Review: Macklemore, Without Ryan Lewis in Gemini

By Niy Birden

Bendo


When they first stepped onto the scene, Macklemore and Ryan Lewis were quite an interesting combo: DJ/producer/photographer meets a rapper, both from Washington with an interest in hip hop. They curated a close-knit audience soon after with their first two EPs, The VS. and The VS. Redux, and sealed in the deal with their chart-topping hits such as “Can’t Hold Us”, “Thrift Shop”, and “Same Love”, all to be included on their debut album The Heist.

With their first bit of discography, aside from being an obviously white male duo, they had gained a lot of recognition for their massive success as indie artists. This is an especially noteworthy part of their career, considering their influence with The Grammys and other mainstream music platforms.

With their second album they started to show a reputation for making viral videos, but suddenly, as of earlier this summer they have since gone on a hiatus, which of course caused a major shock to their loyal fanbase. But separation seems to have been a quite amazing thing for the both of them, with Lewis snatching himself another hit for his work on Kesha’s comeback hit “Praying”, and Macklemore having lined up pop and new R&B hitmakers with his sophomore album Gemini.

So what does Macklemore (real name Benjamin Haggerty) sound like without Ryan Lewis?

For Gemini, we see Macklemore essentially much more personal than ever. The nostalgic vintage imagery is placed perfectly within the context of the album through songs like “Good Old Days”, and we get a closer look into how we perceive his contradictory views of America, and himself.
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CMA Announces More Unexpected Musical Performances And Collaborations

CMA Announces More Unexpected Musical Performances And Collaborations For “The 51st Annual CMA Awards,” Airing Wednesday, Nov.8, On The ABC Television Network. New Performers Include Tim McGraw & Faith Hill, Pop Superstar P!NK, Keith Urban and an All-star Group Performance Featuring Eric Church, Lady Antebellum, Darius Rucker and Urban

NASHVILLE—One of the best things about the CMA Awards are the surprises, and “The 51st Annual CMA Awards” has more unexpected collaborations to share as another round of superstar performances are announced for the Wednesday, Nov. 8 (8-11 PM ET), live broadcast from Bridgestone Arena in Nashville on the ABC Television Network.

Tim McGraw and Faith Hill, P!NK, and Keith Urban will perform on this year’s Awards, and an unprecedented opening collaboration will feature Eric Church, Lady Antebellum, Darius Rucker, Keith Urban and more. Brad Paisley and Carrie Underwood will co-host The Awards for the 10th consecutive year.

Hill and McGraw are among Country Music’s most nominated couples and “Speak to a Girl” marks the sixth time they’ve been nominated together for a CMA in the Vocal Event of the Year and Musical Event of the Year categories since 1997’s “It’s Your Love,” which they won. The couple has 61 nominations combined, with McGraw winning 11 times, including the 2001 Entertainer of the Year. Hill has three victories.
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Paloma Faith Creates A Visual and Audio Masterpiece for “Crybaby” (Review)

By Niy Birden

RCA Sony Music Entertainment


Grainy videos of DNA and various scientific studies transition from one another, while a soft drone murmurs as the soundscape. Children stand, completely still and attentive in line while a disgruntled man addresses them. The camera slowly reaches various points of his face, all from a closer angle each time:

“Emotion, empathy, feeling…
these human qualities, gentlemen, are for the weak
for those that we leave behind,
for those that we remove from the crop.
You are the leaders of tomorrow,
bred, to be the future’s history.
You should hold yourselves as such.
Do not let the world see you tremble.”

This introduces us to the world of Paloma Faith’s new dystopian musical entity. A world where emotion and resistance are often side-by-side. But this really is no wonder for the loyal listeners of Paloma. From the start of her career, she has shown to her royal subjects that she loves contradiction and embraces the artistic characteristics that come with it.

Paloma Faith started out with an extremely humble beginning, which makes it very easy to understand why playing other roles is such a second skin for her. In one of her many prior jobs and education, as a magician’s assistant she became a virtuoso in creating the fairytales needed to wow the minds of audiences. Unfortunately though, this role was relatively unheard. It was mostly silent and non-confrontational. Be pretty and follow directions, but don’t hit them where it hurts.

