Watch MGMT Play “Plenty of Girls in the Sea” and “Alien Days” on “Jimmy Fallon”

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Brooklyn duo of Ben Goldwasser and Andrew VanWyngarden of MGMT

Be weird because normal isn’t working. ~ Craig Groeschel

Congratulations to Ben and Andrew. The third album has significantly enhanced the MGMT catalog.

MGMT performed “Plenty of Girls in the Sea” off their upcoming self-titled album (out September 17 via Columbia Records) and ran with the aquatic theme, wearing wetsuits, flippers, and other diving gear. They also performed “Alien Days” as a web exclusive, before which frontman Andrew VanWyngarden sucked up a bunch of helium.

Check out both links below:

MGMT: Plenty Of Girls In the Sea

MGMT: Alien Days

A Reminder: New York band Yeah Yeah Yeahs’ gig tonight @ Barclays Center + Karen O. interview

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The Yeah Yeah Yeahs band

Last week’s print issue of The Village Voice featured an incredibly thoughtful and well researched article on the whirling dervish known as Karen O, in advance of her band the Yeah Yeah Yeahs’ gig at the Barclays Center tonight. In it, Karen talked about her love of New York, what playing a hometown show like this means to her and about the future of the band, after the release of their latest album Mosquito. Because of space limitations, the newspaper  weren’t able to include everything. Here is the rest of what Karen O had to say.

“New Jersey is so boring,” says the blonde whirlwind known as Karen O, hanging out at home in Manhattan. She’s reflecting on why she moved from the Garden State, where she grew up, to New York City a little over a decade ago. “To have something so close that you can touch it, something that’s sort of the epicenter of culture, excitement, and hedonism on your doorstep, it creates a tension and ambition,” she continues. “Maybe if I grew up somewhere else, I wouldn’t have had the tension of wanting to communicate or connect with something bigger than myself. It made living in Jersey all the more painful,” she laughs.

That tension has driven Karen O to push the boundaries of, as she says, excitement and hedonism, onstage with her Yeah Yeah Yeahs bandmates, drummer Brian Chase and guitarist Nick Zinner. Since forming in 2000, they’ve made case after case for being crowned New York’s Band. Even though they slugged out their early years playing their jagged anti-punk at long-gone venues like Sin-É, CBGB (“we played after a hair-metal band”), and even a junkyard Karen barely remembers, they’ve always mixed it up. They’d play Radio City as well as intimate venues like Union Pool as they ascended the charts, reaching No. 5 with their latest album, April’s dubby, dance-rock stinger Mosquito.

Through it all, even when Karen O moved to L.A. for a bit and then back to Jersey, the group has always showcased its relationship with New York, recording a live film for their 2007 EP Is Is at the Williamsburg outpost Glasslands and shooting the video for Mosquito‘s “Despair” atop the Empire State Building. Now they’re putting on what Karen O is promising to be one of their biggest shows ever, at Brooklyn’s Barclays Center on September 19.

“We’re going to try to do some showstoppin’ stuff,” she says. “Maybe we’ll have some special guests and some crowd-pleasing moments where everything turns into confetti. It’s going to feel like a really wild party.” She laughs, then adds, “We have all of the resources that we can’t bring with us on the road here in New York. We’re going to pull out the stops.”

Those are strong words coming from a woman who routinely prowls the stage in her colorful Christian Joy–designed couture before she giddily explodes, pounding her fist to her chest, leaping across expansive stages, and generally indulging her every Dionysian whim. It’s a stark contrast to her casual offstage mien, where she stammers a little, searching for the right words when speaking, and laughs whimsically. “I’m probably one of the least recognized pseudo-rock stars out there,” she says with another laugh. “Even five minutes after I get offstage, people don’t recognize me.”

It’s in performing, she says, when she truly feels free. And that uninhibited nature is what makes her a great frontwoman. “There’s the Michael Jackson level of being a frontperson, which is the major level, and then, for me, there’s also the Lux Interior, Jon Spencer, David Bowie, and Darby Crash level,” she explains. “I feel that there should be a sexual energy in there. Those people that I just named were probably pretty repressed, shy, tortured individuals, but their performances exploded with a certain kind of sexual tension. When I go to a rock show, I want to have a crush on the frontperson and a desire to want to be the object of their desire in the audience.

“The other thing is vulnerability,” she continues. “I feel like, for me as a frontperson, one of the things that I’ve always been interested in since the very beginning is to be as vulnerable and raw up there as possible, and as goofy and dorky. I remember after we did a show with the Breeders in L.A. [in 2009], and Kim [Deal] came up to me afterward and said, ‘You’re the biggest dork I’ve ever seen onstage.'” She laughs. “And the thing is, it’s disarming. My whole process is to lose myself up there.”

That performance process sounds like one she took while making Mosquito. Songs like the single “Sacrilege” seem to jump out of the speakers, thanks to her whispered verses and yelped interjections, and the shimmering, lightly textured “Despair” gives the singer enough room to lose herself in ruminating on how “Despair/you’ve always been there/through my wasted years.” One of the most poignant cuts, though, is the group’s bittersweet love letter to the five boroughs, “Subway.”

“My husband sent me a list of the 100 best New York songs,” she says. “He was like, ‘Maybe you guys should write a New York song.’ I was like, ‘We’ve written one!'” she laughs, recalling “Yeah! New York,” the B-side to their 2003 single “Date with the Night.” “Then ‘Subway’ is kind of what came out of it. I think being on the subway is one of the most unique and original New York City experiences you can have.”

With the release of Mosquito, the group has found itself in an unexpected position. Ever since the release of their debut full-length, Yeah Yeah Yeahs have recorded for the major label Interscope, but now they’ve fulfilled their contract and are weighing their options. “It’s a brand-new era for us,” she says. “We’ll have more freedom than we’ve ever had before to see what’s out there and how that works for us.”

In the meantime, she says the band is focusing on its remaining tour dates for the year, including the Barclays show, which features the group’s longtime friend, indie-rock’s analog to the Naked Cowboy, the briefs-wearing, hard-partying r&b belter Har Mar Superstar, as its opener. “I love the record he just released, Bye Bye 17, because it’s like young Stevie Wonder,” Karen O says, explaining why the group drafted the Brooklyn-via-Minnesota extrovert for the show. “He’s a feel-good kind of guy. He’s a close friend, but we figured that he’s just really good at getting the audience pumped and ready to dance and ready to party. He primes the audience with his feel-good vibes, doing his shoulder stands and cracking jokes. And he’s got a fucking showstopping voice.”

When she pauses and reflects on the Yeah Yeah Yeahs’ trajectory, which included Har Mar opening for them in 2003, she’s still a little amazed at how it’s brought her to where she is. “When we started out, playing in a really shitty bar in New York City was a huge deal,” she says. “Before we started touring, I didn’t have much to go on, outside of that. So playing the Barclays Center, that’s probably the pinnacle, right? I have a good feeling about it. I don’t know why, but I never wanted to play Madison Square Garden or anything like that. But somehow Barclays seemed like the right fit.”

But part of being the right fit, at least for a New York band, also means ease of accessibility. So how will Karen get from Manhattan to Brooklyn for the gig? “I’m totally going to take the subway there,” she says with a laugh. “Without a doubt.”

Why did you decide to do a show at the Barclays Center?
For us, the alternative was maybe a couple of Terminal 5 shows. That just wasn’t cutting the mustard. [Laughs] At the end of the It’s Blitz tour, our big New York show was a Radio City show and that was just magnificent. It was such a memorable, unique and wonderful experience for us. So for this, we kind of thought, Let’s go for the guts and the glory of doing a really big–staggeringly big–knock-your-socks-off show. But instead of doing the Terminal 5 thing, which we’ve never actually done–I went to go see LCD Soundsystem when they did, like, five of them in a row there and it was great–this just kind of feels more epic and is something I had a pretty good feeling about, too.

The Barclays Center is near what used to be a divey venue called Southpaw, where a lot of bands got their start. What were some of the grungiest New York venues you played early on?
Our second or third show was at CBGBs when it was, I guess, winding down. [Laughs] I think we played after a hair-metal band. It was probably, like, a Tuesday evening or something. [Laughs] That was definitely one of the nastiest, grungiest places we’ve played, especially towards the end. And there was the Cooler, which was like a meat locker in the meat-packing district. That was a pretty stuffy, grimy basement type venue. And we did a junkyard with the Twisted Ones, who were these indie promoters that did a lot of cool shows when everything was exploding in 2002 and 2003. We did a show in a junkyard in Brooklyn. The city has a lot of places that you can play. [Laughs]

Was a big venue like the Barclays Center always your goal?

I don’t think that was ever on my radar. Back then, playing a show in a New York City club was such a big deal for me. Just that alone was a lot of pressure. It was a huge deal to be at a really shitty bar. I didn’t have much to go about outside of that, and even doing any shows outside of New York City was kind of unfathomable to me, so playing the Barclays Center, that’s the probably the pinnacle, right? As far as playing in New York City venues. It’s pretty exciting. When it came up as an option, the intuitive artist side of me had a good feeling about it.

What role did New York play in the intuitive artist side of you?
I feel like I blossomed as an individual and came into my own because I moved here. I transferred to NYU Film when I was 18 or 19. I still hadn’t really come into my own and gotten a sense of myself and my individuality and the Karen O aspect of that, too, at that point. The exhibitionist and performer part of my personality didn’t happen until I moved to New York City in my late teens or early 20s. I associate it with caterpillar-to-butterfly transformation. This is where I guess I became the artist I am now.

