Gary Clark, Jr. Helps Kick Off New Sundance Channel Series

Lloyd Bishop/NBC/NBCU Photo Bank via Getty Images

Every American city has its thriving music scene, whether that's salacious bounce in New Orleans, spiritual rap in Brooklyn or Portland's dreamy psych-rock. At Los Angeles' Soho House on Thursday, previews of three short films attempted to capture musicians on the make in each city. The new film series, created by Nokia Music and the Sundance Channel, will air in January with Gary Clark Jr.'s "Bright Lights" as its signature song.

The Texas guitarist, whose genre-hopping debut Blak and Blu has impressed critics as well as high-profile fans Alicia Keys and President Obama, sees his song about resisting the big city's empty thrills as a natural fit for the project.

"The story of my song runs parallel to the underground music scene in any city," he said. "It's about staying true to yourself while still showing love to people."

In a Q&A session after the sneak peeks, the young directors culled from the fashion and music video worlds offered up tales and observations from each of their locales.

"New York is a city of samples," director Emily Kai Bock said. Tracking rising talent such as the Underachievers and T'Nah Apex, a teenage rapper inspired by Lauryn Hill, Bock cited the city's constant commotion as not only a soundtrack for her film but inspiration for one of the bedrock techniques in rap.

All of her subjects have loftier concerns than getting rich. In the film, one of the Underachievers accuses mainstream rap of "keeping capitalism going."

"These are amazingly self-aware people," she said. "They want social change."

In a separate interview, Bock said she shot her film on the eve of Hurricane Sandy – and ended up trapped in the city for more than a week. A resident of Montreal, she also couldn't retrieve her film, which was locked away in a production house without power.

"I was sleeping on my producer's couch," she said, "because the budget only allowed a hotel for a few days. My train home got canceled twice."

Eventually she got her footage back and had to quickly edit three hours down to eight minutes – all while jetting off to London for the U.K. Music Video Awards. "Oblivion," her testosterone-soaked video for her old friend Claire Boucher (a.k.a. Grimes), snagged a nomination, but not a win.

In New Orleans, Abteen Bagheri immersed himself in the bounce scene with the help of ass-shaking ambassador Big Freedia. Bagheri waved aside the idea that the music is simplistic. "These are good rappers with crazy lyrical dexterity," he said during his introduction to a clip of the Diplo-approved rapper Nicky Da B. maniacally freestyling in a barbershop.

If a "hustler's attitude" might prevail in New Orleans, Portland could not be more different. "They're happy just making music for their friends," Bagheri said. Cue lots of slo-mo shots of overcast skies and vintage-clad rockers on mopeds.

The film series will eventually include segments on Los Angeles' electronica scene and the ties between strip clubs and Southern rap in Atlanta. All of the adventures are designed to highlight musical discoveries waiting in every American city.

"Music is the biggest passion for people," Nokia Entertainment vice president Jyrki Rosenberg said before the screening. "We'll travel all over the U.S. to learn about everyone's taste in music."

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Gary Clark, Jr. Helps Kick Off New Sundance Channel Series

Lloyd Bishop/NBC/NBCU Photo Bank via Getty Images

Every American city has its thriving music scene, whether that's salacious bounce in New Orleans, spiritual rap in Brooklyn or Portland's dreamy psych-rock. At Los Angeles' Soho House on Thursday, previews of three short films attempted to capture musicians on the make in each city. The new film series, created by Nokia Music and the Sundance Channel, will air in January with Gary Clark Jr.'s "Bright Lights" as its signature song.

The Texas guitarist, whose genre-hopping debut Blak and Blu has impressed critics as well as high-profile fans Alicia Keys and President Obama, sees his song about resisting the big city's empty thrills as a natural fit for the project.

"The story of my song runs parallel to the underground music scene in any city," he said. "It's about staying true to yourself while still showing love to people."

In a Q&A session after the sneak peeks, the young directors culled from the fashion and music video worlds offered up tales and observations from each of their locales.

"New York is a city of samples," director Emily Kai Bock said. Tracking rising talent such as the Underachievers and T'Nah Apex, a teenage rapper inspired by Lauryn Hill, Bock cited the city's constant commotion as not only a soundtrack for her film but inspiration for one of the bedrock techniques in rap.

