Marc Hogan



  • White Fence

    Hear White Fence's Ramshackle Psych-Pop Jangler 'Fragility'

    A recurring theme of interviews with Trevor Powers, the Idaho-based songwriter whose Youth Lagoon recently released the excellent new Wondrous Bughouse, was that he doesn't actually record in his bedroom. But Tim Presley does. White Fence's main man recently told SPIN's Colin Joyce he recorded all of forthcoming album Cyclops Reap, due out on April 9 via Castle Face Records, in his room on a four-track recorder. "Pink Gorilla," the first single from the album, uses that medium to the utmost for a psych-rock freakout as striking as its title. Now comes the B-side, "Fragility," a lower-key, Waterloo-sunsetting number that's wispy enough for its title, albeit with some deliciously offbeat lyrics. If this trend of apt naming continues, Lord help us all when the full Cyclops Reap arrives.

  • Colin Stetson

    Justin Vernon and Colin Stetson Use Their Sax-y Falsetto Powers for U.K. Bard Fink

    Saxophone guru Colin Stetson collaborates four times with Bon Iver's Justin Vernon on New History Warfare Vol. 3: To See More Light, due out on April 30 via Constellation (read Stetson's In the Studio interview with SPIN). Earlier this month, though, another joint venture between the two arrived on iTunes, on a single by U.K. singer-songwriter Fink via the Ninja Tune label. Stetson and Vernon's droning, austere reworking of the A-side, Fink's "Warm Shadow," has been circulating online in recent days, and it's easy to see why.The original, from Fink's 2011 Perfect Darkness, is bleakly creaking folk reminiscent of José González, and it doesn't much need the help: A remix already features alongside Of Monsters and Men and Delta Spirit on this week's The Walking Dead AMC Original Soundtrack — Vol. 1.

  • Ryan Adams

    Download the Two Songs Ryan Adams Debuted in London the Other Night

    Ryan Adams unveiled two new songs earlier this week at a concert in London, and now fan-recorded audio of the performances has surfaced over at Ryan Adams Archive. It's going to take some time to make out the words, but a quick listen confirms early reports that the new material, while basically in an Americana-folk tradition throughout, shows contrasting sides of the former Whiskeytown frontman. "This Is Where We Meet in My Mind" is mellow and mournful, with a detail-rich, jazzy feeling courtesy of Adams' expert backing band. "In the Shadows" is more of a talking-blues rave-up, opening with a lyric about driving at night.

  • Lil Wayne, 'Rich as Fuck,' 2 Chainz, video

    Lil Wayne Reassures Fans and Looks 'Rich as Fuck' in New Videos

    Kanye West must've heard Lil Wayne's new material when he graciously called the Young Money rapper the No. 1 MC in the game right now. The recently leaked I Am Not a Human Being II, which you can and probably should buy when it comes out on March 26, represents Weezy at the best he's sounded on a full-length release in years: unbridled id, culture-vulturing free association, zeitgeist-guiding production. And, yes, lady parts.A fun novelty that shows up on two songs is Lil Wayne and 2 Chainz rapping over tracks where the beat cuts out entirely. The more immediate of the two is the contagiously audacious "Rich as Fuck," which now finally has a video.

  • Sigur Ros,

    Sigur Ros Preview June LP 'Kveikur' With Harrowing 'Brennisteinn' Video

    Sigur Rós's atmospheric rock has grown more turbulent, on the evidence so far surrounding the Icelandic band's new album Kveikur. The follow-up to last year's Valtari is due out on June 18 in the United States via XL Recordings, Sigur Rós announced today, and the nearly eight-minute video for first advance track "Brennisteinn" confirms their previous remarks that the next record will be "more aggressive." Directed by Andrew Huang, who has also worked with Björk, the "Brennisteinn" video intersperses hard-charging performance footage with flames, green goo, and a vaguely barbaric chase scene.

  • 'Glee,' Radiohead, 'Creep'

    Radiohead's 'Creep' Gets the 'Glee' Treatment as Literal-Minded Duet

    Satisfying some deep-seated pop-cultural need, two traditions collided last night, as the cast of TV's Glee covered Radiohead's 20-year-old hit "Creep." It's the type of obvious-in-hindsight meeting that Nostradamus might have predicted, and the results are, well, predictable. "Creep" has been covered by everyone from Kelly Clarkson to Korn — SPIN ranked the 10 best versions — while Glee has previously tackled Hole's "Celebrity Skin," Gotye's "Somebody That I Used to Know," and many other songs. Here, as the YouTube description helpfully explains, Rachel is questioning "whether she belongs here with Brody, who admits to being a 'Creep.'" Played by Lea Michele and Dean Geyer, the two perform the song as an emotion-wracked duet, and when they sing the part about running, they run.

  • The Postal Service

    Stream the Postal Service's Second Never-Before-Heard Track, 'Turn Around'

    It's a bittersweet moment for fans of the Postal Service. When the electro-pop duo of Death Cab for Cutie's Ben Gibbard and Dntel's Jimmy Tamborello announced the 10th-anniversary reissue of their lone, beloved 2003 album Give Up (due out on April 9 via Sub Pop), the track list included two previously unheard songs. The first, "A Tattered Line of String," which shows an unusually lusty side of the group, has been online for weeks. Now comes "Turn Around," which bluffs toward wavy melancholy, topped with acoustic guitar, before speeding off into chilly, lunging anxiety. Unless the Postal Service's upcoming summer tour results in new music, it might be the last song we hear from them. "Don't say you're done," Gibbard insists at one point. Soon, crowds of people will be singing the same words back.Hear it over at 107.7 The End. right here:

  • The Thermals,

    Watch the Thermals' Blood-Spattered 'Born to Kill' Video

    These days a band that isn't busy being born is busy doing, um, something else. Sleigh Bells, Lana Del Rey, and Titus Andronicus have all flipped the old Bruce Springsteen in recent years and sung about being born to fail — those last two, specifically "to die." Righteous Portland trio the Thermals are set to release their new album Desperate Ground on April 16 via Saddle Creek Records, and their new video, which premiered today over at Stereogum, hints at what it might be like to be a natural born killer. The self-directed clip for the LP's scrappy, punk-powered "Born to Kill" shows frontman Hutch Harris as a feral maniac being captured and brutally interrogated. "Blood on my hands," he sings, with John Darnielle-like reediness, but he might have added "face and clothes." Crazy with the tomato sauce!

  • Beyoncé

    Beyonce, Now an H&M Model, Records Song for the Swedish Retailer

    Beyoncé, one of the rare contemporary pop stars to hang onto an image of old-school glamor, has lent her image — and her music — to a retailer known for making chic fashions available for cheap. The singer, whose Mrs. Carter Show World Tour starts on April 15, is the star model for H&M's new summer advertising campaign.In addition to print ads showing Beyoncé in Nassau in the Bahamas, the campaign will also include a commercial featuring a new song from the singer, "Standing on the Sun." Longtime Madonna visual collaborator Jonas Åkerlund will direct, so expect a commercial that could function as a music video.In fact, that's pretty much what Beyoncé said in the press release. Here's her full, unfortunately dull quote: "I've always liked H&M's focus on fun and affordable fashion.

  • Muse, 'Animals,' video

    Muse's Crowd-Sourced 'Animals' Video Occupies Greed-Ensnarled Dystopia

    It's that time of year, when we discover the obvious inspiration behind Muse's dubstep-pop "Madness" courtesy of a million NCAA tournament TV promos. As it happens, the ambitious U.K. arena rockers have also shared a new video for another track from 2012's The 2nd Law, "Animals." This one's descending alt-pomp gloom constantly leaves the feeling singer Matthew Bellamy is about to break out in the part of "Paranoid Android" that goes "YOU DON'T REMEMBER, YOU DON'T REMEMBER, WHY DON'T YOU REMEMBER MY NAME" — except the filigreed guitar here is far more baroque, in a powdered-wigs sense, than anything from Radiohead. The eerie, animated video, the winner of a competition via, plays like a commentary on the European debt crisis, as suit- and tie-wearing beasts descend ravenously on the masses and then each other.

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