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Tag: Indie Rock (41-50 of 596)

Velvet Underground's John Cale on Lou Reed: 'I've lost my school-yard buddy'

Though they founded the Velvet Underground together and collaborated on and off for nearly half a century, Lou Reed and John Cale had a relatively contentious relationship over the course of their intertwined careers. (As recently as earlier this year, Cale expressed consternation over Reed reviving their Andy Warhol tribute project Songs For Drella.)

But that was put aside following the news of Reed’s passing. Cale took to his Facebook page yesterday to express his thoughts on his former bandmate in the wake of his death. “The world has lost a fine songwriter and poet,” Cale wrote. “I’ve lost my ‘school-yard buddy.’”

Reed, Cale, Sterling Morrison and drummer Maureen Tucker launched the Velvet Underground in the mid 1960s and produced two albums together—1967′s The Velvet Underground and Nico and 1968′s White Light/White Heat—before Cale was replaced by Doug Yule for the band’s 1969 self-titled album. Cale and Reed clashed over control of the band and its direction, with Cale always trying to pull more and more into the droning sounds of tracks like “Venus In Furs.”

Since leaving the Velvet Underground, Cale had a moderately successful solo career (his signature album, 1973′s Paris 1919, is a classic of the genre) and has also done well as a producer, primarily for late former VU chanteuse Nico.

In 1989, Reed and Cale came together following the death of mutual friend and mentor Andy Warhol. The pair had not spoken to one another for years before Warhol’s memorial service in 1987, and they reunited in 1990 to write a song cycle about Warhol called Songs For Drella. Though they didn’t tour, they did make a concert film shot by ace cinematographer Ed Lachman, which is hard to find but well worth seeing. Cale and Reed last worked together on the Velvet Underground reunion tour in 1993.

Reed passed away yesterday, October 27. The cause of death has still yet to be announced, though he had recently undergone surgery for a liver transplant.

Down with '00s nostalgia! Up with the Dismemberment Plan!

It’s a columnist’s cliche to say so, but when it comes to unpleasant inevitabilities, nostalgia’s right up there with death and taxes: We know it lies in wait, poised to deny the whatever’s good right about life right now—age and maturity, cool new shit, the Present. But lately it feeds another perspective-sapping distraction: Microtargeted online lists meant to light up little networks of people who share largely meaningless past experiences, like what massive university they attended or chain store they shopped at in high school. That’s what really grinds my gears. Surely there exists a list of Signs You Listened to Emo. And surely we’re fine as a culture having moved on from emo’s heyday, whatever you might think of Fall Out Boy’s punky new album or that song Haley Williams made with Zedd (or the current output of Dischord Records, for that matter). And I say this as an unreconstructed emo boy. READ FULL STORY

Hear a new song from Canadian indie band Reuben and the Dark -- EXCLUSIVE

It’s time to shed some light on Reuben and the Dark. (Sorry, we couldn’t help it.)

The Calgary-based group is the newest signee to Canada’s Arts & Crafts, the label that gave us such Canadian delights as Broken Social Scene and Feist. The band, led by singer-songwriter Reuben Bullock, is currently working on their 2014 debut, coproduced by Florence and the Machine drummer Chris Hayden.

Get an early exclusive listen here with the single “Rolling Stone”:

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Death Cab For Cutie's 'Transatlanticism' turns 10 -- looking back at a classic indie-rock album

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Earlier this year, the Postal Service celebrated the 10-year anniversary of its landmark one-off album Give Up

That album still holds up remarkably well, but it’s unfair to talk about Give Up without discussing frontman Ben Gibbard’s other landmark accomplishment from 2003: Death Cab For Cutie’s Transatlanticism, which came out a decade ago today.

The creation of Transatlanticism is not as romantic as the long-distance construction of the Postal Service’s Give Up, but Gibbard was working on both albums simultaneously, and it’s fair to think of the two as bookends; though there are thematic and tonal crossovers, they come from two very different places.

“Strangely, I don’t think the two records have much to do with each other as far as the emotional tone,” Gibbard told EW earlier this year. “I felt like I could shift pretty seamlessly between working on Postal Service and then turning around and writing a Death Cab song.” Gibbard allowed the tracks that Postal Service collaborator Jimmy Tamborello was sending him to dictate the emotional tone of the songs themselves, while Transatlanticism is the product of Death Cab’s collective hive mind.

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Hear Cass McCombs' new song 'Angel Blood' -- EXCLUSIVE

Acclaimed singer-songwriter Cass McCombs’ upcoming seventh album Big Wheel and Others has a whole lot of songs to dig into — 22, to be exact — and you can preview it with one of the first listens exclusively here.

The song “Angel Blood,” finds the Californian exploring ’70s Kris Kristofferson vibes with slide guitar and intimate, evocative vocals.

Listen below:

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Hear Dean Wareham's new song 'Emancipated Hearts' -- EXCLUSIVE

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If you’re a devoted fan of Galaxie 500/Luna/Dean & Britta fan like we are, you’ve probably spent more than a few days of your nights pining for some new music from Dean Wareham.

