Originally published on Fri February 15, 2013 8:58 am
The English rock group Depeche Mode owned a chunk of the '80s and '90s with glossy electro-rock hits like "People Are People" and "Personal Jesus." These days the band doesn't have much to prove, and its members, who appear in this new video for the song "Heaven," seem to find themselves at peace, bathed in the radiant glow of light and love.
Originally published on Wed February 13, 2013 2:02 pm
We're thrilled to announce that the Yeah Yeah Yeahs have been added to the bill for our official South by Southwest showcase on March 13. The band joins Nick Cave & The Bad Seeds for the concert, which will be broadcast on NPR stations across the country and streamed live as a video webcast here from Stubb's in Austin, Texas. The concert will also appear in the NPR Music apps.
For his first solo project, Former Lives, singer-songwriter Benjamin Gibbard explores ideas that didn't fit onto records he's written for Death Cab for Cutie or the recently reunited Postal Service. Performing solo for this session, Gibbard shared favorites like "Teardrop Windows" and gave us a peek into his songwriting process during an interview.
Originally published on Wed February 13, 2013 9:25 am
The deeply disturbed character who appears in the latest Maps & Atlases video, for the song "Fever," may not live to see tomorrow. As the Chicago-based band sings about holding on in our darkest hours, "The Man" slowly wastes away, addicted to a mysterious drug.
“I don’t know if it was ever some big idea,” says Kelly Willis with a musical laugh. “It’s just something we’ve always sort of done. Our Christmas shows were always so fun, and obviously we’ve always been part of each other’s records. But we’re also our own people. We’ve always been very careful about not losing sight of that. We didn’t want to get lost in a duo because we are so different, and we’ve each worked so hard to establish our own careers.” The thing about chemistry, though, is it can’t be denied.
As Wild Nothing, singer-songwriter Jack Tatum writes hazy reveries that reflect the shimmer of early-'80s Manchester pop, the sparkle of The Cure's upbeat not-quite-love songs and a dense forest of Slowdive-era shoegaze.