Today's Pick

Eminem has unveiled a new dark video for his new track "Survival" from the "Call of Duty: Ghosts" video game. The Slim Shady goes back to the Detroit neighborhood where he grew up for the visuals of his new song, and it finds the Detroit rapper shows up spray-painting a ghostlike face onto the side of a building as he raps about what sounds like his journey through the music world, which he characterizes as a fight between fame and artistic expression. The track was also the second single from his upcoming eighth studio album, "The Marshall Mathers LP 2," hits stores on November 5.
Produced by DJ Khalil, "Survival" marks Eminem's return to recording, a much-anticipated comeback since his last album "Recovery," which carried the hits "Not Afraid" and "Love the Way You Lie" was released in 2010. Soon after dropping "Survival," Eminem quickly followed it up with the single "Berzerk," the Rick Rubin-produced old school hip-hop track that sampled Billy Squier's "The Stroke." The hard-hitting joint finds Eminem celebrating his return in typically grand fashion over breakneck, arena-rock guitars and trashy drums.
"Survival" shows the man born Marshall Mathers at an aggressive peak, delivering cuss-filled lines about his return as Eminem raps about what sounds like his journey through the music world, which he characterizes as a fight between fame and artistic expression: "I'm... back again with another anthem/Why stop when it doesn't have to end?" He continues, answering his own question while the bombast of distorted electric guitar and a jumbo beat offer foundation. Eminem said: "The song's about fighting back and it seems like it fits 'Ghost' perfectly."
The gloomy visuals takes viewers back to the 40-year-old rapper's neighborhood in Detroit, chosen as the appropriate location for the storyline where Eminem is the leader of a stencil skull graffiti-making crew of masked artists that spray paint the streets. Images from the video game also play in the background in those scenes where the Grammy winner raps the verses to the DJ Khalil-produced tune featuring Liz Rodrigues. The clip ends with Eminem checking out a house with the number 19946, representing the Dresden Street home where he spent his formative years in Detroit. Watch Eminem's dark video for the meaningful song below.

Summer's not quite over yet, because Paris Hilton has just invited you to her EDM-heavy pool party. The 32-year-old hotel heiress, queen of the nightclub circuit and recent Cash Money signee, makes her return to the music world with the release of her new single "Good Time," featuring her Cash Money label-mate Lil Wayne and produced by DJ Afrojack. The song's an EDM-pulsing rave riot, with the video finding Hilton donning a sequenced bathing suit, partying with super soakers and posing with male models in speedos. And she's quite unapologetic about it all.
"Good Time" is expected to serve as the lead single to appear on Hilton's upcoming, untitled sophomore studio album, due in early 2014 and marks Hilton's return to music after a seven-year hiatus. The new set, Hilton described as "very eclectic" and also heavily produced by Afrojack, features collaborations with RedOne, Snoop Dogg and Flo Rida. "I'm working with so many talented and awesome people for my album and can't wait to share more of the music," Hilton tells Rolling Stone. "For me this song is so catchy and fun the way it moves from pop to a true dance number."
As Hilton's Cash Money debut, the track has the hotel heiress celebrating a night out, is entirely electronic, with amped-up synths, hand claps and plenty of Auto Tune, and abides by party rocking, flipping off the haters and, of course, having a good time. "I came here just to party/Don't you hate on me," Hilton sings in the sugary hook. "I might be a bit tipsy/It's OK cause you're with me." Wayne, bare chested and donning oversized red sunglasses, makes a grand Weezy-like entrance, with a long guest verse that boasts: "YMCMB, bitch/Paris doesn't speak French."
The smoldering video for song was directed by Hannah Lux Davis, and shot in Los Angeles back in July 23. It features Hilton flaunting her figure and gyrating poolside, fist-pumps some glowsticks and poses luxuriously, in a barely-there bikini and cooing suggestively over a juiced-up dance and turnt-up beats as she throws an epic pool-party bash, complete with glow sticks, bottles and a 10-foot-tall robot, otherwise known as Kryoman. "The video is so sexy and so much fun, I really wanted it to be colorful and full of life and my friend Kryoman flew out to be in it and he just makes the video so much fun like spraying all the CO2 canisters," Hilton recently told MTV News.

OneRepublic have premiered a music video for their newest single, "Something I Need," the fourth single from alternative rock band's latest third studio album, "Native," which is refreshing and catchy, finds frontman Ryan Tedder and his bandmates bringing all of their considerable musical prowess to bear in the service of these massive, melodic, state-of-the-art pop songs. Consequently, "Native" is a major player in a growing revolution for musical accountability in pop music and a release that should have people excited for the future of pop once again.
OneRepublic are always incredibly light, catchy, and get stuck in my head for days. "Something I Need," is no exception. Co-written by Tedder and Benny Blanco, "Something I Need" celebrates the fact that even if a couple loses everything, they still have each other ("Honey, you don't need to be afraid/If we got nothing, we got us"). "Something I Need" says, "Woke me up right after 2:00/Stayed awake and stared at you/So I wouldn't lose my mind." That song also includes a line about getting drunk to cope with life's stresses: "Last night I drank too much/Call it our temporary crutch."
Beginning with a revelation about only living once, "Something I Need" ends with the line: “If we only die once, I wanna die with/ if we only live once, I wanna live with you." finally stating the answer to the question of with whom exactly he wants to live and, by extension, die. It's absolutely predictable, but that's beside the point. "Something I Need" is cheesy, emotionally barren, and clichéd. It is one of my favorites songs on the album, although it had to grow on me, I knew "Something I Need" would be picked as official single at some point.

"The video for 'Something I Need' will hands down be the craziest video we've done," Tedder and his bandmates said of the music video last month. "And funniest. And hopefully best. Time for a risk." The group take an interesting and comical approach for the video. Directed by Cameron Buddy, the four-minute clip sees an awkward and ordinary man dealing with his bad luck man after finding himself attracted to a gorgeous woman. The man eventually gets close to the woman after being attacked several times by a vicious hound infected with rabies and a gospel choir. It's cute and entertaining.

Fall Out Boy get back to business with their super energetic music video on Rolling Stone for their new punk song "Love, Sex, Death," the first digital single, has been described as a fiery slab of early-80s punk and early '90s hardcore, from the Chicago pop-punk quartet's upcoming new album "Pax Am Days," to be released on October 15th via Island and will become the band's second release in 2013 after the comeback album "Save Rock and Roll," and marks a return to their hardcore musical roots with aggressive guitar work.
Before becoming A-list pop stars due to factors musical and non-musical, Fall Out Boy was ostensibly a punk band. But since crossing over with 2005's "Sugar, We're Goin' Down" and maybe even before that, they've never released a song that so wholly embraces the canonical ideal of punk rock as much as "Love, Sex, Death," the one minute and 24 seconds of knuckle-dragging hardcore bombast they kicked out today. And which producer coaxed all this aggression out of them? None other than noted punk/metal enthusiast Ryan Adams, who's been indulging his own punk proclivities lately.
"Love, Sex, Death" is a rollicking bit of hardcore fury and showcases Chicago rockers' two-day studio session at Adams' Pax Am Studios in Los Angeles. As band's bassist Pete Wentz told earlier last month, the track showcases influences from Misfits, Black Flag and other late '70s and early '80s punk bands. Wentz called it the "antithesis" of Save Rock and Roll, and based on the aggressive guitar work on "Love, Sex, Death," that's exactly what we can look forward to. If "Love, Sex, Death" is indicative of the rest of the set, "Pax Am Days" will be quite the contrast to Save Rock And Roll's hyper-glossy emo jock jams.
The clip for "Love, Sex, Death" is as raw as you can get: a fast-paced supercut of footage shot by the band members themselves on tour over the summer. The raw video shows the rockers at their most punk, their stripped-down instrumentation and curt lyrics adding up to an Eighties-style screed that reflects the overall tone of the record. "These are cave paintings, scrawled to just let the world know we were here. This video is made up of footage we shot ourselves on our worldwide tour in the summer of 2013," Wentz tells Rolling Stone.

Charlotte Emma Aitchison, better known by her stage name Charli XCX is wasting no time keeping the momentum flowing since the release of her eclectic debut "True Romance" earlier this year, she's already getting ready to follow it up with another one. There aren't many details out there for the next record, but she's shared a flirty colorful video as she spends a night out with the girls in Tokyo for the fizzy, club-happy new track, "SuperLove," the first single from Charli's upcoming sophomore major label album, that’s planned for release in March 2014.
Follow-up to the song she wrote for Icona Pop and worldwide hit single "I Love It," the shiny pop tune "SuperLove" has more of a big-room nightclub feel than anything on her debut "True Romance." "'SuperLove' is a song about running away and falling in love with someone," the 21-year-olf London alt-pop goddess explained, "and it being really dangerous and bad for you but still amazing, romantic and wonderful. 'SuperLove' is the best drug and this song is about overdosing on it and falling in real deep." Charli added that the song was influenced by artists like Bow Wow Wow, The Waitresses and The Flying Lizards as well as "those Lolita-esque bratty French girls and other girl power heroines."
"SuperLove" is pure, unadulterated pop at its finest and doubles down on the luxurious alt-pop and drug metaphors of "True Romance" highlights. Charli has nailed everything that's great about modern pop music with this uptempo electro ditty, putting her contemporaries to shame. "Super Love" has a touch of the 90s to it, which shouldn’t come as a surprise considering Charli's affinity for the decade. Shiny and playful, Charli's kicked another goal with "SuperLove." And this one is all jangly and peppy, guitars intermingling with her glo-fi sonics and her rapid-fire singing style.
The vivid, disco-infused crazy-fun video was shot in Tokyo's Robot Restaurant by Charli's boyfriend Ryan Andrews. It features Charli and friends strut through Tokyo, hanging out and get into some mischievous activity that includes dancing with robots in a neon club/funhouse, all while dressed like the world's most stylish candystriper and even corralling motorcycle gangs at the end. It's an entertaining video with Charli's words describing a relationship that could get her into some trouble. "I Wanna fall into your superlove/Yeah my heart never wants it to stop, please save me/'Cause I never seem to get enough/you're the bullet and you're making me drop, please save me," she spits lines.

