“You are the music while the music lasts.” -T.S. Eliot
Bob Dylan – “Scarlet Town”
Both teaser tracks for Bob Dylan’s upcoming LP Tempest (out September 10th via Columbia) have come from the Cinemax series Strike Back (of all the shows out there, why is an obscure Cinemax original series pimping the legendary Bob Dylan?). The singer-songwriter previewed a new one, “Scarlet Town”, during the show’s series premiere, and te 60-second snippet provides a snapshot of what we can expect from the full track: banjos, a backdrop of strings, and Dylan’s aging growl. –Jon Hadusek
Ghetto Cross – “I Don’t Care”
If you read that a song is about “the relationship that develops between two young boys, one of whom is autistic and cannot talk, and the other who is an outcast and beaten by his emotionally manipulative father,” you have to figure it’s written by Deerhunter/Atlas Sound’s Bradford Cox, right? While he’s playing it with his newly revived project Ghetto Cross (a collaboration with Black Lips’ Cole Alexander), that certainly is the case here, the garage-y snap, crackle, ‘n pop brimming with teenage angst, the two voices cracking with intensity. There’s a full-length coming sometime this fall. –Adam Kivel
Of all of the bands to expect new material from, the Jackson 5 would have to be pretty darn far down that list, wouldn’t they? And then to find that track isn’t only good, it’s a potential mega-smash? Shocking would be an understatement. The Michael-heavy track comes from the upcoming Come and Get It: The Rare Pearls (a rarities/unreleased material collection due August 24th), and the high energy harmonies sound as fresh as they ever have. While it might seem like trying to milk whatever is left of the good will the Michael Jackson name has left, there’s no reason to answer no when the 5 ask, “Can you dig it?” Listen at NPR.org. –Adam Kivel
Lightning Bolt – “King Candy”
Few acts produce as unabashedly pummeling rock as Lightning Bolt, and ever fewer do so for as long. Even on cuts that don’t make it to album, like the entrancing “King Candy”, Brian Chippendale and Brian Gibson manage ear-rupturing, riot-starting fun. Taken from the duo’s upcoming “lost” tracks collection Oblivion Hunter (due September 25th via Load Records), the chaos on the track is masterfully controlled, Chippendale’s squelching cries matched only by his never-ending kick-drum, all while Gibson simultaneously stabs out high end squeals and bassy rumbles. This concussion grenade monster leaves no room for breath, droning with head-nodding intensity. –Adam Kivel
Nick Zammuto has kept himself busy following the end of his former project The Books. He’s currently slated to tour with Gotye to close out the summer and will follow that by beginning a tour with Lymbyc Systym in late September. Zammuto must be looking forward to the latter plans, as he’s released a remix of his future tourmates’ song, “Falling Together”. True to its name, the track runs on a slow build of various instruments—tick-tock beats, glockenspiel, piano, synth—that gently melds into a locked groove. –Jon Hadusek
A.C. Newman – “I’m Not Talking”
The near-Celtic instrumental bed that opens “I’m Not Talking” suits New Pornographer A.C. Newman’s hopeful lyrics, violin slides and synth flutters working hand in hand. “I think I have a shot at redemption,” he vows over softly strummed beauty, the sky-high indie pop sounding just as comfortable and woodsy as he looks on the art attached to the track. Taken from Newman’s third solo LP, Shut Down the Streets (due October 9th via Matador), this track boasts more of that easy charm that has marked his material, both on his own and with the big band. –Adam Kivel
The Yeah Yeah Yeahs’ Karen O wrote “Strange Love” specifically for Tim Burton’s stop-motion 3D remake of Frankenweenie. The track, which will play during the film’s end credits, was inspired by “the same era of B-movie fright film references sprinkled throughout the film,” she toldRolling Stone. The results are unlike anything Karen O has composed in the past, complete with calypso rhythms and Kate Bush-esque falsettos. Listen closely after the chorus, and you can even hear ol’ Frankenweenie himself howling in the background. –Jon Hadusek
ON AN ON – “Ghosts”
When brothers Jason and Baron Harper announced they’d be leaving the Scattered Trees, the remaining three members—Nate Eiesland, Alissa Ricci, and Ryne Estwing—were left with unfinished ideas and booked studio space. So, they retired the Scattered Trees name and became ON AN ON instead. Their debut LP, Give In, comes out January 29th on Roll Call Records, and “Ghosts” is the first track that the band has released. Ringing chords create a head-bobbing tempo that wanders through a haze of electronics—a departure from the Scattered Trees shiny pop. At the end of the track, the instrumentation drops outs and the song suddenly becomes lo-fi, Eiesland singing amongst audible hiss and crackling artifacts. –Jon Hadusek
Pussy Riot – “Putin Lights Up the Fires”
Released immediately after three members of Pussy Riot were sentenced to two years in prison for “hooliganism motivated by religious hatred,” “Putin Lights Up the Fires” is significant for its symbolism as much (or more) than its musical merit. The track is straight-up riot grrl, with shrill vocals (in Russian, obviously) and angular guitars. This track means something; it signifies a moment when music fans and humanitarians around the world banded together in defense of both artistic expression and the three unfairly persecuted individuals who exercised their right to that expression. –Jon Hadusek
RZA feat. Boy Jones – “Just Can’t Get It Right”
Legacy collaborations (like Dhani Harrison onstage with Paul and Ringo for “While My Guitar Gently Weeps” at the Concert for George) often leave listeners in tears, but not the team-up of RZA and Boy Jones (son of the departed Ol’ Dirty Bastard). From the intense loop of orchestral strings and Spanish horns to Bobby Digital’s creepy, under-sung intro (“one two it’s the Brooklyn zoo/ three four better shut your door”), it’s clear that this isn’t going to be a track bemoaning Dirt McGirt’s early passing. Jones’ manic swagger should sound familiar, and the The Scientist’s sounding as cool and collected as ever. –Adam Kivel
