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“Keep Your Eyes on the Road” is the first single from Paul Marshall’s new project, Lone Wolf, and serves to introduce the new project as the new face of Paul Marshall (mustache included!) with the accompanying music video. Marshall pays tribute to one of his musical influences, Peter Gabriel, by making the video a tribute to Gabriel’s 1987 music video “Sledgehammer.” The stop action animation mixed with claymation creates a tripped-out Fantastic Mr. Fox atmosphere, and manages to both emote Marshall’s lyrics and pay direct tribute to the animators of Gabriel’s team. According to Lone Wolf’s label, Bella Union, Gabriel and the animation team have “seen and approved” the video. The music is equally as impressive, demonstrating Marshall’s ability to take what could have been a great acoustic folk song and expand it into a fuller statement.

Lone Wolf – Keep Your Eyes On The Road from Bella Union on Vimeo.

For reference, here is Peter Gabriel’s original video:

Read the full review of Lone Wolf’s album, The Devil and I, here

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Here’s a list of major new releases for the week of May 18, 2010. Please feel free to request reviews for any of the following albums from staff or contributors.

Annihilator – Annihilator (Indie Europe/Zoom)
Bad Religion – 30 Years Live (Epitaph Records) – Trey Spencer
Band of Horses – Infinite Arms (Columbia)
Bo Bice – 3 (Saguaro Road Records)
The Black Keys – Brothers (Nonesuch)
Celeste – Morte(s) Nee(s) (Denovali)
Century Media Records – 20 Years of Century Media Volume One (‘91-’95) (Century Media)
Club 8 – The People’s Record (Labrador Sweden)
Corruption – Bourbon River Bank (MYSTIC PRODUCTION)
Cynic – Re-Traced [EP] (Season of Mist)
The Depreciation Guild – Spirit Youth (Kanine Records)
The Dream – Love King (Def Jam)
Exodus – Exhibit B: The Human Condition (Nuclear Blast)
Mary Gauthier – The Foundling (Razor & Tie)
Glee Cast – Glee: The Music, Volume 3 Showstoppers (Columbia)
God Is An Astronaut – Age of the Fifth Sun (Revive Records)
Guilty Simpson – OJ Simpson (Stones Throw)
Harvey Milk – A Small Turn of Human Kindness (Hydra Head Records) – Cam
Hammock – Chasing After Shadows… (+1 Records)
Heaven Shall Burn – Invictus {EU} (Century Media Records)
Hot Tuna – Live at the New Orleans House Berkeley Ca Sept 69 (Collector’s Choice Live)
Iced Earth – Box of the Wicked [5-Disc Box set] (Steamhammer)
Klone – Black Days (Season of Mist)
LCD Soundsystem – This is Happening (DFA/Virgin)

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Remember Tony Hawk Pro Skater 2? As a 14-year old kid interested in skateboarding, videogames, and pop punk, this was pretty much it. This game was my introduction to a number of great artists including Millencolin, Consumed, and Lagwagon. My favorite track on the album was “May 16″ and I always try to make a silly point of listening to it today. My summer break after this game came out consisted almost exclusively of laughing at the ridiculous game physics, teaching myself punk songs on guitar, and getting injured trying out tricks on a home made half pipe (with maybe two inches of actual vert). I hope it invokes the same kind of nostalgia in you that it does for me.

Lagwagon – “May 16″

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If you’ve read my reviews for Pavement’s Quarantine The Past or Malkmus’ solo album Real Emotional Trash, it’s really no secret that I adore the band. Unfortunately, I was 9 years old when Pavement broke up and at the time probably wouldn’t have given it a second thought, if I had even known. I was 9, I didn’t listen to music and I sure as shit didn’t care about some awkward indie band. I grew to care, though. A lot. Fast forward to adolescent me, trapped somewhere between overlapping fashion trends and habitual mood changes, and the demise of Malkmus, Kannberg, and co. was suddenly a big deal, regardless of how late I’d arrived to the party. Total bummer. What was left for me? Over time I’d learn every word to Crooked Rain, Crooked Rain, spend lazy Sunday afternoons pouring over special editions of Slanted and Enchanted and Wowee Zowee, and hell, I discovered The Fall simply because Mark E. Smith once contemptuously remarked of the band: “It’s just The Fall in 1985, isn’t it? They haven’t got an original idea in their heads”.