All of her subjects have loftier concerns than getting rich. In the film, one of the Underachievers accuses mainstream rap of "keeping capitalism going."

"These are amazingly self-aware people," she said. "They want social change."

In a separate interview, Bock said she shot her film on the eve of Hurricane Sandy – and ended up trapped in the city for more than a week. A resident of Montreal, she also couldn't retrieve her film, which was locked away in a production house without power.

"I was sleeping on my producer's couch," she said, "because the budget only allowed a hotel for a few days. My train home got canceled twice."

Eventually she got her footage back and had to quickly edit three hours down to eight minutes – all while jetting off to London for the U.K. Music Video Awards. "Oblivion," her testosterone-soaked video for her old friend Claire Boucher (a.k.a. Grimes), snagged a nomination, but not a win.

In New Orleans, Abteen Bagheri immersed himself in the bounce scene with the help of ass-shaking ambassador Big Freedia. Bagheri waved aside the idea that the music is simplistic. "These are good rappers with crazy lyrical dexterity," he said during his introduction to a clip of the Diplo-approved rapper Nicky Da B. maniacally freestyling in a barbershop.

If a "hustler's attitude" might prevail in New Orleans, Portland could not be more different. "They're happy just making music for their friends," Bagheri said. Cue lots of slo-mo shots of overcast skies and vintage-clad rockers on mopeds.

The film series will eventually include segments on Los Angeles' electronica scene and the ties between strip clubs and Southern rap in Atlanta. All of the adventures are designed to highlight musical discoveries waiting in every American city.

"Music is the biggest passion for people," Nokia Entertainment vice president Jyrki Rosenberg said before the screening. "We'll travel all over the U.S. to learn about everyone's taste in music."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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LCD Soundsystem Film 'Shut Up and Play the Hits' Premieres at Sundance

James Murphy of LCD Soundsystem and filmmakers Will Lovelace and Dylan Southern

Before making James Murphy the centerpiece of their latest film, directors Dylan Southern and Will Lovelace had never met the LCD Soundsystem frontman. The filmmakers were fans of the band, but it was the timing and casual nature by which Murphy brought LCD to a close that captivated their attention. "Why would you do that?" Lovelace recalls thinking to himself about Murphy's decision to break up the group, arguably at the height of their popularity.

That lingering question of "why" lies at the heart of the two U.K. filmmakers' new documentary, Shut Up and Play the Hits. The film, which premiered this past weekend at Utah’s Sundance Film Festival, provides a behind-the-scenes look at the final days of LCD Soundsystem – and Murphy’s subsequent emotions – and includes pristine, never-before-seen footage of the band’s massive bow-out concert last April at Madison Square Garden.

Shortly after wrapping up their first co-directorial effort, 2010's No Distance Left to Run, a film that follows Britpop vets Blur throughout their 2009 reunion tour, Southern and Lovelace learned of Murphy's plan to retire LCD Soundsystem. While both men knew they wanted to work with the LCD frontman, making a film was just one of many ideas they would eventually run by the Brooklyn-based singer. "We were just having really open discussions," Southern says. "There was no firm plan of 'Oh, we're gonna make this film or that film.' It happened organically as we got to know James a bit better." 

Ultimately, it was agreed upon that the filmmakers would shadow Murphy during, leading up to and after LCD's final concert. For grieving fans, the emotional apex of the film is undoubtedly its visual chronicle of the band’s spectacular final gig – including tear-jerking renditions of LCD staples "All My Friends" and "Losing My Edge.” But the directors were also equally invested in capturing Murphy’s every-man persona: As such, the film bounces between MSG concert footage and shots of the singer – an extrovert onstage – performing menial tasks the morning after disbanding his most widely-adored creation. The camera follows Murphy as he makes coffee, sends email and walks his Boston terrier Petunia. For Southern, this contrast was deliberate: he hoped to juxtapose Murphy “the guy on stage” with the man who enjoys life’s "small moments."

