VIDEOKILLER - I Depeche Mode omaggiano Bowie con la loro versione di "Heroes"

VIDEOKILLER - Meglio tardi che mai: "Where's the Revolution" by Depeche Mode (directed by Anton Corbijn)

VIDEOKILLER - "Shadow" dei Chromatics nuovo tormentone grazie al "Twin Peaks" 2017!

VIDEOKILLER - "Dance with Hell" by Monarchy

VIDEOKILLER - Dance with the "Lovenight" by Paola Iezzi

VIDEOKILLER - New Order, olden style: A unique take on Blue Monday. What would New Order's classic have sounded like in 1933?

New Order's Blue Monday was released on 7 March 1983, and its cutting-edge electronic groove changed pop music forever. But what would it have sounded like if it had been made 50 years earlier? In a special film, using only instruments available in the 1930s - from the theremin and musical saw to the harmonium and prepared piano - the mysterious Orkestra Obsolete present this classic track as you've never heard it before.

OFF THE RECORDS - "Blackstar", il testamento di Bowie

(ANSA) - MILANO, 11 GEN - David Bowie ci ha lasciato due giorni dopo il suo 69/o compleanno, appena in tempo per salutare il suo pubblico con un disco che e' il testamento creativo di uno dei piu' grandi e indiscussi geni della musica popolare contemporanea. Alla luce della notizia che stamani ha scosso il mondo, 'Blackstar' sembra contenere diversi presagi della fine, provocata da un cancro che ha afflitto gli ultimi 18 mesi della sua vita. In questo senso l'immagine di un sole nero, listato a lutto, risulta evocativa non meno della scelta grafica di scomporre le lettere del suo cognome d'arte (Jones, all'anagrafe). Sulla copertina del disco, infatti, la scritta 'Bowie' e' stata trasformata in un criptico cartiglio di simboli alfabetici realizzati con frammenti di una stella, come il messaggio di un prossimo ritorno alle stelle, quelle stesse da cui sembrava provenire il suo Starman. Ancora piu' significative le parole di 'Lazarus', un brano che non a caso da' il titolo allo spettacolo di Broadway con il quale Bowie ha voluto chiudere la storia dell'uomo che cadde sulla Terra, raccontata nel romanzo di Walter Tevis e nell'omonimo film del 1976 da lui interpretato: l'alieno abbandona la superficie planetaria, torna a volare e canta "Guarda su, sono in paradiso... In questo modo e in nessun altro sai che saro' libero, proprio come quel passero azzurro: non pensi che mi si addica?". Lo stesso si puo' dire del videoclip della stessa 'Lazarus', pubblicato appena 4 giorni fa, in cui il cantautore pare levitare da un letto d'ospedale.  "Ha fatto 'Blackstar' per noi, un dono d'addio", dice oggi Tony Visconti, storico produttore di Bowie dai tempi di Space Oddity. "Ha sempre fatto quello che ha voluto. E l'ha fatto a modo suo e nel modo migliore - scrive su Facebook -. La sua morte e' stata come la sua vita, un'opera d'arte. Sapevo da un anno che doveva andare cosi'. Ma comunque, non ero preparato per questo. Era un uomo straordinario, pieno d'amore e vita. Sara' sempre con noi. Per il momento, e' giusto piangere".  'Blackstar' non e' pero' solo una raccolta di presagi di un Duca Bianco trasformatosi in crooner oscuro, ma soprattutto il suo testamento musicale e culturale: la scelta di allontanarsi definitivamente dal rock rende questo 25/o e ultimo album una nuova e tristemente finale tappa della lotta alle convenzioni del pop che Bowie ha affrontato almeno fin dal 1969, sfidando i confini con le arti e i generi per modellare una poesia sonora sempre sorprendente. Ma l'album, ultima creazione realizzata nei mesi della malattia, lancia anche un messaggio piu' profondo: se negli anni '70 la sua professione di ambiguita' sessuale ha aperto a un nuovo ideale di tolleranza e uguaglianza, suggellato da creazioni musicali allo stesso tempo raffinate e popolari come l'iconico Ziggy Stardust, cosi' quest'ultimo azzardo jazz sperimentale sembra consegnare alla storia il messaggio che i mali anche piu' gravi e mortali non impediscono all'essere umano di creare. Dopo aver contribuito a smantellare i pregiudizi sulla sessualita', cosi', il testamento di Bowie reca in se' la fine dello stigma sociale che colpisce i malati, non piu' da vedere come elementi indifesi, un peso della societa' civile, ma portatori di diritti e idee, capaci fino all'ultimo di produrre come e meglio di quando la salute li assisteva: lo dimostra una vena creativa ricca, e forse ancora di piu' l'energia della interpretazioni, dove una voce forte riesce a esprimersi con credibilita' in un registro meno familiare all'artista e il jazz non e' la scusa per abbassare ritmi e volumi ma piuttosto il contrario. In questo senso un'ultima rivoluzione del costume, dopo aver attraversato i decenni come icona non solo di stile, potrebbe essere la vera eredita' del Duca Bianco.

VIDEOKILLER - "Lights" by Hurts

VIDEOKILLER - "Déjà vu" by Giorgio Moroder (feat. Sia)

VIDEOKILLER - "The Beautiful Ones" by Monarchy

VIDEOKILLER - "Jackson's Last Stand" by Ou Est Le Swimming Pool

VIDEOKILLER - "The War on Drugs" by Red Eyes (video+Jimmy Choo campaign W/A)

VIDEOKILLER - "The Chamber" (Explicit) by Lenny Kravitz

LIVE AND KICKING - Monarchy live in Barcelona ("Living without you")

Posted on July 28, 2014 by La Monda
Stealing the magic of the moment, that obsession of the human being of capturing the surroundings, the vibe, of being able to recreate the situation again and again in your head. A month ago we had the chance to do it; today we bring you in exclusive the track “Living Without You” by Monarchy, live in Razzmatazz, Barcelona and filmed in collaboration with PressRec. It’s been a pleasure to work with such a great team; hope it’s the first stolen moment of many to come.

