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Listen: Kissey - Melting Pot
Nov 26, 2014 3:56am | The Line Of Best Fit
The track actually featured on the soundtrack for Sundance Prize-winning film Dear White People, and sees tension, fluid opiate-addled vox and the faint glimmer of party all blur together.>
Mac DeMarco at Londons Forum
Nov 26, 2014 3:30am | The Line Of Best Fit
The Brooklyn-based Canadian indie-rocker plays the north London venue. Gaëlle Beri shoots.>
Emilie Nicolas: It has to be personal
Nov 26, 2014 3:30am | The Line Of Best Fit
We meet the Norwegian singer in Oslo to talk about how sex, family and the complexity of human interaction inspired her stunning, honest debut album.>
Yo La Tengo - Extra Painful [Reissue]
Nov 26, 2014 3:30am | The Line Of Best Fit
Yo Le Tengo gives you extra.
Trash Kit - Confidence
Nov 26, 2014 2:27am | Drowned In Sound
The last time we saw Trash Kit, they were rising like some sort of lo-fi phoenix from the shes of their predecessor bands with a scrappy but exuberant self-titled LP that ran through an an astonishingly 17 tracks in 27 minutes. But back in 2010 the album - and the band - seemed to get lost amongst a slew of other groups who were making similar endearingly melody rich DIY post-punk; gaining a small but ardent following in the process.
In no apparent rush to follow-up that album, the trio of Rachel Aggs, Ros Murray and Rachel Horwood have waited four years to finally return with a record that sees them flaunting - as the albums title suggests - renewed belief in their abilities; presenting something that supersedes their self-titled debut but keeps most of the traits that made it engaging.
Confidence clocks in at around half an hour, but takes it at a slightly more luxurious pace. The albums 11 songs begin with Beach Babe, a glorious track that shakes and rattles with taut militaristic drumming and loose baselines. It's the start of a strong run that continues into Medicine and Big Feeling the former propelled forward by a muscular rhythms that fuse tight harmonies to the haunting rumble of brass section; the latter with a recurring err echo of Martha and The Muffins Echo Beach, guitars undulating over metronomic percussion as Aggs' vocals resonate with fervent immediacy. When youre young, youve got time on your side, sh...
Trent Reznor and Atticus Ross - Gone Girl (Soundtrack from the Motion Picture)
Nov 26, 2014 2:26am | Drowned In Sound
'The goal is making the best thing we can make'. A laudable mission statement from Nine Inch Nails frontman Trent Reznor, speaking to Rolling Stone about his high ambitions for his third soundtrack with Atticus Ross for David Fincher (after The Social Network and The Girl with the Dragon Tattoo).
Gone Girl, which Reznor accurately described as being 'surprisingly nasty', is one of the most provocative and thoroughly discussed films of the year. A commentary that jarringly turns into parody on the state of marriage and the media in the twenty-first century, its also a bloody great thriller.
That hasn't caused the duo to change their ways, mind: the soundtrack is exceptionally dour. Relentlessly so, in fact. But just because this soundtrack is so morose, so cold and so haunting, it doesnt mean that it isnt beautiful.
Reznor and Ross ambient electronic soundtrack can be both startlingly reserved (on What Have We Done To Each Other?) and utterly devastating (on Consummation). Consumation, paired with SPOILER ALERT blood gushing out of Barney Stinsons throat, is an example of a perfect marriage between imagery and music. Its also a reminder that in a soundtrack album full of restraint and intensity, when Reznor and Ross want to go over the top - they can go over the fucking top.
Just Like You is a highlight. Starting with a gentle synths and then ending with an isolated p...
Watch Wu-Tang Clan cause a Ruckus In B Minor on David Letterman
Nov 26, 2014 1:09am | Fact Magazine
Wu Tang Clan’s new LP hits shelves on Tuesday of next week. Ahead of the album’s imminent release, the Staten Island ensemble dropped by The Late Show With David Letterman to perform their single ‘Ruckus In B Minor,’ a Wu posse cut produced by RZA and Rick Rubin.
It’s worth noting that a few key members were conspicuously absent, perhaps a reaction to RZA’s call for Wu disciples to “Go Vegan for A Better Tomorrow.”
Earlier this month we sent Brad Rose to a listening party for A Better Tomorrow to suss out the Clans new project find out what he made of the album here.
mp3: Chromatics Candy (8 track version) + Lady Night Drive
Nov 26, 2014 1:00am | Gorilla Vs Bear
Johnny Jewel unveils the original 8 track version of “Candy“, “recorded in a haze of nyquil & tequila”, as well as a beautifully seamless mashup/collision of two Chromatics classics:
Stream A$AP Fergs introspective Talk It, produced by Clams Casino
Nov 26, 2014 12:23am | Fact Magazine
A$AP Ferg gives a rare glimpse of his softer side.
The latest track from A$AP Ferg’s forthcoming Ferg Forever mixtape has surfaced, produced by Clams Casino. We’re used to seeing Ferg in full-on ‘Trap Lord’ mode, however in light of current events the A$AP Mob rapper has provided us with something different.
“All I ever wanted was a Clams Casino beat” repeats Ferg over the introspective beat, covering topics ranging from the Michael Brown verdict to his personal struggle with fame. Clams Casino creates another spacious and hazy instrumental that provides the perfect backdrop for Ferg’s reflections.
