Premiere: Hear the Sonic Bedlam of Highly Suspect’s New Track, ‘Lost’

Music, High Society, Lost

It’s Monday morning, and ain’t nobody happy bout it. There’s probably not enough coffee in the three Starbucks’ downstairs combined to give me the energy I need to charge through this recurring misfortune. Luckily, I found a new band to love, Highly Suspect, and their brand new banger “Lost” is helping to get my head bobbing and my productive juices flowing.

Composed of Ryan Meyer (drums/vocals), Rich Meyer (bass/vocals), and Johnny Stevens (guitar, vocals, synth) the Brooklyn-based Rock trio has been grabbing attention with their blues-infused rock, which called upon an unmistakable Hip-Hop like cadence. Their new track “Lost” mixes the guitar shredding havoc of typical Brooklyn grunge with stead, jabbing bass. It explores the contrasts between virtually total silence and sonic bedlam, breathing in a few resting moments for those like me who are not high-stamina rock enthusiasts.

About the song, Rich Meyer tells us:

“Lost” is about having to break up with somebody even though you’re still in love with them.  I was in a relationship that really wasn’t good for either one of us; different lifestyles, histories, and futures were pulling us apart.  Love lost its way in a forest of circumstantial conflicts.    

Today, we’re pleased to premiere Highly Suspect’s new track, ‘Lost’,  so check it out the track below, and find more on Highly Suspect HERE and HERE.

Getting ‘Lost’ in the World of Trentemøller

If asked to describe the genre of music that excites me most, I would refer to that very specific sonic universe as my soundtrack for "driving down the highway at the end of the world"—black skies looming overhead, seamlessly gliding into the unknown, existing in bursts of feeling rather than words, sparks exploding behind in the distance. But it was only after I found myself in a feverish state hearing Trentemøller’s “Miss You” for the first time, that I recall closing my eyes and fantasizing about such a scene; so cinematic in my mind, yet deeply calming even in its power. That song marked the final track on the Danish-born electronic musicians’ debut album The Last Resort in 2006, and since, he’s been creating worlds of sound that bring you into a tantalizing trance, dragging you further and further through into his textured soundscapes.

And now, the master of haunting beats and amalgamating genres is back with Lost, an album that veers from his last to bring you a much more melodic and vocal-heavy record—albeit still chilling and totally possessive. Featuring everyone from Jonny Pierce of The Drums, Sune Wagner of The Raveonettes, Mimi Parker of Low, and Kazu Makino of Blonde Redhead—to name a few—Lost haunts with the same expertly crafted cinematic echoes of his past work, but with a refreshing and energetic new punch that’s not only a wonder to soak into your brain waves, but shows Trentemøller’s ever-changing style finding new ways to surprise us.

Last week I got the chance to chat with Trentemøller about the spontaneity of creation, honing in a melodies, and the ambient sounds of David Lynch.

Can you tell me about what inspired this new album? You’d been touring for a while prior to working on it.I started working on this album after we finished our last world tour about three years ago. For the last fews years I’d been playing and talking so much about music, but I really wanted to go back into the studio to create something new to to go out and play. So it was something that I thought about quite early. Early in the working process I could see that some of those tracks that I wrote would fit very well for a specific vocalist, so I started working much more song-focused rather than focused on the sound and the production. Many of the songs were actually written on my upright piano in the studio instead of front of the computer. That was really the biggest difference this time compared to the last. 

