The film was directed by Tom Berninger, brother to the band’s frontman Matt, and follows the Brooklyn outfit on their globe-trotting tour behind 2010′s High Violet.
“When my brother asked me along on tour as a roadie, I thought I might as well bring a camera to film the experience,” Tom explains in the film’s press release. “What started as a pretty modest tour documentary has, over the last two and a half years, grown into something much more personal, and hopefully more entertaining.”
The film’s premiere on Wednesday night will be followed by a special performance by the band. For more information, including ticketing, consult the festival’s official site.
The National have named their new album Trouble Will Find Me.
The Brooklyn-based band’s sixth studio record and the follow-up to 2010′s High Violet is released on May 20 in the UK (May 21 in the US). Scroll down for the tracklisting and artwork.
Frontman Matt Berninger said: “For the past ten years we’d been chasing something, wanting to prove something. And this chase was about trying to disprove our own insecurities.
“After touring High Violet, I think we felt like we’d finally gotten there. Now we could relax – not in terms of our own expectations but we didn’t have to prove our identity any longer.”
Read more here: http://bit.ly/WRRDqW
The tracklisting for Trouble Will Find Me is below:
1. ‘I Should Live in Salt’ 2. ‘Demons’ 3. ‘Don’t Swallow the Cap’ 4. ‘Fireproof’ 5. ‘Sea of Love’ 6. ‘Heavenfaced’ 7. ‘This is the Last Time’ 8. ‘Graceless’ 9. ‘Slipped’ 10. ‘I Need My Girl’ 11. ‘Humiliation’ 12. ‘Pink Rabbits’ 13. ‘Hard to Find’
The National: ‘Trouble Will Find Me’ artwork
Trouble Will Find Me was recorded in Rhinebeck, New York and produced by the band.
After more than three decades together, synth-pop pioneers Depeche Mode are excited as ever to unveil new music.
On March 26, the band will release their eleventh studio full-length, Delta Machine. Ahead of the album’s release, Depeche Mode will webcast their Live on Letterman performance from New York’s historic Ed Sullivan Theater on Monday, March 11 at 8 p.m. ET/5 p.m. PT via CBS.com. For those unable to catch it during its first airing, the entire performance will be repeated multiple times immediately following the live broadcast. Shortly thereafter, the set will be made available on-demand via VEVO.
During a recent interview, frontman Dave Gahan joked with KROQ’s Kevin & Bean about the electronic band’s storied 32-year history. “We’ve been that band that nobody understood, then we’ve been the band that everybody tried to imitate, and suddenly we were the band that everybody says, ‘oh we were influenced by.’”
The conglomerate will book proceeds of $445 million in its current quarter for the sale of its Sony City Osaki building, following a similar deal for its U.S. headquarters.
TOKYO – Sony will book proceeds of $445 million (41 billion yen) for the current financial quarter after the sale of its Sony City Osaki office building in central Tokyo, the company said Thursday.
The electronics and entertainment giant sold the 25-story building to a Japanese property fund and institutional investor for $1.2 billion (111.1 billion yen) but will stay in the premises under a lease — an arrangement similar to the company’s recent sale of its New York headquarters.
The building currently houses approximately 5,000 employees, including the company’s crucial, but loss-making, TV division. Plans to sell the building, the second-largest of its properties in Japan after its HQ, were announced last month.
Also last month, Sony sold off part of its stake in internet medical-services company M3 to Deutsche Securities.
Sony has also been investing: it became the largest shareholder in Olympus Corp last week after increasing its stake in the troubled camera and medical equipment maker to 11.5 percent.
Read more here: http://bit.ly/YDUpx2
Sony shares have risen more than 50 percent since December when they hit a multi-decade low.
“We were in the studio in New York, and we were filming and recording some live tracks toward the end of the session. I was singing, Martin [Gore] on guitar, a few of the other guys,” Gahan told Entertainment Weekly about a session for Depeche Mode’s forthcoming new album, Delta Machine.
“Suddenly in the doorway, I sensed this presence, and I realized there was this guy standing there just watching,” Gahan continued. “An assistant came up to me in between songs and said, ‘Do you mind? Frank Ocean is here working in another studio and really wants to meet you guys.’ I wouldn’t have thought he would have even known who we are, but it turns out he’s a big fan.”
