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Pop Music Blogs

19 October 2019

Pop Music Blogs
  • [Single] Various Artists – SignHere episode4 (MP3)
    Various Artists – 사인히어(SignHere) episode4 Release Date: 2019.10.18 Genre: Rap / Hip-Hop Language: Korean Bit Rate: MP3-320kbps Track List: 01. How it feels (Feat. Reddy) (Prod. 코드 쿤스트) 02. Lollipop…
  • [Single] TIKITIK – 해시태그 (MP3)
    티키틱 – 해시태그 Release Date: 2019.10.18 Genre: Folk Language: Korean Bit Rate: MP3-320kbps Track List: 01. 해시태그 Download Album File: TIKITIK – 해시태그 [].7z Size: 2.86 MB Hosted: MediaFire, 4Shared,…
  • Celebrity Animal Lovers Who Adopted Their Pets

    Despite the many pets who are abandoned and have no choice but to wander without a home, some of the lucky ones are adopted by a helpful passerby. Even amidst their busy schedules, many celebrities also adopt pets into their families. Here are a couple of additional celebrities who provided both a loving home and second chance at life […]

    The post Celebrity Animal Lovers Who Adopted Their Pets appeared first on Soompi

  • [Single] LYn – Farewell (With George) (MP3)
    린 (LYn) – 정말 헤어지는 거야 (With 죠지) Release Date: 2019.10.18 Genre: Ballad Language: Korean Bit Rate: MP3-320kbps Track List: 01. 정말 헤어지는 거야 (With 죠지) Download Album File: LYn…
  • [Single] Lee Ju Hyuk – Vagabond OST Part.5 (MP3)
    이주혁 – 배가본드 OST Part.5 Release Date: 2019.10.18 Genre: OST Language: Korean Bit Rate: MP3-320kbps Track List: 01. Here For You 02. Here For You (Inst.) Download Album File: Lee…
  • [Single] Ji Young Hoon – CHINCHILLA (MP3)
    지영훈 – CHINCHILLA Release Date: 2019.10.17 Genre: R&B/Soul Language: Korean Bit Rate: MP3-320kbps Track List: 01. CHINCHILLA Download Album File: Ji Young Hoon – CHINCHILLA [].7z Size: 9.32 MB Hosted:…
  • [Single] Hong Dae Kwang – ZAMBUS OST (MP3)
    홍대광 – 잼있는 버스 OST Release Date: 2019.10.18 Genre: Ballad Language: Korean Bit Rate: MP3-320kbps Track List: 01. 같애 (SAME) 02. 같애 (SAME) (Inst.) Download Album File: Hong Dae Kwang…
  • [Single] Gong So Won – Love Whistle (MP3)
    공소원 – 불어라 사랑아 Release Date: 2019.10.18 Genre: Adult contemporary Language: Korean Bit Rate: MP3-320kbps Track List: 01. 불어라 사랑아 02. 불어라 사랑아 (inst.) Download Album File: Gong So Won…
  • [Single] BUMKEY – October Sky (MP3)
    범키 – 감당 안 돼 Release Date: 2019.10.18 Genre: R&B/Soul Language: Korean Bit Rate: MP3-320kbps Track List: 01. 감당 안 돼 02. 감당 안 돼 (Inst.) Download Album File: BUMKEY…
  • [Album] Tohoshinki – XV [Japanese] (iTunes Plus AAC M4A)
    Tohoshinki – XV Release Date: 2019.10.16 Genre: J-Pop Language: Japanese Bit Rate: iTunes Plus AAC M4A Track List: 01. Hello 02. Manipulate 03. Hot Sauce 04. Six in the morning…

Rock Music Blogs

19 October 2019

Rock Music Blogs
  • Replicant - Black Light
  • Myriad Disguidance

    Full length debut out now

    The post Myriad Disguidance appeared first on Loud.

  • The New Alternative: Apple Music playlist of bands such as Demob Happy, Psychedelic Porn Crumpets, Twen, Hatchie
  • Chris Knox - Face of Fashion
  • INTERVIEW: Aaron Weaver – Wolves In The Throne Room


    Wolves In The Throne Room Australian tour is imminent beginning in Perth on November 28th and ending in Canberra December 2nd.  Soundworks Direct are bringing the American Ambient/Atmospheric Black Metallers over for their second time, the previous visit nearly a decade ago in 2010. We welcome them back to our shores and are eager for their shows in the next months. We had the opportunity to speak to Aaron Weaver, co-founder and drummer and this is what we found out.


    Perth is excited to have you with the teasing of a tour that was cancelled, we are glad you are making it over.  This is your first time here isn’t it – I believe you’ve been to the East Coast in the past, but this will be your first time in the West Coast?

    Aaron: “That’s right it was about ten years ago so it’s been a long fucking time, and, yeah, never been to Perth before, so we are very excited to see what it’s like over there on the Western side of that massive continent.”

    Curious about that I ask, what was your experience like last time you were here?

    Aaron: “Haha that tour was crazy, I was just thinking about that. It was seat of the pants, for some crazy reason we were driving between the cities and it was about a twelve to twenty four hour drive in some cases and it was a psychedelic experience to be sure.”

