Karin Dreijer Andersson has a day job in the icy cool Swedish electro pop duo the Knife. Taking a break from that project, Andersson is stepping out with Fever Ray. The self-titled album came out this week and is stoking some serious critical accolades, including from PopMatters. As Ian Mathers says today in a review of the record, “With the Knife on hiatus, Andersson crafts something even more all-encompassing and darkly compelling than [The Knife’s] Silent Shout.” “When I Grow Up” is her new video from Fever Ray and features haunting Björk-ish vocals amongst a spare arrangement of dark synths and the artist writhing around in tribal garb on a diving board.
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Felipe Rose might be known to the world as “The Indian” from Village People but to his native Sioux tribe, he is known as “Swift Arrow”. Long a presence in the Native American recording community, Rose has earned a number of NAMMY (Native American Music) Awards for his songs, including “Best Historical Recording” and “Songwriter of the Year”. Recently, Rose returned to the studio to record new material for his Tomahawk Records imprint. “From the East to the West” is among the first completed tracks written and recorded with Rose’s longtime producer/collaborator Frosty Lawson. The spirit of the song, Rose explains, asks the question, “Where are we going?” It is a prelude to the end of the Mayan calendar: 12/21/12. The song features Lawson on piano and Eddie Three Eagles (Rose’s father) on native flute. An established painter, Felipe is also developing an art piece to accompany the song.
I’m trying to think of something I don’t love about this.
I’m not having much luck.
Overhearing a conversation between the boy’s mother and his teachers about his love for comics and superheros, Somchai rushed back to the fire station to change into a Spider-Man costume before swinging into action.
“I told him Spider-Man is here to save you. No monster will hurt you now,” Somchai said. “Then I told him to walk slowly toward me. I was very nervous that he might have slipped if he got too excited and ran.”
Somchai, who keeps costume of Spider-Man and a Japanese superhero Ultraman to liven up fire drills at schools, said the teary-eyed boy broke into a smile and started walking into his arms.
With all proper respect to the (late, great) Mikey Dread, I hereby declare Somchai Yoosabai a legit Jumping Master!
Mikey Dread - “The Jumping Master”
Heavily tipped Passion Pit are releasing their full-length debut Manners on May 26th and they have just posted the first single “The Reeling” over on MySpace. They also have a load of upcoming concert dates beginning at Sasquatch and ending at the Bowery Ballroom in NYC.
“The Reeling” [Stream]
5/23 - George, WA @ Sasquatch! Music Festival
5/24 - Portland, OR @ Wonder Ballroom
5/26 - San Francisco, CA @ Bimbo’s
5/28 - West Hollywood, CA @ Troubadour
5/29 - Los Angeles, CA @ Echoplex
5/30 - Pomona, CA @ The Glass House
6/2 - Dallas, TX @ Granada Theatre
6/3 - Austin, TX @ Emo’s
6/4 - Houston, TX @ Warehouse Live
6/5 - Baton Rouge, LA @ Spanish Moon
6/6 - Atlanta, GA @ The Drunken Unicorn
6/8 - Richmond, VA @ The National
6/9 - Washington, DC @ Black Cat
6/11 - Manchester, TN @ Bonnaroo
6/13 - Covington, KY @ Mad Hatter
6/14 - Chicago IL @ Empty Bottle
6/17 - Buffalo, NY @ Mohawk Place
6/18 - Boston, MA @ Paradise
6/19 - New York, NY @ Bowery Ballroom
6/20 - New York, NY @ Bowery Ballroom
Greg Mottola’s upcoming Adventureland extends his Superbad interest in awkward young coupling, but this time around he’s chosen a more romantic approach. The wall-to-wall music in the film is an impressive collection of songs faithful to its period (1987) and setting (Pittsburgh amusement park staffed by frustrated folks in their teens and early twenties). While the script is sometimes too eager to point out the coolness of some of the songs—through characters’ mixtapes and onscreen LP jackets—the overall effect is an earnest love letter to the soundtrack of Mottola’s youth.
Music supervisor Tracy McKnight worked with Mottola to clear the almost 40 songs used in the film, which meaningfully connects Lou Reed and Big Star to Falco and Poison. Yo La Tengo provided the score.