But, obviously, I wouldn’t be writing this if things had stayed that way. No, our old friends decided to give this whole touring business another go, no less than a decade after they originally called it quits and I was there to witness the conclusion of a 4-day run of sets at the O2 Academy Brixton. To warrant four back-to-back shows in such a high…

If there’s a band that better embodies summer than Philadelphia-based five-piece Free Energy, I haven’t found it. Driving with the windows open, hitting up the beach, lazing away on the couch with absolutely nothing to do or plan other than doing whatever the hell you want – summer is just as much a feeling as it is a season. And Free Energy’s superb debut, Stuck on Nothing, encapsulates that indescribable sense of freedom better than anything I’ve heard all year. Summer’s here: don’t let it go to waste.

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It’s a funny subplot in popular music’s history that a friend of mine pointed out in a conversation a couple of years ago; the most timeless, interesting music always tends to happen at the tail-end of a decade. He was pointing out how crazy the music industry went in the late ’90s, and how bands like Superchunk had unbelievable and hilarious amounts of money thrown at them, and bands as obviously offputting and angular as Placebo could become superstars, but it extrapolates across the decades; in lists like Rolling Stone’s 500 greatest albums of all time, Sputnik’s own user-voted all-time chart, and the Top 3000 albums on Acclaimed Music, there’s a real swing toward records that arrived in the latter half of their decades. On Acclaimed Music, it’s only 5 of the top 20 and and just 17 of the top 50 that represent the first half. Look at the best-selling albums of all time on a worldwide level, and you’ll see that of the 20 studio albums to have solid more than 30 million copies, only 6 have a year ending in a number lower than 4. Where it should be half, it’s nearer to a quarter.

The one obvious explanation is that both musicians and labels – not to mention the media – are always eager to fashion out an identity that will define the decade, leading to a mad scramble of anything-goes creativity as people spend two or three years looking for the next big…

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Another season of American Idol is coming to an end kiddies, so get ready to start dialing and sending your parents phone bill into the stratosphere. Now we all know what happened last season; the most interesting, talented, entertaining and hardest working contestant (Adam Lambert) fell at the last hurdle… To a rival (Kris Allen) who was lucky to even make the top 5 in most people’s opinion. Well folks, it could happen again if you don’t get dialing and sms’ing. Of course, that’s easy for me to say when I live thousands of miles away and am ineligible to vote. 

The last couple of weeks of action have seen series favorite Crystal Bowersox come back to the pack a little. Yet, I actually think that her performances – while not being as memorable as on earlier weeks – have better shown her versatility as an artist. She has taken some risks and, while she has yet to hit the home run that would have sewn the series up, Crystal has proven that she could actually make an album where she didn’t just play the same song over and over again.

Since Siobhan’s ridiculous elimination (allegedly not helped by facebook not having the correct number next to her name), the last fortnight has seen both little Aaron & big Mike eliminated. Neither were real chances to win, but Aaron can definitely count himself unlucky since he was shown the door on the night where each contestant had…

Jadea Kelly is perhaps best known our readers as the voice of Kezia on Protest the Hero’s 2005 album of the same name, but in the ever-expanding Toronto roots music scene her work with the progressive metal outfit is little more than the prologue to her ever-growing solo career.

Eastbound Platform, Kelly’s second album, was released two weeks ago to the day and has already been met with positive reviews from Exclaim! Magazine and CBC Radio—expect SputnikMusic to join these ranks shortly. Praises of her work is warranted, as the album shows the evolution of a once nervous performer who—in her on stage debuts with Protest the Hero—occasionally struggled to find her voice in the band’s often boisterous, hairy-chested performances. Nervous no longer, Jadea has taken takes her soft spoken demeanour and turned it into the quiet confidence of an artist who now bleeds self-assurance (although not literally, I’m sure).

