Next to cartoonish Katy Perry, absurdist Lady Gaga and melodramatic Florence + the Machine, Robyn seemed more like Prince or David Bowie, a pioneer defying gender stereotypes.
Wearing a pale blue short-sleeved shirt, dark pants and white trainers, he immediately introduces himself as Jason. It feels like a subtle way of drawing a line between the persona of Chilly Gonzales – a wild-eyed ‘musical genius’ who wears a robe and slippers on stage, like a Bond villain enjoying some downtime – and Jason Beck, a mild-mannered music nerd born in Montreal back in 1972.
via Austin Kleon
Maybe changing attention spans are leading to new ways of listening but there are always going to be interesting artists who are able to see opportunities within that.
I sort of feel like, ‘Well, 10 million autotune fans can’t be wrong. Let me see if I can understand what’s happening here, what the aesthetics are.’ And if I spend enough time on it, I generally find some musical value
The fundamentals of musical storytelling are always going to be there: tension and release, fantasy and reality, sparseness versus denseness. These are the things that music has always been about, whichever culture or era you’re in. They’re still there. Everything gets flattened or compressed more, but that was already happening from the romantic era to the impressionist era
If you can steal without getting caught, then you’ve pulled off the perfect crime – which is what an artist is supposed to do. You’re not meant to come up with new things as an artist; no artist would say that’s what they do. It’s all about taking your influences and hopefully filtering them through a personal viewpoint
I’m all about letting the listener decide who fucked up and who was able to steal with finesse, you know? I mean maybe it’s different if you’re a struggling musician working your crappy day-job and you feel like some giant artist is profiting off something you did; I can imagine there’s a lot of emotional frustration there
On its 15th anniversary, we break down the creation of Outkast's 'Speakerboxxx/The Love Below': one of the greatest albums of the 21st century.
A Spotify playlist tailored to your DNA is the latest example of brands cashing in on people’s search for identity.
If this were simply about wearing kilts or liking Ed Sheeran, these ads could be dismissed as, well, ads. They’re just trying to sell stuff, shrug. But marketing campaigns for genetic-ancestry tests also tap into the idea that DNA is deterministic, that genetic differences are meaningful. They trade in the prestige of genomic science, making DNA out to be far more important in our cultural identities than it is, in order to sell more stuff.
DNA-testing companies are careful not to use racial categories in their tests, instead reporting breakdowns of specific regions around the world. And they say that their tests are meant to bring people together by highlighting shared ancestry and challenging the idea that people are “pure.” I don’t doubt that DNA tests have sparked meaningful explorations of family history for some people and filled in the blanks for others whose histories were lost to slavery and colonialism. I do doubt that a DNA test will solve racism.
It’s a nice message. But it elides history. Mixed ancestry does not necessarily mean a harmonious coexistence, past or future. African Americans have, on average, 24 percent European ancestry. To take a genetic-ancestry test is to confront a legacy of rape and slavery—perhaps to even recognize one’s own existence as the direct result of it. There is a way to use genetics and genealogy to uncover injustices and properly account for them. The 23andMe-sponsored podcast Spit, for instance, has featured some nuanced conversations about race. But it’s not through feel-good ads that paper over the past.
via Audrey Watters
Moulder's musical career started in the early 1980s, at Trident Studios in London. As an assistant engineer, he worked with influential producers like Jean Michel Jarre, drawing from them great familiarity with electronic sounds and textures. Also an engineer at Trident was Flood with whom Moulder would often collaborate in the future. Moulder assisted in one of Flood's recording sessions with The Jesus and Mary Chain, and found that the often fractious and troublesome band enjoyed working with him. The Mary Chain invited Moulder to engineer their live sounds and, eventually, to engineer their 1989 album Automatic. The album's production was praised for its combination of thick, noisy guitar with a polished, listener-friendly tone, and the Mary Chain's former label, Creation Records, soon had Moulder producing records for Ride, My Bloody Valentine and Swervedriver.
For Tides, Middleton teamed up with with Davey Lane (You Am I) as co-production buddy and brought in Steve Schram to mix. The album also includes some quality Australian performers such as Vika and Linda Bull and Kelly Lane on backing vocals, with Graeme Pogson (The Bamboos), Luke Hodgson (Meg Mac), Xani Kolac and Louis Macklin (JET) handling the rhythm of the album.
Place in-between Josh Pyke and Bob Evans
The long awaited collaboration between two iconic Australian artists Daniel Johns (aka Dr Dreams) and Luke Steele (akaMiracle) has arrived.
I feel that No One Defeats Us is one of those albums that has something for everyone, but can be a challenge in its entirety.
Place between Twin Shadow and The Presets