Podcasts about sonically

Unlock the secrets of Spotify and how the platform changes audio. Based in Nashville, Sam is in the top 0.1% of mastering engineers, with 4B+ streams, a Gold Record, Dove Award, and was nominated for a Grammy. And there's a reason why: He knows his stuff!After literally writing the book on finishing records, Sam goes deeper into what it's really like to make music in 2025. That's why his job title is “Peace of Mind Bringer.”I loved learning from him and his perspective on mastering and the music industry. I hope it helps you Love Music More.For 30% off your first year of DistroKid to share your music with the world click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to this pod's blog on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to receive deeper dives on the regular

Sonically, you could definitely hear this one sitting happily on Mojo. But I also sometimes feel that this is the most Wildflowers-sounding of all the songs on Echo. If you found out that it was another of the songs that hadn't been included on that album, it wouldn't really surprise you. In Conversations With Tom Petty, the only thing that Tom tells author Paul Zollo about this song is that “That's great. That should have been a single. I don't know why they didn't put that out as a single”.If you want to listen to the song before you listen to the episode, you can find it here: https://youtu.be/eA7YT103Ocw Don't forget to follow me on social media, like, subscribe, and please, leave a rating if you like the show.Facebook: https://www.facebook.com/thetompettyprojectBluesky: https://bsky.app/profile/tompettyproject.bsky.socialInstagram: https://www.instagram.com/thetompettyprojectYouTube: https://www.youtube.com/@thetompettyprojectThreads: https://www.threads.net/@thetompettyprojectAll music, including the theme song, provided by my very best friend Randy Woods. Check him out at https://www.randywoodsband.comThe Tom Petty Project is not affiliated with the Tom Petty estate in any way and when you're looking for Tom's music, please visit the official YouTube channel first and go to tompetty.com for official merchandise.A last very special thanks to Paul Zollo. Without his book, "Conversations with Tom Petty", this podcast wouldn't be nearly as much fun to research. And further thanks to Warren Zanes for his outstanding book "Petty, the Biography".Producer: Kevin BrownExecutive Producer: Paul RobertsSupport this show http://supporter.acast.com/the-tom-petty-project. Hosted on Acast. See acast.com/privacy for more information.

"I was attracted to working with a recording from Thailand for personal reasons. I travelled there some years ago, and lived in a border town, where I volunteered helping a local NGO working with refugees from Burma I had never visited Ayutthaya and the temples, so this work is a chance to visit it in some way. I had visited some other Buddhist temples, and the places and the moods of those experiences are present to me. "In this field recording, I was initially attracted to the stick/brushing sounds, and I thought of working on a percussive composition using strokes. As it turned out I had less time than I would have needed to compose music, and I ended up working only with field recordings. I was also inspired by the voices in the recording. I cannot understand their meaning. I am guessing the setting is a ritual of some sort. But it might be a profane activity. I did a small amount of research, but not enough to enlighten me on this. I considered finding a translator to help. Finally, I chose to follow my intuition, and leave it open and uncertain for the time being. "The temples I visited in Thailand were open and welcoming places. The sound in this recording expresses this to me. It suggests the availability of the space to sacred and profane presences at once. I imagine this as an open setting which represents a welcoming and non-judgemental space. "The file I have submitted contains a blend of four field recordings. 1. The source recording. 2. A motorway joining the edge of the city (Luxembourg) 3. Inside the Cathedral Notre Dame in Luxembourg city 4. The Petruss valley: morning birdsong, Cathedral bells "Recording 3: The geographical distance I inhabit from the source location in Thailand, and the temporal distance from own experience of visiting Thailand, inspired me to make a connection from there to place where I live. I chose to visit a local sacred building; not a temple, but a religious edifice in my city: the Cathedral Notre Dame. I had hoped to stumble upon a similar kind of sound, perhaps an incidental event. I wanted to avoid any overly religious scenarios, as both soundwise and in meaning I didn't feel an interest for them in this context. As it happened, I sat in the Cathedral in the morning, and the scenario unfolded just as I had hoped. Just after I was seated and began recording, I heard footsteps approaching the prayer alcove not far from me: someone had come to light a votive candle. There was no other activity in the Cathedral at the time, so this action is well audible in detail, recorded from a distance of about five metres. "Recording 2: Before making that recording, I had been standing near a highway entrance/exit, at the edge of my city. The cars were coming evenly from both directions. Sonically rich, and apt in meaning, representing a journey in both directions, and journey makers from both orientations crossing paths, and this repeating over and over. "Recording 4: On the way to the Cathedral for recording 2, I passed through the stunning valley of the Petruss in the city centre. The birdsong in this natural setting seemed the perfect contrast to the highway I had recorded previously. The juxtaposition of these recordings isn't a sharp contrast. Both are made outdoors, and have tons of natural background ambiance. To my ear the cars and the birds are one vibration resonating in the sky, and the recordings sit with each other nicely. "These four recordings are blended together to make the following propositions: "There is a connection between distant places with shared practices (ritual), and common principles in the use of space (temple/church as place of welcome). "As a metaphor for openness and welcome of both sacred and profane modes of being in a single space, contrasting settings are juxtaposed (cars on a motorway, birds in a wooded valley). The journey between one place and another may go in both directions (cars moving in opposite directions). All the above are held in a totality, represented by nature (valley and resonance of sound, birdsong). "The single continuous recording throughout the piece is a single take inside a cathedral. It is the last track to fade out at the end. The space in this sound is the space of the observer, holding together the connections suggested in the piece. "The only audio processing used was a EQ low cut filters on the outdoor recordings. The mixing of the levels for the various fades in and out of the tracks was done with volume automation control in Logic Pro." Temple sticks at Ayutthaya reimagined by Alan Kavanagh. IMAGE: H191, CC BY-SA 4.0 , via Wikimedia Commons ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Interview by Kris PetersNew York trio SANHEDRIN released their long-awaited new full-length, Heat Lightning, last Friday via Metal Blade Records.SANHEDRIN has spent the last decade at the forefront of the American heavy metal scene blending traditional metal and hard rock sounds with a fresh modern energy and perspective. With 2022's critically lauded Lights On full-length, the band had created their most complete work to date. With their follow-up, Heat Lightning, the band delivers a diverse collection of songs that wholly captures their wide array of influences with an elevated level of production.“Sonically, there's no comparison,” notes drummer Nathan Honor when asked how Heat Lightning compares to the band's previous efforts. “Heat Lightning is the fullest representation of the power of this band. When you take three seasoned musicians with their favourite handpicked instruments, put them in front of two brilliant producer/engineers in a studio stacked with incredible equipment and no outside distractions, this is what you get.”Unlike the previous three albums, which were all tracked and mixed by ColinMarston, for Heat Lightning SANHEDRIN opted to work with a fresh set of ears in a new environment. In doing so, the band landed at the legendary Utopia Bearsville studio in Woodstock, New York. At the helm for recording and co-producing were Matt Brown (Life of Agony, A Pale Horse Named Death) and Jerry Farley (Sick Of It All, Madball).Heat Lightning gets its title from the second track of the same name. “Heat lightning is a flash of lightning from very far away, sometimes seen in a clear sky,” says vocalist/bassist Erica Stoltz. “It is used as a metaphor for where we see ourselves at the moment in relation to climate change. Collectively, we have moved further away from our direct relationship to nature and have adopted a paternal relationship with the natural world, as if we have control. It was one of the first songs written for the album, and one of the most dynamic tracks the band has ever written."Elsewhere, The Fight Of Your Life is a tribute to those we call “lifers” in the music business. “It's about the compulsion to play music no matter what. When you get the bug, and you have it for life, it is your north star, your reason to be,” says Stoltz. Franklin County Line is the fastest song on the record, and inspired guitarist Jeremy Sosville's hometown and surrounding area in northern New York state. Sosville recounts, “Erica and Nathan came up to visit me and work on new music. In the process, we wrote a song inspired by the local Amish population but with a naughty twist.”The record commences with Blind Wolf, a hard-rocking, heavy metal stomper and the record's lead single. Lyrically, the song is inspired by the band's shared fascination with cults. According to Stoltz, “The blind wolf symbolizes losing your animal instincts as a result of adopting someone else's belief system.” The song is straightforward, pounding, and delivered with ill intent. “We knew as soon as the song was complete that it should open the record,” says Sosville. “It really sets the tone for the journey the listener is about to take with this album.”HEAVY caught up with Sosville to find out more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them. Join the Crate Coalition: https://discord.gg/sAaG6a7bv4 Heno. is an artist and producer who experiments across different mediums, hailed by Fortune as an "early innovator" & praised by COLORS for his "hard-hitting and powerful aesthetic." A first-generation Ethiopian-Eritrean based in Los Angeles, CA by way of Takoma Park, Maryland, Heno. uses his music and love for art to explore impactful stories & build worlds bridging the traditional music industry & the Web3 space. Sonically, Heno.'s versatility knows no bounds with collaborations from Mick Jenkins, JPEGMAFIA, Chaz Bear (Toro Y Moi), Elujay, J.Robb & many more that have amassed millions of plays. Heno. has a lot in the queue this year with new music on the horizon, stay tuned for more. MUSIC MENTIONS James Brown Smokey Robinson Jackson 5 Tina Turner Britney Spears N*Sync Tupac Tilahun Gessesse Mulatu Astatke Teddy Afro Aster Aweke Whitney Houston Mahmoud Ahmed Q&A Pigeons & Planes Complex illroots Limewire Nas “Let's Get It: Thug Motivation 101” by Jeezy “Graduation” by Kanye West Black Star Mos Def Talib Kweli “Mos Def & Talib Kweli Are Black Star” by Black Star JPEGMAFIA Lupe Fiasco “Lupe Fiasco's The Cool” by Lupe Fiasco Chief Keef André 3000 Killer Mike Nipsey Hussle Denzel Curry Earl Sweatshirt Brent Faiyaz Doechii Quincy Jones Kanye West Pharrell Stevie Wonder Future Mad Keys Jamee Cornelia Discovering music today (44:08): Friends Shazam Annabelle Kline That Good Shit Assorted Tapes Saving Connie Bandcamp Spotify First album ever purchased (47:48): “Get Rich or Die Tryin'” by 50 Cent Most recent album purchased (51:54): “Blue Lips” by ScHoolboy Q Artists discovered in the past year (56:47): 454 Nino Paid Loe Shimmy Desert island discs (1:00:19): “Thriller” by Michael Jackson “To Pimp a Butterfly” by Kendrick Lamar “The Best of Sade” by Sade

Interview with Ollee Owens.   Canadian soul/blues powerhouse singer Ollee Owens announces the release of her new album, Nowhere to Hide, on October 25th through her Ollee Owens Music label imprint. The first single from Nowhere to Hide, “Some Days,” was released on August 30. Produced by Bobby Blazier, the music on Nowhere to Hide is also graced by the presence of Muscle Shoals all-star guitarist Will McFarlane on eight of the album's eleven tracks. “The writing of ‘Some Days' came out of a desire to acknowledge the ups and downs of our day-to-day experiences and at the same time call out the resilience of the human spirit no matter what we come up against,” Owens says. “Sonically, we imagined it as a blues-infused song that leaves the listener feeling happy. It was recorded in Nashville with some of the best session musicians in Music City: Chris Rodriguez, Craig Young, Bobby Blazier, and DeMarco Johnson. The energy in the room that day was palpable as the song began to take shape, capturing exactly what I heard in my head when we wrote the song, resulting in a soulful and hope-filled anthem.” After returning to music a decade ago and releasing 2022's Cannot Be Unheard, the Calgary-based blues/rock singer is better than ever with her latest dazzling, down-to-earth studio album Nowhere to Hide. It's one teeming with stylish, sophisticated jewels mined from blues, rock, and soul. Nowhere to Hide features eight co-writing credits by Owens and a few covers, including Bob Dylan's "Lord Protect My Child." Whether it's Owens' confident delivery fueling the driving title track, the infectious "Some Days," or the deliciously well-crafted "Shivers and Butterflies," Owens is as dynamic as the eleven-track album is flawless. "I learned so much," Owens says of the creative process, "especially, vocally, as there was real opportunity to dig deeper and embody the lyrics." Nowhere to Hide, recorded at Nashville's Sweetbriar Studio and Gnome Studios, shines with help from a who's who of acclaimed Nashville session musicians Blazier brought to the album. "Bobby has an incredible ability to bring people together," Owens says of Blazier. "We all got in the studio together, gave it everything we got, and made some great music." That great music derives from Owens' backstory in the farming community of New Bothwell, Manitoba. As a teen, she gravitated toward Dylan, Delta Blues, The Staple Singers, and Etta James. "When I came back to creating music, I really realized the depth and influence that particular style of music had on me," Owens says of her early listening habits. Owens and her husband started their family early and had three daughters, one of whom has a cognitive disability. After some soul-searching, and realizing her daughter had exceptional needs, she took a hiatus from music. "I focused on being present and engaged for my daughters," she says. As a result, "Lord Protect My Child" strikes an emotional chord as Owens pours her soul into it. "That song has really become close to my heart," she says. "My daughter is twenty-three now, but there's still a lot of vulnerability there. The desire for protecting and taking care of her will never go away." Owens will be playing a Canadian concert in October celebrating the release of Nowhere to Hide and has plans for further touring in the spring. She's also performed at the Roots Blues and BBQ Festival in Drumheller, Alberta, and Calgary's National Music Centre, among several other venues. Now with Nowhere to Hide, Owens will have a larger fan base thanks to an amazing album you would be wise to experience wherever you get your music.    Ollee's Info /https://olleeowens.com/  

Check out this stellar review of the new Avulsed' release "Phoenix Cryptobiosis by our teammate Nyk Edinger.

