Dejan

LMFAO @ Oracular spectacular didn't age well and ROTFL about the new album. go eat some kangaroo's shit

Swoon sold 214,000 copies (i don't know if only in u.s. or worldwide),but its pretty impressive in these times with the illegal downloading.

No,they are awesome. [ame=http://www.youtube.com/watch?v=2Qq8MBQ--UA]YouTube- MGMT - TIME TO PRETEND - LIVE ON ABBEY ROAD[/ame] [ame=http://www.youtube.com/watch?v=wwXsvwklvfA]YouTube- MGMT - ELECTRIC FEEL - LIVE ON ABBEY ROAD[/ame]

Mark your calendars, Blackberries, iPhones, iPads, or just write it on your damn hand -- 'cause now it's officially official: MGMT's second album, Congratulations, will release in the U.S. on April 13. MGMT's core duo of Andrew Vanwyngarden and Ben Goldwasser recorded the album at studios in Upstate, NY, Brooklyn, and Malibu, CA, with producer Peter Kember, a.k.a. Sonic Boom of shoegaze pioneers Spaceman 3, and their live band -- Matt Asti (bass), Will Berman (drums), and James Richardson (guitar). Royal Trux frontwoman Jennifer Herrema helped with vocals, while knob-twiddler extraordinaire Dave Fridmann (Mercury Rev, Flaming Lips) handled mixing duties. The release is the group's first since their 2007 breakout debut, the catchy and psychedelic Oracular Spectacular -- which landed MGMT on the cover of SPIN. "It's definitely going to shock people," Vanwyngarden recently told SPIN.com of the new album's sound. "We dropped any sort of irony that was on the first record, and Congratulations feels true to who we really are." Congratulations' nine songs are "sequenced to flow with sonic and thematic coherence." And according to Vanwyngarden, the album moves from "Lady Dada's Nightmare," a "very nightmare-ish sounding" instrumental track inspired by the "Poker Face" pop star, to "Congratulations," a song written about fame and the "worldwide economic crisis." Through it all, he said, there's one unifying influence: surfing, a sport he picked up while recording in Malibu. "There's a surfing thread throughout the record," he explained, citing another new song, called "It's Working." "When you're surfing, there's a specific break you're paddling to. And when the waves are really good you say, 'It's working.' The song kind of has a surf-y vibe. It's like surfing on ecstasy!" The ocean's influence on Congratulations is also evident on MGMT's website, which features an image of a beach with crashing waves and, in the upper left corner, a timer counting down to the album's release date. Another album track "Siberian Breaks" is a 12-minute-long tune that's "like eight different songs strung together into one, and the general theme is about surfing in the Arctic Circle by Russia," Vanwyngarden explained. As previously reported, MGMT debuted a pair of songs during their late-night set at Bonnaroo last June -- an untitled piano-led track that recalled the bright psychedelia and flowing arrangements of the Zombies' The Odyssey and the Oracle, and the album's title track, a more standard MGMT fare (catchy synths, sing-along vocals). Currently, MGMT have only two live concerts scheduled: an April 17 appearance at Coachella and a May 2 gig at New Jersey's Bamboozle fest. A full tour in support of Congratulations is expected to be announced soon. Tracklist below: Congratulations: 01 It's Working 02 Song for Dan Treacy 03 Someone's Missing 04 Flash Delirium 05 I Found a Whistle 06 Siberian Breaks 07 Brian Eno 08 Lady Dada's Nightmare 09 Congratulations

Sigur Rós singer Jón “Jónsi” Þór Birgisson has a new solo album set for release on XL in April titled Go. Nico Muhly will also feature on the record, which was recorded over the summer of 2009 in Reykjavik and Connecticut. Now, a video for the opening track of the record, “Go Do,” has been revealed. http://www.prefixmag.com/media/jnsi/go-do-video/37261/

swoon is a great album,but carnavas is better to me. Some of their best songs are on this record [ame=http://www.youtube.com/watch?v=ok2wephX7cQ]YouTube- Silversun Pickups - Rusted Wheel (Live at Last Call with Carson Daly)[/ame] [ame=http://www.youtube.com/watch?v=7wrOuvdyW-s]YouTube- Silversun Pickups - Three Seed - The Fillmore, SF[/ame] Carnavas is a fantastic record from the first to the last song,and the ep is fuckin good too.

