Music artist Kid Cudi, plus Kanye’s highly anticipated 808s & Heartbreak follow-up, were all scheduled for the same day. “went to kanye new soho liar to here his album,the college drop out has graduated n To full grown rap star. black strong .Sept 14 yazee!!!,” he wrote on Twitter last week. Black strong.

Sept 14 yazee!!” Kanye is one of the acts scheduled to perform at this year’s BET Awards, which takes place in Los Angeles today. Not a bad tally of benefits by any account. No more specifics were given, but it obviously isn’t gonna drop in June as previously stated. “Well, first of all, if you look at all of Kanye West’s output, he actually did a lot to bring back sampling and make it cool again, even though he’s more of a mainstream artist” Premier explained. “But his new album is strictly hard beats and rhyme.

Enhanced and improved posture, greater fat burning when walking, help getting rid of ugly cellulite, relief from joint pain and a firmer bottom and more shapely legs. The ‘Heartless’ rapper has quietly been working on a follow-up to 2008′s ’808s & Heartbreak’ for the past year, and fans will get to hear the record fairly soon. It can make your body be more and more tangible and it can also help you lose your weight. G.O.O.D. Who the hell knows.

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The blog post read: “When the European tour is finished, we head back and play one show in Southern California, then that is if for live shows for the rest of 2010. Most importantly, Will it suck or be good. It was just about being a kid and doing what kids do. Most fans are unsure,including myself. Why. Until it is finished.” He went on to add: All of us have ideas from before and after the tour last summer, And are excited to get into the studio and see those ideas come to light.

When blink got back together my entire generation cried tears of joy. But the boys are hardly kids anymore and have done allot of growing up over the last decade. This will be their first studio release since there self titled 2003 album which was at the time seemingly the closing curtains of blink-182, the best pop-punk band of all time. Its happened to many times before when a great band gets back together and tries to recreate something they no longer have. Because we’ll be in the studio recording the new Blink-182 album. We had no Bob Dylan or John Lennon you see, we did however have Blink-182, three immature guys writing some of the catchiest most unforgettable and definitive anthems of 90s-2000′s youth, there was no great cause, no battle to be won, no war to end.

Simple as that.” I think anxious is the best word to describe the overall feelings of blink’s new album. For some reason that’s exactly what made the music so great. Upon the time of the reunion we were promised a new album which seemed to be an idea which went into the wastebasket after their reunion tour. So will the band go in a new direction? or will they try to muster up some emotion from there youthful days and try to still sound authentically young.

Steve Morales my music producer moves into my house tomorrow to make my summer album!” Montag’s first album ‘Superficial’. Montag tweeted the happy news yesterday: “Heading into the music studio recording my new single. I feel so sorry for her, how insecure does one have to be to do that to themselves. Yup, the Hills star is heading back into the studio to create more tuneless travesties. I’m surprised producers still want to work with her, but whatever pays the bills, I guess. – Rachel, Glasgow, Scotland, 25/6/2010 12:40. Thats right, I keep her album under my pillow every night. Report abuse. I’ve spent over $1 million, almost $2 million, on this album. “It’s cost as much or more than a Britney Spears album because I wanted it to be that quality.  ‘The songs will make an impact in pop history.” Oh, they left an impact alright… Have a listen to Superficial below: Bloody hell, not even auto-tune can smother the badness in that thing.

Montag’s album sold 658 albums in its first week. Report abuse. Who knows, this album could be a hit.   Source.     Oh no, not again. Her album was called Superficial. Maybe. It bombed.

The album reportedly cost the couple $1million. Report abuse. her performances are always complete rip off of britney’s old performances, the outfits and everything. what heidi lacks is the voice, the moves, the charisma and charm…oh and the TALENT!

Digital track sales this past week totaled 21.4 million downloads, down 4% compared to last week (22.3 million) and down 1% compared to the sum last week (5.61 million) and down 1% compared to the same total at this point last year (552.3 million). The numbers are in. Closing out the top 10 is last week’s No. 1, “Glee: The Music, Journey to Regionals,’ rounds out our list with a tally of 39,000 records. Also, the ever-popular ‘Now’ music compilation series places yet another collection, the creatively titled ‘Now 34,’ at No. 4 with a total of 88,000 copies sold. Part of this success can be attributed to a popular ticket and download combination package offered in advance of the band’s summer tour. The six remaining albums on the chart are filled with familiar faces and names from recent weeks. Overall album sales in this past chart week (ending June 20) totaled 6.14 million units, up 9% compared to the comparable week of 2009 (21.6 million). Star staff and wire services.

Next up, Sarah McLachlan’s new studio set “Laws of Illusion” opens at No. 3 with 94,000. Not to be the bearer of bad news, but with 88,000 this marks the first album in the main “Now” series — not counting its various genre-specific offshoots — to debut with less than 100,000 since the first “Now” compilation started with 48,000 in 1998. Justin Bieber’s “My World 2.0″ drops one slot to No. 7 (47,000; down 4%), Lady Antebellum’s “Need You Now” holds at No. 8 (40,000; up 4%) and Christina Aguilera’s “Bionic” dips six positions to No. 9 (112,000; up 24%). Year to date album sales stand at 142.4 million, down 11% compared to the comparable week of 2009 (21.6 million). Star staff and wire services.