    Is there a country or venue you would like to perform at that you haven’t had a chance yet?

    Aaron: “We’d love to play in Indonesia, it’s a place I’ve always wanted to visit, we’ve got some friends who have toured through there and they say the metal scene is huge and people are very enthusiastic and I like the music and culture of Indonesia a lot so that’d be a real treat. Also, we’ve never been to South America, we’re so close but we’ve never played in Mexico so hopefully we’ll get to hit at least Mexico City this year.”

    That sounds amazing. What have been your inspirations for your music?

    Aaron: “Oh man it’s all about the forest for us, we live in this very special and beautiful place right on the edge of this massive rainforest, ancient trees and huge craggy mountains and waterfalls and the Pacific Ocean comes in down through the Sailor Seas so we are close to the salt water that goes out to the great ocean. Salmon come up here through the rivers and bald eagles, mountain lions and bears and even some wolves coming back up in the remote mountains and that’s it for us, just being in these woods and listening to the spirits of the old ancestors and doing our best honour them with music.”

    I love that, I feel it through your music too, you can definitely get the foresty feel from it, you’re taken there, you close your eyes and it exports you there, its well done, in my opinion at least.

    Aaron: “Haha, I’m glad we succeeded in some small way.”

    Yeah, haha, I think you did. So, did you have any other influences in your musical journey, like any mentors or influences that lead you to music?

    Aaron: “Hmm, well we grew up in a town that had a very vibrant DIY punk scene and that’s how we got turned onto music, well I guess there was two streams of influences, one was getting hold of tapes and CDs of death metal music from the early 90s I think Altars of Madness was one of the first records me and Nathan really got into as kids, so that was one part of it, in those old days it was hard to get hold of underground and extreme music so it was like a quest for us to find the heavy stuff beyond just Metallica and Megadeath and these sort of things that were easier to get to. We were also really lucky to have a cool venue in town that hosted a lot of underground bands and one that made a big impression on me was seeing Neurosis on the Silver and Blood tour, so it was ‘95 or ’96, so I would have been about seventeen years old or so, and I remember helping, we used to work at the local DIY venue just helping the sound guy load in vans and setting stuff up so we helped Neurosis load in and I was just fucking blown away. I had never seen anything like them, such intensity, such a spiritual and powerful energy coming off a band, it was a mind expanding experience we are still kinda dealing with to this day.”

    Wow, that’s cool. Where do you hope to be in five or ten years?

    Aaron: “You know it’s so clear to me we can play this music until we are old, old men because it comes from our hearts and it’s just our way of expressing our connection to the earth and to this place we live, it’s a lifelong path for us. So, in ten years I’ll be doing pretty much the same thing, living on the land, growing food, spending time in the forest, celebrating the heathen holidays with our community here in Olympia and we’ll be on the road doing music as well.”



    That’s inspiring. Do you have any favourite local or upcoming bands in your area?

    Aaron: “Yeah definitely, it’s hard to pick but the one that sticks out the most, they’re not really local anymore they used to be based in Oregon, a couple of hours south, but now they’re based in Denver, it’s a band Blood Incantation, check them out, they’re, I’d say kind of an atmospheric death metal band, we just played with them at a festival in Jackson, Wyoming which is in the middle of the Tetons which is when you maybe think of Western America, it’s that; huge mountains, buffalo wandering around, grizzly bears – it’s a very wild and beautiful landscape. We played a festival called ‘Fire in The Mountains’ which is right in the middle of this national park and we played with Blood Incantion and they blew me away. I see a lot of bands and they were just one of those bands that I was fucking impressed and blown away. It was especially cool coz I’ve known those guys since they were young kids coming up and it was really inspiring to see how they found a very strong path in music and are doing a really cool thing, so I definitely encourage people to check them out.”

    Nice, I will and hopefully some other readers will too! What are your guilty pleasures, musically and otherwise?

    Chuckling, Aarons says, “Music, Well I don’t feel guilty about anything. I think that’s a nice thing about heavy music and heavy metal, guilt is one of those feelings you throw out the window, you love what you love and if someone else doesn’t like it then they can fuck off, that’s what music and this culture is all about. I can talk about music that isn’t metal that I like. I dunno, ACDC I guess, If you think about a band that’s not underground, not extreme in anyway but I love, I’d say ACDC, and I’m not just saying that because I’m talking to an Australian Journalist, they’re one of my favourite bands, they’ve got a groove man. That’s one thing that we always try to bring in our music, a feeling that comes from the guts and you lose that in a lot of metal because now days people record everything to a computer and chop it up in Protools and move all the drums around so it sounds like a drum machine, but we don’t do that. We like music that moves the body and gets inside the spirit in a very magical way and ACDC definitely do that.”

    I can get that, yeah. If you couldn’t play music what would you do?

