The viral phenomenon that was OK Go's homemade, treadmill-o-riffic music video for 'Here It Goes Again' may never be duplicated, thanks to tightening restrictions on embeddable licensed content. The group's lead singer and guitarist, Damian Kulash, laments these frugal industry policies in a New York Times op-ed titled 'WhoseTube?'
"Believe it or not," Kulash writes, "in the four years since our treadmill dance got such attention, YouTube and EMI [OK Go's label] have actually made it harder to share our videos." OK Go shot to fame when their no-budget video for 'Here It Goes Again' garnered tens of millions of views.
"In these tight times, it's no surprise that EMI is trying to wring revenue out of everything we make, including our videos," says Kulash, who opens the article stating the band sees their videos "as creative works and not as our record company's marketing tool."
The Times op-ed seems to have been precipitated by Kulash's recent post on OK Go's official forum. Kulash began by linking to a video for 'This Too Shall Pass.' The clip is a fun, meticulously-choreographed romp with the potential to spread like Web-wildfire -- if only embedding it wasn't strictly verboten.
According to Kulash, embedded videos are exempt from the revenue YouTube pays record companies, meaning viral success comes at the peril of record labels' coffers. The dispute is a textbook case of artistic freedom clashing with an increasingly tough-to-meet bottom line for the music industry. "To the band, 'Here It Goes Again' was a successful creative project. To the record company, it was a successful, completely free advertisement," Kulash says in his Times piece. He continues:
"Now we can't post the YouTube versions of our videos on our own site, nor can our fans post them on theirs. This isn't how the Internet works. Blogs, Web sites and video aggregators serve as cultural curators, daily collecting the items that will interest their audiences the most. By ignoring the power of these tastemakers, our record company is cutting off its nose to spite its face." Kulash's screed is bold, defining "biting the hand that feeds" in his plain statement that record labels have a well-deserved reputation for greed and short-sightedness.
My Chemical Romance - News
Hello Friends,
Recently it seems as though every time we write to you guys we have bad news, and we apologize for that, but we've learned in life you can't have the sweet without the sour. As a band we have been very fortunate over the years that our sweet times have greatly outweighed the sour ones, and a great deal of that is owed to you, the fans. Which is why we wanted this news to come from us and not some bullshit gossip site.
As of 4 weeks ago, My Chemical Romance and Bob Bryar parted ways. This was a painful decision for all of us to make and was not taken lightly. We wish him the best of luck in his future endeavors and expect you all to do the same.
We also wanted to give you all a quick heads up on how the record is progressing. We have been writing some very powerful new songs so this week the four of us entered the studio once again, and what has been ending up on tape each night is some of the most exciting and honest work we have ever created.
Recently it seems as though every time we write to you guys we have bad news, and we apologize for that, but we've learned in life you can't have the sweet without the sour. As a band we have been very fortunate over the years that our sweet times have greatly outweighed the sour ones, and a great deal of that is owed to you, the fans. Which is why we wanted this news to come from us and not some bullshit gossip site.
As of 4 weeks ago, My Chemical Romance and Bob Bryar parted ways. This was a painful decision for all of us to make and was not taken lightly. We wish him the best of luck in his future endeavors and expect you all to do the same.
We also wanted to give you all a quick heads up on how the record is progressing. We have been writing some very powerful new songs so this week the four of us entered the studio once again, and what has been ending up on tape each night is some of the most exciting and honest work we have ever created.
Pink Floyd News
Rock band Pink Floyd have launched legal action against record label EMI over payment of online royalties and the marketing of their music. The group, signed to EMI since 1967, are disputing the way payments for their digital sales are calculated. They are also seeking a ruling on whether the label can sell individual tracks from their original albums. Pink Floyd did not appear at the first hearing of what is expected to be a lengthy case. Their lawyer, Robert Howe QC, told the court that the musicians wanted "to know where they stand as a matter of contract". Mr Howe said EMI contend that the sale of individual tracks from albums "only applies to the physical product and does not apply online". He added that the practice "makes no commercial sense" and contravenes agreements signed by both parties. Pink Floyd's back catalogue is the most lucrative in pop music apart from that of The Beatles.
Soundwave 2010 - Jimmy Eat World
Shortlisted as the most popular band among the acts at Soundwave Festival 2010, Jimmy Eat World are a live act made for Soundwave and after coming out of recording sessions 2 weeks prior to Soundwave week and managing their sidewaves as well did not disappoint anyone, except for those My Chemical Romance fans that solely bought tickets to see them, but that's another story.
Following Jane's Addiction, Jimmy Eat World were the first 'night' set and what better way to start off by getting the crowd into it with one of their many sing-a-longs - Sweetness. Though the set was mainly predictable, this opener was probably not as fans were expecting A Praise Chorus to open (which evidently came right after), but for the majority of the people at Soundwave, they did opt for a majority of Bleed American songs with remnants of their other records - which left most fans satisfied.
Definitely not the loudest set imaginable for Jimmy Eat World, with at least 4 tracks from my favourite record - Clarity, it really wasn't the best set to mosh too, although it did make Faith No More louder than first imagined. So maybe there's a positive eh? JEW followed radio favourite Let It Happen and Always Be from their newest record - 2008's Chase This Light. JEW apoligised and damn right so for not touring down under for the promotion of Chase This Light, but made up for it even more (as much of a lie as it was although I have to admit that the crowds this year were probably near 50000) by telling Sydney that this is the best place they ever played. I'll leave it up to you to decide.
Vintage were waiting for vintage tracks this didn't take long with Lucky Denver Mint up next yet, we were still waiting for a louder track!! Nevertheless, people at Eastern Creek with their special other had a good time and it made it even better with 23 from Futures. JEW expresses their emotional all here making it a memorable set.
But surely Short. Fast. Loud. didn't sponsor the event for this old school crap right? You betcha! Get It Faster finally started to get spme speed and sound into fans early and the pit finally started to have some hardcore energy that I was waiting for. No Sensitivity emerged and those that hadn't the song weren't sure if it was really them, but it sufficed for a little buffer song, before more from Futures - Work and Futures following and the crowd began to get some life, peaking in the right time for the last 30 mins of the set!
Though Jimmy Eat World's enegy was not like many other bands before, their ability to write such a wide range of songs was won over fans instead of their stage banter and antics, like Jane's Addiction or AFI before them. somewhat lifeless to what some of their records sound like but the music up close and personal is infinitely better than paying 20 bucks for a CD.
Down the stretch is where Jimmy Eat World like to excel, we aren't disappointed with the latter parts of their Soundwave Sydney Set. Starting off the finale with their single from Chase This Light – Big Casino begins the loudness and rocking attitude we had been waiting for and fans really knew what was to come, or at least hope! Blister, their popular track from Clarity set the pit off, and then followed by Hear You Me and their energy was really starting to peak; but as the clock was winding down and fans actually didn't know how many songs were left due to the timing problems earlier in the day (possibly due to Alexisonfire?), overdrive turned on and volume set to 11 – Bleed American starts to blast before crowd favourite – Pain and as JEW announce good night and farewell to Sydney, there could only be one song left – unless there was an encore (which had not happened so far at the festival and if could happen I guess right?) The Middle began to rock the house down and the radio hit from 2001 made it a very successful set for JEW and most fans weren't too disappoint, except for a lack of Futures track, but that could always wait for the sideshow at UNSW Roundhouse on Tuesday. Near perfect Music Festival set and I am personally glad that they got to play 23, so all in all a very successful outing for Jimmy Eat World – 8/10.
Following Jane's Addiction, Jimmy Eat World were the first 'night' set and what better way to start off by getting the crowd into it with one of their many sing-a-longs - Sweetness. Though the set was mainly predictable, this opener was probably not as fans were expecting A Praise Chorus to open (which evidently came right after), but for the majority of the people at Soundwave, they did opt for a majority of Bleed American songs with remnants of their other records - which left most fans satisfied.
Definitely not the loudest set imaginable for Jimmy Eat World, with at least 4 tracks from my favourite record - Clarity, it really wasn't the best set to mosh too, although it did make Faith No More louder than first imagined. So maybe there's a positive eh? JEW followed radio favourite Let It Happen and Always Be from their newest record - 2008's Chase This Light. JEW apoligised and damn right so for not touring down under for the promotion of Chase This Light, but made up for it even more (as much of a lie as it was although I have to admit that the crowds this year were probably near 50000) by telling Sydney that this is the best place they ever played. I'll leave it up to you to decide.