Read more here: http://bit.ly/126pyiP
Depeche Mode’s Delta Machine is scheduled for release on March 26, followed by an extensive world tour. North American dates have yet to be announced.
Synth-pop duo the Postal Service, whose one and only album, “Give Up,” influenced a generation of bedroom producers with its catchy but complicated songs, on Monday morning released its first new music in 10 years. Randall Roberts from latimes.com called “A Tattered Line of String,” the song features singer Ben Gibbard‘s typically infectious vocal melodies and programmer Jimmy Tamborello‘s dance-along rhythms. It arrives via the forthcoming 10th anniversary reissue of “Give Up,” and is one of two new tracks to be featured on the collection.
But last month, the group unveiled a new website, and soon thereafter they announced a reunion gig at the Coachella Music and Arts Festival in April. That news was followed by more festival dates.
And now comes “A Tattered Line of String,” and it’s as though they never left. As catchy as anything from their 2003 debut, the song suggests a lost Pet Shop Boys or New Order track, all plasticine joy and compactly organized synth rhythms. Lyrically, it traces a rendezvous in New York, and a seemingly futile attempt to keep the tryst in check while Tamborello weaves in typically catchy counter-melodies and arrangements.
David Bowie celebrated his 66th birthday today by dropping a new single “Where Are We Now?”, which went live in the early hours of Jan. 8 through Iso/Columbia Records. The track is a taster of a promised new album “The Next Day”, his 30th studio recording and his first since “Reality” ten years ago.
David Bowie, ‘Where Are We Now?’: Track Review
Leave it to David Bowie to ask the question, in song, that we’d all like to put to him — namely, where the hell has he been?
Bowie’s first single in years, still gaining traction, may sell between 30-40,000 downloads in its first week.
During much of the past two years, Tony Visconti has been “walking around the streets of New York with my headphones,” listening to the music that became “The Next Day,” David Bowie’s first new album in 10 years. Visconti — who’s worked with Bowie on “David Live,” “Young Americans,” the so-called Berlin Trilogy, “Scary Monsters” and 2003’s “Reality” — has been involved with the new project from even before Bowie started recording demos and oversaw sessions at The Magic Shop studios in New York’s Soho section with a corps of Bowie regulars. With Bowie himself choosing not to do interviews for “The Next Day,” Visconti has become the voice of the album — and, not surprisingly, he has plenty to say about it…
It’s hard to say if the greatest achievement of “The Next Day” is making it — or keeping it so entirely secret as you did. How does it feel now that the world knows about it?
Oh, well, I’m ecstatic. I’m really, really happy. I’ve been keeping this a secret for two years…so to finally have the dam break loose and have the world know about it, I actually had a physical reaction to it, a big relief in my body.
How did you manage to keep the news from leaking?
The members of the band and the engineers, the people who bring us coffee in the studio, everybody who was involved in this had to sign a (non-disclosure agreement) to keep this a secret. The people who played on this album, most of them have worked wtih David for a long time; to sign an NDA would have been unnecessary for most of them. But we had some new people and a new recording studio we didn’t have an old, long-standing relationship with, so we took the precaution. Everyone had to sign it. No one objected; they said, “It’s just an absolute joy to be working with David Bowie.” The way we kept it a secret was on an honor system — not that we were worried about being sued or anything like that. It was so cool to be part of this club. That’s what it was really about.
What was the timetable for all of this?
Well, (Bowie) started writing it two years ago. David’s one of my oldest friends. We’d been communicating over e.mail all the time and we’d meet up for lunch occasionally in New York. The last few times I met with him I saw a twinkle in his ye that wasn’t there before, which meant he was writing. I knew the call was gonna come one day, and he contacted me and said “I’d like to go in and make some demos.” We went into a studio about two years ago with myself on bass and Sterling Campbell on drums and Gerry Leonard on guitar and we just jammed for a week or two on the ideas that David had. We lived with those demos for a few months and we walked into an actual studio maybe 18 months ago and put down the first serious tracks and worked from there. We’d go two weeks a time and then take a month off or as long as two months off. We probably spent about three months in the studio, but spread out over 18.