    Aaron: “Oh yeah, good question, I’d be a carpenter, I guess. I like building stuff and in addition to music one of my big passions is natural building, building out of clay, earth, straw, raw timbers. That’s what I do. There’s a lot of similarities between carpentry and music because you’re always building and always trying to create these structures, whether it is out of wood and earth or out of sound, they have to have a strong foundation and they have to have beauty woven through it and I think that’s what I’d do. “

    Wicked, that leads perfectly to my next question which is do you have any other hobbies or interests, other than that?

    Aaron: “Not a hobby necessarily, but just living life here in this forest, I love to go into the woods and look at plants and identify plants and learn more about them, how to use them. I really like to spend time outdoors hiking and doing that kind of thing. Maybe another guilty pleasure, if you want to call it that is dancing, I’m a huge dancer. I’m down to go down to a rave and get into it as long as the music is good and the energy is good, I like that kind of thing. I think there is a connection between Extreme Underground Electronic music and Black Metal, it is all about cracking open the head and getting your mind and your soul into a different space.”

    That’s really interesting! Alas, time is drawing near so with my final question I have to ask, since you’ve been to Australia before, have you cuddled a koala or do you want to? It’s the thing to do when you visit, they are endangered and cute but have horrible stories told about them calling them drop bears.

    Aaron: “No, I haven’t, but I’d like to, I’m down to cuddle any of the bizarre koala bears and strange ass marsupials you have down there! I’d feed it Eucalyptus if I got the chance to hold one!”

    It was a pleasure to talk to Aaron and I highly recommend checking out Wolves in The Throne Room when they come to a city near you. If you haven’t heard them check them out their latest album from 2017, Thrice Woven. My favourite albums are Celestial Lineage (2011) and Black Cascade (2009) so give them a listen if you haven’t already. Get ready Perth, and other Australian capitals except Adelaide and Hobart (sorry guys!) for some amazing Black Metal coming our way.



    WOLVES IN THE THRONE ROOM performing at:

    Nov 28 – Perth, Badlands
    Nov 29 – Brisbane, Crowbar
    Nov 30 – Melbourne, The Corner
    Dec 1 – Sydney, Crowbar
    Dec 2 – Canberra, The Basement


    PERTH –


  • SCARLETH Unleash Music Video For New Single "Feel The Heat"
    Ukrainian modern melodic metal band, Scarleth, has unleashed the new single and video for "Feel The Heat" from their third album, Vortex, out November 15 via Rockshots Records. Watch the clip below. Playing music that combines modern heaviness and diverse melodicism, Scarleth has taken part in a variety of festivals...
  • Droning with Osaka Punch

    Newest single out now

    The post Droning with Osaka Punch appeared first on Loud.

  • Northlane at 170 Russell

    170 Russell, Melbourne VIC
    October 17, 2019

    The post Northlane at 170 Russell appeared first on Loud.

  • Tokyo Post-Punk
  • Taylor Langley - Voodoo Child (Jimi Hendrix)

Classical Music Blogs

19 October 2019

Classical Music Blogs
  • This is a Bucher reed-making machine. One of only a couple of hundred and ridiculously expensive.
    19 October 2019
  • He discovered something new in himself in the music: Christophe Rousset on exploring 19th century French opera, and continuing his Lully cycle
    19 October 2019
    Christophe Rousset
    The recent recording of Gounod's Faust on Palazzetto Bru Zane represents something of a new departure for Christophe Rousset and Les Talens Lyriques, who are known for their performances of French Baroque repertoire. 

    Whilst Christophe was in London recently, I was lucky enough to be able to meet up with him again to chat about Gounod and exploration of the 19th century repertoire, but also, of course, the French Baroque as Christophe's cycle of recordings of Lully's opera reaches Isis, as well his explorations of rarities such as operas by Salieri and Legrenzi. 

    The idea of a recording of Gounod's Faust and exploring the earlier surviving versions of the opera (it had quite a complex genesis, see my review of Christophe's recent recording) came from Palazzetto Bru Zane. But Christophe and Les Talens Lyrique had already explored some of the 19th century repertoire thanks their Tragediennes series with Veronique Gens, discs which explore music written for great women French singers from Rameau to Lully to Gluck to Berlioz to Meyerbeer to Saint-Saens.

    So Christophe had already experimented with 19th century aesthetics, but when he was asked about the Faust project, there was the question 'should he do it?'. He opened the score and found his own way through a work he regards as a masterpiece, he did have something to say. So he accepted the challenge, and admits that he enjoyed the experience a lot.

    He feels that this enjoyment is apparent in the recording, which is full of enthusiasm and not at all routine. Because they performed so much new music, it was effectively a re-discovery of a new piece. The recent researches on Gounod's opera had found a lot of earlier material, which whilst not essential to the work was still new music by Gounod. Also, they reverted to the use of spoken dialogue rather than the recitative which was introduced after the works first performances. All this meant that the recording presents a different view of the piece, including the comic aspects which are absent from the grand opera version which is familiar,  giving a very different flavour to the work.

    This idea of re-creation is something that he likes to do with Les Talens Lyrique, to explore something which is new for the ensemble and the audience. And that is true here, the Faust they recorded is not the opera that everyone knows. In fact, Christophe had expected that theirs would be shorter than the well known version, but so much music has been discovered that their recording presents a longer Faust!

