Damon Albarn's former chart rival Liam Gallagher has stepped in to rescue an Australian music festival after Blur pulled out and left the event without a headline act. Albarn's Britpop band was due to perform at the Big Day Out touring festival next year (14), but they recently stunned organisers by announcing their withdrawal from the line-up via a Facebook.com message.
The move left bosses scrambling to find a replacement, and now it has emerged former Oasis frontman Gallagher will be taking over Blur's slot with his band Beady Eye.
Metal group Deftones and Sweden's The Hives have also been added to the bill.
A statement posted on the festival's website reads "We have replaced our departing Brit pop (sic) band with other members of English rock 'n' roll royalty Beady Eye, who are heading to Australia for the first time ever... Beady Eye have picked up where Oasis left off, traversing the globe and bringing their sing-a-long anthems Down Under for Big Day Out 2014... Any ticket holders unsatisfied with the alteration to the line-up can apply for immediate refund."
Other headline acts performing at the festival are Pearl Jam and Arcade Fire. Big Day Out kicks off in January (14).
Vampire Weekend's Modern Vampires Of The City has topped Rolling Stone magazine's Albums of the Year poll. The album has beaten out Kanye West's Yeezus and Daft Punk's Random Access Memories for the number one spot.
Paul McCartney's New and Reflektor by Arcade Fire also make the top five while 2013 albums from Queens of the Stone Age, The National, David Bowie, Nine Inch Nails, Ashley Monroe and Laura Marling have landed in the top 20.
The top 10 is:
1. Vampire Weekend - Modern Vampires of the City
2. Kanye West - Yeezus
3. Daft Punk - Random Access Memories
4. Paul McCartney - New
5. Arcade Fire - Reflektor
6. Queens of the Stone Age - ...Like Clockwork
7. Lorde - Pure Heroine
8. The National - Trouble Will Find Me
9. Arctic Monkeys - AM
10. John Fogerty - Wrote A Song For Everyone
LionsgateThe first Hunger Games soundtrack hit the number one spot on the Billboard 200, sold over half a million copies in the U.S. alone and spawned two Grammy-nominated tracks in the shape of Taylor Swift & The Civil Wars' "Safe & Sound" and Arcade Fire's "Abraham's Daughter." So like the film itself, its Catching Fire follow-up arrives with an understandable wave of expectation.Helmed by Twilight music supervisor Alexandra Patsavas, the majority of its twelve tracks maintain the same high standards. Abandoning the day-glow pop of their last album, Coldplay return to the melancholic indie-rock of Parachutes on the gorgeous opener "Atlas." Ubiquitous hit-maker Sia makes the most of her opportunity in the spotlight with the hazy hip-pop of Diplo collaboration "Elastic Heart." Meanwhile, Christina Aguilera delivers arguably her best vocal in a decade with the soaring Ryan Tedder-penned epic "We Remain."Elsewhere, The Weeknd thankfully avoids the self-indulgence of his recent fare with the falsetto-led R&B of "Devil May Cry," Patti Smith makes the album's most obvious Hunger Games reference with her cries of Katniss on the poetic and brooding balladry of "Capital Letter," while The Lumineers take a break from their usual rousing default mode on the hushed Dylan-esque folk number "Gale Song."As with the big-screen adventure it's accompanying, the soundtrack doesn't shy away from the fleetingness of life. None more so than on The National's "Lean," a suitably sombre torch song originally titled "Dying Is Easy," which deals with an impending apocalypse.But apart from Lorde's misguided cover of "Everybody Wants To Rule The World," which removes all the joy from Tears For Fears' new wave original with its sullen and over-stylised production, the album's dark and dramatic default mode remains compelling throughout.
Coldplay frontman Chris Martin tricked fans at a recent Arcade Fire show by going undercover as a skeleton-masked DJ. The Yellow hitmaker didn't have to travel far for the Canadian rockers' show in London, England, earlier this month (Nov13), and at the suggestion of Arcade Fire's Win Butler, Martin made the most of the concert in his hometown.
In an interview with BBC Radio Two, Butler has confessed that the British singer showed off his skills in the DJ booth during the concert - but, in order to keep the focus on the band, he donned a disguise so fans would not recognise him behind the turntables.
Butler admits, "He (Martin) was out at the DJ booth with me (the other night) wearing a skull mask. It was pretty cool. He was the hype man, he's an amazing hype man... I don't think anyone recognised him."
Arcade Fire fans must follow a strict dress code when they attend any shows on the band's upcoming U.S. arena tour. Fans were asked to wear fancy dress to the string of intimate shows the band played in support of its latest album Reflektor, but the Canadian rockers have now decided to extend the rule to their big-venue North American tour, which kicks off in March (14).
An instruction on the Ticketmaster.com web page for the shows states, "Please wear formal attire or costume."
Addressing the crowd at the band's concert at The Roundhouse, London, earlier this month (Nov13) frontman Win Butler said, "To anyone who felt uncomfortable dressing up - I'm not sorry. At least 70 per cent of you are getting laid tonight... As long as you showered. That's the secret. Boys."
Canadian rockers Arcade Fire have rocketed to the top of the U.S. album chart with their new release Reflektor. The band became the only act to sell more than 100,000 copies of an album last week and hit number one with 140,000 sales.