An example ? "Best New Artist": Zac Brown Band are y'all fuckin kidding me ? They are fuckin boring and no way better than Mgmt,Silversun Pickups and The Ting Tings and Keri Hilson!

up

Jónsi Birgisson (Sigur Rós) Records “Go” With Peter Katis Producer/engineer Peter Katis has a gift for distilling a band’s sound, using instinct, technology and personal invention to help bring out the sonic temperament of a song in all its complexity. For example, The National, Interpol, The Twilight Sad and Frightened Rabbit … all bands whose distinctly weighty sounds Katis helped to craft in the studio, meshing darkening tones with sublime choruses, harmonies both plaintive and ecstatic, and the sonic grit and sheen of every piece making up the whole. Production/engineering highlights from Katis’ recent history include Tokyo Police Club’s Elephant Shell, Mates of State’s Re-Arrange Us, The Grates’ Teeth Lost Hearts Won, Julian Plenti’s Skyscraper, Fanfarlo’s Resevoir, The Swell Season’s Strict Joy and a new record by Sigur Rós frontman Jónsi Birgisson, due out on XL in March ‘10. An engineer and musician, Katis has tremendous chops in the studio and his studio has become an important character in the artistic process of bands that hole up there to work. Located in the attic of a giant Victorian home in nondescript Bridgeport, CT, Tarquin Studios is filled with both the rare and requisite in musical instruments, amps, microphones, pedals and effects boxes, and Katis’ thoroughly vetted recording and mixing systems. Often distortion-infused yet never distracting from melody or musicality, the best Katis productions seem to so tastefully blend recorded sounds with studio manipulation and space that by some sonic association, they hit you like a mood or a season or a memory. Needless to say, we were excited at the idea of Katis producing Birgisson’s new solo record, Go. So how did you end up working with Jónsi Birgisson? How/why do you think he came to you? He really liked the sound of the Fanfarlo record and was familiar with several other records I’ve done. It started out as a really modest project; it was just going to be an acoustic guitar and vocal kind of record, and now, it’s massive. And, it’s really ended up sounding quite different from Sigur Rós. Was it just you and Birgisson recording at Tarquin? Well, the first week it was just Jónsi and his partner Alex, who’s an up-and-coming engineer and has a lot of creative input, and Samuli [Kosminen], the drummer from múm. So, we spent that first week laying down acoustic guitar and drums, although I’d probably say it was more ‘crazy percussion’ than traditional drums. Samuli is a very original drummer, from what he chooses to use for “drums” to his musical decisions and arrangements and all with almost inhuman precision. There is virtually no programming on this record. When you hear it, you’ll find that hard to believe. Was he actually playing a drum kit though? He was playing an assortment of drums, but never just a drum kit. One of the best sounds on one of the songs is the sound of him stomping on a suitcase and it was very hard to play because the action was so slow it was always awkwardly behind the beat. Because of these percussion sounds, right off the bat the record had a sort of unusual feel. And then Nico Muhly came in, and he’s really amazing. The amount of work he was scheduled to do in the time we had was completely unrealistic. And yet we finished it ahead of schedule. He was insanely fast. So were these just string arrangements? Or more elaborate orchestrations? It was strings, woodwinds and brass. He had everything written out — a giant stack of charts. The first day he came in, it was a 6-person string ensemble. We did a day and a half with them to do 12 songs. He and the players were extremely efficient. Were these his people he works with regularly? Yes, this is his crew and they’re pretty much the people in that classical/rock crossover world. A bunch of them played in the Dessner brothers recent show at BAM, The Long Count. So there was a day of strings —violins, violas, cellos, then there was a day of four woodwinds and then a four-person brass section and an afternoon for double bass. And then, a day of just flute. There’s flute all over this record. So, this was all done at Tarquin? Yes! At first, there was a possibility the orchestral dates would happen in NYC, but Jónsi from the start was all about it being really homespun and doing it all here. It worked out great, and I think all the players enjoyed working somewhere a little different. I would imagine from what I’ve read about Sigur Rós — recording in their own studio which they built in an indoor swimming pool — that Jónsi might be especially experimental and critical of sounds and tones. Was this the case? Actually, part of the reason he was so good to work with was that he was just like ‘do whatever you can to make it really interesting.’ And so I’d suggest using a lot of distortion, for example. And he’d love it. The stranger and more messed up I made it, the more he loved it. And for vocals, he was definitely mindful of things not being too slick or too polished. This record has more of a rock feel than some Sigur Rós music. It’s Jónsi Birgisson singing so it’s going to sound a bit like Sigur Rós, the same way that Julian Plenti’s going to sound a bit like Interpol. But, in the same way, that record doesn’t sound like Interpol to me. It’s very different, and this doesn’t sound like Sigur Rós. How would you describe the sound? Well, it’s a combination of all that weird percussion, those giant Nico Muhly arrangements, a lot of acoustic guitar and then us just sprinkling in different elements here and there — keyboards and what not. Besides a few little keyboard parts, there are basically no electric instruments on the record, it’s all acoustic. But by the end there was a good deal of manipulation, where we’d take the “live” tracks and overdrive and filter and reverse and really mess with them, loop a part here and there, etc. And, that was the only issue, where we’d debate things somewhat. I didn’t want to make the record too blippy because I thought it might diminish the ultra-organic quality of what we’d started with. But I think it ended up being a pretty exciting and original combination of sounds and styles. But it had started out as this intimate acoustic record, so was it Nico’s involvement that took it to this much bigger place and got everyone thinking bigger? I believe so, yes. Samuli played a hand in that as well. He’s such a great percussionist, and at times he would really kind of rock out. And even when he wouldn’t “rock out,” part of the adventure and fun of it was that I tried to record his percussion in strange ways most of the time. Instead of miking everything, I would just use a stereo pair of mics. And I would use two different kinds of mics in the pair, different pre-amps, different compressors, and I would overdrive almost everything. And sometimes that’s apparent and other times it’s not. When you hear it, you wonder why it sounds so crazy, and it’s because that stuff is just so gained up. And it makes it super-stereo! When you do that, all of a sudden, this modest part sounds very exciting. So, these percussion tracks have a lot of aggression. And they’re a big part of what helps the record morph back and forth between moments that are heartbreakingly still and sad to passages that sound like a train hurdling off of a cliff…

