Marc Hogan



  • Reptar / Photo by David McClister

    Watch Reptar's Trippy 'Three Shining Suns' Video

    "I don't want to lose you," Reptar singer/guitarist Graham Ulicny repeats sweetly on "Three Shining Suns," from the Athens-based electro-pop outfit's just-released Vagrant debut, Body Faucet. With bass-heavy production from producer Ben Allen (Gnarls Barkley, Animal Collective, Washed Out), the song is as uncanny and glistening as its title suggests, with an Afropop lilt suggestive of Vampire Weekend. The psychedelic woodland video extends the mysterious vibe to include dead bodies, magic rings, explosions, and other supernatural elements. It's a wild trip. Check out the accompanying music video, directed by Ross Brubeck.

  • Cassie and Jeezy

    Hear Cassie Visit Marvin's Room on Young Jeezy-Assisted 'Balcony'

    Cassie is two for two in 2012. On Valentine's Day, the wispy-voiced R&B singer unveiled the immaculate "King of Hearts," which has since led to a pretty good remix by Kanye West and an even better remix by pop mastermind Richard X. In contrast to that song's uptempo dance-pop, Cassie's latest track to emerge, "Balcony," is a moody slow jam in the wee-hours style of Drake's "Marvins Room," and it's similarly engaging. Reportedly produced by Rico Love (Mary J. Blige, Usher), the sinuous ballad beautifully balances Cassie's soft vocals — "We made love on the balcony / Right there in New York City" — against Young Jeezy's tough-guy rasp. Six years after signature song "Me & U," Cassie is on a hot streak. (via DDOTOMEN)

  • A$AP Rocky

    A$AP Rocky's NSFW 'Goldie' Video Flaunts Money, Paris, Nudity

    If the "S" in A$AP Rocky's name didn't already tip you off, money has been crucial to the Harlem rapper's brand at least since last year's reports of his $3 million record deal. Rocky's self-directed video for swaggering statement of purpose "Goldie" luxuriates in its own luxuriousness, featuring ample displays of female nudity, cocaine use, and Paris to back up the song's molasses-pitched boasts. A$AP's crew also shows up, though they appear to be far away from where all the condoms are. Anyway, yes, this is probably NSFW. Read SPIN editorial director Charles Aaron's review of Rocky's SXSW set.

  • Soundgarden's Kim Thayil in the 'Live to Rise' video

    Watch Soundgarden's Explosive 'Live to Rise' Video from 'The Avengers'

    Soundgarden's contribution to Marvel's The Avengers, "Live to Rise," has been floating around since last month. With the film set to open in the U.S. tomorrow, after burnishing its presumptive blockbuster status with massive sales overseas, the music video for Cornell and Co.'s new stadium-rock anthem has arrived. Directed by Robert Hales (Red Hot Chili Peppers, Janet Jackson, Kings of Leon), the clip intersperses darkly lit shots of the alt-rock veterans with action-packed scenes from the big-budget superhero movie. "We're insane but not alone," Cornell moans. Which is fitting, because, in case you missed the huge promotional blitz, the superheroes are all working together in this one. Kim Thayil is totally the Hulk in this scenario!

  • Earl Sweatshirt

    Odd Future's Earl Sweatshirt Gets Sony Label Deal, Hopes to Record Solo Album

    Earl Sweatshirt, who earlier this year marked his triumphant return from boarding school in Samoa, is one of the few genuine enigmas remaining in pop music. A couple of recent live appearances — alongside Flying Lotus at Coachella, or with his hip-hop wolfpack Odd Future in New York — and an acclaimed appearance on The OF Tape Vol. 2 have still left Sweatshirt (real name: Thebe Kgositsile) tantalizingly mysterious, a known unknown. That's why the New Yorker's quest to find Sweatshirt last year is still a must-read, and it's why the New York Times' recent interview with the 18-year-old rapper is similarly revelatory. The whole article is worth checking out, for sure, but here are the newsiest morsels: Sweatshirt has signed with Sony for his own imprint, Tan Cressida, which Columbia will distribute.

  • Kevin Shields / Photo by Kyle Dean Reinford

    Does My Bloody Valentine's Revamped 'Loveless' Improve or Confuse?

    Earlier this week, My Bloody Valentine officially premiered the previously unreleased track "Good for You." The track's slight but noticeable improvement upon a bootleg version that had been floating around for years appeared to be a promising indication for the rest of the Dublin band's May 7 reissue campaign. Now the Guardian is streaming the full two-disc reissue of the band's untouchable shoegaze ur-text Loveless, and we're wondering whether we might not have spoken a little rashly. For its fiercest admirers, present company included, 1991's Loveless is like some kind of rare gem, hard and shimmering and unfathomable. On first pass, it's not clear that these two sets of remasters — one "from the original tapes," and another "from the original 1/2-inch analogue tapes" — will really take you much further below that adamantine surface.

  • Santigold

    Santigold Blazes Through 'Disparate Youth' on 'Fallon'

    The changes since Santigold last performed on Late Night With Jimmy Fallon could hardly be more striking. Three years ago, when the take-no-prisoners East Coast singer-songwriter appeared to charge through her debut album's reggae-blunted Brooklyn ode "Shove It," her name change from "Santogold" was so recent that fellow Philadelphian Spank Rock actually called her the wrong name; Fallon was hosting only his second Late Night ever, in a seat still warm from Conan O'Brien's departure.

  • Kanye West / Photo by Retna

    Chicago Bulls: Kanye West Hops on Chief Keef's Aggro 'I Don't Like' Remix

    "This is Chi, right?" sneers Kanye West at the end of a characteristically swaggering verse on his G.O.O.D. Music remix of Chief Keef's "I Don't Like." In fact, Keef is a prime example of the current media environment's exciting blend of hyperlocal and hyper-global, as a 16-year-old rapper whose muy macho style blew up on Chicago's streets last year but who is now already sharing tracks with the likes of absurdist up-and-comer Riff Raff and — well, we mentioned Kanye, right? Following on the heels of the Chi-shouting DJ Khaled collaboration formerly known as "Theraflu", plus the electronics-charged G.O.O.D. posse cut "Mercy," it's an event track, as West preps his long-forthcoming G.O.O.D. compilation.

  • Turbo Fruits

    Listen to Turbo Fruits' Aching Fuzz-Pop Ode 'Sweet Thang'

    This band led by the former guitarist for now-defunct Nashville garage-punks Be Your Own Pet presents an increasingly compelling argument for being your own master instead. After maturing slightly on 2009's Echo Kid, Jonas Stein and the gang are set to release their third album, Butter, on September 11 via Serpents & Snakes Records. They've already been selling a limited 200-copy pressing of 7" singles featuring advance track "Sweet Thang," which makes its digital premiere here. When BYOP's charismatic ex-frontwoman Jemina Pearl is sweet, it's mostly in a skewed way — "I hate people, but I like you," she deadpans on an Iggy Pop-assisted 2009 solo single — and Turbo Fruits' latest is also off-kilter in its affection. "I'm trying to find myself," Stein concedes.

  • Metric / Photo by Brantley Gutierrez

    Metric's 'Synthetica' Single 'Youth Without Youth' Arrives With Fall Tour Dates

    Student loan debt is on a lot of people's minds lately. Protesters gathered last week in New York and about 20 other cities to call for forgiveness of this debt load, which has reached $1 trillion nationally. President Barack Obama "slow jammed the news" with the Roots to argue for keeping interest rates low on subsidized student loans. Canadian indie-rockers Metric channeled their rage over the issue through what lead singer and keyboardist Emily Haines describes as "a kind of '70s sleaze." "Youth Without Youth," the first single from Metric's upcoming album Synthetica, is a sludgy glam-rock stomper — call the beat "schaffel" if you listen to a lot of Kompakt minimal techno — haunted by lost childhood. The murming verses tell the story of a truly troubled kid, before a robotic backing vocal joins in on the live-wire hook.

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