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03 April 2020Pop Music Blogs
Channel A’s “Eccentric! Chef Moon” has unveiled a sneak peek of a romantic moment between its two leads! On the latest episode of the new rom-com drama, Moon Seung Mo (played by Shinhwa’s Eric) and Yoo Bella (played by Go Won Hee) began living together under one roof. Even as they bickered over the smallest […]
The post Shinhwa’s Eric + Go Won Hee Make Viewers’ Hearts Flutter In Upcoming Episode Of “Eccentric! Chef Moon” appeared first on Soompi
After making waves as a songwriter (she co-penned Halsey’s chart-topping “Without Me” among other hits), Delacey decided to focus on her own music. The fiery, retro-swag of “My Man” heralded the newcomer as One To Watch and she continued to build a following with gems like “The Subway Song” and “Cruel Intentions.” The 27-year-old’s much-anticipated debut LP, Black Coffee, arrived last week and it showcases her wicked pen and smoky delivery to full effect — particularly on semi-scandalous songs like “Chapel.”
“I still like the way you see me, you still don’t believe I’m crazy,” Delacey admits on a brutally honest verse. “Maybe I should have your babies, so when you find out the truth and it’s freaky — you can’t leave me.” The answer to any time-bomb of a relationship is obviously marriage as our heroine makes clear on the chorus. “Take me to the wedding chapel and marry me right now,” she belts. “Kinda wanna jump your bones and lock you down.” The Chandler Lass-directed video dropped today (April 2) and it’s a tables-turning delight. Watch below.
WINNER’s Song Mino shared stories from his birthday! On a recent broadcast of Naver Now’s “Brrrr Friends,” Mino and Block B’s P.O talked about about the WINNER member’s birthday, which was on March 30. Song Mino began, “It was the day of my birthday and nothing was really going on. P.O acted as if he […]
The post WINNER’s Song Mino Reveals How Block B’s P.O Surprised Him For His Birthday appeared first on Soompi
JTBC has unveiled a special poster for its drama “Mystic Pop-Up Bar”! Based on a popular webtoon of the same name, this drama tells the story of a mysterious pojangmacha (outdoor drinking establishment) run by an ill-tempered woman (played by Hwang Jung Eum) and an innocent part-time employee (played by BTOB’s Yook Sungjae) who visit […]
The post Hwang Jung Eum Transforms Into A Mystical Pub Owner And Counselor In Poster For “Mystic Pop-Up Bar” appeared first on Soompi
Toss on your fanciest leotards, grab your supersized boom boxes and get ready to dance. Why? Because today’s the day to revisit one of the Queen of Pop’s most beloved eras to date. Yes, I’m talking about Confessions On A Dance Floor. Released in 2005 (get ready to celebrate the 15th anniversary this November), Madonna’s tenth album is a nonstop party from start to finish. Literally. Inspired by a DJ set, each of the 12 tracks runs into the next. That includes the ABBA-sampling lead single “Hung Up,” which rocketed into the Top 10 on the Billboard Hot 100 and topped charts across the globe.
After experimenting with her sound on 2003’s polarizing American Life, the living legend’s return to the dance floor was unanimously embraced. And it’s easy to see why. Aside from being irresistibly fun, this was also one of Madge’s most memorable eras. The hitmaker’s signature look included a body-baring leotard, and she flaunted her physique on stages across the world during an accompanying tour. That’s not all, either. Madonna had several other projects going on at the time. That included the release of a documentary charting her Re-Invention World Tour and a children’s book.
Of course, the icon spiced things up. On tour she wore a crown of thorns and hung herself from a cross. What Madonna era is complete without a little bit of controversy? Through it all, she continued to drop singles off the chart-topping opus. Although follow-up tracks experienced diminishing returns on the Hot 100 (Americans lack taste sometimes, what can I say?), global markets continued to laud her creative genius. To this day, Confessions remains one of the most influential pop albums of the early aughts with releases like Dua Lipa’s Future Nostalgia drawing comparisons.
Imagine being 10 albums in and remaining as iconic as Madonna. That’s pretty much the definition of a timeless trendsetter. Scroll through a gallery of some of her most memorable looks from the era up top. After doing that make sure to feast your eyes on all the videos she dropped below.
Given the infrequency with which they appear, a new Fiona Apple album is always cause for celebration. The beloved singer/songwriter got the music world buzzing in March when she revealed that her long-awaited 5th LP was finished in a profile for the New Yorker. The 42-year-old even shared the title, Fetch The Bolt Cutters, and described the experimental opus’ main theme as “not being afraid to speak.” Oh, and the “Criminal” hitmaker even offered up song titles including “The Drumset Is Gone,” “Heavy Balloon” and “Kick Me Under the Table.”
The only thing Fiona kept to herself was the release date, but today (April 2) she rectified that. Fetch The Bolt Cutters arrives on April 17 — against the wishes of her record label, which suggested waiting until October. However, the art-pop iconoclast knows that her particular brand of magic is needed now more than ever and she is determined to forge ahead regardless. See Fiona’s endearingly lo-fi announcement video below and stay tuned for more details about the cover and tracklist.
“Wake Me When It’s Over” has to be the most relatable song title of 2020. And while Faouzia’s latest single doesn’t overtly reference the global pandemic, it certainly taps into our collective fears and frustrations. “Maybe I’ve been in my head too much, wish that I could shut it off,” the 19-year-old begins the song. “Lately I’ve been feeling out of touch, I’m feeling just as lost.” That takes us to the soaring chorus. “Wake me when it’s over, now that I’m living without you,” she belts. “So much I’m missing about you.”
At its core, however, “Wake Me When It’s Over” is defiantly hopeful. “There are so many things that we take for granted when life is on the go,” Faouzia tells Billboard. “Now, with everything happening in the world, we have time to take a step back and think… [the song] speaks to the way our thoughts and anxieties can take control, but also help us appreciate normal, everyday life. Sometimes, the only thing to do is wait until the difficult times pass and be grateful for the simple things that we do have.” Listen below.
Hello everyone! After more than 5 years, my favorite artist Purity Ring are finally coming back with their third album WOMB out tomorrow. To celebrate that, I thought I would do a full introduction post. So here you go!HISTORY Formation and Shrines: (2010-2013)
Purity Ring is an electronic pop duo formed in Edmonton, Canada, consisting of vocalist Megan James and producer Corin Roddick. Both members were born and raised in Edmonton, but had never met until they were teenagers in the local music scene. Corin played drums in several bands, and Megan sang her own written songs and played piano. After some time, both became touring members of their friend's band called Gobble Gobble (now known as Born Gold). Both had talked about starting a band someday, but neither had thought about an electronic duo. However, Megan then left Edmonton and moved to Halifax. While on tour, Corin started messing around on Ableton and learning about making electronic music. The first track he finished was the song which later became “Ungirthed”, but he wanted someone to sing over it. The first person who came to mind was Megan. It was around the end of 2010 and the birth of Purity Ring!
