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Musician Brian Eno once claimed that the limitations of a medium are exactly what people will miss about it once those limitations are gone. That’s probably why so many modern horror titles opt to embrace styles and mechanics that were once criticized for being cheap and obtuse (like low-poly graphics and tank controls). If you ask me, I’d also argue that this is why we’ve seen a resurgence in movie tie-in games despite licensed productions once being considered the scourge of the video game industry.

And in honor of recent releases like RetroRealms Arcade (which is actually way more enjoyable than most of the licensed titles it’s trying to emulate), we’ve decided to come up with a list highlighting six retro horror movie tie-in games that time forgot. After all, from the Commodore 64 to the Atari 2600, there are plenty of old video games that benefit from some spooky source material.

Christopher Nolan has been attracting the eyes of critics throughout his entire career. Although it was working with a minuscule budget of $6,000 and only played in a few theaters in the United States, his 1998 debut feature "Following" was praised for its tight storytelling and terse psychological underpinnings. Nolan then rose to international fame with his 2000 film "Memento," a neo-noir about a man unable to form new memories. Its backward-chronological-order plot was cleverly conceived and impeccably laid out, somehow coming to a traditional narrative climax even while running in reverse.

From there it was off to the races, so to speak. Nolan became a power player in Hollywood, directing gigantic movie stars like Al Pacino and Robin Williams in a remake of "Insomnia" and making a gigantic, zeitgeist-shifting hit with 2005's "Batman Begins." Nolan's three Batman movies are still spoken of with enthusiasm to this day. Their success also allowed him...

Apple TV+’s Girls State and HBO’s Ren Faire scored three nominations apiece to lead all broadcast nominees announced Thursday for the 18th Cinema Eye Honors. The group, which recognizes the year’s outstanding nonfiction and documentary films and TV series, also revealed the 16-film longlist for its annual Audience Choice Prize, won last year by National Geographic’s Bobi Wine: The People’s President, which went on to get nominated for the Documentary Feature Oscar.

The past six winners of the Best Documentary Feature Oscar — this year’s winner 20 Days in Mariupol, Navalny, Summer of Soul, My Octopus Teacher, American Factory and Free Solo — were all Audience Choice Prize nominees. Fans voting will whittle the list to 10 beginning next week, with winners in that and all categories to be announced at an awards ceremony January 9 at the New York Academy of Medicine in East Harlem.

The full list...

Cinema Eye Honors today shared a string of announcements, including the 16 films on its Audience Choice Prize Longlist, the unveiling of this year’s Unforgettables Honorees, nominees in its five Broadcast categories, and its annual Shorts List — spotlighting 11 of the year’s top documentary short films — at its 7th annual Cinema Eye Fall Lunch in Downtown Los Angeles on October 24, 2024.

Spotlighted on the film side are several major Best Documentary Feature contenders including “Will & Harper,” “Black Box Diaries,” and “No Other Land,” which all also factored into the organization’s list of Unforgettables — standout on-camera collaborators from eight feature documentaries. This next ceremony will be the first time those honorees, like Harper Steele, Shiori Ito, and Basel Adra and Yuval Abraham for those respective films, receive a special medallion honoring their contribution to their Cinema Eye-winning films.

Highlights among the Broadcast nominees include filmmaker Lance Oppenheim, nominated for both...

The Apple TV+ documentary “Girls State” and the HBO doc series “Ren Faire” led all projects in nominations in the Cinema Eye Honors broadcast categories, which were announced on Thursday in Los Angeles.

“Girls State” was nominated in the Broadcast Film category and also for its editing and cinematography. “Ren Faire” was also nominated in those last two categories, as well as for Nonfiction Series.

Other broadcast films and series with multiple nominations included Netflix’s “America’s Sweethearts: Dallas Cowboy Cheerleaders,” Apple’s “The Enfield Poltergeist,” HBO’s “Telemarketers” and National Geographic’s “Photographer.”

At its annual Cinema Eye Fall Lunch at Redbird in downtown Los Angeles, the New York-based organization also announced the Audience Choice Award Long List, 16 films that will compete for the audience-voted award; 11 semi-finalists in the short doc category; and “The Unforgettables,” its annual list of the year’s most interesting documentary subjects.

The Audience...

Renowned experimental filmmaker Deborah Stratman is known for her abstract, non-traditional works that prioritize philosophical exploration over straightforward narratives. In her latest piece, Last Things, Stratman once again pushes creative boundaries with a documentary focused on Earth’s oldest inhabitants.

Through stunning imagery and evocative sound design, Last Things tells the story of rocks and minerals. For billions of years, these basic building blocks have endured across evolving landscapes, witnessing events humanity can only imagine. Geologist interviews reveal how stone formations preserve memories of past eras in their physical composition.