“Never Coming Back” is the lead track off of Eastbound Platform and features a uniquely groove-laden take on a traditional country rock track. On top of Jadea’s stated vocal performance, make note of the interplay between the bass’s walking plod and shifting guitar lines, all of which climax in the tracks’ wind-swept refrain. Listen to the track below.

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The music video is probably the least relevant thing in the music industry right now.  I could be wrong about this, but I don’t think MTV actually plays them anymore at all, leaving that to sister channels like MTV2 and MTVU.  However, I owe a lot to the format, as it was my main source for music back when I was 12 or 13.  This was when bands like Good Charlotte, Simple Plan, Sum 41, etc. were all getting huge airplay and attention (they were actually bigger than a lot of hip-hop artists, which is hard to believe now).  Once I discovered how much more effectively I could waste my time on the Internet as opposed to watching television, I stopped watching music videos for a few years.

Over time, MTV reintroduced things like Headbanger’s Ball and created MTVU (MTV University), the channel that plays everything from MGMT to Underoath to KiD CuDi, which lead to a resurgence in my interest in music videos.  Steven’s Untitled Rock Show on FUSE helped as well because Steven was what I like to call “not an idiot” and played some great bands.  FUSE also had that hot metal VJ who played bands that were actually quite shit, like Trivium.

I remember her being hotter than this.

Anyway, these days Youtube has taken MTV’s place as the major source for music videos.  Lady Gaga’s “Bad Romance” video has over 200 million (!!) views.  However, I would wager that the…

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In our first showcase, some of our users recommended various Youtube covers that weren’t posted (and please, feel free). This cover, in particular, of Beirut – Postcards From Italy was done exceptionally well. Two French musicians, Agathe (on the uke) and Fine (pronounced in the French manner, as “feene”, per their Myspace page, on guitar and ‘hand’ trumpet) retell the reasons why Beirut’s enchanting music is  so lovable.

Staff member Lewis first linked this video of Greyson Chance covering Lady Gaga – Paparazzi yesterday when it had somewhere around 20,000 views, and has gone viral beyond belief with nearly 2.1 million views as of this moment.  Greyson, a sixth grader, performed at his school’s “Chorus Performance Night.”  Many are telling Justin Bieber to ‘move aside’ for Greyson, however Greyson is genuinely talented in his own light.

Lastly, Channing Freeman recommended Boyce Avenue covering Wyclef/Akon – Sweetest Girl, and it speaks for itself.

Last week we enjoyed the worldly wisdom of Eddie Vedder and Chris Cornell, so this week I thought we could move on to the underworld by balling out with Bone Thugs-n-Harmony’s “Tha Crossroads,” one of my favorite songs of all time.

“Tha Crossroads” is about losing a homie (in this case Eazy-E) and how sometimes the only way to honor your fallen brother is turn gangster rap into a barbershop quartet performed four times as fast. The Thugs – Bizzy Bone, Krayzie Bone, Wish Bone, Layzie Bone, and Flesh-n-Bone – deserve exceptional respect for their work on “Tha Crossroads.” Not only is it an epic meditation on youth, death, and the violent realities of thug life set to stellar production, but they go the entire song without using the phrase “gotta smoke that hydro whoa,” something they were unable to do to date in their career.