April 6 Vancouver, Canada Vogue Theatre April 7 Vancouver, Canada Vogue Theatre April 9 Seattle, WA The Showbox SoDo April 10 Seattle, WA The ShowBox SoDo April 13 Portland, OR Roseland Theatre April 15 Berkeley, CA Zellerbach Auditorium April 16 San Francisco, CA Palace of Fine Arts April 18 Indio, CA Coachella April 21 Denver, CO Paramount Theatre April 22 Lawrence, KS Liberty Hall April 24 Minneapolis, MN Pantages Theatre April 25 Minneapolis, MN Pantages Theatre April 26 Milwaukee, WI The Pabst Theatre April 27 Chicago, IL Vic Theatre April 28 Chicago, IL Vic Theatre April 30 Toronto, Canada Sound Academy May 1 Toronto, Canada Sound Academy May 2 Montreal, Canada Metropolis May 3 Philadelphia, PA Electric Factory May 5 Boston, MA House of Blues May 6 Boston, MA House of Blues May 8 New York, NY Terminal 5 May 9 New York, NY Terminal 5 Live video interview: http://www.livestream.com/aplive/video?clipId=flv_4d17ee1e-8118-46b5-8b22-648f27a2e095

The National Announce Tour, New LP Anthem-prone indie rock brooders the National are set to release their as-yet-untitled fifth record this May on 4AD. Little is known about the album at press time, but there's already a big tour shaping up to support it. (Check out our interviews with Bryce Dessner and Aaron Dessner for a bit of insight into the making of the album.) The Brooklyn band will show off some new wares starting at the Big Ears Festival in Tennessee, co-curated by Bryce, in late March before heading to Europe and finally North America later on in the spring, including a June date at New York City's Radio City Music Hall. Check all upcoming gigs below: The National: 03-26-28 Knoxville, TN - Tennessee Theatre (Big Ears Festival) 04-22 Richmond, VA - The National 04-23 Richmond, VA - The National 05-06 London, England - Royal Albert Hall 05-07 Paris, France - Le Zenith * 05-09 Berlin, Germany - Astra 05-22 Los Angeles, CA - The Wiltern # 05-23 San Diego, CA - Spreckels Theatre # 05-27 Oakland, CA - Fox Theatre # 06-02 Boston, MA - House of Blues 06-05 Philadelphia, PA - Electric Factory 06-06 Washington, DC - DAR Constitution Hall 06-08 Toronto, Ontario, Massey Hall 06-16 New York, NY - Radio City Music Hall NEW INTERVIEW When he first wakes up in the morning, the National singer Matt Berninger sounds exactly the way you'd expect, his voice a craggy rumble deep enough to have seismic implications. That voice is a huge part of the reason his band's brooding anthems have become popular enough that they can headline festivals and show up in a Google commercial. And now we're about to hear another set of those brooding anthems. As previously reported, the National will release an as-yet-untitled new album this May, via 4AD. And this spring, they'll hit the road, bringing the new songs to audiences in North America and Europe. Earlier this week, Berninger checked in with Pitchfork after rolling out of bed to talk about the new album, the intra-band battles surrounding it, and the Sufjan Stevens guest appearance that should make the final cut. Pitchfork: Is the new album finished? Matt Berninger: No, it's close. We're scheduled to master it in three weeks. I'd say it's 75 percent done. But with us, the songs often change drastically in the last couple of weeks, in the mixing. We know what songs we're trying to finish, but what exactly the songs are going to end up like is still a mystery. It's the most frustrating and exciting part of the process. So from a time perspective, we are almost done, but what the thing's going to end up like, it's hard to tell. Pitchfork: What's the most frustrating aspect of this stage? MB: At this point, everybody's getting attached to certain versions or arrangements or forms of songs, and everyone's getting attached to different versions. At this point, we'll be chopping songs apart, cutting them down, and then rearranging them, just to try to figure out the magic middle ground between everybody's ideas. So it's where everybody starts to just dig their feet in the sand, and it's where all the arguments happen because we know how drastically something can change at the last minute. It's easy for us to ruin a song in the last day or two of working on it. Pitchfork: Do you think you've ruined songs before? MB: I think we have, yeah. Well, not ruin, but there are versions of songs that we had that we maybe got cold feet about. We did something to them that we thought would put it over the edge, but it actually kind of ruined the original vibe. It ends up being a pretty good song, but the song "Guest Room", on our last record, had a sort of a different personality until the last week or so. It sort of became muffled up, and I think it hurt that song a lot. But the other side of the coin is the song "Fake Empire". It wasn't 'til the very end of the process that we added the whole fanfare, the horns at the end, which turned a sleepy little simple song into something more exciting. That whole moment at the end of "Fake Empire" makes that song in many ways. It's an average song without that. We're right in the place where those kinds of things happen. Pitchfork: Your songs are always pretty layered and complicated. I would imagine that figuring out the last little details when you're putting these things together would be a really tough process. MB: Of the reasons that it's hard to figure out what the song's going to be like until the last minute is that, in the process of going from just a little sketch of an idea-- you know, a melody, and maybe a simple piano or guitar part-- we'll just start layering lots of different things on it with the idea that maybe we'll use 20 percent of this, but let's try everything. We'll also have three or four different drum parts that completely change the whole character of the song. So when we start picking the elements that complement each other and work well together, a song could be just this huge epic, or it could be a folky little scrappy ballad. It's not quite that extreme, but if you add strings