Chicago psych-rock band Spun Out have just released their second LP Dream Noise, out October 25th via Shuga Records, and shared the lead single/video “Paranoia.” Consisting of former NE-HI members Michael Wells (guitar, vocals) and James Weir (keys), plus the addition of Sean Page (synths), Joshua Wells (drums, recording, mixing), and Chris Sutter (bass), Spun Out create melancholic psych-pop bliss full of lush mesmerizing grooves, with a keen ear for studio experimentation. Lead single “Paranoia” furthers that. Inspired by a time when Wells was taken out by a rip tide in the Pacific, the song is about the feeling of trying to remain calm physically despite not being able to control what's around you. “Lyrically, I was trying to convey how dreams overlap into real life and vice versa,” explains Wells.  “I got taken out by a rip tide in the Pacific a few years back and that feeling of trying to remain calm physically while not being in control of your surroundings definitely informed the psychology of the tune, as well as the twists and turns of the production style.” The video was directed by Tim Nagle, and shows Wells watching grainy VHS footage that gets increasingly unsettling, creating an atmosphere that lives up to the track's title. Dream Noise is an intentionally more honed and curated collection of songs than Spun Out's debut, Touch the Sound (2020, Shuga). It takes the band's collaborative spirit and sense of maximalist experimentation established in their debut and vacuum seals these ideas into tightly arranged, hooky pop gems. Sonically, the production style of the record remains refreshing, surprising and unto themselves compared to other indie music contemporaries. Lyrically, Spun Out finds new depth of emotion in directness, spruced up by memorable double entendres and turns of phrase. The hooks are smart and poetic, but never boring. Dream Noise emphasizes the performance and character of the band as live performers more than the exploratory studio templates of the debut, bringing a new element of warmth and naturalness to their sound. SPUN OUT ONLINE Instagram | X | Facebook This Episode is brought to you by..Go to BETTERHELP.com/apologue for confidential online counselling.use the code word Apologue for a 7 day free trial Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. A weekly release on Tuesdays .https://www.youtube.com/@simonhead666 Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shop

In Episode #195 of The XS Noize Podcast, host Mark Millar interviews James Cox and Steve Goddard from Crows about their third studio album, Reason Enough. On Reason Enough, Crows punk spirit remains intact. Sonically, they are more refined and cohesive than ever; it's the most mature Crows have ever sounded – and more melodic than what the 4-piece have previously done. In this interview, James and Steve discuss writing and recording the new album, upcoming live shows, and more.  Or listen via YouTube | Apple Podcasts | Spotify | Amazon Music | RSS – Find The XS Noize Podcast's complete archive of episodes here. Previous XS Noize Podcast guests have included Peter Hook, Humanist, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, John Lydon, Bernard Butler, Steven Wilson, Betty Boo, Midge Ure, Travis, New Order, The Killers, Tito Jackson, Simple Minds, Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, The Brand New Heavies, Villagers, and many more.

Chicago later?! Not likely, mate. The lads get to investigate their hometown's namesake along with a number of other great tracks in this extremely powerful set from The Fall in 1989 (and 1990?). Sonically, it doesn't get much better than these Peel sessions. [THIS SIDE] Peel Session 12 (1988): Deadbeat Descendant / Cab It Up / Squid Lord (aka Squid Law) / Kurious Oranj Are you searching for the (next episode) now? Are you looking for the real thing, yeah?  You may be missing out on more great Fall-related explorations… but not if you join us on⁠ ⁠WATF PATREON:  Full A & B-SIDE discussions (Now!), special (Patreon-only) bonus episodes, side excursions into Fall-member side projects, and early access to all episodes! ⁠⁠⁠⁠⁠⁠ ⁠⁠Join WATF Pod on PATREON and get them all! Including rare Fall content, merch, and exclusive chats with Gavin & Steve as they discuss everything Fall-related.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow WATF Pod on:  ⁠⁠Instagram⁠⁠  //  ⁠YouTube⁠  //  ⁠⁠Twitter⁠⁠  //  ⁠⁠Facebook⁠⁠ For more Fall-related info, please visit our fellow Fall-heads' great work at: ⁠TheFall.org⁠  //  ⁠The Annotated Fall⁠ Theme Song by Gavin Watts: ⁠⁠https://wearethefallpod.bandcamp.com/⁠⁠ Produced and presented by Watts Happening Records:⁠ ⁠www.TheWattsHappening.com⁠⁠ Advertising & Guest Inquiries - Contact:  wearethefallpod@gmail.com

Metal bands seem to get better with age. There are, of course, exceptions, but as a whole it seems metal grows old disgracefully much better than any other genre of music. Facts are facts…So it is with Swedish progressive titans Opeth who stand on the cusp of releasing their 14th studio album The Last Will And Testament on October 11.Three decades in the masters of metal have - according to those in the know - recorded one of their darkest and heaviest albums ever as well as being the most fearlessly progressive. It is also the first out-and-out concept album of their career, recounting the reading of one recently deceased man's will to an audience of his surviving family members. Sonically, The Last Will And Testament is an all-inclusive and in depth journey brimming with haunting melodrama, shocking revelations and riveting composition set in the 1920s when the world was engulfed in war and inner turmoil. It is a sonic masterpiece of epic story telling and claustrophobic musical landscapes that takes you deep into the twisted imaginings of songwriter/ frontman Mikael Åkerfeldt and peels back even more layers of what makes Opeth tick as a band.HEAVY caught up with guitarist Fredrik Akesson to find out more."It's exciting times to see how the album's gonna be received," he smiled. "We do a lot of interviews right now and so far it seems like people really dig it. Of course, we have released two tracks, Paragraph 1 and Paragraph 3 and the reception is quite overwhelming, which makes us happy. The first criteria is we do an album that we feel 100% happy with, and in this case we do."We ask him to dive deeper into The Last Will And Testament musically."It kind of resembles the old Opeth and the more proggier Opeth," he measured, "in a more restless, compressed direction and also a step forward. The songs are slightly shorter, but they have more ingredients than ever. A little bit like modern day society, even though the theme of the album takes place in the 1920s, which is apparently quite some time ago (laughs). If you listen to Blackwater Park, certain sections are dwelled upon quite long, and that's different with this album. There's quite a lot of action, it's an action packed album. In a historical way, there is a big pod of the Opeth sound. You have the yin and yang thing, you have the really heavy section, and then you have something more melancholy like a big, beautiful ish type of forresty sounds."In the full interview, Fredrik described the album as a mix of old and newer styles, with shorter songs but more ingredients. He also mentioned that the album is darker and heavier than previous ones, but also beautiful at times. He explained that the album's direction was not pre-planned, but rather developed as they worked on it.Fredrik explained that the concept idea was present from the beginning of the writing process, but the story was crystallized a few weeks before they went into the studio. He emphasized that this album had more depth and thought put into it compared to their previous concept albums. HEAVY praised the use of atmospherics and moods in the album, and asked about the difficulty of creating emotions through music.Fredrik also explained that frontman Mikael Åkerfeldt brought back his death metal growls for the new album, a side of Opeth's music that makes a welcome return plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Ryan Williams, Chris O'Keefe and Dani Judith are three members of Rainbow City Park. Their love of music and exuberance of life shines in their musical output. It truly was a pleasure to get to know them. Here's the band's story from its website: "Rainbow City Park is an indie alt-rock/dream pop band from Northern California. The band draws inspiration from 90's alt-rock acts such as Third Eye Blind and The Smashing Pumpkins, infusing their music with a modern twist akin to the sounds of Boygenius and Snail Mail. Band members reside in both San Francisco and the Central Valley, converging in Sacramento for rehearsals. "Sonically, Rainbow City Park takes you on a journey through various soundscapes, from dance-inducing rhythmic sections to heavy breakdowns, to ethereal interludes where shimmering guitars blend seamlessly with the vocals. The lyrical content often delves into existential and melancholic themes, offering a stark contrast to the buoyant musical atmosphere. This juxtaposition finds its resonance with artists they admire, such as Phoebe Bridgers, Frightened Rabbit, and Pinegrove. "Fronting the band is the charismatic Dani Judith, a multi-talented artist who wears the hats of an audio engineer and music teacher when she's not playing with Rainbow City Park. The trio of guitarists, including Dani herself, Nick Nassab, and Chris O'Keefe, weaves intricate melodies that intertwine with Dani's vocals. Their signature indie-rock sound is heavily influenced by their love of Fender guitars and an array of pedals that shape their tone. The rhythm section provides the backbone of the band, with accomplished musicians Dwight Struthers on bass and Ryan Williams on drums.  "As a five-piece with Dani as lead vocalist, the band released three songs in 2023: double single 'Broken Record / Dad Jeans' in May and 'Convince You' in October." In February 2024, Rainbow City Park began supporting the release of its next single, “Valentine's Day 1999,” with a series of shows throughout California.

In episode 171 we discuss our two newest songs! How were they written? Where does songwriting inspiration come from? We also discuss Red Dwarf, Howard Goodall and choosing your best demos. Email the show! - weeklysongpodcast@gmail.com Follow WSP on Instagram - https://lnk.bio/weeklysongpodcast Listen to our collab project Schnookums! - https://schnookums.bandcamp.com/album/attaboy Declan's music: https://open.spotify.com/artist/7bMtbyTnDHGXr64oThq6eJ?si=1jMD_D_PRjCWwMrnu8QjoQ Roger's music: https://lnk.bio/rogerheathers

Episode 12 of Fragile Juggernaut turns the lens on the situation and activity of white-collar, professional, and creative workers in the 1930s and 1940s. Together with guests Nikil Saval (state senator from Pennsylvania and author of Cubed: A Secret History of the Workplace) and Shannan Clark (historian at Montclair State University and author of The Making of the American Creative Class: New York's Culture Workers and Twentieth-Century Consumer Capitalism), Alex and Gabe dig in on a few key sectors: office workers, journalists, academics and scientists, and workers in the culture industries—art, film, radio, theater, and publishing. How did the labor movement and the left conceptualize these kinds of workers and what role they might play? What was the relationship between their organization and struggle, on one hand, and the content and function of their work, on the other?Sonically, this episode is a bit of a concept album, interspersed with excerpts from Marc Blitzstein's 1937 musical play The Cradle Will Rock (actually a higher-quality 1964 recording). Inspired stylistically by the plays of Bertolt Brecht and institutionally sponsored by the WPA (until it panicked and backed out), The Cradle Will Rock is set in Steeltown, USA: a sex worker is thrown in jail after refusing a cop free service. There, she meets academics, artists, and journalists who have been arrested in a police mix-up at a steelworkers' rally, which they were monitoring as members of the anti-union Liberty Committee of steel baron Mr. Mister. While these anti-union professionals and creatives wait for Mr. Mister to come clear things up and bail them out, they explain how he recruited them to the Liberty Committee. Also with them in jail is steelworkers' leader Larry Forman, who warns them that the cozy “cradle” where they sit will soon fall.A correction: Gabe says in the episode that the Disney strike was in 1940. In fact, it was in May 1941.Featured music (besides The Cradle Will Rock): “Teacher's Blues” by Pete Seeger.Archival audio credits: “I Want to Be a Secretary,” Coronet Instructional Films (1941); Dan Mahoney Oral History, San Francisco State Labor Archives and Research Center; Oppenheimer (2023); “WPA Helping Theaters All Black Production of Macbeth”; Isom Moseley oral history, Federal Writers Project (1941); Dumbo (1941).Fragile Juggernaut is a Haymarket Originals podcast exploring the history, politics, and strategic lessons of the Congress of Industrial Organizations and the rank and file insurgency that produced it. Support Fragile Juggernaut on Patreon and receive our exclusive bimonthly newsletter, full of additional insights, reading recommendations, and archival materials we've amassed along the way.Buy Ours to Master and to Own, currently 40% off: https://www.haymarketbooks.org/books/366-ours-to-master-and-to-own

Episode 129 Women Synthesists Playlist Time Track Time Start Introduction –Thom Holmes 04:36 00:00 Eliane Radigue, “Transamorem – Transmortem” (excerpt) from Transamorem – Transmortem (2011 Important Records). Composed in 1973 for ARP 2500 modular synthesizer. Music of slowly changing drones using the marvelous ARP synthesizer, which was Radigue's key instrument for years after having experimented with Moog and Buchla modulars. 39:29 04:40 Caroline K, “The Happening World” from Now Wait For Last Year (1987 Earthly Delights). Caroline was a co-founder of Nocturnal Emissions, together with Nigel Ayers, in 1980. Arranged By, Recorded By, Producer, Composed By, Performer, Caroline K. Executive-Producer, Nigel Ayers. Drones of a different ilk. Noisy sounds, steady articulation, interesting timbres popping in and out. Sonically articulate. 20:49 44:03 Pauline Anna Strom, “Organized Confusion” from Plot Zero (1987 Trans-Millenia Consort Recordings). Pauline Anna Strom was a decades-long composer, musician and healer who lived and worked in San Francisco, CA. Pioneering blind synthesist. Music composed, synthesized, electronic treatments by Pauline Anna Strom. Strom taught herself to compose intuitively, practicing sounds with her various synthesizers, which included a Yamaha DX7, Prophet 10, two Yamaha CS1X portable keyboards and an E-mu Emulator. When she was ready to record, she laid it down using a Tascam four-track recorder and assembled her albums using a computer workstation. Early days for both the sampler and workstation. 06:04 1:04:48 Pauline Anna Strom, “Spacial Spectre” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 06:58 1:10:51 Pauline Anna Strom, “Blood Thirst” from Spectre (1984 Trans-Millenia Consort Recordings). Composed, synthesized, and electronic treatments by Pauline Anna Strom. From her vampire-inspired album. 07:23 1:17:40 Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" from Sound Characters (Making The Third Ear) (1999 Tzadik). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 1:25:04 Caterina Barbieri. “This Causes Consciousness To Fracture” from Patterns Of Consciousness (2017 Important Records).  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 1:34:56 QOA (Nina Corti), “Sauco” (04:22), “Liquen” (02:50), “Yatei” (03:04), “Muitu” (03:16) from SAUCO (2024 Leaving Records). Side 1 of the newest release from this composer-performer from Argentina. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.” 13:33 1:57:38 Opening background music: Pauline Anna Strom, “The Unveiling” from Trans-Millenia Consort (1982 Ether Ship Records). Her first cassette release from 1982. Composed and performed on synthesizer by Pauline Anna Strom. (06:04)   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Belfast based Lauren Ann is an alternative, indie artist whose music is packed full of garage rock exuberance and grunge dynamics, brought together with a dreamy pop edge. Having grown up listening to artists such as Nirvana, Pixies and The Cure, Lauren infuses her music with a 90's tinge, delivering a refreshing yet nostalgic sound. Her latest single “Bite” is the second track from her upcoming concept EP. Each song is inspired by one of the deadly sins, with her previous single “Need” symbolising greed and “Bite” focusing on wrath. The songwriter shares, “In a way I've created a character or alter ego who experiences all of the sins in some way. Some of the songs are also about the different types of people I have met in my own life. I feel like everyone has encountered negative feelings of greed, wrath, pride etc. at some point in their life.” Sonically, “Bite” is influenced by the likes of Deftones, The Smashing Pumpkins and Hole. As she chants, “You're addicted to the fear that you create, how could you love so much hate,” Lauren depicts the intense vengeance that comes with wrath. Her raw and powerful vocals are accompanied by clashing percussion, throbbing bassline and a gritty guitar, that further emphasise the destructiveness that is associated with this specific deadly sin. Lauren Ann has already curated a string of notable support slots with artists such as Tom Grennan in Custom House Square, NewDad, Sprints and Twin Atlantic, as well as playing at festivals and showcasing events such as SXSW, Ireland Music Week, Output and Stendhal Festival. 2024 is set to be an explosive year for Lauren Ann, establishing herself as a force to be reckoned with. #Music #Podcast #SocialMedia

