This is as close to any new Keane we’re going to get seeing that lead singer, Tom Chaplin, is in rehab. Luckily we have Lily Allen, a rising pop star from the U.K., to hold us over with “Everybody’s Changing” from Keane’s first release.

MP3 Courtesy of stereogum and the BBC2.
posted on 12:56 pm 10/03/2006Music, News | Comments (0) | Permalink |

The nosy rag PEOPLE has a startling follow-up to our epic and prophetic piece on “American Idol” loser Elliot Yamin titled “Elliott ‘Ya mean I got no job?’ Yamin.” It seems after the jobless wash-up enjoyed a few hours of drinking away his woes at a local Richmond, VA bar, he went outside, started picking up rocks (we told you he was the mole man) and proceeded to throw them at a nearby road sign. It was in the midst of his stone chucking when Yamin’s “finger got caught on a rod holding down a rock” and his pinky finger snapped back and broke. Ouch. Luckily Yamin will be able to sign autographs for his mom since the redneck-inspired injury occurred on the hand he doesn’t write an “X” with (his left). Unfortunately, Elliot Yamin must wear a cast over the finger he used to do coke and grape-flavored fun dip with back in the glory days of season 5 in Hollywood. Life’s been rough Yammy. You’ve always been alphabetically and mentally at the bottom of every list. Now you’re back in the news and still out of a job. C&V feels for you. That’s why we uncovered a road sign you should throw rocks at. God speed and get well.

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The Strokes - “Mercy Mercy Me (The Ecology)”
A bunch a white guys covering Marvin Gaye’s velvety classic may make any fan of the late great cringe, but the sounds of The Strokes and the voice of Pearl Jam’s Eddie Vedder seem to have it goin’ on.
Lupe Fiasco - “Kick, Push”
There’s a new sound in hip-hop and he goes by the name of Lupe Fiasco. With a simple beat and a little brass Fiasco’s diluted sound is still potent enough to raise an eyebrow.
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Check out the brand new video for “Gone Daddy Gone” from none other than the uber-duo, Gnarls Barkley. The video has the band members as microscopic bugs (Cee-Lo’s a flea) pursuing a blonde bombshell homemaker. The ending’s classic too. Enjoy.
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The opening helicopter blades of The Killers’ still resonating virgin release, “Hot Fuss,” landed the indie band from obscurity onto mainstream soil in 2004. Unfortunately, their follow-up, “Sam’s Town,” is a crash landing at best. I know it’s never fair to compare album releases to elder siblings, but what we have here is a red-headed stepchild riding a black sheep. For starters, the single, “When We Were Young,” is a far cry from the exuberance held by such previous fist pumping singles like “Mr. Brightside” and “Somebody Told Me.” What’s worse, the quartet lead by Brandon Flowers has largely abandoned the “synth rock” sound and disco shuffle beats that helped put them on the map. For a pop band like the Killers to sell the genre it takes infectious melodies and indelible lyrics. Instead we have a cacophony of badly named tracks like “Uncle Johnny” and “Bling (Confessions of a King)” that drone on with zero musical drive. The Killers were much more alive two years ago, now it seems they’re gasping for breath. After giving “Sam’s Town” several listen-throughs it’s obvious why the Vegas-based band named their sophomoric (it’s a music review axiom to use the word “sophomoric”) release after a sub-par casino. Let’s hope The Killers’s third release is named “Mandalay Bay.”

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