or something, a song becomes a totally different song. That's where the fighting happens between us. There's the one camp that's always like, "This song's better simple," and then there's another camp that's like, "It's boring simple." That switches around from song to song, and it gets heated, but it's how it's always been. Since our second record, we started to know this is the phase we always go through, and we usually will come out the other side still friends, and with a pretty good record. When we were making Boxer, it got so tense between all of us that we worried whether we could even continue being friends and being a band toward the end. It was just so stressful on everybody. This time around, it's still as tense, but we're not worried. We realize that this is just what happens to us when we're near the end of making a record. A week after the record's done, we all laugh about the mean and horrible things we've said to each other. It's like a family at Christmas: Sometimes you say the worst things possible to each other, but you know you'll come back next Christmas. Pitchfork: Do the band's sets of brothers [Aaron and Bryce Dessner, Scott and Bryan Devendorf] team up with each other? MB: Yeah, sometimes [laughs]. The fact that we have two sets of brothers, it balances out. I'm sort of in between. It's hard to tell who's going to go one way with a song. It's never the same fights. You can never expect who's going to want something one way or the other way. Those guys will talk to each other a lot on the car rides home and resolve problems. [Laughs] I make this sound like all we do is fight, but that's not quite true. It's a very balanced warfare up here. Nobody's a favorite at any moment. Pitchfork: Does the new album have a title yet? MB: No, it doesn't. We've been kicking around ideas. Every time we have an idea for a title, it lasts a few days and then we realize how bad it is. Not long ago, we were calling it Summer Lovin' Torture Party. Thankfully, we realized that's just a stupid title. So right now, it's still untitled. Pitchfork: Can you name any of the songs that will be on it? MB: It's hard to tell because we're still going to chop some. One of the contenders is "Love Buzz, Ohio". There's one called "Romantic Comedy", there's one called "L.A. Cathedral", there's one called "Quiet Company", and there's one called "Runaway". There's a bunch that are untitled. There's a few that we've played live before. Most of those will make it, but I think we're still going to chop a couple of songs, and we don't really know which ones we're going to chop yet. For a long time, we thought "Love Buzz, Ohio" was going to be a big, important song on this record, but just last week we were all thinking maybe it doesn't even belong on the record. It's so weird how quick we shift around the idea of what kind of record this is going to be. That song has had the potential to be good, but we just haven't found it yet. We haven't quite found its heart yet. But now we've jumped in and out of it and have done a few things, maybe stripped it way back. Pitchfork: I was just watching a YouTube video of you doing that song last summer, and it sounded huge and epic. MB: Yeah [laughs]. Well, that's the problem. If it becomes too epic, it sounds ridiculous. For a while, we've sort of pushed it too far, to where it sounds just like a bloated attempt, like we're trying to make an epic, and that can just sound bad. That happens with almost every song we work on; we push them too far. We make them too pumped up and overcooked, and you can hear that, I think. For us, the last phase of the process is always realizing that we ruined most of our songs, so let's go back, try to pull stuff out, and find its core. Maybe it should just be three instruments, not all these bassoons and horns and all this kind of stuff. Other ones, without that stuff, don't work. We went through this phase where everybody was just scratching their heads, and it sort of became an annoying song. I think it's back from the brink, but there's no telling. Pitchfork: Boxer was a much more restrained album than Alligator. You had big choruses, but you weren't yelling them anymore; they didn't build up to these big cathartic endings. How does this one fit on the spectrum between those two records? MB: I don't think it sounds anything like Alligator, but it's less restrained than Boxer, that's for sure. I don't quite scream my head off in the way I did with "Mr. November", but I do think it's cathartic. Boxer was all tension without a whole lot of release. This builds a lot of those same kinds of tensions, but I think there's at least a little bit of bloodletting in this one. I'm trying to sing out and higher a little more, and the melodies move around a little more. When we started this record, I worked on melodies before I worked on lyrics. A lot of my melodies are sort of in a limited chanting, murmuring range, which has always worked for me. But I was trying to work on melodies this time much harder than I ever have in the past, and I think that alone has made the songs feel like they release more. I don't know; we're talking about abstract things. There's a lot of yelling on this record, but not quite the guttural, psychotic screams that were on songs like "Abel" and "Mr. November". I also think this record moves faster. I think it's going to be a longer record than Boxer, but hopefully it's going to feel shorter. The songs have much more momentum, somehow. It's less stately, a little more... Catchy is not quite the word, but I think this record will be fun to drive to. Hard to tell, though. Pitchfork: Sufjan Stevens played on the last album. Do you have any guests on this one? MB: We have a bunch of people who have come in and out of the studio, which is behind Aaron's house. It was sort of an open door policy; friends come over and do stuff. So a lot of people did do things. I don't know exactly how much of everything we're going to keep. I will say