On January 17th, 2011 they posted “Ungirthed” on Tumblr with the caption "we are birthed". It was like an “in the right place at the right time” situation. Neither of them would have ever thought that the song was gonna blow up like it did! It gained a lot of hype from blogs and later from music publications. When they saw the overwhelming reception, they decided to start working on more music as a long distance project, because at that time both were living in different cities. The second track they released was “Lofticries”. The third one was “Belispeak”, also with overwhelming critical acclaim.
Because of the immense hype, people wanted to see the band live too, which led them to start playing live shows with only 6 songs written (here's a rare photo of their first ever show in Edmonton).
On April 3th, 2012 they signed to the British indie label 4AD, without sending them an EP or anything, but only because of the hype they had received. After that they announced their first album, Shrines, and they released the first official single off of it, “Obedear” on April 23th, 2012. The second single was “Fineshrine” released on June 20, 2012.
Shrines was a huge success, especially for a band that had come basically out of nowhere. It was universally praised by both critics and fans. They played huge festivals such as Coachella and Bonnaroo. They toured in North America, Europe, and Asia and were shortlisted for the Polaris Music Prize in 2013. They also worked closely with the hip hop community, collaborating with Danny Brown and Abe Soul.another eternity: (2014-2016)
After touring for more than two years, they took the whole year of 2014 off to work on their second album. The writing and recording was mostly done in their hometown of Edmonton. The record was finished in Los Angeles.
The first single was "push pull", released on December 3rd, 2014, and the second was "begin again", with the announcement of the album on January 13th, 2015. "bodyache" was the last official single. They also premiered "repetition" on BBC Radio 1 (but it was already leaked one month before the release).
Another eternity was a lot more radio-friendly compared to Shrines, which led to some criticism from the fans and critics. Nevertheless, this album was a huge success as well, debuting at number one on the Billboard electronic/dance charts. It also brought them opportunities for TV appearances, sold-out shows, and slots at big festivals across the globe.Hiatus and working on the third album: (2017- present)
After finishing the tour, they completely disappeared. Then on July 24, 2017 they dropped the standalone single ""Asido", celebrating the fifth anniversary of Shrines. However at the end of the year, they returned to the stage as one of the openers for Katy Perry's North American tour for her album Witness, which they produced and co-wrote three songs on.
Since then things have been even more quiet around them, with no updates or anything for two years. Many people began speculating if the band was done. But suddenly on February 7th, 2020, out of nowhere the band posted this mysterious website on r/purityring, which turned out to be a kind of a puzzle in the form of clicking on pictures. Much to the surprise of everyone, there was a whole new song called “pink lightning” waiting as a reward if you finished the game.
On February 18th, 2020 the first single "stardew" was released with the album and tour announcement. One month later, it was followed by "peacefall" and the official release of "pink lightning".MUSIC
Ok now let us talk about the main thing, which is of course the music! But before diving into their discography, what is it that makes Purity Ring so special? And why should you listen?
Well, Purity Ring are basically the prototype of the modern DIY act, with a distinct sound and strong aesthetic, yet still super accessible. They write, produce and record everything entirely by themselves (including sound engineering and mixing). You can easily get into them if you are a pop fan, electronic head or an alternative/indie lover. There's something for everyone in their music.
Purity Ring's music could be described as a futuristic form of Synthpop, which is known for having hugely hip hop and trap inspired production such as trap beats, slow rhythms and a lot of sampling. From the writing aspect, it's far away from hip hop though, more like Dream Pop-like melodies mixed with Pop sensibilities. Vocally and especially lyrically is where their music shines the most in my opinion. Megan's voice has a really innocent vibe which gives a big contrast to Corin's dark and cold production. And her lyrics are... um strange. They usually stand out for having a lot of imagery and metaphors, mostly consisting of references to body parts, with everything written in a really vague way and hard to understand. Some examples:
"When the moon is full and I've pried, I'll take up your guts to the little shed outside," "Drill little holes into my eyelids, that I might see you when I sleep," or "Lend a hand to the silver blade, Stir your gut 'til it pours".
But first of all, her writing style is a bit different from what is usually common in music. The lyrics aren't written for a specific song. They're taken from her personal journal entries, which are written in form of poems.Discography
For a band that has been around for more than 9 years, they have a relatively small discography with only 22 songs distributed into 2 full length albums and one standalone single (not including their remixes).Shrines:
Usually artists spend many years crafting and building on what would become their "signature sound," but not Purity Ring. Both members never wrote anything together before Shrines. Even more impressive is that Corin never did anything electronic before either. He was just recording guitars and drums for local bands. So to hear how well crafted and extremely detailed his production is, you'd think he’s had many years of experience doing electronic music. The most significant thing about this album is that both members weren't in the same place during the whole writing/recording process. It was mostly done through email, and was more or less like this: Corin would write an instrumental track and send it to Megan. Then she would come out with vocals and send it back to him so that he could make a complete "song" of it.
So now let's talk about the album. When you are listening to it, the first thing that might jump out is the distinct production style. Throughout the whole album you will notice the constant presence of the effect of heavy and downtuned vocal samples, which are reminiscent of the chopped and screwed remixing technique (mostly created from Megan's voice). In combination with Megan's sweet and dreamy vocals, it gives you an otherworldly atmosphere, which you can't help but get lost in. But the main appeal of this album is how cohesive everything is, from the quality of the individual track, to the unique song titles, which are written in form of portmanteaus (Belipseak = Belly Speak, Lofticries = Lofty Cries, Obedear = Oh But Dear... etc). Not everything about this album is perfect, namely the huge amount of reverb that can get annoying sometimes (which is, with the constant usage of sidechaining, my least favorite thing about the record). That's why I actually prefer the live versions way more, because of how way more balanced everything is.
The album was universally acclaimed by both fans and critics, because of its fresh and unique sound. It made a huge landmark on the music scene in 2012 and catapulted them from a bedroom project into one of the most talked about new artists. It also was one of the main influences for the new dark electropop sound that became so popular in the 2010s.Highlights
“Obedear”: For me, this song is single-handedly the definitive Shrines experience. I say this because I feel “Obedear” perfectly encapsulates the feel which the rest of the album achieves, both with its beat which ranges from quite simplistic to teeming with life, and with the vocals, both the lyrics themselves, and how Megan delivers them. The calm, mysterious intro, leading into those distinct "beeps" which I absolutely adore. I personally feel like the song is perfectly structured with its clear intro, strong verses, catchy choruses and bridge, and its natural outro. For me, this often overlooked aspect of song structure is what truly separates a "good" song from a perfect song, and “Obedear” nails it. Not to mention the light show, which often accompanies the song when played live, syncing together effortlessly to deliver a mesmerising experience.
