The official line-up for the 2012 Coachella Festival–a strange world where hipsters, hip-hop enthusiasts, ravers and wandering Burning Man attendees, join for one magical celebration–has just been announced.

The two week line-up includes some majorly MuuMuse Approved acts, including Swedish House Mafia, Florence + The Machine, Avicii, Morgan Page, M83, Kaskade, Afrojack, Miike Snow, Santigold and many, many more.

Will you be heading to Coachella Valley for this year’s festival? Who knows…I just may show up twirling in the crowd!

Looks like Florence Welch is having some trouble shaking the devil off her back.

Earlier today, Florence + The Machine premiered the jaw-dropping new video for “No Light, No Light,” the third single from her second studio album Ceremonials, which was (fittingly) released on Halloween.

Voodoo, creepy church boys straight out of The Omen and distinctly Illuminati/Satanic-friendly undertones? Yep–looks like the work of our beloved Florence to me!

Watch as Ms. Welch is endlessly chased down by a dark-sided (and blue-skinned) demon creature, getting poked and prodded in rag-doll form until finally succumbing and taking a tumble from great heights. The cinematography is absolutely stunning, and Welch looks gorgeous playing the witchy songstress she so naturally is.

The perfect visual for a most perfect song? Methinks yes.

Oh, and another thing: I know I haven’t made a peep about Ceremonials, but trust me: I think it’s thoroughly brilliant. Epic. In fact, it’s a little too epic for me to handle. Every time I listen, I have to walk away for a while and collect myself. There’s just too much epic! I don’t know how, when or if I’m ever going to properly review that record–but it’s fucking ACE.

Ceremonials was released on October 31. (iTunes)

Florence + The Machine – “Shake It Out”

After unleashing buzz single “What the Water Gave Me” a few weeks ago, Florence + The Machine has officially kicked off her/their second album campaign with the release of the Paul Epworth-produced lead single “Shake It Out,” set to premiere on UK radio today. So…how is it?

Breathe. It’s absolutely amazing, truly.

Like so much of what made Lungs one of the greatest debut records of the past 10 years, “Shake It Out” finds Welch delivering her signature romantically macabre lyricism within her safe space–that is, the crashing sounds of tambourines, drums, dramatic string-work and church organs with all the mournful intensity of a funeral procession.

Yet “Shake It Out” is more of a triumphant moment than the angst and beautiful tragedy of, say, “Cosmic Love”–Florence Welch style, anyway: “Tonight I’m done with my graceless heart / So tonight, I’m going to cut it out and then restart,” the chanteuse cries. I mean…that’s one way to start over. I myself prefer a new haircut.

“It’s always darkest before the dawn,” Welch assures us throughout her stunning, almighty new single. That’s Florence Welch for you: Glass is always half full! (Of brimstone and blood, that is.)

“Shake It Out” is the lead single from Ceremonials, released October 30 in the UK and November in the US. (iTunes)

Yes, it’s true: The witchy Miss Florence Welch has returned!

After several months of touring ’round the world and many weeks spent recording with acclaimed British producer Paul Epworth (Adele, Kate Nash) at England’s famed Abbey Road Studios, the fiery-headed chanteuse is back with “What The Water Gave Me,” the whimsical lead single from her as-of-yet untitled sophomore effort, due out on November 7.

As she told Pitchfork in an interview posted today, their work on Lungs–especially “Cosmic Love” (my personal favorite)–inspired Welch to keep collaborating with Epworth: “The way that “Cosmic Love” turned out really made me want to do the whole next record with him. That song was written in like half an hour in a tiny bedroom studio and I always had this idea for a really big sound coming from all that clatter, and he managed to capture that on record in the best way.”

Just as with all great Florence productions, “What The Water Gave Me” weaves together echoed, otherworldly instrumentation and pleasant plucks of harp with Welch’s soulful sound; her voice quivering above crashing drums and noisy guitar licks as she throws her head back to deliver howl after almighty howl by the song’s massive finale. Add in an organ and the sobering chant of a choir and et voila: Florence is taking us to CHURCH!

As one of the most genuinely exciting new artists to have emerged in the past decade–as well as the driving force behind one of my top albums of 2009–it’s reassuring to see (and hear!) that Lady Welch is right on track with her follow-up: It’s spooky. It’s soulful. It’s flawless. Were you expecting anything less?

“What the Water Gave Me” was released on August 23. (iTunes)

“I was born bad, but then I met you / You made me not so wild, but my dark side’s true,” Lana Del Rey sings in the first few seconds of the swaggering Spaghetti Western strum of “Kinda Outta Luck.”

And just like that, the 24-year-old New York-bred chanteuse–born Lizzy Grant–has already become of my most anticipated acts of 2011.

A self-described “gangster Nancy Sinatra,” the striking songstress certainly looks the part, evoking some of the silver screen’s most glamorous Femme Fatales, including the va-va-voom bombshell quality of Brigitte Bardot and the bold features of Angelina Jolie.

When she sings she only broods further, echoing the dramatic conviction and theatrical vibrato of a healthy helping of ’60′s chanteuses, including Marianne Faithfull, Nico and Dusty Springfield (and yes, Nancy Sinatra too).

“Think Nina Simone singing a Cat Power song over Lil Wayne‘s track,” she recently told Flush The Fashion in describing her sound.

But even if you remain dubious about her own self-analysis, a quick survey of the talent she’s working with in the studio certainly adds some credibility to her case, including Liam Howe (Cocknbullkid), Chris Braide (Will Young, Diana Vickers) and Emile Haynie (Tinie Tempah).

“Video Games” is Del Ray’s most most recent release, which just scored major exposure for the singer after being played during Fearne Cotton‘s June 30 show on BBC1.

The haunting devotional gently rises and falls with a kind of world-weary exhaustion and restlessness not unlike fellow brooding bombshell chanteuse Sky Ferreira, making what’s but a simple love-swept ballad on the surface sound more like the accompaniment to a funeral procession. “They say that the world was built for two / Only worth living if somebody is loving you / Baby now you do,” she sings mournfully, enveloped by violin strings and gorgeous harp plucks.

But apart from the twangy, badly behaved “Kinda Outta Luck” and the crushing balladry of “Video Games,” there’s material like “DIET MTN DEW,”, her most modern sounding attempt: “Do you think we’ll be in love forever? Do you think we’ll be in love?” she coolly croons above a swaggering, slow-skipping hip hop rhythm.

Just as with the first time I heard Florence + The Machine back in 2009, I’m utterly entranced by Ms. Lana Del Rey: She’s dark, she’s mysterious, and her music sounds like something Quentin Tarantino‘s already queuing up to include in the soundtrack in his next bloody vengeance epic.

“I heard that you like the bad girls / Honey, is that true?” she ponders during the chorus of “Video Games.”

You see that? She knows me too well already.

For more on Lana Del Rey, check her out on MySpace and YouTube.

On January 24, Adele will release 21 in the UK, the highly anticipated follow-up to her Grammy Award winning debut, 19.

There’s been an outpouring of overwhelmingly positive critical praise surrounding this record from various media outlets over the past few weeks, so I’m going to caution you now: Believe the hype. It really is that good.

21 was produced and co-written by a varied cast of talented musicians, including 19 producers Jim Abbiss and UK hit-maker Eg White, as well as Rick Rubin (co-president of Columbia Records) and Paul Epworth, the British producer responsible for–amongst many achievements–Florence + The Machine‘s flawless 2009 debut, Lungs.

But despite the wealth of talented producers sitting behind the soundboard in the studio, it’s impossible to deny the true talent at the helm of this project: Adele.

Like a modern day reincarnation of Dusty Springfield, the young UK songstress is a throwback to the legendary voices of yesteryear. Her voice’s soulful quality, technique, depth and sheer power is nothing short of awe-inspiring.

But beyond being an adept vocalist, it’s Adele’s ability to emote that carries her a cut above most of today’s singers: When she’s angry, she burns. When she hurts, she bleeds. And we, as the listeners, feel it with every song. To think she was only 21 years old at the time of writing and recording this album? Well, it’s almost frightening.

“Sure, she’s got it all / But baby, is that really what you want?” Adele taunts on the wicked, sauntering Ryan Tedder-produced “Rumour Has It”–one of the many bluesy, country-tinged offerings on the new record–a sound first introduced to her by the tour bus driver during her American tour last year, which resulted in a wealth of new influences including “Wanda Jackson, Garth Brooks, early Johnny Cash, early Dolly Parton, the Carter Family…especially June Carter.”

Yet while the album is occasionally colored with flashes of bright, playful melodies as displayed on “Rumour Has It,” the bulk of the record is mired in sorrow and rage, as evidenced in the gigantic lead single, “Rolling In The Deep.” “The scars of your love, they leave me breathless / I can’t help feeling we could have had it all,” Adele achingly belts out during the song’s pounding chorus.

If “Rolling In The Deep” is 21‘s raging storm, it’s the album’s closing moment that finds the dark clouds slowly rolling away.

“Someone Like You,” is–as pop producer RedOne recently described Lady Gaga‘s upcoming single, “Born This Way”–almost too precious to talk about. “Never mind, I’ll find someone like you / I wish nothing but the best for you too,” Adele sadly assures herself above a simple, devastating piano melody. The song burns with a raw ache that we can both hear and feel. They just don’t write them like this anymore! Simply put: This song is everything.

However, it’s “Set Fire to the Rain”–apart from the two aforementioned numbers–that may well be the album’s crowning achievement.

Produced and co-penned by Fraser T Smith (Taio Cruz‘s “Break Your Heart”; James Morrison‘s “Broken Strings”), “Set Fire To The Rain” is a complete and utter triumph for the young chanteuse; an aching power ballad that packs enough of a punch to cause jaws to drop to the floor.

“I set fire to the rain, watched it pour as I touched your face,” she cries out during the song’s dramatic, chill-inducing chorus as pianos and string crash and burn beneath the surface. The song plays like an instant classic and, with any luck, may become a pop standard for years to come when released as the album’s second single.

Additional highlights include the white flag-waving surrender of “Take It All,” (“So is it over? Is this really it? / You’re giving up so easily, I thought you loved me more than this”) and the twangy “Don’t You Remember,” a simple, heartbreaking moment of mourning that finds Adele desperately searching for some sign of life from her former flame: “When was the last time you thought of me? Or have you completely erased me from your memories?” Adele woefully croons atop the song’s slow strumming guitar.

There’s also the breathtakingly romantic bossa nova swing of “Lovesong,” Adele’s acoustic take on The Cure‘s oft-covered 1989 hit single. In the end though, it’s hard to spotlight particular standouts on a record complete with so many quality offerings.

21 is a gorgeous collection of honest lyricism and winning songcraft. It’s an incredibly personal experience, complete with a genuine depth and sincerity that trumps its predecessor and proves Adele to be even more of a force to be reckoned with than most had probably imagined.

The album will undoubtedly go on to become one of the major contenders for many “Best Of ’11″ lists compiled later this year, and is nearly guaranteed as much–if not more–critical praise and recognition as her 19 received when award season comes rolling around once again.

And let’s not forget, as it’s worth repeating: She’s still only 21 years old.

21 was released on January 24 in the UK. (iTunes) (iTunes UK)

It’s time for that age old tradition again: Pop star records amazing pop song, indie artist covers said pop song during BBC’s Radio 1 Live Lounge, indie fans are allowed to listen to something popular, pop fans are allowed to listen to something that doesn’t exclusively contain synthesizers, indie and pop fans rejoice and come together as one.

EVERYBODY WINS.

Here we have Vampire Weekend putting their ska-tinged spin on Cheryl Cole‘s sublime 2009 debut single “Fight For This Love” on today’s Radio 1 Live Lounge.

It’s decent and all (a bit dull/flat in my opinion), but here’s one that’s even better:

The Sugababes, covering Florence + The Machine‘s “Rabbit Heart (Raise It Up).” Yes, I realize it’s the reverse condition (pop covering indie). Doesn’t matter–SAME RULES APPLY!

Now that’s a tune.

It’s that magical time again!

A time when–year after year–music enthusiasts of all walks of life come together to scratch their heads in complete and utter befuddlement while sifting through bizarrely incomplete, lackluster lists of nominees for the biggest categories of the most coveted award in the music industry: ~The Grammys~!

So let’s have a looksee at the four major categories announced on the live CBS broadcast tonight, shall we?

Song of the Year
Eminem & Rihanna – “Love the Way You Lie”
Cee Lo Green – “F**k You”
Miranda Lambert – “The House That Built Me”
Ray LaMontagne – “Beg, Steal, or Borrow”
Lady Antebellum – “Need You Now”

While none of these songs are actually anywhere near the greatest songs of the year (my own list will come in the following few weeks), the title ought to go to Em and RiRi for their seven week #1 summer mega smash, “Love the Way You Lie.” It’s an excellent production, if nothing else but for the leading lady’s aching chorus.

That being said, many, many props for the Cee Lo recognition!

Best New Artist
Drake
Esperanza Spalding
Justin Bieber
Florence + the Machine
Mumford & Sons

While Bieber will likely swipe this (despite having been around for–what, three years now?), there’s no competition: Florence + The Machine is the ultimate pick. Powerful, mystical and entirely fresh, their debut album Lungs continues to blow my mind nearly a year and a half after its release, still on heavy rotation.

Florence Welch is a serious force to be reckoned with–and this won’t be the last time her name will appear at this awards ceremony. Just wait and see.

Best Album of the Year
Drake
Eminem
Lady Antebellum
Lady Gaga
Katy Perry

First, let me bitch: Excuse me? Do not.

Do not even tell me Teenage Dream is anywhere near worthy of attaining the title of “Best” anything. Other than its sublime title track, Teenage Dream is nothing more than a showcase of big label dollars and cheap gloss. Cheap fun? Sure. Quality? Stop it. Stop it right now.

In a year that saw the release of Robyn‘s Body Talk, Kelis’ Flesh Tone, Kylie Minogue‘s Aphrodite, Sia‘s We Are Born and countless other releases–the fact that Teenage Dream is getting the glory is actually a damn near crime.

Anyway, the title goes to Lady Gaga (obviously)–The Fame Monster was the greatest album (EP) of 2009.

Record of the Year
B.O.B. – Nothing On You (feat. Bruno Mars)
Eminem – Love The Way You Lie (feat. Rihanna)
Cee Lo Green – Fuck You
Lady Antebellum – Need You Now
Jay-Z – Empire State of Mind (feat. Alicia Keys)

While Princess RiRi and Em may also snatch this one for their summer chart stretch, the title should really be handed to Jay-Z for his “Empire State of Mind.” The song is an instant classic upon first play, destined to go down in history as the first truly major 21st century ode to NYC.

As usual, the industry’s bigwigs remains (mostly) oblivious, frivolous and startlingly outdated.