Drake is back with a Miami Vice/Scarface-inspired theatrical video for his '80s-flavored track, "Hold On, We're Going Home," served as the second single from his newly-released third studio album, "Nothing Was the Same." While this short musical film does not feature the 26-year-old Jewish Canadian rapper undergoing a religious rite of passage, it does take place in the very Jewy locale of Miami, where a gun-toting Drake rescues his kidnapped girlfriend. Not exactly shul, but we'll take it.
Drake often blurs the line that separates rap and R&B, but his new single "Hold on We're Going Home" is something else entirely: a plunge into foggy synth-pop. And it finds Drake in full croon, pushing past the boundary established by previous hits "Find Your Love" or "Marvin's Room." Featuring the previously unknown duo Majid Jordan, the song cuts sharply against the aggressive myth-making of "Started From the Bottom," leaving recent tracks "The Motion" and "All Me" to bridge the gap. The synthpop ballad closer to early '80s Lionel Richie than it is to Jay Z, and finds Drake hoping to lock down a little love.
Just like Thicke, Drake addresses his song to a good girl whom he attempts to seduce. His meaning, however, is ambiguous: "You're a good girl and you know it," he sings to a woman in a club, "you act so different around me/I know exactly who you could be." It's possible that Drake, like Thicke, is trying to prise the pants off a demure woman who wouldn't otherwise be inclined to get wild with him. But given Drake's other verses and the mournful tone of the music, it's more likely that "Hold On, We're Going Home" is addressed to a woman acting the familiar part of a bad girl to get attention. You don't need to do that, Drake is saying; hold on to yourself and I'll take you to a place of safety.
The 7-minute-long, obviously gangster-inspired short film, takes place in 1985 Miami and was directed by Bill Pope, shows Drake playing a criminal kingpin who living the life of an '80s throwback baller, celebrating shady business deals with his partners A$AP Rocky, but their fun stops there because Drake learns that his lady has been kidnapped by a rival gang Steven Bauer (of "Scarface" fame), and it transforms Drake does everything in his power to bring her home, as he and his crew into a balaclava-wearing, machine gun shooting SWAT team to infiltrate a warehouse where the thugs are hiding out. "Basically it's a video full of acting because I'm dying to get back into acting," Drake told MTV News.

Rihanna throws up dollar bills and swings around scantily clad in her most provocative video yet for her stripper club anthem, "Pour It Up," the second US single and third overall single from 25-year-old Barbadian recording artist's latest seventh studio album, "Unapologetic," hit shelves last November. And now it's clear to see why as Rihanna was so unimpressed as she has seriously raised the bar when it comes to being raunchy in her new video for "Pour It Up."
"Pour It Up," is a bass rumping club song with a minimal hip hop beat. It is a characteristically chilly and an irresistible, Mike WiLL-produced standout banger for the ladies. As Rihanna sings about "Strip clubs and dollar bills" on this feminine spin of the cash-and-strippers lyrical content that is so popular with male rappers. Lyrically, Rihanna brags about her wealth on the song, which finds Rihanna turning a strip-club anthem into a declaration of independence, pulling out her dollar bills at the strip club, getting drunk, and bragging loudly.
We're usually used to hearing Rihanna use those powerful vocals of hers belting out some of the biggest dance hits. But with "Pour It Up," we're given another mirror of Rihanna's talents. Rhyming with some swag, the song is a bass rumping club song that'll more than have the rumping shaking at the club. Starting off slowly, the track goes into full grind on twenty seconds into the jam. Rihanna goes through mere scornful contempt and terrifies with her blank, relentless focus. she's at her best when she's flaunting.
In characteristically provocative fashion, Rihanna appears to be going for a glamorous strip club vibe under water in her new raunchy video, co-directed by the singer herself. The "Unapologetic" star is seen wearing a jeweled bra and denim thong "shorts" with a blond wig and diamond-studded bra, twerking aggressively and tossing around wads of cash while seated on her throne, a gold-adorned chair, surrounded by water and vapors, singing about "strip clubs and dollar bills." Later in the video, Rihanna gets up and makes a splash by having her pole dancers slap their butts to water on beat. While not necessarily high art, the video certainly matches the lavish strip-club exploits referenced in the song.