Wilco will return with its Solid Sound Festival in 2013 after taking this year off.
The group announced the hiatus on its website, but added that the band will play a summer concert to benefit MASS MoCA, the Massachusetts Museum of Contemporary Art in North Adams, Mass.
Solid Sound Festival 3 will take place June 21-23, 2013 at MASS MoCa.
Wilco introduced the Solid Sound Festival in 2010, with the first event featuring the band as well as such acts as Mavis Staples, The Autumn Defense , The Nels Cline Singers and Kristen Schaal.
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Wilco will return with its Solid Sound Festival in 2013 after taking this year off.
Deftones have always had a flare for melodrama, which is part of the reason I've love them, will defend "White Pony" 'til doom, what-have-you.
So, as I previously reported, Deftones' Chino Moreno is lending his talents to new side project ††† -- or, for those who don't know the keyboard shortcut, Crosses -- formed with guitarist Shaun Lopez. And now there's another song to show for the pairing.
“Prurien†” very well could be a Killers song, with Brandon Flowers off gambling somewhere. A good one. It pulses with a thousand (sampled) voices rising. Appropriate, as he sings: "They got you so excited / you wanna climb in / taste the / violence."
It's got a lot of percussion dabbling around the high end, and a crescendo that'll have you tuning up your air guitar. It's short, or at least feels that way.
The track is from "EP ††," which is from -- you guessed it! -- Crosses' second EP. It's out Jan. 24.
Here are Crosses' first-ever tour dates:
1/31 – Pomona, CA at The Glasshouse
2/01 – San Diego, CA at The Casbah
2/03 – Sacramento, CA at Ace Of Spades
2/04 – San Francisco, CA at Slim’s
3/31-04/01 – Santiago, CL at Lollapalooza Chile
4/03-04 – Buenos Aires, AR @ Quilmes Rock
Madonna revealed more details about “M.D.N.A.” last night at the Golden Globes, in between swipes at Elton John and talking about her win for “Masterpiece” from “W.E.”
As we’ve previously reported, French producer Martin Solveig produced the majority of the album, out in March. “I love his sound. It’s really fresh, doesn’t sound like anybody else’s,” Madge said backstage. “I would say his music is happy. It puts a smile on your face.”
[More after the jump...]
What I originally like about Sleigh Bells is that they sound like, at any moment, the whole thing can become unhingled. Engine and body parts alike will go flying everywhere. Every song is played at 11.
The duo's proper first single from "Reign in Terror?" Comparatively, it's like a 7. The crew already released "Born to Lose," which I think is a lot weirder and edgier than this keyboard-assisted, pretty number.
Part of this is the soft refrain and post-chorus, softening the blow on that double-bass-pedal sound. It's pouring sugar on saccharine, which is Alexis Krauss' cheerleader coo. There's nothing too "off" about the mix...
Which is why this might be the kind of single the band to push it further into mainstream consciousness. Like some of their other songs, I can imagine this playing behind a commercial for a car with a lot of horsepower but also for a computer that computes at very fast speeds. CoverGirl need not apply.
Press tour is over, but before I left the warmth of California, Dan and I recorded another Firewall & Iceberg Podcast, running down the second half of the tour, reviewing several shows debuting over the next week and a half (the podcast is taking next week off while Dan goes to Sundance), and we even got on Skype later in the evening to talk briefly about a frustrating Golden Globes telecast.
Also, apologies for the various football-related interjections during the podcast. Giants-Packers was on in the background, and I couldn't help myself in a couple of spots.
Happy Monday, Boys and Girls! It's Firewall & Iceberg Podcast time...
Alan is currently flying back across the country to reunite with his family, but as TCA press tour ended on Sunday afternoon, we sat down together to debrief from the last week of the Tour. Mostly, Alan was watching the Giants game. We also reviewed the new season of "Justified" and took early looks at FX's "Unsupervised" and FOX's "Touch." Then we Skyped up in the evening to debrief after the dreadful Golden Globes telecast.
My dreams. They came true.
Well, at least one of them. Dan Auerbach and Dr. John's SuperJam set at Bonnaroo in 2011 had my mouth watering for something more, that this wasn't just a one-time thing.
It wasn't. It was a trial run. Today it was announced that Black Keys guitarist/singer produced and performs on Dr. John's new, forthcoming set "Locked Down," due April 3 via Nonesuch. Auerbach recruited a backing band specifically for the sessions, resulting in what a press release calls "a significant departure from his recent efforts."
Dr. John, aka Mac Rebennack, aka The Night Tripper -- has been releasing albums consistently since his 1968 debut "Gris-Gris"; he's put out five sets in the last 10 years, the last being "Tribal" in 2010.
"Mac inspired me every single day we were in the studio together -- musically, spiritually, cosmically... something special seemed to be happening and everyone involved could sense it," Auerbach said in a statement. The effort was recorded in his Nashville-based Easy Eye Studio. "For my money, Mac's one of the greatest who ever was and who ever will be...I'm so honored to have had this opportunity to work with him."
Part of the fun was that it was Auerbach who approached Dr. John, to make "the best record you've made in a long time"; Rebennack's first and seemingly only impression of the guy was what his children thought of The Black Keys. The two jammed in Manchester, Tenn. for Bonnaroo, which left enough of an impression to get started on a record.
"It was way cool cutting this record with Dan and the crew he put together for it," said Rebennack. "It's reel HIP."
As of Friday, phase one of this year's Oscar season has drawn to a close. Ballots were due by 5pm and it's pencils down, the music has stopped, whatever metaphor you want to apply. And the period of December 27 - January 13 was crucial for films looking to grab a last-minute foothold and those hoping to maintain dominance alike.
During that frame, the image to the left of actress Anna Paquin was bravely showcased on the cover of LA Weekly, Los Angeles's ubiquitous alt-weekly publication, to promote the outlet's choice of Kenneth Lonergan's "Margaret" for the year's best film. Voters out and about on their daily routines surely walked past any number of magazine stands and newspaper racks displaying the issue.
Meanwhile, in a very last-minute bit of campaigning, Paquin and Lonergan were both made available for press opportunities, which we of course seized here at In Contention. But not every outlet has the luxury of scheduling pieces like that on the fly.
With their awards rather needlessly spread across drama and musical/comedy categories -- the craft is hardly incomparable between genres, particularly when certain titles aren't even categorized correctly -- the ACE Eddie Award nominations for film editing are more revealing in terms of omissions than inclusions.
And if it seemed like "The Help" was starting to build some momentum in this race, it received something of a setback today by missing the list. Though hardly an outstanding editing showcase, it might still have hoped to crack a drama category that did find room for "The Descendants" -- not heavily favored for below-the-line Oscar attention -- and the embattled "War Horse."
Michael Kahn's nomination here represents something of a lifeline for the WWI epic in the wake of snubs from the directors', writers', cinematographers' and even art directors' Guilds. Whether it's an indication of enough enduring support for "War Horse" to make Oscar's Best Picture lineup remains to be seen, but if it had missed here, it truly would have been time to read the last rites. It's one of two nominations for four-time ACE champ Kahn -- Steven Spielberg's long-serving collaborator was also listed for "The Adventures of Tintin" in the animated field, where he could well snag another trophy.
Well, the Globes came and they went. And as I stood in the Fox Pavilion viewing party outside the Beverly Hilton hotel, guessing every single win with publicist friends, I couldn't help but smile at the HFPA's gall for being so predictable and so very much…themselves.
Madonna? Really? Of course.
Seriously, though, each and every winner was obvious save for the Best Picture (Drama) field, which I had expected to go to "Hugo." The collective breath of the party seemed to be held until "The Descendants" was called, and the explosion was so intense you had to figure most everyone else in there was expecting it to come up short, too.
So, the Golden Globes. I suppose I should write something about them, given that I went to the trouble of posting (lousy) predictions and all, but my throbbing head doesn't really want to go back to that place. It was a night where "The Artist" cemented its frontrunner status, "The Descendants" was rather half-heartedly crowned its official opposition, the HFPA renewed their vows with George Clooney and Meryl Streep, and "W.E." won more awards than "Drive," "Shame," "We Need to Talk About Kevin" and "Moneyball" combined. I might comment more later, but for now, I echo pretty much every word of Tim Robey's dismayed Telegraph review of the affair, coming down equally hard on the uninspired list of winners and Ricky Gervais's disappointingly flat hosting job. Better luck next year. [The Telegraph]