Perhaps I am biased, as “Obedear” is the song which made me absolutely fall in love with Purity Ring, or perhaps, “Obedear” truly is their best song, and dare I say it, THE best song. "Build it into pinnacles and shrines," “Obedear” has been built into the pinnacle of Shrines. by u/legitsymbol
“Amenamy”: This song is a beam of light guiding the listener away from the grief of losing a loved one. Megan’s masterful lyrics battle through emotional despair caused by the death of a friend, eventually finding salvation in the rest of the world’s beauty that is waiting ahead in life. The song’s musical composition is based on a contraposition of soft shivering bell-like sounds and deep dark mysterious voices heard throughout the rest of Shrines. by u/pavelkomin
“Cartographist”: Whether it's leading with trippy lead sound effects that best resemble the hissing of snakes, or the song eventually culminating into a ballad of magical cult-like chanting, at least one part of this masterpiece has enchanted fans all over the world. This song is unbelievably one of their least popular songs, with its departure from Purity Ring's normal sound being too much for some fans to handle. The more mainstream listeners have just dismissed the song as being too experimental, but I highly recommend giving it the second listen it deserves! by u/Argetlam12another eternity:
More than two and half years later, they released their second album. This time however, it was written in one place. It was decided from the start that they wouldn't do "the Shrines formula" again. So writing together like a normal band would do. From the first released single, fans have noticed that their new sound has suddenly become more "mainstream." All the weird down-pitched samples, and ocean-sized amount of reverb are gone for the favor of a catchier sound, clean mix and far more poppier melodies. Even the lyrics had become clearly less dark.
another eternity is a lot more of a typical vocal driven pop album than Shrines. Most of the songs barely shift from the traditional verse/chorus structure, with huge focus on catchy choruses, while the production is relatively taking a back seat. And here we are at the first and probably the biggest criticism of the album. "The production is not as interesting compared to Shrines". For me, Purity Ring's production was always about how much depth it has and the extreme focus on the detail, which another eternity does in near perfection. Every single song has a distinct sound, but as a whole album it flows seamlessly. Plus it still has all the unique elements of their music (like the chemistry between Megan's innocent vocals and Corin's cold production) and experimentation (like the vocal manipulations and the offbeat rhythms), which I think are even better executed and more effective. Just like Shrines, the biggest strength of the album is its consistency. Most albums I listen to have three or four standouts, and the rest reach between ok and decent, but this one is all 10/10. Every single song is like a highlight for me. Every verse, every note, and every beat get stuck in your head with catchy choruses that any pop star would kill for. Also the songs go way harder live.Highlights
“stranger than earth”: This is not only my favorite Purity Ring song, but also for me the definition of a perfect song. While many songs stand out with a strong and memorable chorus, this one however is mostly constructed around its build up. From the very first moment, when the bass heavy hip hop beat starts with the repeating sample, it will captivate and won't let you go until it explodes into the epic climax and transforms into a complete new song. The song also contains my favorite lyric ever: "There was a stagger that shifted my hips O how swiftly it shook the dew from my lips," which, in combination with Megan's inimitable vocal delivery, gives it this sensual yet mysterious vibe that I can't help but get chills everytime.
“begin again”: There are a lot of words that can be used to describe “begin again”, but to me, the most relevant are: beautiful, enchanting, and magical. What makes this song so special are the lyrics and their delivery. From the very beginning, it feels like every word that Megan sings is soaked in magic and that Corin is amplifying her magic with his instrumentals. As the song progresses, the listener travels further into this magical realm that Purity Ring have crafted and eventually hears the words “my moon o my moon, not even into, another eternity, will stop your lovely orbiting” (formatting). These lyrics, and the way that Megan sings them, conjure up the warmest feelings possible inside of me. Finally, as the song approaches the end, Megan’s magic reaches its peak as she sings “you be the moon I’ll be the earth and when we burst start over o darling”. The way that Megan sings this part is extremely powerful. I consider “begin again” to be the peak of pop music. by u/MyMoon0hMyMoon
“sea castle”: This is a song that sounds desperate to me. The song builds from piano to a pounding chorus where Megan asks, "where have I been? why can't you see me?" She begs an unknown person, maybe a romantic partner, to 'pull on' her 'sea'. It's a darker song than a lot of the others on another eternity, but it's easily one of my favorites on the album. By u/greyw4renVISUALS AND LIVE SHOWS
If you're gonna reduce Purity Ring to only their music then you will miss A LOT. Everything from the album and single covers, music videos, photo-shots, merchandise, and especially live shows, play a big role in the band’s overall appeal, which makes it the strongest aesthetic I've ever seen.Visuals
As I mentioned before, Purity Ring is a typical DIY company. But actually for a lot of their visual stuff they worked from the start with the illustration artist Tallulah Fontaine. She's especially responsible for both iconic album covers, and also designed many of their merchandise and tour posters. I always like to refer to her as the third member of the band haha.
As their discography might hint, they also have only a couple of music videos out yet, but most of them are really creative.
- Belispeak. Their first video, a really creepy nightmare experience kind of a video. Directed by BREWER.
- Fineshrine. Also a strange one. Directed by Young Replicant.
- Lofticries. My favorite from the Shrines era, portraying surreal moments experienced by four different characters. Directed by AG Rojas.
- push pull (the video was exclusively released on this MTV website). The first video from another eternity which is like a minimalistic visual interpretation of the album cover. Directed by Renata Raksha.
- begin again. The biggest from the production value, almost movie-like. Also directed by Young Replicant.
- heartsigh. This one is like a video form of their live shows, with amazing effects and editing. Directed by Cecil Frena and Alex Fischer.
From the very beginning, the band wanted to make a special live show that could be seen as an extension of the music, rather than just playing it live with standard instruments. So they built this live rig that focuses on two important elements: Corin's playing and Megan's performance:
Because of his origin as drummer, Corin built this instrument, with the simple name "The Instrument", that can be played like a drum set with two mallets. Each one of the "bulbs" can trigger a different note from the synth in the computer (there's always eight of them in total). Plus it will light up, so the audience can notice something is actually being played.
To highlight Megan's performance on the stage, they built this string of "cocoons" that would follow her steps by lighting up and sometimes the opposite.
The live set has now gone through four different versions:
- The first version (early on): It was just like a home project for school, but the main concept was there.
- The second one (debuted at the first Shrines tour): They added the light cocoons with an updated look of The Instrument. Also, occasionally there was a big kick drum placed in the middle of the stage that Megan would hit that then also lit up too.
- The third one (used through the whole another eternity tour): Things were starting to look way more professional now. The Instrument had become more high-tech, and the cocoons were replaced by this massive veil of light strings.
- The newest version (debuted at the Katy Perry tour): The Instrument looks completely different now. It has become like a lightning dome.
Also both always perform with special outfits, custom-designed and sewed by Megan herself.
Purity Ring are the kind of artists who know exactly what they want their art to be. Whether it’s the music or just the song titles, everything has so much thought put into it that it can even lead to perfectionism.
Do you like Purity Ring? What are your favorite songs? Have you ever seen them live? Do you think they have the potential to become more mainstream? Tell me all your thoughts :)
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03 April 2020Rock Music Blogs
"The health and safety of everyone attending our shows is our number one priority," says vocalist Taylor Momsen. "Due to the COVID-19 pandemic, The Pretty Reckless headline dates in May 2020 have been rescheduled. The rescheduled dates are confirmed and listed below. All tickets remain valid for the new...
