Jason Bergman

James Blake and his band walked briskly out onto stage. Taking his place behind his keyboard and laptop, he led his trio in a chaotic, explosive rendition of one of his first singles, 2009's "Air and Lack Thereof." Swirling blue and green lights swallowed up the band. The skuzzed out bass swallowed up the crowd. Next, he'd slow things down with one of the quiet, insightful singles from his self-titled debut album, "I Never Learnt to Share." He sported a black jacket with a black t-shirt and stood at his keyboard. Immediately following that, the band jumped back into the beat-driven world with "CMYK," the booming house single that first helped the British musician catch buzz in the United States only a few years ago. Three bat signal-like lights watched from behind the stage, shifting and changing with each pulse. And after that? Well, he busted out "Limit To Your Love," another reflective, soft single from his debut record.

In other words, James Blake's show is unpredictable.

More »

Steven Ellison is on his way to another installment of the Red Bull Music Academy. It's early afternoon, and his quiet, grizzly voice sounds like it just awoke from a nap, but his mind is alert. He explains how he's spent the past week in the city, taking meetings and enjoying the sunshine. He talks about upcoming projects. He mentions his excitement of the future. He really hopes that Joey Bada$$ uses one of his beats for his upcoming record.

In other words, Ellison sounds happy. Content. Pleased.

And why shouldn't he be? The L.A. producer released his most recent Flying Lotus project, Until the Quiet Comes, this past fall to critical acclaim. Shortly after, he revealed himself as the mysterious hip-hop artist Captain Murphy. And then in January, his short film tied to Quiet won the Jury Selection Award at Sundance.

Tonight, New York gets another taste of him, as he takes over Terminal 5 for the second night in a row. Ellison chatted with us about the reception of his record, trying to make a modern day Madvillain, and his upcoming jazz album with Herbie Hancock.

More »

Robert Semmer

"This isn't our usual room," says Bradford Cox as I plop down on the couch in the penthouse of the Ace Hotel for the band's day-long press junket. He's wearing a worn t-shirt, the eyeliner from the previous night's performance on Late Night with Jimmy Fallon still on his face. He knowingly smiles, and explains how they always stay next door, and that they often hear questionable noises from beyond the walls. Then he just comes out with it.

"This is the sex room," he laughs. "There's probably semen everywhere in here."

More »

Jason Bergman

Better Than: The last asshole who broke your heart.

Elena Tonra stood sheepishly, having just returned to the stage of the Bowery Ballroom with the rest of her trio--the English indie folk band Daughter--for an encore. The previous hour was filled with her emotionally poignant and aggressive music, built upon a droning, bass-heavy foundation. Suddenly, in the waiting silence of the sold-out venue (a crowd that featured both Katy Perry and Robert Pattinson), a concertgoer shouted: "Play 'Get Lucky'!" The previous day, the band had released a cover of Daft Punk's latest single, "Get Lucky" (which has -- by the way -- already been officially dubbed the "Song of #Summer2013). Tonra smiled, ducked her head, looked up, and smiled again. And then again. And again.

More »

Jason Bergman

Better Than: It looks.

Thomas Mars stood between the two guitarists of Phoenix. Laurent Brancowitz and Christian Mazzalai softly played the closing riff of "Love Like a Sunset Part II," the wistful, crescendoing track from the band's 2009 record, Wolfgang Amadeus Phoenix. The two stretched each note of the closing ditty, letting the harmonies ring for a moment. A sly smile crept across Mars' face. In 15 years, when Behind the Music (is that still a thing?) runs itd Phoenix episode, Mars will tell the camera, in his charming, subtle French accent, "Oh, yes. That show at Music Hall of Williamsburg just before Bankrupt! released. That was one of the most important moments in our career."

More »

Jason Bergman

Better Than: Happiness.

About halfway through his band's set on Saturday night, Nick Cave took a moment. He'd just finished a roaring rendition of "From Her to Eternity," the thumping, chaotic song from the Bad Seeds 1984 debut album of the same name. This was the Australian's final evening at the Beacon Theatre, finishing a three-night stay full of violent, jazz-tinged orchestral renditions of the band's entire repertoire. Backed by Sharon Van Etten (who opened) and Shilpa Ray, a string ensemble, and the Harlem Voices (a children's choir), the musician spent the previous 45 minutes bouncing around the stage, gliding back and forth like modern day vampire. Then the eccentric singer paused at center stage. He pointed at someone in the front row.

More »

Riverfront Times

Better Than: Being trouble.

Something happens when Taylor Swift does nothing.

It doesn't matter whether doing nothing follows dressing up and dancing like a hipster, or flying over the crowd (while singing) on an elevated platform, or just a good old-fashioned strut across the stage. That's because when she pauses, stares out with her subtle, charming smile, she's in complete control of the room. When that room seats 18, 711 people (and all of those seats are full), one can't help but wonder: How the hell does she make this look so easy? Well, it's a fairly simple answer. Taylor Swift was born to entertain.

See also: An Exclusive First Look At Some of Taylor Swift's Trashed Fan Mail

More »

Oh, what's up JT? Nice of you to join us over here in the music world again. You abandoned us in 2006 after Future Sex/Love Sounds--quick note: that was seven years ago, and seven years is roughly the age of a first grader, so we are now a first grader's life away from the previous JT record--but that's okay, because you're back. You told us a few months ago that you felt "inspired" (or, maybe, a contract you signed obligated you) to make new music. Some people were stoked. Others weren't. But regardless, here we are, and your third studio album The 20/20 Experience--currently streaming on iTunes--is set to hit shelves on Tuesday. It's a hodgepodge of sonic trends over the past few years, and will probably take some time to fully absorb, process, and understand. But, because this is the year 2013 and this is the Internet, let's prematurely evaluate the hell out of it, shall we?

More »

Carrie Schechter

Last week's cover boys the Men released their latest album, New Moon, on Tuesday. Tonight, the dudes take the stage of the Bowery Ballroom to a sold-out crowd. And even though we spilled thousands of words in ink about these guys, there's a bit that didn't make the story. Here now, lotsa lotsa handy tidbits about the Men.

See More:
The Men Get Out of the Gutter
See outtakes from our cover shoot

More »

Force Field PR

Trevor Powers doesn't really get it.

The musician -- who performs under the moniker Youth Lagoon -- caught the ink of critics back when his debut record, The Year in Hibernation, was released in late 2011. The album is a sprawling, introspective sonic and lyrical examination of crippling anxiety. Pitchfork gave it their esteemed Best New Music. Allmusic noted its "vulnerability and empathy." And the AV Club called his songcraft "intimate-yet-epic." Blogs and tweeters celebrated the immediacy of the music, and how emotional it was, and how all of that probably had to do with the fact that it was recorded in his bedroom after a break-up. Except now we're back to what Trevor Powers doesn't get -- because, well, Hibernation actually wasn't recorded in a bedroom.

More »