Vintage were waiting for vintage tracks this didn't take long with Lucky Denver Mint up next yet, we were still waiting for a louder track!! Nevertheless, people at Eastern Creek with their special other had a good time and it made it even better with 23 from Futures. JEW expresses their emotional all here making it a memorable set.
But surely Short. Fast. Loud. didn't sponsor the event for this old school crap right? You betcha! Get It Faster finally started to get spme speed and sound into fans early and the pit finally started to have some hardcore energy that I was waiting for. No Sensitivity emerged and those that hadn't the song weren't sure if it was really them, but it sufficed for a little buffer song, before more from Futures - Work and Futures following and the crowd began to get some life, peaking in the right time for the last 30 mins of the set!
Though Jimmy Eat World's enegy was not like many other bands before, their ability to write such a wide range of songs was won over fans instead of their stage banter and antics, like Jane's Addiction or AFI before them. somewhat lifeless to what some of their records sound like but the music up close and personal is infinitely better than paying 20 bucks for a CD.
Down the stretch is where Jimmy Eat World like to excel, we aren't disappointed with the latter parts of their Soundwave Sydney Set. Starting off the finale with their single from Chase This Light – Big Casino begins the loudness and rocking attitude we had been waiting for and fans really knew what was to come, or at least hope! Blister, their popular track from Clarity set the pit off, and then followed by Hear You Me and their energy was really starting to peak; but as the clock was winding down and fans actually didn't know how many songs were left due to the timing problems earlier in the day (possibly due to Alexisonfire?), overdrive turned on and volume set to 11 – Bleed American starts to blast before crowd favourite – Pain and as JEW announce good night and farewell to Sydney, there could only be one song left – unless there was an encore (which had not happened so far at the festival and if could happen I guess right?) The Middle began to rock the house down and the radio hit from 2001 made it a very successful set for JEW and most fans weren't too disappoint, except for a lack of Futures track, but that could always wait for the sideshow at UNSW Roundhouse on Tuesday. Near perfect Music Festival set and I am personally glad that they got to play 23, so all in all a very successful outing for Jimmy Eat World – 8/10.
08 March 2010
Comments: (0)Labels: Alternative Rock, Bleed American, Futures, Hardcore, Jimmy Eat World, Live Act, Soundwave 2010
Story of the Year - The Constant
Alternative Metal rockers Story of the Year come out with a new record for 2010 and isn't the title fitting - The Constant. Anything but, is the new album with their variety of influences of styles mixing some hardcore, funk metal and alternative rock as well as the presumptious emo-pop lyrics gives fans new hope and especially Australian fans - a solid act for Soundwave Festival 2011. Yes that's right. i have already been looking. And wouldn't we also love Jimmy Eat World to come back soon, especially given that Aussie fans know of a new and in recording album to be released over the new future. But that's another story altogether.
The Constant opens with The Children Sing and it proves to be an epic and suitable opening track to the record. A great pop-metal track with accompaniment from some children makes it a fun and great sing-a-long for the live stages. But the next track really shows what Story of the Year bring to the table - The Ghost of You and I, a shoe in for their live single of the album. Using great melodies with a bit of the old 'short, fast and loud' treatment to make their point as the songs transitions into what fans love - Emo-Rock lyrics mixed with some alternative metal melodies as they are 'longing for daylight'.
To The Burial presents us with a slower but more epic and just as loud track indefinitely leave us with moments of screamo and hardcore in our ears. A bit of punk-rock follows the opeing chorus and every other chorus to keep us in our seats, the pop and radio friendly feature of this track makes it really the lowlight of the record.
The Dream Is Over shows us Page Avenue saga Story of the Year which all listeners will love with the under-melody and the lyrics are the subtle but most important part of the track - they just know how to put our feelings into words, who really wants to wake up from a dream?
Are we looking for more vintage Story of the Year? You bectcha! Time Goes On and so do Story of the Year as their new record looks to invograte old fans who are still stuck on Page Avenue. Interesting lyrics as well as how we choose to interpret them but they sit down and realise that lives came and gone but time still goes on.
The Constant finish with a speed-metal/hardcore track that's title doesn't have the best intentions, but that's we love them isn't it? Eye For An Eye really shows why Story of the Year have produced such commercial success - their ability to be different from other alternative-metal/post-hardcore groups and present such varying material with a vast array of influences, but still able to keep their core music writing styles to please old fans and still keep their fan base growing.
7/10
The Constant opens with The Children Sing and it proves to be an epic and suitable opening track to the record. A great pop-metal track with accompaniment from some children makes it a fun and great sing-a-long for the live stages. But the next track really shows what Story of the Year bring to the table - The Ghost of You and I, a shoe in for their live single of the album. Using great melodies with a bit of the old 'short, fast and loud' treatment to make their point as the songs transitions into what fans love - Emo-Rock lyrics mixed with some alternative metal melodies as they are 'longing for daylight'.
To The Burial presents us with a slower but more epic and just as loud track indefinitely leave us with moments of screamo and hardcore in our ears. A bit of punk-rock follows the opeing chorus and every other chorus to keep us in our seats, the pop and radio friendly feature of this track makes it really the lowlight of the record.
The Dream Is Over shows us Page Avenue saga Story of the Year which all listeners will love with the under-melody and the lyrics are the subtle but most important part of the track - they just know how to put our feelings into words, who really wants to wake up from a dream?
Are we looking for more vintage Story of the Year? You bectcha! Time Goes On and so do Story of the Year as their new record looks to invograte old fans who are still stuck on Page Avenue. Interesting lyrics as well as how we choose to interpret them but they sit down and realise that lives came and gone but time still goes on.
The Constant finish with a speed-metal/hardcore track that's title doesn't have the best intentions, but that's we love them isn't it? Eye For An Eye really shows why Story of the Year have produced such commercial success - their ability to be different from other alternative-metal/post-hardcore groups and present such varying material with a vast array of influences, but still able to keep their core music writing styles to please old fans and still keep their fan base growing.
7/10
Jane's Addiction News
History has a habit of repeating itself and not for the first time, founding member Eric Avery has walked out on Jane's Addiction. Claiming the "experiment is at an end," the remaining members of the band have vowed to continue and have drafted in the bottom-end services of erstwhile Guns N'Roses and Velvet Revolver bassist Duff McKagan.
Having completed an Australian tour in Perth on Monday (Mar. 1), Avery announced on Twitter that his days with Jane's Addiction were over.
"That's it with equal parts regret and relief," he wrote.
It's been clear that all hasn't been well within the band. In addition to using his Twitter account to count down the days of the Australian tour, the bassist had been absent from recent group shots as well as revealing that he wasn't a part of the writing process.
The response from Jane's Addiction has been cryptic to say the least, with singer Perry Farrell writing, "Slipping out of that shell of a past. Wow we're on to something faster now. And so worth the wait." No, we're not sure what that means either.
Avery previously quit Jane's Addiction in 1991 and he refused to take part in their first reunion of 1999-2004. His place was then taken by a succession of bassists including Red Hot Chili Peppers' Flea.
Jane's Addiction are reported to be writing new material with Duff McKagan which is likely to form the basis of the follow-up o 2003's 'Strays'. Avery is thought to be pursuing a solo career.
Having completed an Australian tour in Perth on Monday (Mar. 1), Avery announced on Twitter that his days with Jane's Addiction were over.
"That's it with equal parts regret and relief," he wrote.
It's been clear that all hasn't been well within the band. In addition to using his Twitter account to count down the days of the Australian tour, the bassist had been absent from recent group shots as well as revealing that he wasn't a part of the writing process.
The response from Jane's Addiction has been cryptic to say the least, with singer Perry Farrell writing, "Slipping out of that shell of a past. Wow we're on to something faster now. And so worth the wait." No, we're not sure what that means either.
Avery previously quit Jane's Addiction in 1991 and he refused to take part in their first reunion of 1999-2004. His place was then taken by a succession of bassists including Red Hot Chili Peppers' Flea.
Jane's Addiction are reported to be writing new material with Duff McKagan which is likely to form the basis of the follow-up o 2003's 'Strays'. Avery is thought to be pursuing a solo career.
