Jul 23, 2014 By Paul Bridgewater Issue #50 - June/July 2014 - Future Islands

Most bands retain the stamp of their home towns and cities, but Brits MONEY came together as usurpers in their adopted Manchester, the uniquely creative environment that gave us The Smiths, Joy Division, and Factory Records. Decamping to the north of England in his late teens, London-born vocalist and frontman Jamie Lee credits the city with indelibly shaping the sound and identity of the Bella Union-signed band. More

Jul 22, 2014 By John Everhart Issue #50 - June/July 2014 - Future Islands

Growing stronger with every record, while incrementally increasing its audience for a good part of the past decade, Wye Oak well could've trodden the beaten path and continued with its trademark guitar and drums sound, one that had endeared it to a progressively mainstream audience, including appearances of 2011's Civilian's title track on the likes of The Walking Dead, Being Human, and Safety Not Guaranteed. More

Jul 18, 2014 By Daniel Kohn Web Exclusive

When Seth Gabel first read the script for Salem, he had a good feeling about the show. But he didn't expect the flagship show of the WGN America network to gain such a loyal following in such a short period of time, much like his previous show, Fringe. More

Jul 18, 2014 By Austin Trunick Web Exclusive

It’s been 13 years since Audrey Tautou captured the hearts of cinema fans the world over as Amélie, the adorably meddlesome and pure-hearted waif at the center of Jean-Pierre Jeunet’s global hit of the same name. She’s played a sweeping variety of characters in the years since her breakthrough, from historical figures (Coco Before Chanel) to maniacs (He Loves Me… He Loves Me Not). Save for a lone Hollywood venture opposite Tom Hanks in The Da Vinci Code and Stephen Frears’ British thriller, Dirty Pretty Things, the majority of Tautou’s work has been in her native France.

Tautou’s newest feature is Mood Indigo, directed by the endlessly inventive Michel Gondry. Best known for films such as Eternal Sunshine of the Spotless Mind and The Science of Sleep, most readers here will always associate him with his innovative music video work for artists such as Bjork, The White Stripes, Cibo Matto, and Kylie Minogue.

Audrey Tautou sat down with us in New York to discuss the film. More

Jul 17, 2014 By Marcus Kager Issue #26 Spring 2009 - Bat For Lashes

For this Throwback Thursday we revisit our 2009 article on Depeche Mode. Read on as Dave Gahan and Andrew Fletcher discusses their 2009 album The Sounds of the Universe, their classic album Violator, their legacy, and Martin Gore's triumph over addiction. More

Jul 16, 2014 By Matt Fink Issue #50 - June/July 2014 - Future Islands

The world, and especially the music industry, has changed a lot since Guto Pryce was a founding member of Super Furry Animals in the mid-'90s. Back in those days, people actually bought records, labels gave advances to help bands get tour vans, and the economics of balancing books wasn't emphasized quite so severely. More

Jul 15, 2014 By Matt Fink Issue #50 - June/July 2014 - Future Islands

One of the hardest questions a band has to answer is, unfortunately, probably one of the most common ones they are asked: what kind of music do you make? For Slow Club's Rebecca Taylor, that question came recently when she was making a routine stop at the hairdresser. More

Jul 14, 2014 By Matt Fink Issue #50 - June/July 2014 - Future Islands

Slow Club's Charles Watson tells a story about the British band's 2009 American tour with Norwegian synthpop band Casiokids, explaining how he and co-leader Rebecca Taylor would stand at the side of the stage and marvel at how the audience would dance in unison during their tourmates' set, as if surrendering themselves to the music. More

Jul 11, 2014 By Shawn Hazelett Web Exclusive

In documenting the life of Roger Ebert, Life Itself leads with an uncommon fade-in on the legendary film critic. We aren’t presented with images of him shaking hands with Fellini, or receiving his Pulitzer, or sitting alongside longtime pal Gene Siskel. Life Itself begins with its subject in a hospital bed, near the end of a long, trying bout with throat cancer. It’s an ordeal that cost him the entirety of his lower jaw and, with it, his ability to speak, leaving a disfigurement so jarring that he would avoid his own reflection. It would be understandable for him to express reticence in allowing access to such candid moments, but it’s an experience Roger specifically asked director Steve James to document. More