We had the pleasure of interviewing Ferry Townes over Zoom video!Ferry Townes releases new single “T.G.F.K” (Thank God For Kyle) via Licorice Pizza Records. The track is Julia Gargano's second release following “Be Here” under her new project Ferry Townes. An ode to her best friend, “T.G.F.K” includes a breathtaking chorus composed of isolated, layered choral vocals, a canonic bedroom pop guitar bridge, and lyrics imbued with sincerity: “just got nothing to do without you.” Sonically captivating, “T.G.F.K” serves as a reminder that everyone needs, and deserves a best friend.“T.G.F.K, which stands for Thank God For Kyle, is about my bestest friend. The initial idea came from being so grateful that our relationship is what it is- that we'll never have to fall in love and break up, but we will just be friends forever.” Gargano shares. The accompanying video, Directed by Stephanie Saias, perfectly encapsulates that forever kind of best friend love between Julia and Kyle.The sounds of Ferry Townes is an eclectic blend of acoustic and electronic elements, reminiscent of bands like HAIM and boygenius, yet with a distinct melodic narrative and alternative pop flair. She shares “Every page of lyrics tries to be closure to a tumultuous day, trying to compost the hard shit and turn it into energy, heartbreak into audacity, anxiousness into meditation. Nothing about life right now is normal and we are all off-roading emotionally and these songs should feel like a 4x4 for listeners.”Born and raised in Staten Island, the name Ferry Townes pays homage to The Staten Island Ferry, a symbol of Julia's teen years commuting to LaGuardia High School, family days, dates, and watching the Statue of Liberty pass by. She shares, "Staten Island, often underestimated, grows more irreplaceable to me every time I'm on the road.”From her deep Staten Island roots, grows a vivid musical exploration of feminine identity and growing pains, sprinkled with anxious flashes and flirty obsessions. Today's single “Be Here” is just the start of the Ferry Townes' melodic and coming of age journey. She shares, “I can literally see my growth as a person when I look at these songs. They were written over the span of the past 3 years, which were a rollercoaster. Mid twenties are such a weird age. Ferry Townes was born out of a need to say things we should but don't. Our songs are like those intense, never-sent letters, filled with raw overshares that one might only say with brave thumbs, but not their mouths." ABOUT FERRY TOWNESHailing from the streets of Staten Island, Ferry Townes emerges as a poignant voice in the indie music scene, channeling the raw, unfiltered emotions of its frontwoman, songwriter, Julia Gargano. The name Ferry Townes is an homage to The Staten Island Ferry, a symbol of Julia's upbringing commuting to Manhattan for school, family days, dates, and watching the Statue of Liberty. Having had her public debut on American Idol Season 18 and finishing in the top 7, Gargano's debut collection is an eclectic blend of acoustic and electronic elements, reminiscent of bands like HAIM and boygenius, yet with a distinct melodic narrative and alternative pop flair. Ferry Townes is a vivid musical exploration of feminine identity and growing pains, sprinkled with anxious flashes and flirty obsessions.We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #FerryTownes #JuliaGargano #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

Hey besties!! For this episode, I sat down with Colin, the face behind the music of Comfort Club! We talked about his debut album coming out in a week from this episode releasing, heartbreak, healing through music, wanting to be sponsored by hot topic, and so much more! You won't wanna miss this one! Don't forget to book a beauty service appointment with Kosmo by Kenna, and tell her Morgan from No Internal Monologue sent you her way! You'll get a 10% referral discount if you do from the best cosmetologist around!  Use the following link to receive 15% off your entire order AS A FIRST-TIME CUSTOMER at Sweary Carrie Designs! https://www.etsy.com/shop/swearycarriedesigns/?etsrc=sdt&coupon=NIM15 Links and Socials: OFFICIAL WEBSITE: nointernalmonologue.com  OFFICIAL MERCHANDISE COLLABORATION: https://www.scorpiocove.com/shop?Category=No%2520Internal%2520Monologue%2520Collab%2520Collection  DISRUPT MAGAZINE ARTICLE ABOUT THE SHOW: https://disruptmagazine.com/no-internal-monologue-is-the-hottest-podcast-you-should-be-listening-to-right-now/  PODCAST INSTA: https://www.instagram.com/nointernalmonologue_podcast/  PODCAST TIKTOK: https://www.tiktok.com/@nointernalmonologue  PODCAST TWITTER: https://twitter.com/noint_monologue  PERSONAL INSTA: https://www.instagram.com/kinda_morgann/  PERSONAL TIKTOK: https://www.tiktok.com/@morgan_leigh99/  SPOTIFY PLAYLIST: https://open.spotify.com/playlist/3zhstGLprqQlZWbtWeYpGr  SPOTIFY PAGE: https://open.spotify.com/show/2WIqd6AvaSvG3jE3GHNnHa?si=9a577a89c17f44e2&nd=1  APPLE PODCAST PAGE: https://podcasts.apple.com/us/podcast/no-internal-monologue/id1606193408  YOUTUBE CHANNEL: https://youtube.com/@nointernalmonologue?feature=shared  --- Support this podcast: https://podcasters.spotify.com/pod/show/morgan-schlichting/support

The Talk of Fame Podcast got to talk with  Eric Paquette! “21 Ways My Life Is Great” out April 19th 2024, is the second single from YOUTHYEAR - the moniker of Eric Paquette, a Nashville based artist, songwriter, and producer. YOUTHYEAR has collaborated with alt giants Lit, Dashboard Confessional, Letdown, and Michigander along with Butch Walker, Desmond Child, Colin Brittain, members of No Doubt and more. YOUTHYEAR's debut single “Basement” was the first step outside of the writer/producer chair and into the artist spotlight.  YOUTHYEAR & rock legend Carlo Colasacco (Shinedown, Sueco) co-wrote and co-produced the song which features a music video that tips its hat to Nirvana's “In Bloom'' and Weezer's “Buddy Holly'' videos and their satirical portrayal of the late ‘50s early ‘60s. Sonically the song also draws influence from both bands and the more melodic side of grunge and pop-rock of the ‘90s. Upbeat and all-things-alt-rock, it's bursting with bright melodies that sit next to melodic powerhouse classics like The All American Rejects and new acts like The Band Camino. Late ‘90s icon Ajay Popoff of the band Lit (My Own Worst Enemy) joined in on group vocals as well as makes a feature in the music video, co-directed by Nick Stafford (All Time Low, Charlotte Sands, Boys Like Girls) and YOUTHYEAR who also co-styled the video.  Lyrically “21 Ways My Life Is Great” is a “so glad it's finally over” breakup song that captures the explosive joy of finally being free of a toxic relationship.``Guess my mom was right ‘about your type” is just one of the playful ways'' Eric is grateful to be onto better things. Bottom line, there are no regrets over the breakup in this song. FOLLOW ME:  INSTAGRAM:  Officialkyliemontigney  Talkoffamepod  Facebook:  Officialkyliemontigney  Talkoffame  Twitter:  Kyliemontigney4  ABOUT ME: Hi, I am Kylie! I love sports, spending time with my family, traveling, and meeting people that inspire me. I love listening to other people's stories and sharing their journeys.

Salt Cathedral - "Terminal Woes" from the 2024 self-released album Before It's Gone With today's Song of the Day, New York-based Colombian duo Salt Cathedral share a sneak peek at their forthcoming full-length Before It's Gone, to be self-released on March 22nd. In a press statement, the band share: “”Terminal Woes” are the woes that will bring us (humanity) to our demise – in this song, climate change. How do I bring a child into a world that is getting, by all predictions, physically worse? How is capitalism/corporate interest & greed steering the wheel (or not steering the wheel?). We live in bubbles where we forget nature and animals exist too. Powerful people making decisions have their wallet, not the planet in mind. The only solution is reaching a point where the planet and the wallet align, where the most profitable business plan is to be sustainable. Sonically, it's a march of sorts, a chorus that bursts into stacks of voices to show collectivism and a lot of inspiration from Ravi Shankar's music.” Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Art Feynman - "Chasing My Life" from the 2023 album Be Good The Crazy Boys on Western Vinyl Long-time KEXP fave Luke Temple has been recording under the alias Art Feynman for a few albums now; his press release says, as a way to "explore surprising sonic landscapes without the burdens of identity." And now, on his third LP under the pseudonym, Be Good The Crazy Boys, he's joined by a full band, and the release was recorded live in the studio. "Sonically, I was inspired by records that were recorded at the late Compass Point Studios in the Bahamas such as Grace Jones' Private Life, Lizzy Mercier Descloux's Mambo Nassau, and Talking Heads' Remain in Light,” he shares.  He adds, “To me, there was a lot of energy that needed to be released as the result of living in isolation for six years. It also seems to speak to a general anxiety we're all holding, but it's expressed in a cathartic way.” Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Welcome to 2024 to all of our wonderful bronze, silver, gold and platinum patrons and loyal listeners. We kick off the new year (pardon the pun) with Part 2 our important deep dive into Michael Hutchence's posthumous solo release with a song-by-song review. Following part one, we see how Michael stretches his musical capabilities and range both lyrically and sonically to great effect. Haunting, open and often literal, Michael's lyrics have never been more specific and brutal. We discuss each track and rate them accordingly, with our unique criterion. Sonically lush, guitar-wise, often dirty and emotionally heartbreaking, I recommend listening to this album for the healing and the true insight into what Michael was truly feeling in his final years. This episode of the INXS AAA podcast is completed with additional news items and details about our competitions just launched. We nudge the 100-minute mark, so this action-packed episode may be your own two parter! We struggled to contain our enthusiasm and passion for what was a truly meaningful project for Michael, Danny Saber and Andy Gill. Plus don't miss out on how to win some fantasic INXS memorbilla or 2 Tickets to go to the Rock and Roll Hall of Fame Induction. WhooHoo! So sit back, relax, shut all distractions aside as INXS: Access all Areas kicks off a bumper 2024! Love and peace ✌️ https://www.inxsaccessallareas.com/plans-pricing https://www.change.org/p/induct-inxs INXSAAA@gmail.com    

It's fair to say 2023 has been a year for Caroline Polachek. Her second solo album soared into our hearts on Valentines Day, and stayed there. It solidified her place as one of the most remarkable musicians operating today; her voice as one of the most incredible of our time, and her output an unflinching celebration of art in all forms. Sonically, visually, and spiritually, Caroline Polachek defies genre and time. She's just a marvel.Desire, I Want To Turn Into You has topped many best of lists this year, and it's Double J's #1 album of 2023. So what an absolute treat to see out this year with the woman herself, and Take 5. Volcano's have featured heavily in her live shows, and capture the energy of what she does in every way. So I asked her to pick “volcano songs” and she really delivered.From wild American composers to glitchy electronic trailblazers, and the mysterious world of Sault... this is a joy for the senses, the heart, and the mind.Harry Partch – Daphne of the Dunes      David Sylvian – Before the BullfightGreetje Bijma & Oceanic – Step Snakes   Pink Floyd – The Great Gig in the SkySault - Air

I'm excited today, After a lifetime spent in and around the music industry, soaking up the influences of legends across genres and flexing his musical muscles in all corners of the dance world, Devon James released his debut album this April. Love Reach is a nine-track narrative of self-discovery told through catchy disco hooks, self-assured indie dance grooves, and swinging house rhythms. Sonically, it synthesizes a decade's worth of dance floor elation, global travel, love, heartbreak, and lessons learned into one psychedelic story—his story. The 10-year process of writing and recording Love Reach was a true family affair. Today, we are gonna dig into the album and chat about it, also the album is heavy with featured artists, and I can't wait to hear the stories of working with them… If you want to learn how to become a successful DJ & Producer,, release on the biggest labels and DJ for the biggest brands, this podcast will give you a wealth of insights into how to do just that!