Alkaline Trio - This Addiction
This Addiction was promoted as a return to roots for the Alkaline Trio, no doubt as a ploy to bait old fans who have been waiting over ten years for the second coming of Goddamnit! With Matt Allison (the producer responsible for most of the band's earliest work) manning the boards and new label Epitaph footing the bill, things looked promising. The lead single and title track was a great start, and showed itself to be close to a return to form, with its blazing surge of guitars and slightly vintage feel (traces of "My Friend Peter" can be heard), and it seemed to reveal a band with something to prove. However, the deeper you get into This Addiction the more apparent it becomes that the model for their punk past must be From Here to Infirmary (not the heralded classic Goddamnit!), since the end result is still the same polished album full of vaguely gothic and bloody references where characters like Draculina live — no real bitterness, sore-throat defiance, or endearing heartache to be found. Despite their efforts to convince listeners otherwise, Alkaline Trio just can't seem to recapture the spirit of their early days, when purpose and emotion fueled every note. Instead, one is left with totally competent — and at times, yes, catchy — songs that ring just a bit too hollow compared to the urgent leave-it-all-on-the-floor guts of those earliest releases. Once the listener gets past the initial bait and switch, This Addiction takes a few spins to sink in, but when it does, several tracks do stick out of the bunch, the title track and "Off the Map" being some of the strongest. Dan Andriano has a solid showing, but with only three songs compared to Matt Skiba's eight, it would have been nice to hear him more, especially since Skiba's lyrics leave much to be desired. So despite the polished and punchy singalong choruses, This Addiction is really just more of the same recycled melodies from the Trio rather than any sort of rebirth. Those who have been enjoying what the Alkaline Trio have been releasing for the better part of the 2000s will love This Addiction all the same, but everyone else who still clings to hope of the band reclaiming its former fury may finally just throw up their hands and move on.
Soundwave 2010 - Paramore
Paramore's energy especially from Hayley WIlliams and her ability to command the stage like a dance floor still with mic in hand shows their ability to become the newest pop-rockers of the world.
Opening with Josh and the distorted electric guitar oppf the opening song of their 40 minute set - Ignorance really encapsulated the crowd - until Hayley takes the stage. Paramore's ability to write short, fast and loud songs for the popular culture of the Western World sees them take the crowd by storm with their 4th disc - Brand New Eyes. Anger and happiness cross in Hayley's voice and image with the iconic lyric from the new record - 'Ignorance is your new best friend.'
Following in a 35 degree day out at Eastern Creek in Sydney, it doesn't bother them although Hayley still has to ask the crowd if they are ok in the blistering heat, and they following with other classics from Riot which all fans were hoping for - and they weren't disappointed. Crushcrushcrush and That's What You Get were some older singles from their breakthrough record, and this following with the inevitable popular tracks from Brand New Eyes, which made No. 1 in Oz, and even Hayley doesn't know how it happened.
After a break and the introduction as well as the short but sweet banter from Hayley WIlliams - 'This is gonna be a fun set, it already is... So let me ask you a question, and there is no right answer, 'No' is acceptable... Who has our new record?' (screaming, yelling). They continue with Careful and Let The Flames Begin and set the crowd on fire with Pressure - the classic track from their first record, All We Know Is Falling.
Is there another track to top the already fantabulous set? You fucking better believe it. for those rare Twilight fans out there, Paramore's Decode deom the soundtrack set fans wild and with limited time left, we all knew what tracks were remaining. Misery Business followed and the crowd all joined in with Hayley's true dancing 'moves' coming out when Josh started banging the guitar solo.
With energy at a peak in the pit, what could be left? Brick by Boring Brick, the radio hit on Triple J and a crowd favourite with full participation for the whole song. Fans couldn't wait for the final 30 seconds of the set as we all chanted - 'Pa da pa pa da pa pa da!'
Opening with Josh and the distorted electric guitar oppf the opening song of their 40 minute set - Ignorance really encapsulated the crowd - until Hayley takes the stage. Paramore's ability to write short, fast and loud songs for the popular culture of the Western World sees them take the crowd by storm with their 4th disc - Brand New Eyes. Anger and happiness cross in Hayley's voice and image with the iconic lyric from the new record - 'Ignorance is your new best friend.'
Following in a 35 degree day out at Eastern Creek in Sydney, it doesn't bother them although Hayley still has to ask the crowd if they are ok in the blistering heat, and they following with other classics from Riot which all fans were hoping for - and they weren't disappointed. Crushcrushcrush and That's What You Get were some older singles from their breakthrough record, and this following with the inevitable popular tracks from Brand New Eyes, which made No. 1 in Oz, and even Hayley doesn't know how it happened.
After a break and the introduction as well as the short but sweet banter from Hayley WIlliams - 'This is gonna be a fun set, it already is... So let me ask you a question, and there is no right answer, 'No' is acceptable... Who has our new record?' (screaming, yelling). They continue with Careful and Let The Flames Begin and set the crowd on fire with Pressure - the classic track from their first record, All We Know Is Falling.
Is there another track to top the already fantabulous set? You fucking better believe it. for those rare Twilight fans out there, Paramore's Decode deom the soundtrack set fans wild and with limited time left, we all knew what tracks were remaining. Misery Business followed and the crowd all joined in with Hayley's true dancing 'moves' coming out when Josh started banging the guitar solo.
With energy at a peak in the pit, what could be left? Brick by Boring Brick, the radio hit on Triple J and a crowd favourite with full participation for the whole song. Fans couldn't wait for the final 30 seconds of the set as we all chanted - 'Pa da pa pa da pa pa da!'
The Flaming Lips - From Spin
Why the Flaming Lips: "Back in 1983 when we were approaching our first gig," recalls frontman Wayne Coyne, "we really didn't know what we were gonna be called. It was still sort of the punk era back then, but we didn't want to be called something too political like the Dead Kennedys. I'd read somewhere about a group called the Flaming Hands, which was a name I'd liked and that led to the Flaming Lips. But I've had a lot of people come up to me and tell me that they really know where the name comes from. Some folks have told me that I got the name from an old Fred Astaire musical that it supposedly shows up in. Others said we took it from a quote by Ralph Waldo Emerson. Nope, it happened like I said it did. I even remember making a flyer for the show where I cut out a picture of a woman with her legs spread and put a mouth over her, uh, parts -- so there was this idea of a throbbing orifice. It just proves that if a man is completely left to his own devices, he'll always go straight for vaginas."
Previously Rejected Names: "Oh, we had a bunch of ridiculous ideas. We had considered things like the Tijuana Toads; the Corporation; the Firm. Silly names like that."
Best Band Names Ever: "Echo and the Bunnymen and Sonic Youth are both good ones. So is the Teardrop Explodes."
Worst Band Name Ever: "The first time I heard the Boredoms, I thought, 'What is that?' And the first time I heard Husker Du, I thought 'What the ****?' Another one that I never thought was amazing was Dinosaur Jr. Even the Beatles -- it's just a spin-off from Buddy Holly and the Crickets."
Previously Rejected Names: "Oh, we had a bunch of ridiculous ideas. We had considered things like the Tijuana Toads; the Corporation; the Firm. Silly names like that."
Best Band Names Ever: "Echo and the Bunnymen and Sonic Youth are both good ones. So is the Teardrop Explodes."
Worst Band Name Ever: "The first time I heard the Boredoms, I thought, 'What is that?' And the first time I heard Husker Du, I thought 'What the ****?' Another one that I never thought was amazing was Dinosaur Jr. Even the Beatles -- it's just a spin-off from Buddy Holly and the Crickets."
Soundwave 2010 - Motion City Soundtrack
Fans have been waiting for Justin Pierre and his Motion City Soundtrack to come back to Australia for a long time and their Soundwave performance did not disappoint. Showing the world that they are truly the band to beat after their success of their first three albums, I Am The Movie, Even If It Kills Me and Commit This To Memory. In 2010, after 4 years of waiting, Motion City Soundtrack release a fourth disc and with that a new and anger-filled record to excite and entice old fans as well as capture new fans with tracks from with new record – My Dinosaur Life. Also being their first record on a mainstream recording label – Columbia we see the band branch out and encourage a wider range of music for the mainstream listeners around the world with new popular favourites like Disappear and Her Words Destroyed My Planet.
At Eastern Creek Raceway, they looked good and their energy was excellent producing a solid outing and for me a great start to Soundwave. Although outnamed by so many other acts this year, they only received a short 30-40 minute set but that was sufficient for Justin to promote the new album as well as play some old favourites that fans came to hear.
1.Disappear
2.The Future Freaks Me Out
3.My Favourite Accident
4.Broken Heart
5.When You're Around
6.Delerium
7.This Is For Real
8.A Lifeless Ordinary
9.Attractive Today
10.Her Words Destroyed My Planet
11.Everything Is Alright
At Eastern Creek Raceway, they looked good and their energy was excellent producing a solid outing and for me a great start to Soundwave. Although outnamed by so many other acts this year, they only received a short 30-40 minute set but that was sufficient for Justin to promote the new album as well as play some old favourites that fans came to hear.
