Warning: mysql_get_server_info(): Access denied for user 'indiamee'@'localhost' (using password: NO) in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872

Warning: mysql_get_server_info(): A link to the server could not be established in /home/indiamee/public_html/e-music/wp-content/plugins/gigs-calendar/gigs-calendar.php on line 872
Indian E-music – The right mix of Indian Vibes… » indie


Good vibrations: how Bandcamp became the heroes of streaming

Delivered... Chal Ravens | Scene | Thu 25 Jun 2020 9:00 am

They waive their fees, raise cash for Juneteenth and champion everything from vaporwave to eco-grime. Founder Ethan Diamond explains how he did it

When Ethan Diamond founded Bandcamp in 2008, he imagined it an alternative to MySpace: an easy-to-use website where bands could interact with fans and sell music. Bandcamp would take care of the fiddly stuff – transcoding music into different formats, payments, analytics – and take a 15% cut of every sale. Five thousand miles away from Oakland, California, another startup millionaire was launching his own music service in Stockholm, one that would give listeners access to everything ever recorded. Spotify would be “better than piracy”, thought its 23-year-old creator, Daniel Ek.

In the decade afterwards, the music industry remade itself in Spotify’s image. Streaming services – including YouTube, Apple Music, Deezer and Tidal – signalled that the era of ownership was over. Who would want dusty vinyl or external hard drives if they could have all the music they wanted on their phone or laptop for a low subscription price? The result of this shift, as musicians from Taylor Swift to Thom Yorke to Joanna Newsom have complained, has been paltry payouts for artists and a consolidation of power among tech companies. Spotify has rarely turned a net profit, but it has 130 million paid subscribers and managed to scrape together $100m for a recent deal to host podcaster Joe Rogan exclusively.

A lot of independent labels waived their fees as well. Some gave to food banks and other organisations. Those labels aren't big corporations … that was amazing to see

People feel like their money is going somewhere, and not getting lost in this big black box of royalty nightmares

It can’t be that music is a commodity, or content to use to sell advertising. Artists have to come first

Continue reading...

Good vibrations: how Bandcamp became the heroes of streaming

Delivered... Chal Ravens | Scene | Thu 25 Jun 2020 9:00 am

They waive their fees, raise cash for Juneteenth and champion everything from vaporwave to eco-grime. Founder Ethan Diamond explains how he did it

When Ethan Diamond founded Bandcamp in 2008, he imagined it an alternative to MySpace: an easy-to-use website where bands could interact with fans and sell music. Bandcamp would take care of the fiddly stuff – transcoding music into different formats, payments, analytics – and take a 15% cut of every sale. Five thousand miles away from Oakland, California, another startup millionaire was launching his own music service in Stockholm, one that would give listeners access to everything ever recorded. Spotify would be “better than piracy”, thought its 23-year-old creator, Daniel Ek.

In the decade afterwards, the music industry remade itself in Spotify’s image. Streaming services – including YouTube, Apple Music, Deezer and Tidal – signalled that the era of ownership was over. Who would want dusty vinyl or external hard drives if they could have all the music they wanted on their phone or laptop for a low subscription price? The result of this shift, as musicians from Taylor Swift to Thom Yorke to Joanna Newsom have complained, has been paltry payouts for artists and a consolidation of power among tech companies. Spotify has rarely turned a net profit, but it has 130 million paid subscribers and managed to scrape together $100m for a recent deal to host podcaster Joe Rogan exclusively.

A lot of independent labels waived their fees as well. Some gave to food banks and other organisations. Those labels aren't big corporations … that was amazing to see

People feel like their money is going somewhere, and not getting lost in this big black box of royalty nightmares

It can’t be that music is a commodity, or content to use to sell advertising. Artists have to come first

Continue reading...

Lockdown playlists for every mood, part three: chosen by Bat for Lashes, Neil Tennant, Jason Williamson and Mike Skinner

Delivered... Jude Rogers | Scene | Sun 24 May 2020 1:00 pm

Music stars pick soundtracks to get you through the next phase - for moments of melancholy, optimism, escapism and contemplation

At her home of three years in Los Angeles, Natasha Khan and her boyfriend are having a particularly unusual lockdown, because she is six-and-half-months pregnant. “Going through all this on our own is a bit sad,” she says. “But weirdly, it’s a bit of nesting time, anyway. It’s been good to bed down.” She’s also been loving the “incredible colours” of spring blooming all around: the jasmine, tropical plants and orange poppies on the mountains.

