Watch Passion Pit LIVE tonight on Letterman [Exclusive Online Concert]


Passion Pit rocks the Ed Sullivan Theater in NYC for Live on Letterman!


Did you miss Passion Pit LIVE performance @ Letterman Show? Don’s worry.

You can watch them here:




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Watch the band perform tonight in NYC 9/4 8PM ET / 5PM PT
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UH Archives: Passion Pit

About The Performance

Although things may have been looking bleak for Passion Pit and their fans this past week, the band rolled into the legendary Ed Sullivan Theatre on a warm Wednesday night for their Live on Letterman webcast looking as if they hadn’t missed a beat.

After being forced to play DJ-sets for a string of shows in Canada when approximately 75% of their gear was destroyed in a Chicago storm last week, Passion Pit showed up more than ready to hit the stage in their proper form for the first time in a whole week and gave fans a live experience that they won’t soon forget.

The band marched into the Ed Sullivan Theatre in support of their latest album “Gossamer” – the critically acclaimed followup to 2009’s “Manners” LP that had the band working tirelessly for months to perfect.

Speaking on the new songs and preceding recording process in the pre show interview, lead singer Michael Angelakos expressed how on “Gossamer”, songs like ‘Constant Conversations’ really showcase what the band is capable of, especially in a live setting.

Angelakos also went on to talk about the challenges that the band faced when all of their equipment got wrecked last week – and how the bands crew tirelessly worked to get everything up and running again as they dumped gallons of water out of the bands mellotrons, synths and more.

Fortunately, “the old rice trick” worked and the band were set to play their first non DJ-set in a week for a theatre that was packed to capacity with ‘pit fans.

Passion Pit then hit the stage, promptly at 8PM from the back of the audience and quickly got to work. The band opened the show with a blistering rendition of their new song ‘I’ll Be Alright’ and then hit right into ‘The Reeling’, off 2009’s “Manners” LP.

The band definitely appeared to be especially amped as well as relieved to be playing with their own gear again (as well as to be playing indoors). When they hit into the third song of the night, ‘Carried Away’, off 2012’s “Gossamer”, fans went completely nuts as they sang “Sorry ’bout things that I’ve said. Always let it get to my head” After incredible renditions of ‘Eyes As Candles’, ‘Take A Walk’ and ‘Constant Conversations’, the band broke into “Cry Like A Ghost”, the sixth new song of the night off 2012’s “Gossamer”. The crowd was behind the band with every word and the energy in Ed Sullivan Theatre was booming. Before closing out the show, the band surprised fans with a rendition of ‘Where I Come From’, off the 2012 soundtrack to The Twilight Saga: Breaking Dawn Part 2. Passion Pit then hit fans with their 2009 hit ‘Sleepyhead’ before saying goodbye and rounding out the show with ‘Little Secrets’ to wrap up another memorable evening at the house The Beatles built.

Fall 2013 Preview: MGMT’s new album ‘MGMT’ among the 26 Albums You Need to Hear

Andrew VanWyngarden and Ben Goldwasser of MGMT in the studio. Photo: Danny Clinch

Andrew VanWyngarden and Ben Goldwasser of MGMT in the studio.
Photo: Danny Clinch

MGMT’s Long Strange Trip: Inside Their Most Experimental Album Yet

How the psychedelic duo almost lost their minds

MGMT have released a new trailer for their self-titled third LP, out September 17th on Columbia, that features snippets of five new tracks, an NSA wire tap and one angry possum in a bathroom. Frontman Andrew VanWyngarden encounters the beast while brushing his teeth, kicking off a peculiar day that later finds his cohort, Benjamin Goldwasser, knifing open a speaker cabinet and discovering a suspicious looking beetle that seems to be spying on them. The bug (get it?) doesn’t belong to the snooping NSA, though, which means, as one agent explains with extreme gravity, “The Reptoids have heard the new MGMT album.” Things get even weirder when the band hops on a bus to get to the bottom of these nefarious doings — but it looks like we’ll have to wait and see if there’s a part two to this story.