To shoot the film, and more specifically, the concert footage, Southern and Lovelace employed old-school filmmaking tactics:  they didn’t use a live-feed or monitors. The directors couldn't see what each camera was capturing as the band performed at MSG. Southern says this retro approach helped the film accomplish a deliberately “in-the-moment” aura.

Leading up to the film’s premiere, many LCD fans have been wondering what the future holds for Murphy, and whether one even exists for his old band. In interviews last week at Sundance, Murphy was vague: he said he already misses his band, but doesn't "regret" calling it quits, and in another chat, he explained that he's still writing music  – often a song a day – but that it generally disappears shortly after being created.

Both Southern and Lovelace agree that while shooting their film Murphy appeared content with his decision to end LCD Soundsystem ("At [the time of filming] he had decided it was the right thing to do," Lovelace says). But they also hope that fans will come to their own conclusions. "The film is about making the audience contemplate rather than telling them how [Murphy] feels," Southern says. But he’s quick to provide words of caution. "It might make people question whether [ending LCD Soundsystem] was the right decision."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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LCD Soundsystem Film 'Shut Up and Play the Hits' Premieres at Sundance

James Murphy of LCD Soundsystem and filmmakers Will Lovelace and Dylan Southern

Before making James Murphy the centerpiece of their latest film, directors Dylan Southern and Will Lovelace had never met the LCD Soundsystem frontman. The filmmakers were fans of the band, but it was the timing and casual nature by which Murphy brought LCD to a close that captivated their attention. "Why would you do that?" Lovelace recalls thinking to himself about Murphy's decision to break up the group, arguably at the height of their popularity.

That lingering question of "why" lies at the heart of the two U.K. filmmakers' new documentary, Shut Up and Play the Hits. The film, which premiered this past weekend at Utah’s Sundance Film Festival, provides a behind-the-scenes look at the final days of LCD Soundsystem – and Murphy’s subsequent emotions – and includes pristine, never-before-seen footage of the band’s massive bow-out concert last April at Madison Square Garden.

Shortly after wrapping up their first co-directorial effort, 2010's No Distance Left to Run, a film that follows Britpop vets Blur throughout their 2009 reunion tour, Southern and Lovelace learned of Murphy's plan to retire LCD Soundsystem. While both men knew they wanted to work with the LCD frontman, making a film was just one of many ideas they would eventually run by the Brooklyn-based singer. "We were just having really open discussions," Southern says. "There was no firm plan of 'Oh, we're gonna make this film or that film.' It happened organically as we got to know James a bit better." 

Ultimately, it was agreed upon that the filmmakers would shadow Murphy during, leading up to and after LCD's final concert. For grieving fans, the emotional apex of the film is undoubtedly its visual chronicle of the band’s spectacular final gig – including tear-jerking renditions of LCD staples "All My Friends" and "Losing My Edge.” But the directors were also equally invested in capturing Murphy’s every-man persona: As such, the film bounces between MSG concert footage and shots of the singer – an extrovert onstage – performing menial tasks the morning after disbanding his most widely-adored creation. The camera follows Murphy as he makes coffee, sends email and walks his Boston terrier Petunia. For Southern, this contrast was deliberate: he hoped to juxtapose Murphy “the guy on stage” with the man who enjoys life’s "small moments."

To shoot the film, and more specifically, the concert footage, Southern and Lovelace employed old-school filmmaking tactics:  they didn’t use a live-feed or monitors. The directors couldn't see what each camera was capturing as the band performed at MSG. Southern says this retro approach helped the film accomplish a deliberately “in-the-moment” aura.

Leading up to the film’s premiere, many LCD fans have been wondering what the future holds for Murphy, and whether one even exists for his old band. In interviews last week at Sundance, Murphy was vague: he said he already misses his band, but doesn't "regret" calling it quits, and in another chat, he explained that he's still writing music  – often a song a day – but that it generally disappears shortly after being created.

Both Southern and Lovelace agree that while shooting their film Murphy appeared content with his decision to end LCD Soundsystem ("At [the time of filming] he had decided it was the right thing to do," Lovelace says). But they also hope that fans will come to their own conclusions. "The film is about making the audience contemplate rather than telling them how [Murphy] feels," Southern says. But he’s quick to provide words of caution. "It might make people question whether [ending LCD Soundsystem] was the right decision."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Civil Wars to Headline Google Music Series at Sundance

Civil Wars perform at the Queen Elizabeth Hall in London.