that Sufjan did something that we are going to keep on a song. He sang some weird little backing vocal melodies-- no words. It was on a song that had just the right sort of odd, creepy vibe. There are a few other people that have come in and out. I don't want to say who yet [laughs] because we still might be editing them out. But I'm pretty sure that the little Sufjan vocal thing is going to be in there. It really did something special with that song. Pitchfork: You're playing, for the most part, much larger venues than you played when Boxer first came out. Does that change the way you write songs, imagining how they're going to be heard in these bigger venues? MB: That's a good question. I don't think so. I don't know if I would even be able to have perspective on that. Maybe we do without even realizing it. Throughout the Boxer touring cycle, we played a range of venues. And then, by opening for R.E.M., there were some gigs we were playing arenas. But I don't think we actually did anything different. I think even when we were playing the little clubs, we were in many ways pretending we were playing in front of thousands of people. We've always been trying to put on these big, passionate, powerful live shows. So it didn't feel that weird, actually, when we opened for R.E.M. and as our crowds sort of got bigger and bigger. But then again, a lot of songs did change-- like "Squalor Victoria", for example. Playing it live definitely changed the song into a much bigger, more anthemic song. I don't know if we would've done that if we were just playing Pete's Candy Store-- if the same thing would've happened to that song, or if it's because these rooms were bigger and we were reaching for the rafters more. That song completely evolved into a different kind of song live than it is on the record. That may just be the natural shift that happens to us when we're playing for bigger crowds. I don't know if we've been trying to make a big record with that in mind. I know we didn't want to make another Boxer. From the beginning, there was a conscious idea of making a faster and slightly less sensitive record. I don't know how you would describe Boxer, but, less of a moody... I guess this thing really is still very moody, but we wanted to make a meaner record. And maybe that has something to do with it. We know how it's going to be fun to play these things loud and big for shows. It could very much be in the backs of our heads. Pitchfork: Is there any music that you were all listening to recently that might have influenced the record? MB: I don't think there's anything that we were all listening to or talking about collectively. We all listen to very different kinds of things. In fact, I was hardly listening to anything this past year and a half, just because I had my headphones on so often, trying to write lyrics for this record. When I took the headphones off, the last thing I wanted to do was have other music in my head. I had been listening to these sketches for five hours a day, trying to think about them and write to them, so I missed an entire year of music in some ways. I listen to a song or two from people that I loved, just for inspiration here and there, but I don't know if it actually worked. I think it just frustrated me. You know, when you hear something you love so much and you feel like you're getting nowhere with a song, it often just makes it even harder to write to it. Pitchfork: Are you looking forward to the whole touring cycle kicking up again after the record comes out? MB: Yes. I don't love being on the road. I don't love living in a bus, even though touring has become so much nicer than it was a few years ago. We don't have to drive, pack into a little van, sleep on floors. But you're still away from home, and you're still just floating around. It does get to me after a couple of weeks. This time, we're trying to do slightly shorter tours. I mean, I am really looking forward to playing these songs live, and I always love the shows, but living in a bus or hotel rooms for weeks and months, I don't take well to that. I go a little crazy. I also have a one-year-old baby at home. When you miss three weeks of a little one-year-old, you miss a lot. I'm a little freaked out about that, but my wife and the baby will come for some of it. The truth is I've been trying to not even think about touring right now, just trying to finish the record. But we're all excited about playing Royal Albert Hall and Radio City; these are dreams come true. Pitchfork: You're playing Paris with Pavement. MB: Yeah, if somebody told me I was playing in Paris with Pavement five years ago, I wouldn't know what I'd think. It boggles my mind that that's going to happen. Scott and I-- we're not alone in this-- but that was probably the band that made us want to be in a band. Or at least they gave us the confidence. Somehow, you realize you can kind of do anything in music. You don't have to be good at a certain thing; you can just do whatever you want. Pitchfork: The band was just the focus of a commercial for Google. Was that weird for you? MB: They just contacted us. Our manager said, "Hey, you guys have an offer for a Google ad." And at first, we saw dollar signs. We were like, "Google?" I have a kid and stuff, and we'll sell a song to a movie or a TV show or an ad if the money's good enough. And the Google thing, we were interested because we thought it would just be a ton of money. Turns out it was hardly any money, but then we saw the ad that they were talking about, it's basically just an ad for our band. So it seemed like a smart thing to do. I'll be honest; I think we all debate that whole thing. Having your songs in movies or TV or commercials, does that hurt your band, or does that hurt the music? We debate that all the time. But the Google thing is an example where it's like, well, it supports us, and it's about us, so we were OK with it. And to be honest, we were excited about it. But yeah, we didn't get rich off it.

