The pretty pop songstress' favorite shopping spots

Glam revivalist and post-punk legend meet at last

Music to our ears: bold, strong, minimal, and raw. See full gallery. Photographer: David Roemer @ Atelier Management. Stylist: Christopher Campbell.

'Beware' the prolific singer-songwriter's new album

The pint-sized rapper takes a few pints of sauce for the team

On a cold, rainy afternoon in Nashville, Tennessee, supermodel Karen Elson, sequestered in the upstairs quarters of a pink-walled boutique, happily shows off a few favorite pieces. She pulls a long white tulle overdress from a rack laden with velvet bias-cut slip dresses from the 1930s.

An array of black markers, jars of acrylic paint, skinny and fat brushes, and cans of spray paint before him, Casey Spooner, one half of Fischerspooner, begins billboarding song titles from the electroclash duo’s self-released third album, Entertainment (out next month). The guerilla-style graphic rendering, Spooner says, “seems appropriate, as the entire album was written with song titles first, music and lyrics second.” It will come as no surprise to fans who have witnessed Fischerspooner’s live spectaculars that the performance artist himself became an integral part of his piece: a black-and-white sweater by Australian designers Romance Was Born, bold patterned jeans by Jeremy Scott for Tsubi and silver sunglasses by Adam Kimmel fit seamlessly into his floor-to-ceiling graffiti-style mural. The resulting piece, he says, “is a bit Stefan Sagmeister; it also reminds me a little bit of the graffiti artist Neck Face’s style.”

Bat For Lashes, Two Suns (Astralwerks) On the heels of her engrossing 2006 debut Fur and Gold, Natasha Khan (best known by her stage pseudonym Bat For Lashes) returns with the rhythmically complex Two Suns, which signals her daring sonic transition from goth-pop indie darling to high-concept sorceress. As she tells it, the album channels two distinct personae: there’s Natasha and the less-earthy Pearl. Unfortunately, neither of these narrative voices is particularly distinct. With the exception of “Pearl’s Dream,” they’re almost indistinguishable. Still, Two Suns brims with warm, burbling electronics (“Daniel”), delicious psychedelic piano pounding (“Siren Song”) and enough indelible melodies to forgive all that torpid mysticism. —Brian Orloff

For the most part, Big Man Japan is a series of mock interviews between a prodding documentary filmmaker and a mumble-mouthed loner, Daisatou (Hitoshi Matsumoto), who also happens to be a superhero. When it’s not that, it’s a flamboyant cavalcade of Harryhausen-inspired monsters laying waste to Tokyo. The contrast between these poles is the exhilarating crux of the film, mixing tonal extremes with the same nutty bravado that drives the best Pixies songs.