Don’t suggest you know too much more than them. Don’t suggest to the magician that you can do his job. Her early video, Do You Want The Truth Or Something Beautiful?, taken from the album of the same name, is a direct testament to the life that is lived through a magician’s assistant. Wow and amaze, but don’t take them out of that dream land.

And now, Paloma has created her own. From her studio debuts all the way to now, Paloma has quite honestly almost perfected the visual and audio partnering for her specific niche of music.
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CMT Interview: Andrew Hollander About Composing the World of A Serial Killer, Amongst Other Things.

By Niy Birden

composer Andrew Hollander


It is a widespread idea that the mind of a composer is often a rambunctious and claustrophobic one, with numerous do-overs and second thoughts. It is especially difficult when making something for a designated medium or even, for another person. Strangely enough, this understanding can also be applied to psychopathic killers. But according to Andrew Hollander, things really aren’t that complicated. With having enough context and musical ambition, plus a little luck-finding the perfect balance between the “colors” of a score and a hinting script was enough to craft the subtle sounds for My Friend Dahmer, a daring and even funny coming-of-age autobiography about one of America’s most interesting serial killers.

Q: Okay, so for starters, this may seem a little bit weird to ask, but I know that music is becoming more digital now- there’s so many apps and different DAWs- so I have to ask, do you play any instruments?

A: I do, no-clearly that’s not a crazy question, I do, I play a bunch of instruments. I mainly play piano and any sort of keyboard instruments, but I play a bit of guitar, bit of drums, you know.

Q: I notice there aren’t really any leads to your origins. What got you specifically into composing, and how did you get started in the niche? Also, which came first, songwriting or film composing?

A: They came at more or less the same time, funny enough-when I started playing music,I was like, I think 12 or 13 and I was in a bunch of rock bands…

FilmRise

I started writing, some song stuff, some instrumental stuff, but I felt like-I always loved movies, so film scoring always kind of intrigued me, and then after college I moved to NY. And I got hired for this really low-budget indie film to score it, but they also needed some songs, so I also ended up doing both on that film. And it kind of just set me on that path, I was always doing things pretty much in parallel, sometimes I would do-and still do- a score and songs, for a film, but I was always working with different artists and bands on records and scoring films. Like certain years I might be busy with one more than the other, but I always liked just working in both worlds. One was never…neither of them was ever peripheral, both were really important to me and really inspiring to me. And so, they seem to be very parallel paths to me.
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Water Tower Music To Release Batman And Harley Quinn: Music From The DC Universe Original Movie

… and Batman Vs.Two-Face: Music From The DC Animated Movie. Both titled to be released October 6 and feature original music by the Emmy award-winning dynamic music partners (DMP)

Water Tower Music announced today the October 6 release of two titles: Batman and Harley Quinn: Music From The DC Universe Original Movie AND Batman Vs. Two-Face: Music From The DC Animated Movie. The albums feature the movie’s original score by Dynamic Music Partners (DMP), a team of 3 composers who previously scored Batman Beyond. The soundtracks will be available at all digital music providers and on CD exclusively at FYE stores.

“We’re thrilled that WaterTower Music is releasing soundtracks for two of our current projects: Batman & Harley Quinn and Batman vs. Two-Face!” explained the three Emmy Award-winning composers Michael McCuistion, Lolita Ritmanis and Kristopher Carter, collectively known as Dynamic Music Partners. “The “Batman vs. Two-Face” score gave us one final opportunity to honor the late Adam West as Batman, with all the Bams! Zings! and Pows! made famous by the original television series music written by musical icons Neil Hefti and Nelson Riddle. Collaboration with producer James Tucker always brings us great creative freedom!

“With “Harley Quinn,” we returned to the musical world of “Batman: The Animated Series,” which was our first collaboration with Bruce Timm as part of Shirley Walker’s team,” they continued. “Along with recreating that Dark Deco mood, we also paid homage to some of the greatest jazz scores of the 70’s and 80’s. Our long creative history with Bruce usually allows for a musical and dramatic shorthand while discussing the score; this particular project, with its comedic twists and turns, really kept us on our toes!