The release date of Jónsi's debut solo album, 'Go', has been confirmed for the week of April 5th around the world*. Featuring 9 songs drawn from the large pool of material amassed by Jónsi during his many years as singer with Sigur Rós, and arranged in collaboration with classical wunderkind Nico Muhly ("one of the hottest composers on the planet" Daily Telegraph last week), the album now has a finished sleeve, conceptualised and realised by Jónsi's sisters Inga and Lilja. Here's how it looks: Meanwhile, details of his first live concerts outside of Sigur Rós will be announced next Monday (Feb 1). The shows which start in North America in April, will feature a brand new band and a stage set designed by 59 Productions. Both these things promise to be drop-dead amazing. The idea of the stage collaboration with 59 Productions is to bring together the worlds of theatre and music in a new and hopefully unique way, in order to create something other than the hoary old cliches that pass for innovation in rock'n'roll. The ideas remain very much "in development", but there will be some surprises, for sure. Here's a maquette (a tiny cardboard model, to you and me) of h ow things might appear. Cute, huh? Meantime, first week of Feb is also when everyone finally gets to see the video for 'Go Do', the first single to be taken from 'Go'. Directed by Arni & Kinski (previously responsible for no fewer than six Sigur Rós videos, including 'Glósóli' and 'Viðrar vel til loftárása'), the video was filmed on location in Iceland between Christmas and New Year, which is quite an achievement when you realise there are about four hours of daylight at that time of year. It looks gorgeous, and here's a still to prove it. For those of you who can't even wait a week for their next fix of new Jónsi music, you can check how three of the songs must have sounded before Nico got his hands on them and, in Jónsi's words, made them "explode", by going to Jónsi's Soundcloud page and listening to the man and his acoustic guitar navigate their way through his first ever live radio session last week on WNYC, New York. Wow! I'm telling you, 2010 is going to be LOT of fun.