Whitesnake frontman David Coverdale has uploaded a video of him singing a new tune called "Vacuum & Dust" to the band's official Facebook page. The track was obviously inspired by the current COVID-19 quarantine and features the oh so catchy lyrics: "Vacuum and dust, and making the bed, I swear...
Megadeth has announced they are partnering with Knotfest to premiere their performance from Resurrection Fest 2018 tomorrow, April 3 at 3pm ET / Noon PT / 8pm UK. Bassist David Ellefson will be in the YouTube chat during the performance, so get your questions ready. Tune in at knotfest.com. In other...
"We assure you, this was filmed ages ago, before any quarantine! No monkeys were harmed. No viruses spread. Not even a vegetarian was offended. Stay safe, rejoice responsibly and see ya down the line. DP.” This from Dublin-based hard rock trio, Dirty Power, who in times of gig cancellations...
Jennie: Good morning Mark how are you?
Mark: I’m good here on the Western side of Australia, how are you over the other side of the ditch?
Jennie: (laughs) Alright, we’re getting ready for ‘lock down’
Mark: It’s certainly strange times to do an interview and things are really starting to change over here as well. But let’s ignore all of that for as long as we can?
Mark: Devilskin is ten years old this year!
Jennie: Yeah, It doesn’t seem like it, but ten years of playing shows this year, it’s been pretty crazy. But it’s great to make that milestone.
Mark: And not only that a great new album out next week in ‘Red’ I was looking forward to seeing that live soon, but let’s hope you get to bring it this way at some point in the future and play it for us. I have a lot of friends in the UK who were looking forward to seeing that tour and now of course all the plans are out of the window.
Jennie: (laughs) It’s definitely not something that you can plan for and we’ve been looking at the situation as it has been getting worse and worse and obviously when we were told the borders were closing we had to put off the trip over but I think a lot of people understand and there’s no work in live music going on right now. Everyone just has to be concerned about their safety and the safety of others.
Mark: So let’s get into the album. I absolutely love that opening track ‘Do You See Birds’ and it sort of seems a fitting title at the moment in a lot of ways. It’s an interesting title first of all, where did that idea come from?
Jennie: The song lyrically was written by Paul and it’s about the idea of being locked away – someone looking out of a prison, or a window, I guess how it’s gonna be for us all over the next few weeks (laughs)
Jennie: It’s all about looking out and seeing the world outside and the birds out there and just wanting to get out and escape and be like a bird I guess.
Mark: You’re right it is pretty fitting for the situation we all find ourselves in at the moment. Over here we went through the ‘toilet paper wars’ and then the pasta started disappearing along with the rice and then the canned food. Is it pretty much like that in New Zealand?
Jennie: Yeah, it was OK for about a week and a bit but just now it’s getting a bit crazy. Toilet paper here hasn’t been too bad, but it’s the same with pasta and rice and flour, I Can’t find flour anywhere! And as of midnight we’re on lock down so we’re not allowed to leave the house unless you’re going to get food. It’s just so weird, everything’s closed, McDonald’s is closed so I can’t go out and get coffee (laughs), so it’s going to be odd.
Mark: It’s crazy, I guess we have that to look out for in the coming weeks. I did want to ask a few questions about how a situation like this does affect the band though, obviously the postponement of the live dates leaves a huge hole and the lock down limits you in other ways. First of all what’s the best thing that fans of Devilskin can do for you guys at this point in time?
Jennie: I guess just support us and keep in touch. We have this album coming out and unfortunately all the gigs and the meet and greets and the other stuff that we were going to do with it we can’t do now. So we’re looking at some acoustic stuff, some online stuff but we’re working on that. But beyond buying the album and listening to the album on Spotify, maybe pre-order the album because we’re got some nice vinyl as well! And a box set. Other than that hopefully fans will come out and support us when things get back to normal.
Mark: And I guess the next question is a bit unfair but do you think it’s going to be a productive time for musicians? Are you going to be spending time writing? Or do you think it’s going to be a time for us all to get back to the real basics and look after each other and our families? It’s hard to know isn’t in in these uncharted waters?
Jennie: It is hard at the minute to even think a few weeks forward with things happening so fast, but we will certainly have the time to write music at home. Nic and Paul can write together because Nic moved back home with his Dad, so they will be coming up with stuff. So that’s half of the band out there together (laughs) and I will do something, I’m pretty busy working and I have my three year-old here keeping me busy too (laughs)
Mark: So how does the process work for a band like Devilskin, how did ‘Red’ come together? – do you all bring your ideas and work through them as a band?
Jennie: Yeah, I guess for us sometimes it’s a bit of a mix. Nic might come with something or Paul might have an idea in mind, it’s not always the same. One of the songs on the album ‘Bright Lights’ that was Nic’s song, apart from the lyrics, he played guitar, bass and drums and presented the song to us, so the boys played that song on the album but the first time we heard it, it was him playing it all, it was great (laughs).
Mark: It’s wonderful how it all comes together and one of the things I like most about ‘Red’ is that you’re given plenty of space on there.
Jennie: Thank you.
Mark: There’s plenty of variety on there and plenty of light and shade too and you absolutely rip it up throughout the album, (laughs) do you feel you’ve hit your peak yet?
Jennie: Ummm… no (laughs) nowhere near it! (laughs)
Mark: (laughs) what’s your favourite on there? I couldn’t possibly name mine but the last song I played before we spoke was ‘Blood Bone’ – that’s a great song.
Jennie: Oh yep, that’s an older song actually we had that song a few years ago and with some songs you feel they either need a bit more or don’t fit or just don’t make the cut at the time but we made sure that made the cut for this one. ‘All Fall Down’ was another one we had a while that we looked at again and got together and modified it. I put new lyric to it and it just worked, but the first time we looked at it, it didn’t really work. Sometimes you’ve just got to take a break from the song and come back to it and have another look at it.
Mark: And ‘Sweet Release’ sees you sounding very soulful, that was great to hear.
Jennie: Yeah, that’s actually one of my favourites. ‘Sweet Release’, ‘Bright Lights’, ‘Eyes Red Heavy’ are my three favourites on the album. Oh and I really love singing ‘Corrode’ that’s a really great song to sing (laughs).
Mark: And the closer ‘Everybody’s High But Me’ is a nice fun sort of punky, groovy way to close the album.
Jennie: Cool, I love the way the album turned out, we’re very happy with it.
Mark: Well I for one can’t wait till that day when all of this blows over, when we’re out of isolation and ready to rock again. Let’s hope that everyone first of all goes out and buys the album and when we get out again we all stream back into the concert halls to see some Devilskin.
Jennie: I’m sure we’ll be ready with not performing for a while (laughs)
Mark: There’s just one final question that seems rather fitting in these circumstances, it’s really easy though “What is the meaning of life?”
Jennie: (laughs) I have to say 42 (laughs)
Mark: You’ve gone for my answer there! (laughs)
Jennie: (laughing) Yeah, 42! It is a good answer actually, hmmm, the meaning of life… I guess it’s to live day by day and to try to fill your life up with happiness when you can, get rid of negativity. It might be a bit simple for some, but that’s the meaning of my life (laughs)
Mark: That’s a great answer and it’s been wonderful to speak with you today under such interesting circumstances. We love the album and we hope everyone goes out and grabs it when it hits. Thank you so much Jennie.
