The Music Mix Music news, reviews, albums, concerts, and downloads

Tag: New Stuff (1-10 of 1149)

AC/DC's Angus Young on the band's first show and why he needs teleportation technology

Next year, AC/DC will celebrate the 40th anniversary of its first album the only way the band knows how: With a new album, Rock or Bust, and a forthcoming world tour that promises to be as big and loud as the box office-busting trek they went on a few years back in support of 2008’s Black Ice.

Rock or Bust may be a high-octane, party-hard collection of monster jams, but the men of AC/DC are no strangers to real world adversity—be it the death of original singer Bon Scott, the health issues that have forced guitarist Malcolm Young to step away from the band, or the recent legal woes of drummer Phil Rudd. But none of that will deter AC/DC—especially lead guitarist Angus Young, who has four decades of rock and roll under his belt because he has stuck to his guns (and his signature schoolboy outfit). He sat down with EW to talk about the new album, the recent upheavals, and why he always keeps an eye on the sky during “Hell’s Bells.”

READ FULL STORY

Bahamas unveils a video for the viral hit 'All the Time' (aka that song from the James Franco smartphone ad)

Canadian auteur Afie Jurvanen released his first album under his nom de rock Bahamas back in 2009, has shared bills with Wilco and Jack Johnson, and was nominated for his home country’s top musical awards multiple times, but it took a smartphone commercial for him to finally break through in the States. You’ve probably seen it–it’s the one where James Franco turns falling off a building into a typically Franco-esque exercise in irritatingly competent multitasking to an impeccably chill soundtrack of lilting falsetto vocals and a fuzzed-out staccato bass line.

That song, “All the Time” (from the new Bahamas album Bahamas is Afie) is finally getting its own Franco-free full-length visual. While it’s a low-key, no-frills affair, the buoyant slow-mo and unfussy aesthetic suit the song nicely. And if you only know “All the Time” from the Droid commercial, the full version’s expertly deployed vocal harmonies and guitar leads–which sound like lost moments from a late-era Beatles album–are a revelation.

READ FULL STORY

Sleater-Kinney shares snippets of two new songs

Back in October, Sleater-Kinney surprised fans with the big reveal that the career-spanning box set they’re about to release isn’t just a look back at their incredibly influential career but the first chapter in a new phase of their collaboration.

They broke the news with a new song, “Bury Our Friends,” and during an interview on NPR’s All Songs Considered yesterday they played snippets of two more recent recordings.

You can hear the interview here, and if you’re in a rush you can skip ahead to 19:19 to hear “Surface Envy” and to 32:39 for a bit of “No Cities to Love.”

Stream an EP of cathartic synthpop by L.A. duo Radar Cult

Radar-Cult.jpg

These days you can barely swing a MIDI controller without hitting a synthpop band, but LA duo Radar Cult sets itself apart from an increasingly crowded field not only by tapping into the slightly menacing analog tones of vintage John Carpenter scores, but by infusing their music with real emotion.

The pair have their debut LP scheduled for release next year on the Plug Research label. In the meantime, they’re putting out a five-song EP called Splitting that sounds like Erasure writing notes to an unrequited love on an overcast day. It’s due out Nov. 25, and EW has an exclusive first listen below.

READ FULL STORY

Let BJ the Chicago Kid help you forget about that terrible Aaliyah biopic

Even as she’s grown into one of the most influential forces in modern pop music (just check the number of people walking around with baby hair and a SoundCloud full of atmospheric future-funk beats), Aaliyah’s suffered a depressing number of indignities since her death in 2001, from less-than-stellar posthumous albums to being press-ganged into a Chris Brown song. But the worst so far is the biopic that Lifetime just aired, which ignored her artistry in favor of focusing on her romantic relationships and portrayed her illegal underage marriage to R. Kelly as a Romeo and Juliet story rather than statutory rape.

Aaliyah fans are intensely upset about the movie, and they haven’t been shy about expressing it. Which is why it’s a good time for rising crooner BJ the Chicago Kid to release his own version of the Baby Girl classic “One in a Million” where he doesn’t try to do anything fancy or weird with it but simply sings a very good song the way it was meant to be sung. It’s an effective way of washing the Lifetime movie’s bad vibes out of your brain.

READ FULL STORY

Pusha T drops Kanye West-produced 'Lunch Money'

Pusha-T.jpg

It’s a testament to Pusha T’s magnetism that he can rap about exactly one topic and still get people going crazy every time he drops a track. He just unveiled his latest, the Kanye West-produced “Lunch Money,” and like every single other King Push song ever, it’s about the craziness of being a former cocaine dealer turned international rap superstar, and like an almost unbelievably large percentage of them, it’s completely bananas and worth rewinding at least two or three times on the first spin.

