The Los Angeles based indie band, Saint Motel, unleashed the lead single for their debut album, Voyeur– out July 10th via On The Records. One of the things that will make you swoon over the track “1997″– is the mixture of Big Band and Latin influences building up to a unique indie sound.
P.S.- Saint Motel will also be on tour this summer, check out the dates below!
Voyeur Tracklist:
01. Feed Me Now
02. Benny Goodman
03. Puzzle Pieces
04. Daydream / Wetdream / Nightmare
05. 1997
06. Honest Feedback
07. At Least I Have Nothing
08. You Do It Well
09. Hands Up Robert
10. Stories
11. Balsa Wood Bones
Saint Motel 2012 Tour Dates:
07/12 – Rickshaw Shop – San Francisco, CA
07/14 – El Rey Theatre – Los Angeles, CA
07/17 – Larimer Lounge – Denver, CO
07/19 – University of Wisconsin – Madison, WI
07/20 – First Avenue – Minneapolis, MN
07/21 – Schubas Tavern – Chicago, IL
07/22 – Beachland Ballroom – Cleveland, OH
07/23 – The Drake Hotel – Toronto, ON
07/25 – Kung Fu Necktie – Philadelphia, PA
07/27 – Mercury Lounge – New York, NY
07/28 – Glasslands Gallery – Brooklyn, NY
07/29 – DC9 Nightclub – Washington, DC
07/31 – The Masquerade – Atlanta, GA
08/01 – High Watt – Nashville, TN
08/03 – Rudyard’s British Pub – Houston, TX
08/04 – Stubb’s – Austin, TX
08/06 – The Lowbrow Palace – El Paso, TX
08/07 – The Rhythm Room – Phoenix, AZ
08/10 – The Constellation Room – Orange County, CA
08/11 – The Casbah – San Diego, CA
The Tallest Man On Earth is set to release his third album, There’s No Leaving Now on June 12th. You can take a listen and download the album’s lead single, “1904″ below.
The Tallest Man On Earth - 1904P.S.- The Tallest Man On Earth also has some US tour dates planned for the summer, which include the Newport Folk Festival and Lollapalooza.
There’s No Leaving Now Tracklist:
01. To Just Grow Away
02. Revelation Blues
03. Leading Me Now
04. 1904
05. Bright Lanterns
06. There’s No Leaving Now
07. Wind and Walls
08. Little Brother
09. Criminals
10. On Every Page
The Tallest Man on Earth 2012 Tour Dates:
05/31 – Stockholm, SE @ Sodra Teatern
06/01 – Stockholm, SE @ Sodra Teatern
06/03 – Gothenburg, SE @ Pustervik
06/10 – Boulder, CO @ Boulder Theater eTown Broadcast
06/12 – Los Angeles, CA @ The Wiltern
06/15 – Toronto, ON – Queen Elizabeth Theatre
06/19 – New York, NY @ Town Hall
06/20 – New York, NY @ Town Hall
07/01 – Paddock Wood, UK @ Hop Farm Festival
07/03 – London, UK @ Hackney Empire
07/04 – Amsterdam, NL @ Paradiso
07/06 – Berlin, DE @ Lido
07/07 – Dachau, DE @ Dachauer Musiksommer
07/23 – Nashville, TN @ Mercy Lounge
07/24 – Asheville, NC @ The Orange Peel
07/25 – Saxapahaw, NC @ Haw River Ballroom
07/26 – Washington, DC @ 930 Club
07/28 – Danbury, CT @ Heirloom Arts Theatre
07/29 – Newport, RI @ Newport Folk Festival
07/30 – Philadelphia, PA @ Union Transfer
08/01 – Pittsburgh PA @ Hazlett Theatre
08/02 – Columbus, OH @ Wexner Center
08/04 – Chicago, IL @ Lollapalooza
08/05 – Milwaukee, WI @ Pabst Theater
08/06 – Minneapolis, MN @ First Avenue
08/17 – Hasselt, Belgium @ Pukkelpop
08/18 – Wales, UK @ Green Man Festival
10/04 – Madrid, ES @ Joy Slava
10/05 – Barcelona, ES @ Casino de l’Aliancia
10/08 – Zurich, CH @ Klaufleuten
10/09 – Torino, IT @ Spazio 211
10/10 – Roma, IT @ Chiesa Evangelica Metodista
10/11 – Ravenna, IT @ Almagia
10/12 – Brescia , IT @ Foyer Teatro Grande
10/14 – Vienna , AT @ WUK
10/15 – Berlin, DE @ Helmathanfen
10/17 – Hamburg, DE @ Kampnagel
