1. How long has the Deli been operating?
Since 2004, our first print issue had Grizzly Bear on the cover.
2. What makes the Deli different from other websites?
We only cover artists locally, so if you are based in NYC you only get reveiwed/blogged about in the
NYC Deli. We are currently covering 2 scenes in print (NYC and LA) and 9 online, including Chicago,
Philly, San Francisco, Austin and New England.
3. Do you think the Deli has a specific musical niche?
Definitely: emerging indie artists and songwriters + their fans + music industry people interested in finding new
bands.
4. What contemporary albums are you looking forward to coming out?
Buke and Gass' debut full length CD.
5. How does the Deli support independent music and what is important about doing so?
Constant exposure through the local blogs, live showcases, artist of the month polls, our charts, opportunities to
play big fests like CMJ and SXSW... it's important because most bands express the best music
in their first few years of activity, and because the scenes we cover need this kind of service.
6. Do you think online publications are taking precedence over print magazine? What kind of effect
do you think that has on bands?
Probably, but I believe print is still loved by most people. But it will only survive if advertisers
believe in its effectiveness. The problem is that web advertising is way too cheap, and that's why
advertisers are cutting on the print side of things. This is great for exposure (there are so many new
blogs where a band can get a write up) but the quality of writing suffers quite a bit. So you get more
quantity and less quality.
7. What blogs/publications do you read other than your own?
I read obsessively the Time Out NY Music Listings and occasionally any blog out there. I also often go
through the listings of some local venues in search of bands I'm not aware of. Our priority is to find
new bands nobody knows about, rather than writing again about the more established ones (something that
we still do anyway).
8. What has been your most definitive moment since you started the Deli?
When Grizzly Bear played our first issue's launch party at Sin-e` - great feeling of accomplishment. Of course not that many people knew them at the time. Also seeing each issue finalized in print is always great.
9. If there is any musician/band you could interview (dead or alive) who would it be?
I'm really not that obsessed about interviewing people. I'm obsessed about finding great music. But
interviewing Syd Barret or Captain Beefheart would be an interesting experience.
10. If you could be in any band (of all time), who would you rock with?
I would love to be in The Pixies (favorite band ever) or in The Sugarcubes because I'm in love with
Bjork.
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Showing posts with label music monday. Show all posts
Showing posts with label music monday. Show all posts
Monday, October 04, 2010
Monday, September 20, 2010
Music Monday-Blurt Magazine Shows Print Media Isn't Dead
Blurt Magazine proves that a wealth of experience in music and journalism can direct a solid vision to the future, even when the industries themselves say otherwise. Blurt Editor, Fred Mills, says it best in this week's Music Monday when he shares how Blurt has been able to succeed while still fostering developing talent.
GLG: How long has Blurt been operating?
BLURT: 2 years, 4 mos: May 2008 to the present is the tenure thus far of Blurt-online. We have concurrently published 9 issues of Blurt magazine (5 digital format, + 4 print ; the 4th print edition hits newsstands mid-September 2010).
GLG: What makes Blurt different from other websites?
BLURT: By way of background, we are a companion website and magazine. Our intention all along has been not to abandon the magazine format – hence creating a companion digital, downloading magazine back in 2008 to accompany the launch of Blurt-online, which in turn led to the realization that our audience still craved something physical they could hold, cuddle, or otherwise use to sop up grease spills with. As a result, in the spring of 2009, after 5 digital issues of Blurt, we picked up where we had left off in our previous incarnation (Harp magazine, which folded in March 2008) and went the print route again while maintaining the twinned digital presence (as the downloadable mag + website).
Our editorial brain trust has, collectively, decades of experience in the music industry and in music journalism. I (Fred Mills, the editor) have been writing about music since the late ‘70s; founder and creative director Scott Crawford started and successfully operated Harp magazine prior to starting Blurt; publisher Stephen Judge runs Second Motion Records and was a key member of the Yep Roc team; and senior Editor Randy Harward, associate editor Andy Tennille and contributing editor A.D. Amorosi all are veteran journalists. (Each one of us lives in different cities, by the way.) And we’ve got a rotating staff of contributors currently numbering around 40 different individuals located all over North America and in England. As a result, I think we’ve got a perspective that a more centralized operation comprising younger/less experienced writers and editors can’t possibly muster.
