Summer festival season has only just begun, but it’s already time to start thinking about where you’re going to binge on music this fall. You can start with Slim Shady himself, who is the just-announced headliner at the annual Austin City Limits Festival.
Tag: Lana Del Rey (1-10 of 22)
Lana Del Rey unveiled her new single “West Coast,” at Coachella last weekend — and in case you weren’t part of the desert masses this year, you can check it out below. The bluesy summer tune is off of her upcoming album Ultraviolence, which drops May 1st.
There’s a heavy influence from producer Dan Auerbach, The Black Keys frontman who has been working with her on the album. Can you catch the threads of The Beatles’ “And I Love Her“?
Check to make sure the rivers haven’t turned to blood and all first-borns aren’t suddenly afflicted with pox, because the impossible has happened: Taylor Swift was not nominated for an award.
The Academy of Motion Picture Arts and Sciences’ passing on Swift’s “Sweeter Than Fiction” (from the film One Chance) is easily one of the most high-profile snubs from this morning’s Oscar nominations announcement. The song was nominated for a Golden Globe and seemed like an obvious pick for an invite on Oscar night, if only because people love giving Taylor Swift gold trophies (and also because it would have brought some much-needed youth to the Oscar party).
Instead, the contenders in the Best Original Song category are U2′s “Ordinary Love” (from Mandela: Long Walk To Freedom), Karen O’s “The Moon Song” (Her), Pharrell Williams’ “Happy” (Despicable Me 2), Bruce Broughton and Dennis Spiegel’s “Alone But Not Alone” (from the deeply obscure Christian film of the same name), and the song “Let It Go” from the Disney blockbuster Frozen, which is performed by Idina Menzel and written by Kristen Anderson-Lopez and Robert Lopez. (It’s the writers, not the performers, who take home the gold.)
The race seems to be down to the Golden Globe winner and sentimental favorite “Ordinary Love” (which would be as much an award for the late Nelson Mandela as it would be for U2) and the sales juggernaut “Let It Go” (which has propelled the Frozen soundtrack to the top of the mainstream album chart and elevated it to gold status). “Happy” and “The Moon Song” are much longer shots, but both are both cool choices crafted by deeply respected members of the music world.
Of course, that leaves “Alone But Not Alone,” one of the most inexplicable Oscar nominations in the history of the awards. The film barely exists, and the song itself is a dreary dirge of a hymn that sounds like it should be played in the midst of a sleepy Sunday morning mass. It has virtually no chance of winning, and its legacy will be as a bizarre curiosity in a category notorious for them.
The lady who twerks can also sing — when she’s not busy lighting up a stunt doobie.
Miley Cyrus followed up her headline-ready performance at the MTV EMA Music Awards over the weekend with a stirring performance for Live Lounge on BBC Radio 1. After performing her hit “Wrecking Ball,” the singer, clad in a black turtleneck (Is this the most shocking thing she could wear at this point?), sang a slightly country-influenced version of Lana Del Rey’s contemplative ballad, “Summertime Sadness.”
Longtime Cyrus fans will note that this cover is very reminiscent of some tracks she memorably covered for her December 2012 “Backyard Sessions,” where she garnered attention for her stripped-down, emotionally naked performances.
Check out video of her cover below: READ FULL STORY
How perfect is it that the Cedric Gervais dance remix of Lana Del Rey’s “Summertime Sadness” has marked the end of the season? It broke into the Billboard Hot 100′s top 10 in mid-August, as the melancholy anticipation of fall was just beginning to kick in, and it slipped one spot (to tenth place place) this week, just as two important seasonal milestones were passed: Labor Day and unseating of the Song of the Summer, the Robin Thicke juggernaut “Blurred Lines,” from number one.
We have Katy Perry and her charming “Roar” to thank for the second event, which suggests—along with the vertiginous advancement of some other key women in pop—a new synchronicity’s fully in play on the charts. But more on that in a moment. The rise of “Summertime Sadness,” a song that debuted in its original form on the second day of the summer last year, is not merely a poetic capper to a few paradoxically cheerless months dominated by the merry men who brought you the uniformly milquetoast “Blurred Lines,” “Get Lucky” and The 20/20 Experience. It’s also an example of how a good song—and by an extension, an overdiscussed artist—can steadily progress from “irrelevance” to “hey, turn this up.” And that’s an optimistic lesson to take into any new season.
