fear, and he kicks in the door. *Note to you Barbies: it's not OK for your boyfriend to kick in the door.
It's a cool presentation of dissonant emotions, and the want of possession. Also, I continue to love how game Tyler is in all of his videos, willing to look any way he directs himself to look like plastic garbage for the sake of the song.
"IFHY" is bookended by another track, "Jamba," featuring Hodgy Beats. The two drive recklessly in a car. What is it with Tyler and his cars? (The rapper also released two tracks and video at once with his last clip, for "Domo 23" and vehicular "Bimmer.")
"IFHY" is off of Tyler, The Creator's new solo set "Wolf," out on April 2. But for the curious, you can hear the full album streaming right now. Check it out below.
"Wolf" is the follow-up to 2011's "Goblin" and it features guests like Pharrell, Erykah Badu, OFWGKTA's own Frank Ocean and others.
Tamra Davis, Sini Anderson on hand for some 'Spring Breakers' and Julie Ruin insight
AUSTIN -- "I'm definitely not writing 'slut' on my stomach any time soon," Kathleen Hanna says.
It's the day after the premiere of "The Punk Singer," the documentary that centers on Hanna's music legacy from the origins of Bikini Kill to now, as the 43-year-old artist prepares a new album under the band name The Julie Ruin. Hanna had just seen herself on the big screen at SXSW, first as a kid, a teenaged feminist, up through Riot Grrrl, the media circuses, a solidfying Third Wave, marriage, (solo act) Julie Ruin, Le Tigre and the sad steps away from the stage due to crippling illness.
That history, of course, contains the times where Hanna literally markered the word "SLUT" across her bare midriff, which was part of a "character I was playing. I was a feminist performance artist first. So it was a seven year performance piece," she says, smiling, referring to her shocking and inspired stint fronting Bikini Kill. Conclusion: "It's really weird to see a younger version of yourself."
On this day, Hanna's sitting with "The Punk Singer" director Sini Anderson and producer (and longtime friend) Tamra Davis talking about archival footage and, y'know, crying. As you do. As a powerful and confident woman on film and in life, it had been enlightening for me to see Kathleen Hanna cry in "The Punk Singer"; after so many disheartening and epic details of her life unfolded, it was during a home-video shoot of her talking about her battle with Lyme disease that tears started to fall.
Hanna refers back to her "dork manifesto," "Burn Down The Walls That Say You Can't," that commands: "Cry in public." When voices in reality TV to the election trail continue to condemn crying as a failure on the part of the cryer -- most frequently women -- Hanna and her cohorts counter that it's assurance that it's fine to "feel."
"There's a stigma of if you're a woman and working at a job you can't cry because they'll see you as weak... as an animal, you'll be torn apart," Hanna says.
"We're criers, as women. My goal was to make you [the audience] cry," Davis said. "As women, we have to show our control of our emotions, that we're not always acting from that zone."
"There's something really different about a really really strong person to emote and not be a victim, and be in their power and say 'this is what I feel like," Anderson says. "[Hanna] was sick, pushing through and showing up. Showing that being strong enough to emote then recover, that can only inspire other people. I think that's punk rock."
Hanna is a big fan of another performer who one wouldn't necessarily designate as "punk rock": Beyonce. "I love seeing her legs. I enjoy her outfits and costumes, and I wore outfits and costumes..."
But there's the elements of female superstardom that just don't add up, Hanna warns. She talks about a time when she saw Pink performing at the MTV Music Video Awards, "hanging from a trapeze, dumping water on her herself, boobs lit on fire," you get the picture. That's Pink, y'know? But then there were "guys coming out in jeans and a jacket. I was like, what do we have to do next? Knifing ourselves?"
Pop stars have to keep "ratcheting it up" in order to garner respect from the performance world. "Why do we have to prove we can multi-task?"
Then there's a flip side, and that's when we talk about "Spring Breakers," which premiered at the same time as "The Punk Singer." "Rob purity of a Disney Queen... and then it's like 'yay!'," Davis says, shrugging and shaking her head.
Check out what else Hanna has to say about body image, "Girls" creator Lena Dunham and about the personnel of The Julie Ruin, which will be releasing their new album "around" June 15 through their own record label.
Susanne Sundfør guests on this bland electro-ballad for the Tom Cruise sci-fi
However, this electro-ballad is likely to play over the end credits, so get your coat: the generic "I've been waiting for you / waiting for a sign / (something something)" lyrics don't do much for singer Susanne Sundfør's pretty, hearty voice, and the climax feels like all-artifice, less gentle and subtle than M83's Anthony Gonzalez' usual hand on the beats.