1.Disappear
2.The Future Freaks Me Out
3.My Favourite Accident
4.Broken Heart
5.When You're Around
6.Delerium
7.This Is For Real
8.A Lifeless Ordinary
9.Attractive Today
10.Her Words Destroyed My Planet
11.Everything Is Alright
Comments: (0)
Labels: Eastern Creek Raceway, Motion City Soundtrack, My Dinosaur Life, Soundwave 2010, sydney
Soundwave Review - Overall
Soundwave at Eastern Creek Raceway like past years gone by produces a large array of rock, metal, emo and punk rock acts to come around to Australia and blast away with noise. This year we say a multitude of international acts appear from all over the world. What brings tear to mine and I'm sure many fan's eyes is the rebirth and reformation of several acts including minor favourite band - The Get Up Kids, who have molded the path of modern Emo-Pop for the generation of listeners around the world over the last decade.
Interestingly, not only the reforming of bands occurred but Soundwave Festival 2010 was a chance for international acts to show what they have done for popular and rock music around the world including Paramore, Motion City Soundtrack and Jimmy Eat World. But who really stole the stage away this year? Eagles of Death Metal and Reel Big Fish produced solid live outings as hoped but nothing can be taken away from the main stage acts that were brought in for those old fans; and encapsulated young listeners out there as well - Jane's Addiction and Faith No More. With Perry Farrell and Mike Patten's stage presence mixed with their deep and influential alternative rock/metal music over the 80s and 90s they were quite simply FAST and LOUD and brought fans together as one, although hardcore Anti-Flag or H.I.M. fans just couldn't miss those acts on alternate stages.
Stay tuned - Individual reviews coming soon...
Interestingly, not only the reforming of bands occurred but Soundwave Festival 2010 was a chance for international acts to show what they have done for popular and rock music around the world including Paramore, Motion City Soundtrack and Jimmy Eat World. But who really stole the stage away this year? Eagles of Death Metal and Reel Big Fish produced solid live outings as hoped but nothing can be taken away from the main stage acts that were brought in for those old fans; and encapsulated young listeners out there as well - Jane's Addiction and Faith No More. With Perry Farrell and Mike Patten's stage presence mixed with their deep and influential alternative rock/metal music over the 80s and 90s they were quite simply FAST and LOUD and brought fans together as one, although hardcore Anti-Flag or H.I.M. fans just couldn't miss those acts on alternate stages.
Stay tuned - Individual reviews coming soon...
28 February 2010
Comments: (0)Labels: faith no more, Jane's Addiction, Jimmy Eat World, Motion City Soundtrack, paramore, Soundwave 2010
Herbie Hancock News
Jazz legend Herbie Hancock will be feted at a belated 70th birthday bash at Carnegie Hall that will highlight the revival of a major summer jazz festival in the Big Apple.
The pianist, who turns 70 on April 12, will be joined by comedian Bill Cosby, saxophonist Joe Lovano, trumpeter Terence Blanchard, and saxophonist Wayne Shorter, Hancock's bandmate in Miles Davis' famed 1960s quintet, with more guests to be announced. The June 24 concert, "Herbie Hancock, Seven Decades: The Birthday Celebration," will benefit The Thelonious Monk Institute of Jazz.
"That will be a very exciting night - perhaps one of the unique nights in the history of the festival with a lot of people coming just to salute Herbie," the festival's producer, George Wein, said Friday.
The concert will be followed by a festival first - an old-time midnight jam session paying tribute to Hancock - at the City Winery nightclub.
After lining up new sponsorship from medical technology company, CareFusion Corp., Wein has resurrected New York's flagship summer jazz festival, which he first launched in 1972. The festival was canceled last year after Japanese electronics firm JVC withdrew its sponsorship.
Wein, who founded the first outdoor jazz festival in Newport, Rhode Island, in 1954, had envisioned retiring when he sold his company, Festival Productions, in 2007. But the new owners ran into financial difficulties, and Wein formed a new company last year to save the Newport and New York festivals.
The CareFusion Jazz Festival will make its debut from June 17 to 26 with some 45 concerts at 20 venues, including concert halls, parks, museums and libraries in four boroughs.
Carnegie Hall will be the site of three other high-profile concerts featuring trumpeter Chris Botti, Brazilian bossa nova maestro Joao Gilberto, and the trio of pianist Keith Jarrett, bassist Gary Peacock and drummer Jack DeJohnette.
There will also be several free outdoor concerts, with Latin jazz star Eddie Palmieri performing in a Bronx park and pianist McCoy Tyner's quartet and the Stanley Clarke Band with Japanese pianist Hiromi playing at Central Park's SummerStage.
But otherwise, Wein says that this year's festival will take a new youth-friendly approach highlighting up-and-coming musicians like Darcy James Argue's Secret Society, the quartet Mostly Other People Do the Killing, and the jazz-hip-hop collective Revive da Live, including rapper Talib Kweli.
"We feel the future of jazz relates to the young people that are playing now," said the 84-year-old Wein. "Jazz is not a dying situation - it's more alive than ever because there are more people playing the music than ever before."
To that end, Wein has teamed with a new generation of music presenters at venues in downtown Manhattan, Harlem and Brooklyn. The festival is paying the musicians and letting the clubs collect the gate, asking only that ticket prices be kept at a recession-friendly $15 for most events.
"It's helping the clubs and the musicians," said Wein. "Its our own stimulus program."
The pianist, who turns 70 on April 12, will be joined by comedian Bill Cosby, saxophonist Joe Lovano, trumpeter Terence Blanchard, and saxophonist Wayne Shorter, Hancock's bandmate in Miles Davis' famed 1960s quintet, with more guests to be announced. The June 24 concert, "Herbie Hancock, Seven Decades: The Birthday Celebration," will benefit The Thelonious Monk Institute of Jazz.
"That will be a very exciting night - perhaps one of the unique nights in the history of the festival with a lot of people coming just to salute Herbie," the festival's producer, George Wein, said Friday.
The concert will be followed by a festival first - an old-time midnight jam session paying tribute to Hancock - at the City Winery nightclub.
After lining up new sponsorship from medical technology company, CareFusion Corp., Wein has resurrected New York's flagship summer jazz festival, which he first launched in 1972. The festival was canceled last year after Japanese electronics firm JVC withdrew its sponsorship.
Wein, who founded the first outdoor jazz festival in Newport, Rhode Island, in 1954, had envisioned retiring when he sold his company, Festival Productions, in 2007. But the new owners ran into financial difficulties, and Wein formed a new company last year to save the Newport and New York festivals.
The CareFusion Jazz Festival will make its debut from June 17 to 26 with some 45 concerts at 20 venues, including concert halls, parks, museums and libraries in four boroughs.
Carnegie Hall will be the site of three other high-profile concerts featuring trumpeter Chris Botti, Brazilian bossa nova maestro Joao Gilberto, and the trio of pianist Keith Jarrett, bassist Gary Peacock and drummer Jack DeJohnette.
There will also be several free outdoor concerts, with Latin jazz star Eddie Palmieri performing in a Bronx park and pianist McCoy Tyner's quartet and the Stanley Clarke Band with Japanese pianist Hiromi playing at Central Park's SummerStage.
But otherwise, Wein says that this year's festival will take a new youth-friendly approach highlighting up-and-coming musicians like Darcy James Argue's Secret Society, the quartet Mostly Other People Do the Killing, and the jazz-hip-hop collective Revive da Live, including rapper Talib Kweli.
"We feel the future of jazz relates to the young people that are playing now," said the 84-year-old Wein. "Jazz is not a dying situation - it's more alive than ever because there are more people playing the music than ever before."
To that end, Wein has teamed with a new generation of music presenters at venues in downtown Manhattan, Harlem and Brooklyn. The festival is paying the musicians and letting the clubs collect the gate, asking only that ticket prices be kept at a recession-friendly $15 for most events.
"It's helping the clubs and the musicians," said Wein. "Its our own stimulus program."
Brit Awards - Sales Increase
Florence and The Machine was a major domestic beneficiary from last week's BRIT Awards, with a 53% week-on-week sales increase in the U.K. for her debut album "Lungs" (Island/Universal) and a No. 2 single.
The alternative artist's set, which won for best British album, moved 9-3 on the U.K. chart with weekly sales of 39,000 according to the Official Charts Company. Florence and the Machine performed at the Feb. 16 ceremony with rapper Dizzee Rascal, and their duet "You Got The Dirtee Love" made No. 2 on the singles chart following its Feb. 17 release exclusively via iTunes. It moved almost 63,000 units in four days.