The video itself is an audiovisual experience like none other. Bone Thugs start the video at a funeral where a diegetic gospel choir sings a hymn, introducing the main character of the music video, the grim reaper. In case you didn’t know the grim reaper wears a trenchcoat, leather hat, shades, and has a pair of white, feathery angel wings hidden beneath all of this. As the song proceeds we get various shots of the reaper haunting the Thugs. He takes out a homie early on, then Uncle Charles (“oh ya I miss my Uncle Charles, y’all” at 2:31),…

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From his upcoming mixtape “Str8 Killa, No Filla” comes the video for “The Ghetto”. Gibbs reminisces over his hometown Gary, Indiana as various clips from the area are shown. The beat is an update on Milkbone’s ‘Keep it Real’ off of ‘Da’ Miilkrate’. I frequently visit a record store in Palm Desert, California called Record Alley that has a whole wall of CDs for $2.99. That’s where I found ‘Da’ Miilkrate’ which is a good impression of the hip-hop that was coming out around the release of ‘Illmatic’. Lots of similar vibes between both of those records and the introspective style of rap covered by both of those rappers is present in Gibbs’ take on Milkbone’s classic. I love how he has managed to mix such classic forgotten beats into a couple of releases (i.e. the freestyles present on “The Miseducation of Freddie Gibbs”.) Is Gibbs the next big lyricist in hip-hop? His latest efforts make it seem as such and time can only tell what an album may be like if his mixtapes are this concise and developed.

Freddie Gibbs – “The Ghetto”

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The closing seven minutes of Mouth of the Architect’s new EP The Violence Beneath should sound freakishly familiar to anyone that remembers the best of 80’s rock music or has a parent that does. It takes a few minutes to realize that the post-metallers are covering Peter Gabriel’s 1986 pop-hit “In Your Eyes” because the massive hooks and gentle crooning have been replaced by sluggish volume swells and ghostly howls, but once you get it, it’s hard not to crack a smile.

Mouth of the Architect – In Your Eyes

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“Do the Astral Plane” is Flying Lotus’ late-album reminder that you’re supposed to be having fun. Forget all the self-serious overanalyzing. Don’t mind the perfect scores and the dazed, knee-jerk responses like “blown away” or “shit-hot.” Enjoy precisely what holds this collage of experiments above its pretensions: you can laugh, long and hard.  From that goofy opening beatbox to the sweeping strings, right down to the album’s most generous and easily digestible beat, Flying Lotus bounds across the line between cred-approved irony and actually surrendering to these melodramatic DJ tropes, amping up each element in an ascending escalator of synths and horns. Anything goes by the time you’re thinking “free jazz” at the expense of Nintendo glitches. I can only imagine what “do the astral plane” can mean for a track this flamboyant and sexy.

Note: This youtube version of the song includes the outro of “Mmmhmm,” the track preceding this on Cosmogramma. This is preferable for your listening pleasure for the sake of continuity and, well, it’s great. Just really great. Tell all your friends.

Cosmogramma was released May 4th on Warp Records

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ClaudioWhen most people (as in people who don’t play Dungeons and Dragons) first hear Coheed and Cambria, they think something along the lines of, “well, those dudes are pretty good at their instruments, but I hate that chick’s voice.” That “chick,” the androgynous, interstellar-creation-myth-spawning, graphic-novel and guitar wizard known as Claudio Sanchez has few vocal peers, the closest being Geddy Lee or Alvin of Chipmunks fame.

So when presented with a MASHUP (because this is the internet after all) of Tupac’s “Dear Mama” & Coheed and Cambria’s “Welcome Home,” we’d all expect Claudio’s falsetto to be replaced by sensitive Tupac verses. Instead, we, the listeners, are treated to Claudio soloing over soulful guitar licks and a chill beat. If I had to sum up my feelings about this MASHUP I’d have to cite both of these lyrical geniuses.

Tupac – “Changes”

“I made a G today” But you made it in a sleazy way
sellin’ crack to the kid. ” I gotta get paid,”
Well hey, well that’s the way it is

Coheed and Cambria – “The Crowing” and “2113″

Dear Ambellina, the Prise wishes you to watch over me
Dear Ambellina, the Prise wishes you to watch over me

But IRO-Bot will never die.
IRO-Bot will never die.
But IRO-Bot will never die.
But IRO-Bot will never die…

Tupac & Coheed and Cambria – “Welcome Home Mama”

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