10/18 – Cologne, DE @ Live Music Hall
10/19 – Zwolle, NL @ Theater Odeon de Spiegel
10/20 – Utrecht, NL @ MC Vredenburg
10/23 – Bristol, UK @ Colston Hall
10/24 – Dublin, IE @ Vicar Street
10/25 – Belfast, IE @ Mandela Hall
10/27 – Edinburgh, UK @ Picturehouse
10/28 – Manchester, UK @ The Ritz
10/29 – Brighton, UK @ St. Bartholmew Church
POP ETC (the band formerly known as the Morning Benders) have released the lead single off their self-titled debut album. For those thinking in Morning Benders terms, it would correctly be their third. The synthlicious track, “Keep It For Your Own,” is now available for purchase on iTunes. Listen to a preview, below!
Two students– Jorge Ribeiro and José Tornada– majoring in journalism, and architecture dropped out of college to live in a tent, on the beach; that’s how LEAGUE began. That primal experience served as a huge influence, where they managed to mix modern-urban sonority, establishing a connection between two distinct worlds. LEAGUE is based out of Los Angeles and London. They describe their music as psychedelic and naturalist with an ethnic/tribal context, all while tapping into the social and emotional issues of the world.
This duo blends the genres of New Wave, Alternative and Surf. One of the great things about LEAGUE is that their tunes are quite diverse from one another, yet still delivering a great sound that keeps you on your toes. You might get a more electro/new wave feel when you listen to “Golden Maps,” and then turn around catching a glimpse of garage-psychedelia with “How Do I Know.”
You can grab both of the tracks on LEAGUE’s bandcamp!
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by Michelle Bird
Not even a mile away from “Hollywood civilization,” the Greek Theater calls the hills of Griffith Park, home. Known as one of the past stomping grounds for peace, love, and free-spirited folks (aka hippies) in the 1960s, Griffith Park still holds that magical essence– hence to why the Greek found itself to be the perfect place to watch Edward Sharpe and the Magnetic Zeros this past Friday. The outdoor amphitheater, that’s cradled by Goliath sized trees, combined with the tunes performed by Sharpe and the Zeros, made you feel like you were out in the middle of nowhere, while still very much in the city.
The eleven members, along with their barefoot frontman, Alex Ebert, made their way to the stage at 9pm, opening with the highly popular tune “40 Day Dream.” The music instantly galvanized the audience, as they eagerly sang-along, clapped, and stomped to that first song. Not only are all the members in Edward Sharpe and the Magnetic Zeros equally passionate when they perform, but these talented musicians all bare a deep connection on-stage; a packed venue seemed more like a family gathering.
They are also strong supporters of each other’s solo-careers outside of the band, with Ebert performing “Truth,” from his solo album Alexander and pianist Aaron Embry serving as the opening act.
That same sense of family was transmitted to the audience, as Ebert interacted with the crowd, making his way into the pit, dancing with folks while sharing his microphone. At one point he even accepted a tiara from a girl in the front, and while dressed in his white tunic, playfully pranced around. Ebert definitely holds a lot of spontaneity, during “Janglin” he stopped the song mid-way, and had everyone look up and admire the moon.
Jade Castrinos (lead gal) swooned the audience with her strong soulful vocals, and sweet persona…ok, and maybe those nice dimples whenever she smiles too. When she grabbed the acoustic guitar and let out the first words for “River of Love,” the crowd went crazy hollering for her.
The energy of the old songs hit like a gnarly wave, and the new ones from their sophomore album, Here (out May 29th), although more serene, were still quite appreciated and catchy at that. Among the new songs performed were the rag-time gospel-sounding “I Don’t Want To Pray,” “That’s What’s Up,” “Nothing” and “Mayla.”
Bright red lights caressed the band onstage for the ballad “Man on Fire,” (also from the upcoming album) where Ebert made his way back into the crowd and danced alongside his mom.
With no setlist carved in stone, Ebert asked the crowd what they’d like to hear, in which everyone eagerly replied “Home!”– the 2009 hit, that put them on the map. Soon enough the band began to whistle while the crowd went wild singing along. Half-way through “Home,” Jade and Ebert reminisced how they wrote the song after spending the day together in Elysian Park.
For more pictures of the show visit our Facebook page (Facebook.com/BlackVinylMag).
Catch Edward Sharpe and the Magnetic Zeros on tour this summer:
05/11 – Upper Darby, PA @ Tower Theatre
05/12 – Boston, MA @ Orpheum Theatre
05/13 – Toronto, ON @ Kool Haus
05/15 – Washington, DC @ 9:30 Club
05/16 – Charlotte, NC @ The Fillmore
05/18 – The Woodlands, TX @ Cynthia Woods Mitchell Pavilion *
05/19 – Dallas, TX @ Gexa Energy Pavilion *
05/21 – Atlanta, GA @ The Tabernacle
05/22 – Indianapolis, IN @ Egyptian Room
05/24 – Chicago, IL @ Riviera Theatre
05/25 – Minneapolis, MN @ Cabooze on the West Bank
05/26 – Milwaukee, WI @ Riverside Theatre
05/27 – Kansas City, MO @ Crossroads
05/29 – Royal Oak, MI @ Royal Oak Music Theatre
05/30 – Columbus, OH @ The LC Pavilion
05/31 – Nashville, TN @ Ryman Auditorium
06/01 – Ozark, AR @ Wakarusa Music Festival
I think all Regina Spektor fans have been eagerly waiting for her sixth studio album, What We Saw From The Cheap Seats– set for release on May 29th via Sire/Warner Bros. Records.
The track below is actually a newly recorded version of Spektor and Only Son’s “Them Brothers,” which won’t be on the record, but you can still grab the track if you purchase the deluxe edition, out the same day.
Between the violins, and the fine-tuned duet, “Call Them Brothers” draws you in from the beginning. The video starts off with an old photograph of two lovers– portrayed by Spektor and Only Son’s Jack Dishel– and follows with clips of their personal lives, taken with what seems to be a Super-8 cam.
The Walkmen have revealed yet another song from their upcoming LP, Heaven, out May 29th via Fat Possum Records. Stream the track “We Can’t Beat It” below.
PS – the Walkmen will also be touring this summer with Florence and the Machine.
05/11 – Charlottesville, VA @ Main Street Arena
05/27 – George, WA @ Sasquatch! Music Festival
06/07 – Porto, PT @ Optimus Primavera Sound
06/27 - Louisville, KY @ WFPK Waterfront
06/28 – St. Louis, MO @ Plush
06/29 – Milwaukee, WI @ Summerfest
06/30 – Minneapolis, MN @ First Avenue
07/20 – Burnaby, BC @ Deer Lake Park *
07/21 – Auburn, WA @ White River Ampitheatre *
07/22 – Troutdale, OR @ Edgefield *
07/25 – Morrison, CO @ Red Rocks Ampitheatre *
07/29 – Indianapolis, IN @ The Lawn at White River State Park *
07/31 – Detroit, MI @ Fox Theatre *
08/02 – Toronto, ON @ Molson Ampitheatre *
08/03 – Montreal, QC @ Osheaga Festival
08/05 – Chicago, IL @ Lollapalooza
08/10-12 – San Francisco, CA @ Outside Lands Music Festival
08/17-19 – Beacon, UK @ Green Man Festival
* = w/ Florence and the Machine
With his sophomore LP, Confess, out July 10th, Twin Shadow is set to embark on a summer tour. Starting July 13th Twin Shadow will hit up the Melt! Festival in Delaware and continue touring the states all the way up until September.
Twin Shadow 2012 Tour Dates:
07/13 – Ferropolis, DE @ Melt! Festival
07/21 – Seattle, WA @ Capitol Hill Block Party
07/27 – Boston, MA @ Paradise
07/28 – Montreal, QC @ Corona Theatre
07/30 – Toronto, ON @ Lee’s Palace
08/01 – Pontiac, MI @ Crofoot Ballroom – Pike Room
08/04 – Chicago, IL @ Lollapalooza
08/06 – Minneapolis, MN @ 7th Street Entry
08/08 – Winnipeg, MB @ Pyramid Cabaret
08/10 – Calgary, AB @ Saits The Gateway
08/11 – Vancouver, BC @ VENUE
08/14 – Portland, OR @ Doug Fir Lounge
08/16 – San Francisco, CA @ Great American Music Hall
08/18 – Santa Barbara, CA @ Soho Restaurant & Music Club
08/22 – San Diego, CA @ Casbah
08/24 – Visalia, CA @ The Cellar Door
09/04 – Phoenix, AZ @ The Crescent Ballroom
09/05 – El Paso, TX @ Tricky Falls
09/07 – Denver, CO @ Bluebird Theater
09/08 – Omaha, NE @ Waiting Room
09/09 – Lawrence, KS @ The Granada Theatre
09/11 – Norman, OK @ Opolis
09/13 – Dallas, TX @ Trees
09/14 – Austin, TX @ The Mohawk
09/16 – Houston, TX @ Fitzgeralds
09/17 – McAllen, TX @ Cine El Rey
09/18 – Birmingham, AL @ Bottletree
09/19 – Atlanta, GA @ The Earl
09/21 – Asheville, NC @ Orange Peel
09/23 – Carrboro, NC @ Cats Cradle
09/24 – Washington, DC @ Black Cat
09/25 – Philadelphia, PA @ Union Transfer
09/27 – New York, NY @ Webster Hall
Bumbershoot Seattle’s Music & Arts Festival announced this year’s lineup consisting of 88 artists and bands, with headliners being Jane’s Addiction, Skrillex and Tony Bennett. M83 will also be taking the stage, along with Passion Pit, M.Ward, The Vaselines, Blitzen Trapper, Oberhofer, Keane, and the Jayhawks.
Bumbershoot takes place over Labor Day Weekend (Sept. 1-3) at Seattle’s Center. Tickets are available now for $110 for all three days, $40 for a single day pass. It’s also good to note that tickets will increase through summer, for the day-of-show price of $135 for three days and $55 for a single. There are also Platinum and Gold passes. For all the info you can head to www.Bumbershoot.org/Tickets.
Below is the breakdown by day:
Sept. 1: Jane’s Addiction, AWOLNATION, M. Ward, The Jayhawks, The Helio Sequence, City and Colour, The Heavy, Jason Isbell and the 400 Unit, King Khan & The Shrines, Heartless Bastards. Oberhofer, TheeSatisfaction, Damien Jurado, JC Brooks and the Uptown Sound, Sera Cahoone, The Soul Rebels, Don’t Talk to the Cops!, Skerik’s Bandalabra, Alela Diane, The Barr Brothers, TacocaT, Unnatural Helpers, Seattle Repertory Jazz Orchestra, Polecat and Nude.
Sept. 2: Tony Bennett, Mac Miller, Big Sean, Keane, Blitzen Trapper, The Promise Ring, Yelawolf, Mudhoney, Wanda Jackson & The Dusty 45′s, The Greenhornes with Eric Burdon, Ian Hunter and the Rant Band, Civil Twilight, Fruit Bats, The Jezabels, Why?, Barcelona, Lee Fields & The Expressions, Harmonica House Party with Lee Oskar & Magic Dick, Katie Herzig, Niki and the Dove, AM & Shawn Lee, thenewno2, Gold Leaves, Karen Lovely, Deep Sea Diver, Theoretics, Eldridge Gravy & The Court Supreme, Ty Curtis Band, The Young Evils, Knowmads, Katie Kate and Eighteen Individual Eyes.
Sept. 3: Skrillex, M83, Passion Pit, Low, The Pains of Being Pure at Heart, The Vaselines, Fujiya & Miyagi, Fishbone, Lights, Rebirth Brass Band, LP, Ty Segall, Hey Marseilles, The Wombats, Ana Tijoux, Foxy Shazam, Bombino, Omar Souleyman, Tyrone Wells and El Vez.
The Magnetic Fields just released a video for the track “Quick!” off their latest LP, Love at the Bottom of the Sea. Directed by James Spinney, the video focuses on characters resembling Oscar The Grouch from Sesame Street– ok I don’t know that for a fact, but that’s what I thought when I watched the video; it’s a twisted love-story about trash-can folks finding love in back alleys, I dig it!
Animal Collective revealed two new songs last night, “Honeycomb” and “Gotham.” The two-song single will be available on June 26th via Domino.
Take a listen below!
PS- If you’d like to pre-order hit up Domino’s webstore.
by Ryan Greenblatt
By now the allure of a Jack White solo album is much more than sonically-based: the dude is an American rock fixture, part lore and part crazy and part enigma. We put our faith in him to bring credible music into our lives (and our brains), but we know better than to take him at his every word (i.e. ‘Meg White is my sister’). Sometimes you almost want to root against the guy because he’s been so successful with so many different projects, but if you are a fan of rock n’ roll and the ‘cool’, that swagger rock-music had in the 60s when Mick grabbed his junk and meant it, you can’t help but be drawn in by Jack White. How much are these lyrics personal? How much of the music is truly original? Do we even care? I doubt it. Bottom line is, the record is great, and Jack White is rad. Stealing from Nike here: “His Cool is cooler than Your Cool.”
I hear many people expressing this sort of sentiment: “he has a better backing band this time”, but I don’t want to go that path because I think it’s CRAP. This album [seemingly] only follows Jack White’s musical whims, but there is no reason to discredit those other albums, because as White acknowledges in the song “On and On and On,” he can’t stay the same just because it’s working. If anything, Blunderbuss exhibits that whatever Jack White touches has his own very recognizable sonic fingerprint on it. You can hear it with The Raconteurs and The Dead Weather, and of course on all of the White Stripes albums, but I don’t believe this album is part of some ‘logical-progession’ in his career. On Blunderbuss, White seems to take you to all of these places you’ve been before, as well as, share his new influences and his new take on what music is for him.
The songs are all short and sweet, the longest coming in at 4:19. There is no time for the listener to get bored, and I feel like there is a clear trajectory following the flow of the record. As we learn more about Jack White the producer and record executive, if you want to call him that, it’s easy to see that he is very calculating, and the track by track movement proves that. The record overflows (in a good way) with piano, and as it goes on you can really hear the southern influence on Jack. It feels like taking up residency in Nash-Vegas and living in a state known for the King himself and Stax Records has had a profound effect on his writing. Many of the songs sound like they started out on the piano—they are folksy, roots-rock songs; sing-a-longs good for the bar or the campfire. I think it’s also important to note the racial dichotomy in music that exists in Tennessee, as well as the importance of Jack White coming from Detroit—these are both places where race and music are interlinked and White seems to bridge this gap further by drawing from both the black-culture of the blues and R&B (and in Detroit of Motown) and the white-culture of country-music and folk. I want to point out that these are not ABSOLUTES, but that White deserves respect for drawing on all of these influences without caricaturizing them—a seemingly true student of music.