Lady Gaga's "The Fame" (Interscope/Universal) increased weekly sales by 54% to 53,500, and moved 5-2 behind the Glee Cast. She won three international awards and performed during the ceremony, which got an average 5.8 million viewers for the live broadcast on ITV1.
The majority of BRITs performers' albums benefited. Robbie Williams increased sales for "Reality Killed the Video Star" (Virgin/EMI) by 22% and moved 21-8; Lily Allen's "It's Not Me It's You" (Parlophone/EMI) was up 13% and moved 28-19; and Jay-Z's "The Blueprint 3" (Roc Nation) increased sales by 25% and moved 22-10. The BRIT Awards album tops the compilation chart.
Ted Cockle, co-president of Island U.K., says Florence and the Machine's success - U.K. shipments are now over 800,000 - justifies their slow build for the artist, who released her debut album several months after winning the critics' choice award at the 2009 BRIT Awards.
"She's just a rare breed, which gives you the confidence to take your time with her," says Cockle. "Most of the time [with other artists] we drive one hit single and the airplay on that and the album off the back of it, whereas this [success] is coming from five or six tracks that people are enjoying."
Cockle is eyeing a total of 1 million-plus sales in the U.K. with two further singles to come. "Historically, the million-seller has always been the hallmark of the records that seem to stay around forever and always hold a precious place in people's hearts," says Cockle. "If we can get beyond that it would be good, but we don't need to be pushing on forever because I think it will have a natural life of its own without us needing to market it too aggressively."
The single "You Got the Love" also improved 29-12 post-BRITs, and Cockle notes that Candi Staton, who had a 1991 top 20 U.K. hit with the Source on the original dance version, has given her approval. An on-stage collaboration between Florence Welch and Staton is "something talked about for across the summer," he says.
There have already been some studio sessions for new material because Cockle says it is "the best way to keep her excited," and there is also discussion about her writing a "power ballad" with Duffy songwriter Eg White.
Cockle stresses that Island has encouraged Florence to take risks musically. "People fell in love with her for the wild songs and for the more alternative stuff," he adds.
Florence and the Machine follows the current European tour with dates in the U.S. in April including Coachella festival.
Rock act Kasabian also got a BRITs boost following their win for best British group and performance of "Fire." "West Ryder Pauper Lunatic Asylum" (Columbia) increased weekly sales by 179% - although this was from a lower base than "Lungs" - and moved from No. 63 to No. 20. The album sold almost 12,000 copies last week.
"They were also the only rock act to win an award during the night and that probably reflects the way music went during 2009 unfortunately," says Columbia Records U.K. managing director Mike Smith. He says consistent support from U.K. national top 40 station Radio 1 has been crucial.
Smith believes Kasabian is "the biggest band [active] in the U.K. now and we want to go on and take that message out around the world, and that's certainly where Serge [Pizzorno]'s head is at with the new material he's writing at the moment."
"It's interesting that rock music has not had as much exposure in the last 12 months as other musical genres, but Kasabian has proved that people love this kind of music," he adds. "What's been great is that Kasabian has consistently researched and tested incredibly well at the radio stations that have played them, people absolutely love this kind of music. When they get the opportunity to hear them and see them live, the record sales certainly grow in accordance with that."
Rapper Dizzee Rascal increased sales of his album "Tongue 'N' Cheek" (Dirtee Stank/PIAS) by 75% for a weekly sale of 6,600, which sent it 73-33. Dizzee's best British male victory was "totally deserved" according to PIAS U.K. managing director Peter Thompson, who says that "2009 was the year that Dizzee Rascal became a major commercial force."
The brand new Dizzee track "Disco" will be released to radio in the next few weeks.
Meanwhile, Ellie Goulding, winner of the critics' choice award, enjoyed a 400% increase on pre-orders for her March 1 debut "Lights" (Polydor) according to download store 7digital.
The alternative artist's set, which won for best British album, moved 9-3 on the U.K. chart with weekly sales of 39,000 according to the Official Charts Company. Florence and the Machine performed at the Feb. 16 ceremony with rapper Dizzee Rascal, and their duet "You Got The Dirtee Love" made No. 2 on the singles chart following its Feb. 17 release exclusively via iTunes. It moved almost 63,000 units in four days.
Lady Gaga's "The Fame" (Interscope/Universal) increased weekly sales by 54% to 53,500, and moved 5-2 behind the Glee Cast. She won three international awards and performed during the ceremony, which got an average 5.8 million viewers for the live broadcast on ITV1.
The majority of BRITs performers' albums benefited. Robbie Williams increased sales for "Reality Killed the Video Star" (Virgin/EMI) by 22% and moved 21-8; Lily Allen's "It's Not Me It's You" (Parlophone/EMI) was up 13% and moved 28-19; and Jay-Z's "The Blueprint 3" (Roc Nation) increased sales by 25% and moved 22-10. The BRIT Awards album tops the compilation chart.
Ted Cockle, co-president of Island U.K., says Florence and the Machine's success - U.K. shipments are now over 800,000 - justifies their slow build for the artist, who released her debut album several months after winning the critics' choice award at the 2009 BRIT Awards.
"She's just a rare breed, which gives you the confidence to take your time with her," says Cockle. "Most of the time [with other artists] we drive one hit single and the airplay on that and the album off the back of it, whereas this [success] is coming from five or six tracks that people are enjoying."
Cockle is eyeing a total of 1 million-plus sales in the U.K. with two further singles to come. "Historically, the million-seller has always been the hallmark of the records that seem to stay around forever and always hold a precious place in people's hearts," says Cockle. "If we can get beyond that it would be good, but we don't need to be pushing on forever because I think it will have a natural life of its own without us needing to market it too aggressively."
The single "You Got the Love" also improved 29-12 post-BRITs, and Cockle notes that Candi Staton, who had a 1991 top 20 U.K. hit with the Source on the original dance version, has given her approval. An on-stage collaboration between Florence Welch and Staton is "something talked about for across the summer," he says.
There have already been some studio sessions for new material because Cockle says it is "the best way to keep her excited," and there is also discussion about her writing a "power ballad" with Duffy songwriter Eg White.
Cockle stresses that Island has encouraged Florence to take risks musically. "People fell in love with her for the wild songs and for the more alternative stuff," he adds.
Florence and the Machine follows the current European tour with dates in the U.S. in April including Coachella festival.
Rock act Kasabian also got a BRITs boost following their win for best British group and performance of "Fire." "West Ryder Pauper Lunatic Asylum" (Columbia) increased weekly sales by 179% - although this was from a lower base than "Lungs" - and moved from No. 63 to No. 20. The album sold almost 12,000 copies last week.
"They were also the only rock act to win an award during the night and that probably reflects the way music went during 2009 unfortunately," says Columbia Records U.K. managing director Mike Smith. He says consistent support from U.K. national top 40 station Radio 1 has been crucial.
Smith believes Kasabian is "the biggest band [active] in the U.K. now and we want to go on and take that message out around the world, and that's certainly where Serge [Pizzorno]'s head is at with the new material he's writing at the moment."
"It's interesting that rock music has not had as much exposure in the last 12 months as other musical genres, but Kasabian has proved that people love this kind of music," he adds. "What's been great is that Kasabian has consistently researched and tested incredibly well at the radio stations that have played them, people absolutely love this kind of music. When they get the opportunity to hear them and see them live, the record sales certainly grow in accordance with that."
Rapper Dizzee Rascal increased sales of his album "Tongue 'N' Cheek" (Dirtee Stank/PIAS) by 75% for a weekly sale of 6,600, which sent it 73-33. Dizzee's best British male victory was "totally deserved" according to PIAS U.K. managing director Peter Thompson, who says that "2009 was the year that Dizzee Rascal became a major commercial force."
The brand new Dizzee track "Disco" will be released to radio in the next few weeks.
Meanwhile, Ellie Goulding, winner of the critics' choice award, enjoyed a 400% increase on pre-orders for her March 1 debut "Lights" (Polydor) according to download store 7digital.
Peter Gabriel - Scratch My Back
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his first eponymous solo album in 1977, he began exploring darker, more cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist, and with 1982's Security, he began to move into the mainstream; "Shock the Monkey" became his first Top 40 hit, paving the way for his multi-platinum breakthrough So in 1986. Accompanied by a series of groundbreaking videos and the number one single "Sledgehammer," So became a multi-platinum hit, and Gabriel became an international star. Instead of capitalizing on his sudden success, he began to explore other interests, including recording soundtracks and running his company Real World. By the time he returned to pop with 1992's Us, his mass audience had faded away and he spent the remainder of the '90s working on multimedia projects for Real World.