Katy Perry's Prism slips to two after one week on top of the Billboard 200, while newlywed Kelly Clarkson celebrates Christmas early at three with the debut of her holiday album Wrapped in Red.
Duck the Halls: A Robertson Family Christmas, the novelty festive compilation from the stars of reality TV show Duck Dynasty arrives at four, while Drake's Nothing Was the Same rounds out the new top five.
On the U.S. singles chart, Lorde lands a sixth week at number one with Royals, while Eminem and Rihanna debut The Monster at three. One Direction enter the Billboard Hot 100 at six with Story of My Life.
Having lived with it for a while, I don't dislike the new Arcade Fire album, Reflektor, nearly as much as the Washington Post did. If nothing else, co-producer James Murphy (ex-LCD Soundsystem) gives the album some grooves, but unfortunately, Win Butler is still the most humorless and self-important frontman in rock since Bono, and the album as a whole feels overblown in the same way that both Neon Bible and The Suburbs did.
So if you've got an hour and 47 minutes to kill, skip Reflektor and watch Marcel Camus' 1959 film Black Orpheus instead. Arcade Fire brought new attention to the film last weekend when the pre-release album preview stream on YouTube was set to scenes of this Brazilian classic. Arcade Fire claim that, like the film, their album is based on the myth of Orpheus and Eurydice, although unlike the basically incomprehensible album, you can see the connection between the film and the myth.
Exquisitely shot and vibrantly colorful, the film was shot in the favelas of Rio de Janeiro during Carnaval, making it a feast for both the eyes and ears. Especially the ears: the soundtrack, by Antonio Carlos Jobim and Luiz Bonfa, introduced the Northern Hemisphere to bossa nova, the exquisite and stylish blend of samba and American jazz that was native to Rio. Watch the film on its Criterion Collection DVD or Blu-Ray for extra features that put the film into its full musical and historical context, or via Netflix for the film itself. And don't forget to listen to the absolutely essential soundtrack via Spotify.
Did you see Spike Jonze's adaptation of Where the Wild Things Are — a feature length adaptation of a 300-word children's book, wherein pre-teen Max retreats to the fantastical realms of his imagination and rules a kingdom of behemoth monster friends?
Did you see Greta Gerwig's breakout vehicle Frances Ha — a ballad about the destructive tendencies of a 27-year-old Brooklynite who couch surfs, spends money she doesn't have, commits to a career in dance, and can't figure out why things aren't sticking together for her?
Admittedly, both sound kind of... goofy. And that might also be the word that springs to mind when you watch Gerwig jerking sporadically to the reverbs of Arcade Fire's "Afterlife" in the below music video for the song, directed by filmmaker Jonze.
Negative connotations aside, there's a time and a place for goofy. Goofy finds itself fitting snugly in the mind of a dejected young boy who seeks hospice in imaginary creatures when he feels rejected by his mom, sister, and self. Goofy can't help but seep from the pores of a pushing-30 dreamer cemented in her adolescent ideas of possibility and friendship. And goofy is, and very well should be, a sentiment called to mind when a young woman enduring some semblance of romantic heartbreak explodes into choreographed mania through the hallways of her apartment building, the snowy woodlands of a Narnia-like fantasy land, and the stage of an awards show. That's practically the capital of goofy.
So you can shrug off Jonze's Wild Things, Gerwig's Frances Ha, or this new "Afterlife" video from the both of them and artist Arcade Fire for their veneer of goofiness. But you'll be missing something altogether earnest, temperate, and fun in each of these sparkling projects.
Enjoy the video — and never be afraid to go full on goofy. (Okay, I'll stop saying that word now.)
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Eminem has been crowned the Artist of the Year at the inaugural YouTube Music Awards in New York City. The Berzerk hitmaker reigned supreme on Sunday (03Nov13), as he nabbed the top prize from the popular video sharing site, in a ceremony streamed live on the Internet.
Based on data from the website, Eminem was the most watched, shared, liked, and subscribed-to artist of 2013.
His win came just a day after his appearance as a musical guest on U.S. sketch show Saturday Night Live, and two days before the release of his eighth studio album, The Marshall Mathers LP 2.
Also nabbing awards were Macklemore & Ryan Lewis, who earned the Breakthrough Award, which celebrates the artists with biggest growth in views and subscribers, Korean pop group Girls' Generation for Video of the Year, and Taylor Swift for YouTube Phenomenon, which honoured her hit I Knew You Were Trouble for generating the most fan videos.
The event also included performances by Eminem, Arcade Fire, and Lady Gaga, who debuted a new track titled Dope, from her upcoming album Artpop.
In addition, Vanessa Hudgens and actor Michael Shannon took part in a live music video, which was written by Lena Dunham. The interactive clip allowed audience members to choose the fate of Hudgens and her ex-boyfriend in the final shot, while Avicii's Wake Me Up played in the background.
Actor Jason Schwartzman and comedian Reggie Watts co-hosted the event, while Spike Jonze served as the creative director of the prizegiving.
Canadian rockers Arcade Fire lit up the night above Hollywood on Tuesday night (29Oct13) when they performed on the roof of Capitol Records building. Win Butler and his band performed 12 songs on the roof of the landmark to mark the release of the band's new album Reflektor.
As part of the sky-high set, the group performed a segment from Lou Reed's Satellite of Love as a tribute to the late rock star, who died on Sunday (27Oct13).