Content-wise, I think we distinguish ourselves with, well, our content. Each day we publish a minimum of one new, in-depth top-of-page feature and four album reviews – 5 features and 20 reviews a week, plus (typically) several book, DVD and concert reviews and new entries from our bloggers (the latter range from established artists like Otep, James McMurtry, Martin Bisi, Coco Hames of The Ettes and Greg Laswell to industry insiders like Kate Bradley, John Moore, Scott Dudelson and Carl Hanni to our video game maven Aaron Burgess). Combine that with a daily newscrawl of anywhere from 6-15 fresh clips (and an accompanying Twitter feed) each 24 hour period and it’s a pretty unique mix of traditional music coverage and in-the-moment Web 2.0 coverage. Here are some random stats: since starting up, Blurt has published 700 full-length features, 2400 CD reviews, 270 concert reviews, 114 DVD reviews and 116 book reviews. Not to toot our horn too loudly, but that’s a lot of editorial content. And our focus is solidly on good, thoughtful, well-written pieces — as opposed to joining the race to post poorly-sourced, so-called “breaking news” in an ever-tightening noose of hyperlinks and links-back-to-hyperlinks, like most websites tend to do.
All that said, it’s worth nothing that Blurt is currently in the process of a website redesign that most likely will take place in stages. In 2010 it is, admittedly, difficult to come up with new twists, digitally speaking, so while in going forward we’ll have a far more robust approach to multimedia, blogs and social networking elements than we have thus far, by focusing on our core strength – interesting content – we hope to distinguish ourselves from all the other bells-and-whistles destinations. Per above comments about what the audience craves, we still think that folks enjoy settling in and reading something that has substance and heft, and in fact just the other day I got an email from a reader thanking us for frequently printing reviews that ran 1000 words or more rather than the 125-word McNugget reviews that seem to have become the norm. (Hey USA Today, thanks a lot.) Factor in our willingness to dig really deep into the musical spectrum and not discriminate against this or that artist purely on the basis of whether they have been awarded a badge of cool among the hipster elite, and you can see how Blurt does stand out in the crowd. For proof, check our recent coverage, which has included Teenage Fanclub, Alejandro Escovedo, The Melvins, The Wedding Present, Arthur Lee/Love, These United States, the Argentinian Cumbia Scene, Elvis Presley and Emerson, Lake & Palmer. Pretty diverse shit.
GLG: Do you think Blurt has a specific musical niche?
BLURT: Increasingly, we are wary of niches as they can be terminally limiting. We’d rather be known for being open to most styles and willing to embrace new ones. Our focus to date has frequently been indie rock and Americana, with a smattering of other genres thrown in; and both comedy and politics has been part of our mix from day one. Yet during any given week at the website, or across any given issue of the print edition, we can be flummoxed by the reader response to specific stories: an indie-rock buzzband that is tearing up the blogs might generate zero traffic even while an artist outside our typical purview (recent stories on Alice In Chains and Warren Cuccurullo come to mind) does gangbusters for us. And our most heavily trafficked section of Blurt-online is, hands down, metal goddess Otep’s “Battle Ready” blog – the stats just go through the roof when she posts a new entry (http://blurt-online.com/blogs/author/70 ). Go figure. This may all be apropos of nothing, but the suggestion is that readers are looking for something, anything, that is not only outside the mainstream, but outside the alternative-to-the-mainstream, given the glut of the latter’s coverage across the web by every blogger with a laptop. This doesn’t mean we aspire to be so broad-based in our coverage that we dive into every genre imaginable purely to ensure that every possible demographic is served, from mainstream to underground, without any sense of discrimination; Blender magazine tried that, and look where Blender is now (gone). My gut feeling — considering that our writing staff ranges in age from 22 to 68 — is that indie rock, punk, psychedelia and Americana will remain among our core strengths, but that you’ll also see ramped-up coverage of prog, experimental and electronic, underground hip-hop and world music artists, plus even more politics and comedy, at Blurt.
