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Pitchfork and Pitchfork.tv Seek Interns in Chicago and New York City

April 9, 2010 Pitchfork: Latest News 0

Editorial Intern in Chicago

Pitchfork Media seeks editorial interns to work in our Chicago office. All candidates must be currently enrolled as undergraduate students in the Chicago area and available 12-20 hours per week during the summer, beginning at the end of the spring semester.

Tasks include, but are not limited to, assisting with copy editing and fact-checking, transcribing interviews, and data entry. You should have excellent research skills, as well as a familiarity with the artists we cover. Having your own laptop, as well as the ability to gain school credit for the internship, would be a major plus, though not required.

Please submit a résumé and writing sample in an email (no attachments, please) to internsubmissions@pitchfork.com with the subject line “PITCHFORK EDITORIAL INTERNSHIP SUMMER 2010” by Sunday, April 25.

Motion Graphics/Animation Intern in New York

Pitchfork.tv seeks a motion graphics/animation intern in our Brooklyn office to assist with ongoing animation projects. We’re experimenting with various animated projects and are looking for someone to assist with basic 2D animation. The ideal candidate will be fluent in After Effects as well as an adept visual artist. Experience with character/cartoon animation is a major plus. Candidates without a LINK (and link only) to their reel will not be considered. Please send your résumé and link to jobs@pitchfork.com. The deadline for submission is Sunday, April 25.

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Arcade Fire Working With Director Spike Jonze on Short Film

April 9, 2010 Pitchfork: Latest News 0

A spokesperson for Spike Jonze tells MTV that the visionary director “will be in Austin shooting a short film which is a collaboration with Arcade Fire.” This confirms an initial rumor reported yesterday on fan site Joel’s Arcade Fire Blog and picked up by /Film, who added that the short involves teenage friends growing apart.

Further details are scarce, but Arcade Fire are due to release a new album later this year– they’ve already got some festival gigs lined up. Could this be an extended music video a la Jonze’s recent mini-epic for Kanye West, “We Were Once a Fairytale”? No word from Arcade Fire’s people yet.

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Hercules and Love Affair’s Andy Butler Discusses New Hercules Album

April 9, 2010 Pitchfork: Latest News 0

The 2008 self-titled album from Andy Butler‘s New York disco crew Hercules and Love Affair gave us the Antony-sung dance classic “Blind”, Pitchfork’s #1 song of that year. The album itself also landed in our year-end top 10, so we’re excited to hear what Butler comes up with next.

As recently posted on the Hercules blog, the new album is now finished. Butler expects to release the as-yet-untitled disc this September. (Sample song titles: “Wonder Woman”, “Step Up”, “Boy Blue”, “My House”, “Falling”.) We talked with Butler about the new album, the work he’s done with Bloc Party’s Kele Okereke, and the fact that he’s living in Denver these days.

Pitchfork: Are you done with the new album?

AB: Yeah, I’m totally done. It’s trippy. It’s been five days since I’ve been done, so it’s still kind of like, “Am I done? Wow, I’m done. Yeah, I’m done.” So I’m done. In my world, I love this notion that songs are never finished, that they can be remixed endlessly, that there are a million ways to listen to or to present one song. In some ways, that’s part of the fun of the live show; you can sort of do that kind of thing. But a record is a record, and it’s finished. I did have some anxiety, and after I was finished, I wouldn’t listen to any of it for five days– literally until yesterday.

Pitchfork: How’d it sound yesterday?

AB: I love it. I worked with this co-producer, Patrick Pulsinger, who’s amazing. I’ve admired him for a long time, since I was a teenager. He’s a techno producer. He used to run a record label called Cheap Records in the 00s and late 90s, but he’s been producing since his first record came out in ’93, I think. I first heard about him because he was the resident DJ at the Limelight in New York with DJ Keoki when Michael Alig and the whole Club Kids thing was happening.

I went to his studio in Vienna, and he had everything. He had the 808, the 909, the 606, the 202, the 303, the 101. I was really excited. We did a little test run on some club-oriented stuff. I just wanted to do a really classic techno-sounding track, and I had a really wonderful experience with him. He facilitated the process perfectly, and he’s a really wonderful person. I decided to do the whole album at his place in Vienna, and when we were done Patrick looked at me and said, “Okay, it’s finished.” He was like, “You’re not calling me for a week.” I’m just glad I don’t have to call him and say, “But please! Track three!” I’m happy with it.

Pitchfork: You’re living in Denver right now. That’s interesting, since the first Hercules album was such a New York album.