    Whilst the recording was based on concert performances which Christophe conducted, I was curious as to whether he would conduct the grand opera version in the theatre. His response was 'absolutely'. He points out that the best moments are the same and the differences between the versions is how these great moments are linked.

    Faust is evidently not the end of Christophe's 19th century journey. Whilst his main focus remains the Baroque (notably Lully, Handel and Rameau), he plans to continue the challenge of exploring 19th century music as the opportunity comes. And in fact, he regards such projects as a way of discovering Romantic music.

    Gounod: Faust - Veronique Gens, Christophe Rousset, Benjamin Bernheim, Andrew Foster Williams, Les Talens Lyriques, Flemish Radio Choir (Photo ©Palazzetto Bru Zane / Amélie Debray)
    He never regarded himself as a Romantic musician, he grew up with the harpsichord and developed a real taste for music of the Baroque. He points out that when the harpsichord disappears from music, then the music changes. But working on Faust and other 19th century repertoire, he discovered something new in himself in the music, and he loves discovering himself.

    Christophe's next 19th century challenge is Donizetti's La Favorite which he will be conducting at Houston Grand Opera in January and February 2020. The work was written in 1840 for the Paris Opera, and is a real French grand opera, needing a huge orchestra and in Houston he has great soloists with Jamie Barton singing the title role, Lawrence Brownlee as Fernand and Jacques Imbrailo as King Alphonse.

    But Christophe's explorations of the French Baroque continue too. His recording of Lully's fifth opera Isis (written in 1677) is due to be released next month. This is his seventh Lully opera recorded with Les Talens Lyriques, and Christophe aims to record all 13 of Lully's operas! Isis was performed in concert last Summer and recorded, and they will be doing further performances of the work in Paris, Versailles and Vienna.

    Lully: Isis - Christophe Rousset & Les Talens Lyriques in Beaune
    Most of Lully's operas were published in the 17th century, so editorially Christophe and his ensemble are not adding anything when the perform the operas. But Christophe finds Lully's music full of imagination, he comments that Lully was always inventing new recipes to surprise his audience. The 'Cold Scene' from Purcell's King Arthur is based on a scene from Lully's Isis, but whereas in Purcell the trembling effect in the strings seems a little (deliberately) freaky, in Lully it is witty. For Christophe, the whole spirit of Isis, even if the general tone is tragic, is amusing. He feels that Lully's music always says things with a smile, even if it not explicitly funny. And, of course, Christophe loves it!

    The image of Lully is still of a boring composer, too formal and too static. But Christophe does not think that is what we should really keep in mind. He points out that if they are not done well even the long recitative passages in Monteverdi's operas can be boring. So when working with singers on Lully he always aims to bring feeling and drama into the music, even though when they start working the singers often find the music boring, but by the performance the aim is that they put fire into it. The music of Handel is important to Christophe too. Les Talens Lyriques recently performed Giulio Cesare (Bucharest, Paris and Ambronay) and Agrippina in concert (in Dortmund, Halle and Bucharest) and will be performing Ariodante in Vienna next month in revival of David McVicar's staging at the Vienna State Opera with Stephanie Houtzeel as Ariodante, Chen Reiss as Ginevra and Max Emanuel Cencic as Polinesso.

    For his next discovery, Christophe is returning to Antonio Salieri. Christophe and Les Talens Lyriques have already recorded Salieri's three French operas (written for Paris), Tarare, Les Horaces and Les Danaides, and now they are turning to his Italian ones (written for Vienna), though in fact Christophe has already recorded Salieri's Antigone 'decades ago' for DECCA. He and Les Talens Lyriques are turning to Armida (premiered in Vienna in 1771). Salieri was very much a disciple of Gluck, and Armida is a reformed opera, which Christophe describes as pre-Romantic, there is no continuo accompanied recitative instead everything is accompanied by the orchestra. It was a huge success at its premiere, and in fact published in the 18th century. Salieri made a number of versions of the opera, and it was translated into German, and performed in Berlin and elsewhere. Christophe and Les Talens Lyriques plan to perform Armida in concert, and do a recording.

    Salieri: Tarare - Christophe Rousset & Les Talens Lyriques at Versailles in 2018
    The last of their trio of Salieri's French operas, Tarare, was recorded in 2018. It was written for the Paris Opera in 1787 \(two years before the Revolution) with a libretto by Pierre Beaumarchais (his only opera libretto). Christophe sees the subject matter as revolutionary, the main theme being death to tyrants. We see the figure of nature creating society, and the way royalty and tyrants impose themselves. And there is an epilogue, something unusual in operas of the period, where two characters return and say, see how foolish humans are. Christophe still finds it an amazing piece, and his engaging enthusiasm is catching and makes me want to go back to the recording.

    Another recent discovery (performed in Cologne in August 2019) is Giovanni Legrenzi's La divisione del mondo which was written for Venice in 1675 and very much in the tradition of late Cavalli operas. Christophe describes Legrenzi as an interesting missing link between late Cavalli and early Handel (Handel's first Italian opera was Agrippina premiered in Venice in 1709). Legrenzi's opera has a lot of recitative, like Monteverdi, but also some lovely arias with orchestra so that Christophe feels that you can see Bel Canto appearing. It is a very funny piece, written for Carnival, and the spirit of Venice is there as it combines comic and tragic. It was fun to do, and Christophe finds Legrenzi a very interesting composer. He is known for his church music, but his operas are interesting too with a very special harmonic language, and very seducing. Alas, they did not record La divisione del mondo. And there are more Legrenzi operas, Christophe describes them as typically Venetian, the tragic ones always have comic elements whilst the comic ones have tragic elements.

    When I ask whether Christophe has a wish list, a list of rare works he would like to do, he smiles and agrees that he does, but will not be sharing it, we must wait till he is able to perform such works to discover them. He has assembled the list over time, when he still had time to do a lot of research. And of course, such works need a lot of researching.

    The harpsichord remains important to Christophe, and he continues his career as a solo harpsichordist having just released a disc of Frescobaldi with another recording of French music already in the box. He doesn't know what will come next, perhaps more Frescobaldi? He released a disc of Bach's Well-tempered clavier in 2018 and he plays a lot of Bach in concerts so he may return to Bach in disc. But his image as a harpsichordist is very much bound up with French music, and he enjoys being an ambassador for it.

    I was wondering whether the French style of much of his repertoire affects the way he plays Bach? He studied the harpsichord under the great Dutch harpsichordist Gustav Leonhardt, and Leonhardt recognised that his way of playing came from the French school even though Leonhardt was known for his Bach performances. So Leonhardt played Bach with something of a French technique, and though Christophe does not play Bach in a French way, his technique is French.

    In 2021/2022 Les Talens Lyriques will be celebrating their 30th birthday. Before then they have their residency at the Wigmore Hall to look forward to, this is now the place in London where they come and perform, though the space limitations mean that they cannot do Lully operas but Christophe points out that there is plenty of other repertoire that they can and do perform.

    When he founded the ensemble in 1991 he did not expect to be exploring Gounod's operas, and in fact did not expect to perform Lully and Rameau operas. He simply thought they would perform the motets and the cantatas, and did not imagine large productions with choruses and dances. That the ensemble grew in unexpected ways is nice.

    Moving from the Baroque to later periods has meant Christophe abandoning the harpsichord for the conductor's baton, and he says that conducting and ensemble of 100 people adds a different dimension. It is quite something, and he likes it. Though the first time he conducted was scary, but he 'got used to it'! He finds the repertoire interesting where a conductor is actually needed, such as Beethoven symphonies and later, whereas in earlier periods the conductor can just set the tempo. But French Baroque opera is tricky, it is a fast moving assemblage of choruses, solos and dance, with frequent changes of metre, making it complex for the conductor too.

    Full details of Christophe Rousset and Les Talens Lyriques' performances from their website.

    Elsewhere on this blog
    • The Outsiders Fight Back: London Song Festival's imaginative commemoration of the 1969 Stonewall riots (★★★★) - concert review
    • Royal Welcome Songs for King Charles II, volume II , the Sixteen on CORO (★★★) - Cd review
    • A Day of the Dead at the Oxford Lieder Festival: Doric String Quartet, Thomas Oliemans, Malcolm Martineau, Prof. Helen Swift - concert review
    • Intimations of mortality: A Young Man's Exhortation to Boyhood's End at Oxford Lieder Festival (★★★) - concert review
    • A work of scholarship and a fine performance: Academy of Ancient Music's new recording of Handel's Brockes Passion (★★★★) - CD review
    • A barren emotional landscape barely disguised by the production’s kitsch fairy-tale opulence: Turandot, Met Live in HD (★★½) - opera review
    • Bringing a rarity alive: Verdi's Un giorno di regno from Chelsea Opera Group (★★★) - opera review
    • Voices in the Wilderness: cellist Raphael Wallfisch on his series of cello concertos by exiled Jewish composers - interview
    • The Song of Love: songs & duets by Vaughan Williams from Kitty Whately, Roderick Williams, William Vann (★★★) - CD review
    • Will put a smile on your face: Vivaldi's L'estro armonico in new versions from Armoniosa  (★★) - CD review
    • 17th century Playlist: from toe-tapping to plangently melancholy, Ed Lyon & Theatre of the Ayre (★★★★) - CD review
    • Magic realism, politics and terrific songs: Weill and Kaiser's Winter's Fairy Tale in an imaginative production from English Touring Opera - opera review
    • Orpheus goes to Hell: Emma Rice's lively new production somewhat misses the point of Offenbach (★★) - opera review
    • Home
  • Cosplaying composers for Halloween?
    19 October 2019

    So I'm planning, along with some other friends, to cosplay classical composers for Halloween. Someone already chose Beethoven. For myself I'm thinking about Mahler (or Bach) but probably no one will recognize me.

    Also any specific clothing items I should get?