GLG: What albums are you looking forward to coming out?
BLURT: Deerhunter – Halcyon Digest (4AD)
Crocodiles – Sleep Forever (Fat Possum)
Bruce Springsteen – Darkness box (Columbia/Legacy)
Underworld – Barking (Cooking Vinyl)
Justin Townes Earle – Harlem River Blues (Bloodshot)
Posies – Blood Candy (Ryko)
Tricky – Mixed Race (Domino)
Syl Johnson – Complete Mythology box (Numero Group)
Toubab Krewe – TK2 (NatGeo Music)
Superchunk – Majesty Shredding (Merge)
GLG: How does Blurt support independent music and what’s important about doing so?
BLURT: Most likely 90% of our coverage falls under the general term “independent”; yet given that how nowadays an indie label is just as likely to become ossified and release drek as is a major label, we pretty much make our selections on the basis of the individual merits of the music and the artists who make it. We encourage artists not affiliated with large labels or publicity firms to send us their music and press releases directly as we still take pride in discovering and exposing deserving unknowns to feature at Blurt alongside buzz-worthy up-and-comers and established entities. We also have a program, now nearing the two-year mark, with Sonicbids called “Blurt’s Best Kept Secret” in which approximately every six weeks we select an under-the-radar independent band or solo performer from among our Sonicbids submissions to be featured extensively at Blurt-online – in our News section, in our biweekly newsletter, and as part of a full feature/interview. (We just featured our 12th Best Kept Secret, Boston rocker Alice Austin, and prior to that it was Phoenix garage-punks The Rebel Set, both self-releasing and –promoting grassroots artists.)
All of this is done within certain parameters, of course. With promotional receipts sometimes numbering monthly in the 800-1000 range, even after factoring in the quarterly print magazine Blurt can only reasonably cover about 150 - 175 artists or releases per month. And we also have to be mindful about selecting artists that will drive web traffic and/or generate newsstand sales, so those with proven track records and are affiliated with labels or p.r. firms whose operating styles are simpatico with ours are an essential part of our game plan.
It’s important to support independent music for one simple reason: the indie sector is where the best and the brightest and the most motivated reside, and they deserve to have a shot at making an honest living as artists. Amanda Palmer recently told Blurt that with the blockbuster system finally crumbling, it’s all turning into a working class music economy. So we need to nurture and encourage these individuals so they’ll continue to create music – of all genres and disciplines. They are the ones, after all, who inspire and thrill the rest of us.
GLG: Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
BLURT: If you’d asked that a year and a half ago I might have answered the first part firmly in the affirmative. Now, I’m not so sure. Blurt started as an all-digital undertaking, as noted above, combining the in-the-moment and interactive features of a website with the old-school aesthetic of a downloadable magazine. Yet for all the noise at the time about how print was going the way of the dinosaurs and that digital was the wave of the future, there still seemed to be an odd degree of resistance towards applying a traditional music journalism approach to the digital milieu, and literally within a few months we had tons of people asking us when, if ever, we might publish a print edition of Blurt. (Point of fact, there were several labels and p.r. firms who very clearly regarded Blurt-online as a lesser, second-tier undertaking and it wasn’t until we finally did move into print, with issue #6, that they began to take us seriously. We have long memories, and we appreciate those folks who have consistently helped us get the Blurt name out there; it’s unfortunate but true that there will always be labels and publicists who want media outlets to provide coverage and help THEM out but aren’t willing to reciprocate in kind.)
So it’s a tough call. I think the best way to look at it is that the two beasts can coexist peacefully and even feed off one another given some sensible decision making and realistic strategies. Music lovers appear to want the best of both worlds, so there’s no reason why they can’t get the immediacy and the bells and whistles of online alongside the traditional journalistic and aesthetic (both visual and tactile) values of print. And for bands, this simply means that the savvy ones will learn how to synch with both; there shouldn’t be any cognitive dissonance, in other words, in tapping the resources of an online publication (say, using as entry points the publication’s social networking platforms) while also aspiring towards a full-color two-page feature spread in a print magazine. And if the website and magazine happen to be created and maintained by the same people, as Blurt is, then you’ve got even greater potential there to tap.