Next up, Sarah McLachlan’s new studio set “Laws of Illusion” opens at No. 3 with 94,000. Not to be the bearer of bad news, but with 88,000 this marks the first album in the main “Now” series — not counting its various genre-specific offshoots — to debut with less than 100,000 since the first “Now” compilation started with 48,000 in 1998.

Justin Bieber’s “My World 2.0″ drops one slot to No. 7 (47,000; down 4%), Lady Antebellum’s “Need You Now” holds at No. 8 (40,000; up 4%) and Christina Aguilera’s “Bionic” dips six positions to No. 9 (40,000; down 64%).

B., Wale, Asher Roth), and while all had hit singles and buzz, they weren’t able to convert that into album sales.” It’s the third-best sales week of 2009 (21.6 million). Star staff and wire services. Next up, Sarah McLachlan’s new studio set “Laws of Illusion” opens at No. 3 with 94,000. Not to be the bearer of bad news, but with 88,000 this marks the first album in the main “Now” series — not counting its various genre-specific offshoots — to debut with less than 100,000 since the first “Now” compilation started with 48,000 in 1998.

From PitchFork Music News:

How I Got Over, the new album from the Roots, features collaborations with indie types like Joanna Newsom, My Morning Jacket’s Jim James, and the ladies of the Dirty Projectors. And now you can hear those collabs– plus the rest of the album– over on the Roots’ MySpace page, where it’s streaming. The album is due June 22 from Def Jam.

Tonight, James joins the Roots on “Late Night With Jimmy Fallon” to perform “Dear God 2.0″, the Roots’ reimagining of Monsters of Folk’s “Dear God”.

From PitchFork News:

Artist: Azure Ray
Album: Drawing Down the Moon
Release Date: September 14
Label: Saddle Creek

Tracklist:

01 Wake Up, Sleepyhead
02 Don’t Leave My Mind
03 In the Fog
04 Larraine
05 On and On Again
06 Make Your Heart
07 Silver Sorrow
08 Signs in the Leaves
09 Love and Permanence
10 Shouldn’t Have Loved
11 Dancing Ghosts
12 Walking in Circles

Notes: First album in six years from the duo of Orenda Fink and Maria Taylor. Crooked Fingers’ Eric Bachmann produces. Former Now It’s Overhead leader Andy LeMaster and singer-songwriter Liz Durrett guest.

…

Original

New “Glee” Album Overshadows Twilight, Aguilera

LOS ANGELES (Billboard) – Gleeks rejoice! The latest “Glee” soundtrack EP debuted at No. 1 on the U.S. pop album chart Wednesday, surpassing both the new “Eclipse” soundtrack and Christina Aguilera’s latest release.

“Glee: The Music – Journey to Regionals” sold 152,000 copies during the week ended June 13, according to Nielsen SoundScan. The “Twilight Saga: Eclipse” soundtrack came in at No. 2 with 144,000 copies, while Aguilera’s “Bionic” bowed at a distant No. 3 with 110,000.

Last week, industry prognosticators thought “Eclipse” was a good bet for No. 1, with a possible opening round of around 140,000-160,000 units, while “Glee” was aiming for a number in the 110,000-130,000 range.

The new “Glee” set is the fifth soundtrack album release from “Glee” since the TV series launched a year ago on Fox, and the third “Glee” set to hit No. 1, following “The Power of Madonna” EP and “The Music: Volume 3 – Showstoppers.”

Industry prognosticators believe Canadian rapper Drake’s debut full-length studio album “Thank Me Later,” which hit stores Tuesday, will take next week’s crown with sales of at least 425,000 units — one of the biggest starts of the year.

Aguilera’s album opened within muted expectations. Her last effort, the 2006 double-length album “Back to Basics,” bowed at No. 1 with 346,000 copies.

Other new releases included Plies’ “Goon Affiliated” at No. 5 with 56,000. The rapper’s previous release, 2008′s “Da Realist,” opened at No. 14 with 114,000.

Dierks Bentley’s “Up On The Ridge” debuted at No. 9 with 38,000, and Jewel’s “Sweet and Wild” at No. 10 with 31,000. Both also suffered big hits. Bentley’s last release, 2009′s “Feel That Fire,” entered at No. 3 with 71,000. Jewel’s last regular studio release was 2008′s “Perfectly Clear,” which started at No. 8 with 48,000.

Last week’s No. 1 album, Jack Johnson’s “To the Sea” slid to No. 4 (89,000), Justin Bieber’s “My World 2.0″ dropped four to No. 6 (49,000), “Glee, the Music, Volume 3: Showstoppers” fell four to No. 7 (40,000); and Lady Antebellum’s “Need You Now” also fell four, to No. 8 (39,000).

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From PitchFork Music News:

Photos by Dave MacIntyre. Head to the photo book for the full-size shots.