AB: When the first record came out, I had been living in New York for 12 years. I had somewhat of a developed ear in terms of dance music when I moved to New York. House music had infiltrated all of the smaller cities in the Midwest. I was close to California, where some really great DJs took house music in this other direction. These were the guys that inspired me; they were playing lost classics, and they were huge admirers of the Hot Mix 5 and the Chicago people and the Detroit people. I really learned a lot secondhand from these guys. I went to New York knowing Arthur Russell and Masters at Work’s seminal tracks.

When I got there, I was in a bar ordering and to my left was Lem Springsteen from Mood II Swing. I’m like, “Oh my god, I’m in New York City and all of these people actually are here.” New York was genius because I got to meet all these artists that I really admired, and I also got to dig through record collections that didn’t exist in Denver and other cities. The education in terms of the sound of New York came alive while I was living there. But I’m a songwriter; I’ve written songs since I was a kid. This record is more of a testament to the fact that I just write songs; I’m not interested in just being a historian who’s making referential music.

Pitchfork: So this album is stylistically less referential?

AB: I would say so. It’s always trippy because I’m a trippy dude. But there’s definitely jacking house on it, and there’s definitely even more full-blown disco, but there’s also more experimental soft music. When I was 15 years old, someone gave me Brian Eno’s Another Green World, and that record became one of my favorites. For this record, I wanted to be able to assert myself and say, “Brian Eno can write simple, beautiful songs that really resonate, and I feel like writing those songs, too.” They might all pale in comparison to the simplest soundscape on that record, but I wanted to explore and just take more liberty as an artist.

Pitchfork: Did you work with any of the same vocalists as last time?

AB: I did. Kim Ann Foxman is the one vocalist who stuck with me. She’s probably my dearest and most loyal friend in life, and it was this aesthetic bond that we had from the moment we met. It’s been tremendous, tremendous working with her over the past two years because she’s developed into this really great singer and an amazing personality publicly.

Pitchfork: Does Antony sing on this one?

AB: No. It was a trip working with Antony because we were just hanging out over the course of five years, going into the studio every now and then. There was no intention of an album. There was no intention of even a single. I was just like, “Oh, Antony has a good voice.” This was before I Am a Bird Now. He knew I liked electronic music, and we went into the studio and worked and worked and worked. Then, all of a sudden, an album came to pass.

There was definitely some hesitation on his part. He was like, “Wow, five songs on your record. I feel a little bit like I’ve pushed my way a little too much.” I was really honored to have him on the record, but I knew and he knew that it was important that I establish myself outside of his participation. His career was big at the time the first Hercules album came out, and it’s now even more monstrous. I mean, he’s touring the world with 40-piece symphony orchestras and shit. So Antony is not involved, but I feel really fortunate in the guest vocalists I have on the record. I feel like they’re some of the most unbelievable raw talent. I really lucked out. Magical stuff happened.

Pitchfork: Who else do you have on the album?

AB: There’s a woman called Aerea Negrot. She’s born Venezuelan, lived in Berlin for six years. She’s a classically trained singer, but her voice is just ridiculous. It spans numerous octaves, and she evokes some of the classic, classic singers– female divas from even pre-disco times. Her hero is Yma Sumac. She’s a very Latin big-voiced kind of lady, but what she’s done for me sounds like I have one of the best, most ferocious disco vocalists from the 70s appearing on a record, which is really fucking cool. She’s a solo artist, as well. She’s in the works as well with the label BPitch Control, a Berlin techno label. Her own thing is very experimental, very improvisational, and very performance-oriented. This girl comes from a similarly performance art background, the same way Antony does.

I’ve also got a vocalist named Shaun Wright. When we played Irving Plaza for the first time, we had all of our dancers and it was really fun. I was looking out into the crowd, and I saw this boy. He had this really great ‘do. They’re dreadlocks, but they almost looked like shoulder-length braids with a fringe, very Sylvester or Rick James. In the middle of the set, I just thought to myself, “We’re so lucky to have a boy that’s able to express himself and look so cool in our audience. We’re going to play this show for that boy right there.”

After the show, there was a party at a store called Opening Ceremony, and he showed up. I told him I saw him at the show and I thought he looked like Sylvester, and he said, “Let me tell you something. I can sing like Sylvester, too. Maybe it’s a little bit more like Jeffrey Osborne, but I can sing.” A month later, I got a demo in the mail. I could tell that the boy could sing. I started having him come over to my house and sing and sing and sing, and we started writing songs. His mother was a singer growing up. He sounds like he grew up singing in church. It’s the kind of voice that was lacking on the first record– a really truly soulful, big, beautiful voice. And on top of it, he just looks so goddamn cute. He’s the sweetest person in the world.

