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Tag: An EW Exclusive! (1-10 of 614)

Hear Regina Spektor's song from the final episode of 'Boardwalk Empire'

On Sunday night Boardwalk Empire will wrap up its five-season run. The following day the latest installment of the show’s soundtrack will hit iTunes, featuring songs by Norah Jones, Elvis Costello, JD McPherson, series favorite Loudon Wainwright III, and Regina Spektor, whose rendition of “Love Me or Leave Me” will appear in the final episode. EW has the exclusive first listen here.

Written by Songwriting Hall of Famers Gus Kahn and Walter Donaldson (who also wrote “Makin’ Whoopee,” among other classics), it’s been recorded by everyone from Bing Crosby to Olivia Newton-John since it was first released in 1928. “We love Regina,” Boardwalk music supervisor Randall Poster writes in an email. “Her second appearance in Boardwalk Empire. While this song plays in the body of the show, it reinforces the happy fact that she would have been a singing sensation in any decade!”

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See 'Office Space' star Greg Pitts in Teach Me Equals' delightfully weird 'Coelacanth' video

At this point in the game, it feels a lot like the possibilities of the traditional drums-bass-guitar rock band setup have been exhausted, and that every different type of noise that can be made with that configuration have already been made. Avant-punk duo Teach Me Equals have solved that problem by composing and recording their new album Knives in the Hope Chest using nothing more than cello, guitar, violin, voice, and a few electronic flourishes like the beat on their single “Coelacanth” made from manipulated samples of the buzzing noise you get when you touch the end of a plugged-in guitar cable. Between the unconventional instrumentation and angular compositions their music sounds like musique concrète run through the ’90s Pacific Northwest experimental hardcore scene.

In the video for “Coelacanth,” Office Space‘s Greg Pitts (a.k.a. “Drew the O-Face Guy”) romances the titular lobe-finned fish, which was thought to have gone extinct 66 million years ago before they were discovered to be living in small populations around the globe. It’s a deeply weird scenario, but strangely tender as well.

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Stream Chance the Rapper tourmate Sweater Beats's fizzy 'Cloud City' EP

Sweater-Beats

In the two years since his single “MLLN DLLR” put him on the map Brooklyn beat maker Antonio Cuna, a.k.a. Sweater Beats, has accumulated an enviable list of co-signs from important figures in EDM and hip-hop, the two genres that he blends in his music to giddy, effervescent effect. He’s been big-upped by Diplo, performed for Boiler Room, and toured with Chet Faker, Flume, and Chicago star-in-the-making Chance the Rapper, who he’s on the road with right now.

Next Tuesday, Oct. 28, the Huh What & Where label will release a free-to-download EP entitled Cloud City that whips together club rap, trap music, a little electropop, and a touch of ambient atmosphere into four frothy tracks that bang hard but stay airy and light. Until then, you can stream it here.

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Get a taste of synesthesia with Deep Sea Diver's vibrant 'One by One' video

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Jessica Dobson has spent the past few years as a guitarist for hire, with a résumé that includes stints playing with Beck, The Shins, The Yeah Yeah Yeahs, Spoon, and The Divine Fits. Deep Sea Diver is her outlet for her own music, which trades the jangly guitars of the bands she’s been playing with for a more electronics-based sound and a songwriting style that combines quirky indie-pop with more dance floor-oriented stuff.

The video for the band’s new single “One by One” from their recent EP Always Waiting was directed by its drummer (and Dobson’s husband) Peter Mansen. It’s Mansen’s first attempt at shooting a music video but it has an interesting concept: Those large fields of color throughout it were chosen by fans of the band who have a type of synesthesia that lets them experience different sounds as specific colors. The dancer is Mansen’s younger brother, who combines a 6’10” frame with a very unique dance style.

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Electropop chanteuse Chela channels vintage Madonna on 'Handful of Gold'

Chela

EW recently reported that IHEARTCOMIX, stalwart pillar of the LA dance music community, is launching a new singles-only label called IHC 1NFINITY. Now we’ve got a first look at some of the music they’ll be releasing.

Its first release is by Australian electropop artist Chela, who’s previously recorded for the taste-making French record/fashion label Kitsuné. On previous releases, she’s offered a contemporary update of bouncy ’80s new wave from the brief era when synthesizers had come into the picture but the influence of UK punk and post-punk hadn’t quite taken over yet. Her new track, “Handful of Gold,” has a bigger beat and a bigger chorus than her earlier singles; the results make Chela sound almost spookily like Madonna back before she reached a superhuman level of fame, when she could still be caught kicking it at Danceteria. It’s an auspicious start for an audacious new venture.