GLG: What blogs/magazines do you read other than your own?
BLURT: Magazines: Wired, Wax Poetics, Mojo, Uncut, Big Takeover, PC World, Vanity Fair, Stomp & Stammer, LEGO Brickmaster
Blogs: Perfect Sound Forever, Blues.About.com, Stereogum, Huffington Post, The Onion, NME.com, The Big O, Daily Swarm, Pitchfork, Pop Matters
GLG: What has been your most definitive moment since you started (or started at) Blurt?
BLURT: (1) At the very dawn of Blurt, Alejandro Escovedo videotaped a series of short interview clips for our website (they are still viewable at our video kiosk), and in one of them he talked about how much he had loved our predecessor Harp and how he was rooting for us. You could say that “defined” us — confirmed in our minds that we were doing something worthwhile, and that we had a sense of who the important artists were. Ever since, Alejandro has been the unofficial Patron Saint of Blurt.
(2) Publishing our annual April Fools Day selection of bogus news items and being dumbfounded at how many otherwise sane, thinking people actually swallow the bait. This year our “Early Kurt Cobain Demos Unearthed At Yard Sale” hoax even got picked up, unchallenged, and republished by such mainstream media as Spin online and L.A.’s KROQ-FM. That was pretty awesome, to realize that a small, extremely silly newsclip posted on our site could take on a massively larger life of its own: to this day, the Cobain item still gets tons of hits. (Check out the original clip and then the subsequent story: and prepare to be, uh, nonplused: http://blurt-online.com/news/view/3565/ ; http://blurt-online.com/features/view/599/ )
GLG: If you could interview any musician/band (dead or alive) who would it be?
BLURT: Keith Moon (late drummer for The Who)
GLG: If you could be in any band (of all time), who would you rock with?
BLURT: The Butthole Surfers
BLURT ON TWITTER
@BlurtMagazine
BLURT ON FACEBOOK
Click Here to Read More..
GLG: How long has Blurt been operating?
BLURT: 2 years, 4 mos: May 2008 to the present is the tenure thus far of Blurt-online. We have concurrently published 9 issues of Blurt magazine (5 digital format, + 4 print ; the 4th print edition hits newsstands mid-September 2010).
GLG: What makes Blurt different from other websites?
BLURT: By way of background, we are a companion website and magazine. Our intention all along has been not to abandon the magazine format – hence creating a companion digital, downloading magazine back in 2008 to accompany the launch of Blurt-online, which in turn led to the realization that our audience still craved something physical they could hold, cuddle, or otherwise use to sop up grease spills with. As a result, in the spring of 2009, after 5 digital issues of Blurt, we picked up where we had left off in our previous incarnation (Harp magazine, which folded in March 2008) and went the print route again while maintaining the twinned digital presence (as the downloadable mag + website).
Our editorial brain trust has, collectively, decades of experience in the music industry and in music journalism. I (Fred Mills, the editor) have been writing about music since the late ‘70s; founder and creative director Scott Crawford started and successfully operated Harp magazine prior to starting Blurt; publisher Stephen Judge runs Second Motion Records and was a key member of the Yep Roc team; and senior Editor Randy Harward, associate editor Andy Tennille and contributing editor A.D. Amorosi all are veteran journalists. (Each one of us lives in different cities, by the way.) And we’ve got a rotating staff of contributors currently numbering around 40 different individuals located all over North America and in England. As a result, I think we’ve got a perspective that a more centralized operation comprising younger/less experienced writers and editors can’t possibly muster.