And just as a side note, I’ve been working with Kele from Bloc Party.

Pitchfork: Is he on the record, too?

AB: There is a chance. We became quite fond friends this year, and we’ve done some really interesting, cool stuff. I really hope something comes of it. I think something will. That’s probably as much as I can say about it.

Pitchfork: He’d be an interesting fit for you. He’s a great singer.

AB: He is. He’s got such a pretty, special, wild voice. It’s almost untamed, but it’s so beautiful. We were in the studio at one point, and I was having him sing on dance tracks. He picked up an acoustic guitar and just started singing because he was bored. I swear to god it was like hearing Joan Armatrading.

Pitchfork: Do you have any idea when the new album will come out?

AB: Yeah. It looks like it’s going to be a September release, with potentially a single or two in the summer.

Pitchfork: Do you have a name for the album yet?

AB: I have a tentative name. I don’t really even want to say it because it’s tentative. I sing on a couple of songs on the record and I’m more proud of them this time than I was on the other one. One of the songs I sing on might be the title track.

Pitchfork: And are you looking forward to touring on this record?

AB: Yeah. I’m so excited about it. Touring last time was a little scary for me because it was the first record and it was such a studio project. I’d never really done anything like that before. The first year of recording, I spent most of the time in San Francisco working in the studio with one of the guys from Meat Beat Manifesto. He was engineering and helping out and co-producing a little bit, and he helped me put together the new live show. It’s turned into a more, in a way, spectacular techno-y live club show. The response thus far has been really, really positive. It’s just these three singers that are so striking and different, but they have such a wonderful rapport onstage. It’s showing off for fun and all in the spirit of good times. In some ways, it feels a lot less like work than the first time. Maybe touring just gets easier as it happens.

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My Morning Jacket, Conor Oberst, Bon Iver on John Prine Tribute Album

April 9, 2010 Pitchfork: Latest News 0

Veteran singer-songwriter John Prine gets the tribute-album treatment with Broken Hearts & Dirty Windows: Songs of John Prine, out June 22 on Prine’s own Oh Boy imprint. It features My Morning Jacket, Conor Oberst and the Mystic Valley Band, Bon Iver’s Justin Vernon, Lambchop, Drive-By Truckers, Deer Tick, and more.

The 63-year-old Prine is also prepping a live album, In Person & On Stage, for release May 25. After almost 40 years of putting out records, he’s still on tour.

Broken Hearts & Dirty Windows: Songs of John Prine:

01 Justin Vernon: “Bruised Orange (Chain of Sorrow)”
02 Conor Oberst and the Mystic Valley Band: “Wedding Day in Funeralville”
03 My Morning Jacket: “All the Best”
04 Josh Ritter: “Mexican Home”
05 Lambchop: “Six O’Clock News”
06 Justin Townes Earle: “Far From Me”
07 The Avett Brothers: “Spanish Pipedream”
08 Old Crow Medicine Show: “Angel From Montgomery”
09 Sara Watkins: “The Late John Garfield Blues”
10 Drive-By Truckers: “Daddy’s Little Pumpkin”
11 Deer Tick: “Unwed Fathers” [ft. Liz Isenberg]
12 Those Darlins: “Let’s Talk Dirty in Hawaiian”

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New Hold Steady: “Barely Breathing”

April 9, 2010 Pitchfork: Latest News 0

Photo by Mark Seliger

Heaven Is Whenever, the new album from anthemic rock heroes the Hold Steady, is making its way to the internet, one song at a time. Three songs from the record have are already out there in the world: “Hurricane J”, “Rock Problems”, and “The Weekenders”. And now you can hear the fourth, “Barely Breathing”. It features both a clarinet solo and a Craig Finn anecdote about Youth of Today frontman Ray Cappo that should make any and all ex-hardcore kids giggle with recognition. Stream it over on Stereogum.

The album drops May 3 in Europe via Rough Trade and May 4 in North America via Vagrant. And on May 13, be sure to set your DVR to record “The Colbert Report”, as the Hold Steady are set to perform and be interviewed on the show.