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  • I Need Some Recommendations For My Chamber Group
    19 October 2019

    Me and my two other friends want to play in our school's chamber program, but we can't seem to find a piece that we would want to play. We need something for two violins and cello and we were thinking of playing something exciting. The cellist also wants some melody parts. I would really appreciate some suggestions. Thank you.

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  • UK museum director declares Steinway unaesthetic
    19 October 2019

    There has long been a Sunday lunchtime concert series in the magnificent Gallery 3 at the Fitzwilliam Museum in Cambridge.

    Some 20 years ago Christopher Hogwood raised money to purchase a top quality Steinway for use in Gallery 3. This piano is now under threat because the Museum’s director, Luke Syson, has declared the instrument ‘unaesthetic’ and has declined to house it in Gallery 3 or adjacent spaces.

    The music faculty are unhappy as they put forward undergraduate instrumental award holders to perform one concert each term.

    Among performers next term is Rob Burton (sax, 2018 Young Musician woodwind finalist) with Konya Kanneh-Mason (piano). Rob attributes his first love of sax to hearing a player at one of the Fitz Sunday concerts.

  • Proof that Danny Boy is unsinkable
    19 October 2019

    Tamar Melzer tried playing it in the Dead Sea.

    Fact is, you just can’t keep a good Irish tune down.

    Tamar teaches flute at the Givatayim Conservatoire in Israel.

  • "Playing Love" from Morricone's sountrack to "The Legend of 1900"
    19 October 2019
  • Classification of Mozart Sacred Choral Works
    19 October 2019
  • Ernest Tomlinson: Fantasia on Auld Lang Syne for Orchestra (1976)
    19 October 2019
  • Johann Christoph Schmügel (1727 - 1798) Ouverture and Fugue in B-flat Major (Harpsichord)
    19 October 2019

Country Music Blogs

19 October 2019

Country Music Blogs
  • The Best Record Stores In Music City…

    In a city bursting with music, it shouldn’t come as a surprise that Nashville is home to some of the most iconic record stores in America. Music lovers rejoice! Here you’ll find a rundown of some of the best places to get your vinyl fix in Music City.

    Grimey’s New and Preloved Music

    Located in East Nashville, Grimey’s has long been recognized by music lovers as one of (if not) the best record stores, period. After hosting music legends like John Prine and Metallica, Grimey’s is known its live in-store appearances, many of which get released as limited-edition recordings, in addition to its records.

    Phonoluxe Records

    Housing an ever-growing selection of rock, R&B, blues, jazz, country, and folk, Phonoluxe Records is another historic Nashville record store. For die-hard vinyl junkies, Phonoluxe has gained a prolific reputation over the years. The massive brick building on Nolensville Road has appealed to hipsters and non-hipsters alike.

    The Groove

    As an East Nashville fixture since 2008, The Groove is home to an assortment of new and used vinyl, CDs, and cassettes. This music haven is definitely crate diver approved.

    Third Man Records

    Third Man Records is more than just a record store; inside its walls, you’ll find a record store, novelties lounge (featuring the Third Man Record Booth), label offices and distribution center, photo studio, and the world’s only live venue with direct-to-acetate recording capabilities. You have to see it to believe it.

    Which record shop is your favorite? Let us know in the comments section below!

  • DCC: Making the Team Season 14, Ep. 12 Recap: A Show Group Touchdown + Scary Injuries
    A recap of season 14, episode 12 of Dallas Cowboys Cheerleaders: Making the Team, where show group performs for their first stadium audiences, emotions run high and so do injuries. Catch the season finale of DCC: Making the Team Friday, Oct. 25 at 9 PM ET/8 CT on CMT.
  • 20 Years Ago: Keith Urban Releases Debut Solo Album

    On Oct. 19, 1999, Urban's self-titled debut album as a solo artist was released.

  • “Tell It to Me”: The Johnson City Sessions 90th Anniversary

    “Can you sing or play old-time music?”

    This question was asked by Columbia Records in an advertisement in the Johnson City Chronicle on Wednesday October 3, 1928. That advertisement, seeking musicians specializing in regional old-time music, ran in various papers in Johnson City in anticipation of recording sessions spearheaded by visionary producer Frank Walker and now known as the Johnson City Sessions of 1928–29. Though more obscure than the famed Bristol Sessions that took place a year prior, the Johnson City Sessions, only 25 miles down the road, illustrate a more diverse and possibly equally important catalog of music that continues to have a significant impact on folk and roots musicians to this day.

    Original Columbia Records advertisement published in the Johnson City Chronicle on October 3, 1928. Image from Ted Olson and Tony Russell’s The Johnson City Sessions 1928-1929, Bear Family Records: 2013

    Ted Olson, writer and researcher of the Johnson City Sessions Bear Family 4 CD boxset, notes:

    “The Johnson City Sessions were one of several significant location recording sessions conducted by commercial recording companies in Appalachia during the 1920s and 1930s. But the Johnson City recordings were unique. More than those from the other rival sessions of that era, they documented the broad sweep of the Appalachian song and tune repertoire, from the traditional to the contemporary, from the familiar to the obscure, and from the serious to the silly. While some of the recordings made in Johnson City during 1928 and 1929 were in the country music mainstream, other recordings stood out as truly unusual, even avant grade, anticipating future directions for as-yet-unborn music genres such as bluegrass, revivalistic folk, rock ‘n’ roll, and Americana. And looking back at those sessions 90 years later, one can’t help but wonder if country music might have taken a different course had the Great Depression not obliterated the distribution and potential influence of those exuberant, truth-telling Johnson City recordings. People in the 1930s depended upon art – and particularly music – to guide them out of the Depression, and the Johnson City recordings could have helped set a higher standard for relevancy in country music moving forward.”