Not long ago, something funny started to happen inside the tawny, shaggy head of MGMT’s Andrew VanWyngarden. He was in upstate New York with bandmate Ben Goldwasser, recording their third album (MGMT, due out September 17th) in a rustic room surrounded by keyboards, drum machines and sequencers – working 12-hour days for weeks on end. “Weird things would happen to me up there,” says the singer, sitting in a trendy Italian restaurant in New York’s East Village. “I had total mental breakdowns sometimes.” His solution: “I was like, ‘I’m gonna go in the grocery store, and if there’s a flier up that says FREE KITTENS, I’m gonna get one.'” He shows me a photo of his new cat on his phone.

Since their earliest dorm-room jam sessions at Wesleyan University, VanWyngarden and Goldwasser have reveled in a quirky, subversive approach to rock stardom. They took weeks to decide whether to sign with Columbia Records when the label made an offer in 2006. “We kind of treated it like a joke, the way we were treating most things at that point,” says Goldwasser, who had been working construction. “We were a little scared,” VanWyngarden admits. When they did sign, it took them a while to get used to being part of the music industry. “So many musicians have this really commercial sensibility about everything,” says Goldwasser. “That made me really disgusted. Looking at music as a product, talking about what we were doing like a brand? We had never thought about music that way.”

Then came the lackluster public response to their weird, arty second LP, 2010’s Congratulations. “If you want to see the most uncomfortable people in the world,” says VanWyngarden, “watch our red-carpet interviews at the Grammys in 2010.” Some blamed drugs for the duo’s majorly psychedelic detour; while they have nothing against drugs per se (VanWyngarden has fond memories of tripping in a hotel room during a New England sleet storm), the criticism got under their skin. “It got out of control,” says VanWyngarden. Goldwasser says their European tour for Congratulations is the worst memory of his life with the band: “I was thinking, like, ‘What am I actually doing right now?'”

That the label still trusted them enough to leave them to their own devices for the follow-up came as a relief. MGMT is their most experimental LP yet – electronic music that’s definitely not meant for dancing. “I don’t even know if it’s music we would want to listen to,” VanWyngarden says proudly. “It’s just what’s coming out of us. We didn’t make a single compromise.”

For their follow-up to 2010’s experimental, divisive Congratulations, Ben Goldwasser and Andrew VanWyngarden went even weirder – immersing themselves in synths, drum machines and Eighties house records. You can hear those influences in the electronic throb pulsing through avant-pop jams like “Your Life Is a Lie” and “Plenty of Girls in the Sea.” “We used to think of crazy, improvised experimentation as a fun thing we’d do on the side,” says VanWyngarden. “But this time around, we thought we might as well embrace it.”

Nine Inch Nails Play Intimate Album Release Show in L.A.

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Band keeps it simple at the Troubadour in West Hollywood

Via Rolling Stone

“We’re all jet-lagged,” Trent Reznor told the audience last night, a few hundred fans crammed into a tiny club in Los Angeles. “We’ve been criss-crossing the globe, playing all sorts of shows. Thank you for whatever humiliating things you had to do to get tickets.” The occasion was the release of Nine Inch Nails’ latest album, Hesitation Marks; the venue was the Troubadour in West Hollywood, a storied room best remembered for hosting the likes of James Taylor and Carole King in the Seventies. (Sadly, Reznor was not inspired to bust out an acoustic guitar for some Tapestry covers.)

For an hour and three quarters, Nine Inch Nails stripped away most of the production elements of their current tour (which has hit major rock festivals in recent months): what remained were some colored lights, a strobe and a smoke machine. Oh, and Reznor’s unrelenting intensity. He punched himself in the head, he clung to the microphone stand like it might blow away, he howled like a bleeding animal. Reznor doesn’t scream on Hesitation Marks (which the band did just three songs from); at the Troubadour, he showed that was an artistic choice rather than a physical limitation.