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Artists Remember Malcolm McLaren

April 9, 2010 Pitchfork: Latest News 0

Yesterday, Malcolm McLaren— the notorious former Sex Pistols/New York Dolls/Bow Wow Wow manager, recording artist, and self-promotional prankster genius– died of cancer in New York. He was 64. Over the course of the day, many artists have spoken out on his life and death, including a few people who worked with McLaren (and sometimes clashed with him publicly). We’ve collected some of those statements below.

Sex Pistols/Public Image Ltd frontman John Lydon/Johnny Rotten: “For me Malc was always entertaining, and I hope you remember that. Above all else he was an entertainer and I will miss him, and so should you.”

New York Dolls frontman David Johansen: “Malcolm McLaren was such a marvelous amalgam of exuberation, sensuality, culture, and literacy. All of this was salted with the essential recognition of his own rascality. He was the perfect preservation against stuffiness and a lack of humanity. We are going to miss him terribly.”

New York Dolls guitarist Sylvain Sylvain: “Malcolm opened up the doors for punk music around the world. He was a visionary and took what was going on in New York City and made it global. He was a massive influence on everyone who ever had a punk shop or a punk band. His passing represents the final chapter in an era when music was exciting.”

Bow Wow Wow singer Annabella Lwin: “Malcolm McLaren recognized something within me I didn‘t even know I was capable of. I don’t think I would have been the singer that I am today, if it hadn’t been for him, even long after I had an association with him on a professional level. I’m so grateful to have known somebody like him… A lot of people will definitely be feeling the loss of this genius. Because he was a genius. He saw such great potential in people. He just went all these different directions. You can’t really say any less than that: The guy was a genius.”

Fashion designer and former business partner Dame Vivienne Westwood: “When we were young I fell in love with Malcolm. I thought he was beautiful and I still do. I thought he is a very charismatic, special and talented person. The thought of him dead is really something very sad.”

Gorillaz: “Malcolm McLaren. From The New York Dolls, The Pistols fall out, Duck Rock, Madame Butterfly n’ more…Tricky but never dull. Missed. R.I.P.”

No Age: “New York Dolls, SEX, Sex Pistols, Bow Wow Wow, Duck Rock and Double Dutch… A serious business man and legend passed… What a hustler, much respect MM!”

Creation Records founder Alan McGee: “Without Malcolm McLaren, I’d have never even have got out of Glasgow. He was absolutely instrumental in creating punk rock and was the reason people like me, Bobby Gillespie and Noel Gallagher ever got into music. When I managed the Jesus and Mary Chain I lived out my Malcolm McLaren infatuation. Everything I did was 100% based on The Great Rock’n’roll Swindle, such as selling Warners the publishing without them hearing the record. He was a true situationist and I loved it.”

Diddy: “Malcolm McLaren RIP-music lost an icon today.”

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Photos: LCD Soundsystem

April 9, 2010 Pitchfork: Latest News 0

Photos by Kathryn Yu

LCD Soundsystem took to the Music Hall of Williamsburg stage to last night to road-test new tunes from their upcoming LP, This Is Happening, while treating the crowd to old favorites as well. Our photographer Kathryn Yu was there.

After the jump, check out a selection of her shots, then head over to our photo book for a complete set of full-size photos.

LCD Soundsystem

VIEW MORE FULL-SIZE PHOTOS IN OUR PHOTO BOOK

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Blur Release Record Store Day Single

April 9, 2010 Pitchfork: Latest News 0

Blur recorded a brand new track a few weeks ago that is set to front a special Record Store Day 7″, The Sun reports and a Record Store Day representative confirms. The as-yet-untitled release is Blur’s first new single since 2003’s “Good Song”.

It will be available at participating UK independent stores on April 17, but be prepared to show up early– there are only 1,000 copies being made. The BBC reports that “Blur’s record label EMI said further details would be released next week and that there are currently no plans to release the track on any other formats.”

The band reunited with guitarist Graham Coxon for a tour last year, but there are no plans for a new album right now. Meanwhile, Damon Albarn is keeping busy with other things.

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Watch: New Wolf Parade Song Live

April 9, 2010 Pitchfork: Latest News 0

Photos by Sam Cecil

Indie supergroup Wolf Parade are currently on tour, and they’re playing new songs from their forthcoming LP, Expo 86, due out this summer on Sub Pop. (Read an interview we did with band co-leader Dan Boeckner about the record here.)

Below, you’ll find a live fan video of an untitled new track, taped at a show last night at the Phoenix in Toronto. It’s led by Sunset Rubdown’s Spencer Krug and it sounds a little like Franz Ferdinand. (Via Media Party)