The Grateful Dead turn 50 next year and to celebrate the occasion, they’ll release a career-spanning documentary directed by Amir Bar-Lev, who also had a hand in 2010′s The Tillman Story and 2007′s My Kid Could Paint That. Most notably, the film will be executive produced by Martin Scorsese. The film will contain never-before-seen footage of performances and new interviews with surviving members Mickey Hart, Bill Kreutzmann, Phil Lesh, and Bob Weir. “Millions of stories have been told about the Grateful Dead over the years. With our 50th Anniversary coming up, we thought it might just be time to tell one ourselves and Amir is the perfect guy to help us do it,” the band said in a statement. “Needless to say, we are humbled to be collaborating with Martin Scorsese. From The Last Waltz to George Harrison: Living In The Material World, from Bob Dylan to the Rolling Stones, he has made some of the greatest music documentaries ever with some of our favorite artists and we are honored to have him involved. The 50th will be another monumental milestone to celebrate with our fans and we cannot wait to share this film with them.” No details about the film’s release schedule have been revealed so far.
It’s weird to think about the fact that Death Cab For Cutie have now been a band for nearly two decades. For those of us who came of age alongside the band’s music, revisiting Death Cab’s back catalog — currently seven albums deep — can be something akin to re-reading old diary entries: deeply personal, wistfully sentimental, and generally indicative of who and where we were at the time. Death Cab’s last studio album, 2011′s somewhat divisive Codes And Keys, seemed to show the band at a kind of impasse. While it certainly wasn’t a terrible album, it also didn’t seem like a band pushing forward. Instead, it was the sound of a band treading water, resting heavily on their own well-worn, sweetly melodic laurels. Next year, Death Cab will release their as-yet-untitled eighth studio album, their first since the departure of band member (and longtime producer) Chris Walla. Despite the amicable split — an event that has caused longtime Death Cab fans no small amount of distress — the remaining members of Death Cab seem to have embraced the change as a much-needed shot in the arm and the kind of healthy shakeup that they didn’t even realize they needed.
Thurston Moore’s latest interview to promote his new solo album The Best Day comes via The Wall Street Journal. It’s a fascinating conversation that touches on Moore’s mom (whose photo adorns The Best Day’s cover), the lingering insight behind Pavement’s “Shady Lane,” post-war poetry, a whole slew of rock stars, Moore’s songwriting these days, and his belief that by the end of Sonic Youth the band’s audience had “decoded” them. It also includes this exchange about public criticism of Moore’s private life in the wake of his affair and subsequent divorce from Kim Gordon:
This morning, Juicy J took to Twitter (“Wake yo ass up!”) to prepare fans for two new singles he dropped shortly afterward: “All I Need” (feat. K Champ) and “Trash.” The Academy Award winner, as per usual, stays true to his explicit tendencies on both tracks, spitting salacious raps over dirty trap beats. In “All I Need,” Juicy J reveals to us what is missing from his nearly perfect night of partying — all he needs is “one more drink, two more blunts, three more bitches …,” continuing up to the number 5. While “All I Need” finds Juicy J exploring ways to get more trashed, “Trash” is about, you guessed it, the haters. “Your wife on the Instagram looking for me,” Juicy J snarls at some unidentified opponent. Listen to both tracks below.
If the house-inflected Canadian pop singer Kiesza seems to have jumped on the post-Disclosure bandwagon a little late, consider that her “Hideaway” video — in which Kiesza and her posse pull off an epic one-shot dance routine on the streets of Brooklyn — premiered way back in February. So although “Hideaway” hasn’t been simmering toward success quite as long as “Latch” did, it’s not exactly something new either. Still, here’s what I wrote when I first posted the video last March:
Close your eyes and pretend it’s the new Disclosure single. Or open your eyes and enjoy some fully committed dancing.
Scottish rockers the Twilight Sad are back with another set of sunken-hearted, sky-scraping guitar anthems. Nobody Wants To Be Here And Nobody Wants To Leave, the follow-up to 2012′s No One Can Ever Know, finds the band weaving post-punk and new wave elements into their shoegaze-inflected epics, topped off as always by James Graham’s world-weary vocals. We posted early singles “There’s A Girl In The Corner” and “Last January,” and now you can stream the whole album below. Do it!
For his new single “Bugatti,” the Montreal dance producer Tiga links up with the great Clipse rapper Pusha T. It’s perhaps a bit weird for someone to name a song “Bugatti” so soon after the great Future/Ace Hood/Rick Ross track, but fancy cars can inspire that level of dedication. The song is a clipped seven-minute house track about said car’s ability to impress girls. (We accidentally ran an earlier Pusha-free version, but he’s on this one, we promise.) Listen below.
British electronic wizards Underworld released their seminal record Dubnobasswithmyheadman in 1994, and in celebration of the album’s 20th anniversary, Rick Smith and Karl Hyde participated in a documentary about its creation. The two-part documentary includes performance footage and testimonial interviews, giving some insight into the process of creating Dubnobasswithmyheadman as well as an account of how Underworld translated the album to a live setting. Smith commented that Underworld prepared every bit of technology in advance to make sure it performed to its fullest capability, and that the group did not rehearse before taking the record to the stage. “It was all about the pressure of the moment, and the failing, and the recovery,” he said. Watch below.