“I can’t find the set list,” Reznor noted at one point, not sounding concerned. He could have picked almost anything from his back catalog, and the sweaty, happy audience would have sung along, fists in the air. The five-piece band moved effortlessly from stomping rock to throbbing electronica, and even did a gorgeous instrumental, “La Mer,” in the encore. Highlights included the funky “The Hand That Feeds,” the new single “Came Back Haunted” and the night’s final song, a particularly raw version of “Hurt.” Reznor gave an understated vocal performance, perfectly sized for the hushed room, which built until he was drowning in his own pain.

Chatting with the audience, Reznor noted that on the small stage, he had no place to hide; he felt that every mistake was obvious, like when he fluffed the lyrics to his collaboration with David Bowie, “I’m Afraid of Americans.” Or as he told the crowd after playing “Disappointed” about halfway through the show: “Usually by this part of the set, we’ve been replaced by robots and we’re backstage, relaxing and catching up on Breaking Bad.”

Set list
“Somewhat Damaged”
“The Beginning of the End”
“Terrible Lie”
“March of the Pigs”
“The Line Begins to Blur”
“The Frail” / “The Wretched”
“I’m Afraid of Americans”
“Gave Up”
“I Am Sanctified”
“The Warning”
“Find My Way”
“Came Back Haunted”
“The Hand That Feeds”
“Head Like a Hole”
“La Mer” / “The Day the World Went Away”

Does Arctic Monkeys’ fifth album live up to their own standards?



Track-by-track review: Arctic Monkeys – AM

Agree, the wait for AM seems like it has taken an age. Dropping ‘R U Mine’ last year was the point when Arctic Monkeys got their heavy rock balls out and showed a spirit and attitude that we’ve never seen from them before.

The track was mostly adored, which is saying something when you consider that everything that they’ve released since Favorite Worst Nightmare has divided opinion among fans. Many were left pining for the short-sharp indie dancefloor anthems of their early work, while others hailed the expansion and evolution of Humbug and Suck It & See.

With a drip-release of new tracks and a pretty explosive headline set at Glastonbury 2013, the hunger for new Arctic Monkeys material has never been stronger. But has it been worth the wait? Where does AM take the Monkeys from here? Let’s have a listen and find out…

‘Do I Wanna Know?’
Ooops, here we go. With a curled-lip snarl and a flick of his quiff, Alex Turner kicks off AM with the flick-blade bravado that runs throughout the record. Continuing the hard-edged rockier sound of Suck It And See left off, ‘Do I Wanna Know’ simmers with a slow-burning groove reminiscent of the darker moments on Humbug. It’s a pretty mean album opener, and will sound pretty huge in those arenas this winter.

‘R U Mine?’
Ahead of their blistering performance at the London 2012 games last summer, the Sons of South Yorkshire blew fans with away with this fittingly Olympian track. Racing into a heavier psychedelic rock direction, R U Mine has quickly become a fan favourite. Why? Well, it’s a right little beast, laden with a righteous riff and sexy groove. This is exactly what we imagine blazing through the desert on a Harley with Josh Homme sounds like. Phwoar.

‘One For The Road’
Drummer Matt Helder’s high-pitched ‘woos’ introduce the track before a chunky riff and Turner croons with that Americana-tinged rockabilly twang that caught him so much controversy at Glasto: “From the bottom of your heart, the relegation zone – the song is coming from the start, shake rattle and roll.”
From there on, it’s a pretty standard chug-along bluesy affair, heavily steeped in the aesthetic of their past few records but showing a huge leap in evolution from the spiky dudes who brought us ‘Fake Tales Of San Francisco’.

A typically John Cooper Clarke wonder of wit and wordplay sees in track four with Turner spitting: “Arabella’s got some interstellar gator skin boots, and a helter skelter and a little finger and I ride it endlessly. From there, ‘Arabella’ takes on a meaty and lean classic rock rush with choppy guitar work and a chunky rhythm section that shows clear influence from their former touring buddies The Black Keys. A future Monkeys’ classic? Maybe, whatever, but it sounds bloody brilliant live.