Continue reading...

Lockdown playlists for every mood, part two: chosen by Norah Jones, Joe Talbot and Flohio

Delivered... Jude Rogers | Scene | Sun 24 May 2020 11:00 am

Music stars pick soundtracks to get you through the next phase - for when you’re feeling peaceful, spiritual - or full of energy

In lockdown in New York, Norah Jones and her husband, Pete, have started a new musical tradition: playing Christmas songs every Sunday. Their children – a six-year-old and a four-year-old whose names Jones has always kept anonymous – aren’t impressed. “We’re basically doing it to cheer up the grownups in the house. The kids also don’t like the fact they don’t get any presents! ”

Continue reading...

Lockdown playlists for every mood, part one: chosen by Jarvis Cocker, Haim and Lianne La Havas

Delivered... Jude Rogers | Scene | Sun 24 May 2020 8:00 am

Music stars pick soundtracks to get you through the next phase, for when you’re feeling angry, in need of a boost - or ready for a dance

Cocker and his partner, Kim, have been keeping their spirits up during lockdown by doing domestic discos on Instagram Live. “You’ve got to go for the uplifting music, haven’t you?”, Cocker says from his home outside Sheffield. “The world’s on pause, after all. It’s time to remind yourself you’re lucky to be here.”

Continue reading...

Pairing mode: music to listen to right now – a new series

Delivered... David Abravanel | Labels,Scene | Thu 9 Apr 2020 12:54 am

Ed.: Pairing mode is a new series focused on music to which we feel connection – mostly new, some back catalogs, all stuff we’re listening to. And maybe that’s the most essential way to approach music, finding what excites us. Resident music editor David Abravanel launches his new column.

Interested in getting covered? Promos can be sent to david[at]dhla[dot]me, or hit up David on twitter at @dabravanel

Quiet no more: cLOUDDEAD reissues

About a decade before the likes of Clams Casino, A$AP Rocky, and Lil B made Cloud Rap into a genre with major-label appeal, Oakland’s cLOUDDEAD were forging an experimental hip-hop path that was so cloudy it literally featured “cloud” in the name and clouds on the cover of a self-titled compilation of early EPs.

Clouds in the sky

Description automatically generated

cLOUDDEAD – none more cloudy

Consisting of Why?, DoseOne, and Odd Nosdam, all of whom would later go on to solo success, cLOUDDEAD was a seminal moment for the late-90s/early-00s “undie” hip-hop sound. A series of EP releases featured side-long tracks that collaged together stream-of-consciousness raps, lo-fi drone beats, and the occasional bizarre skit. Predating Burial’s track collages and the lo-fi/chill beats explosion, this was noncommercial music for the time, but sounds like the kind of thing that could easily have taken off towards wider appeal in the SoundCloud/Spotify/Bandcamp era.

cLOUDDEAD – “The Sound of a Handshake”

And there’s a lot to listen to from cLOUDDEAD, on top of everything. With a self-titled compilation of early EPs (2000), the album, Ten (2003), a couple Peel sessions and an EP which featured career highlight “The Sound Of A Handshake”, it’s hard to know exactly where to start. For beginners, Ten is a pretty consistent listen – and its single, “Dead Dogs Two”, featured a rare Boards of Canada remix (Odd Nosdam later returned the favor, remixing “Dayvan Cowboy” in 2006).

cLOUDDEAD – “Dead Dogs Two (Boards of Canada Remix)”

The new remastering from Daddy Kev brings things to a better general level while respecting the extremely lo-fi origins of some of this material. Dig in and surf some clouds.

The Sound of metal

For decades, Electric Indigo aka Susanne Kirchmayr has explored the experimental nooks and crannies of techno and its adjacent microgenres. Following 2018’s 5 1 1 5 9 3, a granular-heavy album on Robert Henke’s Imbalance Computer Music, Kirchmayr moves to another impressive imprint, Editions Mego, for 2020’s Ferrum. Inspired by the sounds of metal (“ferrum” is the chemical name for iron), Ferrum sounds appropriately clangy, exploring digital synthesis and the metallic tones is enables.