Jennie: Thanks Mark, (laughs) see you some time!
Mark: See you on the other side! Take care!
Jennie: (laughs) you too!RED is out now!
03 April 2020Classical Music Blogs
03 April 2020
Beethoven: Razumovsky Quartets, opus 59 (1806)
Outside of the boxing ring, there are few ordeals more terrifying in sport than facing a fast bowler in cricket, a man hurling a rock-hard object at you from less than 20 metres and at a speed of ninety-plus miles an hour. At the receiving end, the batsman has time while the bowler is running in to say his prayers while steeling himself for being hit, getting out, or being made to look ridiculous. From the moment the ball leaves the bowler’s hand, the batsman has a fraction of a second to decide what to do. In Test cricket, there is nowhere to hide.
The 1981 series between England and Australia was a brutal encounter between cricket’s oldest rivals. England lost one Test and looked to be heading for a thrashing when, before the third Test, Mike Brearley was appointed captain and everything changed. A philosopher who would retrain as a psychoanalyst, Brearley devised a strategy for dealing with murderous fast bowling. While the bowler was running in, Brearley would hum the opening cello motif of Beethoven’s first Razumovsky Quartet, opus 59/1. Why this particular phrase he never explained, but it worked for the England captain and it works just as well for me, as an aid to concentration and courage in times of great stress.
The triptych of quartets, ordered by the Russian ambassador in Vienna, Count Andreas Razumovsky opens the second phase of Beethoven’s engagement with the string quartet. They are his 6th, 7th and 8th quartets and aach of them has a buried Russian tune, the most obvious being the subtheme of opus 59/2 which pops up in the coronation scene of Musorgsky’s Boris Godunov and in the works of other Russian composers. The Russian flavour, however, is incidental. Beethoven is driving these quartets ito new territory, no longer as playthings for high society but as inward-looking reflections on the state of the human race at a time of war, hunger and inhumanity. Opus 59/2 begins with a huge question mark and Beethoven lets the second note hang in the air, as if leaving space for the audience to provide an answer. He ssems to have rfesolved something in his own life at this time: he no longer hides his deafness. Let the world know, he says, what a musician must suffer for his art. Asked by an uncomprehending listener what he was trying to convey in these searching works Beethoven is supposed to have said, ‘Oh, they are not for you, but for a future age.’
Among our panel of expert listeners, two – the violinist Gidon Kremer and the former BBC music chief Roger Wright – make the strongest possible recommendation for the Philips recording by the Quartetto Italiano. You will not have to listen long to be seduced. The quartet, founded by post-grads in Reggio Emilia in 1945, cultivated a warmer, deeper tone than the edgier style of German and American rivals. The players – Paolo Borciani, Elisa Pegreffi (violins, married couple), Piero Farulli (viola) and Franco Rossi (cello) – made their first European tour in 1948. Three years later they had an immersive encounter in Salzburg with Wilhelm Furtwängler, who advised them to loosen up and embrace Romantic freedoms. Two decades later, when they recorded the Beethoven
cycle, the quartet had a distinctive sound and an introspective manner that was ideally suited to these middle-period quartets. I am particularly drawn to the way they express Beethoven’s open colloquy with his imagined future audience. There is also an elegance of expression that few others can rival.
The Amadeus Quartet are falutlessly civilised, fearlessly slow, daringly boring at times. One is forever conscious that they are aiming for the ultimate performance and settling for the reliable. I don’t mean to be perjorative – they were a tremendous ensemble and they have much to say in the next group of quartets – but I can’t escape the conclusion that their approach did not quite work in this set.
The Barylli Quartet in 1955 and the Alban Berg Quartet quarter of a century later convey a Viennese sense of ownership in two very different modes. The Baryllis are sweet as apple strudel, the Bergs as reserved as a ticket to the New Year’s Ball. Beyond the ultra-Viennaness of their manner, both are probing, thoughtful groups who never let us forget that deep questions are being asked, whatever they might be.
The American style of the Guarneri Quartet (1967) is decidedly less inquisitve, albeit pinpoint in its perfection. I am more inclined to the swagger of the Emerson Quartet (1997), no holds barred. For the full Russian flavour you need to hear the Moscow-based Beethoven Quartet, close friends of Dmitri Shostakovich, who play for themselves without regard for consumer confidence. It’s rough in patches but refreshing to hear musicians who really don’t give a damn who’s listening, if anyone.
Of all musical genres not has undergone such collective improvement over the past half-century as the string quartet. There are groups today who run rings around the practices of the last century, playing standing up if they please and choosing speeds that would have shattered a metronome of Beethoven’s time. The Berlin-based Artemis Quartet are a byword for high performance and the rising Cuarteto Casals from Spain have a richer range of colours than most and a really slinky way about them in the Adagio. My current favourite is the Parisian Quatuor Ebène (2019) – Pierre Colombet (Violin), Gabriel Le Magadure (Violin), Marie Chilemme (Viola), Raphaël Merlin (Violoncello) – athletic in the most graceful way, like a hundred-metre Olympic runner breasting the tape. It may not be cricket, but it’s great sport.
03 April 2020
Decca are trailing a September release:
A new album from Decca Records and the team behind global sensation Ludovico Einaudi is to be released exploring the inspiring story of a young man caught up in the Albanian conflict in the early 1990s, as he navigates his new life in Italy with his most prized possession: a stolen cello.
The younger son of a cello teacher in Tirana, Albania and a choreographer at the Academy of Tirana, Redi Hasa learnt the entire cello repertoire by the age of 13, performing on an instrument owned by the state Music Academy. In 1989, as the Berlin Wall fell, Albania hurtled towards civil war, overwhelmed by poverty and financial unrest.
At the age of 20, Hasa was enrolled at the Tirana Conservatory and the clouds of conflict began to gather overhead. “I am afraid to leave the house. We are all afraid,” he says, remembering a period which should have been one of youthful insouciance. Hasa’s older brother, 11 years his senior and living in Italy, encouraged him to join him to escape the escalating violence.
Arriving at the port of Bari in Southern Italy, unable to speak the local dialect, Hasa begins the second act of his life, having taken with him the only item that could be of any help: the Academy cello, no longer on loan, but stolen.
Redi Hasa is now set to release his first solo album The Stolen Cello, having worked for many years as part of Ludovico Einaudi’s hugely successful touring group, and performing on the ambitious Seven Days Walking project (2019). The No. 1 UK Classical Chart album Seven Days Walking: Day One became the fastest-streamed album ever from a classical composer in its first week of release, and Redi performed alongside Einaudi and violinist Federico Mecozzi to packed-out concert halls up and down the country throughout 2019 and early 2020.
Through his new album, Redi Hasa showcases the “singing” nature of the cello, exploiting its human-like voice with a deeply personal story of hope and survival.