Following his departure from Genesis in 1976, Peter Gabriel began work on the first of three consecutive eponymously titled albums; each record was named Peter Gabriel, he said, as if they were editions of the same magazine. In 1977, his first solo album appeared and became a moderate success due to the single "Solsbury Hill." Another self-titled record followed in 1978, yet received comparatively weaker reviews. Gabriel's third eponymous album proved to be his artistic breakthrough, however. Produced by Steve Lillywhite and released in 1980, the album established Gabriel as one of rock's most ambitious, innovative musicians, as well as one of its most political — "Biko," a song about a murdered antiapartheid activist, became one of the biggest protest anthems of the '80s. "Games Without Frontiers," with its eerie chorus, nearly reached the Top 40.
In 1982, Gabriel released Security, which was an even bigger success, earning positive reviews and going gold on the strength of the startling video for "Shock the Monkey." Just as his solo career was taking off, Gabriel participated in a one-shot Genesis reunion in order to finance his WOMAD — World of Music, Arts and Dance — Festival. WOMAD was designed to bring various world musics and customs to a Western audience, and it soon turned into an annual event, and a live double album was released that year to commemorate the event. As Gabriel worked on his fifth album, he contributed the soundtrack to Alan Parker's 1984 film Birdy. His score was highly praised and it won the Grand Jury Prize at Cannes that year. After founding Real World, Inc. — a corporation devoted to developing bridges between technology and multiethnic arts — in 1985, he completed his fifth album, So.
Released in 1986, So became Gabriel's commercial breakthrough, largely because his Stax homage "Sledgehammer" was blessed with an innovative video that combined stop-action animation with live action. So climbed to number two as "Sledgehammer" hit number one, with "Big Time" — featuring a video very similar to "Sledgehammer" — reaching the Top Ten and "In Your Eyes" hitting the Top 30. As So was riding high on the American and British charts, Gabriel co-headlined the first benefit tour for Amnesty International in 1986 with Sting and U2. Another Amnesty International Tour followed in 1988, and the following year, Gabriel released Passion: Music for The Last Temptation of Christ, a collection of instrumentals used in Martin Scorsese's film. Passion was the furthest Gabriel delved into worldbeat, and the album was widely acclaimed, winning the Grammy Award in 1989 for Best New Age Performance. In 1990, he released the hits compilation Shaking the Tree.
Gabriel labored long on the pop-music follow-up to So, finally releasing Us in the spring of 1992. During the recording of Us, Gabriel went through a number of personal upheavals, including a painful divorce, and those tensions manifested themselves on Us, a much darker record than So. For various reasons, not the least of which was the fact that it was released six years after its predecessor, Us wasn't as commercially successful as So, despite positive reviews. Only one single, the "Sledgehammer" knockoff "Steam," reached the Top 40, and the album stalled at platinum sales. In 1993, Gabriel embarked on the most ambitious WOMAD tour to date, touring the United States with a roster including Crowded House, James, and Sinéad O'Connor, with whom he had an on-off romantic relationship. The following year, he released the double-disc Secret World Live, which went gold. Later in 1994, he released the CD-ROM Xplora, one of many projects he developed with Real World. For the rest of the decade, Gabriel concentrated on developing more multimedia projects for the company and working on a new studio album.
Up was released in 2002, a full decade after Gabriel's last studio effort. Dense, cerebral, and often difficult, the record peaked at number nine but failed to sell well in America. It fared slightly better in Canada, where it went gold. He then turned his attention to a host of different projects, although the release of Big Blue Ball — a compilation of collaborative performances recorded at Real World Studios during the '90s — helped placate fans while Gabriel focused his energies elsewhere. He eventually returned to the studio for another album, Scratch My Back, which featured orchestral covers of songs originally performed by Radiohead, Arcade Fire, Paul Simon, David Bowie, and others.
Following his departure from Genesis in 1976, Peter Gabriel began work on the first of three consecutive eponymously titled albums; each record was named Peter Gabriel, he said, as if they were editions of the same magazine. In 1977, his first solo album appeared and became a moderate success due to the single "Solsbury Hill." Another self-titled record followed in 1978, yet received comparatively weaker reviews. Gabriel's third eponymous album proved to be his artistic breakthrough, however. Produced by Steve Lillywhite and released in 1980, the album established Gabriel as one of rock's most ambitious, innovative musicians, as well as one of its most political — "Biko," a song about a murdered antiapartheid activist, became one of the biggest protest anthems of the '80s. "Games Without Frontiers," with its eerie chorus, nearly reached the Top 40.
In 1982, Gabriel released Security, which was an even bigger success, earning positive reviews and going gold on the strength of the startling video for "Shock the Monkey." Just as his solo career was taking off, Gabriel participated in a one-shot Genesis reunion in order to finance his WOMAD — World of Music, Arts and Dance — Festival. WOMAD was designed to bring various world musics and customs to a Western audience, and it soon turned into an annual event, and a live double album was released that year to commemorate the event. As Gabriel worked on his fifth album, he contributed the soundtrack to Alan Parker's 1984 film Birdy. His score was highly praised and it won the Grand Jury Prize at Cannes that year. After founding Real World, Inc. — a corporation devoted to developing bridges between technology and multiethnic arts — in 1985, he completed his fifth album, So.
Released in 1986, So became Gabriel's commercial breakthrough, largely because his Stax homage "Sledgehammer" was blessed with an innovative video that combined stop-action animation with live action. So climbed to number two as "Sledgehammer" hit number one, with "Big Time" — featuring a video very similar to "Sledgehammer" — reaching the Top Ten and "In Your Eyes" hitting the Top 30. As So was riding high on the American and British charts, Gabriel co-headlined the first benefit tour for Amnesty International in 1986 with Sting and U2. Another Amnesty International Tour followed in 1988, and the following year, Gabriel released Passion: Music for The Last Temptation of Christ, a collection of instrumentals used in Martin Scorsese's film. Passion was the furthest Gabriel delved into worldbeat, and the album was widely acclaimed, winning the Grammy Award in 1989 for Best New Age Performance. In 1990, he released the hits compilation Shaking the Tree.
Gabriel labored long on the pop-music follow-up to So, finally releasing Us in the spring of 1992. During the recording of Us, Gabriel went through a number of personal upheavals, including a painful divorce, and those tensions manifested themselves on Us, a much darker record than So. For various reasons, not the least of which was the fact that it was released six years after its predecessor, Us wasn't as commercially successful as So, despite positive reviews. Only one single, the "Sledgehammer" knockoff "Steam," reached the Top 40, and the album stalled at platinum sales. In 1993, Gabriel embarked on the most ambitious WOMAD tour to date, touring the United States with a roster including Crowded House, James, and Sinéad O'Connor, with whom he had an on-off romantic relationship. The following year, he released the double-disc Secret World Live, which went gold. Later in 1994, he released the CD-ROM Xplora, one of many projects he developed with Real World. For the rest of the decade, Gabriel concentrated on developing more multimedia projects for the company and working on a new studio album.
Up was released in 2002, a full decade after Gabriel's last studio effort. Dense, cerebral, and often difficult, the record peaked at number nine but failed to sell well in America. It fared slightly better in Canada, where it went gold. He then turned his attention to a host of different projects, although the release of Big Blue Ball — a compilation of collaborative performances recorded at Real World Studios during the '90s — helped placate fans while Gabriel focused his energies elsewhere. He eventually returned to the studio for another album, Scratch My Back, which featured orchestral covers of songs originally performed by Radiohead, Arcade Fire, Paul Simon, David Bowie, and others.
23 February 2010
Comments: (0)Labels: Covers, Genesis, Instrumental, Peter Gabriel, Progressive Rock
Confirmed Act 4: Faith No More
After being out of the business for 10 years, the legendary alternative rock/metal supergroup Faith No More have reformed for a 2009 European Tour which has extended past that one continent and onto the rest of the world – inlcuding their beloved Australia. Making an appearance, is not enough – they're the premier headliners and deservingly so for their contribution to alternative rock during the 80s. Will we see a bigger set of headliners that Soundwave 2011? I darn hope so because it would be a pretty massive feat to champ over Faith No More, Jimmy Eat World and Paramore!
1.Midnight Cowboy
2.The Real Thing
3.Land of Sunshine
4.Be Aggressive
5.Caffiene
6.Evidence
7.Surprise! You're Dead!