Marcos, out of Los Angeles, is the mastermind behind his new band, Magnolia. Sonically driven, disciplined and wise beyond his years, Marcos shares how his life experiences have made him a better version of himself. We chatted about: -Solutions for staying calm in life -Awareness and mindfulness -Routine and creativity -How he dealt with and moved beyond substance abuse Connect with Marcos: https://www.instagram.com/marcosvaca_https://www.instagram.com/magnoliaband.wav Magnolia on Spotify: https://open.spotify.com/artist/62TfX6pooiF9N3L9rUl9OJ?si=Miq8LK3ATkCWLcVBkIaE6w __________________________ ❗SPECIAL WELLY P OFFER: Do you love Four Sigmatic? Save 10% with coupon code WELLYP when you shop directly at Four Sigmatic ⁠https://foursigmatic.com/⁠

With a new album out and a New York-based band in place, Billy Joel was starting to heat up in 1976. His show at the Bottom Line in Manhattan on June 10th of that year is the proof.   The album, Turnstiles, had just come out a few weeks prior. And the orchestra, as Billy was now calling the band, had been on the road for just over two months.    The performance was simulcast on seven radio stations, leaving listeners today with a crystal-clear document of the night. Billy and the band, now featuring Russell Javors and Howie Emerson on guitar, Doug Stegmeyer on bass, Richie Cannata on saxophone and organ, and Liberty DeVitto on drums, was a tight, well-oiled unit.    The night featured a handful of songs from the then-new record as well as concert staples from Piano Man and Streetlife Serenade. Sonically, the band straddled the New York grit of Turnstiles with the west coast feel of the previous two records.    These performances laid the groundwork for The Stranger in 1977, but a listen to this night reveals an energetic, fully-realized sound from a band hungry for success.    Join us as we dig deep into Live at The Bottom Line 1976.    Live remastered audio courtesy of Jamie Tate.   ------   Email us: glasshousespodcast@gmail.com   Glass Houses - A Billy Joel Podcast on the web / social media: Website: http://www.glasshousespod.com Facebook: https://www.facebook.com/glasshousespodcast/ Instagram: https://www.instagram.com/glasshousespod/ Twitter: https://twitter.com/glasshousespod  Discord: https://discord.gg/6G6cMRFu7T   Support the podcast: Paypal: https://paypal.me/glasshousespod Venmo: @MGrosvenor   Produced by Michael Grosvenor & Jack Firneno for Groove Music Marketing  

Peter Wise is a singer, songwriter, producer, and multi-instrumentalist, based in Brooklyn, New York. His sound marries introspective lyricism with bluesy guitar lines, laid back rhythms, anthemic hooks, and soulful vocals. It is both familiar and distinct, combining his love for the early seventies, southern California folk /rock storytelling, nineties Neo-soul and R&B grooves and modern pop / rock melodies to create a style uniquely his own.  His latest single “Only Gotta Start” is the first to be released off of his upcoming 13-track album and sees the rebirth of Wise as an artist, as he enters a new chapter of being unapologetically himself. Written, performed, produced, mixed and mastered entirely by himself, this new track sees Wise taking complete control over the music he creates. “Only Gotta Start” is a song about letting go - letting go of dark thoughts, letting go of pride and ego, and letting go of hurt and frustration. Wise confides, “I was feeling pretty burned out with my life at the time I wrote this song. I felt that, despite being extremely busy and making a concerted effort to move forward professionally and personally, I wasn't making any forward progress. I really wanted to move on in my life, see progress in my career and progress in letting go of a past relationship.” “Only Gotta Start” is a message of renewal and a reminder to others that when ghosts of the past seem to haunt our present and/or future, all we have to do, and ultimately can do, is make the conscious decision to change our thinking, be grateful for what we do have, and let go of the weight of whatever it is that seems to stop us from moving forward.  Sonically, the new song is inspired by the likes of Bruno Major, Billie Marten and The 1975. Through jangly guitars, warm vocals and an upbeat, feel-good rhythm, Wise never fails to put a smile on your face. The creation of the track also involved some experimental techniques, with the musician sharing, “I found my older sister's child-sized violin that she had when she first started playing and I tried to make music with that. I'm no violinist, but I found that trying to make music out of an instrument that I had no technical ability with forced me to be much more creative. I ended up finding a way to pick the violin and resample it to add the strings sounds that you hear in the intro and choruses.” The upcoming album touches on a multitude of real, raw and relatable themes, including struggling with getting older, not being who you thought you'd be, and not being able to get over past relationships. A true encapsulation of who Wise is, the release is some of his strongest work to date. He shares, “I've discovered the importance of calling myself an artist and working to be that. An artist is someone who takes in the world around them, processes it and creates their interpretation and understanding of themselves, others and the world they live in through their form of expression. That's what I love most  about music and why I make music: to share with others how I see and  process things.”

We had the pleasure of interviewing Boy Named Banjo over Zoom video!Boy Named Banjo has announced their major label debut album Dusk, due out September 29 via Mercury Records Nashville. On Dusk, the Nashville-native group explores the full emotional spectrum of the rich, eclectic sound they've honed over the last decade. Along with the announcement, the band also shares their wistful new single “Lonely In This Town."Produced by longtime collaborator Oscar Charles (Caroline Spence, Charlie Worsham), Dusk is an electrifying dose of lightning in a bottle over its nine tracks, running a gamut of late-night, fall-in-love party anthems and stripped-down meditations. Boy Named Banjo's songwriting is as incisive as ever, artfully grappling with lust and longing, hope and heartbreak. Sonically, the band's performances on the record are nothing short of exhilarating, blurring the lines between Music Row and Laurel Canyon with lush harmonies and bold cinematic arrangements. The end result is a masterfully crafted, larger-than-life major label debut from a group that continues to grow by leaps and bounds with every release.Widely beloved by loyal fans nationwide for their high-octane live shows, Boy Named Banjo will kick off their coast-to-coast Dusk Til Dawn Tour next month on September 14 in Atlanta – tickets can be found here and a full list of dates can be found below. Audiences will be treated to performances from their extensive catalog and new music from Dusk, in addition to their recent uplifting anthem “What Keeps Me Going” which earned praise from CMT, Holler, Taste of Country, Whiskey Riff and more. 2023 has already shaped up to be another banner year for the band following their Grand Ole Opry debut, a momentous milestone that was documented at People.Expertly melding an array of musical influences, the five-piece band is a fusion of contemporary country, Americana and folk-rock stacked on a foundation of bluegrass. Their self-released 2012 debut The Tanglewood Sessions helped earn the band a spot at Bonnaroo, while their 2014 follow-up, Long Story Short, led to festival slots everywhere from Hangout Fest to Dierks Bentley's Seven Peaks. After signing with Mercury Records Nashville in 2020, the following year saw the release of their genre-defying EP Circles, which landed them a performance at the historic Ryman Auditorium alongside dates supporting the likes of Kip Moore, Hank Williams, Jr., Old Crow Medicine Show, and The Cadillac Three. In 2022, Boy Named Banjo made their CMA Fest debut playing at the Ascend Amphitheatre Nighttime Concert as well as a sold-out hometown show at Nashville's Brooklyn Bowl. Formed in their teens, Boy Named Banjo includes Barton Davies (banjo), Ford Garrard (bass/standing bass), Sam McCullough (drums) Willard Logan (mandolin, acoustic/electric guitar) and William Reames (acoustic guitar/harmonica).We want to hear from you! Please email Hello@BringinitBackwards.comwww.BringinitBackwards.com#podcast #interview #bringinbackpod #BoyNamedBanjo #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/followFollow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpodThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4972373/advertisement

In EP 177 Flaw and Ant discuss Travis Scott new albumDrake takes shots at Pharrell and Pusha TWould you sacrifice customers for a celebrity?Kodak takes the bag and moreSupport this podcast at — https://redcircle.com/barz-n-shotz-podcast/donations

Prague based ambient-electronic artist dné recently released his second album, Basic Living, via Platoon. The album delved into what is the essence of embracing the simplicity of life, exploring the ups and downs of dating, the experience of living with chronic health conditions, and the peculiar world of capturing café plants for social media. Basic Living stood in stark contrast to art centred around the world's end, climate anxiety or political discourse, opting instead to depict the often overlooked aspects of our everyday existence. Holý, the creative force behind dné, talks of his desire for disabled individuals to be portrayed as complex individuals with rich emotions, rather than solely focusing on their ability to overcome obstacles. Sonically, Basic Living exhibits a more vibrant and diverse palette compared to dné's debut album, blending field recordings, lo-fi aesthetics, ethereal synth pads, classical instruments, and traces of Midwest emo-inspired guitars. An experimental playground for dné of sample manipulation, arpeggiated melodies, pop vocals and pure guitar tracks, Basic Living arrived seven years after his award-winning debut album, solidifying Holý's growth as a composer for film and TV series. We asked Holy to set our Monday straight… INTERVIEW HERE: https://www.theransomnote.com/music/mixes/dne-the-monday-is-ok-mix/ TRACKLIST HERE: tracklist Richard Strauss – Zwei Gesänge, Op. 34, 1 Oliver Coates – Caregiver Pt. 4 (Spirit) Richard Wagner – Tristan und Isolde (Prelude to Act III) Paul Desmond – Soon Maurice Ravel – Rhapsodie Espagnole (Prelude a la Nuit) Gustaf Ljunngren & Skúli Sverisson – Vi Overlever Maria w Horn – Fall of O'Dea Miles Davis Quintet – It Never Entered My Mind Alva Noto – Xerrox Kirlian Modest Mussorgsky – Il Vecchio Castello Branko Mataja – Sreo Sam Te Arvo Pärt – Summa John Coltrane & Johnny Hartman – Lush Life Tidiane Thiam – Minuit Daniel Lanois – My First Love Boxhead Ensemble – Homage To The Tren Brothers Colin Vallon – Sisyphe