BEEN POSTED

Jonsi got his own solo career now and a side project with his boyfriend. He can live without his bandmates i guess..

During an interview to promote his solo debut, Sigur Ros lead singer Jonsi Birgisson announced that Sigur Ros are taking an indefinite break, as he's off promoting his own record, and the recording sessions that were started for the new Sigu Ros album in 2009 were scrapped. http://www.spinner.com/2010/01/27/sigur-ros-on-indefinite-break-as-frontman-jonsi-prepares-al/

Muse have announced plans to make a Nirvana inspired tour documentary. The band, who have released various live DVDs throughout their career - including 2005's Absolution Tour and 2008's H.A.A.R.P. - have revealed they would like to make something a bit different, reports BBC 6 Music. "We'd like to something a little bit more along the lines of a touring documentary as opposed to just a live gig this time," bassist Chris Wolstenholme told Australia's Triple J radio station. "Something a little bit more like Nirvana's Live! Tonight! Sold Out! I think that was one of the best tour documentaries I've ever watched; just life on the road and what it's like, with obviously a bit of music here and there, and other loads of other random stuff as well." He added.

I think that you are totally wrong

[ame=http://www.youtube.com/watch?v=tRbL82ocSoc]YouTube- Maroon 5: New Album Trailer 1[/ame] [ame=http://www.youtube.com/watch?v=Ffj7IWQzas0]YouTube- Maroon 5: New Album Trailer 2[/ame] [ame=http://www.youtube.com/watch?v=VzXdlpYrWh4]YouTube- Maroon 5 Album Trailer #3![/ame] [ame=http://www.youtube.com/watch?v=YjseprZ4zwc]YouTube- Maroon 5 Album Trailer #4[/ame] [ame=http://www.youtube.com/watch?v=Pdm6HUB2ozQ]YouTube- Maroon 5 Album Trailer #5[/ame]