Folk-pop duo the Civil Wars will headline the T-Mobile Presents Google Music Series, a string of gigs at the TAO Nightclub in Park City, Utah during this year's Sundance Film Festival. The Civil Wars will perform on Monday, January 23rd with support from Feather and Belle. Bad Rabbits and Fort Lean will play on January 20th, Vintage Trouble and the Whigs on January 21st and G-Side and Chancellor Warhol on January 22nd.

This won't be the Civil Wars' first experience playing at the prestigious film festival. "We had a wonderful time [at Sundance] last year," singer and guitarist John Paul White tells Rolling Stone. "We saw some great movies and old friends, met some new friends and whiskeys. We thoroughly enjoyed playing the ASCAP stage with other artists we really dig. It makes sense that we would enjoy the festival – there's a certain kinship to what we do as independent artists. The perspectives are the same. It's inspiring."

The duo, who recently recorded a song with Taylor Swift for the forthcoming Hunger Games soundtrack, have a longstanding interest in film music. "I had – and still have – a lot of favorite soundtracks," says White. "I fell asleep almost every night as a kid to the Sense and Sensibility soundtrack. I also owned the Braveheart soundtrack, and I remember being moved by how the music blended so perfectly with the film. It made me want to score a film one day."

White was also a big fan of the soundtracks for Empire Records, Forrest Gump, Reality Bites and Garden State. "All of those soundtracks were on steady rotation after seeing the films," he says. "Nowadays, The Hours soundtrack by Philip Glass and Yann Tiersen's soundtrack for Amelie, as well as Clint Mansell's soundtrack for The Fountain, have been playing often in my house."

Though Civil Wars are still promoting their debut, Barton Hollow, White has his mind on recording a follow-up soon. "Hopefully we stick to our guns and make a record with one criteria – pleasing ourselves," he says. "The only thing we can control is whether we like it or not. We have to let the chips fall where they may when it comes to other opinions of it."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

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Civil Wars to Headline Google Music Series at Sundance

Civil Wars perform at the Queen Elizabeth Hall in London.

Folk-pop duo the Civil Wars will headline the T-Mobile Presents Google Music Series, a string of gigs at the TAO Nightclub in Park City, Utah during this year's Sundance Film Festival. The Civil Wars will perform on Monday, January 23rd with support from Feather and Belle. Bad Rabbits and Fort Lean will play on January 20th, Vintage Trouble and the Whigs on January 21st and G-Side and Chancellor Warhol on January 22nd.

This won't be the Civil Wars' first experience playing at the prestigious film festival. "We had a wonderful time [at Sundance] last year," singer and guitarist John Paul White tells Rolling Stone. "We saw some great movies and old friends, met some new friends and whiskeys. We thoroughly enjoyed playing the ASCAP stage with other artists we really dig. It makes sense that we would enjoy the festival – there's a certain kinship to what we do as independent artists. The perspectives are the same. It's inspiring."

The duo, who recently recorded a song with Taylor Swift for the forthcoming Hunger Games soundtrack, have a longstanding interest in film music. "I had – and still have – a lot of favorite soundtracks," says White. "I fell asleep almost every night as a kid to the Sense and Sensibility soundtrack. I also owned the Braveheart soundtrack, and I remember being moved by how the music blended so perfectly with the film. It made me want to score a film one day."

White was also a big fan of the soundtracks for Empire Records, Forrest Gump, Reality Bites and Garden State. "All of those soundtracks were on steady rotation after seeing the films," he says. "Nowadays, The Hours soundtrack by Philip Glass and Yann Tiersen's soundtrack for Amelie, as well as Clint Mansell's soundtrack for The Fountain, have been playing often in my house."

Though Civil Wars are still promoting their debut, Barton Hollow, White has his mind on recording a follow-up soon. "Hopefully we stick to our guns and make a record with one criteria – pleasing ourselves," he says. "The only thing we can control is whether we like it or not. We have to let the chips fall where they may when it comes to other opinions of it."

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

Find music selection in Amazon here

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