Stratman decenters the human perspective to instead elevate our stony counterparts. She shows how rocks live outside of linear time, containing simultaneous histories within their rigid frames. Through them, we glimpse deep phases of planetary formation and transition, from occurrences before life arose to a potential future after our species fades.

Accompanied by read passages of fiction and science, the...

In a recent thread on Reddit that appeared in the run-up to the 10th Coldplay album, a poster asked, “Will new [Coldplay] album be a return to their roots or more commercial fluff?” Such a distinction might seem a bit odd considering that Coldplay’s early-2000s “roots” involved sculpting 1990s Radiohead and 1980s U2 into soft-rock valentines. But the Coldplay purist had a point. One can imagine a fan of “Clocks” or “Yellow” or “The Scientist” feeling a bit adrift amid the shiny elation of the band’s last album,...

Twenty years after U2 released How to Dismantle an Atomic Bomb, the band will be unveiling what it calls a “shadow album” from those sessions. How to Re-Assemble an Atomic Bomb, to be released Nov. 29, will include outtakes from the sessions from the 2004 release.

The 10-track album compiles never-heard songs from the making of the original album, including “Treason,” “Happiness,” and “Evidence of Life” as well as “Luckiest Man in the World,” which some fans heard years ago when the song, then known as “Mercy,” leaked online.

Ahead of the Re-Assemble release,...

Gary Hustwit’s documentary Eno takes a refreshingly unconventional approach to profiling one of music’s most pioneering artists. As an experienced non-fiction filmmaker known for his engaging style, Hustwit understood that a traditional biopic wouldn’t do justice to Eno’s innovative spirit.

Eno himself insisted the film avoid familiar styles and push creative boundaries, mirroring his own boundary-breaking work. The result is a one-of-a-kind cinematic experience that continually reinvents itself with each new screening.

Using a specially designed generative program, Hustwit pieced together interviews, archival performances, and candid studio sessions into an ever-changing collage. While certain key conversations remain anchored, the order and flow of other elements morph with every viewing. No two audiences experience the exact same film. It’s an audacious technique echoing Eno’s philosophy of cultivating creative evolution through systems and chance operations.

Across his prolific career spanning musical genres and visual media, Eno...

When Imagine Documentaries president Sara Bernstein pitched New York Post gossip columnist Cindy Adams on making a film about her career, even the veteran journalist didn’t understand why Bernstein was interested. “What do you want to make a doc about me for?” Adams asked the “Jim Henson: Idea Man” producer. “Everybody has a documentary. My dentist has a documentary!”

Good line — and she must have a great dentist.

An incomplete list of this year’s celebrity docs includes Simone Biles, Celine Dion, Steve Martin, Roger Federer, Stevie van Zandt, Brian Eno, Frida Kahlo, Devo, Christopher Reeve, Sue Bird, Andrea Bocelli, Elton John, Martha Stewart, John Lennon and Yoko Ono, Paul Anka, Pharrell Williams, and Bruce Springsteen.

The appetite seems nearly endless, but producers say it’s increasingly difficult to find famous people whose lives haven’t flashed before our eyes. Said Bernstein, “The challenge today is, who hasn’t had a documentary?...

The Cure have sent out a batch of cryptic postcards to fans this week seemingly teasing their long-awaited new album, Songs of a Lost World, as well as its November 1st, 2024 release date.

The band, who have not released a new album since 2008’s 4:13 Dream, first began teasing their new album this week by swapping their social and website logos to be an all-black one; then, guitarist Reeves Gabrels shared a link directing fans to the group’s newly-redesigned website, urging them to sign up for The Cure’s new mailing list.

Now, fans who signed up for the mailing list have shared images on social media of a cryptic black postcard that was sent to them from the band. In scattered letters, the postcard reads “Songs for a Lost World,” and underneath, the numbers 1, 11, and 24 — assumedly the title of The Cure’s new album and its November 1st release date.

No classic rock band from the 1990s has incurred more comparisons to The Beatles than Oasis. While Oasis, gave us great songs like “Wonderwall” and “Don’t Look Back in Anger,” Liam and Noel Gallagher aren’t on the same level as Lennon-McCartney. Here’s a brief overview of why.

The Beatles knew how to do many more things than Oasis

Most bands are lucky to master one genre. What made The Beatles different from other bands is that they managed to make great songs in several different genres. On The White Album alone, they made forays into blues, pop, rock ‘n’ roll, avant-garde music, vaudeville, folk, children’s music, and baroque music. Regardless of your taste, there’s a good chance there is a Beatles song for you just because of the breadth of their catalog.

Oasis, on the other hand, is much less musically diverse. They gave us...