You’re now a very dynamic and uninhibited frontperson live. Have you ever regretted doing anything onstage?
Yeah, there’s one major regret. Well, it’s not a regret. I had an accident where I fell off the stage head first in Sydney in 2002 or 2003. I could have broken my neck, broken my back, gotten my head bashed in. I was hanging off a monitor on the edge of the stage and I slipped off of it and went head first down to the floor, five or six feet, and the monitor–I don’t know how much that weighs, probably over a hundred pounds or something–it came and just bonked me on the head. And that was a big sign to me at that point in time.

I was drinking so much before I went onstage and the violence and the recklessness that was happening up there, it was like Iggy. I don’t know if he ever hurt himself that badly up there, but it was not for a 23-year-old girl. So it’s escalating. I was hurting myself more and more and more, like with black eyes, chipped teeth, bruises all over my body. And then that happened and I slipped off the stage and I had to go to the emergency room. It was a pretty major, traumatic event of my life. I had to kind of rearrange the whole way I thought about things.

It kind of made me think of The Wrestler, like that weird thing about human nature where the more that he got hurt and the more that he hurt other people, the more people seemed to love him. [Laughs]. So that accident tore me out of that cycle of things.

I think at that point in time, I was totally just a spectacle for a lot of people. And what I did up there was really self-destructive. And I think people were really getting off on it in a really weird way. I felt like I was feeding into that and feeding off of it, and then that happened and I had to change the whole way I thought about performing. [Laughs] That’s probably one of the only things where I just felt, like, Holy shit! But it’s not a regret because I learned so much from it.

Well, despite that, you’ve maintained an anything-can-happen air about you. What should we expect from the Barclays show?
We’re going to pull out all the stops. It’s going to be really fun and dynamic. It’s going to be a celebration. It will be great.

So you’re saying it’s going to be the show?
It will be the show.

Yeah Yeah Yeahs perform at Barclays Center on September 19 with Har Mar Superstar

Watch Ryan Bingham performing “Hallelujah” Live at Gruene Hall + Free download of ‘Until I’m One with You’ – Single

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Singer/songwriter Ryan Bingham

 

Published on Sep 18, 2013
Ryan Bingham “Hallelujah” recorded live at Greune Hall March 13, 2013. Filmed and edited by TourGigs http://www.tourgigs.com
From the album “Junky Star” (C) 2010 Lost Highway Records

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If you haven’t checked out Ryan’s theme song “Until I’m One With You” then click the link below to download your copy on iTunes.

Download “Until I’m One With You” on iTunes

Americana singer/songwriter Ryan Bingham was raised in rural Texas, where years of hardscrabble ranch work and rodeo competitions would later lend a sense of authenticity to his music. Living alone since his mid-teens, Bingham shuttled back and forth between Southwestern border towns and relatives’ homes, often sleeping in his truck after rodeo shows. It was during those treks that he began entertaining friends with the guitar, an instrument he’d learned at the age of 17 from a mariachi neighbor. Drawing inspiration from Bob Dylan, Marshall Tucker, and Bob Wills — all of whom populated the jukebox of The Halfway Bar, a roadhouse owned by Bingham’s uncle (whose musical tastes influenced those of his nephew) — Bingham fashioned a road-weary sound that piqued the interest of a barroom proprietor in Stephenville, TX. Bingham was offered a weekly residency at the bar; soon after, he began issuing self-released albums like Lost Bound Rails and Wishbone Saloon. The material was brought to the attention of Nashville heavyweights Lost Highway Records, who signed Bingham and issued his major-label debut, Mescalito (featuring production by Marc Ford, former guitarist for the Black Crowes), in October 2007.

Mescalito was well received by critics, with Rolling Stone aptly comparing Bingham’s raw, scratchy voice to that of “Steve Earle’s dad.” After supporting the album with ample tour dates, the songwriter reprised his relationship with Marc Ford, who produced 2009’s Roadhouse Sun. Later that year, he joined another music veteran — producer/songwriter T-Bone Burnett — in contributing music to the film Crazy Heart. Revolving around the the attempted comeback of a down-and-out country singer, Crazy Heart became one of the year’s highest-praised films and won a Golden Globe and an Oscar for “The Weary Kind,” one of Bingham’s original compositions written with T-Bone Burnett, the soundtrack’s musical director and producer. Bingham and his band the Dead Horses followed it with the album Junky Star in September of 2010, produced by Burnett. Bingham left Lost Highway after three albums and released 2012’s Tomorrowland, recorded in Malibu, CA and co-produced by Bingham and Justin Stanley, on Bingham’s own newly created Axster Bingham Records imprint.