Last month, Dave Grohl fractured his leg after falling off the stage at a Foo Fighters concert in Gothenburg, Sweden. After canceling a string of European dates, the band returned to business in Washington, D.C. this weekend, where Grohl performed from a giant light-up throne while wearing a purple leg cast. As Consequence of Sound reports, new footage from the concert illuminates the throne's backstory. Grohl explains that he drew the blueprint while high on morphine and oxycontin in hospital–that's his picture below.
Watch Grohl tell the story of his broken leg:
Eden is a film directed by Mia Hansen-Løve that tells the story of France's electronic music scene in the 1990s. It features portrayals of several DJs, including Daft Punk's Guy-Manuel de Homem-Christo and Thomas Bangalter. Today, DJ Mag has shared a scene in which the young duo DJ a fancy-dress house party and play "Da Funk" for the first time. Watch it below.
Revisit our Cover Story on Daft Punk.
Disclosure release Caracal, the follow-up to their excellent 2013 debut Settle, on September 25. Its lead track, "Holding On" (feat. Gregory Porter), got a dramatic video last week, and now it's been remixed by Julio Bashmore. Hear it above.
Watch Disclosure perform at Pitchfork Music Festival Paris:
Photo via Charanjit Singh's Facebook
Charanjit Singh, the keyboardist and guitarist credited with pioneering acid house music, has died in his sleep, the Wire reports. He was 75.
A former session musician in Bollywood, Singh spent the early 1980s experimenting with Indian raga on the Roland TB 303, TR 808, and Jupiter 8. His album Synthesizing: 10 Ragas to a Disco Beat, recorded in Mumbai in 1982, was among the first to use the 303, some years before it became synonymous with acid house. A commercial failure, the record regained attention as an acid house prototype in the early 2000s thanks to record collector Edo Bouman, who reissued the LP in 2010 on his label Bombay Connection. Speaking to the Guardian at the time, Bouman said: "[Singh] made close to 10 albums, but they all were cover albums. He told me, 'Frankly, this was the best thing I did. Other albums are all film songs I just played. But this was my own composition. Do something all of your own, and you can make something truly different.'"
At the time of his death, Singh had been planning a live show in London and an album of Indian folk music.
This weekend at Roskilde Festival in Denmark, Damon Albarn performed a 5-hour set with the Africa Express Project that included a cover of the Clash's "Should I Stay Or Should I Go", which he performed with Songhoy Blues, Nick Zinner, Jeff Wooten, and Seye Adeklan. Watch video below.
After the marathon set (which ended around 4 AM), Albarn was told he had to stop, so he encouraged the audience to keep cheering so that he could continue to perform. The crowd obliged to such an extent that security came out and literally carried Albarn off stage. Watch video and other select performances from the show below.
Africa Express is an organization that brings together musicians from multiple cultures, continents, and genres. They've put on concerts in Europe and Africa, and have released a series of recorded projects, including Terry Riley's In C Mali and a corresponding film about the making of the album that featured Damon Albarn, Brian Eno, and Nick Zinner.
"Should I Stay or Should I Go" (cover):
Albarn being carried off stage:
Damon Albarn covering Randy Newman's "Baltimore" with Laura Mvula and Graham Coxon:
Damon Albarn doing "Clint Eastwood" with Shystie:
On Tuesday, Kendrick Lamar shared the black and white video for "Alright". He flies around, raps atop a traffic light, and ultimately, smiles as he meets his end. In an attempt to unpack what's happening in the video, MTV sat down with director Colin Tilley.
Tilley discussed the origins of the intro—the part where Lamar, Schoolboy Q, Ab-Soul, and Jay Rock are carried by police officers—which features a new verse from Lamar. Apparently, while Tilley and Lamar were discussing the imagery of having cops carry the car, Lamar came up with some new music on the spot.
...All of a sudden, Kendrick was like, “Hold on, man. I’m totally hearing something completely different for this right now.” He’s like, “I’m gonna write this song and we’ll send it to you tonight. But we’ll do this song as a segment before the video even starts.” So, they sent me the song like two days later and we continued to build on it.
Tilley also discussed some of the clip's symbolism. Lamar is supposed to represent a Superman-like figure—a superhero in the sky that kids "aspire towards". He also discusses Lamar's smile at the end:
Well, you know, it’s all a dream world. So, he’s really saying, “Everything is still gonna be alright.” At the end, really, when he smiled, we were all playing around with the fact that we should just have the chorus come back like, “We gon’ be alright!” But then it would have just kept going. But like I said, it’s really all about the positivity.
Read the full interview. Here's the video: