Many a Gen Xer and Tribe Called Quest fan likely bought tickets to Outside Lands 2017 expecting that Tribe was going to be a major highlight of the weekend. The group, having just released their first album in 20 years and going on what they say will be their final world tour, left thousands disappointed — twice — after rescheduling their OL appearance, and then canceling altogether on Saturday seemingly minutes before they were set to go on.

By way of explanation, they've issued an open letter to fans, which seems to explain the troubles as stemming from grief that they felt over the recent loss of member Phife Dawg, who died in March 2016 at the age of 45 from complications from diabetes.

They say that performing without Phife on Thursday night at Red Rocks Amphitheatre in Denver affected them deeply enough that they could not summon the proper energy to perform Friday, but thought they would be able to pull it together for Saturday. Then, it's unclear what happened.

"We wanted to play for you and we wanted to honor Phife's wife in their hometown," they write. "Unfortunately, everything did not come together before the closing curfew."

They promise they "will correct this and regain your confidence."

Below, the letter in full, obtained by the LA Times.

Dear Questers,

We want to sincerely apologize to you for our absence at the Outside Lands Music Festival. Your love, dedication and support of our music is important to us. Our performance at the festival has been months in the making and in those months we have been fraught with an emotional and eager excitement to touch the stage in the place where Phife Dawg made his home.

Upon the eve of playing for you, we performed not to a mixed crowd of festival patrons but to a filled house of solely Questers. It was humbling. The beautiful Red Rock amphitheater was filled with voices helping us get through a difficult performance without our brother Phife. You would think that with every performance we heal a little more and the sadness is easier to handle. Sometimes that is the case and sometimes the grief and loss is compounded. Although the house was filled with love and we felt it all, we also felt the huge void of Phife's absence. We walked off that stage deep in grief.

In show business there is a notion that the "show must go on" no matter what. Sometimes though, when you have lost someone close, you are riddled with the notion that there is no going on. That Friday morning upon traveling to San Francisco, a wave of grief was still on us and in that moment we could not see the “on” to go on to. Eventually though in face of loss you find that glimmer of light to bring you to your center and you find the “on.”

We missed Friday but we found our "on" the following day. We wanted to play for you and we wanted to honor Phife's wife in their hometown. Unfortunately, everything did not come together before the closing curfew. For that, we are deeply sorry. We look to correct this and regain your confidence.

Actually, let us restate that — we will correct this and regain your confidence.

A special shout out goes out to Another Planet Entertainment, the promoter/organizer of Outside Lands.

They put together an incredible event that was enjoyed by many despite the fact that we were unable to add to that joy. We want to express our appreciation for their efforts and encourage our fans to continue to support them. And to those who traveled far and wide, we sincerely apologize and are looking for ways to make this up to you. We are fully aware that without you (the fans), we would not be where we are today. We appreciate you having our back during this challenging period.

We are not making excuses for our absence. We just wanted you to know that we are still grieving and yet we want to honor each and every one of you for 28 years of music love. Thank you for the support.

Sincerely, Tribe

Previously: Tribe Called Quest Bailed, But Metallica Rocked The Polo Field On Day Two Of Outside Lands

Arriving tonight in our very own "Paradise City" in the coldest month of the summer, the recently reunited Guns N' Roses are set to rock AT&T Park tonight, probably sometime after 8 p.m. — and you'll probably be able to hear it from many corners of town. Doors are at 6:30 p.m. and there are still tickets starting at $40 for nosebleed, and going up to $400 for field level.

KRON 4 reports that GNR's stage was being set up at the stadium on Monday, and CBS 5 tells us about a weird blip during the band's set in Houston on Friday — apparently the piano Axl was playing started acting "possessed" during "November Rain," playing some dissonant tinkling sounds by itself, and he couldn't get it to stop. He interrupted the song to ask someone to do something, but then he just ended up rolling with it, as you can hear in the clip below.

As announced back in April, this is the first time since the '90s that Axl, Slash, and bassist Duff McKagan have all shared a stage together. Axl was the only remaining, official member of the band for the better part of two decades, famously taking more than a decade to release the album Chinese Democracy, which finally arrived in 2008. It was, reportedly, the most expensive album ever produced, with production costs topping $13 million.

So grab a ticket if you're of a certain age and in the mood to relive your childhood/awkward teen years/college years, or else stand out in your backyard tonight around 10:30 p.m. and you'll probably hear a few verses of "Welcome to the Jungle."

Previously: Guns N' Roses Reuniting For Tour, Playing AT&T Park August 9

A major highlight for many of us at this year's Outside Lands fest in San Francisco's Golden Gate Park was a chance to see, live on stage, the Muppets' famed house band Dr. Teeth and the Electric Mayhem. Floyd, Janice, Animal and the gang performed a cover of "Home" by Edward Sharpe and the Magnetic Zeros, as well as The Mowgli's "San Francisco," The Band's "Ophelia," and the Beatles' (via Joe Cocker) "With a Little Help From My Friends" in their brief set, which also included some fun video clips of the band touring around SF and talking about how they think, if they remember correctly, they all first met in the Haight.

Luckily, if you want to relive it or if you didn't get to the festival this year, you can watch the whole thing above.

In addition to getting to make a lot of stoner jokes on the new ABC reboot of The Muppets, Dr. Teeth and the Electric Mayhem have been on a bit of a comeback tour recently, as Rolling Stone notes — though Sunday's five-song set was their only live music festival appearance thus far. Animal did a drum-off with Dave Grohl back in December, and that same month, just after Christmas, they debuted the cover of Paul Simon's "Kodachrome," which you can watch and listen to below.

Related: J. Cole, Big Boi, Miike Snow And More: Outside Lands 2016 Day One, In Photos
Radiohead, Anderson .Paak, Big Freedia And More: Outside Lands 2016 Day Two, In Photos

Phish-heads all know this already, but Phish is back in town!! They're playing three back-to-back shows at Bill Graham tonight, tomorrow, and Wednesday, and the hardcore fans will of course be going to all three. The band performed Saturday night up in Washington State and arrived in town Sunday, and frontman Trey Anastasio headed out to wander the streets of SF on his day off.

At an unknown intersection in what appears to be Chinatown, he decided to sit down and jam with these three musicians playing traditional Chinese music, showing off how he could play the ruan (Chinese lute) with the best of them. "I met some new friends in San Francisco on the day off!" Anastasio wrote on Facebook.

Notably, Phish last played a series of shows at Bill Graham in 2014 during the World Series.

Previously: Video: Phish Played 'We Are The Champions' Right After The Giants Won Last Night

There's a funny bit of trivia behind this new single and video from Oakland-based duo Steel Cranes. As vocalist and guitarist Tracy Shapiro tells it, she and the other half of this duo, Amanda Schukle hadn't had any contact with each other for a couple of weeks after finishing recording their first album, Ouroboros, back in 2013. But they got back together to start working on new songs right away after the break, and they found out they'd each written a song with the same title.

"I told Amanda about a new song I had written called 'Today Is The Day', and she said something along the lines of, 'You’re joking, right?!' [and] I said, 'No,' because I hate jokes," Shapiro says. "I was delighted with the serendipity of the situation [but then I] clarified, 'We're doing mine, right?'​"

Steel Cranes, whose sophomore album Tango drops August 5, has earned plenty of good press in their first three years of performing. Writing about "Boat Song" from their debut album, Bitch Magazine said, "They shred, but they're not frantic. Their sound lacks any pretense whatsoever, offering raw, relentless power instead." And talking about their last released single, "Pretty," SF Weekly made comparisons between Shapiro's "languid, raspy" vocals and Courtney Love's, and wrote, "It's almost hard to believe that the song was created by a duo... because there's just so damn much going on in it."

Schukle says the songs on the new album, which they duo has been performing live for a while, are more complex and nuanced than those on their debut effort — they the pair did all of the recording and mixing themselves, with Schukle playing bass, drums, guitar, and keyboard. "Tango has​ ​a lot more of a post-punk vibe," says Schukle, "definitely some grunge, maybe a little classic rock, and also some generally weird shit that I’m not sure how to describe. But it is also more beautiful.”

In coming up with a concept for the "Today Is The Day" music video, the Shapiro and Schukle decided to go with an absurdist take on a sports drink commercial, shot around the streets of Oakland and near Lake Merritt.

"Playing militant coaches of a misbehaving track team wasn't too far of a stretch for our acting abilities," jokes Schukle.

"I had a Gatorade commercial from 15 years ago that featured women's soccer stuck in my head," Shapiro says. "But due to the soaring cost of shin guards, we landed on the delinquent track team motif." And, she adds, "The day after the shoot, neither of us could move, we were so sore from all the exercise!"