Since the ongoing crisis in the Middle East escalated to a new level last October, many artists have mobilized to use their platforms in a variety of ways, including participating in the Boycott, Divestment, and Sanctions (Bds) movement and cultural boycotts of Israel. Some, though, have doubts about the effectiveness of such moves, like Nick Cave, who has pushed back against calls for such boycotts in a new interview.

Speaking with Nick Gillespie for an episode of The Reason Interview, Cave explained that while he considers himself “no friend of the government of Israel,” he finds it difficult to accept the idea of “using my music to punish ordinary people because of the acts of their government.”

Get Nick Cave and the Bad Seeds Tickets Here

Continuing, he denied taking any shame from boycott-supporting artists like Roger Waters and Brian Eno too personally, but he highlighted Waters — a particularly outspoken...

The Cure have announced a 12-inch eco-vinyl single, Novembre – Live in France 2022, featuring two live recordings of new songs called “And Nothing Is Forever” and “I Can Never Say Goodbye.” The double A-sided single will be released on October 1st.

While these two songs have been staples in The Cure’s setlists over the years, they’ve never officially released until now and technicaly mark the band’s first new music offering since 2008’s 4:13 Dream. A limited run of 5,000 individually-numbered copies will be pressed, with the first 100 copies signed by Robert Smith himself.

The record will be released via the sustainability-centered Naked Record Club, which employs a special injection-molding machine that uses an estimated 80-90% less electricity than traditional vinyl pressing machines. They also use highly recyclable plastics to create the packaging and the record itself. According to a statement on the band’s website, the Naked Record Club...

Across a nearly 20-year career, Flying Lotus has built up quite the resume: six albums, dozens of film scores, high profile collaborations, and apparently, two iPhone ringtones that have been on devices since the 2019 launch of iOS 13.

The contributions were confirmed by the Apple podcast Twenty Thousand Hertz, which takes a deep dive into recognizable and ubiquitous sounds and breaks them down note by note. Their latest episode focuses on “The Sounds of Apple” and follows the origins of several ringtones. Two of them, “Daybreak” and “Chalet,” were credited to Steve Ellison — A.K.A. Flying Lotus.

Apple promoted the new podcast this week and tagged Flying Lotus in their social copy — FlyLo then retweeted the promo, confirming his once-secret work for the company. “Apple leaked it so I can say it,” Flying Lotus wrote on Twitter. “I wrote some ringtones that have been in ur iPhone since ios13. ‘Daybreak’ +‘Chalet.

Brian Eno, the once would-be glam rock star turned record producer and ambient music composer, doesn’t think like most of us. Or, as Gary Hustwit’s dazzling new documentary Eno makes clear, the world-renowned musician works hard on any given day to wrestle himself out of well-worn ways of thinking,...

One of the unexpected benefits of the streaming era documentary boom is that no musical subject is too niche for a feature-length production budget. Film festivals have become rife with music documentaries, and this year’s Sundance alone saw films about subjects ranging from Devo and Brian Eno to Luther Vandross, Lollapalooza, and the 1985 charity single “We Are the World.” And now we have a movie about Cymande, an obscure ‘70s soul funk band whose cult of devotees has gotten noticeably louder in recent years.

The official story on Cymande is pretty brief. They formed amid London’s West Indies immigrant community in the early 1970s, released three albums from 1972–1974, came to America (where they opened for Al Green and Jerry Butler), and then called it quits when they couldn’t break through to significant media attention or radio play. But Cymande’s music found a second life when their...

When Gary Hustwit took his latest documentary “Eno” to Sundance in January 2024, he wasn’t riddled with anxiety about whether or not the doc about musician Brian Eno would find distribution.

The odds were undeniably against him: Scoring a big studio deal as an independent filmmaker is, these days, like winning the lottery. And Hustwit’s decision to forgo a conventional chronological doc about Eno’s career in favor of creating generative software that creates a different version of the movie every time you see it, made it a particularly hard sell.

But despite factors, Hustwit and “Eno” producer Jessica Edwards fielded offers from several distributors in Park City.

Still, the filmmaker wasn’t convinced they were ready to distribute it the way he intended. “I don’t think many of the distributors were ready to take on something like ‘Eno,'” he says. “I am also still innovating the...

Following its iconic 3-season run, Christopher Storer’s psychological comedy-drama The Bear has become a cultural phenomenon with a 96% Rt rating. Dropping its latest season in June 2024, The Bear took audiences on an epic journey, with not just a raw portrayal of life in a high-pressure kitchen but also its expertly curated soundtrack.