Did you have specific vocalist you knew you wanted to work with? And were you concerned about how that would all fit into one album or was each specific song what was most important to you?
No, actually when I started I didn’t have any plans of how the album should be. But that is actually how I always do it, so I try to be open and keep my options open. I was really sure who I wanted to sing those songs; I was set on having Mimi Parker from Low and that was the same case for all the other vocalists. So I wrote those songs without them knowing and it wasn’t until later that I contacted them and asked them if they wanted to be on the album. So that was kind of the opposite route as well. It was the music that demanded who sang on those songs.
Was it important for you to do something different with this album? You don’t seem like someone who likes to repeat himself and present the same sound twice.
Yes and no, because for me, I don’t really try to make music to surprise people. I don’t really try to make anything for anyone else but for me. It was written during the development of myself as an artist. Of course I don’t make the same music as eight years ago when my debut album came out, things have changed in my life . I really try to not have any plans for what I was going to do and really try to be as open-minded as possible from the starting point of making an album, because then there’s no pressure for me really and if I can keep that open mind it really helps me do something that’s also different from what I did earlier.
There’s a very strong cinematic quality to your music, which is a term thrown around often, but I mean it in such a way that your albums conjure up very grand emotional and visual landscapes, transporting me to a very specific place upon listening. Is that something you strive for?
I wanted a cinematic feel to the album, but I also wanted to have strong melodies and have something that can also work with just an acoustic guitar and a piano and the vocals. For me, it was not only important to have a great sound, but also it was also quite important for me that I started composing on my piano and not in front of the computer with all the possibilities to manipulate the sounds. So this way of writing songs definitely helped me and actually it was just later in the process that I started to add some sounds and put that cinematic feel to it and work on that. That is something I really love about the music, that hopefully people will listen to the album for a four or five times and find things you maybe wouldn’t hear the first time.

Yes, there are definitely songs of yours that I have been listening to over and over again for years and each time I discover a new feeling or layer.
My favorite albums that I’ve really listened to over and over all have this quality. If an album can do that, it can live much longer.
When you’re writing an album, do you find that you have to isolate yourself and get yourself in a very specific physical space or is it also about a certain mindset?
Yeah, when I was doing my first studio album, it was done in my bedroom—but that became a little bit too close for me. I really wanted to go to the studio so I could actually leave my apartment and go to this other place. So when I got new studio it was really great that it was possible for me to really isolate myself. This album took about 12 or 14 months and I was totally in my own space and not thinking about anything else and just focusing on making music.
Your performances are very theatrical and really give you something more than just what’s on your album. How do you look at the relationship between your recorded music and live performance?
For me, the working part after the album is to turn to music from the studio into something for the live stage. That is also the part that I really like because, after not seeing any people for 12 or 14 months, it’s really great to be with friends and show them my vision for the album and also for how to the music could be played. But also, it’s quite natural for me because I started music in a very different vein, so I also have quite a good knowledge of what is possible to do with drums and guitar and bass. It’s important to me to do different versions than are on the album when I play live. I think it’s boring sometimes when you see artists and they’re playing the same versions on the album—certainly in my case, I can maybe record a guitar like six or seven times on top of each other to give that very big sound but if I can’t recreate that—so it’s about adapting the music to the event. We’re actually changing quite a lot, so the only thing that is similar to the version on the album is the melody and the synths and maybe playing the different cuts, but it’s definitely something that I like to do because it gives the audience a new experience rather than just a band that plays the album exactly as it is on the album. My music has that cinematic feel, so it’s great to also put some kind of visuals with that—it’s not just a normal rock concert but something that I don’t think you can see in any other place.
As someone who loves cinema, do you listen to a lot of film scores?
I’m really not very  inspired by movie scores anymore, that was something I listened to in the past. But one of the things I have  been inspired by is the dark, simple sounds in film. But I have also been inspired by a lot of classical composers—those minimal melodies.
You’ve worked with so many great artists—on this album and prior—is there anyone else you’re really dying to collaborate with?
Yeah, but there are many. One person I really respect and listen to is Nick Cave. His vocals are so cool and so special, and somehow I think his voice would work well with my sound.