The media commentary on hip-hop's decline is stronger than ever. Especially since it took six months for a rap album to top the Billboard 200 in 2023, and no rap song has topped the Hot 100 yet..Is hip-hop slipping? Or is there more to this story? is slipping or others are merely catching up?To break it all down, I'm joined by The Wall Street Journal's Neil Shah, who has written about this extensively. 0:40 Our take on hip-hop's “decline”4:51 Upcoming albums that may top the charts8:48 How Billboard charts work17:40 Hip-hop over indexed when streaming took off18:30 Was hip-hop held back in the past?20:26 Implications of chart performance22:55 Gaming the system with album bundles 32:49 Are album equivalent units the best way to measure success?35:13 Hip Hop's market share in 5 years45:16 Music recycling IP vs. developing new oneListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Neil Shah, @NeilShahWSJThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Neil Shah: While it looks like hip hop is suffering a little bit right now, or in this cooling period, maybe it's tentacles have stretched out So much, it's influences so total that it's actually become the bedrock of a lot of pop music. [00:00:12] Dan Runcie Intro Audio: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:40] Dan Runcie Guest Intro: This episode is about the state of hip hop, which has been quite the topic over the past year. So it was right around this time in 2022, when we started to see articles and stories and reports pop up about hip hop's decline in market share. This is specifically looking at the US listening consumption over time for hip hop artists that were producing tracks.And after a record number of years of growth in hip hop is eventually becoming the most listened to genre of music in the 2010s. We started to see that growth slow down relative to other genres. And there's a number of reasons for this, a number of reasons that are unfair, a number of reasons that require a little bit more digging into and to break it all down.I was joined by Neil Shah from the wall street journal. He's written about this himself. Him and I've talked about this both on and offline, and we decided to bring it together to talk about all the various factors. What does this mean for the music industry? What does it mean for the artist in the industry in terms of the budgets that they get?And is this even fair when we think about all of the factors in place with regards to streaming, where audiences grow, whether hip hop artists and their fans are more likely to be early adopters versus other genres, some of the rules that Billboard and other entities make that influence how these charts get factored in vinyl and a whole lot more. So let's dive into the state of hip hop.[00:02:05] Dan Runcie: All right. We're back for another episode this time. Neil Shah from the wall street journal makes his return. Welcome back.[00:02:11] Neil Shah: Thanks for having me.[00:02:12] Dan Runcie: And today we're going to talk about a topic. Both you and I have written about, thought about and has come to a head this past year. And that's the state of hip hop and where it lies relative to other genres right now.I'm sure many of you have seen the stats dating back as early as last year. When many outlets really started to talk more about hip hop's market share of its overall listening relative to other genres, which genres are growing at faster rates than others, which are declining. And now we're in this place in 2023.We're still as of the end of June, almost six months through the year, not one rap album has topped the Billboard top 200. And I'm pretty sure that no rap song has topped the Billboard hot 100 either. So Neil, what do you make of all of this?[00:03:04] Neil Shah: It's pretty striking that rap has not topped either of these charts, the Hot 100 or the Billboard 200. To put it into some context, in 2019, 17 rap albums Hit number one on the Billboard 200. 17. In 2020, another 17 did. basically last year, we started to see a slowdown on this front where there were fewer number one hits on these two charts in rap and hip hop and R& and then now this year, we have this striking reality that rap has been absent in this way, which I believe it, we haven't seen something like this. Since about 1993. So yeah, think it's generating lots of discussion and varied opinions. Hip hop has long had ups and downs, you know, in the 21st century, there are plenty of lulls, there are plenty of hot periods, and we could be in another lull. But my gut sense at the end of the day is that this does constitute a fairly significant slowing compared to how hot this genre was running, I mean, just a few years ago. I think it's a marked slowdown. And while one can quibble with the fact of not having a number one, because that can easily change, you know what I mean?Like as soon as Travis Scott puts out Utopia, as soon as Drake puts out For All the Dogs, the picture can change slightly. But even all that quibbling aside, I do feel like it's pretty striking that there is a slowdown.[00:04:51] Dan Runcie: Right, and that's a good point, because we could look at the more specific pieces of it. And yeah, if J. Cole, if Travis Scott dropped Utopia, if any of these things happen in the spring, we may not be having the same conversation from a top headline. Oh, let's react to this thing. But even like you said, you named 17 albums from a couple of years ago.So we're talking one every three weeks, essentially that hit that target, if not more, and we're now 24 weeks into the year and we haven't had any. So there's still a pretty big shift, even if you account for the superstar releases. And if we're looking at the artists that are planning to release albums this year, I was looking through at some of the artists that have.Big albums coming out, and these are the only ones that I thought are certified locks to hit number 1 on the billboard. You have Drake's new album, as you mentioned, Travis Scott's Utopia, J. Cole's The Fall Off, if he drops it this year, Lil Wayne, I think there's another Carter coming, Lil Uzi Vert, who I believe is dropping pretty soon, so he could potentially be the 1st, and then after that, And I hate to say this, but maybe Cardi B.I still think that she's pretty strong, but we'll see it. I say maybe more. So we'll see if she drops an album. And I say maybe to Nicki Minaj too, while I have a bit more confidence in her dropping an album, her last album went number two, second to Travis Scott back in 2018, but it's also been a long time.And some of the other artists who are a few more fan favorites, like Pusha T or A$AP Rocky Rick Ross, even Chance the rapper. Great artist. But it's been a while since any of those artists, if ever have topped the billboard. 200 for album charts. I know Ross and others have in the past, but, so there's a lot of fragmentation.There were, there's still are artists have a shot, beloved albums, but they're not reaching this particular milestone of how people view mainstream success.Yeah, the [00:06:46] Neil Shah: question of who's a lock for number one in the rap community has gotten a little bit more complicated than maybe a few years ago. Some of these people may not be a lock. [00:06:58] Dan Runcie: Do you think anyone I named isn't a lock.[00:07:00] Neil Shah: Drake is obviously a lock. Travis, I would think would be a lock. Vert comes out on Friday, that's a pretty large artist and a highly anticipated album, but I'm not entirely sure. I'm not entirely sure that that would be number one. I'm not sure about Nikki. I would think Cardi, who I believe has been having 2023 in the frame, I would think that Cardi B would be number one.It's just a little bit more complicated than especially with projects from the likes of Pusha T and whatnot. Yeah, there's definitely not a guarantee that even these stars and superstars will perform the way they did. Of course, that's up to the vicissitudes of do they have a hot single or not?How much mindshare are they capturing, you know, these things change from year to year. All things considered, it does feel like, you know, things. I'd be worried about the downside of people being a little bit weaker. We just had Gunna, for example. Gunna, you know, came out with an album. It's been doing pretty well.his mentor Young Thug actually also just released an album. There's a new Metro Boomin version of it that I think came out today or yesterday. But look Gunna back in 2022, last year, hit number one. [00:08:19] Dan Runcie: Outsold the Weeknd [00:08:20] Neil Shah: and what happened this year with this album they're gonna just put out, it hit number three. And even more than that, just the EAU unit figure, the equivalent album units, 85K, 85, 000 is decent, but not the strongest showing. So, I think there is a question about when these stars come back, just how well will they do as the surrounding environment for them is, creating what we're talking about,[00:08:48] Dan Runcie: Yeah, I think there's a few factors here, and I do want to call them out. Billboard, who does reflect the charts, they released a article, 5 Reasons Why a rap album has yet to top the charts and there are 5 reasons are I'll read them here. The 1st is a lack of stars essentially in a fragments in a fragmented landscape.There's so many artists that don't necessarily need mainstream success that billboard relied on. And I think that could be true to an extent. You have their 2nd, 1 here, which is growth for hip hop itself is only up 6. 3% compared to country and Latin, which are growing much faster. I have some thoughts on that, but that was their 2nd point.They made the 3rd, which is related to Gunna here. They talked about guns, violence, drug abuse and courtroom legal battles as well that have slowed down or halted the production of many promising stars. Whether you look at XXXTentacion, Juice WRLD, Pop Smoke, and then you look at Gunna and Thug and others that have been battling legal challenges as well.The fourth one they mentioned is just stagnation. At the charts, which I think may be a bigger thing where if you look at the charts this year, at least for the billboard 200, it's been SZA, it's been Morgan Wallen and a little bit of Miley Cyrus. And that's pretty much been it for most of the year. So it's not even the way that it was in the pre pandemic years where every week there was a new album that seemed to have its glory moment.It's the same artists that are staying at the top. And in some ways, it almost feels a little bit like a throwback to days before streaming when we saw a little bit more stagnation there. And then their 5th reason is not enough dance music because they talked about albums like Renaissance or Drake's Honestly, Nevermind, Dua Lipa and Future Nostalgia and how they feel like post pandemic people want to get out there and how a lot of hip hop music has been a much more slow chill, especially in the streaming era.And I think that each of those are valid points, but I think there's a few other things that weren't mentioned in billboards article that they themselves as the entity that decides these things has a big influence. We mentioned several of those Pre pandemic years. 1 of the biggest things is how billboard itself. Change the rules and album bundles is a big thing. Ironically, they're actually going to be coming back with album bundles in a few months, but this was their way to be able to help preserve the sale of the album and have artists combine their album with a merch item, whether it's a T shirt or some other type of item.But like anything, people started to game the system and people felt like it wasn't necessarily about album sales. It was more about people trying to sell these items. And I think we saw that most to extreme degree with what Travis Scott did with Astroworld, where he literally had an e commerce machine that was running, in perpetuity to help make sure that album almost doubled in its expectations of what people thought we just hadn't seen that much of a outpaced growth, but he saw the way the system was and we'd into it.So I think that's one thing. That's a big factor, a second thing that I look at is just what we consider hip hop on these charts, because of course, billboard itself is it's reporting things based on us listenership. But we know that Latin music is very popular as well. Just considering how well bad bunny did on the charts.But as you and I've talked about, bad bunny is labeled as Latin. He's not labeled as the actual genre that he performs. He's more categorized based on the region he's from. And for all intents and purposes, he considers himself a rapper. He considers himself a hip hop artist. So if hip hop was given some of that region agnostic glory that pop music or others get, maybe we would see, maybe we would even be having this conversation and we think about the global aspect of it.So those are two things. There's a few more, but I wanted to get your thoughts on those.[00:12:44] Neil Shah: Yeah. So let's start with that last one, what if hip hop is suffering from its own success, hip hop has had booms. For decades now, but what we saw in this back half of the 2010s was something fairly special and now we're at this juncture right now and so it just raises the question of like it looks like we're in a cooling period for hip hop, but hip hop is It's tentacles are reaching into, I mean, almost all of the other genres that are capturing the imagination of music fans right now.I mean, often Morgan Wall in the country star sings with rap like cadences. one reason why [00:13:25] Dan Runcie: Hip hop sounding beats too.[00:13:27] Neil Shah: Yeah, even the tracks hip hop. Some of the bedrock, some of the sonic structures of Morgan Wallen's music are inherently, deeply hip hop. One reason why BTS and a new crop of Kpop stars have thrived so much, especially in the U.S., is their hip hop fluid. You can go down the list. I mean, the regional Mexican music craze that's going on right now. there's a ton of hip hop there, reggaeton, Afro beats. and then of course, Latin music and figures like Bad Bunny, Who's rapping and due to billboard nomenclature is categorized as a Latin artist, so one could look at the phenomenon differently and think, actually, while it looks like hip hop is suffering a little bit right now, or in this cooling period, maybe it's tentacles have stretched out So much, it's influences so total that it's actually become the bedrock of a lot of pop music. And then while rap stars are not thriving the way they did, say, between 2016 and 2019, in particular, because that's the period we're coming down off of, one could argue that it's. In all of these other places.And in fact, in this age of, hip hopping everywhere, of everyone sing rapping, essentially the boundaries between quote unquote core hip hop, what Billboard would categorize as hip hop for the purpose of the charts, and a lot of these other genres is getting very fuzzy. So, one party could look at the phenomenon before us and think, weakness, in hip hop, another way of looking at it would be an increased fuzziness between hip hop and these neighboring genres. And so that that could be, that could be a major factor here. and yet at the same time, you know, something I think about a lot. what is the right way to think about this? And I'm really of 2 minds, like, I'm kind of in a conflicted space where on 1 hand, I don't know whether hip hop's influence is what we're watching is this kind of dominance on a new level, hip hop being a victim of its own success and essentially being everywhere or whether, you know, there really is some kind of transitional period afoot, you know, 1 thing to keep in mind is just how hot the 2010s and it particularly the back half was just think about how much era defining music was made in this period, incorporating R&B to Beyonce, Rihanna, Kanye West. The hubbub over Life of pablo, Drake views, you know, Frank Ocean, Kendrick Lamar.I'm just talking about the top level. We're not even talking about the medium tier of excellent rappers and R&B stars beneath that Childish Gambino. There was a lot going on during this period. And so, despite, some of the other factors that we're talking about and that we'll talk about, I feel like that's what you gotta compare it to.And so, to my mind, and I'm getting to actually a 2nd point in the billboard article. it does feel like we're help where we've come from a unipolar hip hop dominated universe using the strictest definition of hip hop to something. That's more multipolar and really. That can be a function of time and development, i.e. hip hop's success. Another good point that I think the Billboard article raised was just, you know, as a genre becomes so dominant, how much room is left? Once you're king of the mountain, how much growth is there left in the shoe? I mean, mathematically, your growth is going to, slow down. I come across this when I think about vinyl sales, you know, for years now, vinyl has been hot, but naturally, mathematically, as your base gets bigger, and we're talking about lots and lots of sales, your growth rates slow down.So, like, this is just kind of an analogy, but as hip hop gets so dominant, there's something natural about not just a genre having slower periods in a cyclical fashion, which is a slightly separate thing, but there's also something natural about the genre at this point actually just I'm losing some steam for purely mathematical reasons.[00:17:40] Dan Runcie: I'm glad you mentioned the back half of the last decade as being a high point for hip hop, because here's some important stats that influence this. Right in the middle of the 2010s is when we saw this shift is when streaming started to take off. Apple Music launches Spotify really kicks into gear. Of course, they launched in the US in 2011, but things really came into focus in 2014 and then in November, 2014.That's when the billboard 200 starts counting streams and they've altered the formula a little bit, but it's roughly been the same where it's been anywhere from around 1, 250 to 1, 500 or even more if it's a free ad supported stream. But that's when they started counting streams at that particular point, Spotify had 15 million paid users and 60 million overall.And then, four years later by 2018, they have 96 million paid users. And so if we go back to that point, so this is obviously when Travis Scott was releasing Astroworld, when Drake released God's Plan, as you mentioned, all these hip hop albums are doing extremely well, but there was a large. Index on hip hop fans.And as we've seen when technology and time again, hip hop fans as a genre do tend to over index and their early adopters with new technology. We saw that with Spotify and the various streaming services, especially where their user base was. And you also saw that as well with social media with Twitter and places like that.Where were the genres that people were talking about most on these platforms? It was hip hop. So there was this run of hip hop getting this lead. That other genres didn't have him because it over indexed early. You saw this outsized performance, especially as record sales, traditional, pure album sales started to dip a bit, but since then, you're now looking in this post quarantine phase and Spotify's growth is, paid subscriber amount is more than doubled since 2018, it's now over 200 million paid subscribers. And most of that growth came less from hip hop fans, but more from everyone else. So as we look and see the growth of whether it's Latin music, music in Africa, music in Asia, even country music within the US, you're looking at the growth of Spotify and the growth of all these streaming services and how that impacts charts and performance.So even though hip hop listening is still growing. In the way that we've seen it record labels in the industry often do report things as a zero sum game in a lot of ways. So because of that, even though the growth is slowing down, it's still growing. It's just not growing as fast as these other genres that are now having their late 2000 late 2010s hip hop moment[00:20:26] Neil Shah: Totally would. so yeah, when I looked into this topic last fall. Basically, fall was upon us in 2022, and it looked like hip hop's chart performance was relatively weak, so I wanted to look into this topic at that point. One of the interviews I did was actually with the head of the data tracker, Luminate, and this is definitely one thing that they noted, which is hip hop fans.This is an important point, hip hop fans, were early adopters for streaming. So they over indexed and kind of led the way during an earlier stage of streaming adoption in precisely in the middle of the 2010s. And so, yes, you're right that you're, seeing, a shift here as the base of the streaming universe essentially becomes more varied. And especially during the pandemic, we saw these significant jumps with country and Latin music, partly that's a Morgan Wall in effect. Partly the Latin music numbers are juiced by Bad Bunny, these gargantuan artists in terms of their numbers, but it's a broader phenomenon of these genres. And their fans being a bigger part of the streaming pie and as a result, partly because of that hip hop share of streaming, not overall music consumption, but hip hop market share of us streaming is yes, like period after period, year after year is dipping as we now have a, actually a fuller picture. A more varied streaming audience.so that's definitely a major factor and it's you know, part of why country and Latin music in particular have gotten the lifted that they've got of late. One thing to keep in mind throughout all of this is that while we're talking about, hip hop slowing, at least according to these chart metrics and streaming market shares and whatnot, it's always worth mentioning or noting that it's market share still outstrips these other genres by a wide margin, not just Latin and country, which, you know, Latin's numbers in the billboard math are, have always been weirdly low, frankly. They seem lower than they should be, but they're fairly low. I mean, we're talking like, right? Six, seven, eight percent, just neighborhood ballpark in terms of market share of U. S. consumption compared to hip hop, which is still outpacing.[00:22:46] Dan Runcie: In the high 20s, Yeah.[00:22:48] Neil Shah: Right. So it's just worth keeping in mind how much of a distance there still is between hip hop and some of these other genres.[00:22:56] Dan Runcie: And this dynamic as well made me think about other times, even before streaming where distribution and means have impacted which genres were more popular. And in a lot of ways, I've often thought that streaming's ability to lower the entry barriers and to eliminate the gatekeepers, not completely eliminate, but to lessen their power is what enabled hip hop artists and artists from other genres to realize their power.And it made me think back to times in the CD era. And I remember growing up when we think about the peak of the CD era, this is something I still remember to this day. Cause I was in school at the time. I think about three albums that came out right around the same time. You have two hip hop albums. So you have DMX is, and then there was X this December, 1999.And then a couple months later you have NSYNC. They have their no strings attached album, which was still up until Adele's album was the highest first week sale. I think it was just under 3 million. I used to the US and then a couple months after that, you have Eminem drops, Marshall Mathers LP, and roughly from a high level, I believe that NSYNC, as I mentioned to just under 3 million in its first week.Marshall Mathers LP did just under 2 and DMX did a few hundred thousand under 1 million. And just calling those 3, 2, 1 from that perspective, all those artists are pretty big. I don't know if I buy that Eminem was that much less popular than NSYNC at the time, but I think part of the reason was, A, you had these parental advisory stickers on them, which essentially acted like a rated R thing where, okay, it's making you pause when you go to the register.And too, because I was in school. I remember parents of NSYNC fans that were taking their kids out of school to go line up on Tuesday to go to Sam Goody or Strawberries, wherever, buy the album, and then come back in time for C period to start, right? That didn't happen with the parents of Eminem fans, and that did not happen with the parents of DMX fans.So all of these things that may seem like natural commerce are structural things in play when we think back about that, and even to just how the nineties were in general with. Time Warner and all these big companies and the government and the Clinton administration trying to come down on hip hop. We finally now saw it reach its potential.And now when things are starting to dip, everyone now wants to pull it back.