It’s common practice for big bands to preview new material in surprise, intimate-venue shows. For Arcade Fire, “intimate” means a regal theatre with a capacity of 1,200. However, Toronto’s Danforth Music Hall– the site of two Arcade Fire concerts this weekend, announced just 48 hours prior– holds a significant place in Arcade Fire lore. It was here that the Montreal art-pop ensemble sold out three consecutive nights in April 2005 during the victory lap of the Funeral tour, effectively confirming their graduation from small clubs to concert halls. So it’s an environment in which the band felt more than comfortable to unveil material from their upcoming third album, The Suburbs, before their first non-Quebecois audience of 2010.

There’s always been an implicit conceptual bent to the Arcade Fire’s albums, from the death/rebirth motif of Funeral to the state-of-the-union addresses of Neon Bible. Early promotional materials for The Suburbs have prefaced its title with the loaded phrase “Arcade Fire Presents,” suggesting a more pronounced thematic framework. However, the Danforth Music Hall stage bore no signs of a Greendale-style production; rather, the new album’s essence was more easily discerned by the eight-piece band’s choice of attire, which traded in the buttoned-up bible-student look of old for more casual denims and plaids (the sole flashes of glam provided by Win Butler’s Leo DiCaprio-gone-Chelsea-Girl haircut and Régine Chassange black-leather gloves). Which is to say The Suburbs tracks previewed last night downplayed the band’s choral grandeur, instead showcasing the band at their most punk-rock aggressive and their most serenely bucolic.

Certainly, the band have never sounded more fearsome than on the opening one-two of “Ready to Start”– which saw Chassange doubling up with Jeremy Gara on drums– and hard-charging locomotive rocker “Month of May”, which came off like a cynical antidote to the rousing promise of Funeral‘s “Wake Up,” as Butler sang dismissively about how “the kids are still standing with their arms folded tight” while crossing his own arms.

But the subsequent appearance of Funeral‘s orchestro-disco salvo “Neighborhood #1 (Tunnels)” established the show’s rhythm of alternating pairs of new songs with batches of familiar favorites, and also nicely set up The Suburbs‘ more stately material, in which the album’s main themes — namely, social and geographic disconnect — were more pronounced. The title track elicited enthusiastic applause on account of its jaunty “Oh Yoko!”-style piano rolls, playful falsetto chorus and the ascending violin lines of Sarah Neufeld and Marika Anthony Shaw that squealed like singing saws. “Suburban War”, however, was less engaging; as if seemingly aware of its own languid folk-rock pace, the song overcompensates with a melodramatic, tribal-pounded coda that feels like it was grafted on from a different song.

Ultimately, this concert was as much about what the Arcade Fire did play (seven new songs and a great deal of Funeral) as what they didn‘t– i.e., most of Neon Bible (represented on this night only by singles “Intervention” and “Keep the Car Running”; “No Cars Go” was also played, but that song dates back to their 2003 EP).

As more of The Suburbs was revealed, it became clear that the new tracks aren‘t ideal complements to the apocalyptic rumble of “Black Mirror”, the scathing satire of “Antichrist Television Blues”, or the tortured despair of “My Body Is a Cage”. Rather, the clap-along groove of “Modern Man”, the gently swelling “Rococo” (featuring a lovely chorus of angelic harmonies supplied by the ladies), and the nervy, piano-powered “We Used to Wait” were marked by their patience, restraint and suavity. Like their Merge labelmates Spoon, the Arcade Fire have tapped into a mode of songcraft that possesses a certain classic-rock-radio familiarity but is marked by a very modern sense of unease.

However, even as their songwriting grows more existential, the Arcade Fire can always turn on the spectacle at the drop of a megaphone. And much like they did at this same venue five years ago, the band reached their ecstatic peak at that precise moment where the cacophonous conclusion of “Neighborhood #3 (Power Out)” dissolved into the bouncy bass build-up of “Rebellion (Lies),” during which Win Butler descended into the crowd while brother Will, after losing his drumstick, used his strap-on floor tom as a punching bag. Given how far the Arcade Fire’s sound has drifted away from Funeral‘s calamitous anthems, it’s heartening to know the band still feed off of the potentially dangerous onstage theatrics that defined their early years.

It’s doubtful the band will ever get sick of performing encore finale “Wake Up”, since they don’t really have to sing it anymore, instead deferring to the audience to belt out that bracing wordless chorus. Over the years, “Wake Up” has lent itself to many functional uses, from U2′s stadium intro theme to sports-telecast bumper music. Last night, it served a different purpose: to summon the return of big-tent indie rock’s ringleaders. Look out all you chillwavers– as Butler sings on “Intervention”, the kings are taking back their throne.

Setlist:

01 Ready to Start
02 Month of May
03 Neighborhood #1 (Tunnels)
04 The Suburbs
05 Suburban War
06 No Cars Go
07 Haiti
08 Intervention
09 Modern Man
10 Rococo
11 We Used to Wait
12 Neighborhood #3 (Power Out)
13 Rebellion (Lies)

Encore:

14 Keep the Car Running
15 Wake Up

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