The California Honeydrops are a good-time band with an unmistakably Californian style, despite drawing on influences like Delta blues, gospel, and Motown. While frontman and trumpet player Lech Wierzynski sings and plays trumpet, he's joined by Johnny Bones on tenor saxophone and clarinet, Lorenzo Loera on keys, and Beau Bradbury and Ben Malament on tub bass and various percussion, including washboards, jugs, and drums. Their latest album, A River's Invitation, has been described by one critic as "a fabulous, feel-good, fun-fest album of joyous musical partying."

And their performance style can only be described as trying to get a party started. "The whole point is to erase the boundaries between the crowd and us," Wierzynski says. "We don't make set lists. We want requests. We want crowd involvement, to make people become a part of the whole thing by dancing along, singing, picking the songs and generally coming out of their shells."

This year, they're excited to be touring as the opening act for the great Bonnie Raitt, with whom they'll be playing at the Fox Theater in Oakland — their hometown — on April 23. The show's sold out, but you may find some tickets popping up on Craigslist or elsewhere. (And, despite the band's party-making ethos, the Bonnie Raitt crowd necessitates a sit-down show, so sadly the floor at the Fox won't be open for bouncing around.)

Wierzynski spoke to SFist via phone, from his house in Oakland.

For those who don't know, how would you describe your music?
I would say it's a mix of a lot of West Coast rhythm and blues, and a lot of New Orleans music as well. Those are the primary influences — it's good music to dance to and have a good time to.

You got your start with the band in Oakland, but you're originally from Poland?
Yes, I was born in Warsaw, but I'm the only member of the band who's not from California. I came here about 11 years ago after college [at Oberlin] with another of the founding members of the band [Ben Malament]. We played a lot at BART stations, a lot at Macarthur, Rockridge, and Ashby. That was our main gig at first, just being street musicians. We also played a lot at the Castro Muni station. We played all over, on Fourth Street in Berkeley, just wherever the money was good.

When I first came out here I started working with some older R&B musicians. I played with a couple of guys form Johnny Otis's old group, Shuggie Otis's dad, and there was a band I played in for a bunch of years with a lot of older cats. But eventually I wanted to start my own band. This band was started about two years after moving here [in 2007], and it was because I really wanted to get back to street playing.

And you've been touring with Bonnie Raitt, how's that been going?

That's been great. She's gotta be our biggest fan, or at least our most important fan. She's such a sweet person. We get to watch her every night and she's such an amazing performer. There's so much to learn just by watching her and listening to her play. And we've had the opportunity to play in front of these huge audiences who've never heard our music before. So we've been loving life. And we've been jumping up on her set sometimes, and we've had some of her band members come up and play with us during our set. It's been great.

What are some of your favorite cities to play in?

There's a lot of great cities with a lot of great people. Northern California, it's always great here. People love to party, people love to sing along, and it's easy to get people loose and having.

New Orleans is a great city to play where people really know the music. But you never know where you might have an amazing gig. You might just have an amazing time playing on a street corner. I think spontaneity is the key to making great music, and that can happen anywhere. You can duck off into the woods at a festival and just have this amazing time playing there, you never know.

Where in the Bay Area have you played recently?

The last couple shows were at the New Parish and at the Freight & Salvage — one show for the partying children and one for the sit-down crowd, you know. Keeping 'em separate so they don't get mad at each other. And we did a CD release for two nights in September at the Fillmore. I enjoy the bigger venues and the smaller venues — the only shows I don't enjoy are the ones where people are just standing around talking.

What can you tell me about the new album?
It's been out for a minute now. I really like it. It's my favorite one that we've made so far. We recorded it all at home, in my living room in Oakland, and it has a homemade feel. We're a band that doesn't have a record label and we raised money for original album using Kickstarter and playing fundraisers at the Cheese Board in Berkeley. Nowadays we have management and stuff but we're still independent and want to keep it that way.

It's maybe the most innovative album that we've made. People think of us as sort of a retro band because of the sounds we use, but people who know music can hear that there's a lot of stuff in there — just in the way we lay our beats and the bass lines, and just the way we put the music together that's actually pretty new.

I think it's cutting edge but most people think our music is retro. Just because we don't use any synths or computer sounds or whatever, people think of our sound as retro. You might see though, if you really listen, that there's a lot going on in the songs that hasn't really been done before.

