Haim have released a 22-second teaser for their upcoming music video, “If I Could Change Your Mind,” and as vague as it is (read: we have no idea what’s happening in it) we’re pretty excited to see what the full video holds. Unfortunately, with no release date as of yet, we may have to wait a while. The video was directed by Warren Fu (Daft Punk, The Strokes, Depeche Mode) and since it’s Haim we’re talking about, we feel confident saying fans won’t be disappointed. Check out the teaser below. (more…)
Move over, Coldplay. And tell U2 the news. Muse is gunning for the latter bands’ longtime job, the one for which the former might be considered naturally next in line: biggest rock band on the planet.
Bono, for one, may have seen this coming. When Muse opened for U2 on U.S. dates of the iconic Irish band’s 360° Tour in September and October of 2009, U2 frontman Bono touted the young English trio as one to watch ” and listen to ” the next biggest thing. Muse deserved the distinction: What other rock & roll band can claim responsibility for inspiring the Twilight saga?
And, finally, thank you to the talented musicians who inspire me, particularly the band Muse ” there are emotions, scenes, and plot threads in this novel that were born from Muse songs and would not exist without their genius.
” Twilight author Stephenie Meyer
But being the muse of a best-selling author and earning plum spots on the soundtracks to the blockbuster films based on her blockbuster book series do not ruling rock Gods make. Muse, though, is about to give it a shot with their upcoming sixth album, The 2nd Law (due October 2), which is receiving perhaps the biggest pre-release marketing push since Lady Gaga‘s Born This Way. (more…)
The trio of Los Angeles-based twentysomethings led by founder and namesake Mark Foster looks like a boy band (only cuter), plays instruments like rockers and produces music with beats that thump as hard as any backing up those fierce divas currently ruling every dance floor in clubland. And then there’s FTP’s breakthrough single, an insanely catchy song called “Pumped Up Kicks” about cool shoes and a youth with homicidal tendencies.
I mean, really?
Even more surprising than the song’s smash status despite its decidedly un-poppy protagonist”that troubled kid contemplating a shooting spree”is the fact that it’s created barely a ripple of controversy throughout its lengthy chart run. Did the clever lyrics fly over the heads of the country’s guardians of morality and decency in songwriting? Were we all just too lost in the beat to notice the finger on the trigger?
Or perhaps for the first time since the second British invasion of the 1980s brought such alternative pop acts as Duran Duran,
Depeche Mode and indie-pop pioneers the Smiths into and around the mainstream, both the masses and the pop-music establishment (radio and retail) are ready to support music that touches on more complex subject matters than “dance music sex romance””to quote a track on pop iconoclast supreme Prince’s 1982 album, 1999, one of the records that launched the censorship wars of the early ’80s that would hardly raise an eyebrow today.)
It seems like just yesterday: She was invading the dreams of pedophiles and lusty teenage boys everywhere. But that was 1998, the year Britney Spears, then sixteen, broke with her No. 1 debut single, “…Baby One More Time,” and its accompanying video, in which the singer made an unforgettable first impression as Lolita-lite, a sexy school girl who was up for just about anything.
At the time, Britney seemed destined for the cut-out bin in two years flat. Her synthetic pop sound didn’t sound built for longevity. And didn’t the name Britney Spears, which was too close for comfort to that of ’80s hair metal heads Britny Fox, have one-hit wonder written all over it?
Boy, was I wrong! Thirteen years later, she’s still with us. Her albums may no longer be as huge as they were at the dawn of the century, but she’s still one of the leading ladies of pop. Super-stardom, however, isn’t everything. Even an act with a hit list that’s as thematically shallow as Britney’s must crave a little artistic growth. She’ll turn thirty on Dec. 2, but to me, she’s still seventeen”partly because I don’t want to admit that I’m getting so old, but mostly because Britney herself still doesn’t sound as if she’s a day over twenty.
Sure she’s lived a lot. There have been two marriages, two divorces (actually, one divorce, one annulment), two children and countless scandals. I interviewed Britney for Teen People right after the release of her second album, Oops!… I Did It Again, in 2000, back when she still hearted Justin Timberlake. She struck me as a sweet teenage girl with a maturity level that matched her age. I don’t know what she’s like today, but her music doesn’t make her sound much older.
Tension’s a funny thing. Too much of it can be explosive. Too little can be boring. Slutterhouse navigate tension like a tightrope walker, always aware of the potential for disaster but never wavering from their goal. The duo is made up of Rabih Mick Salloum and Nabil Saliba, two Parisians by way of Beirut. Musically their DNA seems more linked to Depeche Mode and Crystal Castles. Underground electronica careens and crashes into mainstream club music, yielding songs like French Robot Leuve, where watery digital droplets and beeps provide the backdrop for the monotone ramblings of a bionic man. Good stuff. Made In Dane begins like an early ˜80s Madonna single, then takes a flying leap into future with diaphanous washes, pops and crackles and some serious sexy talk. Salloum’s incantation on the chorus, Darling, won’t you dance? can serve as the overarching mantra for Slutterhouse. If they build a beat, you have no choice but to follow them to the dance floor.
For many the future of music is a topic up for debate” whether it’ll sink like a stone or be saved by those artists with raw, born-with-it talent. During the past decade, the music industry found salvation in pop and hip hop more so than they have in the past thanks to the Top 40 charts being man-handled by the likes of Lady Gaga, Nickelback, Drake, Flo Rida, Taylor Swift, Ke$ha and the like. Many people today think the true meaning behind music is lost in the waterfall of contracts, dollar signs and sponsorships.
However, now is the perfect time for the underground music scene to make their mark and give the people the raw talent that we were brought up on (remember the 90’s alt rock movement? I sure do). Luckily, I recently found a band that meshes the elements of synth pop and industrial music with the alternative rock sound that has been fading since the birth of autotune. Hailing from the city of angels in California is this week’s iRock artist, The Anix.
The Anix beautifully implements an electronic sound that not many can perfect (especially at this stage) while offering a rock edge jam-packed with strong, cutting vocals and crunchy guitar riffs. In September 2009, the group joined Apoptygma Berzerk on their tour through US, Canada and South America (shameless plug for label attention * cough cough *). With an industry-ready music video for “Half The World Away“ (embedded below) and write-ups on Absolute Punk and in both Billboard Magazine and Revolver Magazine, this unsigned trio shows potential to hit the rock scene harder than most”and with a polished sound like this, there’s no limit to how far they can go.
The Anix is fronted by Brandon Smith (vocals/guitar) who, along with drummer Logan Smith and keyboardist Greg Nabours, deliver solid performances on each track they put out. Building on influences from The Police, Depeche Mode, The Cure, Queen and Rush, the band proves there are still real musicians out there who can write solid songs with perfect hooks that will keep listeners on the edge of their seat. Check out the playlist below to hear “Resident One,” “The Ghost Of Me And You,” “Half The World Away” and “Bullets Without A Gun.”
Without further ado meet my new rock fix: The Anix.