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Tag: An EW Exclusive! (91-100 of 614)

Chippy Nonstop unveils her dirty-cute single 'Peeka'

Rapper and burgeoning pop star Chippy Nonstop resides in Los Angeles, but it might be more accurate to say she lives on the Internet, where she’s amassed an army of fans on Twitter and other social networking platforms through virally popular singles like “Money Dance” and “Kicked Out Da Club.” The latter single perfectly sums up both her sound (club rap with an emphasis on regional styles like Bay Area hyphy) and her philosophy (which is YOLO to the extreme).

Her latest single is called “Peeka,” which pairs a buzzy, bass-heavy beat with pitch-shifted vocals that use the name of the most popular Pokemon character as a euphemism for a very non-G-rated act. She says that it was recorded in just one day, and that, “I want my fans to have this song for the summer time to dance outside their homes in the sprinklers in.” As I write this, those fans are feverishly posting memes in anticipation of its release, so without further ado, here it is.

White Arrows get electro-psychedelic with 'We Can't Ever Die'

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Los Angeles quintet White Arrows are indie rockers with big pop ambitions and a whole bunch of synthesizers. This combination has earned them spots on tours with taste-making bands like Cults and White Denim and slots at big festivals like Coachella and Sasquatch. After several years of touring behind their debut album, Dry Land Is Not A Myth, they’ve finally followed it up with In Bardo, out Sept. 16 on Votiv. On the lead single, “We Can’t Ever Die,” funky, disco-inflected verses segue smoothly into arena-worthy hooks that sound like a modern, not-annoying reincarnation of U2, with the whole thing decorated with burbling 8-bit-style synths. They’re on tour with the Neighbourhood and Danny Brown through the end of the month.

Hear Claude VonStroke's acid-drenched banger 'CaliFuture'

Claude VonStroke has spent the decade pushing dance music’s boundaries while maintaining a strong link to the style’s roots, something a lot of bigger EDM acts just don’t have. On his latest, “CaliFuture,” he fuses the gnarly, squelching synths of vintage Chicago acid house with a funky vocal line that sounds like it could have been lifted right off some super-rare ’80s electro 12-inch.

“I moved to California over 17 years ago with big dreams just like everyone else,” VonStroke says of the song’s lyrical theme. “Originally I thought I would be a filmmaker but I was always better at music. I worked every job from fake perfume salesman to tour guide at Paramount. I got screamed at for many years by Ari Gold-type movie producers but always with a blind belief that someday something good would happen. That’s what this song is about: the underlying belief that no matter how bad it is, you can be plucked out of oblivion and make it big in California.”

“CaliFuture” is available now on Beatport.

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Salme Dahlstrom premieres 'Pop Ur Heart Out'

You may not recognize Salme Dahlstrom’s name, but it’s very likely that you’ve heard her song “C’mon Y’all” in a commercial (for everything from Special K to Subaru), a movie, a TV show, or a video game. Or you may have heard another song from her 2008 album The Acid Cowgirl Audio Trade somewhere, since she managed to license every single track on it, Moby-style.

The follow-up to Acid Cowgirl, titled Pop Propaganda Volume 2: Retro Funk Soul Junction, comes out September 16—and if the lead single, “Pop Ur Heart Out” is any indication, she won’t have problem selling these songs either. “Pop”—which Dahlstrom produced herself, like all her material—is relentlessly hooky and ridiculously accessible, with bits of hip-hop and dance music floating around in a matrix of straight sugar pop. Expect to see it in about a million more commercials.

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Hear Justin Townes Earle's contribution to an all-star Springsteen tribute

There is a certain kind of Springsteen fan who loves the songs on his 30-million-selling Born in the U.S.A. but can’t stand the album’s highly polished, synthesizer-heavy sheen. That type of fan should be thrilled about the upcoming tribute compilation Dead Man’s Town, out Sept. 16, where a cast of roots-rock luminaries, including North Mississippi Allstars, Low, Nicole Atkins, Blitzen Trapper, Joe Pug, and Trampled by Turtles, offer a stripped-down song-by-song reimagining of Born in the U.S.A. that aims to replicate some of the powerful intimacy of its predecessor, 1982’s Nebraska.