Classic rock supergroup Crosby, Stills & Nash, a.k.a. Crosby, Stills, Nash & Young, are fully and completely broken up forevermore, as Graham Nash tells Billboard in a new interview. The reason: Nash says he and David Crosby have had a total falling out, and "I don't want anything to do with Crosby at all." He declares that not only will the group never record an album again, but they'll never do a show again either. This means that the group's couple of shows in early 2014 will go down as their last in the US, and the last performance that Crosby, Stills, Nash & Young gave together was at the October 2013 Bridge School Benefit in Mountain View, which SFist attended.

Nash goes on to explain he's been receiving some "nasty" emails from Crosby, though he doesn't elaborate on the subject of them. Nash earlier said to Dutch magazine Lust for Life,

"I don't like David Crosby right now. He's been awful for me the last two years, just fucking awful. I've been there and saved his fucking ass for 45 years, and he treated me like shit. You can't do that to me. You can do it for a day or so, until I think you're going to come around. When it goes on longer, and I keep getting nasty emails from him, I'm done. Fuck you. David has ripped the heart out of Crosby, Stills, Nash & Young... The truth is, after being totally immersed in me and David and Stephen and Neil's music, I'm done. I've had 10 years of it. Leave me the fuck alone. I need to concentrate on me now."

The comments come just as Nash, 74, is releasing his first solo album in 14 years, titled This Path Tonight, which comes out April 15.

Crosby, Stills & Nash toured together as recently as September and October of 2015, when they did a series of shows in England and Europe.

While the four, including Young, have gone their separate ways before to do solo albums and tours, something all four are doing currently, fans have been used to expecting occasional reunions like those that have happened in the last two years.

Now, however, Nash insists, "In my world there will never, ever be a Crosby, Stills, Nash & Young record and there will never be another Crosby, Stills & Nash record or show."

Below, footage from one of those last shows, in 2014.

St. Lucia is the name of the band and musical enterprise started by South African-born singer-songwriter Jean-Philip Grobler. Along with wife Patti Beranek and live band members Ross Clark, Nick Paul, and Dustin Kaufman, Grobler is now on tour promoting St. Lucia's third studio album, Matter, which was released in late January, and they'll be playing two shows in SF this weekend — Saturday at the Fillmore, which is sold out, and Sunday at The Independent, for which there are still some tickets — as well as a sold-out show at LA's Fonda Theater next Thursday.

The album marks a bit of a departure from the breezy, "tropical" vibe of the previous two — and Grobler has said in interviews that he did more collaborating on the songs this go-round than before — though fans will find plenty that's familiar in 80s-pop-inflected tracks like "Dancing on Glass," "Rescue Me," and "The Winds of Change."

SFist spoke to Grobler today from his hotel in Portland, where St. Lucia is playing a show tonight.

SFist: First off, how would you say the new album differs from the first two?

Jean-Philip Grobler: It's still difficult for me to step away and see it from an objective point of view, but maybe I'm starting to. It feels a little like on the last album I was still maybe holding back a little bit, in the sense that as you're still coming out as an artist, in the back of your mind you're a little concerned with how people are going to react and generally what people think of you and how they're hearing you. And with this album I think I'm starting to think less about that and just not hold back.

Also on the first two albums, things were quite drenched in reverb and there's a lot of atmospherics, and in this album — and maybe this is a product of touring and playing live so much — I'm singing out more on a lot of the tracks and there's less stuff to fill empty space. If there's empty space then it's just that, empty space. And it feels a little braver maybe? Also it feels a little less overtly tropical. A lot of people have branded us "trop pop" or "tropical pop" and this is a bit less so.

Do you have a favorite track?

There's a few... I'm really proud of the whole record, but I keep coming back to "The Winds of Change" — it has this windswept, sci-fi darkness to it, almost this Spaghetti Western quality and mystery about it that I really like.

I know your wife, Patti, also plays in the band. What's it like working with and touring with a spouse?

Generally it's great. Occasionally we'll get in a very public screaming match with each other in front of the band like we did the other night, and because you're always around other people sometimes you just have to wash your dirty laundry in public. But for the most part it's amazing. Back in the beginning, money was a challenge — we'd just put all of our money into the band and things were financially very difficult for a few years, but as we hit our stride and things have fallen into place it's been a real pleasure. We're fortunate just to be able to travel and see all these different places together.

Where did the name St. Lucia come from?

First off, the band is named after St. Lucia in South Africa not in the Caribbean. I was thinking of what I should name the band, and I thought maybe I should make some reference to where I'm from, to South Africa, so I closed my eyes and took a pen out over a map of South Africa and just wanted to see where it would land. On the fifth try I landed on St. Lucia and the moment I hit that name all the stars aligned, and I just knew that had to be it.