Where do you look for inspiration when you’re creating? Is there something that you do to get away from music for a bit and revitalize your creative energy?
One of the best things to do—because my studio is right near the beach—is, it’s nice to sometimes just take a walk and forget about music and look at the beautiful light on the water. And even going to the beach in the winter time when it’s cold and snowing, it still has a very kind of lonely feeling—in a good way. So that’s something that I sometimes do to get away from the music and be with my thoughts, where I can just be inspired and then go back to making music with a new energy. I  also love to watch movies; I’m a  huge fan of David Lynch and Woody Allen. So I’m also inspired by Lynch’s use of music and the whole sound design in his movies.
Yeah, even besides the brilliant Angelo Badalementi scores it’s as if sound is a character of its own in his work.
The great thing about Lynch’s films are all those ambient sounds, even the smallest things have such a sound, like lighting a cigarette. I love that about his work, he uses sound in a very different way, and that’s sometimes something I do in my own music. I just record and try to incorporate these low sounds in my music so there’s space and when you listen to the music.
Main image via

HBO’s ‘True Detective’ Should Make Winter Extra-Gritty

With Breaking Bad and Dexter both on their way out for good, and True Blood nearly wrapped up as well, premium cable is going to be hurting for both outlandish crime potboilers and a dose of Southern Gothic ooze. By all indications, HBO will be filling the void with True Detective, a drama series starring Matthew McConaughey alongside Woody Harrelson—one cool thing about the “Golden Age of TV” is that every A-lister seems to want a show of their own. 

Yes, it’s another of those unraveling-an-unspeakable-secret-in-a-rural-or-small-town stories, somewhat in the tradition of Top of the Lake, as well as The Killing, the Red Riding trilogy, BBC’s The Edge of Darkness, and Twin Peaksgoing back finally all the way to The Wicker Man, whose cultish overtones are apparent in the creepy Blair Witch­-like folk art we see dangling from trees in this clip. But we ought not to let this clear lineage—nor the reality of McConaughey being out of his depth against an actor like Harrelson (only one of these guys would show up in a Coen brothers movie)—depreciate our love for gory, unsettling mysteries.
And there does seem to be a promising twist on this familiar material: the two leads are pursuing their Louisiana serial killer over the course of seventeen years—well, actually, think Zodiac—and the show will have the multiple timelines to flesh that out. In the preview, for example, we see what appears to be a flash-forward to a slightly drunk McConaughey telling other cops the whole sordid story. A promising framing device, we hope, and not some more Lost-style shenanigans. Either way, we’re in for a TV show’s TV show.     

J.J. Abrams Reportedly Helming ‘Star Wars’ Sequel, Flood of Lens Flare Jokes Ensues

So, here’s what happened: Disney bought Lucasfilm, George Lucas became the company’s largest shareholder, semi-retired and rode his Tauntaun off into the sunset, three new Star Wars movies were announced which led to a glut of "Disney Princess Leia" jokes and now Star Wars Episode VII: Return of the Star Wars apparently has a director, and that director is apparently Lost creator and master of AfterEffects, J.J. Abrams. Fans have either responded with some curious goatee-stroking or a Vaderesque "NOOOOOOOO!"

If this is indeed super-duper confirmed, which it may not be for a while and the movie isn’t coming out until 2015 anyway calm down we have some other things to get through first, then it will only mean we are closer to a science fiction fandom singularity. Think about it. Abrams would now have hands in Alias, Fringe, Lost, Star Trek and Star Wars, as well as Revolution. One man, centering all these fandoms, like a bespectacled sun around which Comic-Con attendees orbit. And can someone be involved in both Star Trek and Star Wars? Are there rules about that?

Also, Michael Arndt, who wrote the screenplays for Little Miss Sunshine and Toy Story 3, is penning the thing, so uh, maybe some good-natured quirk with somewhat dark undertones and sentimentality to go with your space battles and Cantina shootouts? He and Abrams might make an interesting pair. 

The Internet, as it often does, had an absolute field day with the news, with Twitter fluttering with suggestions about directors that people like who could or should direct a Star Wars movie. Our own Tyler Coates had a few ideas ("Shit, give one of them to Julie Delpy!"), while other suggestions included a Steven Soderbergh-helmed "Ocean’s Eleven in space," a Coen Brothers Star Wars sequel and Sofía Coppola directing an adaptation where "The Millennium Falcon just flies in circles for hours on end." For what it’s worth, all these jokes are still funnier than all-capsing about MOAR LENS FLARE  in response to the Abrams story. There’s gotta be more, y’all. 

