Posts Tagged ‘Interscope Records’

Image may contain: table and indoor

How does a psychedelic loner turned lover reckon with time’s relentless forward march? By plunging backward into an analog dance party where everything glows like a disco ball reflecting off puffy-haired monsters of rock. Kevin Parker built his legend crafting vivid alternate histories of classic rock and big-tent dance music. If 2015’s Currents blurred together the sounds of the modern festival scene, The Slow Rush sounds darker, more interior, more retro — a hallucinogenic swirl bridging the gap between Studio 54 and the Midwest arenas of the same era.

It’s not technically a music video, but a pre-assembled “live” taping for The Late Show With Stephen Colbert. Nonetheless, Kevin Parker of Tame Impala’s performance of “Is It True” is as visually striking as any of the outfit’s proper clips, with a split-screened Parker accompanying his vocals on both guitar and bass in three separate, color-coded columns. The ending result is somehow exponentially more captivating than your average remote livestream performance.

An Island Records Australia release © 2020 Modular Recordings Pty Ltd.

Image may contain: 1 person, text

Lana Del Rey has unveiled a potent new song, “Venice Bitch,” which is expected to appear on her next album, Norman Fucking Rockwell. The album is slated to arrive early next year.

“Venice Bitch” is a sprawling 10-minute cut co-written with Jack Antonoff. The track starts as an tender ballad, with Del Rey unspooling her unique mix of young love and contemporary Americana over an acoustic guitar and subtle strings: “Ice cream, ice queen/ I dream in jeans and leather/ Livestream, I’m sweet for you/ Oh god miss you on my lips/ It’s me your little Venice bitch.” Halfway through, though, “Venice Bitch” transforms into an airy psych-pop jam that coasts to a cerebral, polychrome end.

“Venice Bitch” follows the earlier new track “Mariners Apartment Complex,” another collaboration with Antonoff released last week. Del Rey spoke about working with Antonoff, saying, “We sat down in the studio in New York and he kind of started everything. He would just play chords for hours. He’s so good at piano, some of the stuff he writes just melodically is really kind of classical and in my case it ended up turning more folky. He made it really easy for me to just riff over everything he was doing. In our first week I had two songs I just thought were maybe two of the best songs I had written. He just has a lot of truth in him.”

Elsewhere, Del Rey discussed how she settled on the album title, Norman Fucking Rockwell. “So the title track is called ‘Norman Fucking Rockwell’ and it’s kind of about this guy who is such a genius artist but he thinks he’s the shit and he knows it and he like won’t shut up talking about it,” Del Rey said. “So often I ended up with these creative types or not or whatever and you know they just go on and on about themselves and I’m like yeah, yeah. But there’s a little bit of merit to it also. They are so good. I just like the title track so much that I was like ok, I definitely want the record to also be called that.”

Del Rey also spoke about the numerous other projects she’s working on, including a book of short stories and poems titled, Violet Bent Backwards Over the Grass. Del Rey teased more new music as well, suggesting she might put out another track in October.

Lana Del Rey performing Venice Bitch. © 2018 Interscope Records

Goodbye June Dive Bar.jpg

Goodbye June is a rock band from Nashville, TN , The band is composed of cousins Landon Milbourn (lead vocals), Brandon Qualkenbush (rhythm guitar, backing vocals), and Tyler Baker (lead guitar)  Goodbye June signed to Interscope Records in early 2016.  The band has toured throughout the United States as well as Germany, Sweden, Finland, Holland, Belgium, France, and Spain. They won the 2014 Unsigned Only music competition with their single “Daisy” .

Goodbye June performing “Daisy”. available on  Interscope Records

Image result

Patient fans who’ve been on the hunt for a copy of the Yeah Yeah Yeahs‘ “Fever to Tell” are in luck. The band has announced that their 2003 debut album – known for its distinctive subway-inspired graffiti cover – will be reissued in a variety of formats.

Fever to Tell hasn’t been available on vinyl for a decade. Along with that standard LP edition, there will also be deluxe box, digital deluxe and standard re-mastered versions of the album, which is approaching its 15th anniversary. They’re due in stores on October. 20th via Interscope Records / UMe.

“A friend of a friend kept asking if we were ever gonna put Fever To Tell out on vinyl as it hasn’t been on vinyl in 10 years,” the band wrote in a statement. “That’s not right. So here it is on vinyl for the first time in 10 years, plus a time capsule of photos, demos (first ever recorded), a mini film documenting our near downfall and other fun memorabilia, from the turn-of-the-century New York City – made with love and the usual blood, sweat and tears of Yeah Yeah Yeahs.”

To celebrate the reissue, Yeah Yeah Yeahs have released the song “Shake It,”.

Ahead of an expected reissue of their acclaimed 2003 album Fever To Tell, Yeah Yeah Yeahs have put out a previously unreleased recording under the title “Phone Jam.” Social media posts in the last few days from the band have been tagged with #FeverToTell, leading many to suspect a reissue is imminent. “Phone Jam” would seem to support that—its cassette artwork sports a handwritten “2002” on it, suggesting that it comes from a Fever To Tell recording session.