Also, the first two albums had this tropical tinge to them — kind of this hyper romantic, extroverted sound. And when you hear the name St. Lucia, whether you've been to the place in South Africa or the Caribbean, you think of somewhere you might escape to, someplace you may have hazy nostalgic memories of — and St. Lucia is the saint of light, and I think my music has some light to it, too.

There's an obvious 80's influence in your music, and you've said that Fleetwood Mac and Phil Collins were big influences on your songwriting. Was Phil Collins really huge in South Africa when you were growing up?

He was massive! I feel like he was massive everywhere. I don't love everything Phil Collins has done, but the good stuff is so undeniably good. In many ways it's because he was this completely untraditional pop star — he was this balding, not skinny, British guy — and I really liked the fact that he completely — no pun intended — went against the odds and became this huge pop star.

Everyone always stamps us with this 80's thing, but the main idea I think, the main thing I think about in terms of what the sound conjures up is it's like the last decade of indulgence, of hubris in a way. We as a society started in the 90's being more concerned about the environment and people started being more globally aware, but before that there was a kind of blissful ignorance in a way. The good side of that is that there was a lot of music being made where people didn't hold back, people were just throwing everything at the wall and seeing what worked, and this what we try to do, I think, work with all these different ideas and see what works together and what sounds right.

How many times have you toured the US at this point?

Man — maybe like eight or nine times? Ten?

Do you have any favorite cities, or favorite touring memories?

We've had good experiences in nearly every city we've been to at this point. Sometimes you have technical issues or you're just exhausted as a band, and somehow those seem to be the memories that stick out. My best memories are from times when just everything goes wrong. I'll tell you this one, in particular. We had this one show in Minneapolis, and it was like minus-30 degrees and we were packing all the gear into the tour van after the show. Dustin, our drummer, was the last person to put his bag in, and when we got to the hotel that night he turned to everyone and was like, "Hey, where's my suitcase? Did anyone see my suitcase?" And it turned out he put his suitcase in the van but assumed someone else was going to put something else in and close it, and we all assumed he'd closed the door, but what happened was we ended up driving a half hour with the rear door of the van open and luckily, miraculously, only Dustin's suitcase fell out, because there were guitars leaning against the entrance to the van and like all of our equipment. We were so lucky.

How come no Coachella this year?

Well, because most festivals don't have bands return two years in a row. It's not like we'd turn them down!

Is there anything about the Bay Area or San Francisco audiences that you especially like? Care to make any comparisons to Brooklyn?

I feel like we always have an awesome time in San Francisco. The food is great, the views are beautiful, the city's just such a special place. My parents came over one year and we had a few shows around the Bay Area, one up in Tahoe, and we spend like two weeks just driving all around. We went down to Monterey and Carmel and we went up to Point Reyes, and we went to Sonoma, and we really got to experience the whole area and it's just beautiful, everywhere.

As for New York, you can see how both cities have had this rampant gentrification. Like where we live in Williamsburg, we moved there seven years ago and it's all just completely changed just in that time. We're getting a Whole Foods that's about to open, and now there's an Apple store, and a Levi's store, and a J. Crew. There wasn't even a grocery store anywhere nearby when we moved in. You just see this runaway thing, and on the one hand it's convenient for people like us who've moved in, but of course you see people being driven out just by their property taxes — like older people who own their homes but because property values have skyrocketed they have to move just because they can't afford the property taxes anymore and that's kind of sad to me. But I've had Uber drivers who grew up there and they're happy because the value of their property has just gone through the roof and they can now sell it and buy something somewhere else. But it's kind of a moral minefield. I don't even know how to feel about it anymore.

St. Lucia plays in SF on March 5 and 6, at the Fillmore and the Independent, respectively. Find tickets for the March 6 show here. The LA show is sold out, but there appear to be some available on Craigslist.

I can't recall the last time a French pop band gained as much traction in the U.S. as Yelle, the 15-year-old trio who made their first splash with the single "Je Veux te Voir" in 2005. Now, on their way down south for Coachella, Yelle is doing a single show tonight at Mezzanine, showcasing their new album, and a catalog of music that's still pretty new to American audiences via some widely spread remixes on Spotify and elsewhere.