“We worked with our key music team on the scores (engineers Mark Mattson and Mako Sujishi, woodwind player John Yoakum, Greg Herzenach on guitars, Andris Mattson playing trumpet on “Two-Face,” and trumpet legend Wayne Bergeron on “Harley”) to take the listener on journeys that are simultaneously familiar and fresh for fans who will undoubtedly appreciate these distinct takes on the Batman universe. Both albums will be available October 6 at all digital music providers and on CD exclusively at FYE Stores:

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Radiohead Among Nominees For 2018 Rock and Roll Hall of Fame

By Armando

Parlophone – EMI


It seems like it was only yesterday that Radiohead released their debut single “Creep,” the quintessential track from their album “Pablo Honey” which brought them worldwide success.

But that was 1992, making the influential English alternative rock band seemingly a shoo-in for induction on their first year of eligibility to the Rock and Roll Hall of Fame, where performers qualify for induction 25 years after the release of their first commercial recording.

Along with Rage Against the Machine, Dire Straits, Judas Priest, among others, Radiohead is one of 9 first-time nominees for 2018 induction class. In total, there are 19 nominated artists announced on Tuesday.

By December this list will be truncated to five and revealed as Class of 2018. They will then be inducted during a ceremony at the Public Hall in Cleveland, Ohio on April 14th, 2018, an annual musical occasion which includes numerous performances by both the inductees and the presenters.

According to Rock & Roll Hall Of Fame website, fans will be able to participate in the selection process by selecting 5 artists at a time. This will comprise the “fan ballot” and will be tallied alongside the ballots from Rock Hall voting body, which is a group of more than 900 artists, historians and music-industry professionals.

Throughout the past, inductees include some of the most influential names in rock history, such as Chuck Berry, The Beatles, The Rolling Stones, and The Jackson 5. Last year, Electric Light Orchestra, Joan Baez, Journey, Pearl Jam, Tupak Shakur, and Yes comprised the 2017 Hall of Fame class.

For the full list of nominees, click here.

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Album Review: “Double Dutchess” by Fergie

By Niy Birden

Dutchess – BMG


Today, B.E.P member Fergie released her highly (and we do mean highly) long-awaited album Double Dutchess after a staggering 11 years. You thought 3 years was a long time? Or even 5? Try again.

But Fergie has always been one to surprise her audiences. While her absence has been one of constant discussion, she has been kind enough to surprise us with generous music tidbits, such as her infamous star-studded “M.I.L.F. $” released earlier in the year, and a few others. But now, Fergie has made it a point to let us know: we’d better not forget who she is. While her visuals do mostly differentiate with tone and genre, the effect makes us remember why we loved dancing to and watching her bangers like “London Bridge” and even “Fergalicious”. With a complimentary visual album slowly making its way into the YouTube-o-sphere, here’s a glance at her new album, Double Dutchess:

The album starts off with “Hungry”, a dark pad complimented with an even-darker foreign sung sample, and immediately we hear Rick Ross’ authoritative voice, having Fergie back him up. It’s a bit weird to hear Fergie, of all people, adapting to trap music, but it is fair to say that she was a part of one of the most commercially -successful and impactful rap groups ever, that being Black Eyed Peas. It was no secret that they were not afraid of adapting to new sounds.

In fact, their sound is what helped the hip hop/rap genre incorporate a new pop integration. Some heavily criticized it, but eventually a very large amount of people globally all decided that the music was of noteworthy cause. For that reason being, if there are any female rappers that have the full right to play along with new sounds unashamedly, it is definitely Fergie Ferg. She actually sounds more authentic, compared to even most newer male rappers. The traditional snare hits, paired with the chorus, cello-like pad and glitch effect, opens up the album in a very, as she so fairly puts it, ambitious way.

Both she and Ross do a very nice way of giving off the “Hungy” vibe. The paired music video also of course seals in the deal. It’s suffice to say that Fergie’s really taking a leap visually. An early shot of the video shows Fergie looking into a device normally worn during eye exams, immediately finding a similarity to the album art cover of Justin Timberlake’s 2012 album The 20/20 Experience. And the rest of the video makes the perfect thematic change from her previous videos with its dark-toned colors in high contrast and trippy double-shots. Very fitting for a modern rap video. The car, the smoke, but still Fergie’s glamour.
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Album Review: Freedom Child by The Script

By Niy Birden

Columbia . Sony


The 3-year hiatus is a long and complicated one for music lovers. On one hand you don’t want to risk being annoyed with your music obsession after only one year, because you want to give them time (it’s an artist thing) and you don’t want to hate them (it’s a Stan thing). But on another hand, you also don’t want them to play around with your musical hearts, and instead let you consume the product that they so carefully place in front of you. 2 years is sufficient because it allows breathing time and a moment of clarity for both you and the artist. But three years?