‘I Want It All’
Kicking with the playful classic rock menace of The Beatles’ The White Album, ‘I Want It All’ is the sound of Turner raiding his parents’ record collection with an ode to the timeless classics of The Kinks et all – with a ‘shoo-wop’ or two thrown in for good measure. Keep that one – mark it ‘fab’.

‘No.1 Party Anthem’
Here we see the slow, swooning and contemplative Turner at his finest, in what feels like the sequel to ‘Cornerstone’, as he poetically pines over a rock n’ roll mistress as the end of another heady night: “You’re on prowl wondering if she left already or not, her leather jacket collar popped like an antenna and never knowing when to stop.” This will be one to wave those lighters to for years to come.

AM - Turner

AM – Turner

‘Mad Sounds’
Flowing with the same laissez-faire easy swagger of the previous song, this marks the point where you wonder if AM may indeed be lacking in ‘Mad Sounds’. It’s lovely and the gentle swaying of ‘ooh la la la’ will bring a warming unity at upcoming shows, but you feel yourself wanting something a little more dangerous by now.

‘Fireside’ A rich tapestry of 1960s thunder and a move towards more accomplished and classic songwriting, ‘Fireside’ wouldn’t have sounded out of place on the Last Shadows Puppet’s album. So yeah, it’s nice enough, but recent b-sides ‘2013’ and ‘Stop The World I Wanna Get Off With You’ were far more daring and would have given AM a much-needed rush around here.

‘Why’d You Only Call Me When You’re High’
A true highlight of AM, ‘Why’d You Only Call Me When You’re High’ is not only a devious little earworm, but sees the Monkeys exploring a more adventurous loose psychedelic direction, met with some of Turner’s finest kitchen sink melodrama lyrics of a night out turned sour.

‘Snap Out Of It’
One of the most pedestrian rock n’ roll by numbers moments on AM, Snap Out Of It is a pretty nondescript affair of easy rhythm, lacklustre melody and forgettable lyrics. “I get the feeling that I’ve left it too late, but snap out of it,” sings Turner. Our thoughts exactly.

‘Knee Socks’
Ooops! That’s more like it, dudes! A feisty firecracker of a riff sees in ‘Knee Socks’ before Turner wraps his tongue around the sound of the Monkeys at their darkest and most brooding: “You’ve got your lights on in the afternoon and the nights are drawn out long, and you’re kissing to cut through the gloom with a cough-drop-coloured tongue.”

‘I Wanna Be Yours’
“I wanna be your vacuum cleaner, breathing in your dust – I wanna be your Ford Cortina, I won’t ever rust,” pines Turner over a cinematic Ennio Morricone guitar soundscape – shrugging off all suggestions that he’s forgotten his Yorkshire roots and gone too Yank on us. Ending AM with one of its more open and experimental moments, ‘I Wanna Be Yours’ shows the Sheffield giants really exploring the refreshing space in their sound before an abrupt end.

While Humbug may have fallen a little flat with some fans, it did mark a clear shift and evolution for the band and contains some of their best songs as a result. Suck It & See truly upped the ante and saw the Monkeys race into a new gear. AM, sadly, smacks a little of a band just coasting. That’s not to say it’s a bad album – far from it. It’s a great album that’s lightyears ahead of all of their post-Libertine indie peers, it just doesn’t feel brave enough for a band with so much bravado. A decent-ish Arctic Monkeys album is far better than most LPs you’ll hear this year, but if D is Dangerous, then AM might be for ‘Ace (but) Mild’.

AM is already leaked in HQ:

AM is released via Domino on 9 September, 2013

NIN Trent Reznor’s angriest, grumpiest moments

Videos: the Nine Inch Nails frontman isn’t afraid to speak his mind – or smash up a stage

Trent Reznor isn’t known for his sunny disposition, at this year’s Reading Festival he publicly criticized the festival and national treasures, Biffy Clyro – before he performed at the event. Reznor is traditionally a prickly individual, never afraid to share his opinions or smash up a stage if things aren’t to his liking. Check out some of his grumpiest, most outspoken and angriest moments of all time here. Reznor is not that bad! haha!