Their latest, Complètement Fou (Completely Crazy), adds even more dancier elements to their already aggressively poppy sound that's compatible with the likes of Calvin Harris, Scissor Sisters, Betty Who, and Robyn. (Arguably, Yelle may have gotten some of their first exposure stateside via their cover of Robyn's "Who That Girl," translated to French as "Qui Est Cette Fille.") And in their review of Complètement Fou, Paste Magazine quipped, "Like the K-Pop superstars of today or the ‘90s swinging pop of Pizzicato Five, you don’t need to be bilingual to enjoy the hell out of Yelle."

Tickets for tonight's show are still available, and $25 advance.

When local band Pomplamoose publicized what appeared to be just a sincere plea to fans to continue their support following an alleged $11K loss on tour, many people responded to the struggle of musicians to make it in today's world. But it quickly became clear that there was somewhat of an ulterior motive at work since band member Jack Conte has another project as CEO of a startup called Patreon, whose purpose is to provide a crowd-funding platform for bands like Pomplamoose, so TechCrunch and others took him to task for not disclosing that and creating a viral story that also served to market Patreon.

Anyway, Pomplamoose is still making music and raising funds via Patreon, and here's their latest video, which is for a cool mashup of Stevie Wonder's "Superstition," as sung by Conte's band partner Nataly Dawn, and two Herbie Hancock songs: “Watermelon Man” and “Chameleon.” I like it anyway.

[h/t: Laughing Squid]

For those not living under YouTube-free rocks the last half-decade, you should know that OK Go specializes in the type of music video that goes crazy viral because of its sheer awesomeness and ingenuity, and they seem to need to outdo themselves each time they make a new one. There was 2009's breakout viral hit that started it all, "Here We Go Again," with all that impressive treadmill dance work (21 million views); 2009's very psychedelic video for "WTF?" (2.5 million views); 2010's "End Love" featuring some 1970s-style fast-forward editing and swell choreography (9.4 million views); the silly pet tricks of 2010's "White Knuckles" (16.8 million views); 2010's "This Too Shall Pass" featuring a very elaborate Rube Goldberg machine all shot in one take (43 million views); 2011's collaboration with the Muppets on the "Muppet Show Theme" (6.9 million views): 2012's wildly elaborate, all acoustic sound experiment, "Needing/Getting," using that souped-up car and the race course of instruments that are "played" by the car (28 million views); and now this.

It's the video for their song "The Writings On the Wall," it's again shot all in one take, involving a massive amount of choreography, practice, set-up, and help from dozens of other people (you can see them all appear out of nowhere at the end of the video). The name of the game is optical illusions, all of which involve the band members themselves. In a word: amazing. And that is exactly what 90% of the Facebook shares will simply say today as this wends its way around the world.

Not satisfied to be America's indie-pop darlings, MGMT has been pushing boundaries and alienating some fans in the process with their second and third albums — but no one can say they're not keeping it interesting! Their third, self-titled album came out September 17, and on it is this totally wacky track, "Alien Days," that lies somewhere, influence-wise, between Queen and Sgt. Pepper-era Beatles. The spooky-ass video was just released today, for Halloween, and features lead singer Andrew VanWyngarden singing while tied up naked on a gyroscope. Also, there's a kind of incredible alien dance sequence at the 2:15 mark.

Did we mention there are also goats? And aliens eating blue caviar. It's very Matthew Barney, this.

VanWyngarden says the song is about the feeling that "a parasitic alien is in your head, controlling things.”

[WOW]

Thom Yorke and the Atoms for Peace crew are on tour, and will be headlining tomorrow night at the Treasure Island Music Fest. After their Hollywood Bowl show Thursday night, Yorke tweeted out a cryptic message to fans, referring to "Blinkin' Hollywood" and linking to the group's website. As it turned out, a blinking Hollywood sign on the homepage leads to their terrific new video for "Before Your Very Eyes...", which they also posted to Facebook this morning. If it looks like something Bjork might have done, that's because it was made by someone who's done Bjork videos, Andrew Thomas Huang. It starts out with a hypnotic, undulating, sepia-toned landscape, eventually incorporating Yorke's singing head rising from the brown. Then things brighten up a little, but continue falling apart.

[Rolling Stone]

Prepare to be amazed.

Hi Fashion is a duo out of L.A. consisting of Jen DM and Rick Gradone. Legend has it they met in a gay bar in New York when Rick hit on Jen, thinking she was a man. The rest is history, and they originally named their band "Hi-Fashion $5.99," but dropped the price for simplicity's sake.

This song is infectious, so, consider yourself warned. Download the track here, on iTunes.

[WOW]