8.Last Cup of Sorrow
9.Ricochet
10.Epic
11.Midlife Crisis
12.RV
13.The Gentle Art of Making Enemies
14.King for a Day
15.Ashes to Ashes
16.Just A Man
17.Chariots of Time
18.Stripsearch
19.We Care A Lot
20.Pristine
1.Midnight Cowboy
2.The Real Thing
3.Land of Sunshine
4.Be Aggressive
5.Caffiene
6.Evidence
7.Surprise! You're Dead!
8.Last Cup of Sorrow
9.Ricochet
10.Epic
11.Midlife Crisis
12.RV
13.The Gentle Art of Making Enemies
14.King for a Day
15.Ashes to Ashes
16.Just A Man
17.Chariots of Time
18.Stripsearch
19.We Care A Lot
20.Pristine
20 February 2010
Comments: (0)Labels: alternative metal, Alternative Rock, faith no more, Soundwave 2010
BRIT Awards
Britain is gaga for Lady Gaga.
The fashion-forward pop diva scored three BRIT Awards -- England's equivalent of the Grammys -- Tuesday night during a ceremony at London's Earls Court, where she also delivered an emotional tribute to her friend Alexander McQueen, the fashion icon who died last week.
"Thank you to Lee McQueen," Gaga said, her voice cracking, as she accepted the award for Best International Album for The Fame. She also won for Best International Female Artist and Best International Breakthrough Act. [Via Billboard]
Other big winners at the ceremony included Jay-Z, who beat out Bruce Springsteen and Eminem, among others, to score Best International Male; British Female Solo Artist winner Lily Allen; rapper Dizzee Rascal, who scored British Male Solo Artist; indie rockers Kasabian, landing the British Group statue; and Florence and the Machine, SPIN faves who won the most sought-after prize for their release Lungs: Best British Album!
On behalf of defunct Britpop legends Oasis, former singer Liam Gallagher accepted the BRIT Album of 30 Years award for their 1995 release (What's the Story) Morning Glory?. Liam snubbed his brother Noel -- a fight between the kin broke up the band in August -- opting to exclude him from his acceptance speech, which included thank-yous to random ex members.
"The best band in the ******* world -- live forever," Liam added before tossing his mic into the audience and walking off stage.
And, like the Grammys, the BRITs were heavy on performances. Gaga, in a white lace dress and a gigantic wig, took to the piano for "Telephone" and "Dance In The Dark"; Jay-Z and Alicia Keys sang their super hit "Empire State Of Mind"; and Florence and the Machine and Dizzee Rascal mashed up their songs "You Got The Love" and "Dirtee Cash," respectively, with the help of harpists and a lot of glitter. Florence even emerged from a giant disco ball during the performance.
British Male Solo Artist
Dizzee Rascal
British Female Solo Artist
Lily Allen
British Breakthrough Act (Winner chosen by Radio 1 listeners)
JLS
British Group
Kasabian
British Album
Florence & the Machine Lungs
British Single
(Winner selected by U.K. commercial radio listeners) JLS "Beat Again"
International Male Solo Artist
Jay-Z
International Female Solo Artist
Lady Gaga
International Breakthrough Act
Lady Gaga (Winner chosen by MTV viewers)
International Album
Lady Gaga The Fame (Interscope/Universal Music)
BRITs Album of 30 Years
Oasis (What's the Story) Morning Glory? (Winner chosen by Radio 2 & 6 Music listeners)
BRITS Performance of 30 Years
Spice Girls
Critics' Choice
Ellie Goulding
Producer
Paul Epworth
___________
The fashion-forward pop diva scored three BRIT Awards -- England's equivalent of the Grammys -- Tuesday night during a ceremony at London's Earls Court, where she also delivered an emotional tribute to her friend Alexander McQueen, the fashion icon who died last week.
"Thank you to Lee McQueen," Gaga said, her voice cracking, as she accepted the award for Best International Album for The Fame. She also won for Best International Female Artist and Best International Breakthrough Act. [Via Billboard]
Other big winners at the ceremony included Jay-Z, who beat out Bruce Springsteen and Eminem, among others, to score Best International Male; British Female Solo Artist winner Lily Allen; rapper Dizzee Rascal, who scored British Male Solo Artist; indie rockers Kasabian, landing the British Group statue; and Florence and the Machine, SPIN faves who won the most sought-after prize for their release Lungs: Best British Album!
On behalf of defunct Britpop legends Oasis, former singer Liam Gallagher accepted the BRIT Album of 30 Years award for their 1995 release (What's the Story) Morning Glory?. Liam snubbed his brother Noel -- a fight between the kin broke up the band in August -- opting to exclude him from his acceptance speech, which included thank-yous to random ex members.
"The best band in the ******* world -- live forever," Liam added before tossing his mic into the audience and walking off stage.
And, like the Grammys, the BRITs were heavy on performances. Gaga, in a white lace dress and a gigantic wig, took to the piano for "Telephone" and "Dance In The Dark"; Jay-Z and Alicia Keys sang their super hit "Empire State Of Mind"; and Florence and the Machine and Dizzee Rascal mashed up their songs "You Got The Love" and "Dirtee Cash," respectively, with the help of harpists and a lot of glitter. Florence even emerged from a giant disco ball during the performance.
British Male Solo Artist
Dizzee Rascal
British Female Solo Artist
Lily Allen
British Breakthrough Act (Winner chosen by Radio 1 listeners)
JLS
British Group
Kasabian
British Album
Florence & the Machine Lungs
British Single
(Winner selected by U.K. commercial radio listeners) JLS "Beat Again"
International Male Solo Artist
Jay-Z
International Female Solo Artist
Lady Gaga
International Breakthrough Act
Lady Gaga (Winner chosen by MTV viewers)
International Album
Lady Gaga The Fame (Interscope/Universal Music)
BRITs Album of 30 Years
Oasis (What's the Story) Morning Glory? (Winner chosen by Radio 2 & 6 Music listeners)
BRITS Performance of 30 Years
Spice Girls
Critics' Choice
Ellie Goulding
Producer
Paul Epworth
___________
OK Go News
If any band knows the power of viral videos, it’s OK Go. Five years ago, the band broke through when clips for “A Million Ways” and “Here It Goes Again” (the “treadmill” video) were passed around the Web. The band assumed the same would be the case for the first two videos from its new Of the Blue Colour of the Sky album (for “WTF” and “This Too Shall Pass”). But that was before the music business began groping for any additional ways to generate income in light of plummeting CD sales.
Thanks to a 2006 agreement between Google and the major labels, the two clips are officially confined to MySpace and YouTube and can’t be posted anywhere else. In the Google arrangement, which was renewed with the labels last year, the four majors receive at least 50 percent of ad revenue based on streams of videos on YouTube.
OK Go’s response? Go around the system. In an open letter to fans posted on the band’s site on January 18, singer-guitarist Damien Kulash explained the situation — and then provided a code so that bloggers and fans can embed both videos on their own sites. “We’ll put ‘em up anywhere we can,” says Kulash. “Our label is unlikely to start suing us for putting our videos up.” OK Go plans to make at least four more videos from Of the Blue Colour of the Sky, including one in which Kulash will be thrown across a room in a giant slingshot.
According to Kulash, OK Go didn’t realize the restrictions until angry fan e-mails began arriving at the band’s Website. “It’s kind of a stupid decision,” says Kulash. “It doesn’t matter all that much to me if people are passing around our videos on one platform over another. But if the casual person who just wants to stick it up on their Facebook page can’t embed it, they send you a nasty comment and move on. You’ve just lost the two to 200 people who might have read that page.”
Although EMI declined to comment (but did not dispute Kulash’s claims), a YouTube spokesman confirms that the label made the decision to prevent those particular videos from being embedded elsewhere. OK Go manager Jamie Kitman says the band asked the label if they could skirt around the rules. “But they said, ‘That’s the policy — what can we do?’” he says. “It’s unthinkable to us that they wouldn’t want to spread videos virally, but they have a corporate policy.”
Kulash says he understands the industry’s rationale. “As fucked up as the industry is, it does provide investment money for bands,” he says. “For them to continue to do that, they do need some income.” But he also says that’s about all he comprehends about streaming videos and additional income. “Basically I have no ******* idea how it works. The last accounting we saw said that for 600,000 streams, we got $31. How can that be worth this?”
Thanks to a 2006 agreement between Google and the major labels, the two clips are officially confined to MySpace and YouTube and can’t be posted anywhere else. In the Google arrangement, which was renewed with the labels last year, the four majors receive at least 50 percent of ad revenue based on streams of videos on YouTube.