    Some of the songs recorded during these sessions have become standards in old-time repertoire including “Tell It to Me,” a riotous tune from the Grant Brothers who a year prior recorded in Bristol as the Tenneva Ramblers, or “The Coo Coo Bird” from the great Clarence Ashley, an artist whose music career was rejuvenated during the folk revival. “Old Lady and the Devil,” by Bill and Belle Reed, later found a home on Harry Smith’s Anthology of American Folk Music, a collection that would influence countless folk musicians including a young Bob Dylan.

    The Grant Brothers, a.k.a. the Tenneva Ramblers, recorded at both the 1927 Bristol Sessions and the Johnson City Sessions. They are pictured here with Jimmie Rodgers. PF-20001/1745_01 from the John Edwards Memorial Foundation Records (20001) in the Southern Folklife Collection at Wilson Special Collections Library, University Libraries, University of North Carolina at Chapel Hill

    This impact is being celebrated in downtown Johnson City on Saturday, October 19, during an all-day event to mark the 90th anniversary of these sessions. The event will feature leading folk and roots artists, including Dom Flemons, Willie Watson, Amythyst Kiah, Bill and the Belles, Nora Brown, The Brother Boys, and many more. Roy Andrade, Associate Professor and head of the Old-Time Program at East Tennessee State University, notes that “the 90th anniversary of the Johnson City Sessions is exciting for those of us involved in old-time music in this town – the music is still very much alive here and the celebration will help us remember that the story is still being written.” And featured artist Amythyst Kiah says that the celebration is timely in that “the Johnson City Sessions is a celebration of the roots of American music and the preservation of a musical legacy that has captured the imagination of people all over the world.”

    Amythyst Kiah is one of the many talented artists who will be featured at the 90th Anniversary celebration of the Johnson City Sessions. Willie Watson will be headlining Saturday’s festival. © Birthplace of Country Music; photographer: Billie Wheeler

    We invite you to be a part of this legacy by joining us at the Johnson City Sessions anniversary event on October 19 from 11:00am to 10:00pm – the event is free and open to the public! Radio Bristol will broadcast live from the Main Stage throughout the day, and you can also tune in here. Other activities include a square dance, children’s stage, vendors, and a record fair. Also of note, in celebration of the 90th anniversary, Bear Family Records has released a CD with 26 tracks from the sessions: Tell It To Me: Revisiting the Johnson City Sessions, 1928–1929.

    The post “Tell It to Me”: The Johnson City Sessions 90th Anniversary appeared first on Birthplace of Country Music.

  • The Queen of Marina Del Ray
  • 10,000 Hours - Guitar Lesson
  • Blake Shelton's Jesus Got A Tight Grip

    Sounds like Blake's back with his bad boy feel on this new song, "Jesus Got A Tight Grip".  

    Blake's  busy turning the big red chair, releasing his new song, and back on the road in November with The Bellamy Brothers, John Anderson, Trace Adkins, & very special guest Lauren Alaina.  Plus, an early Christmas present, his album Fully Loaded, God's Country is out December 13th.

  • Results: Voting to Create the 10/20-10/26/19 Fan Voted Chart
    DISCLAIMER: These are only the results from the voting; this is NOT THE CHART.  I only share these with everyone so they can see how the voting went and how many points each song is earning.  The chart will be revealed Saturday night in the US (Sunday morning for my Australian voters). PLEASE READ: The […]
  • New Single: Philip Rambow “American Buffalo” Out Now
    Philip Rambow has today released his song American Buffalo. A great uplifting track that has an infectious melody. American Buffalo has a strong traditional country sound beautifully blended with a bit of folk rock, rock n roll and roots rock. The kind of music that makes me think […]
  • Charles Wesley Godwin - Seneca Creek

Indie Music Blogs

19 October 2019

Indie Music Blogs
  • thewrstkind - obsession [rnb chill]
    19 October 2019
  • 8 Best Songs of the Week: Jack Peñate, Foals, Vagabon, Wolf Parade, and More
    19 October 2019
    Welcome to another Songs of the Week. It was a pretty light week, in terms of new songs this week. Hence we only have a Top 8.
  • Weekly Indie Folk Update: Oct 18, 2019 (Canyon City, Ben Reneer, Satellite Station, Steve Benjamins)
    19 October 2019
  • Perfume Genius Shares New Track “Pop Song”
    19 October 2019
    Perfume Genius (aka Mike Hadreas) released a new album, No Shape, back in May 2017 via Matador, but his latest project is doing the music for the immersive dance project The Sun Still Burns Here and now he has shared another track from it, "Pop Song."
  • The Vegan Leather play the heavy riffs on 'Heavy Handed'
    19 October 2019

    Words: Sam Geary 

    Paisley art-poppers The Vegan Leather are building up to the release of their debut album, 'Poor Girls / Broken Boys', out October 25, with single cut drop, ‘Heavy Handed’.

