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Tag: Indie Rock (61-70 of 600)

MGMT's best song in ages, 'Your Life Is a Lie,' gets a great video -- WATCH

We all know MGMT have a fame-and-fortune complex: When F&F beckoned, they responded with the snidely-titled Congratulations, which our then-critic called an “odd little sonic onion … [that] studiously avoided any obvious pop hook.”

Their third album, which comes out September 17, is self-titled, so it could be about anything. “Alien Days,” a space-out from the album that was released as a Record Store Day cassingle (LOL), suggested we were in for more of the same. But their bracing new single, “Your Life Is a Lie,” hints at an MGMT under new management.

Two minutes long and rather rude, “Your Life Is a Lie” is more or less the sound of a band pulling its head out of its ass. It’s got a gnarly, looping garage-rock drive, and more niceties than you’d expect from such a quickie: cowbell, an almost comically buzzy high-end, some kind of something solo that you could (yes) call spacey, and a magnificent hook.

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Hear Kathleen Hanna's new Julie Ruin song 'Ha Ha Ha' -- EXCLUSIVE

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After laying low for serious bummer reasons for several years, riot grrrl icon Kathleen Hanna is back. The Bikini Kill and Le Tigre veteran’s new project the Julie Ruin is set to release their debut album Run Fast on Sept. 3, and the band recently put out a great video for the lead single “Oh Come On.”

Now they’re releasing another new song from the album, the spiky, hyperactive “Ha Ha Ha,” which you can hear it exclusively here:

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Mumford & Sons get Jason Sudeikis, Jason Bateman and more to spoof them in 'Hopeless Wanderer' video -- WATCH

Mumford & Sons have got a sense of humor after all … is what you’re supposed to think after watching the video for “Hopeless Wanderer.”

The professional white funnymen Jason Sudeikis, Jason Bateman, Ed Helms and Wil Forte stand in for the band, wearing suspenders and fake beards, hauling their instruments down a dusty lane, playing in a row boat, crying, tasting each other’s tears, and eventually smashing their instruments and at least one of the filament bulbs lighting the barn they’re in.

Because you can’t make a parody these days without taking it over the top, Sudeikis and Forte also share an open-mouthed kiss.

I was more tickled by the smoke coming off Bateman’s hands during his banjo solo. Although the kiss seems less rote when you think of it as underlining the song’s vague references to a young man’s romantic confusion (key line: “I wrestled long with my youth,” snicker).

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Lollapalooza 2013 Day 2: Mumford & Sons set the tone, Kendrick Lamar ascends, and Postal Service run a victory lap

Most of the time, Lollapalooza’s scheduling seems left to the whims of fate, the daily lineup strung together seemingly at random so that indie poppers bump up against metal acts and soul throwbacks open for folky singer-songwriters. It makes for some wildly jarring juxtapositions, with occasional stumbles into transcendence.

Saturday was different, at least at the south end of Chicago’s Grant Park. The ascendance of headliners Mumford & Sons rippled all the way into the afternoon, where banjo-friendly arrangements and country twang informed the bulk of the performances: Court Yard Hounds brought their pop-friendly version of crossover bluegrass, Eric Church stomped through a set of outlaw Southern rock, and twee Irish strummers Little Green Cars crafted colorful tapestries out of all manner of acoustic thread. (The National, sandwiched in between Church and semi-main eventers the Lumineers, must have been deeply confused by all the headband-wearing sunflower girls hanging around, as they’re used to playing for broodier types. Still, they did dedicate “England” to Mumford & Sons.)

It all led up to a triumphant turn by Mumford & Sons, who drew a massive throng of folk-hungry youth to sing along with Marcus Mumford’s every bellow and wail. There wasn’t a single tune across Mumford’s nearly two-hour set that wasn’t greeted as a massive hit, though the gathering masses reserved extra glee for “Little Lion Man,” “I Will Wait,” and “Lover of the Light.”

Mumford & Sons are not showmen, and their performance was free of both bells and whistles, but their songs clearly resonate across a wide spectrum, and they’re savvy enough to get out of the way of their trainload of sing-alongs.

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Lollapalooza 2013 Day 1: The Killers and New Order bridge the gap, Nine Inch Nails challenges, Imagine Dragons blow up, and Icona Pop make it rain

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In the video for New Order’s “Crystal”—which opened the veteran Manchester dance-rockers’ twilight set on the first day of Lollapalooza—there is a fake band called the Killers that inspired the name of the real band known as the Killers, who headlined the southernmost stage in Chicago’s Grant Park on Friday night. Those who spent the evening parked in front of that stage were treated to four hours of blissful, rhythmic, guitar-based pop that tapped into Lollapalooza’s spirit of eclecticism and brotherhood.

Even in their first-album youth, the Killers have always played the role of a big rock band—they seem custom-built for festival headlining slots. They did not disappoint; their 90-minute Friday finale was a gimmick-free charge through their impressive, hook-filled back catalog.Frontman Brandon Flowers worked the tens of thousands in front of him like a Vegas lounge revue, strutting and pounding through neutron bombs like “Mr. Brightside” and “Somebody Told Me,” and in a charming bit of hero worship that brought the evening back around for a resolution, he welcomed New Order frontman Bernard Sumner to join the Killers for a cover of Joy Division’s “Shadowplay,” which they turned into a spry, jittery singalong.