That’s completely insane. What could possibly be so important for a 3-year break in recording and releasing new music? It seems like the best musical growths we’ve seen in the music industry happen around a 3-5 year hiatus. And these are of course by the top-ranking artists we’ve had in the last ten years. That’s Bruno Mars, Adele, Beyonce, and even Taylor Swift, who recently abandoned her 2-year break method to approach us with her new upcoming album. Apparently for rock band The Script, it can mean a lot. And 4 albums previously in your discography is a good excuse for a well-deserved break.

For those of you not who don’t listen to musicians hailing from Ireland, The Script is a lovely band from Dublin, who rose to fame in the late 2000’s with their self-titled album. They have also shown a legitimate knack for songwriting with their early hits “The Man Who Can’t Be Moved”, “Live Like We’re Dying” (which was later covered by American Idol winner Kris Allen), “Hall of Fame”, and everyone’s personal favorite (including yo momma’s) “Breakeven”, which has been the subject of many popular YouTube and singing competition covers around the world. Although the band hasn’t made a huge international impact in the same way other similar bands have, the work that they have done for heartwarming rock ballads have given them a solid fan base that’s allowed them to tour and release more chart-topping albums in those few years.

Which is why their new album, Freedom Child, comes at such a big surprise in the midst of all the pop, hip hop and r&b overload that’s come out recently. It’s almost a bit surprising that they did come back in the way they did, and during the time that they did. It’s even more surprising that they didn’t include a hip hop guest contribution, considering how many of our most traditional musicians are adapting to the hip hop aesthetic.
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Monterey Jazz Festival Celebrating 60 Years

By Cameron Pridmore

The time is almost among us again, the Monterey Jazz Festival is set to take place September 15th – 17th in Monterey, California. The Jazz Festival in Monterey is a little different this year as it is celebrating its sixtieth birthday. It is amazing that in today’s era of music, there is such anticipation for a Jazz Festival. Jazz music is still a very big part of Monterey culture, which is an area that is right near one of California’s most beautiful beaches. The festival which has been held at the Monterey County Fairgrounds has been held at the same location for sixty years.

The Jazz festival is more than just a musical gathering though; there are also different food vendors who specifically come to the festival once a year. You can taste a variety of different local seafood from the San Francisco Bay Area, urban cuisine, Italian cuisine, and even street food like some of the best local hot dogs that you will ever taste. For the 2017 even there are a couple of new artists who are set to perform, GoGo Penguin is a group who is based out of Britain who specializes in a unique acoustic sound. This is a wonderfully unique smooth jazz sound, and a group who definitely deserves more recognition in the states.
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Taylor Swift: Look At What You Made Me Do, and Her New Single

By Niy Birden

Youtube


Taylor Swift seems to be having the time of her life with her new image and sound. One wouldn’t be surprised if behind her tweets and posts, she was secretly having fits of laughter while reading the responses on the internet.

After a series of public feuds and social media scams, earlier this summer Taylor seemed to have deleted all of her online accounts, including her Instagram, and Twitter, much to the dismay of her adoring audience and music industry colleagues, which racks in a couple hundred million in total. Despite the massive success she had with her last album 1989, released only 3 years ago, the singer’s reputation seemed to be chasing closely behind her, almost running in front of her to reach us before her music. But things have definitely changed…or have they?

On August 21st, Taylor returned to the internet-osphere with a cryptic series of videos over 2 days of simply a very quick video of a snake, with no audio accompanying it whatsoever. This was clearly in retaliation to the hundreds of tweets, memes, and posts in which people were comparing her industry practices and ethics to being similar to those of a snake’s. Then, she released a few graphics, amongst them being a picture of her with a collaged amount of texts in various fonts, simply saying the words that many people seem to say next to each other about her: taylor swift, and reputation. Reputation, as it turned out, is the name of her newest album, and of course the graphic was the official album art.
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