Jeremy Allen White in The Bear | FX on Hulu

With each passing season, The Bear has not only raised its narrative standard but also played with its trendy jukebox. Season 3 particularly took the musical experience to a new level, blending modern hits with timeless classics to underscore the series’ emotional and dramatic beats. So without further ado, let’s dive into the standout tracks of The Bear and where to find them.

The Bear Season 3 Soundtrack – All the Songs Used in Episodes 1 to 5

Debuting in 2022, The Bear quicky rose to prominence by setting its narrative in the food industry.

On this week's Empire Podcast we have another brace of cracking guests. First up, It Follows star Maika Monroe returns to the show to talk to Chris Hewitt about her terrifying new horror film, Longlegs [25:43 — 39:01 approx], inadvertently inspiring Chris to launch the Empire Podcast Hall Of Fame for repeat guests in the process. Elsewhere, making his long, long overdue debut on the pod is the great Griffin Dunne, star of An American Werewolf In London and After Hours, who sits down with Chris to talk about his memoir, The Friday Afternoon Club: A Family Memoir [59:29 - 1:19:24 approx]. It's a conversation that runs the emotional gauntlet from the funny to the tragic, and we hope he comes back many times — a Hall Of Fame spot surely awaits.

Either side of our star interviews, Chris is joined in the podbooth this week by Helen O'Hara and Alex Godfrey to tackle this week's Gladiator II inspired...

Underway now through July 16, Severin Films‘ annual summer sale is the most ambitious in the company’s history. The Dario Argento’s Opera five-disc box set — which you can preview in an exclusive clip below — is the headliner, but there are nine more releases in addition to exclusive merchandise and big savings on past inventory.

Here’s everything you need to know about this year’s Severin Summer Sale…

Opera

In my eyes — held open with needles, of course — Opera is Argento’s last true masterpiece. While the Italian maestro attained fleeting moments of greatness later in his oeuvre, Opera is the last of his efforts that can hold its own alongside his earlier, career-defining work like Suspiria, Deep Red, Tenebrae, and The Bird with the Crystal Plumage.

Co-written by Argento and frequent collaborator Franco Ferrini, the giallo stars Cristina Marsillach as Betty, a young opera singer whose big break...

Using a custom-made generative AI software, Gary Hustwit’s Eno combines archival footage with new interviews to create a film that is never the same twice, with millions of potential configurations.

The documentary depicts the life and work of British musician and record producer Brian Eno, who has worked with acts including David Bowie, U2, Coldplay and Grace Jones.

Hustwit previously collaborated with Eno on Rams, the 2018 documentary about German designer Dieter Rams, for which Eno wrote the music. Conversations on that set hatched the idea of a pioneering documentary format for Eno’s own story.

After premiering at Sundance in January,...

Animated blockbuster Despicable Me 4 will be aiming to set records across its UK-Ireland run, as it opens in 688 cinemas this weekend through Universal.

Produced by Universal-owned animation stalwarts Illumination Entertainment, the Despicable Me franchise is among the most profitable of recent decades. The first film opened to £3.9m on its way to a £20.2m total in 2010; before the sequel started with £10m and ended on £47.5m in 2013; and was in turn surpassed by Despicable Me 3, which opened to £11.2m and closed on £47.9m.

The two Minions spin-off films landed in a similar territory as the two sequels. Minions...

Produced using software that means that the film is different every time it is shown, this presents the former Roxy Music man as a restlessly creative mind

If anyone could get away with presenting a “generative documentary” rather than a bog-standard bio-doc, it would have to be Brian Eno, the high priest of art-tech experimentalism. This film promises to be different every time it’s shown, thanks to software that randomly selects different scenes. The gimmick is entirely on-brand for Eno, who has been dabbling in generative music since the 1990s, and who has never met an artistic process he couldn’t question, dismantle and rearrange in a novel way. From his early days gilding Roxy Music with a futuristic edge, to his avant garde solo works, to his production duties on classic albums by the likes of David Bowie, U2 and Talking Heads (no mention of Coldplay here), he’s always been an explorer,...

Disney blockbuster “Inside Out 2” led the U.K. and Ireland box office for the fourth consecutive weekend with £5.1 million ($6.5 million). It now has a running total of £40 million, taking it past Warner Bros.’ “Dune: Part Two” to become the year’s highest-grossing film in the region. It also surpassed the lifetime box office of 2015’s “Inside Out.”

Paramount’s “A Quiet Place: Day One” held onto second place in its sophomore frame, earning £1.6 million and bringing its cumulative total to £6.1 million. “Bad Boys: Ride or Die” from Sony rounded out the top three in its fifth week, adding £446,578 to reach a total of £11 million.

Universal’s horror entry “MaXXXine” debuted at No. 4 with £388,043, while the studio’s “The Bikeriders” dropped to fifth place in its third week, collecting £374,066 for a total of £3.1 million.

Indian sci-fi epic “Kalki 2898 Ad” from Dreamz Entertainment landed at sixth with £187,610 in its second week,...

Long Live The Bear’s epic soundtrack, and especially the show’s relationship with Taylor Swift. Season 3 is back with a new set of challenges and road bumps for the crew at Carmy’s fine dining restaurant. As always, emotional moments and certain scenes in episodes are accompanied by a resonant song.

This season will see an English Beat cover from Eddie Vedder, as well as score from Challengers masterminds Trent Reznor and Atticus Ross. Other staples include Radiohead, Weezer, The Rolling Stones, Beastie Boys, Kate Bush, Smashing Pumpkins and more.

Read on for the full soundtrack of The Bear Season 3:

Episode 1 – “Tomorrow”

“Together” by Nine Inch Nails Score by Trent Reznor and Atticus Ross

Episode 2 – “Next”

“Save It for Later” by Eddie Vedder “(Nice Dream)” by Radiohead

Episode 3 – “Doors”

None

Episode 4 – “Violet”

“Pearly-Dewdrops’ Drops” by Cocteau Twins ‘Spinning Away’ by Brian Eno & John Cale “Long Live’ by Taylor...

Blood Incantation have announced their new album, Absolute Elsewhere, arriving October 4th via Century Media.

The LP will consist of two epic tracks, “The Stargate” and “The Message,” each clocking in at over 20 minutes and further exploring the progressive death metal band’s cosmic philosophies.

Ahead of the album’s release, Blood Incantation have launched a full-on Ar (augmented reality) campaign with the the new Elsewhere Searcher app and their own Stargate Research Society Discord server — “a home for discussions of all things Blood Incantation.”

The press announcement for the album and new platforms sheds some light on overall concept of Absolute Elsewhere, with the following reading like the premise to a science-fiction novel:

“Researchers at the society recently unearthed an 80’s era floppy disk containing vintage celestial tracker software. The researchers were able to re-activate the space tracker and through meticulous study of the visible solar system have noticed...

The Money Trench – The Music Industry Podcast with Mark Sutherland (‘Tmt’) is a brand new podcast curated by industry veterans, Mark Sutherland and exec producer Mike Walsh. Sponsored by Ppl, Tmt is set to hit streaming platforms on Monday 24th June.

Conceived as a weekly deep dive into the latest music industry news and views, The Money Trench - named after the infamous Hunter S. Thompson misquote about the music business - will bring listeners compelling insights from the forefront of the global music industry every Monday.

Each episode will discuss and debate the hot topics of the week and delve into the experiences of renowned artists and influential music business leaders who will share their thoughts on the industry of now and the future. The inaugural episode will feature Lorna Clarke, BBC Director of Music – diving into her storied career and pulling the curtain back on what it is...

James Chance, a pioneer of New York’s No Wave scene, has died. He was 71 years old.

According to a GoFundMe started by his brother, Chance had been suffering from a “years-long debilitating illness,” and passed away on Tuesday surrounded by family.

Chance was born in Milwaukee in 1953, and began performing in bands while attending university in Michigan. In the mid ‘70s, he moved to New York, where he became involved in the city’s free jazz and punk scenes, forming Teenage Jesus and the Jerks with Lydia Lunch in 1976.

Chance only remained in Teenage Jesus for a short period, and in 1977 he founded the jazz-funk-punk group, The Contortions, where he began expanding his signature style. Explaining in later interviews that he wanted to mend the divide between various scenes in New York, he brought his impassioned, chaotic saxophone playing together with punk vocalizations, funky rhythms, and an all-around fervent sound.

John Cale is on a formidable hot streak in his 80s. When the Welsh avant-garde legend released Mercy last year, it was his first album in a decade. But he’s already produced another gem with POPtical Illusion, a masterful tribute to his bleak imagination. Six decades into his career, Cale is making music with a renewed sense of urgency—he hit a creative turning point in the pandemic, in a frenzy where he wrote 80 songs in a year. Yet he’s reached one of the most adventurous phases in his ever-eccentric career.

There’s a certain formula that often defines the recipients of the Cannes Film Festival’s prestigious top prize, the Palme d’Or. These films, especially in the last two decades, tend to have a sense of importance about them, frequently due to their sociopolitical awareness of the world (Laurent Cantet’s The Class), or of specific societal ills.

From time to time, the Palme d’Or goes to a bold, experimental, and divisive vision from a well-liked auteur, such as Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives and Terrence Malick’s The Three of Life. But more often it’s awarded to a film in the lineup that the majority of the members on the Cannes jury can agree is good. That felt like the case for Ken Loach’s The Wind that Shakes the Barley and I, Daniel Blake, as well as Julia Ducournau’s Titane,...

Annie Clark displays a remarkable facility for change, creating constantly morphing songs contained within a shifting panoply of modes, voices, and styles, cutting delicate, glittering pop with forceful fuzz and raunchy, preening guitar work. A multi-instrumentalist with a history of institutional training and anonymous backing-band work, she retains the guitar as her signature instrument and most potent tool, lacerating otherwise divine music with down-and-dirty grit, eyes heavenward and feet muddy.

The gradual expansion of sounds and textures occurring across her seven solo albums as St. Vincent has been accompanied by an inverse sense of simplification, the fine-tuning of music that’s grown less theatrical and more precise, imagery and language filed down to a sharp point. To celebrate the release of her latest release, All Born Screaming, we’ve ranked all eight of the musician’s albums, including her one-off collaboration with David Byrne.

Editor’s Note: This article was...

The seventh album that singer-songwriter-multi-instrumentalist Annie Clark has released as St. Vincent teems with the kind of visceral imagery that sticks with you long after her songs fade out. There’s a “hungry little flea” ready to infect your “warm body,” a predator on the street turning aggression into an evil blues promise, a sink that runs red, a head that won’t stop banging, a dream that ends in hell. “I feel like graffiti on a urinal,” she sings. Hey, we’ve all been there.

Clark’s music has always been fearlessly intimate.

The Nantucket Film Festival has set the lineup for its 2024 edition and will honor Emmy-nominated writer-producer Kerry Ehrin, Oscar-winning documentary filmmaker Roger Ross Williams and Girls5Eva showrunner Meredith Scardino.

The 29th edition of the festival will open with Josh Margolin’s June Squibb-starrer Thelma, close with Ian Bonhôte and Peter Ettedgui’s Christopher Reeve documentary Super/Man and Jeff Zimbalist’s documentary Skywalkers: A Love Story, about a daredevil couple who secretly filmed themselves climbing the world’s last super skyscraper. The festival will also continue its tradition of screening a Disney or Pixar film on its opening day, with a festival screening of Inside Out 2.

The festival also announced several honorees: Ehrin will receive the Excellence in Television Writing Award; Williams will receive the Career Achievement in Filmmaking Award and his latest feature Stamped From the Beginning, based on the book of the same name by Ibram X. Kendi,...

Claire Rousay has spent the past few years building her own adventurous style of electronic collage, calling it “emo ambient.” Sentiment is her self-described pop album, building her late-night diary entries out of synth textures, warped melodies, robot AutoTune vocals, rock guitar weaving in and out of the mix. But it’s a fantastic tour de force. She’s got a brilliant flair for twisted love songs, as in “Head,” where she sings, “Spending half my whole life giving you head/Just in case you need to forgive me one day for something I did.

“This revolution isn’t fun,” Annie Clark sings toward the end of All Born Screaming. That lyric might be an apt descriptor for St. Vincent’s seventh studio album—if it wasn’t such a thrill. The album finds Clark at her most fragile and ferocious, seeking beauty among the waste and wreckage of 21st-century life. Itself a beautifully ugly thing, All Born Screaming is a visceral examination of art and nature when both are pushed to the brink.

The ominously titled opening track, “Hell Is Near,” begins with the sound of war drums. Amid a desolate landscape of empty cups, half-burned candles, and ash on linoleum, Clark finds and fixates on a single sign of life: a can full of marigolds. “Begin again,” she sings, her voice soaring. Just as jangly guitars attempt to lure us into a state of naïve optimism and psychedelic synths and swirling piano seem to promise hope,...

With Earth Day coming up in a few days, Brian Eno has called on Mother Nature to give David Bowie’s 1995 deep cut “Get Real” a unique twist using environmental sounds. The remix has been released as part of a global music initiative called Sounds Right, which has made Nature an official artist on streaming platforms to raise money for earth conservation.

Thanks to Sounds Right, a share of royalties from any song that credits Nature as an artist will go to EarthPercent, a charity founded by Eno. The organization will then distribute that money to conservation and restoration projects in the world’s “most precious and precarious ecosystems” under the guidance of the Sounds Right Expert Advisory Panel, a group of world-leading biologists, environmental activists, Indigenous People’s representatives, and experts in conservation funding.

“Throughout my life I’ve wondered — how I can return something to the places I’ve taken ideas from?...

An extremely rare 7-inch vinyl pressing of The Velvet Underground & Nico single “All Tomorrow’s Parties” recently sold on Discogs for the record-setting price of $30,000.