Back in August, Sean Ross at Billboard laid out a few good reasons why “Summertime Sadness”—and Lana Del Rey—was finally finding success in the U.S. Although he failed to mention the most obvious one, which is that her black-widow croon is more palatable drizzled over clubby zoom-zoom and not just soaked up in a bunch of strings. Reanimated by a European DJ or not, it was a slow populist swell—like the one for “Radioactive” by Imagine Dragons and “Cruise” by Florida Georgia Line, to name two old singles eventually done good—that eventually put “Summertime Sadness” back into our ears.
As for that new synchronicity: Lana Del Rey’s divvying up the top 10 with Perry, Miley Cyrus (“We Can’t Stop”), Lady Gaga (“Applause”) and the teenage New Zealander Lorde (“Royals”). Miley is pop music’s rising star, Perry and Gaga its boundary-busting spirit leaders, and Del Rey and Lorde its (totally unalike) outsiders. (And look out for Ariana Grande on the album chart!) Unlike the boys of summer (not to mention Imagine Dragons and Florida Georgia Line) this is a cast of characters bound to keep surprising us, whether or not it’s their turn at bat.
Stop whatever you are doing and listen to The Great Gatsby soundtrack, which is streaming in full over at NPR days before its May 7 release. The album arrives pre-buzzed, thanks to behind-the-scenes work from Jay-Z and a series of tracks from a series of high-wattage artists such as Florence + The Machine, Beyoncé, Fergie, and Jack White.
What results is very good (Lana) and very bad (Florence) and very, very interesting, as is the nature of projects that overflow with talented people all working at once. Also: very period. If you didn’t know the movie is set almost 100 years ago, the soundtrack shouts it out at you, all honking brass and a preference for tempos that slide up the scale like liquor, getting hot just as they hit the chorus. It’s Baz Luhrmann’s costume party-version of the ’20s. But it’s fun! Also sad! (People have a way of dying in Gatsby.) Talking points from the 14-track soundtrack:
Remember a year ago, when the Internet couldn’t shut up Lana Del Rey’s debut, Born to Die? The lovers and haters may never reconcile, but she’s still out there feeding the music-blog machine.
Case in point: This morning, Del Rey pulled back the curtain on “Young and Beautiful,” her contribution to the Jay-Z curate soundtrack for Baz Luhrmann’s The Great Gatsby (which stars Leonardo DiCaprio, Carey Mulligan, and a general lack of tasteful restraint).
“Young and Beautiful” has appeared in ads for the film, which makes sense because like seemingly all of Lana Del Rey’s catalog, it’s a sweeping epic about being young forever and going to parties. It asks a question at the center of Luhrmann’s film: “Will you still love me when I’m no longer young and beautiful?”
Listen below: READ FULL STORY
Listen to Jay-Z's 'The Great Gatsby' soundtrack sampler, featuring Fergie, Lana Del Rey, Jack White and more
No matter how The Great Gatsby does at the box office when it finally arrives in theaters next month, it’s eclectic, star-studded soundtrack is already a newsmaker.
Curated by Jay-Z, the Gatsby soundtrack includes tracks by Jay himself, Beyoncé, Jack White, Fergie, Sia, Lana Del Rey, the xx and more. Twelve of the 14 total core tracks are currently available in snippet form on YouTube, which you can stream below.
Highlights include Florence Welch wailing on the track “Over the Love” and the swing version of Beyoncé’s “Crazy in Love” delivered by Emeli Sandé.
There’s also the already-released “A Little Party Never Killed Nobody” by Fergie, Q-Tip, and GoonRock, which must be ironically titled given the fate of one Gatsby‘s main characters.
Jay-Z's 'Great Gatsby' soundtrack tracklist revealed: Beyonce, Andre 3000, Lana Del Rey, Jack White and more
What does “translating the Jazz Age sensibility of F. Scott Fitzgerald’s The Great Gatsby into the musical equivalents of our own times, through the blending of hip-hop, traditional jazz, and other contemporary musical textures” mean exactly? When Jay-Z’s producing, it means will.i.am!
Well, not just him. The full tracklist for the upcoming Baz Luhrmann extravaganza’s soundtrack was released today, and it includes a varied list of artists, ranging from Beyoncé to Jack White.
As we told you earlier this week, Beyoncé and Andre 3000 will be teaming up to cover Amy Winehouse’s “Back to Black.” There are other covers as well: Brit soul-pop singer Emeli Sande and the Brian Ferry Orchestra do Bey’s “Crazy in Love” together; White offers his rendition of U2′s “Love Is Blindness”; and Brian Ferry covers himself, sort of, since he and his orchestra takes on Roxy Music’s “Love Is the Drug.”
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