Outlaw country scion Justin Townes Earle is involved, which shouldn’t be too surprising to anyone familiar with his habit of covering Springsteen songs and also of appearing pretty much anywhere rootsy, acoustic-based rock music is being made. For Dead Man’s Town, he gives a bare-bones rendition of “Glory Days” that peels back the original’s feel-good bar-band sound to highlight the small-town pathos at its core. We have the first listen here.

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Video: Heaven's Jail premieres 'Suicide'

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Francesco Ferorelli grew up on rap and heavy metal, but as the primary songwriter for the group Heaven’s Jail he makes folk rock with a traditionalist bent and an attitude that recalls sardonic ’70s singer-songwriters like Kris Kristofferson and Loudon Wainwright III. The group’s latest, Ace Called Zero (out Aug. 26 on Heart Break Beat), was recorded last fall in Connecticut, with Matthew Houck (a.k.a. Phosphorescent) producing and Ben Greenberg of the Men engineering, making it kind of a super-session of Brooklyn roots rockers.

The first video from the album is for its second single, “Suicide.” It was directed by Curtis Wayne Millard, who’s who’s worked with The Head and The Heart, and its chilly visuals pair well with the song’s bare-bones arrangement. Ferorelli says, “This video was born in a moment of inspiration. We drove up to the woods to shoot the album cover and halfway through Curtis said ‘I think we might have a music video too,’ so he grabbed the Super 8 and just started filming. The weather was on our side providing thick rolling mist and drizzling rain, a couple feet of snow still covered the ground and night was approaching quickly. In several short enigmatic scenes he harnessed the fleeting spirit of the song and created an elegant visual companion.”

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In the studio with Weezer: Bandmates debate Bob Seger vs. BTO

About a month ago, I spent a few days in the studio with Weezer as they put the finishing touches on their new album, Everything Will Be Alright in the End. Despite the fact that this is their ninth proper studio album, the process of making records hasn’t gotten any easier. “Making records is weird,” drummer Pat Wilson said after a particularly intense session. “It’s different every time.”

But there’s also time for fun, and one of the things the band really drove home during the course of our conversations was how much they have really been enjoying each other lately. There hasn’t always been harmony, but at the moment they are a pretty cohesive unit.

That being said, they are not without argument. Case in point: After recording wrapped one day, Wilson and bassist Scott Shriner stuck around to play me some rough tracks and talk about the recording process. But we soon drifted away from Everything Will Be Alright In The End to a standing argument between the two.  READ FULL STORY

Video: EULA goes retro for dance-punky 'Orderly'

The art-punk band EULA got its start in New Haven, Connecticut, a few years ago as a home recording project for frontwoman Alyse Lamb. A handful of records, several tours, and one move to Brooklyn later, the group has solidified a sharp-edged, frenetic sound that ties together postpunk, No Wave, and Riot Grrrl revivalism, producing something that could work equally well as the soundtrack for a riot or a dance party.

Last month, they released a new single recorded with Martin Bisi, who manned the boards for seminal albums by alt-rock icons like Sonic Youth and the Swans. Now the track, “Orderly,” is getting its own video that mashes up images of Lamb and some old-timey dancing ladies to kaleidoscopically psychedelic effect.

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The Muffs return with the spiky, sugary 'Weird Boy Next Door'

The fact that the Muffs weren’t a bigger deal back in the ’90s had less to do with their abilities than the fact that they were just a little too far ahead of their time. During the peak years of the grunge era, a band that combined power pop, garage rock, and punk was apparently a hard sell, even if they were making some of the most infectious tunes in alt-rock at the time.

Since then, though, it’s become a fairly common formula in the rock underground, especially in the scene that’s coalesced around California indie label Burger Records. The Muffs recently teamed up with Burger to release their first new album in 10 years, Whoop Dee Doo, which comes out July 29. Judging by “Weird Boy Next Door,” they haven’t lost any of their edge in the meantime, and frontwoman Kim Shattuck’s throat-shredding howl hasn’t lost any of its power.

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Weezer's Rivers Cuomo on new album's 'Back To The Shack'

Thanks to the ongoing “Weezer Wednesday” series, Weezer has been teasing out portions of its new album Everything Will Be Alright In The End, which will be landing on store shelves on September 30. But so far, only one song has been heard in its entirety, and that’s “Back to the Shack.” The band premiered the song on its own cruise a few months back, and thanks to some well-circulated fan-shot videos, the song has become the first full taste of the new album.  READ FULL STORY

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