OK Go’s response? Go around the system. In an open letter to fans posted on the band’s site on January 18, singer-guitarist Damien Kulash explained the situation — and then provided a code so that bloggers and fans can embed both videos on their own sites. “We’ll put ‘em up anywhere we can,” says Kulash. “Our label is unlikely to start suing us for putting our videos up.” OK Go plans to make at least four more videos from Of the Blue Colour of the Sky, including one in which Kulash will be thrown across a room in a giant slingshot.
According to Kulash, OK Go didn’t realize the restrictions until angry fan e-mails began arriving at the band’s Website. “It’s kind of a stupid decision,” says Kulash. “It doesn’t matter all that much to me if people are passing around our videos on one platform over another. But if the casual person who just wants to stick it up on their Facebook page can’t embed it, they send you a nasty comment and move on. You’ve just lost the two to 200 people who might have read that page.”
Although EMI declined to comment (but did not dispute Kulash’s claims), a YouTube spokesman confirms that the label made the decision to prevent those particular videos from being embedded elsewhere. OK Go manager Jamie Kitman says the band asked the label if they could skirt around the rules. “But they said, ‘That’s the policy — what can we do?’” he says. “It’s unthinkable to us that they wouldn’t want to spread videos virally, but they have a corporate policy.”
Kulash says he understands the industry’s rationale. “As fucked up as the industry is, it does provide investment money for bands,” he says. “For them to continue to do that, they do need some income.” But he also says that’s about all he comprehends about streaming videos and additional income. “Basically I have no ******* idea how it works. The last accounting we saw said that for 600,000 streams, we got $31. How can that be worth this?”
Confirmed Act 3:The Get Up Kids
After what was 5 or so years of rather good success and the influence they put on other pop-punk and emo bands to the day – even such as superstars Fall Out Boy and pulled-out act of Soundwave 2010, My Chemical Romance, and their further stint with more meaningful and productive pop-punk group, The New Amsterdams, they will be sure to bring out a lot of ranging songs and the setlist will be hard to predict. Obviously, fans love their breakthrough record – Something To Write Home About, but of course the other records will be cover, seeing their 10 year absence has brought tears to many fans.
1.Holiday
2.I'm A Loner Dottie, A Rebel
3.The One You Want
4.Coming Clean
5.Overdue
6.Woodson
7.Your Petty Pretty Little Things
8.No Love
9.Off The Wagon
10.Valentine
11.Red Letter Day
12.Campfire Kansas
13.Holy Roman
14.Mass Pike
15.Action & Action
16.Walking On A Wire
17.Long Goodnight
18.Don't Hate Me
19.I'll Catch You
20.Ten Minutes
1.Holiday
2.I'm A Loner Dottie, A Rebel
3.The One You Want
4.Coming Clean
5.Overdue
6.Woodson
7.Your Petty Pretty Little Things
8.No Love
9.Off The Wagon
10.Valentine
11.Red Letter Day
12.Campfire Kansas
13.Holy Roman
14.Mass Pike
15.Action & Action
16.Walking On A Wire
17.Long Goodnight
18.Don't Hate Me
19.I'll Catch You
20.Ten Minutes
Confirmed Act 2: Paramore
After only a limited time in the popular music industry, the alternative rock group, Paramore, have taken the world by storm, with a suprisingly similar composition of band members to Blondie. Nevertheless, their success is accentuated by the female vocals, giving a different but vibrant shock to the standard listener. Their 2009 hit album, Brand New Eyes, puts it among the Top 10 rock albums of 2009 and deservingly so, get the nod with a 45 minute set at Eastern Creek Raceway at Soundwave 2010. Again, hopefully to promote their new record as widely purchased as it was by Australians, their new catchy track will rock Australia this summer with singles and “should-be” singles Ignorance, Turn It Off and Playing God. I'm very interested to see what else they might pull out for Australia.
1.Ignorance
2.crushcrushcrush
3.That's What Your get
4.Looking Up
5.Careful
6.Let The Flames Begin
7.Never Let This Go
8.The Only Exception
9.Pressure
10.For A Pessimist, I'm Pretty Optimistic
11.Where The Lines Overlap
12.Decode
13.Misery Business
14.Brick By Boring Brick
1.Ignorance
2.crushcrushcrush
3.That's What Your get
4.Looking Up
5.Careful
6.Let The Flames Begin
7.Never Let This Go
8.The Only Exception
9.Pressure
10.For A Pessimist, I'm Pretty Optimistic
11.Where The Lines Overlap
12.Decode
13.Misery Business
14.Brick By Boring Brick
Confirmed Act 1: Motion City Soundtrack
Well all the bands that are coming, particularly the bigger acts will have a problem since their dilemma of trying to mix the old and the new stuff, seeing that most of they had a new album in the last 18 months. None more so than Motion City Soundtrack. They have flown under the radar for quite some time in the alternative rock and pop-punk world yet their stage presence, stage antics and ability to lyrically write fantastic songs bodes well for 2010. After releasing their newest record, My Dinosaur Life, in late January 2010, this will surely be the majority of the act with such poppy and catchy track as Worker Bee, Delirium, Her Words Destroyed My Planet, Stand Too Close and Disappear, they essentially could cover the whole 40 minute set with the new album... but they won't. Of course there will be moments of the older stuff while fans love and obviously some new fans will enjoy the set due to the increasingly poppy yet meaningful lyrics and music by Motion City Soundtrack.
1.Worker Bee
2.The Future Freaks Me Out
3.My Favourite Accident
4.Broken Heart
5.Delirium
6.This Is For Real
7.When “You're” Around
8.Pulp Fiction
9.Motherfuckers
10.Last Night
11.A Lifeless Ordinary (Need A Little Help)
12.Even If It Kills Me
13.Attractive Today
14.Stand Too Close
15.Perfect Teeth
16.Her Words Destroyed My Planet
17.L.G. FUAD
18.Disappear
19.Everything Is Alright
1.Worker Bee
2.The Future Freaks Me Out
3.My Favourite Accident
4.Broken Heart
5.Delirium
6.This Is For Real
7.When “You're” Around
8.Pulp Fiction
9.Motherfuckers
10.Last Night
11.A Lifeless Ordinary (Need A Little Help)
12.Even If It Kills Me
13.Attractive Today
14.Stand Too Close
15.Perfect Teeth
16.Her Words Destroyed My Planet
17.L.G. FUAD
18.Disappear
19.Everything Is Alright
13 February 2010
Comments: (0)Labels: Alternative Rock, Motion City Soundtrack, Pop-Punk, Soundwave 2010
Preview to Soundwave Festival 2010 – Sydney
Well T-minus 8 days to Soundwave Festival 2010, the premier punk, rock, metal and emo showcase of the best acts from Australia and around the world. We've all seen the timetable and after months of speculation and changes I bring you the bands that I will be attending. Some that I wish I could attend and setlists of them, well at least hopeful setlists!
Soundwave Festival 2010 Mix Volume 1
1. Anti-Flag - The Press Corpse
2. Jimmy Eat World - A Praise Chorus
3. Motion City Soundtrack - Delirium
4. Jane's Addiction - Mountain Song
5. Faith No More - Epic
6. The Get Up Kids - Ten Minutes
7. Paramore - Ignorance
8. Anti-Flag - Power To The Peaceful
9. Faith No More - We Care A Lot
10. The Get Up Kids - Holiday
11. Jane's Addiction - Stop!
12. AFI - Miss Murder
13. Motion City Soundtrack - Disappear
14. Paramore - Brick By Boring Brick
15. AFI - Medicate
16. Jimmy Eat World - Blister
17. Motion City Soundtrack - Everything Is Alright
18. Jimmy Eat World - Sweetness
2. Jimmy Eat World - A Praise Chorus
3. Motion City Soundtrack - Delirium
4. Jane's Addiction - Mountain Song
5. Faith No More - Epic
6. The Get Up Kids - Ten Minutes
7. Paramore - Ignorance
8. Anti-Flag - Power To The Peaceful
9. Faith No More - We Care A Lot
10. The Get Up Kids - Holiday
11. Jane's Addiction - Stop!
12. AFI - Miss Murder
13. Motion City Soundtrack - Disappear
14. Paramore - Brick By Boring Brick
15. AFI - Medicate
16. Jimmy Eat World - Blister
17. Motion City Soundtrack - Everything Is Alright
18. Jimmy Eat World - Sweetness
12 February 2010
Comments: (0)Labels: AFI, Anti-Flag, faith no more, Jane's Addiction, Jimmy Eat World, Motion City Soundtrack, paramore, Soundwave 2010, The Get Up Kids
Subscribe to:
Posts (Atom)