Content-wise, I think we distinguish ourselves with, well, our content. Each day we publish a minimum of one new, in-depth top-of-page feature and four album reviews – 5 features and 20 reviews a week, plus (typically) several book, DVD and concert reviews and new entries from our bloggers (the latter range from established artists like Otep, James McMurtry, Martin Bisi, Coco Hames of The Ettes and Greg Laswell to industry insiders like Kate Bradley, John Moore, Scott Dudelson and Carl Hanni to our video game maven Aaron Burgess). Combine that with a daily newscrawl of anywhere from 6-15 fresh clips (and an accompanying Twitter feed) each 24 hour period and it’s a pretty unique mix of traditional music coverage and in-the-moment Web 2.0 coverage. Here are some random stats: since starting up, Blurt has published 700 full-length features, 2400 CD reviews, 270 concert reviews, 114 DVD reviews and 116 book reviews. Not to toot our horn too loudly, but that’s a lot of editorial content. And our focus is solidly on good, thoughtful, well-written pieces — as opposed to joining the race to post poorly-sourced, so-called “breaking news” in an ever-tightening noose of hyperlinks and links-back-to-hyperlinks, like most websites tend to do.
All that said, it’s worth nothing that Blurt is currently in the process of a website redesign that most likely will take place in stages. In 2010 it is, admittedly, difficult to come up with new twists, digitally speaking, so while in going forward we’ll have a far more robust approach to multimedia, blogs and social networking elements than we have thus far, by focusing on our core strength – interesting content – we hope to distinguish ourselves from all the other bells-and-whistles destinations. Per above comments about what the audience craves, we still think that folks enjoy settling in and reading something that has substance and heft, and in fact just the other day I got an email from a reader thanking us for frequently printing reviews that ran 1000 words or more rather than the 125-word McNugget reviews that seem to have become the norm. (Hey USA Today, thanks a lot.) Factor in our willingness to dig really deep into the musical spectrum and not discriminate against this or that artist purely on the basis of whether they have been awarded a badge of cool among the hipster elite, and you can see how Blurt does stand out in the crowd. For proof, check our recent coverage, which has included Teenage Fanclub, Alejandro Escovedo, The Melvins, The Wedding Present, Arthur Lee/Love, These United States, the Argentinian Cumbia Scene, Elvis Presley and Emerson, Lake & Palmer. Pretty diverse shit.
GLG: Do you think Blurt has a specific musical niche?
BLURT: Increasingly, we are wary of niches as they can be terminally limiting. We’d rather be known for being open to most styles and willing to embrace new ones. Our focus to date has frequently been indie rock and Americana, with a smattering of other genres thrown in; and both comedy and politics has been part of our mix from day one. Yet during any given week at the website, or across any given issue of the print edition, we can be flummoxed by the reader response to specific stories: an indie-rock buzzband that is tearing up the blogs might generate zero traffic even while an artist outside our typical purview (recent stories on Alice In Chains and Warren Cuccurullo come to mind) does gangbusters for us. And our most heavily trafficked section of Blurt-online is, hands down, metal goddess Otep’s “Battle Ready” blog – the stats just go through the roof when she posts a new entry (http://blurt-online.com/blogs/author/70 ). Go figure. This may all be apropos of nothing, but the suggestion is that readers are looking for something, anything, that is not only outside the mainstream, but outside the alternative-to-the-mainstream, given the glut of the latter’s coverage across the web by every blogger with a laptop. This doesn’t mean we aspire to be so broad-based in our coverage that we dive into every genre imaginable purely to ensure that every possible demographic is served, from mainstream to underground, without any sense of discrimination; Blender magazine tried that, and look where Blender is now (gone). My gut feeling — considering that our writing staff ranges in age from 22 to 68 — is that indie rock, punk, psychedelia and Americana will remain among our core strengths, but that you’ll also see ramped-up coverage of prog, experimental and electronic, underground hip-hop and world music artists, plus even more politics and comedy, at Blurt.
GLG: What albums are you looking forward to coming out?
BLURT: Deerhunter – Halcyon Digest (4AD)
Crocodiles – Sleep Forever (Fat Possum)
Bruce Springsteen – Darkness box (Columbia/Legacy)
Underworld – Barking (Cooking Vinyl)
Justin Townes Earle – Harlem River Blues (Bloodshot)
Posies – Blood Candy (Ryko)
Tricky – Mixed Race (Domino)
Syl Johnson – Complete Mythology box (Numero Group)
Toubab Krewe – TK2 (NatGeo Music)
Superchunk – Majesty Shredding (Merge)
GLG: How does Blurt support independent music and what’s important about doing so?