Originally released as a promo single in 1966, there are less than 10 known copies of the 7-inch remaining. Featuring “All Tomorrow’s Parties” b/w “Ill Be Your Mirror,” the pressing has been an attractive item for collectors thanks to the detail and energy captured by the mono mixes. The picture sleeve that accompanies the pressing only adds to its value, with collector Andy Davis explaining, “The sleeve to “All Tomorrow’s Parties” was never issued commercially, and was only ever intended for promotional purposes. Legend has it that this cover was never packaged with actual vinyl copies. It has only ever surfaced as a paper artifact, and then only in single figure quantities.”

The sale reportedly took place in March, and the buyer chose to remain anonymous.

Chris Cross, best known as the bassist in the English new wave band Ultravox, has died at 71 years old.

According to reports, Cross (born Chris Allen) died on March 25th, but the news was not made public until longtime bandmate Midge Ure shared a statement on Ultravox’s Instagram paying tribute to “the glue that held the band together.” No cause of death has been revealed.

“We worked together, we played together, made music and directed videos together. We were instant friends as well as Ultravox comrades,” Ure wrote. “Even after years apart we managed to pick up where we left off like the years in between never existed.”

He continued, “You were the glue that held the band together. You were the logic in the madness and the madness in our lives. It was great to know and grow with you. You are loved and missed old friend.”

Billy Currie,...

Dave Grohl loves many things: his band, the drums, his family, feeding the homeless. But one thing he loves arguably more than all these things is a damn good rock show, which — judging by his reaction — U2’s final performance at The Sphere certainly was.

A fan-captured video showed Dave Grohl having the time of his life at the Las Vegas venue as he sung along to U2’s performance of “Beautiful Day.” He swayed, he shimmied, he fist-pumped, and sang all the words to the U2 classic, with a drink in hand and sunglasses hung on his shirt collar. The Sphere may be a visual spectacle, but anyone around Grohl for Saturday night’s show was given arguably a greater scene to witness. Watch the clip below.

U2’s performance — and Grohl’s public moment of rock-aided catharsis — was the final date of the Irish band’s residency at the new Las Vegas venue,...

Cph: Dox, Copenhagen’s International Documentary Festival, has set the full lineup for its 2024 edition, including 84 world premieres, 32 international premieres, and 9 European premieres.

Running March 13-24, the festival will feature six competition categories: Dox: Award, F: Act Award, Nordic: Dox Award, Next: Wave Award, New: Vision Award, and the new Human: Rights Award.

Musician Pete Doherty will attend the festival for a screening of Peter Doherty: Stranger in My Own Skin. The event will take place on March 18 at Bremen Theater, when he and the film’s director Katia de Vidas – who became Doherty’s wife over the ten years she followed him with her camera – openly discuss the substance abuse that has shadowed his entire career. After the screening, Doherty will give an acoustic concert. Other high-profile titles include Lana Wilson’s Look Into My Eyes, Michael Dweck and Gregory Kershaw’s Gaucho Gaucho, Carla Gutierrez’s Frida, Yance Ford’s Power,...

Last month, Brian Eno’s Gary Hustwit-directed documentary, Eno, premiered at the 2024 Sundance Film Festival. Now, Eno has announced the documentary’s corresponding soundtrack, which will arrive on April 19th via Umr. Along with the announcement, he shared the previously-unreleased song, “Lighthouse #429.”

Spanning 17 tracks from 14 albums — plus three previously-unreleased songs — the Eno soundtrack will show off Eno’s 50-year, including collaborations with artists like Daniel Lanois, Fred again.., David Byrne, John Cale, Roger Eno, and more.

After arriving on April 19th, the Eno soundtrack will be available on CD and vinyl formats, including a limited-edition colored vinyl option with eco-packaging. Physical copies will drop in North America on June 7th, pre-orders are ongoing.

In the release announcing the soundtrack, Eno offered a statement on his creative process: “Picasso once said: ‘Inspiration exists, but it has to find you working.’ I don’t wait to be inspired: I start working...

Brian Eno will release the soundtrack to his groundbreaking, experimental documentary Eno on April 19, Rolling Stone can exclusively announce. The prolific producer also shared the first track from the album, the nearly-six-minute, industrial and jazzy unreleased instrumental track titled “Lighthouse #429.”

The album features 17 tracks spanning Eno’s entire musical career, from his early work in the Seventies to his 2022 album Foreverandevernomore. The Eno soundtrack will also feature three previously unreleased songs, including “Lighthouse #429.” As the track’s title suggests, the single comes from Eno’s Sonos Radio Station “The Lighthouse,...

