Foo Fighters are having a busy week. After spending a week performing every night for David Letterman on The Late Show, the band’s documentary series Sonic Highways will debut on Friday, Oct. 17. But the band is looking to do more than just celebrate with Letterman—they’ll be letting fans revel in the excitement.
Tag: Rock (11-20 of 558)
Gone Girl is celebrating its second straight week as the number one movie in the country, and one of the secrets of director David Fincher’s spell-casting is his partnership with Trent Reznor and Atticus Ross, who have provided the scores to Fincher’s last three films.
Reznor and Ross, whose day job as Nine Inch Nails has given them plenty of practice creating creepy soundscapes, have a somewhat unusual way of working: Instead of writing music specifically to finished scenes, they read the script and take input from Fincher about tone, and then craft a series of thematic pieces that are then inserted into the action.
“It’s like dressing a set,” Reznor says. “What feels like it belongs in that space? What feels like Missouri? What feels like erosion of this relationship? What feels like a real ugly thing hidden beneath the surface, with a nice paint job on the outside? It might feel pretty, but it’s spoiled under the surface.” READ FULL STORY
It may not be quite as catchy as the songs from Disney’s last animated hit, Frozen, but Big Hero 6 will feature at least one original song courtesy of Fall Out Boy.
Titled “Immortals,” the track will be featured in the film, and it seems perfectly suited to a montage showing off the powers of Hiro Hamada and his high-tech team of heroes.
Fall Out Boy released the full song on its YouTube page.
Brazilian quartet Wannabe Jalva hail from southern Brazil, near the country’s borders with Argentina and Uruguay, and not coincidentally, their music largely forgoes the tropical flavor the country’s best known for in favor of a more sere sonic approach that seems to reflect their proximity to the Pampas. Their latest EP, Collecture (out Oct. 15), offers a compellingly austere take on psych rock that avoids the clichéd gaudiness that often afflicts the form, and brings to mind The Strokes as often as it does Os Mutantes or Pink Floyd. Run through with heavy, Jodorowsky-esque mysticism, the album’s a straight up trip.
“We’ve extracted moods and textures from ourselves and put them out there in an almost collective epiphany,” guitarist Tiago Abrahão emails from Brazil. “Nature comes from the fact that we realized that the right path (the essence) was to lock ourselves in there (in the basement) and just get out when we all felt fulfilled (and, at the same time, empty from those temporarily undefined urges).” Maybe a tough statement to wrap your head around, but once you put Collecture on, it makes more sense than you might expect.
Butch Walker‘s been knocking around the music biz since the late ’80s, playing in bands, recording solo records, and writing and producing for a bewildering array of artists ranging from Bowling for Soup to Taylor Swift. After spending so much time he’s somewhat predictably developed a jaded view of the whole machine, which is probably why he gets along so well with similarly seen-it-all types like Ryan Adams, who produced his new album, Afraid of Ghosts, and Johnny Depp, who plays on it.
But like a lot of guys who like to project a sardonic front, Walker’s kind of a softie at heart, which comes through loud and clear on the Ghosts track “Chrissie Hynde.” It’s an aching, country-tinged ballad about a universal condition: the desire to give the world the middle finger and just put on some Pretenders records.
Singer-songwriter Mike Polizze occupies the weird zone where experimental art music and eccentric rock ‘n’ roll overlap: an odd but fruitful territory that’s been home to generations of Weird Rock heroes from Frank Zappa to Ariel Pink. Recently Polizze’s expanded his project Purling Hiss from a solo endeavor to a trio, upping the music’s pop quotient in the process, and in the process created his most accessible album. Weirdon, released today on Drag City, delivers classic rock tunefulness enveloped in a haze of freaky vibes that feels a bit like the group’s label mate Ty Segall but just a touch more tweaked out.
To celebrate Weirdon‘s release, Polizze compiled an exclusive playlist for EW that he says has “a gritty lo fi/VHS aesthetic.” If you like your rock music weird and obscure, you’re in luck.
Historically, every time rock ‘n’ roll has started to seem terminally stagnant some group of young musicians will power-wash away the stylistic and philosophical cruft that the genre’s accumulated, relocating its live-wire heart and giving it new life by connecting it to the core principles that it’s forgotten about. In the past, that task has fallen on punks, alt-rockers, and garage rock revivalists, and today it’s falling on a loosely affiliated community of bands that combine all the above with the kind of frills-free, gut-punch energy that’s made legends out of bands like the Stooges and AC/DC.
One of those groups is Team Spirit, founded by former Passion Pit keyboardist Ayad Al-Adhammy after an aesthetic epiphany where he ditched synthesizers for a six-string. Their Killing Time LP (out Sept. 30 on Vice/Warner Bros.) is a raging gang fight of classic rock guitar riffing and sugar-sweet pop-punk hooks with the potential to connect with van-driving, horns-throwing headbangers as deeply as it does with stage-diving punk kids. If at any point in recent memory you’ve thought to yourself, “Maybe rock really is dead,” you owe it to yourself to listen.
As a wise man once said, “Parents just don’t understand.” Grandparents can be another story. Like if your parents are fun-hating control freaks, they might round up a pack of fellow old folks and head out into the streets of L.A. for a night of mischief and kid-friendly partying, perhaps picking up some hot friends along the way.
That’s the lesson of the video for “The Art of Hanging On” by L.A. artist Robert Fleming, a.k.a. Sneakout, who you may have recently heard on Girls. Directed by Andrew Hines, who’s also shot for A$AP Ferg and The Head and The Heart, the clip gives a comedic spin to Fleming’s psychedelically embellished, New Wave-inflected electro-rock. The song’s available on Fleming’s new Letting Go mixtape. If you’re in L.A., you can catch him opening for EW favorite Lowell at Bootleg HiFi on Sept. 22.
It’s become a cliche of pop music that at a certain point in their career, a popular enough act will have to make a movie about themselves in order to give their audience an “unguarded” (but in reality heavily mediated) look at their life offstage. But when the Doors decided to self-produce their own film in 1968, it was still a fairly novel idea. That film, entitled Feast of Friends, was never officially released, although clips of it have been used in documentaries and music videos, and bootleg copies have been passed from Doors fan to Doors fan for years. In fact it came close to being a quite literally lost project—rumor has it that those bootlegs were all duplicates of a print that Jim Morrison left in a paper bag at a friend’s house just days before he died.
Now, Feast of Friends is finally getting a proper release by Eagle Rock Entertainment on Nov. 11. The DVD/Blu-Ray edition includes not only a complete cut of the film but a companion compilation of outtakes called Feast of Friends: Encore, plus a 1968 Doors doc produced for British television called The Doors Are Open, as well as a 1967 performance of filmed for a Canadian TV pop-music variety show where they drop a full 10-minute version of “The End” on a group of stunned Torontonians.
The most important movie soundtrack this year was undoubtedly the top-shelf compilation put together by Season Kent for The Fault In Our Stars, and not just because it gave us Charli XCX’s inimitable “Boom Clap.” Kent has quickly become one of the go-to names in music supervision, and though she’s working on more and more film projects (she just got started working on the Magic Mike sequel), she has primarily made her bones on television.
This season, she returns to both Arrow and Revenge, and adds the brand new Arrow spin-off The Flash to her portfolio. In an effort to give our Shazam apps a rest during the forthcoming TV season, we asked Kent to make us a playlist of songs that we’ll eventually be hearing under our favorite dramatic moments and montages. Check out her picks and listen to the Spotify playlist below.
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