Hello, my name is Shawn Lyon (Sonic). I have been a musician for about 30 years and a performer for about 20. I have learned so many music business situations the hard way. Which has motivated me to write this Ebook titled“Getbandsponsors.com”. I go into detail on how to prepare yourself for obtaining music endorsements and/or […]
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A New Way To Live Forever – Monument EP Russ Rogers (Vocals/Rhythm Guitar), Phil Tucciarone (Drums), Steve Velez (Bass), Stephen Rose (Guitar) and Daniel Dyer (Guitar). Monument is the third release from Ft. Lauderdale’s A New Way To Live Forever. Monument will take you on a journey through the highs and lows of debonair juvenescence: […]
You recently wrapped up a mini-tour of your home state of Florida. How did that run go? Any plans to bring it to the rest of the country? Yes we did, and it was a total blast. Seeing the people that were excited to be there and who actually knew the words to songs was […]
Minneapolis-based metalcore band, Watch Them Fly, formed in 2012. Their darkly poetic yet uplifting melodies have captured an impressive international fanbase. Their most recent EP, The Veil, is available for download via iTunes. Check them out on Facebook @watchthemfly and Twitter @realWTF. What brand equipment does Watch Them Fly prefer to use at this time? […]
Today, Alessia Cara appeared on Annie Mac’s BBC Radio 1 program. On the show, she and her band performed a number of songs, including Frank Ocean’s Channel Orange highlight “Super Rich Kids.” She even did Earl Sweatshirt’s guest verse. Below, listen to Cara and her band (pianist Eric Truelove, drummer Adrian Passarelli, and bassist Dean Jarvis) play “Super Rich Kids” (at 22:09), as well as Know-It-All’s “Scars to Your Beautiful” (3:50) and “River of Tears” (11:39).
Listen to Frank and Earl’s original “Super Rich Kids”:
The 'ANTI' pop icon made her presidential endorsement even clearer with a selfie, wearing a photo of herself wearing a Hillary Clinton shirt.
Don and Charmaine finally reconcile their differences to make amends.
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Don Apologizes to Charmaine | Black Ink Crew: Chicago http://www.youtube.com/user/VH1
The UK rock band Curse of Lono has been releasing a visually striking series of music videos that are part of a four-chapter, 18-minute short […]
Best New Indie Rock Music of 2016, Vol. III – Maps of Suburbia, Cheops’ Cave, Empire of Gold, The Modern Savage, La Historia
This is the third installment of Best New Indie and DIY Rock music of 2016, with installment IV already in the works. This time around, […]
If the grid is what gives techno its shape and its structure, then resisting the grid—warping its contours, cheating its grip, slipping through hidden cracks—is what gives techno its life. Syncopation, flux, slippage: These are all strategies for escaping the rigidity of the too-perfect beat, and all of these escape hatches have long been at the center of Cristian Vogel’s work. The Chilean-born, UK-raised producer has spent his entire career teasing out a fundamental contradiction: Repetition is both techno’s defining feature and its Achilles’ heel.
Vogel got his start in Brighton’s anarchic techno scene alongside artists like Si Begg and Subhead and in the mid-’90s on Berlin’s Tresor label, he began brokering a series of unstable truces between order and chaos. Compared to most techno, Vogel’s sounds have always been especially untamed. On landmark albums like All Music Has Come to an End and Dungeon Master, he favored squeals and squelches, a metallic scrape and glassy clank, all lending to an impression of greased ball bearings tossed on a dusty floor. It was techno that was designed to trip you up.
For the past decade, Vogel has focused his efforts on making music with Kyma, a complex software application and programming language geared toward generative processes and the real-time control of advanced sound design. Autechre are among Kyma’s best-known adopters, but its use extends far beyond experimental dance music; the WALL-E sound designer Ben Burtt used it to fashion the voices of the film’s robots, “performing” their pixelated pitch-shifting using a light pen and a tablet. In Vogel’s hands, the tools help him achieve a kind of rhythmic, loop-based music that is constantly morphing.
The Assistenz builds upon the sounds and ideas that run through 2012’s The Inertials and 2014’s Polyphonic Beings, juggling dub-techno, industrial crunch, and the queasy tones of academic computer music. A fine, grey dust seems to cover everything, and every beat kicks up tiny squalls of soot. He concentrates mostly on the tempo range between 130 and 150 beats per minute, forgoing four-to-the-floor rhythms in favor of lurching, uneven cadences. “Vessels” hurtles along like a ghost train just barely clinging to the rails, and though the force of the drums is unmistakably violent, it feels muted by the reverb that hangs over it. “Telemorphosis” has a similarly contradictory feel, with zapping electrical frequencies smothered by thick, noxious fumes. Part of his project entails breaking down the division between texture and rhythm: The deeper you listen, the more microscopic textural elements blossom into finely detailed patterns. To peer into the penumbra of these tracks is like getting lost in the inky tangle of an Albrecht Dürer woodcut. But Vogel isn’t above bashing out a spectacularly forceful groove, either. The shuddering electro of “Cubic Haze” is built around a gut-punching 808 whose every hit seems, like the bullets in The Matrix, to displace the air around it in tight, concentric rings.
The album is a pretty bleak affair. After all, it gets its name from a graveyard in Copenhagen, the city where Vogel recorded it. And if the album has a flaw, it’s that the mood is a little too uniform. Even given Vogel’s habit of changing up the flow mid-track only to drop out the beat and simply let everything breathe for a bit, the first four tracks pile up like a slow-motion car crash. Fortunately, the album’s back half is more varied. Immediately following “Cubic Haze,” the record’s rhythmic highlight, “Signal Symbol” offers a gorgeous stretch of luminous, beatless drones reminiscent of Wolfgang Voigt’s Gas material; at five-and-a-half minutes, it could easily go four times as long. Vogel brings his rhythmic interests and his ambient skills together on “Barefoot Agnete,” The Assistenz’s centerpiece and indisputable highlight. Throughout the album, faint murmurs can occasionally be picked out of the murk, but the haunting “Barefoot Agnete” is the only track to put the voice front and center. As a skeletal drum pattern beats out a ritualistic rhythm, a woman’s wordless voice is digitally liquefied until it burbles like a mountain spring. For eight minutes, nothing changes except the small contours of that voice as it trickles into the darkness, and it is absolutely spellbinding.