    Bordered by a raft of heavy riffs, Gianluca Bernacchi and Marie Collins lend dual vocals to the exhilarating mix.

    “The song is about being part of a cultural scene or environment that you’re not comfortable with, not feeling ‘cool’ enough or that your art isn’t ‘good’ enough',” says Collins. “It’s that pressure to feed the cultural zeitgeist but standing in defiance and writing what you actually want to write about and being able to be who you want to be.”

    The Vegan Leather play an album launch show on November 2 at King Tut's Wah Wah Hut in Glasgow.

    ©2012 – All rights reserved

    Little Indie Blogs
  • Rising Artist, C Z A R I N A, Releases Epic Music Video For Song “BLAZE” Featuring A Plethora of Fellow SynthWave Maestros
    19 October 2019

    Friday, October 18th welcomes the latest music film release from Brooklyn-based RetroFuture Synth, Cyberpunk and Electronic Rock Artist, Musician, Producer and Filmmaker, C Z A R I N A.

    “BLAZE: Dances of the Yokai [The Tale of the Assassin and The Samurai]”
    Music by C Z A R I N A, Directed by Deliris Films and The Kitsunés, Director of Photography: Paul Carr,
    Story Written by The Kitsunés,
    Produced by The Kitsunés and Missy B. Papageorge, Color Grading and Post-Production: COMPANY 3
    “Blaze” Written, Produced and Performed by C Z A R I N A, Mastered by Mercury Mastering, Los Angeles Part of “Painted Holograms” LP  Published by CZARINA OFFICIAL Copyright 2019 ALL RIGHTS RESERVED

    C Z A R I N A transports us somewhere between the physical and spiritual realms in this latest action-packed chanbara classic that borrows influences from Japanese mythology and the legends of the Fox Spirit with Nine Tails. “BLAZE” features cameo appearances by fellow synthwave artists and producers, (Faith In The Glitch, Bunny X, Turbo Goth, S.P.H.E.R.E.S.), and real-life Budo and Martial Arts expert, DeadlyKawaii. The music film follows a mysterious young assassin slashing her way through the grounds of mighty Yokai warriors to find her ultimate opponent. It wields memorable characters, inspired by beloved retro video games and samurai epics, to create a unique blend of Kabuki Noir and Bushido Cyperpunk that balances ferocity and heart. The music film is narrated over bombastic song and dance by a Kabuki Aragoto (also played by C Z A R I N A) to her title track “BLAZE,” from her debut record PAINTED HOLOGRAMS.

    Follow C Z A R I N A on social media for info on latest releases and upcoming shows.


    IG: @czarinaofficial Twitter: @CZARINAnyc

    Written by Wes Spaulding

  • Premiere: Danny Sky – “Ever Wanted” (ft. Mat Randol)
    19 October 2019

    Released today, “Ever Wanted” is the latest from Danny Sky, featured earlier this year with the track “Lotta Love.” Joined here by Mat Randol, “Ever Wanted” navigates through initial guitar-based serenity, complemented by punchy “this is what you want now,” lyrics. This hook is revisited frequently, dazzling especially during 01:30, when the vocals amp up in fervency. The vocals rise in charisma as the guitar-laden beat emits a hypnotic feel. The blues-tinged backing and precisely melodic vocal deliveries combine for another memorable effort from Danny Sky.

    The post Premiere: Danny Sky – “Ever Wanted” (ft. Mat Randol) appeared first on .

  • Prince - Listen to His Previously Unreleased Original Demo of “Feel For You”
    18 October 2019
    Prince's self-titled second album turns 40 tomorrow, it was released on October 19, 1979. In honor of that anniversary, the Prince Estate and Warner Records have shared his previously unreleased demo for the album's "Feel For You," recorded earlier that year. 
  • Foals - Stream the New Album
    18 October 2019
    Foals have released a new album, Everything Not Saved Will Be Lost - Part 2 today via Warner Records. It's the follow-up to Everything Not Saved Will Be Lost - Part 1, which came out in March. Now that the album is out, you can stream the whole thing below. Also below are the band's upcoming tour dates.
  • MP3: Trizz feat. Cal-E-Clipz & Jaeo Draftpick - Hell's Kitchen
    18 October 2019
    Prolific Inland Empire/LA-based MC and underground legend Trizz is back on Tommy Boy with his latest single, “Hell’s Kitchen”, featuring Cal-E-Clipz and fellow labelmate Jaeo Draftpick. Since first being discovered by Sacramento veteran Brotha Lynch Hung, Trizz has gone on to develop a remarkable independent catalog, racking up tens of millions of streams and building […]


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