I don’t have a problem with Lana Del Rey’s scarlet-harlot-starlet get-up. I don't mind a little peril. My hope was that she wore it well.
Man, nothing breaks your heart like seeing somebody bury their dead dog.
That's how Feist's "The Bad In Each Other" starts out. Celebrations situations go sour, family relationships are hurt by jealousy, a one-night-stand gets to the sad part: examples of people bringing out "the worst in each other." This high-tension song pairs sweetness with noise, and God love that bari sax because it feels like everything is crumbling by the end.
Quoth Leslie Feist, via her website:
This video captures glimpses of something human, we get a peek inside something real between people - could be loss, longing and love. A lot of things which is about being a human being.... It is told in a way where it opens up more aspects than it concludes. Maybe something we can't grasp, but it points at it or touches it and leaves us with different kinds of emotions. You could think about the video like a song or a poem, and different people will connect to different things- and those connections might be different from time to time when they watch it.
Yup, will repeat this viewing tomorrow when I won't feel so badly for the little girl with the recorder.
Joy Williams and John Paul White -- known as The Civil Wars -- released "Barton Hallow" one year ago, almost to the day. Aside from making a lot of critics' year-end lists, the album was also a springboard for dozens of other unique opportunities in the past months. And by "unique opportunities," I mean they earned a couple of Grammy Award nominations, recorded with T Bone Burnett from some film soundtracks, toured extensively around the country, collaborated with the Chieftans and Taylor Swift, played Nashville's Ryman, late night television shows and "Prairie Home Companion." It's sold healthfully. The year 2011 wasn't just good: it was gangbusters.
"The sky's the limit," Williams said during our interview during the 2012 Sundance Film Festival last week. The Civil Wars were on hand to promote "Finding North," the documentary film on hunger in America, with a score featuring T Bone Burnett.
M.I.A. is capping on her recent collaboration with Madonna for a little extra fame of her own. If I were her, I'd do the same too.
The talk-singing-rapping songwriter has revamped a "Vicki Leekz" mixtape track into "Bad Girls." And what do bad girls do well? Live fast and die young, apparently. Gunshots included. (Via Pitchfork)
But what is it with the mix? Or rather, what's with the lack of low ends today? I want this to be the banger it aspires to be, but there's a lot of overpowering treble squibbles flopping between what should be bigger beats. As is M.I.A.'s M.O., she relies heavily on lyrical repetition so it's always a joy to hear an actual, y'know, verse. Maya's attitude remains fierce.
I'm almost surprised it's taken this long, but Jack White has finally prepared his solo debut. "Blunderbuss" will be the former White Stripes leader's first album under his own name, out on April 24, and from his description of it, it's will be all Jack White, all the time, and maybe on all instruments.
"I've put off making records under my own name for a long time but these songs feel like they could only be presented under my name. These songs were written from scratch, had nothing to do with anyone or anything else but my own expression, my own colors on my own canvas," he said in a statement.
To kick things off right, the Nashville-based songwriter's released the track "Love Interruption," streaming now on his newly launched website. He's joined by a female vocalist -- or treated his own vocals to a shot of estrogen -- but for the rest of it, it's a pretty stripped-down, burning bluesy song. There's no low end, and an acoustic guitar joined by a keyboard are the only accompaniment besides. I like it, it's catchy, but perhaps I expected something more bombastic?
No doubt, Gina Rodriguez is a star in the making. The rising actress spent months getting down a flow -- a hip-hop flow -- for her starring role in Sundance flick “Filly Brown.” In the title role, the Latina MC is trying to “make it” with the help of a local hip-hop podcast, her ever-loving crew and by spitting her own nasally L.A. fire. As Majo Tonorio, the Real Girl behind Filly, she’s plagued with the stuff of VH1’s “Behind the Music”: A fiercely imploring and manipulative mother Maria who’s serving jail time on drug charges (Jenni Rivera); a naïve and bratty teenaged sister Lupe (Chrissie Fit); a hard-working dad Jose barely making ends meet at a construction job (Lou Diamond Phillips).
R&B crooner D'Angelo celebrated the 12-year anniversary of "Voodoo" in a big way. For the first time in more than a decade, he took to the stage this week, at Stockholm's Filadelfiakyrkan church. Of course, Filadelfiakyrkan!
He performed beloved tracks like "Sh*t, Damn, Motherf*cker" and "Chicken Grease." The even bigger news is that he bowed two new songs: "The Charade" and "Sugar Day."
Check out those songs below.
The Roots' ?uestlove previously alluded to the fact that D'Angelo would be back into action this year, with a new album. Then there was that whole Soundgarden "Black Holed Sun" cover, and the announcement of forthcoming rare tour dates.
It's all very weird. I feel like I'm floating, and that I'm 18 again.
One of the most defiant films I saw at the Sundance Film Festival this year was director Rick Alverson’s “The Comedy,” a title oozing irony but boasting a weird, wooly ensemble that includes Tim & Eric, LCD Soundsystem’s James Murphy, actress Kate Lyn Sheil and comedian Jeff Jensen. The film itself was sort of a f*ck-you to traditional, protagonist-led dramatic narratives. It was built off of an 18-page treatment with almost all of it room for improvisation, and little-to-no script .
Two documentaries at the Sundance Film Festival turned their focus on American singer-songwriters making an impact on different eras of apartheid-stricken South Africa. But one major difference between the Paul Simon “Graceland” doc “Under African Skies” and Malik Bendjelloul's directorial debut “Searching for Sugar Man” are the artists’ awareness of their influence on that African country. Simon lived it. Obscure folk artist Rodriguez had no idea what the hell was going on.
It would be unlike the industry to let a groundbreaking album’s 25th anniversary come and go without some sort of fanfare. Last year was that arbitrary and round number of years for Paul Simon’s “Graceland” and it proved to be as good an opportunity as any for a reunion.