The indie-rock stalwart is releasing his first solo work, the Emancipated Hearts EP, this month; last week he dropped “Love Is Colder Than Death,” and today he’s previewing another unreleased track, “Emancipated Hearts,” which you can hear exclusively here:

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Watch Arcade Fire's 'Here Comes The Night Time' concert special

In case you were lulled to sleep by the weekend’s tepid Saturday Night Live premiere and missed musical guest Arcade Fire’s neon-colored concert special that aired right after the SNL credits rolled, you’re in luck: The entirety of the 22-minute affair, which features a bunch of new tracks from the band’s forthcoming album Reflektor, is now online.

Produced in association with the Creators Project and directed by Roman Coppola, Here Comes The Night Time features Arcade Fire frontman Win Butler jacking both Wayne Coyne and the ’97 version of Marilyn Manson. There’s also James Franco auditioning for a role in the Bill & Ted remake, Michael Cera endorsing Shakira en Espanol (and then later lecturing about the coolness of rooks on a chess board), Bill Hader and Zach Galifianakis in space, and a lot of those suits that Mike Mills wore in the “What’s the Frequency, Kenneth?” video.

There will probably be some sort of Bingo board or drinking game surrounding this thing soon, so go ahead and get familiar below:

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EW Interview: Vampire Weekend talk about their current tour, 'Breaking Bad,' and serenading One Direction

Vampire weekend have been touring nearly nonstop since their third album, Modern Vampires of the City, bowed at No. 1 in May. During their brief hometown stopover in New York City last week, we grabbed frontman Ezra Koenig and drummer Chris Tomson to catch up and toast their absent comrades at East Village bar Scratchers. (Bassist Chris Baio now lives in London, and guitarist/keyboardist Rostam Batmanglij was visiting family.)

Read on as we talk DVDs, babies, and Steve Buscemi with Koenig and Tomson. And maybe get them a little bit drunk.

EW: You guys have played every festival from Coachella to Glastonbury this year, and now you’ve got dates through October, including a slot at Austin City Limits next month. That’s a lot of time on the tour bus — how do you pass the time?

EZRA KOENIG [sipping Patron]: I like to read, watch TV.

CHRIS TOMSON [drinking a pale ale]: There’s a real big movement within the band to read books on electronic devices. There’s been a real uptick in that lately. And in the past, we’ve done a lot of serial television shows. Either very occasionally collectively, but mainly on our own. Someone will go down into an Entourage hole or something like that.

EK: We do like the kind of lesser Owen Wilson movies. And there was a time when I was watching the first few seasons of Martin. I usually watch that before the show, and then later maybe watch some Sopranos or something.

CT: Actually, this next tour, when TV season starts up again, we’ll probably definitely going to set the bus DVR to Key and Peele. That’s coming back strong. We also like the show Nathan For You. Dude’s Canadian.

It must be hard to keep up with your favorite shows on tour. 

CT: Well, we’re going to be in L.A. on the day that the last Breaking Bad airs. And apparently — I don’t know anything about this, [bassist Chris] Baio told us about it — but at Hollywood Forever Cemetery there’s going to be a party where the cast is going to be there. They’re going to show the first episode and then the last one, with maybe a Q&A thing. So I think we’re all trying to hustle up and catch up so we can be ready if we can get into that thing. READ FULL STORY

Singer-songwriter Greg Holden steps into the spotlight from behind Phillip Phillips and 'Sons of Anarchy'

You may not know the name Greg Holden (unless you live in the Netherlands; he hit number two on the charts there).

But odds are good that you already know the British-born Lone Bellow tourmate’s songs — like the massive hit he co-penned for American Idol winner Phillip Phillips, and had several memorable TV placements in his own name, including this Target ad and his song “The Lost Boy,” which underscored a key sequence during the fifth season of Sons of Anarchy.

For the millions who watch that show, “The Lost Boy” is a eulogy for a fallen character, but the song was actually inspired by Dave Eggers’ novel What Is The What, about a group of Sudanese refugees. “If you listen to the lyrics, it’s not like you’d know that it was about a Sudanese refugee,” he tells EW. “I know what it’s about, but I’m really glad people are able to take their own meanings from it. I like it when songs have more meanings than just the one that was intended, so I’m glad that people were able to relate to it through Sons of Anarchy.” READ FULL STORY

Vampire Weekend will rock you -- then edit your free daily paper?

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Sorry, junior editors at the Metro newspapers — Vampire Weekend just got promoted ahead of you.

It’s been announced that the erudite foursome will “assistant edit” all Metro editions tomorrow, because everybody knows print journalism is where the real money is. (Sorry, band named Editors, guess you were overqualified.)

The one-day-only journalistic appointment at the newspaper chain (carried in New York, Boston, and Philadelphia) was described in the press release like so:

“Working together with the papers’ permanent editors, the band will choose subject matter to be covered by the publications while curating a special section devoted to the best foods of New York City.”

What’s next, Arcade Fire copyediting A.M. New York? Thom Yorke fact-checking Mother Jones? 2 Chainz executive-editing EW? (Yer out, Jason!) Let us know your dream musician-publication mash-up in the comments. We’d have Ryan Adams do it, but he’s busy making photocopies and getting us coffee.

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