Was David conscious that it had been such a long time people had kind of written off the idea of ever hearing from him again?
He seemed to be amused by the world kind of thinking he retired or was in ill health. It didn’t bother him at all. I think he was a little tired of having to make an album because it was in his contract to do another one in a certain time period. He just gave all that up. He just wanted to have a private life and think about when he would go back in the studio. He’s a very confident person; “I’ll make a record when I’m ready, when I really have something to say.” It never really did bother him what people thought about his absence.
He looks pretty healthy in the video for “Where Are We Now?”
I’ve seen him steadily since he had the health problem (an angioplasty) in 2004 and he’s very healthy. He’s kind of rosy-cheeked. And in the studio his stamina was fantastic. It was as if he never stopped doing this for a 10-year period. He was singing with every live take; quite often he’d play piano or guitar at the same time. And when it came time to do the final vocals, he was just as loud as he ever was.
The personnel was kind of like old home week, too, wasn’t it?
Oh, yeah. We had his longtime guitarist Gerry Leonard and his longtime guitarist Earl Slick and his longtime guitarist — since 2001, anyway — David Torn. So we had three absolutely wonderful guitarists who have their own specialties. Earl Slick was the tearing-it-up lead guitarist, and then both Gerry and David have different versions of ambient guitar, very dreamy, washy kind of guitar sounds. So the three guitarists were very complementary. And we used Zachary Alford on drums and Sterling Campbell on drums; these are all old Bowie band members from different tours and albums. And Gail Ann Dorsey played most of the bass on the album and sang backup vocals. We had Tony Levin, who’s a wonderful bass player, come in for a few tracks as well. And then we had string players come in, wonderful string players who play in Broadway musicals and things like that, and various other people. It was a nice, small combination. I’d say at most a dozen musicians were involved.
Any guest vocalists or featured rappers?
(laughs) No, not at all. This was an exclusive, closed-door David Bowie album being made under secretive wrap.
— by gary graff for billboard.com image by jimmy king
In a stroke of media brilliance David Bowie has returned on his 66th birthday with a great brooding single in which he sings about his life and with which he managed to swerve the whole of the news media.
In these times where everybody knows everything about everything else (or thinks they do) and Twitter has the news before it’s news Bowie has done a Stone Roses by suddenly reappearing into the middle of the music debate with a single that is better than anything else he has done for years.
Working in New York with Tony Visconti, who was repsonsable for his great work in his seventies, the single sings about his time in Berlin and other key moments in his life in a track that is reminscent of his ‘Low’ period. the song is brooding and dark and has a certain world weariness to it as it builds to its climax.
Bowie’s new 17 track album, The Next Step, is due in March.
The glam-rock legend has released the recording as a download. It will be followed by a new album, ‘The Next Day’ in March.
Bowie has not performed live since 2006 and has rarely been seen in public since then.
The new track was recorded in New York and produced by the singer’s long-time collaborator Tony Visconti.
The single’s appearance online was “a genuine surprise”, said John Wilson, presenter of BBC Radio 4’s Front Row.
“He’s a proper artist. He doesn’t release records because it’s time for another record. He releases records when there’s something for him to say.”
Where Are We Now? is a simple, unfussy ballad – Bowie singing mournfully over a piano motif that slowly builds to an understated crescendo.
The song includes several references to the city of Berlin, where Bowie and Visconti produced a critically-acclaimed trilogy of albums – Low, Heroes and Lodgers – in the 1970s.
—written by john robb for louderthanwar.com image from telegraph.co.uk
Singer expected to unveil new single on Monday, his first solo material since 2006
Photograph: Matt Sayles/AP
On Monday morning, Justin Timberlake is coming back. A surprise countdown on the singer’s website promises that something – expected to be a new single – will be released at the beginning of next week.
According to Billboard and the Hollywood Reporter, Timberlake has recorded around 20 songs for his third solo album. “Someone asked me the other day, ‘So are you just done with music?'” the 31-year-old said in a new video, posted to his website on Thursday. “[But] I don’t wanna put anything out that I don’t love … You have to wait for it.”
