When Master Chief chills out, he like to go to a space bar, take off his helmet and SING! Then someone who looks sort of like Erin Grey from the old Buck Rogers show passes by, and then a Borg turns up, and a gigantic Yoda, and some redneck-looking dude… ouch, my head. [via Topless Robot]
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When PopMatters first posted M.I.A.‘s video for “Born Free”, we noted that the clip—which featured a group of unfortunate red-headed persons being rounded up and executed by some sort of totalitarian Gestapo—may have been a sign that the Sri-Lankan/British artist was joining YouTube sensation CopperCap in the ongoing (and extremely grave and important) “gingers” debate.
What we didn’t expect was that everyone’s favorite, carrot-topped, internet hero would take issue with “Born Free”, given that it seems to echo CopperCab’s central thesis that “gingers” are a “race” that faces the same kind of discrimination as other persecuted minority groups around the world.
Nevertheless, his ire has been raised once more, and in a video entitled “M.I.A. is Evil!! And I’m Not Dead!!” CopperCab goes hard at the “Paper Planes” singer, as well as at the “haters” who have been spreading false reports of his demise.
Hot from a studio in Jamaica, Major Lazer (AKA the multi-talented Diplo and Switch) have produced a new mixtape, in conjunction with La Roux. Released last weel, it brings La Roux’s blend of angular, ‘80s inspired electro and merges it with the sweat of Major Lazer’s dirty, dancehall rhythms.With contributions from Drake, Rusko and Gucci Mane to name just a few, it’s the sound of the summer. The best part? Mad Decent are giving it away for free and you can download it here.
1. Bulletproof (Nacey Remix ft. Matt Hemerlein)
2. Colourless Artibella
3. I\‘m Not Your Lemonade + Heroes ‘N‘ Villains Remix ft. Gucci Mane
4. Independent Kill ft. Candi Redd
5. Keep It Fascinating
6. Magic (Falling Soldiers Dub)
7. In 4 The Kill Pon De Skream
8. Houstatlantavegas Pains ft Drake
9. Tigerlily (DYWHAP Blend) ft. Rusko
10. Can\‘t Stop Now (Armor Love Remix)
11. Quicksand (Mad Decent 2010 Rerub) ft. Amanda Blank
12. Cover My Eyes (Costra Nostra Edit)
13. I Said It (Major Lazer Dubplate) ft. Opal
14. Hold Yuh (Double Dubplate) ft. Gyptian
Between the Hold Steady namechecking Heavenly and the fact that every other new indie band seems to have some trace of C86 DNA, it’s the right time for Amelia Fletcher to make a triumphant return. And that exactly what’s happening with Tender Trap’s upcoming album, Dansette Dansette, due to be released, appropriately enough, by Slumberland on June 22. The very DIY video for “Girls with Guns” sounds like Fletcher and co. are returning to the cute-but-tough formula that made Heavenly one of the most endearing—if underappreciated—bands in the indie underground during the 1990s.
The Talking Heads song “This Must Be The Place” has always been a favorite for fans. It has a catchy beat that you can dance to and great moments of inflection that you can sing along with. The lyrics have a kind of weird intensity to them, “I guess that this must be the place” is not the typical gushing praise you’d expect in a pop love song. By the second verse, “If someone asks this is where I’ll be” and “You’ll love me till my heart stops” are shouted to emphasize how much time develops a situation. The slow acceptance of a relationship that feels awkward but grows familiar and loving is something that resonates with all of us.
Which is what makes Miles Fisher’s debut music video a particularly stand-out effort. Fisher is an amazing stand-in for Christian Bale and if you follow the Vimeo link you can see some other spoofs showing his talent at capturing the Hollywood ‘White Guy’ character. The song itself is a solid cover of “This Must Be the Place”, minimalizing certain areas and fleshing out others to make it into a more modern dance tune. But the video itself, which parodies various scenes from the cult classic American Psycho, takes the sense of discomfort and longing in the song’s lyrics in disturbing directions. The opening lyrics of loneliness are sung by Fisher as he dances around the apartment alone with his axe standing for air guitar. A limo pulls up and he extends a folded bill to a prostitute while mouthing, “never for money, always for love”. In the window’s reflection she mouths, “I love the passage of time.” Little moments like this are scattered throughout the video, poking at the song’s conception of love when embraced by a modern day Jack the Ripper. As the film pointed out and the music video continues to examine, even monsters enjoy pop music.