[00:25:17] Neil Shah: Totally. So, like, even as late as the late 90s and the early 2000s, there's this cultural penalty on hip hop music that is kind of artificially suppressing sales. I mean, you still see this in the live music industry to this day, whether it's festivals like Rolling Loud or New York City music venues where rappers often have a tougher time. It's a little harder to put on an arena rap show. It's unfortunate, but partly it's because the insurance rates are higher and it's more costly to put on the show. Why is that? So even to this day, whether on the business side or culturally, there are things that can affect sales, and in streams and whatnot, you're mentioning kind of the, you know, the late 90s, I think back to the early 90s, in a way, the way in which hip hop over indexed, or kind of was buoyed by technology in the form of streaming in the middle of the 2010s, it was like a revenge for 1991 and what obtained in the prior years when rap albums were very popular and were actually selling briskly, but they were underreported along with country also too, they were actually underreported in the pre digitized sound scan era. So there again, you moved from a period when for these cultural or business factors, one genre was kind of artificially held lower, and other genres look like they were, dominating the mindshare of the country.But then lo and behold, we entered the period of SoundScan and suddenly the whole country is listening to NWA, who knew? And so it's always seemed to me like while hip hop may have over indexed in like, you know, 2015 and 2018, it was kind of like almost like payback for 1989 or whatever, but yeah, so like these shifts, you got to take with a grain of salt because, you know, they're constructed a billboard and the industry does the best it can.And it's constantly retooling, how it approaches things. You noted earlier the shifting position on album bundles. It's interesting that they're allowing it back this summer, but now with safeguards, so you don't pull a Travis Scott, presumably. So, you know, it's a work in progress, always, all of these metrics.So you, when you're thinking about these debates or discussions, you do need to take it with a grain of salt. The average person on the street, maybe a rap fan, maybe a rock fan, maybe a post genre music fan. They may not care about the ins and outs of genres going up and down. Journalists may care about it and obviously people in the music industry do. but you know. It is relevant to the business, because it does affect how the business operates and what I mean by that is, you know, at record labels, your job is basically to, sign acts and pursue the hot thing and make money and some, so some of these cultural discussions about how genres are doing definitely have an impact on how the business operates and at the end of the day, the way, you know, the way the music that we hear now, I think of, you know, in earlier periods when hip hop experienced a lull, I don't think this will happen this time, but in earlier periods when hip hop experienced a lull, you know, the boy band era that you mentioned, I think, like around NSYNC and around Britney Spears time, you did see the slight lull in urban music have an impact on A&R budgets. There was a very much a shifting wind in terms of like, you know, money in some cases withdrawn from, like urban A&R budgets and, diverted elsewhere. you know, much like any business does, like diverting resources to where things feel like they're hotter. So my point being, some of these discussions, while the average music fan, may not care as much, they have real world implications.[00:29:16] Dan Runcie: That's the part that frustrates me because a lot of this, as you mentioned, it's chatter for us, we're in this space. We talk to the people, or if you're someone that's a super fan on Twitter, you're Reddit as well. They're probably active, but they have huge. Implications I can't help, but to think about how many of the decisions that are being made about.Which artists to give a particular budget to how much to spend on their music videos, how much to do on all these things. A&R, as you mentioned, they may see some type of cutbacks, some type of impact there. And the other piece of this, that's a bit frustrating is that in lieu of album bundles and bundling with merchandise, which is something that a hip hop, a lot of hip hop artists lead into what we saw on the flip side was artists then combining it with or not even combining, but selling physical albums like vinyl and all the boom that we've seen there. The challenge with vinyl though, is that there has been a limited supply, given the supplies train, the supply chain constraints and some of the materials there. So the record labels do have discretion over who gets allocation for the limited vinyl supply they have and who doesn't and that then creates much more decision making and much more King making essentially on who gets to have the full allotment.And when we see artists, whether it's Harry Styles or Taylor Swift, get all of the. Allotment that's there and you see other artists, whether it's a title, the creator, even a Beyonce that are waiting several weeks, sometimes even months to get theirs. And these are superstar artists in their own right.That are still waiting for it. And when you think deeper about it, half of the people that buy vinyl don't even listen to it. So what is it really? Is it a merch item or is it actually an album[00:31:07] Neil Shah: totally. It's a great example of a Intra business, real world implication of some of these discussions, a record label having to determine. Okay, we got relationships with X, Y, and Z plants in Nashville and in the Czech Republic and, this is the space we got, which artists are we going to prioritize?It matters, I mean, they're making these decisions and it can help certain artists and hurt others. And then if they don't have their physical ready while they're putting out their album, effectively, whoever doesn't have their physical ducks in a row is effectively penalized in terms of their chart placement.So it's very real. one thing that's been going on, You know, we may get on Travis Scott and, his ilk's case for gaming the system with these bundles in that. Earlier micro era, but, you know, 1 thing that's been going on with the pop stars and especially with the K pop stars are all these collectible, collectible CDs and whatnot, which definitely are giving placement to these artists, especially in K pop that they wouldn't otherwise have.So, in this era, when billboard got rid of those bundles, you're seeing, you know, something different going on with Kpop. It basically dominating the charts, or at least the top 10, using all these collectible CDs that then basically drop off. If you look carefully at the streaming numbers for a lot of the K pop artists that hit number 2, number 3, or number 1, the streaming numbers are not very strong.I mean, The lion's share, almost the entire consumption is these collectible CDs, which are, actually de facto merch. So, you got another phenomenon, very similar to rap's phenomenon, where de facto merch is just gaming the charts.[00:32:49] Dan Runcie: We're going to continue to see this, but I am very interested to see how this year's changes will impact things because even if you look at. I don't even think it was Travis Scott's thing that brought it to a head. I'm sure that was in the back of people's minds, but I think it was right after DJ Khaled dropped his album the same day as Tyler the Creator dropped, the album that had earthquake on it, Igor, that's the name of it. We started to see more of it there because obviously Khaled got penalized for energy drinks or whatever he had tried to bundle his albums with, but at the end of the day, they want to bundle it with things that aren't restricted in the same way that others did. So even though in the moment, it was definitely an eye roll type of thing.Now, I'm like, okay, at least there was some type of control and autonomy there that the artists did have. But so much of this preservation of figuring out and having the powers that be tweak and determine the right Metric for album equivalent units, and then even the whole thought about how you have to listen to a song 1250 times on a paid streaming service for that to count as 1 full album sale. You can't even listen to a full album at once a day to then count as that. If you were to do the math there.Right.It really makes you think about the real dynamics at play, because we know for years that the major record labels themselves have wanted to preserve the aspect of an album. And a lot of it does seem like it's this another aspect of this underlying tug of war between them and the DSPs, the streaming services that do want to report on streams and do use that as the primary benchmark of success.And now we're backing into this album equivalent unit metric that has now become normalized that we would never do in any other industry where it's not like Netflix is trying to show DVD equivalent units as a metric of success.[00:34:42] Neil Shah: Yeah, totally. Yeah, I mean, Billboard is continually trying to get these things right. But, you know, it is, that is precisely what the pop stars and the Kpop stars are taking advantage of the fact that the physical albums, have much greater weight than the streams, which right there just, privileges certain genres then hurts, others, you know, like physical sales are not what in hip hop or not, but they are another genre. So, I'm sure they see it as a work in progress to kind of get these things right.[00:35:13] Dan Runcie: Right, and I do acknowledge the work there in many ways. It is a very difficult task. You have a number of competing factors. You're trying to make essentially an advanced metric become the industry standard. And it is going to be an evolving conversation and likely will look different as streaming services continue to gain traction as you mentioned, if we do see a vinyl slowdown at some point, how that may shift things and there will be this continual movement here.Where do you think things are in five years from now, specifically with hip hop? Do you think that the market share continues to slide? Do you think that another genre does become number one?[00:35:50] Neil Shah: That's a great question, it feels like we're in a transitional period right now where lots of genres are thriving at the same time. People talk about music being post genre so much that it's almost become a cliché to, you know, for publicity materials to describe an artist as being genre less, kind of elicits eye rolls at this point.Every artist is post genre at that point. It actually would be more striking if artists stuck to genres, ala Beyonce with her dance music album, which I thought took the opposite road of, focusing on the genre, which was actually refreshing. but so we're in a transitional moment. and so, I mean, the short answer to your question is that it's hard to see where this goes in five years.But, you know, I would imagine that some of the cooling off of hip hop does level off and then maybe we're in a period for a while where, what currently obtains kind of sticks around. I mean, it's entirely possible that the 2000, the rest of the 2000. Twenties could be kind of a transitional, confusing period, barring some, culture shifting huge superstar in one of the genres that somehow changes everything, even in our highly fragmented music landscape. Typically some of the engines for different types of musics going up or down have relied on huge stars changing the game. Whether it's hip hop, you know, hip hop had certain weaknesses in the early 2000s. And, for example, Kanye West, helped revive rap also broadened its audience, broadened rap's audience in a very significant way. Something that Drake then, continued effectively soccer mom-izing hip hop, you know, like anyone can listen to one dance. I mean, it's not even rap, as an example, and increasingly rappers were singing. So, in the past, when genres have had lulls and then come back to life, it's usually been on the back of these pivotal stars.Well, the reason why it's so hard to really project, like, what we're going to do and what things are going to look like in five years is because music, as you know, like, we're losing the ability for such stars. Even if they're very big to really shift the culture, Morgan Wallen is a massively big star right now and yet much of the country, you know, doesn't listen to Morgan Wallen, you know, doesn't like him for various reasons, et cetera, you know, NBA Young Boy is a massively big artist, especially on YouTube.And yet, most people are not familiar with him. I mean, to give you a better example, even when an artist like Cardi B or Ice Spice has huge hits that, you know, hit the top 10 of the Billboard Hot 100, much of the country does not know that song the way they may have known, You know, a Cyndi Lauper song in another era or an Adele song.So we're in an environment where increasingly, it's so fragmented that it's hard for stars to really dominate in the way that they used to. And so that may also affect whether we see Kurt Cobain like shifts where, you know, where everything changes and then we recognize, Oh, the landscape is different.There's plenty going on in hip hop, whether commercially, you know, an act like Suicide Boys is doing great on the live music circuit. They get almost no media attention, but, in terms of the live music circuit, they can sell concert tickets. there's plenty going on also from a, critically acclaimed point of view, you know, artists like DoJi, you know, are making waves. It's not that like, you know, Youngboy's doing this thing. We've had work from like Lil Durk. I mean, Metro Boomin is having a great year. Ice Spice has been an exception in terms of being a big breakout star, there's plenty of stuff happening, but it's really rare for that stuff to really dominate, you saw, you know, these two examples are kind of related, but two moments that have been kind of monocultural with the capacity to shift things is obviously like Taylor Swift in this Era's tour, which is something that a lot of people talk about.And then, of course, her getting a platform to ice spice, which was just very interesting and exciting because, wow, this is the biggest platform and it's being given to ice spice. What will happen? Will Ice Spice be able to develop into the kind of star that could, carry on Poppa Smoke's legacy in a different way and indeed populize Drill or will Drill and a lot of these, you know, vibrant rap stars that are on kind of a lower level, will they kind of stay there in this more, in this fragmented kind of multicolored, universe? I think that's like a key question, you know, even Taylor Swift, not to go into Taylor Swift tangent, but, you know, there's been debate, there's been discussion of like, oh, we do have monoculture.There's Taylor Swift, even Taylor Swift only captures a certain part of the American audience. I mean, if you go to a Taylor Swift show, you know, it's not that racially diverse. I'm just putting it like that. not a Wwift hater. I'm just pointing out the fact, you know, so, it's tough to have the monocultural forces that one used to have to create these ships.[00:41:01] Dan Runcie: Right, because I know you mentioned the points earlier about whether or not most people are really hearing Morgan Wallen or they're really hearing NBA Young Boy. And part of that probably applies to these generational superstars to even just with where they are now. You compare a song like Taylor Swift for the antihero compared to Cyndi Lauper time after time or any of these other songs that they did, it probably is less mind share there, but the other point you mentioned, there still are these little moments and these other things that happen that are still noteworthy, even if they're not the big thing.I think that the big thing, whether that's having this huge album that sells 1, 000, 000 in its 1st week or 500, 000 units in its 1st week, given the way that media is going, I still think that is something that does become more and more subject to this power law dynamic, to some extent, where I do think it's still even five years from now will probably be very difficult for an artist not named Drake to be able to bet money and say, yes, oh yeah. That artist will could sell over 500, 000 in the first week. Even Drake hasn't necessarily a hundred percent done that. I mean, he did it with certified lover boy most recently, but, the other two albums he had before this, the joint one with 21 Savage or the honestly, nevermind he did it. So, but he still was able to at least top the charts there.So I do think that. We'll still see success. We'll still see these moments, but almost in the same way that in Hollywood, where I think it's probably pretty unlikely at this point that there's going to be a billion dollar grossing movie. And it's like, Oh, wow, Huh, that's an original story or original concept.Never heard of that one. It's almost always sequel or based on some type of existing IP. And in many ways, Taylor, Drake, Beyonce, Adele are the closest thing you have to existing contemporary IP and music. These are the biggest bets you have, and you do have a few acts here or there that have definitely come into their own SZA's SOS album has clearly done extremely well. It's been great to see her continue to break. Strides and do, and I think there's plenty of stats that show just with the performance of control over the years that there's a lot that is indicating there, but still, even with where SZA is now, there's still a gap between the other artists I mentioned.So, there's levels to this for sure. We'll see growth there, but I still think that we're going to see the most continued bets and the more the budgets as well go towards the Drake's and the Taylor's because that's where the safest bet is for the money spent.[00:43:32] Neil Shah: So it would be fascinating if this period remains more confusing than it usually would and more transitional, partly because ala Hollywood. We, as a culture, rely on this safe, riskless IP instead of, doing the artist development to really help some artists, you know, achieve, get to that next level, you know, it's striking, these artists you're mentioning, Taylor, Drake, they come from a different era. They come from an era that was of the fulcrum, not even the fulcrum, they proceed the streaming era. and they benefited from the branding power of an industry that has changed, dramatically and they remain right now are, you know, some of our biggest stars and it doesn't feel like a hangover yet.These artists are still doing respected work. Drake's numbers are weakening substantially album by album, but, yeah, it will be interesting if, as you're noting, we kind of rely on these folks IP, like, you know, maybe Drake should rerecord all of it. Maybe I wouldn't mind it if Drake rerecorded Take Care For No Reason.Maybe it's so hard to make another Take Care, another masterpiece. Maybe he should just re record it. The point being, some of these stars could linger with us longer than they would because of this effect where, in such an industry that's so fragmented, these are the riskless parties to do business with, whether you're a record label, whether you're a concert promoter, this is where the safety and money is at.And so they could have a longer, you know, there's a perennial question about when Drake will fall off, but maybe some of these artists won't fall off, in this next stretch, but stay in this weaker state as, you know, this other stuff continues to bubble,[00:45:16] Dan Runcie: Yeah, it's almost in the same way where Tom Cruise is now in his 60s. I don't see him stopping Mission Impossible anytime soon. As serious as he's been doing since he was in his early 30s. Denzel's about to drop the Equalizer 3. The man turned 70 next year.[00:45:31] Neil Shah: Indiana Jones, Harrison Ford. [00:45:33] Dan Runcie: Yeah, he's 80.[00:45:35] Neil Shah: So, this can be bemoaned. people bemoan this in the Hollywood context, the recycling of IP instead of the development of new stuff. but it's an open question. You just, you never know, you know, there's plenty of vibrant rap being made.There's an entire rage movement that Playboi Carti and other artists have helped inspire, you know, there's just like Ice Spice to my mind follows a little bit. Sonically in the heels of pop spoken certain ways. There are inheritors of the SoundCloud rap era that sadly waned with the passing of, you know, stars like X and Juice WRLD and whatnot.There's stuff going on. You just, you never know, like, music business is a hard one to predict. You can't even predict that confusion will reign because, you know, it's a topsy turvy business and things change.[00:46:26] Dan Runcie: Yeah, definitely. Well, Neil, this was fun. before we close things out, anything you want to plug or let the audience know that you're working on?[00:46:34] Neil Shah: No, I don't think so. Anything you suggest, I don't think there's anything I'd want to plug.[00:46:38] Dan Runcie: Okay. Well, we'll make sure that we link to your most recent Taylor Swift piece in this one, just with the breakdown of the economics. They're not related to this conversation, but a fascinating book in deep dive, obviously considering all the conversations needed to happen to give people a breakdown, not just into that top line number, but the profit margin of a tour of this scale.[00:46:59] Neil Shah: yeah, with the Taylor piece, I'm happy with it. And I was basically trying to do something that's just hard to do. Artists don't talk about their costs and what their deals involved with promoters and booking agents. So very hard to actually ascertain profit.And so what I was trying to do there was just. and it talked to a lot of people about what's reasonable for a superstar and then what's reasonable to assume about the breakdown when it comes to an unusual superstar. So that was kind of, that story, I guess, you know, related to this topic is just, you know, yeah, my attempt to kind of get my head around. It wasn't that article. I did, I think, in October of last year. and so, yeah, this is like an important discussion. and when you want to have in a measured way, you know, like, it's like, another not colleague, but a good guy at Billboard Elias did also a piece, following on Kyle's piece, right?Kind of actually talking to executives about how worried, you know, they are about this stuff. So, yeah, this stuff is hard to predict. So, but yeah, if anything, you could, flag that old piece if you want.[00:48:01] Dan Runcie: Okay, great. No, we'll do Neilm Thanks again. It's been a pleasure. [00:48:05] Dan Runcie Outro Audio: If you enjoyed this podcast, go ahead and share it with a friend, copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast.Go ahead, rate the podcast, give it a high rating and leave a review. Tell people why you like the podcast that helps more people discover the show. Thank you in advance. Talk to you next week.