In fact, the transformation of Joy Division songs might have been the highlight of Friday’s festivities. New Order finished their performance with three nods to the band they used to be, ripping through “Atmosphere,” “Transmission,” and “Love Will Tear Us Apart” as a tribute to late JD frontman Ian Curtis. In a remarkable bit of alchemy, Sumner (with a healthy assist from a game audience) turned “Love Will Tear Us Apart,” a downer of a song written by a guy who hanged himself, into a (pardon the pun) joyous anthem. Maybe that’s just the power of New Order, who ripped through a hit-filled set of effervescent synth-powered janglers like the dreamy “The Perfect Kiss” and a thudding “Blue Monday.” READ FULL STORY

Lollapalooza 2013 Day 0: Queens of the Stone Age start the weekend early

The official start of Lollapalooza 2013 was set for 11:30 AM on Friday, when the School of Rock tykes unleash the weekend’s first notes on the Kidzapalooza stage. And though his band wasn’t set to kick off their Lolla performance until Friday evening, Queens of the Stone Age frontman Josh Homme had already started the party.

“I’m way high right now,” Homme told the sweaty crowd at the Metro on Thursday night during a raucous pre-Lollapalooza show. “Way higher than I look.”

He had clearly figured out the correct chemical cocktail for himself, as Homme and his gang of desert-rock ruffians plowed through nearly two hours of blistering riffs and druggy singalongs. READ FULL STORY

Watch the National perform 'This Is the Last Time' on 'The Artists Den' -- EXCLUSIVE

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The public-television concert series Live From the Artists Den is currently in its home stretch, but there are still a couple of great shows left. The next one, airing this Thursday, is going to feature the National — and you can watch a preview of it exclusively here.

The Brooklyn-via-Cincinnati band bring their characteristically dark and brooding vibe to the clip while performing their song “This Is the Last Time,” taken from their recently released sixth album Trouble Will Find Me.

Take a look at the clip below:

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Vampire Weekend bangs out carefree cover of Robin Thicke's 'Blurred Lines': Listen here

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Looks like Robin Thicke and the indie world have a little back-and-forth brewing.

Recently, you may recall, the “Blurred Lines” singer took on the Swedish electro-pop duo Icona Pop by Thicke-ifying their hot single “I Love It.” Before that, Queens of the Stone Age took their own crack at “Blurred Lines” while performing for the BBC.

And now the latest volley comes from Vampire Weekend, who offer what’s probably the most fun, unbuttoned cover of Thicke’s No 1 hit. Check it out below:

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L.A. rockers Family of the Year gets tropical in 'St. Croix' video -- EXCLUSIVE

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If you’re stuck in a cubicle this summer, let Family of the Year take you away.

The L.A. band’s latest video for their single “St. Croix” is full of dreamy palm trees and darkly tropical vibes, just like the title implies. The song, off of their 2012 album Loma Vista, even comes with suggestive island-ready lyrics like, “You bring the ocean, I’ll bring the motion/Dancing all night in slow motion.” Wink wink!

Take a mini-vacation with the “St. Croix” video below:

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Radiohead's Thom Yorke angry about Spotify compensation, pulls music from streaming service

Another day, another English musician getting upset over his compensation from a streaming service.

Following in the footsteps of the gentlemen from Pink Floyd, Radiohead frontman Thom Yorke took umbrage with the amount of money paid to artists who allow their music on Spotify. “Make no mistake new artists you discover on #Spotify will no get paid,” Yorke tweeted. “Meanwhile shareholders will shortly being rolling in it. Simples.”

Yorke engaged in a Twitter exchange with his longtime producer and collaborator Nigel Godrich, who tweeted, “We’re off of Spotify. Can’t do that no more man. Small meaningless rebellion.”

That means that Spotify customers can no longer stream Yorke’s 2006 solo album The Eraser, the first album from Godrich’s Ultraista project, or the Atoms For Peace album Amok. “The reason is that new artists get paid f— all with this model. It’s an equation that just doesn’t work,” Godrich wrote on Twitter. “Meanwhile small labels and new artists can’t even keep their lights on. It’s just not right.”

More and more musicians have been speaking up about streaming services, who continually swear that their compensation packages are fair. In the eyes of Yorke and Godrich, services like Spotify (or Pandora, another frequent adversary of musicians) devalue the product created by artists.

Yorke drove that point home in his most recent tweet: “For me In Rainbows was a statement of trust. People still value new music,” he wrote, referencing the album his band released as a pay-what-you-want download back in 2007. “That’s all we’d like from Spotify. Don’t make us the target.”

UPDATE: Spotify released a statement in response to Yorke and Godrich’s tweets:

“Spotify’s goal is to grow a service which people love, ultimately want to pay for, and which will provide the financial support to the music industry necessary to invest in new talent and music,” a company spokesperson said today.

“We want to help artists connect with their fans, find new audiences, grow their fan base and make a living from the music we all love.

“Right now we’re still in the early stages of a long-term project that’s already having a hugely positive effect on artists and new music. We’ve already paid US$500M to rightsholders so far and by the end of 2013 this number will reach US$1bn. Much of this money is being invested in nurturing new talent and producing great new music.

“We’re 100% committed to making Spotify the most artist-friendly music service possible, and are constantly talking to artists and managers about how Spotify can help build their careers.”

What do you think? What will the tipping point be for Spotify and other streaming services? Do you believe there is a way for everybody to be fairly compensated while still delivering the same service?

Read More on EW.com:
Reassessing Radiohead
Pink Floyd writes an open letter on streaming services titled ‘Pandora’s Internet radio royalty ripoff’
Daft Punk breaks Spotify record, beat previous Mumford record

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