LISTEN TO THE FIRST TRACK ‘SEASONS GOING BY’ HERE
03 April 2020Florence B. Price (1887-1953)International Florence Price FestivalDear Price Fest Community:It is with a heavy heart that I must announce that the Creative Team of the International Florence Price Festival has voted to postpone our inaugural festival until summer 2021. This decision arose out of an abundance of caution surrounding the COVID-19 pandemic.This decision was not an easy one, given the amount of time and talent invested by our gifted slate of performers, scholars, and volunteers. It is my hope, though, that we can still use this period of social distancing for good. In these uncertain times, our society needs the work of artists and scholars to keep us motivated.I want to emphasize that our in-person festival is postponed, but we are actively exploring ways to present some content from the festival in a digital format in the interim. The Creative Team will be engaged in a series of robust discussions with our partners, performers, and presenters as to ways to move our mission forward throughout 2020, and we look forward to sharing our plans with you in the coming weeks.The movement to magnify Florence Price is as strong as ever! I encourage each of you to continue posting your performances, blog posts, scholarship, and favorite Price recordings on social media using #PriceLegacy throughout this period of social distancing.Let us all take these next few months to nourish ourselves as artists and human beings. Florence Price’s legacy calls us to leverage our artistry to break barriers, and forge new paths for the marginalized. I, for one, plan to stay steadfast in this aim in the face of uncertainty. Will you join me?I wish you all good physical and mental health in these trying times.Sincerely,Dr. Marquese Carter, PresidentInternational Florence Price Festival
03 April 2020Music Kitchen Special ProjectForgotten VoicesSong Cycle Commissionied by Music KitchenWith Support from Carnegie HallCelebrating 30,000 Homeless Shelter Clientsand 15 Seasons~ Featuring Comment Texts by Homeless Shelter ClientsSet By15 Composers ~Premiering One Song Each Monthfor 15 Months in a Selected ShelterThrough March 2020Forgotten Voices World Premiere
Presented in Association with Carnegie Hall
Coming SoonFall 2020
Carnegie Hall Update&
Music Kitchen "Bridging the Distance"As we are all practicing vigilant social distancing, I want to let you know that Music Kitchen is continuing to serve those experiencing homelessness during this time of crisis. Determined to honor our originally scheduled March 30th performance, Monday afternoon we initiated the first “Music Kitchen Bridging the Distance” ZoomCast. Together with a video editor, we crafted a new welcome intro video that features several Forgotten Voices artists taking lines in the following message: “During these very difficult times, even though we can’t be together in person, we want you to know that we’re thinking of you. We’re with you and we will get through this together. So we hope you enjoy these performances, brought to you by Music Kitchen- Food for the Soul.” We then included a performance of Brahms A minor Quartet from November 25, with its poignant and spirited audience reception, followed by two Forgotten Voices songs. The weeping solemnity of Angelica Negron’s “These Strings” really speaks to this moment of crisis and we ended with “From My Heart” which swells with gratitude. I am thrilled that through our partnership with the New York City Department of Homeless Services and the Los Angeles Homeless Services Authority, were able to offer this webcast to venues we have reached over the years and beyond, from coast to coast, and even with LA Mayor Eric Garcetti’s Office! Of course, I played these original performances and have also watched the videos several times during the curation process, but sitting there as host and spectator in this virtual audience took on a new sense of peace, focus and yes, healing. The door to this new ZoomCast venture is now open and we look forward to making the lemonade of reaching even more people in need simultaneously around the country. Our agency partners are very excited about Music Kitchen "Bridging the Distance," and are working with us to reach more venues.As you might imagine with the anticipated apex of the Coronavirus Covid-19 pandemic still approaching in the coming 2-4 weeks, Carnegie Hall has announced that the hall will remain closed through July. For those who had already bought tickets for the May 21st event, your tickets will be automatically refunded after April 15th.However, I am thrilled and very proud of our partnership with Carnegie Hall and that Carnegie leadership deeply values the caliber and impact of the work that we are doing. I am happy to announce that our Forgotten Voices World Premiere at Carnegie Hall is rescheduled for this fall 2020; We are working very hard on all of this - please stay tuned for the exact date. Many thanks to our amazing artists and composers who have flawlessly created magic over these last 15 months, to the donors who make it all possible and to our PR team and Carnegie Hall Host Committee who are out in the world spreading the word about Music Kitchen and Forgotten Voices!I am also happy to share that in March, Music Kitchen was awarded a grant towards our upcoming Forgotten Voices Recording from the (NYC) Mayor's Office of Media and Entertainment. Please see below for a link to the article on Variety.com.
During this unprecedented time, we champion with even more certitude that music holds a therapeutic and uplifting power for all of us. So we would like to offer a ZoomCast of our first “Bridging the Distance” program for you our Music Kitchen support community. Please tune in this Friday at 3pm to Zoom ID 543-929-565 including a follow up Chat and Q&A. If you’ve never used Zoom before, you can join us in 3 easy steps:
We will emerge from this stronger, with greater passion and clarity of purpose, and elevating the Forgotten Voices among us will be more important than ever before.With all best wishes for health and safety,KellyMusic Kitchen New York City - Photo by June Etta Photography
- 1.Download the FREE Zoom App (or visit www.Zoom.us)
- 2. Click Join a Meeting
- 3. Enter Zoom ID# 543-929-565
Intro to Music Kitchen "Bridging the Distance"Featuring speakers Kelly Hall-Tompkins, Alexis Gerlach,Peter Seidenberg, Adrienne Danrich, Allison Charney, and Ling Ling Huang(Performance of Mozart Quartet K. 590by Kelly Hall-Tompkins, Ling Ling Huang, Yumi Oshima, Peter Seidenberg)Recent and Upcoming -Press and News
Forgotten Voices World Premiere
- Click here for article in Variety: Music Kitchen Awarded Grant for Forgotten Voices Recording from the Mayor's Office of Media and Entertainment, Women's Fund
- Click here for a recent article in World Bride Magazine
- Click here for Sanya-On-Air Podcast (Video/Audio) from 47"
Appearing Today! Column "Keep It Moving With Marsha
- Please stay tuned for upcoming stories on WQXR and WCBS radio
and Kontrol Magazine
Presented in Association with Carnegie HallZankel HallComing Soon Fall 2020
~ Stay Tuned ~
02 April 2020J'Nai Bridges(Richards Photography)Anthony McGill(Matthew Septimus)OURCONCERTS.LIVE:
NEW STREAMING PLATFORM
CLASSICAL MUSICIANS AND PRESENTERS
VIRTUAL CONCERT BENEFITING ARTIST RELIEF TREE
Mezzo Soparano J’Nai Bridges and clarinetist Anthony McGill to
Saturday, April 4, 2020 at
8pm ET / 7pm CT / 5pm PT at
Tickets Starting at $5
02 April 2020Ellis Marsalis with three of his sons, Delfeayo, left, Branford
and Wynton, in 2011. Credit...Chad Batka for The New York
John Malveaux brings this article to our attention:The father of Wynton and Branford Marsalis and a
prominent performer and educator, he
succumbed to complications of the coronavirus.