Singer/songwriter Chris Bathgate performs HERE at the Ferndale Library on July 18.  https://www.fadl.org/scs-july  After a five-year hiatus encompassing the birth of a son, a third coast to west coast and back to the third coast move, and an ongoing global pandemic - Chris Bathgate returns with 'The Significance of Peaches'. On this, his 6th full-length album, the NPR & BBC-lauded artist is found ruminating on time spent living in the National Forests of Michigan while homeless, his emergence into fatherhood, and yes, the significance a certain stone fruit has played throughout hthe artist's life. Sonically, 'The Significance of Peaches' leans heavily on the structural support of parlor organ and Bathgate's signature multi-tracked percussion - sparse use of piano and strings sheathed in the middle - his haunted vocals perched atop it all.  

The sonically innovative harpist, Brandee Younger, is revolutionizing the harp for the digital era. Over the past fifteen years, she has worked relentlessly to stretch boundaries and limitations for harpists.  In 2022, she made history by becoming the first black woman to be nominated for a Grammy Award for Best Instrumental Composition. That same year, she was also nominated for an NAACP Image Award. Ever-expanding as an artist, she has worked with cultural icons including Common, Lauryn Hill, John Legend, and Moses Sumney.   Her current album, Brand New Life, builds on her already rich oeuvre and cements the harp's place in pop culture.  As the title of the album suggests, Brand New Life is about forging new paths–artistic, personal, political, and spiritual. On this album, Younger salutes her musical foremother, the trailblazing harpist Dorothy Ashby, while also speaking to the sentiments of more recent generations. “We're bringing new life to Dorothy Ashby's popular and previously unreleased compositions. We're creating new life…for the instrument,” Younger said. Brand New Life is an album about living fully, in neon bright color. In March of 2022, Younger flew to Chicago and began recording Brand New Life in the home studio of her long-time collaborator and friend, Makaya McCraven, who produced and played drums on the album. In the Windy City, Younger hoped to harness some of Ashby's funky energy from a recording she did there nearly five decades before. Younger gathered artists who have had a sense of kinship with Ashby; from the internationally-lauded neo-soul bassist/vocalist/rapper Meshell Ndegeocello to her long-time bassist Rashaan Carter, plus the legendary rapper and producer Pete Rock and the talented contemporary producer 9th Wonder. The latter producers introduced hip-hop and R&B listeners to Ashby in the 1990s and early 2000s via slick samples. Pete Rock and CL Smooth's 1992 release, “For Pete's Sake,” samples Ashby's 1968 hit “Come Live With Me.” 9th Wonder's remix of singer Amerie's 2003 R&B classic “Why Don't We Fall in Love,” also includes a Dorothy Ashby sample from “Come Live With Me.” With Younger's solo rendition of this heavily sampled song on Brand New Life, she builds a sonic bridge between generations. “I wanted everyone on the record to have a special connection to Dorothy [Ashby]," she said.  For the project, Younger also recorded a number of Ashby's compositions that were never recorded before, alongside Ashby fan favorites and Younger originals.  The emotional complexity of the album is stunningly captured in the title track, “Brand New Life,” an original co-written by Younger and singer, Mumu Fresh. “This love is so deep, time and space couldn't keep you away from me,” Mumu Fresh sings. Younger's playing paints lush details over Mumu Fresh's smooth vocals leaving nothing to be sonically desired. Against the backdrop of current social issues–climate change, racism, health disparities, and women's rights–the song speaks to a desire that many people have for change, for something new in the world. “Brand New Life'' reaches listeners at the level of the human. Love is a subtle but insistent thread throughout the album. The opening track, “You're a Girl For One Man Only,” is a previously unrecorded Dorothy Ashby composition. Sonically, it is tender and evocative of a first kiss or the early seasons of a new romance. Younger recalls the original song's lyrics' more traditional message of romantic longing that we still hear in popular music today. Boy chases girl. Girl succumbs. In Younger's version, there is a sense of agency and exploration. Younger creates a mesmerizing atmosphere. In the second half of the track, we are met with a delicate dance between Joel Ross on vibraphone and Younger on harp, the two instruments pining through the melody.  Brand New Life is part of her steadfast efforts to amplify the contributions of black women harpists and to keep their legacies alive.  Her care for and attention to Dorothy Ashby as a musical ancestor has been consistent throughout her career. Akin to the popular hashtag, #CiteBlackWomen, which demands consumers credit and recognizes black women for their intellectual labor, Younger urges us to recognize Ashby's contribution to the American songbook. The album is part of a larger project of recognizing not only the history of innovators of the distinguished harp – a history that places Ashby and Younger together on a continuum – but also the presence of everyday black women.  “Running Game” was an obscure seven-inch single release originally entitled “Double Talkin'” and featured Ashby on piano. In the song's intro, we hear what sounds like a casual conversation at a black women's beauty salon or at a social gathering of sorts where women freely share advice and observations on life with one another. The voices in the intro are of Younger's mother and aunt. Younger set up listeners by reading the lyrics from Ashby's original. “Every man I meet is double talkin'. "Where did the good men go?” The women candidly respond to the song lyrics. One says, “As far as the game, men have been running game since day one.” The track leads into, “Running Game,” a ballad with inflections of Negro spirituals and the blues.  Here, Younger's expressivity on her instrument is incomparable. As the strings (arranged by DeSean Jones) hum behind her, the “double-talking” gold-digging man comes into full view. “Running Game” ends on a note of optimism, of marching forward despite life's struggles.  Younger was born and raised in Hempstead, New York. As a teen in the early 1990s, she bopped to the beats of artists like LL Cool J, Queen Latifah, and Busta Rhymes. Among these hip-hop greats, she discovered Ashby's music by way of hip-hop legend Pete Rock. She began playing harp at the age of eleven and eventually enrolled at the Hartt School of Music at the University of Hartford in Connecticut where she studied classical music. It was through the encouragement of legendary saxophonist Jackie McLean that she made her first foray into jazz with the harp.  Hearing Ashby for the first time made her envision new possibilities for herself as a harpist. “She was covering all of these popular tunes and soundtracks [of the time] and I wanted to do that. She's playing pop, jazz, and everyone's sampling her–DJ Premier, Pete Rock, J. Dilla. Hearing, then seeing her as a Black Woman, while I'm this random little isolated black girl playing the harp by myself was everything to me.” Younger forged her way with a small but mighty group of black women harpists as examples—Sarah Lawrence from her hometown, Ann Hobson-Pilot, Dorothy Ashby, and Alice Coltrane—who were consistent sources of inspiration. In 2006, after graduating from Hartt School, Younger went on to develop a name for herself on the jazz and commercial recording scene in New York City. To date, her performance roster is fierce. As a side-woman, she has played alongside jazz icons such as Pharoah Sanders, Ravi Coltrane, Jack DeJohnette, and Reggie Workman. Younger's commitment to carrying the torch can also be seen through her work as a performer and educator. In 2008, she earned a Master of Music from New York University's Steinhardt School. During this time, she began to work seriously as an educator. She has been a guest faculty and lecturer at numerous universities including but not limited to Berklee College of Music, Princeton University, Howard University, and Tulane University. Currently, she serves as a teaching artist faculty at New York University and The New School.    In 2020, Younger was named winner of the DownBeat Critics Poll in the category of "Rising Star" harpist. Her work as a side woman is evidence of Younger's undeniable presence in the sound of contemporary jazz today. In recent years, she has appeared on albums by Lakecia Benjamin, Robert Glasper, Jeremy Pelt, The Baylor Project, and Makaya McCraven, just to name a few. In addition to her contributions as a side-woman, Younger's commitment to honoring the legacy of black women harpists can be seen through her curatorial work. She has curated a number of performances dedicated to honoring the work of Dorothy Ashby and Alice Coltrane. This work speaks to her dedication as a purveyor of black music and history. In this episode, Brandee shares her background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

On their new single for Tropopause Records, musical collective Kalabash look at how man-made objects can provide us with new and strange views of the world. Sonically the track plays with texture and mood, drawing influence from UK techno and experimental club sounds, underpinned by touches of smooth RnB. In Kalabash's own words - "it's our view of how a machine might interpret electronic music today" - which naturally extends to the visual accompaniment to the release. In the spirit of collaboration, a central component of Kalabash's work, the collective have teamed up with film director Matt Hass for a short film that riffs off the theme of re-contextualising everyday objects and subverts the idea of non-human entities perceptions towards humanity.

We had the pleasure of interviewing Project 86 over Zoom video!PROJECT 86 are back and in a big way. The band will release the double album OMNI in two parts. OMNI Part 1 is out now! OMNI Part 2 will arrive in the fall of this year.OMNI is an immersive Sci-fi/horror media experience, one part double album, one part film, one part novel. Though it is a work of fiction, it is rooted in current events, circa 2023. Sonically, it is a wholly unique merger of genres…death metal, gore, rock, electronic, and doom metal.Part one of the double album serves as the score and basis for the film/novel. Part two serves as a backstory to the emergence of OMNI, specifically its two antagonists/founders.The year is 2041. The human species has finally reached the moment where technology is poised to eradicate man's most ancient adversary: death itself. One big-tech power-an entity called THE OMNI-has emerged to lay claim to dominion over all civilization via three life-altering innovations: 1. THE PULSE: An mRNA genetic implant which has the power to regulate human emotion through algorithms. 2. THE OPTIC: an ocular/neural interface which replaces smart phones. This allows users to see virtual artifacts in their natural field of vision, introducing augmented and virtual reality into the physical world. 3. ORGANIC FISSION: a 100% sustainable energy source of spurious detail, which harvests powerful energy from “organic sources” (which are later revealed to be living humans who are disintegrated at the atomic level).The whole of the narrative focuses on the launch event for THE AUGMENT, which is the technology which finally allows man to merge with AI and become immortal. The event takes place at OMNI City (former Ankara, Turkey) at the OMNI Tower, a massive, 3km spire which is humanity's greatest architectural achievement. The tower “floats” 200 meters above the ground, and is a luxury resort/event venue. It is also lined with LED screen-projectors on every surface of its interior, making it a completely customizable virtual/physical environment.OMNI has engineered the singularity, unbeknownst to the public, with the help of "voices" from the other side (Extra-terrestrial entities which are the sources of the tech innovations). OMNI's trust in these entities proves to be disastrous…After the announcement of THE AUGMENT, the response at the event is euphoric. But, as the event proceeds, things take a dark turn. Without the fear of the ultimate consequence (death), the true, dark nature of man becomes evident. Violence and anarchy begin to spread like yeast through dough. At the launch party in the OMNI Tower, the massive festival event turns into a violent, murderous riot of disturbing proportions.The story culminates with the narrator inviting a malicious "AI" (spirit) into his body, setting off a chain-reaction of unimaginable horror on a massive scale. Ultimately, the tower, and its inhabitants, are doomed, as the singularity does not go as planned, destroying all involved, serving as a warning to humanity for what lies ahead.We want to hear from you! Please email Hello@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #Project86 #OMNI #NewMusic #ZoomListen & Subscribe to BiBhttps://www.bringinitbackwards.com/follow/Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

