If we could adopt any cat in the world, it would be the one that meows along to forgotten ’90s alt bands:
Tag: Things That Are Awesome (81-90 of 432)
Got an extra 900 hours on your hand? The internet has just become 458 John Peel show episodes richer, which means your next month or so just got booked.
Some enterprising Soundcloud citizen (and likely power-pop fan) known only as +dB has taken it upon him or herself to upload a whopping chunk of the late British radio god’s programs, which gained fame for the “Peel sessions” — live in-studio performances with some of rock’s most interesting players.
The treasure trove features broadcasts ranging from Peel’s pirate radio days back in 1968 all the way up to his BBC reign, which ended only upon the prolific DJ’s death in 2004.
The collection isn’t 100% complete, of course, but it’s certainly exhaustive: you can hear anything from Bob Marley’s two appearances on the show (on May 1 and Nov. 26, 1973) to Pulp’s 1995 session to a live Daft Punk concert (June 30, 1996). Even Peel’s elusive joint interview with John Lennon and Yoko Ono is up for grabs.
So until that archive of John Peel’s record collection is complete, check out almost a thousand hours of his radio shows in the Soundcloud player below.
Kanye West isn’t always the easiest guy to like. He’s cocky. He was mean to Taylor Swift. He likes Kim Kardashian without being ironic.
And yet the man mints gold. It’s like he’s incapable of making bad music. Even 808′s and Heartbreak, which wasn’t that good, was pretty damn good. His new single, “Clique,” featuring guest appearances by Big Sean and new BFF Jay-Z, is no exception. Its off-kilter beat is fresh and invigorating, and West’s inventive lyrics are among his most clever: “You know white people / get money don’t spend it … I’d rather buy chains and go ign’ant.”
I won’t wax academic and call that poetry, but come on, it’s funny. It’s funny, and more importantly, it’s smart, because it’s self-aware and self-deprecating and comically accurate.
You win, yet again, Mr. West. You won with The College Dropout, the soundtrack to my sophomore year of high school. You won with Late Registration and the way my friends and I bonded over it like some kind of sacrament. You won with Graduation because you made pop music cool again. And you won with My Beautiful Dark Twisted Fantasy because Pitchfork gave it a 10.0. (808′s and Heartbreak was a draw.)
I wish I knew how to quit you.
Check it out below: READ FULL STORY
You know that thing when rappers shout out the name of a seemingly completely unrelated public figure in the middle of a verse, making you ponder how it would be to walk in on Robin Williams lecturing Jay-Z about seizing the day in an empty English classroom or eavesdrop on the Lil Wayne-Bill Gates phone call wherein they discuss the finer points of exceeding baller status?
The Meek Mill-assisted Rick Ross track “Black Magic,“ one of several standouts on Maybach Music Group’s recent compilation effort Self Made Vol. 2, has a hook that rhymes: “Poof! There go the car/Poof! there go the crib/Poof! A hundred mil, David Copperfield/David Copperfield, David Copperfield.”
You know where this is headed.
Rick Ross was performing in Las Vegas last night, and revealed in the midst of his set that he had a special guest waiting in the wings: “This is a mother—-in’ icon. In his field, he the greatest that ever did it. So, I want you to drop the music at the same time. Drop the music, let’s go.”
And then, this happened:
Most television dramas tend to deliver their biggest emotional cues via borrowed pop and rock songs. Breaking Bad is one of the few that draws much of its impact from its original score, constructed by composer Dave Porter.
The ASCAP award winner (not to be confused with this musical David Porter) has become known for building Bad‘s tension and whimsy depending on what situation Walter White has gotten himself into on any given week.
Next Tuesday, August 28, Madison Gate Records will release Breaking Bad: Original Score From the Television Series, the second soundtrack from the show which features 20 tracks from all five seasons of the show.
How much fun have you been having this summer? Probably not as much as Jukebox the Ghost.
The poppy indie-rock trio from Brooklyn have a sunny new video for their Safe Travels single “Somebody,” and by the looks of it, they know how to have a good time (it helps when you travel with a traveling troupe of flashdancers).
