We’ve all lost a lot of heroes this year. Groundbreaking individuals who shaped and soundtracked all our lives have now lost theirs and we have all had our hearts broken over and over again.
But today has hit me harder than anything. Then again I guess I can’t truly say; it hasn’t really hit me yet. I could never have prepared myself for the news I got this morning.
So how did you guys decide on your sound? There’s some Pantera vibes, some Killswitch Engage, maybe some more progressive stuff too..
Rudy [Guitar]: I guess what we’re trying to aim for- well aim probably isn’t the right word- we somehow end up writing songs with aggressive music and still keep the vocal lines melodic and clean; almost like a hard rock vibe. And it’s been difficult for us to put ourselves into a pocket because there aren’t many bands that sound like us. Usually when you play aggressive music the vocals and the melody tend to follow the aggressiveness, but in our case we want to give it a different twist, where there’s a combination of hard rock and modern metal.
Read more …
Yeasayer have had an interesting sonic trajectory since forming ten years ago. From the folk and world influences of 2007’s All Hour Cymbals to the bizarre but often catchy approximations of pop on Odd Blood to the brooding and electronic Fragrant World, the New York natives have refused to sit still and take root. However, as moving targets their albums haven’t always lined up with expectations, with mixed reviews following their early success. But with their fourth album, the worryingly titled Amen & Goodbye, Yeasayer have found the common denominator that runs throughout their sound and brought it to the forefront. Read more …
This weekend the newly-formed Melbourne Shakespeare Company are putting on their first production of A Midsummer Night’s Dream at the Testing Grounds in Southbank.
The show is going to feature live music, local and international artists and a contemporary reimagining of one of the Bard’s most popular plays, setting it against the backdrop of the Melbourne CBD.
Recently reunited post-hardcore band At the Drive-In have announced that guitarist and vocalist Jim Ward is no longer a member, days before embarking on a world tour.
The band made the announcement via Facebook over the weekend, stating that they “..wish him [Ward] well and are excited to see you soon.” The announcement has left many fans disappointed, with several believing Ward was never involved in the reunion in the first place.
San Francisco-based black metal band Deafheaven have announced that they will be touring Australia in June.
The announcement follows the groups’s addition to the lineup of the VIVID LIVE festival, which will take place throughout Sydney from May 27 to June 13. The lineup also includes acts such as New Order, Björk, Antony & The Johnsons and Oneohtrix Point Never.
This will be Deafheaven’s first Australia tour since 2014, and the first since the release of their third album New Burmuda. The band incorporates elements of black metal and shoegaze into their dense sound, making for a visceral and transcendent listening experience – along with what must surely be one of the weirdest fan bases in metal.
Tickets for shows outside Sydney are now on sale through Handsome Tours. Check out the tour dates below:
Deafheaven 2016 Australian Tour
Thursday, 2nd June
Sydney Opera House, Sydney
Tickets: VIVID LIVE
Friday, 3rd June
Corner Hotel, Melbourne
Tickets: Handsome Tours
Saturday, 4th June
Tickets: Handsome Tours
Monday, 6th June
Rosemount Hotel, Perth
Tickets: Handsome Tours
It’s only natural that over the course of the year some albums fly under the RadMon radar for one reason or another. Between university and work commitments there is only so much time to dedicate to full-fledged write-ups. But those albums we miss are no less deserving of a review, and to that end here are three releases we never got to. Read more …
Legendary producer, arranger and “fifth Beatle” Sir George Martin has passed away in his home at the age of 90.
Ex-Beatles drummer Ringo Starr broke the news via Twitter, expressing his condolences.
God bless George Martin peace and love to Judy and his family love Ringo and Barbara George will be missed xxx
— #RingoStarr (@ringostarrmusic) March 9, 2016
Sir George was considered one of the greatest record producers of all time; outside of his work with the Fab Four he produced and arranged for musicians as diverse as Cheap Trick, Jeff Beck, Cilla Black, Elton John and Ultravox.
Having worked with the Beatles from 1962 through the rest of the 60s he made innumerable contributions to their studio work, including string arrangements for “Eleanor Rigby” and “Yesterday” to the orchestral climax to “A Day in the Life” to the sped-up piano solo from “In My Life”. In 2006 he, aided by his son Miles, remixed 80 minutes for the stage performance and album Love in collaboration with Cirque du Soleil.
Sir George is survived by his wife Judy Lockhart and their four children.
It’s strange to think of an 80 minute, 16-track album as cohesive. But as dense and sprawling as it was, Kendrick Lamar’s To Pimp a Butterfly is a powerful artistic and political statement that flows organically from the Boris Gardner sample that opens it to the interview with Tupac from beyond the grave that closes it.