West’s beat hints at where he’s headed post-Yeezus, trading in the impenetrably dark industrial minimalism he’s been on for burbling prog rock synthesizers and funky stomping drums. The track hit the Internets without any explanation about whether or not it’s part of a new release, but if Pusha’s got a sequel to My Name Is My Name up his sleeve, fans of clanging beats and a seemingly limitless series of cocaine metaphors could have reason to celebrate.

READ FULL STORY

Terrace premieres 'Cote d'Azur' video

terrace

Vancouver trio Terrace grew up in the heyday of dance music and synth disco—an era they revisit in their dreamy, danceable sound while somehow retaining a quality of timelessness. Terrace’s brand-new video for their August single, the characteristically infectious “Côte D’Azur,” embodies the band’s je ne sais quoi: It’s a sun-washed vision of the French Riviera circa the ’80s.

“As a child of the 80s, ‘Côte D’Azur’ is a tale of summer love and longing for the ultimate fantasy of life in the French Riviera,” explains frontman Simon Lock. (Fun fact: his other job is as a commercial airline pilot.) “A time and place where the sounds of Chic, Roxy Music, and Giorgio Moroder provided the soundtrack of carefree decadence,” he adds.

Especially present is the influence of Italian producer Giorgio Moroder, an early pioneer of synth disco and EDM, and Nile Rodgers, who has produced albums for David Bowie, Madonna, and Duran Duran. The imagery in the video, directed by Barcelona-based Marc Alcover, is sublime; the footage of crashing waves complements the song’s hypnotic hook, while the handheld shots of the young woman the video follows enhance the allure.

Below, watch the exclusive premiere of the video—and delight in the fact that”Côte D’Azur” is only the first in a planned trilogy of music videos from Terrace’s sophomore album, We Fall Together, dropping early next year.

Inside Light in the Attic Records, the vinyl-loving crate-digger's favorite label

Light-in-the-Attic-04

In 1968, Barbara Lynn was riding high. A gifted young blues guitarist and songwriter whose compositions had already been covered by Otis Redding and the Rolling Stones, the Beaumont, Tex., native had just signed with Atlantic Records to release her major-label debut, Here Is Barbara Lynn. Though it spawned the radio hit “You’ll Lose a Good Thing” and landed her an extended tour with B.B. King, it wasn’t the success Atlantic had hoped for. By the mid-1970s, a disillusioned Lynn had mostly withdrawn from the industry to raise her family—and Here was essentially lost to history.

Fast-forward four decades, and cue the entrance of Matt Sullivan. In 2002 the then-26-year-old founded Light in the Attic Records, a label whose raison d’être is resurrecting forgotten classics for a new generation of vinyl fetishists and crate diggers. “When they called, I was amazed,” says Lynn, now 72, via phone from her Beaumont home. “I feel so good about these songs. I didn’t think anybody was still thinking about me.”

Here Is Barbara Lynn is the latest in a series of some 150 eclectic reissues put out by the Seattle-bred boutique label. READ FULL STORY

Black English taps Flaming Lips collaborator for 'Hold On' video

Black-English

L.A.’s Black English used to go by the name NO, which they changed due to it being massively confusing and un-Googleable (not to mention the fact that there’s another band called that) but gave it to their latest album, which was released at the beginning of the year. The latest single from NO is “Hold On,” and they’ve filmed a video for it with Natalie Wertzel and a gang of collaborators including Oliver Hibert, the psychedelic painter and sculptor who’s largely taken over visual identity duties for the Flaming Lips, including the cover art of their recent Sgt. Pepper’s tribute.

“The ‘Hold On’ video came about when I ran into a young lady, Natalie Wetzel, at an Echo Park cafe down my street,” writes Black English’s Bradley Carter in an email. “She was new to town and we started talking about how relationships can be so interesting in this time. You can be thousands of miles away from each other but still feel so connected, almost too much to a point that it can affect or intrude on everyone else around you if you aren’t careful.”

READ FULL STORY

Why fajitas sizzle and five more fun facts from the new book 'The Sonic Boom: How Sound Transforms The Way We Think, Feel, and Buy'

sonic-boom

Joel Beckerman is a master at sonic branding—the art of using not just music but all kinds of sounds to influence consumers. As the founder of Man Mad Music, he’s responsible for the company whose “sonic logos” include the four-tone signature that AT&T uses, the HBO original programming music, and the NBC Nightly News theme.

His new book The Sonic Boom: How Sound Transforms The Way We Think, Feel, and Buy (co-written with Edelman editorial director Tyler Gray)  is equal parts sociological study and business advice, using unique everyday examples– for instance, how the fate of the Chili’s fajita empire rested on the sound of the sizzling platter, and how Disneyland approaches soundscapes for a fully immersive experience–  to explain how sound effects our mood and shopping habits.

Below are five of the most fascinating case studies from the book:

READ FULL STORY

Latest Videos in Music

Advertisement

From Our Partners

TV Recaps

Powered by WordPress.com VIP