That said, here’s some YouTube short from Boy Genius Comedy that really drives the J.J. Abrams Really Loves Using Lens Flares things home. Like flogging a dead horse, with a lens flare highlighting the scene. 

Links: Brittany Murphy’s Husband Found Dead; ‘Lost’ Is—As You May Have Heard—Over

● Simon Monjack was found dead in his Los Angeles home just months after his wife, the actress Brittany Murphy, died after going into cardiac arrest. His cause of death is as of yet unknown. [LAT] ● Saturday Night Live skit-turned-unnecessary feature film, MacGruber, bombed hard at the box office, pulling in only $4.1 million, or way less than A Night at the Roxbury. [HR] ● Mark Twain’s autobiography, which he demanded be kept sealed for 100 years after his death, is scheduled for release this year. [DM]

● So, about that Lost thing… Reactions abound. [The Entire Internet] ● A thirteen-year-old boy climbed Mount Everest this weekend, while all other thirteen-year-olds died in video games. [Reuters] ● Sarah Ferguson, better known as Fergie, Duchess of York, was caught on camera selling access to her royal ex-husband. Brits have all the secret camera tabloid fun. [MSNBC]

10 Ways ‘Lost’ Might End, From Someone Who Has Never Seen ‘Lost’

I have never seen this Lost show that has so many of you William-Burroughs-while-writing-junkie-level addicted. I’ve read the impassioned essays about why Lost is the greatest thing to happen to the human species since the orgasm. I’ve experienced the ire inspired by people who have never seen Lost trying to explain it. I’ve even perused the anguish over how much Lost’s last season is apparently sucking. I’m just trying to communicate that I know what a big deal this show is for a lot of people. Right now, my friend’s gchat away message reads, and I’m paraphrasing here, “ARRrgghh, If Lost doesn’t end well, my womb will be barren and, yeah, the Lord shall have forsaketh me.” I’d like to ease some of this horrible pressure you’re under. Want to know how Lost ends?

There are ten extraordinarily likely scenarios that I can conceive of, having watched a grand total of 17 minutes of this show several years ago. I’ll give them to you in ascending order of likelihood.

10. Just two and a half hours of static followed by fifteen seconds of hardcore pornography. 9. We discover that the smoke monster is actually a metaphor for the Jung’s theory of neurosis when it has sex with the polar bear, producing adorable offspring that are really just a metaphor for Nietzsche’s theory of eternal recurrence, which of course references Mill’s Essays on Some Unsettled Questions of Political Economy. The smoke monster/polar bear offspring go on to write Men Are from Mars, Women Are from Venus. 8. The gang get into a tight pickle, but Sun slaps her way out of it. 7. The Dharma Initiative is found to be a code name for British Petroleum, a stunning and politically provocative finale that Lost’s creators knew would work out perfectly six fucking years ago. 6. Lost ends pretty much how you’d expect (everyone gets eaten by the Others and…something something…a guy who has never known love reconnects with his father), except the role of Jack Shepard has been recast and given to Jay Leno, who gets to have any TV job that he wants. 5. Charlie comes back from the dead and reveals the true nature of Locke when he informs Evangeline Lilly that [interrupted to bring you a word from our sponsor, Kia Motors!] 4. Jeffrey Lieber, J. J. Abrams, and Damon Lindelof lounge in a bathtub full of Emmys. For two and a half hours, they describe, with increasingly desperate glee, how they just wanted to take a vacation in Hawaii for six years. 3. Something to do with time travel? 2. Sacha Baron Cohen, done up as Bruno but completely naked, appears on screen. He grins maniacally at you and his flaccid penis starts spinning counter clockwise while he frantically pelvic thrusts at the screen. Soon, his not-at-all-engorged cock starts spinning so fast that the force it generates propels him into the camera. An animated Porky Pig bursts through the screen and stutters “th-th-th-th-th-that’s all folks!” 1. Like this.

‘Lost’ Rules the Social Media Landscape

For decades, Nielsen ratings were the industry standard for determining television ratings. However, in today’s ever-shifting media landscape, the ratings–which are collected from either carefully targeted self-reported viewer “diaries” or Set Meters installed on select television sets–are becoming increasingly obsolete. As consumers increasingly shift towards viewing television online, new measurements must be developed to capture this burgeoning dynamic. Analytics firm Networked Insights has concocted a particularly relevant measurement for today’s day and age, its SocialSenseTV network ratings. SocialSenseTV monitors “billions of interactions from millions of blogs, forums and other sources” to determine how much social media buzz television shows are generating. They’ve just released their top 20 list, which is topped by…drum roll please…Lost, a show that only ranks 10th in the Nielsen ratings.

Data like this confirms the obvious: the Nielsen ratings are increasingly becoming an outmoded analytical tool. Looking at the shows in the SocialSenseTV top 20 list, more than half aren’t in the Nielsen top 20 list. Shows like The Simpsons, Heroes, Saturday Night Live, and 30 Rock all appear in SocialSenseTV’s top 10, but none of them enjoy a Nielsen rating above a 35.

Why the disparity? Many of the shows on the SocialSenseTV list seem to skew younger and geekier, whereas the shows on the Nielsen list are mostly broad primetime fair. There’s probably a generational gap opening up here, with young 30 Rock fans naturally gushing about their favorite show on social media outlets more than older CSI fans. Indeed, looking at both the Nielsen Network top 20 list and Broadcast 18-49-year-olds top 20 list for the week of May 3, several shows conspicuously place high on the first and do not appear on the later: CSI, NCIS, The Good Wife, etc. Basically, lots of grandpas are napping to crime stories on the boob-tube while lots of kids are watching Glee on Megavideo.

For the time being, the Nielsen ratings still capture the most value. But, as the population ages and the average age of social media and internet use grows, new metrics like SocialSenseTV will come to play an increasingly prominent role in understanding how people interact with media. You may be number ten to Nielsen, Lost, but you’re number one for a lot of other people.

Links: Jimmy Fallon to Host Worst Award Show; Lady Gaga, Terrence Koh and Oprah Walk into a Bar…

● Jimmy Fallon will host the Emmys. In a statement, the former SNL star and current Conan/Leno third wheel said of the honor that it “has been a dream of mine ever since they told me I was doing it.” [Parade] ● Tila Tequila started a new celebrity gossip website, which would be something like Tiger Woods opening a brothel. [Videogum] ● The series finale of Lost will be another 30 minutes longer than previously announced, putting the whole thing into an electromagnetic loop so it actually plays forever. [Vulture]

● It took both downtown artist Terrence Koh and uptown girl Oprah to coax a pissy Lady Gaga out of her dressing room at the Met’s Costume Gala. A diva with an identity crisis, like we didn’t already know! [Page Six] ● Basketball star Kobe Bryant obviously does not spend enough time on the internet or he’d know that if you pose with something stupid on your head, you better damn well expect a flood of hilarious Photoshops. [Deadspin] ● Why not watch a Chinese boy break the jump roping world record? [Buzzfeed]

Links: Michelle “Bombshell” McGee Hearts Sandra Bullock, ‘Lost’ Spoilers Found Like New iPhone

● The woman who was sleeping with Sandra Bullock’s husband Jesse James, Michelle “Bombshell” McGee, says she wants to meet the actress. There’s no stopping a Miss Congeniality fanatic. [HuffPo] ● All things considered, this seems especially twisted, low and unnecessary: a photo gallery of stars talking about losing their virginity. Also known as a must-read. [Pop Wrap] ● What if George Constanza laid the blueprint for the modern hipster? [Buzzfeed]

● Someone having dinner in Hawaii happened upon a call sheet for the Lost series finale, filled with spoilers, and of course, it ended up on the internet, real or not. [Gawker] ● Rupert Grint, better known as Ron Weasley from the Harry Potter films, hopes to go on a road trip in an ice cream truck when he’s done with the film series. Money, not magic, makes these dreams a reality. [Celebuzz] ● The poor, pathetic dude who lost a prototype of Apple’s new iPhone while drinking in a German beer bar has been offered a pity trip to Germany, the motherland of hapless dudes, by Lufthansa. [Gizmodo]