^^ this is already in my top 5

The Beach House you’re about to meet isn’t the same you may remember from before. Lives have been shuffled, tangled and re-aligned. When Victoria Legrand and Alex Scally returned home to Baltimore last winter, they were worn thin from touring and travel. But deep inside them hot energies were incubating, ideas they had been whispering back and forth in the wake of their sophomore full-length, 2008’s Devotion. By the following spring they began handing themselves over completely to those impulses, holing themselves up and exchanging ideas in a new, secluded practice space for dangerously long periods of time. As the songs that would become Teen Dream began to live, breathe and take shape, the duo was forced to leave much of their personal lives behind them. “We’re the same people, but this record has changed our directions,” Legrand muses. “We were forced to let go of people and things we were holding onto as individuals: normalcy, daily rituals, the ability to take care of ourselves. We were dropped into a wilderness, but we had more clarity than we’ve ever had before.” Still driven to avoid distraction, the two marched further into isolation, to bottle up all those wild visions away from home. They packed up their lives and settled into a converted church in upstate New York with producer Chris Coady. For a month they continued the birthing process, sweating and pushing out sounds inside a cocoon of their very own weaving. “It wasn’t about arriving at a church and it revolutionizing a feeling,” Scally notes. “It was a continuation of what we were doing without disruption. Whenever something good happens, we look at each other and we know that was it. It’s instinctual and it’s private.” Through the course of a month, they chased down songs and dark rushes, the creative telepathy that Scally and Legrand share together taking a strangely physical hold. “There’s a different level of intimacy, a physicality on Teen Dream,” Legrand explains, pacing back and forth. “Rhythmically, there’s new motion. This record touches you. On your chest.” The skyward pulse of “Walk In the Park” and “10 Mile Stereo” elicit just those reactions, two vibrant, volcanic examples of a record and band bursting at its incandescent seams. It is without question, more expansive and moving than anything they have shared before. “I’m ready to give it away,” Legrand says of this, their first effort as part of the Sub Pop family. “I’m done holding onto it. I want to give it away, I want it to become something else for people. It is born now." Alex Scally and Victoria Legrand are from Baltimore, Maryland. They are not a couple and Teen Dream is their third full-length album. ALBUM STREAMING 1. Zebra [ame=http://www.youtube.com/watch?v=90ipyWYO3LM]YouTube- Beach House - Zebra[/ame] 2. Silver Soul [ame=http://www.youtube.com/watch?v=xIGvqxN--aY]YouTube- Beach House - silver soul[/ame] 3. Norway [ame=http://www.youtube.com/watch?v=PHbtR8uO81M]YouTube- Beach House -- Norway[/ame] 4. Walk in the Park [ame=http://www.youtube.com/watch?v=3ElJ9uXZmM0]YouTube- Beach House - Walk in the Park[/ame] 5. Used to Be [ame=http://www.youtube.com/watch?v=KXP3y1eH-M0]YouTube- SXSW 2009 Music Video: Beach House - Used to be[/ame] 6. Lover of Mine [ame=http://www.youtube.com/watch?v=Zw5hkqTiAPI]YouTube- Beach House- Lover of Mine[/ame] 7. Better Times [ame=http://www.youtube.com/watch?v=dPoGhXcrLgQ]YouTube- Beach House - Better Times[/ame] 8. 10 Mile Stereo [ame=http://www.youtube.com/watch?v=3-rYQRxzaJM]YouTube- Beach House - 10 mile stereo[/ame] 9. Real Love [ame=http://www.youtube.com/watch?v=q0toW_SJf-4]YouTube- REAL LOVE[/ame] 10. Take Care [ame=http://www.youtube.com/watch?v=U_t5vR1U9AU]YouTube- Beach House - Take Care[/ame]

Their songs are on heavy rotation all over the world, when the arctic monkeys are not on the same level with their new record....

[ame=http://www.youtube.com/watch?v=QB5ii_ZzEsY]YouTube- United Nations of Sound - Are You Ready (HD)[/ame]

there's already a thread about it

http://www.babelgum.com/4015594/razorlight-rock-and-roll-lies-the-film.html

[ame=http://www.youtube.com/watch?v=76CZ9QGBSGs]YouTube- Blur - Live In Hyde Park (HD Trailer)[/ame]