BLURT: Most likely 90% of our coverage falls under the general term “independent”; yet given that how nowadays an indie label is just as likely to become ossified and release drek as is a major label, we pretty much make our selections on the basis of the individual merits of the music and the artists who make it. We encourage artists not affiliated with large labels or publicity firms to send us their music and press releases directly as we still take pride in discovering and exposing deserving unknowns to feature at Blurt alongside buzz-worthy up-and-comers and established entities. We also have a program, now nearing the two-year mark, with Sonicbids called “Blurt’s Best Kept Secret” in which approximately every six weeks we select an under-the-radar independent band or solo performer from among our Sonicbids submissions to be featured extensively at Blurt-online – in our News section, in our biweekly newsletter, and as part of a full feature/interview. (We just featured our 12th Best Kept Secret, Boston rocker Alice Austin, and prior to that it was Phoenix garage-punks The Rebel Set, both self-releasing and –promoting grassroots artists.)
All of this is done within certain parameters, of course. With promotional receipts sometimes numbering monthly in the 800-1000 range, even after factoring in the quarterly print magazine Blurt can only reasonably cover about 150 - 175 artists or releases per month. And we also have to be mindful about selecting artists that will drive web traffic and/or generate newsstand sales, so those with proven track records and are affiliated with labels or p.r. firms whose operating styles are simpatico with ours are an essential part of our game plan.
It’s important to support independent music for one simple reason: the indie sector is where the best and the brightest and the most motivated reside, and they deserve to have a shot at making an honest living as artists. Amanda Palmer recently told Blurt that with the blockbuster system finally crumbling, it’s all turning into a working class music economy. So we need to nurture and encourage these individuals so they’ll continue to create music – of all genres and disciplines. They are the ones, after all, who inspire and thrill the rest of us.
GLG: Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
BLURT: If you’d asked that a year and a half ago I might have answered the first part firmly in the affirmative. Now, I’m not so sure. Blurt started as an all-digital undertaking, as noted above, combining the in-the-moment and interactive features of a website with the old-school aesthetic of a downloadable magazine. Yet for all the noise at the time about how print was going the way of the dinosaurs and that digital was the wave of the future, there still seemed to be an odd degree of resistance towards applying a traditional music journalism approach to the digital milieu, and literally within a few months we had tons of people asking us when, if ever, we might publish a print edition of Blurt. (Point of fact, there were several labels and p.r. firms who very clearly regarded Blurt-online as a lesser, second-tier undertaking and it wasn’t until we finally did move into print, with issue #6, that they began to take us seriously. We have long memories, and we appreciate those folks who have consistently helped us get the Blurt name out there; it’s unfortunate but true that there will always be labels and publicists who want media outlets to provide coverage and help THEM out but aren’t willing to reciprocate in kind.)
So it’s a tough call. I think the best way to look at it is that the two beasts can coexist peacefully and even feed off one another given some sensible decision making and realistic strategies. Music lovers appear to want the best of both worlds, so there’s no reason why they can’t get the immediacy and the bells and whistles of online alongside the traditional journalistic and aesthetic (both visual and tactile) values of print. And for bands, this simply means that the savvy ones will learn how to synch with both; there shouldn’t be any cognitive dissonance, in other words, in tapping the resources of an online publication (say, using as entry points the publication’s social networking platforms) while also aspiring towards a full-color two-page feature spread in a print magazine. And if the website and magazine happen to be created and maintained by the same people, as Blurt is, then you’ve got even greater potential there to tap.
GLG: What blogs/magazines do you read other than your own?
BLURT: Magazines: Wired, Wax Poetics, Mojo, Uncut, Big Takeover, PC World, Vanity Fair, Stomp & Stammer, LEGO Brickmaster
Blogs: Perfect Sound Forever, Blues.About.com, Stereogum, Huffington Post, The Onion, NME.com, The Big O, Daily Swarm, Pitchfork, Pop Matters
GLG: What has been your most definitive moment since you started (or started at) Blurt?