As my 13-year-old son and I browsed a Buffalo, NY, record shop on a recent Saturday morning, his eyes were drawn to two action figures dangling from the wall. Both were from the popular ReAction toy line, known for its delightfully offbeat takes on pop-culture icons as diverse as Joe Strummer, Megan Rapinoe, Jimi Hendrix, the Creature From the Black Lagoon, and late Metallica bassist Cliff Burton. The two figures my son grabbed confounded him even more than the Dee Snider hanging nearby. One of them was an intense, glasses-sporting figure brandishing a whip while wearing a red flower pot on his head. The other clutched a guitar while wearing shades and a yellow jumpsuit. “Devo,” I said happily, while starting to ponder this most unique and easily identifiable group.

What’s with the outfits? How did this band become so iconic? What did they do beyond “Whip It”? These are legitimate questions,...

Editor’s note: Following the publishing of our review, we received word from Brenden Dawes, who developed the generative system used by the filmmakers of Eno, that while the film teases the possibilities of AI and generative technology in an art practice, the film itself consists entirely of filmed new and archival materials with no AI-generated content.

A film of infinite possibilities thanks in part to a generative AI hook, Gary Hustwit’s Eno is partially a straightforward biopic featuring interviews and archival footage with composer Brian Eno, the experiential musician and artist whose credits include playing the synthesizer in Roxy Music to creating the start-up sound for Windows PCs. The film is assembled at random, with a set beginning and ending, inspired seemingly by a deck of “Oblique Strategies” cards that Eno and David Bowie used to create tension and contractions within their collaborations.

Of course, Eno is not...

Plot: The story of new wave band Devo, who rose to fame from their smash hit “Whip It.”

Review: If all you know about the band Devo is that they were those guys in the weird hats singing “Whip It,” you need to check out this doc from Chris Smith. In addition to making the cult fave American Movie, Smith has made several notable music documentaries over the years, including the recent Netflix documentary about Wham, but he has unique subjects here.

To put it bluntly, the members of Devo are among the most unlikely rock stars of all time. The brainchild of Kent State art students Gerald Casale and Bob Lewis, along with their friend Mark Mothersbaugh, the band began as a performance art satire. In early shows, they would play droning sounds and punish their audience, with Devo short for de-evolution, which was their take on the culture.

For American Gen X’ers of a certain stripe, Chris Smith’s “Devo” is a trip through time, but even viewers unfamiliar with the deadpan music group are likely to emerge as loyal converts. A zippy, zany, whip(it)-smart documentary, it details the formation of Ohio’s New Wave enfants terribles — and is also the far superior of the two Sundance docs this year to feature U2 producer Brian Eno (albeit in a much smaller role than in “Eno”).

Smith sets the stage via sit-down interview by letting the group’s key founders — Gerald “Jerry” Casale and “Rugrats” composer Mark Mothersbaugh — detail not only their initial meeting in 1970, but the era’s political frustrations too, out of which Devo would soon be born. From the Vietnam War abroad, to the Kent State Shooting on their own campus, Casale and Mothersbaugh sought to channel their frustrations, and their tongue-in-cheek perspective...

There were red flowerpot hats on each of the seats. The “Energy Domes,” as they used to call them, were Devo’s headgear of choice during the early 1980s, back when the band went from extremely bizarre, unclassifiable group to extremely bizarre, slightly more classifiable (postpunk, New Wave, geek rock) group who’d somehow turn a single entitled “Whip It” into a massive hit. No one told the Sundance Film Festival audience to put them on before the premiere of Devo, Chris Smith’s documentary on the pride of Akron,...

“This documentary is just to try and get some of the information down on film somewhere, before it’ll scatters away,” admits Devo’s Mark Mothersbaugh of the documentary about the band that premieres at the Sundance Film Festival tonight. “I just like the idea that this information is being collected,” the front man adds.

In a festival full of music documentaries this year on legends like Luther Vandross, Brian Eno and the star studded 1985 recording of “We Are the World,” the Chris Smith directed Devo may hit even a little bit closer to home. After all, the film represents a return to Park City for the band. Back in 1996, Devo was the off-screen closing act of sorts to that year’s Sundance Film Festival. Clad in prison stripes and their trademark Red Energy Dome hats, the “Whip It” band’s performance was even made into a movie of its...

Update: By Saturday afternoon up to five buyers were understood to be in serious discussions for Jeff Zimbalist’s documentary Skywalkers: A Love Story.

The film caused a stir ever since it premiered on Thursday night and hails from XYZ Films’ documentary division. Sources reported streamers and at least one theatrical buyer were in pursuit.

Meanwhile interest was understood to be building rapidly following the Saturday premiere of Jesse Eisenberg’s US Dramatic Competition entry A Real Pain.

Eisenberg and Kieran Culkin star as cousins on an emotional tour to see their late grandmother’s home in Poland. WME Independent...