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My Gold Mask finds goth-pop ecstasy on 'Explode'

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Chicagoans Gretta Rochelle and Jack Armondo have been making music together for almost as long as they’ve been romantically involved.

After playing in a “sex rock” band together for a few years, they launched My Gold Mask as a more electronics-based, pop-oriented project that over the past half decade has found a sweet spot between Siouxsie & the Banshees and Robyn. After last year’s Leave Me Midnight LP the band–now a trio thanks to the addition of drummer James Andrew–is focusing on the release of a series of singles recorded by metal guru Sanford Parker. The latest, “Explode,” is heavier than anything they’ve ever recorded, filled with dense synthesizer tones and a relentlessly pounding drum part, but with plenty of big hooks the song can gracefully slide into your brain and wedge itself there.

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DMA's give the Britpop revival a boost with 'Laced'

DMAS

It’s been 19 years since Oasis released (What’s the Story) Morning Glory?, so it’s about time for Britpop to have another day in the sun.

There’s already been a marked increase recently in bands sonically referencing Britain’s crunchy but unabashedly poppy response to the relatively dour American alt-rock movement, and a few, like Newtown, Australia’s DMA’s, who seem to consider it a primary musical touchstone. The handful of home-recorded songs they’ve released so far have not just the slurry, ragged lead vocals of classic Oasis, but that band’s buoyant sense of melody as well.

Their latest, “Laced,” combines that with some of The Verve’s stoned ambience and Britpop godfathers XTC’s fizzy bubblegum edge. “Laced” and “So We Know” be released as a single in November, available digitally via Mermaid Avenue in the U.S.

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Ta-ku puts a dreamy spin on Young & Sick's 'Heartache Fetish'

YOUNG-AND-SICK

Young & Sick is the brainchild of Dutch artist Nick Van Hofwegen, a multimedia project that encompasses not only his visual art (which has graced the covers of records by Maroon 5, Robin Thicke, and Foster the People, among others) but also the music he produces under the same alias.

Back in the spring, he released a track called “Heartache Fetish” that doses ’90s bump-and-grind R&B with the same heady surrealism that infuses his artwork and has become one of his most popular songs.

Now he’s recruited Australian electronic artist Ta-ku, who previously turned Chet Faker’s “Talk Is Cheap” into a syrupy sonic puddle, for a remix that injects the song with bits of cloud rap and two-step and transforms it into a mellower but substantially stranger listening experience.

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Museum of Love combines synthesizers, sculpture, and sadness on 'The Who's Who of Who Cares'

Like their DFA label mates, Museum of Love‘s Pat Mahoney and Dennis McNany make music that seems to come from an alternate universe where guitar-based rock ‘n’ roll died out in the late ’70s and was replaced by electronic musicians with analog gear and more delicately nuanced sensibilities who in the timeline we inhabit have been relegated to cult status. The first single from their brand new self-titled debut LP, the funky but vaguely bummed-out “The Who’s Who of Who Cares,” offers interlocking synthesizer patterns, an archly theatrical vocal melody, and plenty of horn and percussion embellishments.

Together, the combination sounds like a collaboration between Roxy Music, Arthur Russell, and the Salsoul Orchestra that was handed off to a Chicago house producer for remixing. For the video, Mahoney shows off the sculpting skills he developed in his pre-music career working for the toy industry to create a reproduction of McNany’s head which the then promptly destroys.

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Wild Cub blend heartachy hooks and hypnotic visuals in a new version of 'Colour'

Back in the spring, Nashville indie rockers Wild Cub released a video for their song “Colour” from last year’s Youth LP, a swoony ballad possessed of a nervy postpunk energy and a visual (created by Drew Bourdet and Dustin Lane) with pretty young people doing the low-key profound things that young people do, like drive around in cars and make out with each other. The band’s latest release is a “Colour” single, which includes not only the radio edit of the song but a radically different version recorded with Spoon drummer/producer Jim Eno and featuring singer-songwriter Jessie Baylin that slows things down, smooths them out, and lets it all breathe in a way that shows an entirely different side to the composition that’s softer and even a little heartbreaky. Similarly, the accompanying video presents the original material in a different way, editing outtakes from the first “Colour” visual into a dreamy, hypnotic collage.

The “Colour” single, which also includes a remix of the Youth song “Thunder Clatter” by Jensen Sportag, is out digitally now on Mom + Pop, with a limited edition 10″ vinyl version out Oct. 28. They’ll be heading out on tour with Fun. offshoot Bleachers starting later this month.

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