“Look I’ve only done two albums in 10 years,” Timberlake explained. “I’m the one that sits and is obsessive about it before you even get to hear it.” Yet now, for the first time since 2006’s FutureSex/LoveSounds, “I’m ready,” Timberlake said. The clip finishes with the singer standing by a microphone, wearing a pair of headphones.
With Timberlake’s clock ticking down, his protege Justin Bieber weighed in: “u got a good reason to be ready,” Bieber tweeted. “i have heard some stuff … #greatmusic.”
Bieber also confirmed that Timberlake is collaborating with producer Timbaland. The engineer Carl Paul had previously tweeted that Timberlake was working with Timbaland, Beyoncé and Jay-Z. “Justin, Jay Z, Timberland (sic). New record Monday,” promised the New York DJCharlamagne Tha God.
In the six years since his last LP, Timberlake’s focus has been on acting. He was nominated for a Screen Actors Guild award for his role in The Social Network, and also starred in Friends with Benefits and In Time. Still, the former *N Sync star’s biggest triumphs are musical: both of his albums topped the charts in the UK, garnering three Brit awards and selling more than 20m copies worldwide.
Sting: Back To Bass: Live in Jakarta, Dec 15, 2012. Review. Music Videos & Setlist.
by: @agunsuxIt was sunny day when i’ve decided to go to Jakarta from Bandung. I had to meet a friend to do some shit related to money at noon. But the most important thing was there are one band and one living legend going to perform at night. The band was Guns And Roses and the singer was Sting. They’re gonna perform at the same night. Different venues. It was a fucked up feeling i get. Till now. I haven’t decided which one to go. I haven’t got the ticket. I didn’t know which one to buy. I’m a go-show gig specialist. I was a big fan of of Guns n’ Roses back in 90’s. But weren’t we all? At the same time i am also a fan of The Police and Sting. I listen to them quite often. Well not that often. They’re both not at their prime to be honest. But sometimes you have to buy memories to bring it back in mind. They’ve reached their peak at 90’s. Guns and Roses at “Use Your Illusions” and Sting at “Ten Summoner’s Tale” or perhaps “Mercury Falling“. Your call. Or just let your soul guide you, guide your way which one is their peak album. I’ve made up my mind. I decided to go to Guns And Roses gig. I have watched Sting back in ’94. Oh now you can guess my age. Yes you’re a genius. I’m in my late 20’s. But then at noon there was a shocking announcement from local police (Polda). Guns and Roses performance was postponed to Dec 16, 2012 (today) and relocated the Venue to MEIS, Ancol due to safety and bad weather possibilities. I didn’t buy it. I still don’t. The announcement was too absurd. Something has happened. And i didn’t want to speculate. Well i lied. I did speculate. I still do. I have my own theory. Eager to find out? I’ll let you know. But i have to kill you afterward. Haha! Sting. My second choice moved up to my top priority last night. It was a good concert as always. I haven’t heard Sting dissapointed their audiences at his concert. Have you? The concept was Back To Bass. Just like the day i have watched. Vinnie (my fave) back on drumset. He was the drummer in Ten Summoner’s Tale album. Dominique on guitar is just like Boz to Moz. Dedicated to Sting since the 90’s. There’s a lady (pardon me i don’t know her name) as a back vocalist. She had a bigger role in “Symphonicity” Tour. I personally wanna see the “Symphonicity” concept. Sit back. Relax. I wanna see Sting as a singer. Not the ex frontman of The Police. The setlist i can assure you more than 70% of them were the same last time i watched in ’94. Added from some tracks from “Mercury Falling” (i was expecting “Let Your Soul Be Your Pilot” or “I Was Brought To My Senses”) and “Brand New Day” albums. Bottomline Sting brought back the memories to the audiences. For The Police fans you still enjoyed ten tracks. There were twenty one songs last night. So now i’m gonna miss Guns And Roses gig today. But that’s ok. I’ll see Rivers Cuomo from Weezer next year in January with my very own eyes. Front row. It’s a promise.. i guess.
Below some videos from last nite gig uploaded by someone dubbed himself as fetboyslim.
Doodle Dandy 