Today's Pick

The Gaslight Anthem play to spastic dancers in the music video for their dramatic new single "Get Hurt," the second single and title track from American rock band's just-released fifth studio album. Musically, the song continues where their major label debut "Handwritten" left off, moving the band into smoother sonic territory. With its big chorus and the polished production, "Get Hurt" is a far cry from their punk-meets-Bruce Springsteen early days. The video features a modern dance theme, with dancers appearing alongside the band, who are playing in a lavish barroom.
Breaking away from their by now trademark South Jersey, cruising with the radio on brand of punk rock that first got them noticed, the band is feeling particularly emotional on their new album. Strip away the glossy, nostalgic lines touting vinyl records, handwritten letters and grandma's old radio, the New Brunswick rock four-piece have cashed in time and time again on nods to old-school hot rods, blue collars and frontman Brian Fallon's ceaseless heartache. But "Get Hurt" finds catharsis, strength in endless heartache as Fallon seems to have recognized the painful pattern. It might be about heartbreak (an upside-down heart forms the cover art), but Fallon has always written about such stuff.
The album's slow-building title track, is a surprisingly Killers-esque turn for a band who used to occupy the middle ground between Bruce Springsteen and Social Distortion. The modern, alternative ballad, featured a hard-rock sound, offers plenty of melodrama, building to an intense sing-along classic, sparkles with the kind of romance and vulnerability that has become one of the band's hallmarks but at the same time the atmospheric, expansive sound signals a progression in favor of a more nuanced approach.
The video takes place in one of those dimly-lit, old-timey and run-down dive bars where full of half-drunk, half-sleepy people. But when the Jersey boys start rocking out to their anthemic title track, they're not entertaining just any old rowdy crowd; instead, the bar denizens hop up and start doing some spastic interpretive dancing as soon as the chorus kicks in. It ends, as it must, with a pretty lady in particular gives it her all, dancing amid a flurry of pillow feathers as red light bathes the room. It's pretty silly! Watch it below.

The Killers' tour may be temporarily sidelined by Brandon Flowers' laryngitis, but they're certainly not suffering from a lack of exposure. The Las Vegas rock band follow their animated love story of "Miss Atomic Bomb" with the slightly creepier fare of "Here With Me," appears on The Killers' latest fourth studio album, "Battle Born." The American rock band clearly are trying to flush their video vaults before the new year, as they have spoiled us with their third music video release in two weeks.
Flowers penned this windswept cinematic ballad with the lead singer of Scottish band Travis, Fran Healy. The Killers frontman also penned three Battle Born tracks with producer Daniel Lanois, marking the first instances of someone other than a member of the group receiving a writing credit on a Killers studio album. "Here With Me" encapsulates the '80s tinged stadium rock vibe that permeates through "Battle Born," as the third single. A huge power ballad, made to be played live, "Here With Me" is one of album's anthems.
The video was filmed in Blackpool on a break in The Killers' recent U.K. arena tour, and re-teams legendary director Tim Burton and starring actress Winona Ryder, the pair, who worked together on the iconic film "Edward Scissorhands," for a tale of love, obsession and, naturally, insanity. Fans of old school Burton, who've grown tired of his more Disney flair, will no doubt revel over the throwback trademarks of wax mannequins and startling dark deco themes. Catch the clip and don’t let this chummy holiday season stop you from getting spooked. That clearly hasn't thwarted this director.
Inspired by the 1935 film, "Mad Love," this eerie clip features all of the expected dark, artistic Burton twists and sees director at his creepiest, most Gothic best, with a cruel twist in the last minute that elevates things to a whole new level of creepiness. While the rock band performing in an entirely empty, ostentatiously grand performance hall, and pale guy with bug eyes caught in a Mannequin-like romance. That is, he's in love with a wax Winona Ryder, which occasionally comes to life to love him back. As we learn in the end, mannequins are great to love because they can be your date at dinner and also your candle. Every story has a moral. Watch.

Four years after the last album "Day & Age" saw them dip their toe into dancier waters, The Killers make their grand return with a artistic video for the Killersiest comeback single, "Runaways," the lead single from the Las Vegas rock band's upcoming fourth studio album, "Battle Born," which is their first in four years and due to be released on September 18.
Influenced by the best material from Bruce Springsteen, "Runaways," is an 80s-rock fever dream that's crazily big, even by their grandiose standards: a Vesuvian gusher of Springsteen mythos, Toto-Journey power hooks and lead singer Brandon Flowers' unmistakable commitment to unmistakable commitment." When you put a thunderbolt in your new album logo, we expect a first single as mighty as the Mighty Morphin Power Rangers. In the Killers' new song, the band comes pretty close, and reminds us how much we've missed them.
"Runaways" starts off gently with some bare-bones piano chords, an acoustic guitar and not a whole lot else, but it gains momentum faster than you can remember the lyrics to "Mr. Brightside." Flowers is an excellent voice in telling the story of a teenage love that led to a shotgun wedding and is threatening to fall apart years later. Four minutes later, you've got a galloping desert rocker good enough to roll with the best of the Vegas quartet's catalog. "Runaways" continues the Killers' fascination, and had that very powerful ability to open the record.
Dark and dreamy, the Warren Fu-directed video is a combo of the abstract and performance video which mostly shows Flowers and his bandmates hit the desert and perform in a pitch black room on top of red futuristic platforms. As Flowers said, the clip "definitely conjures up some spirits," that leave vapor trails of fist-pumping, tear-streaming rock sonically akin to Asia's "Heat of the Moment." The band opts for brilliant pops of color with a lot of black background as Flowers recounts his seemingly doomed romance. It also looks like the performance screen for "Rock Band," without the actual game. Everybody looks good, refreshed.

New Jerseys finest, The Gaslight Anthem, a.k.a. Bruce Springsteen's favorite new band, return this Summer with a powerful new video for the title track "Handwritten," from quartet's upcoming fourth full-length release and major-label debut, will be released tomorrow. The track is one of the best songs on the album, the guitar overlay in the interlude to the chorus is amazing, it's a perfect example of The Gaslight Anthem sound and such a beautiful use of a simple harmony.
The Jersey four-piece indie rockers have paved the way in their hometown's notorious rock 'n' roll flavor with a refreshing sense of honesty, and replete with manly yearning and stymied loves, there is something inevitable about how much former punks The Gaslight Anthem sound like Bruce Springsteen. "Handwritten," takes them further away from their independent "punk Springsteen" roots into Boss-sized would-be stadium rock with a nod to Celtic-influenced Brit rockers Big Country and the Alarm.
When a songwriter reflects the raw and brittle shade to his honesty, it becomes difficult to resist what he has to say and like so many composers before him, the lead vocals Brian Fallon's heart has its scars and band-aids and the way it bleeds is truly magnetic. "Handwritten" isn't as nostalgic as The Gaslight Anthem's earlier discog and that's because through a more immediate supply of fleshed out rock anthems, the New Jersey collective put a focus on tearing out emotions from memories and putting them to words, chords and rhythms.
Drummer Benny Horowitz came up with the concept of the cyclical tale of a record's life cycle and focuses on how it can mean the world to someone while being just a piece of junk to another. In the Kevin Slack-directed clip, a musician takes a song he came up with from the garage to the stage one evening where a young couple in the audience enthusiastically embraces the track. After getting such a strong reaction, the song is pressed into a record, which the girl later finds in the record store and buys for her boyfriend with a note sharing how much that moment in time meant to them.