I absolutely adore this latest import from England. Why do I love British artists so much? Especially females… Hmmmm…
This week’s list can be found at the Songclash blog:
Like last week, this week’s album list can be found at:
I posted this week’s list on Songclash.com’s blog. You can find the post here:
I’m really enjoying this up and coming band. It’s a simple song, but sometimes it’s the most simplistic material that carries the most weight.
Sade – Soldier of Love
Massive Attack – Heligoland
Celtic Thunder – It’s Entertainment!
Jaheim – Another Round
Josh Turner – Haywire
tobyMac – Tonight
Dave Matthews Band – Live in Las Vegas
Yeasayer – Odd Blood
Gil Scott Heron – I’m New Here
Galactic – Ya-Ka-May
Hot Chip – One Life Stand
Overkill – Ironbound
Allison Moorer – Crows
Reckless Kelly – Somewhere in Time
HIM – Screamworks: Love and Theory in Practice
Phantogram – Eyelid Movies
The Watson Twins – Talking to You Talking to Me
Fear Factory – Mechanize
Fireflight – For Those Who Wait
Crack the Sky – Machine
AFI – The Lowdown
Kurupt – Down and Dirty
Nick Jonas & the Administration – Who I Am
Rob Zombie – Hellbilly Deluxe 2
BT – These Hopeful Machines
Lil Wayne – Rebirth
Midlake – Courage of Others
Yo-Yo Ma – Mendelssohn: Piano Trios Op 49 Op 66
Bruce Kulick – Bk3
The Soft Pack – The Soft Pack
Vedera – Stages
Album Leaf – A Chorus of Storytellers
Monolake – Silence
Late Night Alumni – Of Birds, Bees, Butterflies, Etc
Dommin – Love is Gone
Manose – Epiphany
Through the Eyes of the Dead – Skepsis
Priestess – Prior To the Fire
Glossary – Feral Fire
Lostprophets – Betrayed
Hadouken! – For the Masses
Shining – Blackjazz
Wakey! Wakey! – Almost Everything I Wish I Said the Last Time
FM Belfast – How To Make Friends
Malakai – Ugly Side of Love
After listening to an advanced copy of The Bedlam in Goliath for about a week, I am ready to release my opinion of the record, and the band as a whole. This comes at a perfect time, for the album will be released tomorrow. This may help you save money and rather indulge in something that may not leave you somewhat annoyed.
It is important to begin with my proclamation of being a huge At The Drive-In fan. Having said that, I have been on The Mars Volta’s side of the battle after the band’s split. Sparta, in my opinion, are nothing to call home about. Deloused in the Comatorium, their debut album, was absolutely amazing. It was love at first listen. At the time, I was so relieved that the Mars Volta was just as good, if not better, than At the Drive-In.
It wasn’t long after that the band released it’s second record Frances the Mute. The CD was definitely a breath of fresh air – something unique and completely innovative. At the same time, however, some of the band’s musical qualities were left behind; replacing therir overall musicianship with shock value.
Only a year later, the workaholics released Amputechture and a live album called Scab Dates. Scab Dates was excellent because the band is an entertaining and exuberant live force. Amputechture, however, seemed like it was produced by extraterrestrials. If I was unfamiliar with the band, I would have guessed the album was recorded on an intergalactic spacecraft. It was peculiar, yet still somewhat charming. They hadn’t lost me yet. I was still intrigued.
Now, another year has elapsed and the Mars Volta are releasing The Bedlam in Goliath tomorrow. The album serves as the band’s fourth full-length studio album, but the first sans Jon Theodore. Jon Theodore, for those unfamiliar, was the rhythmic drumming force behind the Mars Volta’s intricate and sometimes overwhelming time signatures. Theodore made everything human and kept everything cohesive within the music.
The Bedlam in Goliath is sorely missing the presence of Theodore on this record. While the CD is straight-to-the-point compositions without much between song noise and nonsense, the music is lackluster. There are a few catchy, well constructed tracks on the record, of course, but it seems that the Mars Volta have fallen from their throne and have become “just another eccentric rock band.”
Bedlam offers nothing special or out of the ordinary for avid Volta fans. If you were anticipating this record all year, you may want to reconsider purchasing it. Coming from a huge Mars Volta fan – I suggest the band take a little more time writing and crafting their tunes in the studio the next time around. This release has seemed to fall under my head, while the others have gone a little bit over.
In today’s technologically driven world, independent musicians have an infinite number of outlets to display and promote their music. Now that websites like MySpace, Purevolume, and Virb (just to name a few) exist, independent artists have been given the opportunity to “level the playing field” with those prestigious radio guys. The problem, however, lies in the fact that the endless amount of DIY work far outweighs any successful return. So, how can independent musicians gain recognition and popularity without having to deal with the over-saturated world of online promotion? The answer lies in one word: “licensing.”
Within the last few years, independent artists have been glorified on film, television, and commercials more than ever before. Teenage-based TV shows such as
So, how does this process work? How can independent films play a bigger role in the support of independent music? Well, the potential lies in the budget of the film. Independent films are generally projects with smaller budgets than the expensive blockbuster pictures. This fact alone gives the independent film the advantage to be the project that partners with some deserving undiscovered musicians. After hiring a music supervisor, the individual in charge of finding, choosing, and negotiating license deals for all of the necessary tunes, the production company will only allocate a certain amount of money for the movie’s melodic audio features. With this being said, it is now the supervisor’s job to hunt down eligible artists (Artists that have deals with publishing companies) for the lowest cost possible. Similar to any business, the more popular and in-demand a song is, the more expensive it will be. So, instead of choosing Beastie Boys’ “Girls,” the supervisor may be forced to license Johnny Nobody’s “Women.”
Obviously, the process involves a great deal of contracts and numbers, but in the end the supervisor obtains the rights to use these unfamiliar and inexpensive songs in the movie. Although it may be said that the process is a “Catch 22” (A band can’t be licensed until they have a licensing deal with a company), licensing material to these outlets have proven to be one of the easiest and most rewarding elements of income for musicians. Not only is the band given a chance to share their music with the world, they are also getting paid for it. In this way, licensing have opened new doors for every aspiring independent musician and has ultimately given them the chance to DIY for the rest of their successful careers. Independent films will forever have the opportunity to continue shifting the music industry away from the larger record companies.