While the album’s first two 10+ minute pieces focus more on evolving and immersing sounds (this is a headphone album par excellence), Kirchmayr’s affinity for and roots in techno come through on pounding numbers like “Ferrum 5” and “Ferrum 7”. 

Ed. I fell in love with this material when I first heard her live set associated with the releaseI think that may even have been the last time I was out in Berlin before the lockdowns, at about blank. Anyway, point of this story – this work is equally engaging live. If you’re thinking of whom to book in 2021…

A welcome return from Windy and Carl

Isolation lends itself well to drone music, and Detroit’s Windy Weber and Carl Hultgren are two of the best ever to do it. Eight years after their last album, new LP Allegiance and Conviction on Kranky is another winner full of the duo’s trademark heavenly guitar, bass, and organ soundscapes. Windy Weber’s singing, previously used on other albums as a sparing treat, is a more frequent feature this time around – and adds an extra emotional punch to the sonic tapestry. 

If we’re going to continue the navel-gazing narrative around “ambient” as a buzz term, we can pause and show some respect for truly classic artists who have advanced ambient music, and continue to provide engulfing and beautiful post-rock experiences with deceptively simple guitar and bass lines.

Iheartnoise hearts space rock

Having followed the label Iheartnoise for a while, I’m hard-pressed to pinpoint their specialty, other than perhaps “all that is outside the norm”. There’s label stalwart Petridisch’s plunderphonic collages (including a forthcoming MiniDisc exclusive release – take that, cassette fetish culture), and in another corner there’s the slow psychedelia of Skyjelly and Solilians, two acts whose split release forms Iheartnoise’s first-ever vinyl release.

Skyjelly’s side reminds me of back when Animal Collective was a bit more disjointed and noisy, while Solilians self-described “tireless Jewish space rock” sounds somewhere between a bootleg of Seefeel on “Gowron Breaths” and drone rockers Loop on the live “Planet”.

Until next time, you can tell David what you think of his opinions on Twitter.

The post Pairing mode: music to listen to right now – a new series appeared first on CDM Create Digital Music.

HMLTD: West of Eden review – riotous rock and grand guignol glam

Delivered... Michael Hann | Scene | Fri 7 Feb 2020 11:30 am

(Lucky Number)
The London band throw together glam, goth, electro, Kurt Weill … and have even added conventional pop to the mix

It seemed as though HMLTD’s moment had come and gone. A couple of years ago, their riotous gigs were the most fun you could have while paying too much for warm cans of lager, but a deal with Sony seemed a stretch for a band who, no matter how great they were live, didn’t seem to be rolling in radio-friendly hit singles. They were duly dropped and, as their contemporaries from the scene based around the Windmill in south London overtook them – Shame, Goat Girl, Black Midi – HMLTD seemed condemned to having been a brief but startling firework.

Continue reading...

Guardian albums and tracks of 2019: how our writers voted

Delivered... Electronic music | The Guardian | Scene | Fri 20 Dec 2019 7:00 am

We’ve announced our favourite releases of the year – now the Guardian’s music critics reveal their top picks of 2019

Albums
Nick Cave and the Bad Seeds – Ghosteen
Michael Kiwanuka – Kiwanuka
Sturgill Simpson – Sound and Fury
Billie Eilish – When We All Fall Asleep, Where Do We Go?
Slowthai – Nothing Great About Britain
Sharon Van Etten – Remind Me Tomorrow
Fontaines DC – Dogrel
Sault – 5
Tyler, the Creator – Igor
Dave – Psychodrama
Weyes Blood – Titanic Rising
Nilüfer Yanya – Miss Universe
Chemical Brothers – No Geography
Brittany Howard – Jaime
Little Simz – Grey Area
Jamila Woods – Legacy! Legacy!
International Teachers of Pop – International Teachers of Pop
Angel Olsen – All Mirrors
Anderson .Paak – Ventura
These New Puritans – Inside the Rose

Continue reading...

Sheffield’s post-punk explosion: synths, steel and skinheads

Delivered... Daniel Dylan Wray | Scene | Thu 12 Dec 2019 6:00 pm

In the late 70s, the city’s bands set out to create the sound of the future – while trying to avoid getting beaten up. Jarvis Cocker and other leading lights recall a revolutionary scene

Sheffield in 1977 had a slight feeling of being the city of the future,” recalls Jarvis Cocker. “I didn’t realise that it was all going to go to shit. It was Sheffield before the fall.”

