Anders Trentemøller is a Danish electronic musician who’s known for blending cutting-edge electronic production with dark and moody post-punk, resulting in tracks that can make a grown-up goth kid weak in the knees. For his last album, Lost, he took a more indie-friendly approach, collaborating with members of Lower Dens, Low, and the Raveonettes. On Sept. 1, he’ll release a set of remixes of Lost songs, including his own reworking of “Come Undone” featuring vocals by Kazu Makino of Blonde Redhead. The accompanying video, by director Andreas Emenius, pairs the track’s shimmering electro-funk with greyscale footage of a diver in slow motion, creating a moody, nearly abstract juxtaposition that the old Factory Records creative team would have been proud of.
Tag: An EW Exclusive! (71-80 of 619)
After a solid decade as the go-to soundtrack for disaffected youth, emo has pretty much suffocated itself beneath a mountain of asymmetrical haircuts, metalcore breakdowns, and barely sublimated misogyny, and few people are in mourning over it. However, there’s a growing wave of young musicians who are throwing out the subgenre’s recent history and returning to the core values that defined it in the ’90s (before it was absorbed by Hot Topic), fusing punk’s energy and DIY ethos with the swooning romanticism of a teenage Smiths fan and the delicate melodies of a ’70s singer-songwriter.
Philly’s Modern Baseball is at the leading edge of this movement, and may be the most accessible to pop fans who don’t know or don’t care that there’s even an emo revival happening. Their latest single, “Pothole,” foregoes the pop-punk tendencies that define much of their material in favor of lightly fingerpicked acoustic guitar and nakedly raw vocals, to subtly powerful effect. The video, made largely out of footage filmed on one of their tours, highlights the energy that the band and their community of fans produce together at their shows, as well as the monotony of life on the road.
Electronic musician Dan Bodan came of age in Montreal’s fertile noise scene, but after he was exposed to Berlin nightclubs while studying abroad, he turned his attention to more coherent electronic expression. His debut album, Soft, comes out Oct. 28 on the esteemed DFA Records label.
Like DFA founder and LCD Soundsystem front man James Murphy, Bodan mixes danceable beats with aching pop hooks and deeply expressive vocals. He also shares the same disregard for genre boundaries; while the album centers around electropop, there are bits of techno and drum ‘n’ bass floating around in the mix.
Soft‘s lead single is “Jaw of Life,” which blends rich analog synth sounds, the funkier end of the ’80s pop spectrum, and Bodan’s voice into a lovely and unguardedly intimate ballad. READ FULL STORY
For the past few years, indie auteur Stuart Murdoch has been splitting his energies between his usual gig leading Belle and Sebastian and a project called God Help the Girl. It started out as an experiment in which Murdoch and the rest of his group backed a cast of female singers he recruited through an ad in a Glasgow magazine, but since releasing a self-titled LP in 2009, the venture has grown considerably more ambitious.
Sept. 5 will see the release of a God Help the Girl film, written and directed by Murdoch. Starring Emily Browning, Olly Alexander, Hannah Murray, and Pierre Boulanger, it expands on Murdoch’s long-standing fascination with impeccably vintage-attired, romantically entangled young people in Glasgow. It has a strong musical aspect, as you might expect, and the soundtrack is comprised of previous GHTG recordings, new recordings sung by the film’s cast, with dialogue and score woven throughout, helping to underline the overall project’s leaky boundaries when it comes to format.
Freddie Mercury was such an iconic performer that it can be hard to listen to him and not re-create some of his famous body language: the pensively clenched fist, the hand reaching out as if to grasp an elusive feeling. We’ve all done it. The protagonist in the latest video by Buffalo trio the Tins takes things a step further, donning a fake mustache and taking his Freddie impression out onto the streets alongside a remarkably chill feline friend. The jagged power pop of “If You Want to Navigate” is a world away from Queen’s bombast, but the catchy tune plays well with the clip’s muted black-and-white tones and oddball energy.
As a producer and one half of the multi-instrumentalist duo the Rondo Brothers, Jim Greer has worked alongside acts like Foster the People, Galactic, and Yoko Ono, but the untimely loss of his three-year-old son to pediatric cancer almost drove him to quit music entirely. His new album Little Wings, which he’s releasing under the stage name Jim on Aug. 31, documents his struggle through the experience and will benefit the Teddy Berger-Greer Neuroblastoma Research Fund, which Greer set up through the nonprofit Pablove Foundation for pediatric cancer.
The album’s lead single, “I Will Belong,” highlights how despite the serious subject matter, Greer’s continuing to make uplifting music. “I wrote it as a mantra after spending over 100 nights in a hospital,” he says. “At that point, I needed to remind myself that I would not be beaten by the cancer my son was fighting, and that I would be able to once again participate in life. For me, the song fuses hope with anger in a way I’ve never experienced.”
Brooklyn duo BLKKATHY sit at a unique confluence of R&B, experimental electronic music, and K Records-brand eccentric indie pop. Added together, it’s a bit like a more accessible, less aggressively quirky tUnE-yArDs—combined with lyrics that are by turn emotionally raw and mordantly funny. There’s a lot on their SoundCloud that can “make your booty bounce and ruin your makeup,” per their mission statement. READ FULL STORY
Denver’s BLKHRTS are part of an insurgent movement that’s given hip-hop its own version of punk rock, overflowing with anarchic energy and intensely distorted sounds. They’re a little more gothed out than the other acts that fall under the umbrella of “noise rap,” like CLPPNG and the recently disbanded Death Grips. In an interview with their hometown alt-weekly, the Denver Westword, the group’s producer Yonnas Abraham–who makes the band’s beats on an outdated, not entirely functional, 20-year-old sampler–calls himself, “obsessed with romance, obsessed with death, and obsessed with the color black.”
BLKHRTS goth tendencies come through loud and clear on “Porties,” where they rap about romantic complications over a beat that samples Bauhaus’ “She’s In Parties.” The video, with its moody, high-contrast visuals and party-hardy action, sums up the group’s mission nicely.
Golden Coast hails from Los Angeles, and their electronics-enhanced pop projects some of the same eternally sunny optimism that the city often gives off in movies. The band’s latest single, “Dream and an MPC,” is a follow-your-dreams anthem about hustling in the music biz, a trope as old as rock ‘n’ roll that they’ve updated with a modern technological twist, both in the shout-out to Akai’s iconic sampler and the streaks of ravey synthesizers laced throughout. Between the synths and a bouncy vocal melody that recalls Vampire Weekend’s cheerier moments, it should satisfy EDM fans and indie rockers alike.
With the Guardians of the Galaxy soundtrack recently winning both the top spot on the Billboard 200 album chart and a place in the hearts of the movie’s surprisingly enthusiastic legion of fans, ’70s soft rock is once again back in vogue. That’s good news for Toronto band Zeus, whose upcoming third album, boldly entitled Classic Zeus (out Sept. 2 on Arts and Crafts), draws from a wide range of influences but leans particularly hard on a similar strain of AM gold.
Classic Zeus offers a look inside the minds of a group that has matured greatly over the past few years, and particularly so during a bumpy period of time after their last album that brought them to the verge of breaking up. It’s weighty material, but for their latest single, “27 is the New 17,” they lighten things up with a presentation that resembles a fuzzy, indie-fied take on ELO’s brand of effervescent psychedelic pop.
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