This obituary is part of a series about people whohave died in the coronavirus pandemic. Read aboutothers here.Ellis Marsalis, a pianist and educator who became theguiding force behind a late-20th-century resurgencein jazz while putting four musician sons on a path toprominent careers, died on Wednesday in New Orleans.He was 85.The cause was complications of Covid-19, thedisease caused by the coronavirus, his son Branford saidin a statement.Mr. Marsalis spent decades as a working musician andteacher in New Orleans before his eldest sons, Wyntonand Branford, gained national fame in the early1980s embodying a fresh-faced revival of traditionaljazz.
Published April 1, 2020
Updated April 2, 2020, 4:47 p.m. ET
Mr. Marsalis’s star rose along with theirs, and he,too, became a household name.“Ellis Marsalis was a legend,” Mayor LaToya Cantrellof New Orleans wrote on Twitter on Wednesdaynight. “He was the prototype of what we mean whenwe talk about New Orleans jazz.”
02 April 2020
02 April 2020
02 April 2020Our writers offer suggestions for what to watch, read or listen to while we’re housebound.
02 April 2020
Milly Forrest first leaped to our attention almost three years ago as an usher at the Wigmore Hall who jumped in when a soprano recitalist fell sick. She is still studying at the Royal College of Music with a promising career ahead. But when the Corona crisis broke she answered to a higher call.
Here’s Milly, writing exclusively for Slipped Disc:
I’ve been working as a hospital porter in Watford general for a week now. I applied after hearing that the hospital was in urgent need and all my singing contracts had sadly been cancelled. At the moment there are just 7 porters out of 16 that are working. Most are isolating, a couple have new born babies and some are simply too nervous to come in. I suppose I can understand why.
Each day more and more wards are being turned into areas suitable for treating covid-19 positive patients. Watford general isn’t a massive hospital. On Tuesday I heard from the gentleman working in pathology that there were 85 confirmed positive patients currently being treated at the hospital. Those numbers are changing everyday as more people are being bought into A&E with severe symptoms. Apparently the doctors have now been told to assume that every elderly patient who comes to A&E has corona virus. I was very sad to hear a teary member of the ambulance staff yesterday saying under her breath “I can’t do this any more” to a nurse dressed in full protective clothing.
Because of the pandemic, all non-urgent appointments have now been cancelled until the end of June and all patients who are able, have gone home. There are no visitors allowed at the moment apart from in the maternity building which makes much of the hospital seem eerily deserted. Even then, women are only allowed to have their partners with them once they go into labour! Everywhere is quiet apart from the wards treating covid patients.
The porters are not given PPE. We are only given gloves and masks when we are asked to move covid positive patients between departments. I believe this is because wearing masks and gloves that have been in contact infectious patients must be thrown away immediately. If we touch doors, clean mattresses or equipment with dirty gloves or aprons, then that only helps to spread the disease around the rest of the hospital. This is being reviewed everyday but it’s believed that for now, this is the safest option and it makes complete sense to me.
Contrary to what the news is saying, from what I can see, the hospital staff are coping unbelievably well. There is enough PPE and ventilators to go around and everyone has been trained to use them. They are all exhausted and overworked but I haven’t heard anyone complain. The porters are all smiling and seem to take so much pride in their work. My hands are sore and dry from all the washing and my legs are tired from walking 16,000 steps per shift. But this is by far the most fulfilling job I have ever done. The nurses, doctors and carers are so brave and so determined and it puts the life I’m used to into perspective.
Of course I cannot predict what is to come and it is very sad to see an extra mortuary being built when I look out of the window. What I can say is that everyone is fully committed to defeating this virus and this will not last forever.
Stay at home please and keep smiling!
03 April 2020Country Music Blogs
The Hot Country Knights debut their patriotic new track “The USA Begins With US” on The Tonight Show Starring Jimmy Fallon: At Home Edition streaming on The Tonight Show’s YouTube Channel at 5:00P ET ahead of airing as part of tonight’s encore episode at 11:35P ET on NBC. Produced and written by multi-Platinum entertainer […]
The post TUNE-IN: Hot Country Knights on Fallon Tonight appeared first on Country Music Tattle Tale - Your country music news source.
First-Ever RIAA Virtual Plaque Presentation Celebrates One Million Unit Milestone
April 2, 2020 — Nashville, TN — RECORDS/Arista Nashville breakthrough entertainer Matt Stell thought he was being “fooled” yesterday when he joined a Zoom video call with Ash Bowers (Wide Open Music), Barry Weiss (RECORDS), Randy Goodman (Sony Music Nashville), Mitch Glazier (RIAA), and Jackie Jones (RIAA). The group surprised Stell with a virtual platinum song plaque, the first of its kind, celebrating his “career-changing” (Music Row) multi-week No. 1 smash and the only Billboard chart-topper by a debut artist in 2019, “Prayed For You,” hitting the one million unit milestone. As one of only 30 RIAA platinum-certified country songs in the last two years, “Prayed For You,” written by Stell with Ash Bowers and Allison Veltz Cruz, joins an elite group. Watch the surprise moment and Stell’s reaction here.
Stell’s epic new single, “Everywhere But On,” was co-written by Stell, along with Paul Sikes and Lance Miller and is currently Top 40 on the country radio charts and climbing. The track is featured on Stell’s Everywhere But On EP, which also includes a collaboration with Jimmie Allen, “Home In A Hometown,” and Stell’s cover of the Ariana Grande hit “God Is a woman.”
In addition, Stell hosts a WEEKLY livestream music series – PENNED UP – on Instagram @MattStellMusic. In response to the global pandemic impacting in person shows, Stell, Lindsay Ell and Jameson Rodgers take to Instagram every Wednesday at 8PM CT to each perform a new song written solo that week, with Jimmie Allen joining as special guest on April 1. View his weekly PENNED UP series HERE. Stell’s first headlining run, MATT STELL EVERYWHERE BUT ON TOUR, will play the remaining shows later this year while Matt will hit the road on select dates this fall with Toby Keith and as part of Rascal Flatts: Farewell Life Is A Highway Tour. Check out mattstell.com for latest dates and information.
ABOUT MATT STELL: Matt Stell is poised for a next-level year after a breakthrough 2019. Milestones continue to add up, with multi-week No. 1 Platinum-certified hit, “Prayed For You” being the ONLY debut artist single to top the Billboard Country Airplay chart (for two consecutive weeks), also notching the top spot in Country Aircheck/Mediabase. The highly acclaimed track, written by Stell with Ash Bowers and Allison Veltz Cruz, has accumulated 182 million streams and counting and is featured on his Everywhere But On EP, which also includes a collaboration with Jimmie Allen, “Home In A Hometown,” and Stell’s cover of the Ariana Grande hit “God Is a woman.” The year also marked his Grand Ole Opry debut (April 27) and the launch of his philanthropic initiative, the Give A Damn Foundation, raising funds for St. Jude Children’s Research Hospital, Doctors Without Borders, the Humane Society, and more. Stell made his primetime, network TV debut on ABC’s summer reality series “Bachelor in Paradise” and kicked off 2020 with a performance on “Good Morning America.”