Shot all in one take on the Coney Island boardwalk, the clip shows the band — centered by Ben Thornewill – singing and playing the bouncy anthem as they stroll toward the camera.
They’re not alone, though: click through to see some seriously giddy seaside choreography:
It would be hard to find a group of people more whimsical than the members of Of Monsters and Men (and that’s saying something, considering they’re from Iceland, the land of Bjork).
Despite the fact that they’ve logged countless hours flying all around the world to deliver their particular brand of chamber folk that the kids all seem to love these days, they were ready to party at their first Lollapalooza.
“At these festivals, we always try to have as much power as we can,” explained singer Nanna Bryndís Hilmarsdóttir. “So we take the songs that have the most oomph.” READ FULL STORY
Outside of the weather (it was sunny and pleasant all day Sunday, thanks for asking!), the main narrative of Lollapalooza 2012 seemed to be the same argument everybody was having in 1997: Is this the year that samplers and turntables replace guitars as the new rock and roll?
There were arguments on both sides all weekend. Perry’s Stage, the space devoted to the non-stop thump of EDM from dawn until way past dusk, was constantly overrun with dance-happy revelers, making it the most consistently populated performance space of the festival.
Huge names in dance had major moments, including Avicii’s Saturday night headlining set, and Sunday’s docket of acts like Justice and Kaskade.
What did the rock gods do to counter the perpetual threat of being overtaken by the untz-untz-untz crowd? They turned up their amps and let themselves sprawl.
It was somewhat poetic that Jack White closed out Lollapalooza weekend, as he has slowly built himself up into the kind of poly-tentacled hybrid that Lolla founder Perry Farrell adores, though White certainly goes about it in more analog fashion. READ FULL STORY
Dhani Harrison, son of the quiet Beatle, may have only just released his second album as thenewno2, but he and his band are already Lollapalooza experts. Their set on Friday evening was the third time the group has appeared at the festival, and their affections for the annual three-day brouhaha in Chicago’s Grant Park run deep.
“We played with Perry on the Kidz stage,” Harrison explained of his previous appearance at Lollapalooza, back in 2010. “We were the house band over there. Perry called us and said, ‘Let’s play some crazy songs for the kids,’ and we ended up playing ‘Psycho Killer’ by Talking Heads to 5,000 children and their parents. They loved that one—we really got the evil eye during the second verse.”
Harrison’s terrorizing of small children’s delicate sensibilities did not end there. “Then we did [Porno for Pyros'] ‘Pets,’ which has got loads of expletives. And Perry’s kids kept running across the stage—I nearly clocked one with an acoustic guitar by accident.”
Fittingly, the group’s Lollapalooza experience ended with a healthy dose of gastrointestinal discomfort. READ FULL STORY
The recently reconstituted Afghan Whigs have always known their way around a cover, and their most recent one might be their most winning yet.
The band has been playing Frank Ocean’s “Love Crimes,” a signature track from his critically-acclaimed 2011 mixtape nostalgiaULTRA, as part of their set since getting back together earlier this year. The band just recorded the track and gave it away on their website.
Frontman Greg Dulli’s appreciation for the alt R&B star runs deep: ”I really want to see Frank Ocean Saturday night,” Dulli told EW in the Afghan Whigs’ dressing room just a few minutes before taking the stage for his own show. “He has such great words. He’s a great songwriter, and his words are really deep. The opening lines of the song, ‘Talk to me without hearing, touching me without feeling,’ I thought that was really intensely beautiful. He really has something. I saw him play in L.A. a couple of weeks ago, and it was a really phenomenal show.”
The Afghan Whigs had a pretty exceptional set themselves, making even their darkest tunes (especially the raucous “What Jail Is Like”) fly over the crowd in Chicago’s Grant Park –like the flock of geese who seemed particularly enthralled by Dulli’s vocalizations.
Oddly, the song that got the biggest reaction from the crowd was the group’s cover of Marie Queenie Lyons’ soul classic “See and Don’t See,” a quiet little burner that captured the attention of even the most shirtless-bro members of the masses.
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