So it’s equally strange to think that it didn’t emerge fully formed, or even that Kendrick had anything left to release, and yet here we are less than a year later with untitled unmastered, 35 minutes of unreleased music from the studio sessions that, for one reason or another, were kept off the album; and although they lack the reverence or consistency of Pimp, they are just as passionate, kaleidoscopic and impressive.
Beyond deadlines and sample clearances, it’s clear why most of these songs didn’t make the album. Pimp undoubtedly went to some angry and tragic places, but even at its bleakest it shone a light in dark corners, while a lot of untitled sounds like it lurks in those corners. This is probably in part due to their lack of polish, but songs like “untitled 02” and “untitled 07 ” – the latter of which was, unbelievably, co-produced by Swizz Beatz and Alicia Keys’ 5-year-old son Egypt – have a menace to them that would have sounded out of place.
This isn’t to say that these songs are lesser than their album counterparts; the production, Kendrick’s flow and the variety of the musical and lyrical ideas on display here could go toe-to-toe with anything from Pimp and ”untitled 06″, with its Bossa Nova rhythm, Ali Shaheed Muhammad production and Cee-Lo feature, could easily be a single.
As a matter of fact, in one way untitled is a little more satisfying than Pimp because it lets the listener in on what went into making it. On Pimp Kendrick gave so much of himself, but everything was so tight and considered that it’s practically untouchable. On untitled you can hear him working out new ideas and letting his creativity go on wild tangents, whether through the demo-like feel or the recordings of him literally working through a song. “untitled 02” ends with Kendrick getting ready to do a take and “untitled 07” ends with a lo-fi recording of him jamming on “untitled 04” with his producer Taz and what sounds like Thundercat on bass. It’s weird but gratifying to pull the curtain back a little and hear him mess around and throw ideas at the wall, and it gives untitled an intimacy that Pimp never really betrays.
Top Dawg Entertainment co-president Terrance “Punch” Henderson, who also guests on “untitled 05”, recently talked about untitled being partly inspired by Prince’s pseudo-unreleased Black Album – he and Kendrick allegedly met up during recording sessions for Pimp – and the album does have similar qualities to a Prince bootleg. The songs showcase an artist so on top of his game that he can throw out an album’s worth of songs that didn’t belong on a more “polished” project but nonetheless stand proud on their own merits. The songs also seem familiar but strange enough to hint at some kind of alternate-universe version of the album whose sessions spawned them, giving fans the same indescribable feeling Prince fans get from listening to early configurations of Purple Rain or entirely abandoned albums like Dream Factory.
But beyond stylistic similarities, there’s an ideological underpinning to the music Kendrick has been making recently that also owes a lot to His Purple Badness. Since his beginnings in the 70’s Prince has made a career out of refusing to be labeled and following the beat of his own drum, for 5 years literally living with no name. Meanwhile, with the sheer breadth of styles and ideas he’s brought to the table in what we’ve heard from him over the past year it looks like Kendrick is also resolved not to live in anyone’s shadow – not even his own – but to do anything and everything he wants to do. It turns out that untitled unmastered applies just as much to him as it does his music.
A new album by Compton rapper Kendrick Lamar has emerged unannounced on Spotify this week. The leak follows an announcement by Top Dawg Entertainment head Anthony Tiffith that the label would drop a new album this week.
The album, entitled untitled unmastered, is not yet available to stream, but the tracklisting as it appears on Spotify is as follows:
01 “untitled 01 08.19.2014″
02 “untitled 02 06.23.2014″
03 “untitled 03 05.28.2013″
04 “untitled 04 08.14.2014″
05 “untitled 05 09.21.2014″
06 “untitled 06 06.30.2014″
07 “untitled 07 2014 – 2016″
08 “untitled 08 09.06.2014″
The album is presumed to be a collection of Lamar’s “Untitled” series, a series of previously unreleased songs that the MC has been performing live on tour and in several televised appearances. The latest unveiling was at the 2016 Grammys, where K-Dot performed “Untitled 3” as a coda to his single “Alright”.
Lamar won five Grammys this year, including Best Rap Album for 2015’s landmark To Pimp a Butterfly and Best Rap Song for “Alright”.
Indiana MC Freddie Gibbs has released his own version of Kanye West‘s recently dropped “No More Parties in L.A.”.
The original track, a collaboration between West and L.A. producer Madlib and featuring a verse from Kendrick Lamar, is set to be released on Yeezy’s new album Waves, which will be launched worldwide on February 11 at Madison Square Garden in New York. The event is set to be broadcast at select cinemas in Melbourne and Sydney.
Gangsta Gibbs’ version, “Cocaine Parties in L.A.”, marks the first time since his collab album with the Loop Digga, 2014 standout Piñata, that Gibbs has rapped over a Madlib instrumental. His latest album, Shadow of a Doubt, dropped late last year.