The record opens up with the sound of an organ and then a syncopated rhythm with the drums, reminiscent of something from the Raconteurs. It’s almost as if White is inviting us in and telling us it’s OK that he went solo. It’s going to be familiar, but different. The second song, “Sixteen Saltines,” pretty much kicks the record into high-gear, and announces ‘I’m Jack f***ing White, and everything you’ve ever heard involving me that rocked, rocked because I was f***ing part of it.’ It’s classic Jack White riff-rock and it feels sooooo gooood. I thought the subject matter of “Freedom at 21” was really cool. The title invokes memories of getting that first legal-drink at a bar, but the song tells a different story: “She’s got freedom in the 21st century…she does what she damn well please.” Based on White’s body of work, playing first with Meg White and later with Alison Mosshart; we know he clearly respects and values women, and women’s empowerment—this song just affirms it.
I think one of the best parts about this album is the soul in Jack White’s voice. It shines through on “Love Interruption” and especially on “Blunderbuss,” the latter revealing shades of Neil Young via Harvest. As the record progresses, White takes you further into the backwoods of the south’s juke joints and honky-tonks on tracks like “I’m Shakin’” and “Trash Tongue Talker”. From the early riffs, you can hear that 50s honky-tonk rock a la Jerry Lee Lewis—the songs paint a vivid picture of White playing in a sweaty, wooden juke-joint with smoky, pit bbq, and zero traces of air-conditioning. But unlike Jerry Lee, White exercises the guitar, his other voice. Like an old bluesman lamenting the spell of a ‘witchy woman,’ White references Samson and Delilah singing “it looks like it took me the same old way.”
The second to last song, “On and On and On”, seems to be the most personal song on the record. It’s wistful, but not sappy. “The people around me won’t let me/Become what I need to, they want me the same… But I have to choose what to do/How to act, what to think, how to talk, what to say.” I doubt the expectations of anyone other than Jack White himself really get to Jack White, but he seems more human here, lamenting about the pressures of the industry. The fact that this record is so good, is testament to White’s desire and willingness to change for his own sake. I’m just glad he has the guts to follow his own path, and the courtesy to include us with him.
Watch the video for “Sixteen Saltines” below:
P.S. – You can get Blunderbuss on 12″ vinyl HERE!
photo: Sam Christmas
It is unclear yet if MCA’s death was related to his battle with cancer.
Russel Simmon’s website (GlobalGrind.com) was the first to report the news, TMZ has also shared the news, as well as Pitchfork.
Yauch is survived by his wife, and daughter.
Watch the last video released by the Beastie Boys last year.
After 15 years of no music, Soundgarden emerges with the tune “Live To Rise”– which can be heard in the soundtrack for the much-anticipated movie, The Avengers. Directed by Robert Hales, the video features clips of the band intermixed with scenes from the movie.
PS- the soundtrack is already available, and the movie hits theaters tomorrow.
Check out the video below!
by Ryan Greenblatt
photo: Ryan Greenblatt
For a Sunday night in Austin, it sure as hell felt like a Saturday night. Antone’s was full. The booze was flowing. The bands were loud. For a Sunday night, it sure as hell felt good to be out; not the impending doom that can creep up on you as the weight of the week starts to bear down. For a Sunday night, it sure as hell felt good to be watching Deer Tick– led by lead-singer and principal songwriter, John McCauley– tear it up for close to two full hours.
I had never seen Deer Tick live before Sunday, but I would recommend it. Their eclectic blend of folk, Americana, roots, and F’N ROCK N’ ROLL punctuated with a real tongue-in-cheek attitude made for a great night. From the first downbeat, they had the crowd moving and singing along to every song. The four members upfront wore suit-jackets, but none could match McCauley: pink dinner jacket, wispy mustache, bowtie, and gold tooth. He looked (and sounded) like some lost progeny of Dr. Teeth from the Muppets. For me though, it was his voice that drew me in with its classic undertones: jagged-edged and biting, whiskey-tinted and cigarette-fortified, but also remarkably relatable.
They owned the crowd, and you could tell the band loved every minute of it. Each member had their own microphone, and at times members took turns singing lead in various tunes. The drummer, Dennis Ryan, even had a sampler with crowd noises qued up, including applauses, and, clearly his favorite, crowd-boos– which he used throughout the set during both appropriate and inappropriate times. It didn’t matter though, the crowd ate up watching the band members basically joke around and have a good time. There were moments when it seemed more like a jam session in a garage than a packed venue. They all seemed so relaxed, and the audience responded fittingly by hootin’ and hollerin’ right back at them.
photo: Ryan Greenblatt
At one point the rest of the band vacated the stage and left McCauley alone to play a few songs by himself. During this time, he covered a song by Texas-legend Townes Van Zandt, and even though the energy had purposedly digressed with an intimate setting, the crowd was even more engaged and attentive. I always marvel at certain musicians’ ability to captivate an audience under any circumstance, and McCauley proved he is powerful even alone.
Some of the highlights from the show included the song “Main Street” during which McCauley made reference to the late Levon Helm. After the song, the guys told a story about how they missed out on playing with Helm just before he died, but that he sent them a sweet note hoping to re-schedule when he got better. Not to end the story on a low note, they then shared an anecdote about meeting Levon backstage at the Austin City Limits festival, where he patted drummer Ryan’s large belly and said something to the effect of “God bless you.” Other high-notes were “Friday XIII,” the old favorite “These Old Shoes,” and the closer “Let’s All Go to the Bar,” which got the entire opening band, Turbo Fruits, and some other friends up and stage—a real rowdy closer. For a any night, it was a great show, but I get the sense that every night with Deer Tick feels like a Saturday.
Setlist:
Dr. Dog just released the music video for the track, “Lonesome,” from their latest album Be The Void.
Being lonesome drives singer/bassist, Toby Leaman to kidnap his bandmates, throw them in the back of a pick-up truck, and torture them ferociously with water guns and confetti.
Watch the video below!
If you’ve been waiting all day to relax and catch some Zs after work, Moby’s “All Sides Gone” is the track you should be streaming at the moment. This [roughly] 35-minute ambient tune is part of Destroyed Remix, a two-CD remix compilation of songs from last year’s… Destroyed.
Disc 1 hold remixes by Paul van Dyk, Holy Ghost!, System Divine, while Disc 2 features Yeasayer, Ben Hoo, Photek, and Moby’s version of David Lynch’s “The Poison Tree.”
Destroyed Remixed will be available digitally on May 1st. If you’re looking to get your hands on a limited-edition physical copy, you can do so on June 19th [Mute Records].
In the meantime, sit back, relax and stream away.
Florence and the Machine have a brand new track titled, “Breath of Life.” The song is featured in the upcoming action movie, Snow White and the Huntsman– starring Charlize Theron, Kristen Stewart, and Chris Hemsworth. The soundtrack is set for release on May 29th via Universal Music Group. Take a listen below!
It’s not music from the gods, but it’s close…it’s from Canada! The Canadian rockers Zeus released a video for the track called “Let It Go, Don’t Let It Go.” The band recorded the video in their own personal studio Ill Eagle in Toronto, using a series of vintage cameras. Check it out, below!
Foster The People’s new video for the track “Houdini” serves quite the metaphorical purpose– even when your gone, gone, gone people still try to make more dinero out of you. When the band has a freak accident during a video shoot, industry executives hire asian technological wizards to turn the fellas into marionettes…I guess, the show must go on. Watch the video for “Houdini” below!
Get More: Foster the People, Houdini, Music, More Music Videos