That pre-fall year is the starting point for a new box set: Dreams to Fill the Vacuum: The Sound of Sheffield 1977-1988. Familiar names appear – Pulp, Heaven 17, the Human League, ABC – but they are joined by a wealth of other acts, such as I’m So Hollow, Stunt Kites, They Must Be Russians and Surface Mutants, spanning punk, post-punk, indie and electronic with that droll outsider energy particular to South Yorkshire.

Continue reading...

The 50 greatest Christmas songs – ranked!

Delivered... Michael Hann | Scene | Thu 5 Dec 2019 1:00 pm

From John Fahey, the Sonics and the Waitresses to Slade, Wizzard and Mariah Carey, we count down the best festive numbers

Continue reading...

The 50 best albums of 2019: 41-50

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Tue 3 Dec 2019 7:00 am

We begin our pick of the year’s finest albums with gritty electropop, oddball songwriting, tender jazz, louche punk funk. Check in every weekday as we count down to No 1

Continue reading...

Lizzo, Billie Eilish and Lil Nas X top 2020 Grammy nominations

Delivered... Ben Beaumont-Thomas | Scene | Wed 20 Nov 2019 3:50 pm

Lizzo scores eight nominations with Eilish and Lil Nas X on seven, but British artists largely snubbed in major categories

The 17-year-old pop sensation Billie Eilish has become the youngest artist to be nominated in all four of the most prestigious Grammy award categories: record, album and song of the year, and best new artist.

Her gothic, innovative single Bad Guy, which topped the US charts, is nominated in the song and record categories, while her similarly chart-topping album When We All Fall Asleep, Where Do We Go? is nominated for the album prize. She completed a sweep of the top categories with a best new artist nomination, and has six nominations in all. Her album engineers got a nod in the best engineered album category, including her brother and collaborator Finneas, who received three nominations.

Continue reading...

50 great tracks for November from Dua Lipa, Destroyer, Selena Gomez and more

Delivered... Ben Beaumont-Thomas and Laura Snapes | Scene | Mon 4 Nov 2019 11:00 am

From Victoria Monét’s sublime R&B to Lanark Artefax’s squirming electronics, check out 50 new tracks and read about our 10 favourites

Continue reading...

Sŵn festival review – weirdness and wonder in Cardiff’s alt-pop paradise

Delivered... Huw Baines | Scene | Tue 22 Oct 2019 9:30 am

Various venues, Cardiff
Based everywhere from an Irish chain pub to an antiques centre, this slickly organised festival shows how varied and vibrant today’s indie scene is

Prowling the stage at Clwb Ifor Bach, the Murder Capital’s James McGovern sums up the mood at Cardiff’s Sŵn festival: “There’s only one thing we want: more.” The crowd responds, stoking the Dublin post-punks’ fires as they charge from coiled menace towards frenzied collapse.

Smouldering among the dying embers of the weekend their set is the ideal capper to the event, which sprawls across a number of venues in the Welsh capital. Foregrounding new music and a sense of adventure, the bill must satisfy both planners and gamblers, and does so adeptly. Twelve years on from its first staging, Sŵn is a slick machine defined by rapid turnarounds and minimal clashes.

Continue reading...

Vagabon: Vagabon review

Delivered... Laura Snapes | Scene | Fri 18 Oct 2019 9:30 am

(Nonesuch)
Swapping crunching guitars for softer electronics, Laetitia Tamko’s second album is both sharp and tender

When Laetitia Tamko released her 2017 debut as Vagabon, the Cameroon-born artist was described as a saviour of indie rock, a genre largely dominated by white performers. The accolades were as limiting as they were well-intentioned, burdening Tamko as a corrective to a sound that probably didn’t represent the sum of her ambition or ability. Whether it’s a natural evolution or a pointed refusal, her second album swaps crunching guitars for a softer, mostly synthetic setting, a sound as expansive as it is intimate.

Related: Vagabon review – indie's enchanting outcast roars in ear-bleeding triumph

Continue reading...
Next Page »
TunePlus Wordpress Theme