Fan Death is a disco band which started in Brooklyn, New York in 2007 and are now based in Vancouver, British Columbia. In 2008 Erol Alkan remixed and released their debut single Veronica's Veil on his Phantasy Sounds label. To date Fan Death has played shows with Florence and The Machine, Metronomy, Telepathe, Late Of The Pier and Franz Ferdinand as well as at the Afisha festival in Moscow and in Mexico City. They have been featured in international magazines such as NME, The Fader, Nylon Magazine, The Guardian Newspaper, Dazed and Confused Magazine and on the cover of Italy's Pig Magazine surrounded by naked men. The band recorded an EP in 2009 with the help and assistance of Kevin James Maher. Also in 2009, they have remixed artists such as Ladyhawke, Frankmusik, The Virgins, Lindstrom, The Lost Valentinos and Datarock. The name is a reference to the South Korean myth regarding the fear of suffocation via electric fan.
There’s a point just past the halfway mark on “Shake It Out,” the rousing first single from Florence + the Machine's second studio release, when the swelling guitars, organs, and strings, staccato percussion, and Florence Welch's air-raid siren of a voice lock up in a herculean battle over which one is going to launch itself into the stratosphere first. It’s a contest that plays out at least once on each of Ceremonials' immaculately produced 12 tracks. Such carefully calculated moments of rhapsody would dissolve into redundant treacle in less capable hands, but Welch does emotional bombast better than any of her contemporaries, and when she wails into the black abyss above, the listener can’t help but return the call. Bigger and bolder than 2009’s excellent Lungs, Ceremonials rolls in like fog over the Thames, doling out a heavy-handed mix of Brit-pop-infused neo-soul anthems and lush, movie trailer-ready ballads that fuse the bluesy, electro-despair of Adele with the ornate, gothic melodrama of Kate Bush and Floodland-era Sisters of Mercy.
Florence + The Machine joined Clara at BBC Maida Vale for a Live Lounge Special. They performed six tracks including their latest single ‘Queen Of Peace’ and an amazingly uplifting cover of Skrillex & Justin Bieber's 'Where Are U Now'.
Original soundtrack to the 2013 motion picture directed by Baz Luhrman. The soundtrack features songs performed by Jay-Z, Beyonce & Andre 3000, Gotye, Jack White, Sia, Florence & The Machine, Lana Del Rey and many others. The film is an adaptation of F. Scott Fitzgerald's Long Island-set novel, where Midwesterner Nick Carraway is lured into the lavish world of his neighbor, Jay Gatsby. Soon enough, however, Carraway will see through the cracks of Gatsby's nouveau riche existence, where obsession, madness, and tragedy await. Deluxe Edition includes 3 Bonus Tracks and dialogue from the film.
Guitarist-singer Jimmy Thackery's 1998 set stretches beyond the blues. A ferocious rockish guitarist with a vocal style that ranges from shouting to mellow, Thackery is easily the main star of his disc. However the other members of his Drivers are strong (Al Gamble on organ and piano, bassist Michael Patrick and drummer Mark Stutso), and there are features for guest accordionist Chubby Carrier on "Take Me With You When You Go" (a zydeco romp) and singer Reba Russell ("Dancing on Broken Glass") plus a helpful appearance apiece by Lonnie Brooks and Joe Louis Walker. From blues to rock with touches of zydeco, country, pop and folk, Thackery constantly stretches himself and gives the music his best.
It’s not quite right to say that the Go-Go’s' 1981 debut, Beauty and the Beat, is where new wave caught hold in the U.S., but it’s not quite wrong, either. Prior to this, there had certainly been new wave hits – Blondie had been reaching the Top Ten for two years running – but the Go-Go’s ushered in the era of big, bright stylish pop, spending six weeks at the top of the U.S. charts and generating two singles that defined the era: the cool groove of “Our Lips Are Sealed” and the exuberant “We Got the Beat.” So big were these two hits that they sometimes suggested that Beauty and the Beat was a hits-and-filler record, an impression escalated by the boost the Go-Go’s received from the just-launched MTV, yet that’s hardly the case. Beauty and the Beat is sharp, clever, and catchy, explicitly drawing from the well of pre-Beatles ‘60s pop – girl group harmonies, to be sure, but surf-rock echoes throughout – but filtering it through the nervy energy of punk.