Matt Bellamy loves a conspiracy theory. I've got one for the Muse frontman. If you pitch up his voice, it sounds exactly like Gwen Stefani. Has anyone seen them in the same room together? I haven't. Anyway, this has been around for a few years but I've only just seen it and you might find it entertaining. And another one.
The coverstars of this week's NME are The Killers. On the eve of their first ever stadium gig at Wembley, The Killers enjoy the view from the very peak of their career, reminiscing about their lowly origins playing Camden dives and peering into their glittering future. We asked them to reveal their 5 most memorable UK gigs. Were you there? Let us know in the comments below.
There’s no pleasure without pain. Even moments of pure and total happiness can’t help but be tinged with the melancholy that lurks in the essence of all things, stained by the sadness at the heart of the human condition. In other words, even at bloody lovely Glastonbury you sometimes have to choose between two or more excellent options, and missing out on something is bound to be a bit gutting. Businessmen, in their suits, would call this “opportunity cost”. Hippies, in their flower-chains, call them “clashes”.
M.I.A is finally back with a follow-up to 'Bad Girls' (released what seems aaaages ago). It's called 'Bring The Noize' and it's a discombobulating listen. "If I didn't get it out right now I would definitely have exploded," M.I.A told Zane Lowe on his Radio 1 show last night. How can she possibly follow up 'Bad Girls', one of the best tracks of last year, dropped nonchalantly in January with a damn fine music video? By switching the energy up.
You might think Paul McCartney getting on board with the likes of Skrillex and Deadmau5 by making an EDM track is a bit like watching your uncle groove at a wedding, and yet you could say Macca was there in the beginning (in the garden of EDM if you will). In 1980, the ex-Beatle brought out his second purely solo record (as opposed to those made with wife Linda or his band Wings), and most of what emerged was far out and experimental, harnessing the most cutting edge equipment of its day, even if now it sounds a bit on the lo-fi side.