VIDEOKILLER - "Let me down gently" by La Roux

VIDEOKILLER - "Living without you" by Monarchy

VIDEOKILLER - "We exist" by Arcade Fire

VIDEOKILLER - "Come Home" by IAMX

From the album 'The Unified Field', available digitally (find links below) and at http://www.boutiqueiamx.eu Video directed and edited by Chris Corner Filmed by Chris Corner and Janine Gezang An Orphic Production Music written and performed by Chris Corner (IAMX), produced by Jim Abbiss

OFF THE RECORDS - Happy Christmas by Kim Wilde and Nik Kershaw! (together)

Kim Wilde interviewed by "The Observer"
You have a new album of Christmas songs, Wilde Winter Songbook. Is the festive theme connected to what happened last December, where a video of you wearing glittery reindeer ears singing on a commuter train went viral?

I never thought I could be as funny drunk as Delia Smith, but apparently I am. But certainly the train incident helped spur me into gear. I thought, well, if 2 million people want to see me drunk-singing at Christmas, maybe they'd be up for a bit of sober action!

Were you really quite drunk then?
Twisted. I was absolutely larruped. I don't drink cocktails any more, so I didn't even think about the trouble I was getting myself into with these vodka and lychee liqueurs, or whatever they were, slipping down my neck. I just don't know how I got away with it. I still can't bring myself to watch it. Because initially it could have gone either way: it was either going to completely bury my career or not. And I seem to have gotten away with it.

On the new album, you have duets with Rick Astley and Nik Kershaw. Did you go out with any of your male contemporaries back in the 80s?
Yeah! Not many of them though. I did have a few delicious dates with Adam Ant once. I say delicious because the thought of it now, me, Kim Wilde at that time, and him, Adam Ant at that time, and both of us sitting in a restaurant eating chocolate mousse is a delicious memory. He looked after me for a little bit, took me out for some lovely meals in very swanky restaurants. I was still living in Hertfordshire at the time with my mum and dad.

Your first song, Kids in America, was a huge hit in 1981, but before that your younger brother, Ricky, was a teen heart-throb. How did you feel when it was him and not you who made the breakthrough?
I was happy for him, but I do remember thinking, not that it should be me, but that one day it will be me. I always had this strong sense of where my destiny lay, that I was going to be a singer. Not because my dad was Marty Wilde, it was just an absolute truth that I lived with from a very young age. Maybe a part of me was quite psychic, because we have strong psychics in my family, especially on my father's side.

Is there anything else you've predicted?
I am tuned into it, a little bit. I don't see ghosts and stuff, but I did see something very unusual in the sky once, which I can only say was a UFO. But there were lots of witnesses, it was in the local paper, it wasn't just me.

Was that at home in Hertfordshire?
If I told you, you'd just laugh at me, because everybody does! It was 26 June, the day after Michael Jackson died, and me and my mate were in the garden and we saw bright lights in the sky. I have to say there's not a day gone by that I don't think about what the hell it was. It was so huge, two of them, going zigzag for 10 minutes and I could feel the momentum and I knew it was really massive. It could be some very clever thing that someone developed somewhere, but I've got a feeling it wasn't.

In 1987, your cover of You Keep Me Hangin' On went to No 1 in America. Is it true that you never went there to follow it up?
We didn't, no. In retrospect, there was a missed opportunity, for sure. I'm not saying it would have happened and I'd have become like Madonna. But you never know... Madonna's career, for instance, you can see how much she wanted it. And I just didn't want it all the way and more, so I'll never know how big my career could have been. But I'm quite happy with the medium-size career I've had. I love the fact I can walk anywhere without bodyguards and jump into Tesco and buy the Christmas turkey.

Later on, Madonna became a near-neighbour of yours in the country. Did you ever discuss this with her?
No, I never met her, but I do remember thinking, this county ain't big enough for the both of us.

You supported Michael Jackson on his Bad tour in 1988. What was he like?
I only met him once to do a publicity photograph. I got taken into the den and there he was with the lights dimmed and then his "uncles" as I called them – these older men who seemed to control a lot of what was going on around him – they positioned me so I was looking in the right direction for the camera. We had our photograph taken and then I was gently persuaded to leave. So nothing very normal about that, but there you go. I really have no more insight into him than any person you'd ask on the street.

In the mid-1990s, you stopped making music. You got married, had two kids and became well known as a gardener. What inspired that?
It was a combination of things. I really wanted to have the chance to be something else that wasn't all about being Kim Wilde and running off pursuing success. I really wanted to have a family, I wanted to wake up with my old man and pick up his underpants and take the kids on the school run. That's basically what I wanted: to pick up my husband's underpants.

Was the gardening career as much of a surprise to you as it was to the rest of us?
No, it wasn't a huge surprise to me. I remember growing up watching The Good Life thinking, that's how you live life! As close to the earth as possible and away from all the bullshit.
So I tried to recreate The Good Life, I guess, with me as Barbara. It all turned out great and now I'm back in music and I'm happier than I've ever been.

You continue to have a lot of success abroad, but this is your first UK album for more than a decade. Should we expect more?
Well, I'll certainly be releasing more albums next year, whether in the UK or not. I hope people want to hear them here, but I won't force anything on them, I promise.

VIDEOKILLER - "Mandela Day", RIP Mandela