Stream ‘Talk It’ below. [via CoS]
What's going on Wednesday? (Interpol, Blonde Redhead, Bob Dylan, The Blind Shake, Kingdom, Avan Lava & more)
Nov 25, 2014 11:15pm | Brooklyn Vegan
The Blind Shake at McCarren Park in June (more by
You can browse our full NYC show calendar for all of tonight's shows, but here are some highlights...
Bob Dylan @ NJPAC
Interpol, Hundred Waters @ Terminal 5
Blonde Redhead, VBA @ Bowery Ballroom
The Blind Shake, Wax Witches @ Baby's All
Method Man, Redman, Berner, Mick Jenkins @ Best Buy
Ariel Pink takeover: Cane Toads: An Unnatural History
Nov 25, 2014 10:45pm | Gorilla Vs Bear
Frogs were omnipresent throughout the making of Pom Pom and so too in life where I come from. ‘Cane Toads’ depicts the everyday horror of life in Australia with frogs. It’s hard to imagine what growing up with wildlife such as Kangaroos, Drop Bears and Toads almost breathing down your neck was like, but in this Ozploitaition classic it’s quite accurately dramatized. — Shags Chamberlain
Ariel Pink takeover: Supreme Dicks
Nov 25, 2014 10:11pm | Gorilla Vs Bear
John Shere of the band Supreme Dicks has been a friend of mine for many years, and I’ve seen the Dicks play live on a few occasions but until recently I never really appreciated how good their records are. I’ve been listening to them a lot lately, mostly their two full-length LPs from the mid-90′s, “The Unexamined Life” and “The Emotional Plague.”
Their sound is a sort of woozy, ephemeral psychedelia tinged with a desolate, creaky brand of melancholy. Most of their songs sound like a strong breeze might blow them away. The backbone of their sound is a distinct style of guitar interplay that is somewhere between a dramamine-addled Television and Pavement on the day they recorded the “Secret Knowledge of Backroads” Peel Session. If there was such a thing as a Supreme Dicks “single,” the song “Jack-O-Lantern” would probably be it, so that is the track I included here. Their records have aged extremely well, and their entire catalog was reissued by Jagjaguwar in 2011. — Joe Kennedy
Ariel Pink takeover: Everybody Loves a Winner
Nov 25, 2014 10:00pm | Gorilla Vs Bear
Hartley sings, writes and plays various instruments including guitars, keyboards, drums, percussions, harmonicas, recorders, and wood flutes. He has developed his own musical style, Whopazootic Music, which bypasses the various known musical categories and utilises a broken rhythm derived from Bruce Lee’s Jeet Kune Do. — Tim Koh
Ariel Pink takeover: Oraison (1937)
Nov 25, 2014 9:30pm | Gorilla Vs Bear
Olivier Messiaen was one of the great composers of the 20th century, and is one of those people who led a life so unbelievably fascinating that it almost seems like it must have been fiction.
Blessed with the gift of synaesthesia, Messiaen experienced sounds as colors. He was also fascinated with birdsong, and often used melodies in his compositions that were borrowed from various bird species. He was so serious about birdsong that he became an ornithologist, traveling the world looking for exotic birds and their songs, which he would record and transcribe. He was kind of like a birdsong crate digger.
He was also a pioneer of electronic music; “Oraison” was perhaps the first piece of music ever written entirely for electronic instruments. It was written for six Ondes Martenots. The Martenot was an early synthesizer that had wonderfully expressive capabilities, notably a heartbreaking portamento sound that was more similar to a violin than to the continuous portamento of the Martenot’s close relative, the Theremin. “Oraison” is a hauntingly beautiful piece, insanely ahead of its time when you consider that it was written for the Paris World Fair of 1937. It wouldn’t sound out of place on a Boards of Canada record.
“Oraison” was later repurposed for one of Messiaen’s signature works, “Quator pour la Fin du Temps,” a chamber music piece which was composed by M...
The politician behind Sydneys controversial lockout laws has resigned from parliament
Nov 25, 2014 8:56pm | Fact Magazine
Barry O’Farrell has announced he will not recontest his seat at next year’s state election.
Former New South Wales Premier O’Farrell looks set to exit politics after almost two decades. The controversial politician was forced to resign from his position as State Premier earlier this year after being caught lying in a corruption inquiry. O’Farrell famously had a “memory fail” when denying the receipt of a $3000 bottle of prized Grange wine from an Australian water company. The politician yesterday confirmed rumours that he will not recontest his seat of Ku-ring-gai at next year’s state election.
O’Farrell spearheaded the implementation of the archaic Sydney lockout laws, which came into effect in February of this year. The restrictions ban patrons from entering any venues within the lockout zone (which encompasses almost the entirety of central Sydney’s nightclub hotspots with the exception of a large casino and the site of another one currently being built) after 1:30am and prohibits the sale of alcohol in venues after 3:00am, meaning most clubs can’t afford to keep their doors open after this time. There has also been a state-wide ban on bottle shops (AKA off licenses or liquor stores) remaining open after 10:00pm.
The laws have had extremely damaging effects on Sydney’s night-time economy and its nightclub scene with a number of venues both large an...
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