"Sonically good without the sonic soul is crap!" Michael talked about why it's the emotional stuff, not the technical stuff that makes a great mix, how to understand multi-bus mix compression, why plugins are fun, and mixing in Atmos on headphones. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Michael Brauer a Grammy-winning New York mix engineer. His many credits include "Best Pop Vocal Album" for John Mayer's Continuum, "Best Alternative Album" for Coldplay's Parachutes, and also "Best Rock Album" for Coldplay's "Viva la Vida or Death and All His Friends". Other artists include The Rolling Stones, Aerosmith, Jeff Buckley, David Byrne, Paul McCartney, Ben Folds, KT Tunstall, and Martha Wainwright. He also invented the technique known as 'Brauerizing', in which mixes are routed through multiple compressors and busses to create a blended sound. And he is a co-founder of Mix With The Masters which has been running for over a decade.  Michael has been a guest on the show previously to talk about his background in music and mixing so please chack out that episode at RSR300. And at that time he had relocated outside the heart of the city in NY to settle into his home studio for mixing. He also completed his journey of migrating his mix template over from a hybrid setup to a full “in the box” method with the help of his engineer Fernando Reyes. Michael created a fantastic course on Puremix.net called Brauerize ITB to teach his mixing setup so you can recreate the whole thing in your home studio if you choose.  So I am excited to have Michael joining us to talk about his philosophy of mixing and the migration over to mixing “in the box”. THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.solidstatelogic.com https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com/Rockstars use code ROCK10 to get 10% off any individual plugin https://jzmic.com use code ROCKSTAR to get 40% off the Vintage series mics https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/01JiSbrOjLxJeeRDlhtnPL?si=5d281e765c8f4fb0 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/390

Bonus Content: patreon.com/campcounselors Submit your advice needed, juicy gossip, confessions, and horror stories at campcounselorspodcast.com Camp Songs Spotify Playlist: https://spoti.fi/3qyK0ri Camp Songs YouTube Playlist: https://youtube.com/playlist?list=PLg9-jhcwB2oYDvLR8zGn8t8rS0q_umm8J Camp Counselors TikTok: https://www.tiktok.com/@campcounselorspod Camp Counselors Instagram: https://www.instagram.com/campcounselorspod/ Camp Counselors Twitter: https://twitter.com/_campcounselors

Bonus Content: patreon.com/campcounselors Submit your advice needed, juicy gossip, confessions, and horror stories at campcounselorspodcast.com Camp Songs Spotify Playlist: https://spoti.fi/3qyK0ri Camp Songs YouTube Playlist: https://youtube.com/playlist?list=PLg9-jhcwB2oYDvLR8zGn8t8rS0q_umm8J Camp Counselors TikTok: https://www.tiktok.com/@campcounselorspod Camp Counselors Instagram: https://www.instagram.com/campcounselorspod/ Camp Counselors Twitter: https://twitter.com/_campcounselors

“When The Storm Has Passed” With ten albums or so under their indie folk belts, The Great Lake Swimmers have consistently been one of the most arresting affecting and spellbinding bands around. The Canadian outfit introduced themselves to the world with their self-titled 2003 effort and since then have put out classics like New Wild Everywhere, The Waves, The Wake and the Juno-nominated Lost Channels, which was also shortlisted for the Polaris Prize. Sonically, the band bring to mind everyone from R.E.M to Teenage Fanclub to Miracle Legion. And throughout their songbook, singer Tony Dekker's poetic lyrics form a literate blend of ecology, environmentalism and good old fashioned romanticism. He's a potent triple threat. The band have also put out four live albums, four EPs and a covers album that features takes on numbers by The Rolling Stones, Tom Waits and NeIl Young and John Cale. Oh, and Dekker also has a marvelous solo album called Prayer of The Woods. The point here is that there's a healthy crop of Great Lakes Swimmers material for you to plunge into. But the music you're hearing on the program today is the band's first new music since 2019. It's been a while. But they're back and they've never sounded better. Their two new tracks—“When The Storm Has Passed” and “Moonlight, Stay Above”—feature Dekker's trademark poetic finesse and penchant for writing some of the catchiest and heartfelt songs on the planet. We're glad they're back! www.greatlakeswimmers.com www.greatlakeswimmers.bandcamp.com www.bombshellradio.com www.alexgreenonline.com www.embersarts.com www.stereoembersmagazine.com Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

Hannah Jadagu - "Say It Now" a 2022 single on Sub Pop. As we eagerly await a full-length debut from Hannah Jadagu, the 20-year-old artist gives us a sneak peek with the new single "Say It Now." In a press release, the Texas-born/New York-based artist explains, “"Say It Now" is my sort of inner reflection on where things have gone wrong in my past interactions and relationships with other people. Sonically and lyrically, I feel as though this song signifies me venturing into a new world that is even more intense and vulnerable.”  The new track is accompanied by a video directed by Jade De Brito and shot in Paris. Jadagu adds, "Making this video was so special because I got to make it during my first visit to Paris. We shot it in about 2 days, showcasing a sort of “day in the life” where I do studio work and get to go around the city. It's a nice contrast to the lyrical content because there's truly no time to be sad in Paris." Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

We had the pleasure of interviewing ari hicks over Zoom video.ari's furious feminist energy is palpable, flaunting her genre-spanning style as she ricochets between themes of empowerment and bravado, giving listeners a first glance at ari entering her Villain Era as she pays homage to the death of a male centric narrative. Showcasing a different dimension of the pop singer, this Chapter acts as the start of her newest era. Featuring three brand new tracks as well as familiar favorites “Romeo Dies”, “Sucker”, “Shut Up" and “Look Pretty”. We start off with the self-assertive pop anthem “Two Sides” followed by “Pull your Tooth” and “Jaded”, giving the euphoric darker sound and get-under-your-skin lyrics to end the chapter on an edgier note, offering listeners a more haunting glimpse into Chapter 2. “It's Not That Deep: Chapter 1 follows ari hicks's 2020 Kiss Me, Kill Me EP, which introduced the world to her halloween hit “Kiss Me, Kill Me” Since then, the dark pop siren has firmly proved herself as a top artist to watch this year. Reigning as a Live Nation's “Ones to Watch 2022” with nearly 200k TikTok followers and earning acclaim from the likes of Wonderland, Vogue, ALT Press and many more. Consider this an honest and bold storybook about unapologetically stepping into your power, It's Not That Deep is an all encompassing soundtrack of entering your Villain Era. Each Chapter a collage of stories and experiences that were derived to hone in on the concept of reclaiming your power. On the release, ari confides, “Chapter 1: My forthcoming album “It's Not That Deep” is an all encompassing soundtrack of entering your Villain Era. Each Chapter a collage of stories and experiences that were derived to hone in on the concept of reclaiming your power. Chapter 1 really embodies a lighter energy, its a little petty, a little savage but its FUN. It's tapping into your feminine energy and taking these cookie cutter stories and giving them a bit of a plot twist, because why shouldn't girls have their fun? Sonically and visually I aligned and designed each of these tracks with main character energy (hence why they all have an actual character). These tracks are for the brats, the girls that feel silenced, the ones that are entering their villain era selflessly or selfishly - I want this Chapter to be the voice for that.”This episode is sponsored by American Musical Supply. Go to https://ter.li/AmericanMusicalSupply-BACKWARD and use promo code BACKWARD to receive $20 off a purchase over $100. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com#podcast #interview #bringinbackpod #arihicks #ItsNotThatDeep #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

My guest today is easily one of the bravest people that I know and it's mystifying how that's solely due to the honesty in which she lives her life. AJ Haynes of Seratones is a frontwoman and activist from Shreveport, Louisiana that is challenging what you've come to expect of rock music. Seratones third album, Love & Algorhythms, is unabashedly celebratory of the multitudes of our modern age (along with being an unapologetically queer as f$%k album). Sonically the music plays with elements of dance, electronica, pop, and soul while lyrically the songs depict the flux of the human condition. That said, I should point out how music is so little of what we talked about, and more about how life itself eventually inspires the art that we make. Along with being a frontwoman, AJ is also the President of the Board of the New Orleans Abortion Fund, a non-profit organization that's fighting for a woman's right to choose, especially in the face of the recent Roe v. Wade decision. Together we chat about a wild myriad of topics such as being black outside of the US, the pivotal nature of AJ's work in abortion care, the need that comes from truly loving yourself, and yes; we do discuss how this all informs the music of Seratones. Please consider making a donation to the New Orleans Abortion Fund, you can learn more about the organization by visiting their website here. Also, be sure to check out Seratones performance of Good Day for the Stephen Colbert show.

If there was any inclination the Fab Four were down to “expand their minds,” by the time Revolver came around, there was very little second guessing. The sounds are out there, backwards, mystical. And on "Dr. Robert," what might have been a nudge and wink previously is now just a punch in the face: THESE GUYS TAKE DRUGS. Whether it's autobiographical or a character piece though, it's a fantastic mind movie, where the band paint a great picture sonically of the good Doctor, while John's vocal moves to almost Dylan-esque places. On an album wherein the band is really starting to use the studio as an instrument, “Dr. Robert” holds its' own as a great live band performance, especially with John and Paul's fantastic vocals being recorded together. Sonically, this is maybe the song that exemplifies to me the brilliance of the sound of the Revolver album, chiming Epiphone Casinos and Vox Amps, thumping Rickenbacker bass. It's maybe my favorite SOUNDING Beatles album, and this is one of my favorite sounding moments. It's not a major player in the overall arc of the catalog, but it's a good one for sure. Joining us this week is Emmy and Golden Globe nominated screenwriter, producer, and author Bruce Ferber. While his biggest credits include some truly classic sitcoms like Home Improvement, Sabrina The Teenage Witch, Bosom Buddies, Coach, and Growing Pains, these days he's turned his pen towards writing award winning novels. His current book is I Buried Paul, a story of a man who plays Paul McCartney in a Beatles Tribute band. It's a self-described love letter to the power of music, and an exploration of the sacrifices its disciples are willing to make in service to its' magic. We chat with Bruce about just what drove him to dive into the world of Beatles Tribute acts, learning to be open to change, the REAL Dr. Robert, and what may be the greatest Beatles Tribute band of all time. Get yourself a copy of I Buried Paul at bruceferber.net, or anywhere you buy good books! P.S. - This was recorded prior to the announcement of the upcoming Revolver box set reissue. What do you think? Too high? Too low? Just right? Let us know in the comments on Facebook https://www.facebook.com/rankingthebeatles, Instagram @rankingthebeatles, or Twitter @rankingbeatles! Be sure to check out RTB's official website, www.rankingthebeatles.com and our brand new webstore!! RANK YOUR OWN BEATLES with our new RTB poster! Pick up a tshirt, coffee cup, tote bag, and more! Enjoying the show, and wanna show your support? Buy Us A Coffee! --- Send in a voice message: https://anchor.fm/rankingthebeatles/message Support this podcast: https://anchor.fm/rankingthebeatles/support

Guitars made out of aluminum instead of wood? Why not? Alien Alloy Guitars hand crafted in Birmingham, UK are unique in styling, sound and play ability. Miles Page, one of the founders, of Alien Alloy Guitars visits with The Trout about how he and his business and co-founders came up with the unique design of their guitars. It's completely different to wood and that's what makes it fun. Visually it is striking. Sonically it's like nothing else. Furthermore, due to the strength of Aluminium (Aluminum for us Yanks), guitarists can do a whole bunch of wacky things with…like cut a bunch of beautiful, flowing shapes into the body whilst retaining structural integrity and strength, for example!  Watch this episode to learn more about how Alien Alloy Guitars provide a completely different approach to playing a guitar. https://www.alienalloyguitars.com/ https://www.thetroutshow.com

One Big Family goes "Behind the Music" with Jeremy James Whitaker and Michael Amoguis who released an EP called u y b m ...(until you bless me). This project confronts the wrestle and release with the Lord motif that Michael and Jeremy (& us!) experience and are inviting the listener to journey through by means of lyrics and instrumentation. Sonically, this project incorporates experimental yet safe and comforting sounds as the creative expression of such a weighty theme. Check out the episode to hear about the intentional and fluid aspects involved in the project coming to fruition. Jeremy and Michael go track by track and share in-depth on the content intent. EP Tracks: -concept (spontaneous) -thursday, may 05 -until you bless me -on time -don't pass me by Connect with Jeremy + Michael -Jeremy James Whitaker IG -Michael Amoguis IG Connect with One Big Family -OBF IG -OBF Website

10 Ways To Start Writing A Song Free Guide Link: http://songwritertheory.com/freeguide/ Love the content and want to support Songwriter Theory? Feel free to buy me a coffee: https://www.buymeacoffee.com/josephvadala Joseph talks about some practical ways to take your songs in new sonic directions.

We welcome a trailblazer in today's music world, Alice Merton to the show. Celebrating her new album, S.I.D.E.S.,(Out Now via Mom + Pop Music) the record hints at Alice's style and sound evolution since the release of her debut. Sonically, it's darker, drawing on angsty modern pop, alt-rock, and other abrasive sounds, while its themes are deeper and more introspective but with an undercurrent of hope. Alice has over 1B total global streams, with her breakthrough debut single "No Roots" being an international smash hit with 825M+ streams, 1M+ sales worldwide, and 1M+ creations on TikTok. After her debut in 2018, she was the #4 most Shazamed artist that year. Join us as we chat with Alice about opening up her own record label, the feeling of performing live, crafting a unique sound, the success of 'No Roots' and more. For more information, including tour dates, visit: www.alicemerton.com

News That Didn't Make the News, "Sonically-aged" cheese, Would you want a clone?, and Black wedding dresses.

We met with Ross Fishburn from Equipped Worship! Thinking sonically as a band and knowing where your instrument fits can greatly improve your worship team’s sound. Ross shares his tips for how to do it.

We had the pleasure of interviewing Netta over Zoom video!Australia's heavy trailblazers NORTHLANE have released their sixth album, Obsidian, via Believe.Northlane's new offering, Obsidian, is their most expansive and dynamic album yet. Self-recorded and self-produced, the sound Northlane have been working towards over the span of their career has been fully realised on Obsidian. Sonically spanning the gamut of their entire discography, Northlane's trademark heavy comfortably coexists with techno, drum and bass, intriguing synths, perplexing time signatures, and widescreen choruses. It's this fearless evolution that keeps Northlane light years ahead of everyone else in heavy music.In other Northlane news, the band will return to North America for a tour this summer. The band will embark on a headline North American trek that kicks off on July 13 in San Francisco and runs through August 25 in Los Angeles. Silent Planet and Avoid will also appear, with an additional act to be announced at a later date. All dates are below. Get tickets here. This run marks the first time that Northlane have toured the U.S. and Canada since 2019.We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #Northlane #Obsidian #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod