Jeden z najlepszych trailerów wydawnictw muzycznych jakie ludzka ręka stworzyła.
Premiera epki 29. lutego.
plugdoctors.bandcamp.com
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niedziela, 26 lutego 2012
środa, 22 lutego 2012
Elizabeth Gilbert o pielęgnowaniu kreatywności
Autorka "Jedz, módl się i kochaj" superciekawie opowiada o wielu kwestiach związanych z tworzeniem.
Jak nie dać się przytłoczyć przez "syndrom drugiej płyty"?
Jak poprzednie epoki podchodziły do artystów i kreatywności?
Jak nie stać się udręczonym pseudogeniuszem?
Te i wiele innych ciekawych tematów znanych każdemu kto kiedykolwiek coś tworzył, nie tylko w sensie artystycznym, znajdziecie w tym wykładzie.
Jak nie dać się przytłoczyć przez "syndrom drugiej płyty"?
Jak poprzednie epoki podchodziły do artystów i kreatywności?
Jak nie stać się udręczonym pseudogeniuszem?
Te i wiele innych ciekawych tematów znanych każdemu kto kiedykolwiek coś tworzył, nie tylko w sensie artystycznym, znajdziecie w tym wykładzie.
wtorek, 21 lutego 2012
10 kłamstw branży muzycznej
Wszyscy je znamy.
"Poczta musiała zgubić płytę"
"Oczywiście, że czytałem twojego maila"
"Miałem wyłączony dźwięk w telefonie"
i moje ulubione:
"Przelew już idzie"
Weteran branży muzycznej Jeffrey Weber opowiada LA Weekly o najczęstszych kłamstwach jakie słyszymy (i opowiadamy sami).
5. "What a voice!"
Record producers are fond of nice-sounding phrases that mean absolutely nothing. That way, they can make you think that they've just said something, when they really haven't. Weber calls this one "a Band-Aid" phrase. "It can mean anything," he says. "What you really want to hear is 'what an amazing voice.'"
4. "That was great -- you nailed it!"
Not all lies are insidious; some are used to get the best out of a musician. It's quite possible that the take was not all that great; if it's followed with "Let's just do one more as a safety," that could be in the hopes that you're so filled with confidence that on the next take you'll really nail it. "If the producer starts his comments with an exclamation -- 'hey' or 'wow' or something -- it was good," Weber says, "If they start with your name, it was bad."
3. "I'll listen to your CD tomorrow."
"This is a kiss off," Weber says. The producer doesn't have the time to really listen to it and is sparing you their instant judgment. "I can't make an instant evaluation of your record -- and you wouldn't want me to," says Weber, stressing that "you have to listen multiple times." This makes listening to a demo or single very difficult when it comes to non-established bands.
2. "Of course we'll market and promote your project. How do you think we stay in business?"
"Once you sign," he says, "you have absolutely no control over whether the record company promotes your music or not...Marketing and promotions have to go in front of executives, and they can always say 'this is a stiff, we're not going to push it.'"
1. "What -- you didn't get that check?"
The music industry is notorious for not paying people in a timely fashion -- or at all. "This is the new version of 'the check's in the mail,'" Weber says. It's also an all-purpose response to unrelated complaints. Ask a question with an uncomfortable answer (like "Why isn't my song on the radio?") and an exec will change the subject to the money he might or might not have send you.
Pozostałe 5 przeczytacie tu: Top Ten Lies Of The Music Industry na blogs.laweekly.com
"Poczta musiała zgubić płytę"
"Oczywiście, że czytałem twojego maila"
"Miałem wyłączony dźwięk w telefonie"
i moje ulubione:
"Przelew już idzie"
Weteran branży muzycznej Jeffrey Weber opowiada LA Weekly o najczęstszych kłamstwach jakie słyszymy (i opowiadamy sami).
5. "What a voice!"
Record producers are fond of nice-sounding phrases that mean absolutely nothing. That way, they can make you think that they've just said something, when they really haven't. Weber calls this one "a Band-Aid" phrase. "It can mean anything," he says. "What you really want to hear is 'what an amazing voice.'"
4. "That was great -- you nailed it!"
Not all lies are insidious; some are used to get the best out of a musician. It's quite possible that the take was not all that great; if it's followed with "Let's just do one more as a safety," that could be in the hopes that you're so filled with confidence that on the next take you'll really nail it. "If the producer starts his comments with an exclamation -- 'hey' or 'wow' or something -- it was good," Weber says, "If they start with your name, it was bad."
3. "I'll listen to your CD tomorrow."
"This is a kiss off," Weber says. The producer doesn't have the time to really listen to it and is sparing you their instant judgment. "I can't make an instant evaluation of your record -- and you wouldn't want me to," says Weber, stressing that "you have to listen multiple times." This makes listening to a demo or single very difficult when it comes to non-established bands.
2. "Of course we'll market and promote your project. How do you think we stay in business?"
"Once you sign," he says, "you have absolutely no control over whether the record company promotes your music or not...Marketing and promotions have to go in front of executives, and they can always say 'this is a stiff, we're not going to push it.'"
1. "What -- you didn't get that check?"
The music industry is notorious for not paying people in a timely fashion -- or at all. "This is the new version of 'the check's in the mail,'" Weber says. It's also an all-purpose response to unrelated complaints. Ask a question with an uncomfortable answer (like "Why isn't my song on the radio?") and an exec will change the subject to the money he might or might not have send you.
Pozostałe 5 przeczytacie tu: Top Ten Lies Of The Music Industry na blogs.laweekly.com
sobota, 18 lutego 2012
piątek, 17 lutego 2012
11 płyt Josha Garzy (The Secret Machines, Electric Flower Group)
Bo ktoś taki jak Josh Garza zasługuje na więcej.
Do niedawna znany głównie jako perkusista The Secret Machines (ciągle utrzymuję że to najbardziej niedoceniany zespół ostatnich 10 lat), Josh obecnie bębni w Electric Flower Group u boku Imaada Wasifa. Zespół ma w cv jedną epkę (o której pisaliśmy), druga nadciąga w marcu. Miałam okazję poznać Josha parę lat temu i dowiedziałam się wtedy o nim wtedy dwóch rzeczy. Że jak bębni pękają skały w promieniu 10km, i że ma absolutnie najbardziej zajebisty gust muzyczny ze znanych mi ludzi. Dlatego jest mi niezmiernie miło przedstawić wam jego ulubione płyty.
Wywiad prezentuję w orginale, Josh ma ciekawy styl pisania który warto zachować.
1. The first record that I bought
I was lucky to have 3 older brothers who loved music, so I had their incredible record collection at my disposal. The idea of needing to buy music did not occur to me until later on when I started listening to music that my brothers didn't have. My first record was actually a cassette... it was "Combat Rock" by The Clash. I bought it when I was about 13 years old with money saved up from an allowance. There were plenty of cassettes before i actually bought any vinyl. My first actual record was a birthday gift from my brother, Tangerine Dream's "Rubycon".
2. A record I'd like everyone to hear
Charles Mingus- "Let My Children Hear Music" An incredible record that is often overlooked by the music world. It's a compositional jazz album that stretches the boundaries of jazz itself.
3. Best artwork
I love Pink Floyd's "Wish You Were Here"... that's an actual photo, not like today where you can "fake" anything to look real. Plus it's a great record.
4. Most underrated record of all time
Obviously there's a few records that could easily fall under this heading: Big Star's #1 record, Cardinal's debut record, Roland S Howard's "Pop Crimes", La Dusseldorf's debut record, Ted Lucas, etc,etc,etc... but I choose The Flaming Lips "In A Priest Driven Ambulance" - 1990. This album changed my attitude about modern,contemporary rock at a time when I was just getting into playing drums and looking for music that was current and NOT something my brothers listened to. This is an album that is as rocking as Led Zeppelin and as psychedelic as Spacemen 3 but still very unique. I got into this record when it was released in 1990 and I still like to put it on and turn it up... LOUD. Get this record!!!
5. Guilty pleasure
I love to listen to Yaz -"Upstairs at Eric's", this album is the reason why I don't like modern synth-pop... Yaz did it so well that now most modern electro-bands just seem like a joke.
6. A record that inspired me to make music
There's plenty of records that inspired me... one that stands out is U2's "The Joshua Tree". This album came out at a time when I was young and needed/wanted rock n' roll to make a statement... and it did. Larry Mullen's style and sound pushed me further into drumming.
7. A record by a local artist
Sun Araw - "Off Duty/Boat Trip"... Good shit by a local band.
8. A record for when i'm feeling down
Nick Cave "The Boatman's Call"... This album is like a warm blanket on a cold dark night.
9. Best lyrics
This one is simple. Bob Dylan's "Blonde on Blonde"... the whole record. Nobody else comes close. Nobody. Listen to "Visions of Johanna" as one example of his genius.
10. A new discovery
I know it's not new, but i just discovered John Cale's "Fear" record.... amazing!!! Released in 1974. I also just heard the new Field Music "Plumb" record, it's quite good plus it has sweet drum sounds.
11. A favorite record I played on
This is a hard one... I dig the Marfa sessions we did. Never finished or released.
Posłuchaj "Electric Flower" (EP)
ELECTRIC FLOWER EP by Electric Flower
electricflowergroup.com
Do niedawna znany głównie jako perkusista The Secret Machines (ciągle utrzymuję że to najbardziej niedoceniany zespół ostatnich 10 lat), Josh obecnie bębni w Electric Flower Group u boku Imaada Wasifa. Zespół ma w cv jedną epkę (o której pisaliśmy), druga nadciąga w marcu. Miałam okazję poznać Josha parę lat temu i dowiedziałam się wtedy o nim wtedy dwóch rzeczy. Że jak bębni pękają skały w promieniu 10km, i że ma absolutnie najbardziej zajebisty gust muzyczny ze znanych mi ludzi. Dlatego jest mi niezmiernie miło przedstawić wam jego ulubione płyty.
Wywiad prezentuję w orginale, Josh ma ciekawy styl pisania który warto zachować.
1. The first record that I bought
I was lucky to have 3 older brothers who loved music, so I had their incredible record collection at my disposal. The idea of needing to buy music did not occur to me until later on when I started listening to music that my brothers didn't have. My first record was actually a cassette... it was "Combat Rock" by The Clash. I bought it when I was about 13 years old with money saved up from an allowance. There were plenty of cassettes before i actually bought any vinyl. My first actual record was a birthday gift from my brother, Tangerine Dream's "Rubycon".
2. A record I'd like everyone to hear
Charles Mingus- "Let My Children Hear Music" An incredible record that is often overlooked by the music world. It's a compositional jazz album that stretches the boundaries of jazz itself.
3. Best artwork
I love Pink Floyd's "Wish You Were Here"... that's an actual photo, not like today where you can "fake" anything to look real. Plus it's a great record.
4. Most underrated record of all time
Obviously there's a few records that could easily fall under this heading: Big Star's #1 record, Cardinal's debut record, Roland S Howard's "Pop Crimes", La Dusseldorf's debut record, Ted Lucas, etc,etc,etc... but I choose The Flaming Lips "In A Priest Driven Ambulance" - 1990. This album changed my attitude about modern,contemporary rock at a time when I was just getting into playing drums and looking for music that was current and NOT something my brothers listened to. This is an album that is as rocking as Led Zeppelin and as psychedelic as Spacemen 3 but still very unique. I got into this record when it was released in 1990 and I still like to put it on and turn it up... LOUD. Get this record!!!
5. Guilty pleasure
I love to listen to Yaz -"Upstairs at Eric's", this album is the reason why I don't like modern synth-pop... Yaz did it so well that now most modern electro-bands just seem like a joke.
6. A record that inspired me to make music
There's plenty of records that inspired me... one that stands out is U2's "The Joshua Tree". This album came out at a time when I was young and needed/wanted rock n' roll to make a statement... and it did. Larry Mullen's style and sound pushed me further into drumming.
7. A record by a local artist
Sun Araw - "Off Duty/Boat Trip"... Good shit by a local band.
8. A record for when i'm feeling down
Nick Cave "The Boatman's Call"... This album is like a warm blanket on a cold dark night.
9. Best lyrics
This one is simple. Bob Dylan's "Blonde on Blonde"... the whole record. Nobody else comes close. Nobody. Listen to "Visions of Johanna" as one example of his genius.
10. A new discovery
I know it's not new, but i just discovered John Cale's "Fear" record.... amazing!!! Released in 1974. I also just heard the new Field Music "Plumb" record, it's quite good plus it has sweet drum sounds.
11. A favorite record I played on
This is a hard one... I dig the Marfa sessions we did. Never finished or released.
Posłuchaj "Electric Flower" (EP)
ELECTRIC FLOWER EP by Electric Flower
electricflowergroup.com
Jak muzyka wywołuje emocje
Okazuje się, że jest to trochę bardziej skomplikowane niż "albo kopie, albo nie"
Michaeleen Doucleff z Wall Street Journal analizuje "Someone Like You" Adele żeby sprawdzić, co dokładnie czyni tą piosenkę wyciskaczem łez. Dowiemy się też czemu lubimy słuchać smutnych kawałków mimo że powodują pozornie negatywną reakcję emocjonalną, i jakie cztery elementy powinna posiadać kompozycja żeby wywołać u słuchacza fizyczną reakcję wzruszenia*.
Przeczytaj całość "Anatomy of a Tear-Jerker" na online.wsj.com
*Podobnymi zagadnieniami zajmuje się Oliver Sacks w książce "Muzykofilia".
Michaeleen Doucleff z Wall Street Journal analizuje "Someone Like You" Adele żeby sprawdzić, co dokładnie czyni tą piosenkę wyciskaczem łez. Dowiemy się też czemu lubimy słuchać smutnych kawałków mimo że powodują pozornie negatywną reakcję emocjonalną, i jakie cztery elementy powinna posiadać kompozycja żeby wywołać u słuchacza fizyczną reakcję wzruszenia*.
"Twenty years ago, the British psychologist John Sloboda conducted a simple experiment. He asked music lovers to identify passages of songs that reliably set off a physical reaction, such as tears or goose bumps. Participants identified 20 tear-triggering passages, and when Dr. Sloboda analyzed their properties, a trend emerged: 18 contained a musical device called an "appoggiatura."
An appoggiatura is a type of ornamental note that clashes with the melody just enough to create a dissonant sound. "This generates tension in the listener," said Martin Guhn, a psychologist at the University of British Columbia who co-wrote a 2007 study on the subject. "When the notes return to the anticipated melody, the tension resolves, and it feels good."
Chills often descend on listeners at these moments of resolution. When several appoggiaturas occur next to each other in a melody, it generates a cycle of tension and release. This provokes an even stronger reaction, and that is when the tears start to flow.
"Someone Like You," which Adele wrote with Dan Wilson, is sprinkled with ornamental notes similar to appoggiaturas. In addition, during the chorus, Adele slightly modulates her pitch at the end of long notes right before the accompaniment goes to a new harmony, creating mini-roller coasters of tension and resolution, said Dr. Guhn."
Przeczytaj całość "Anatomy of a Tear-Jerker" na online.wsj.com
*Podobnymi zagadnieniami zajmuje się Oliver Sacks w książce "Muzykofilia".
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