He’s come a long way from playing college basketball for Drury University and making the choice to head to Nashville instead of Cambridge, MA where he was accepted into Harvard University’s Extension School Pre-Med program. Following his dream of writing and performing, the 6’7” Center Ridge, Ark. native and self-taught vocalist and guitar-player made the move to Music City in 2014, landing a publishing and management deal with Wide Open Music and a record deal with music industry powerhouse Barry Weiss’ RECORDS/Arista Nashville. Stell has received “Ones To Watch” shout-outs from multiple partners, including Vevo DSCVR, MusicRow’s Next Big Thing, The Boot Artist To Watch, Sounds Like Nashville New Country Artist to Watch, CMT Discovery Artist, and YouTube Music Artist on the Rise. He just wrapped his first headlining shows, MATT STELL EVERYWHERE BUT ON TOUR, and will hit the road on select dates this fall with Toby Keith and as part of Rascal Flatts: Farewell Life Is A Highway Tour.
Learn more at mattstell.com, Twitter, Facebook,Instagram, YouTube @MattStellMusic.
L to R: RIAA VP Artist & Industry Relations In Nashville Jackie Jones, Wide Open Music President Ash Bowers, RIAA Chairman and CEO Mitch Glazier, Sony Music Nashville Chairman and CEO Randy Goodman, RECORDS co-founder and CEO Barry Weiss, Matt Stell )
Currently on repeat.
I’ve been really digging our Modern Day Outlaws Playlist lately, (and once again, sorry to Spotify’s new Indigo playlist, we’ve been cranking out playlists like this for years) and I came across this gem today.
Originally, written and recorded by The Boss himself, Mr. Bruce Springsteen, “I’m On Fire” was the fourth single from his 1985 Born In The USA album.
Whitey Morgan and the 78’s recorded the song back in 2008 for their debut studio album, Honky Tonks and Cheap Motels.
Everybody and their mother has covered “I’m On Fire,” and for my money, Whitey’s is one of the best.
In Nashville, he was a skilled musician, songwriter and occasional actor.
Well folks, it’s 7pm Eastern here in the United States so that means voting is closed. If you didn’t get to vote this week, just remember that the voting is open Tuesdays from 7pm Eastern to Thursdays at 7pm Eastern here in the US. Results will be posted tomorrow night at 7pm Eastern! Thanks for […]
Multi-Platinum trio Lady Antebellum announced today that May and June dates of their OCEAN 2020 TOUR have been rescheduled, with the trek now kicking off on July 2 at Sacramento, CA’s Toyota Amphitheatre. Lady A’s headlining run featuring special guests Jake Owen and Maddie & Tae has been pushed back out of caution […]
The post Lady Antebellum Shifts First Ocean 2020 Tour Dates appeared first on Country Music Tattle Tale - Your country music news source.
Last month four-time GRAMMY Award winner and reigning ACM Entertainer of the Year Keith Urban, released his new single “God Whispered Your Name.” A week later it was his biggest streaming debut to date. As it continues to move up the charts, now comes the release of the song’s official music video, directed by Jennifer Massaux, that perfectly complements a song that as Urban states can mean a lot of things to a lot of different people.
“I wanted to first try and capture a sense of isolation, a lonely, dark place, that transitions into light a bit more as the video progresses, which for me is how I found my own world opening up as I went along my journey,” said Urban.
But as Urban tells it the video had its challenges. “That dark and lonely place, was underneath a warehouse in Nashville, literally the darkest, dank and smelly place. We spent the whole morning there shooting everything that you now see in the first part of the video.”
But the smell wasn’t the only challenge. “There was water in this room that I thought was like an inch deep,” explains Urban. “So, I opened the door, walked in and it was really about a foot. The first idea I had was to put my feet and socks into a garbage bag – tie them up and put my shoes on. I’d have my foot, my sock, a garbage bag and then my shoe – it made so much sense – but the water went everywhere. At the end of the shoot I took my boots off and they were drenched – probably as much water in the bag as there was in the waterway!”
The video’s cinematic sense of space and light is represented best as Urban is seen, from a variety of different drone shots, playing his guitar while balanced atop a boulder on an extraordinary mountainscape located just outside of the small town of Lancaster, California. “Playing guitar atop a boulder is definitely not a great idea. You just kinda lose yourself in what you’re doing, and every minute or two you realize what you’re doing, and you think, ‘I better not fall off this big ass boulder!’”
But in the end, Urban’s goal is very basic. “For me, a good music video takes the song to another level. It maybe gives the song a bit more dimension and hopefully we’ve done that with this one.”
The post Keith Urban Releases ‘God Whispered Your Name’ Video appeared first on Your Life In A Song.
In Nashville, he was a skilled musician, songwriter and occasional actor.
03 April 2020Indie Music Blogs
03 April 2020
Spring is upon us, and British writer and musician Jennifer Juan has the perfect song to relax to, on the lighter evenings, with her new single ‘Dream Serene’. Released on Friday April 3rd, Dream Serene follows recent singles Cloud Nine, Aquarius and Lifestyles Of The Loved and Blameless, from her recent album Deus Ex Machina, and signals a new era for the musician and writer. Combining soft, vulnerable vocals with lulling, hazy production, ‘Dream Serene’ is a tranquil tale of letting go of the anxieties of life, and easing into love.
Speaking about the song, Juan said “I wrote the song a very long time ago, and I just couldn’t make it work, but then, I fell in love, for the first time, in a very long time, and I found a way to recreate the song to reflect my new experiences.”
After the success of her recent book Deus Ex Machina, which hit Amazon Bestseller status in the first week of sale, the accompanying album, and a string of performances at the start of the year, including venues such as London’s prestigious Poetry Cafe, Dream Serene is an indication of Juan’s next move as an artist.
Her signature playful but profound lyricism, and dreamy, lush production, utilizing soft beats and strong melodies come together to create a sound that is uniquely Juan’s, setting her apart from her peers, and signaling a strong direction for her next release.
Discussing her further plans for 2020, Juan said “I’m working on the next album at the moment, I’m experimenting with a lot of older sounds, trying to make them new again. I’m also excited to tour again, hopefully at the end of the year.”
‘Dream Serene’ released on Friday April 3rd, worldwide, on all digital stores and streaming services, and the music video is available now on YouTube.
To find out more about Jennifer Juan and her projects, visit www.JenniferJuan.com
The post Jennifer Juan – ‘Dream Serene’ is released worldwide! appeared first on JamSphere.
02 April 2020We are checking in with musicians during the COVID-19 coronavirus pandemic to see how they are dealing with everything. What has their home quarantine experience been like so far and how is the crisis impacting both their career and art? Here we check in with Norway’s Sondre Lerche.
02 April 2020We are checking in with musicians during the COVID-19 coronavirus pandemic to see how they are dealing with everything. What has their home quarantine experience been like so far and how is the crisis impacting both their career and art? Here we check in with Norway’s Sondre Lerche.
02 April 2020My Firsts is our email interview series where we ask musicians to tell us about their first life experiences, be it early childhood ones (first word, first concert, etc.) or their first tastes of being a musician (first band, first tour, etc.). For this My Firsts we talk to British singer/songwriter/guitarist James Elkington.
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