BLURT: (1) At the very dawn of Blurt, Alejandro Escovedo videotaped a series of short interview clips for our website (they are still viewable at our video kiosk), and in one of them he talked about how much he had loved our predecessor Harp and how he was rooting for us. You could say that “defined” us — confirmed in our minds that we were doing something worthwhile, and that we had a sense of who the important artists were. Ever since, Alejandro has been the unofficial Patron Saint of Blurt.
(2) Publishing our annual April Fools Day selection of bogus news items and being dumbfounded at how many otherwise sane, thinking people actually swallow the bait. This year our “Early Kurt Cobain Demos Unearthed At Yard Sale” hoax even got picked up, unchallenged, and republished by such mainstream media as Spin online and L.A.’s KROQ-FM. That was pretty awesome, to realize that a small, extremely silly newsclip posted on our site could take on a massively larger life of its own: to this day, the Cobain item still gets tons of hits. (Check out the original clip and then the subsequent story: and prepare to be, uh, nonplused: http://blurt-online.com/news/view/3565/ ; http://blurt-online.com/features/view/599/ )
GLG: If you could interview any musician/band (dead or alive) who would it be?
BLURT: Keith Moon (late drummer for The Who)
GLG: If you could be in any band (of all time), who would you rock with?
BLURT: The Butthole Surfers
BLURT ON TWITTER
@BlurtMagazine
BLURT ON FACEBOOK
Click Here to Read More..
Monday, September 13, 2010
Music Monday-La Blogotheque Loves Bon Iver
I know this, je t'aime La Blogotheque. And I'm fairly certain I'll be listening to Bon Iver today.
La Blogotheque's own, Nora Bouazzouni, took some time out to answer a few questions for us.
GLG: How long has La Blogotheque been operating?
LB: It’s existed as an MP3 blog since 2002, and the Take Away Shows started in 2006.
GLG: What makes La Blogotheque different from other websites?
LB: We're not obsessed with talking about the latest hip bands, posting tracklists and gossips, reviewing every new record possible; we don't care much about that. We're not a news website. There are more or less a dozen people writing on La Blogothèque, and though we're all different and we don't necessarily like the same music, we all agree on one thing: we want to talk about music in a completely different way than other music blogs, we want it to be more personal, more about our feelings, about what it brings up. It's not about grading an album, track by track, it will never be. If one of us writes about a musician, or a song, whether it's something old or something new, it's because it means something to him or her.
GLG: Do you think la blogotheque has a specific musical niche?
LB: People would say we're more into folk and bearded guys playing guitar while singing sad songs, but it's only because of the Take Away Shows that we aquired this reputation! If you read the blog -it's in French- you'll see that we're quite eclectic. Right now, on La Blogo's home you can read about The Libertines, Haïtian music, listen to a Ninja Tune mixtape... I guess that tells it!
GLG:. What albums are you looking forward to coming out?
LB: Bon Iver's second album. He just announced it'll be released next year, I can't wait! Also, I'm a big Dodos' fan, and they just started recording the follow-up to Time To Die (which I didn't like ), and I really, really hope it's gonna be something as awesomely mind-blowing as Visiter. I hope there'll be a new Department of Eagles record soon.
And I was excited about Spoon's new album. It leaked so I listened to it, but I'm disappointed.
GLG: How does la blogotheque support independent music and what’s important about doing so?
LB: We support indie music with our Take Away Shows and Pocket Parties, and sometimes we even provide bands a place to stay when they're playing in Paris, but don't have enough money to book a hotel ;)
GLG: Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
LB: I don't think online publications are killing print magazines, I think they complete each other. Speaking for me, I never ever read music magazines. I don't know why, but it never attracted me. Maybe it has to do with my age. I'm 24, and I got my first computer with the Internet in 1999. That's when I started looking for new stuff to listen to. I don't like the way magazines talk about music, it's too distant, too « professional ». And now, if you read a magazine and want to listen to that new band they talk about, you have to drop the magazine, go to your computer, type the Myspace URL, and click on a song. With a music blog, you just click on Play and you're done. Digital natives are much more into the « instantaneous ». I think people will go to blogs to discover stuff, and then buy a magazine to read about that stuff they just listened to.
GLG: What blogs/magazines do you read other than your own?
LB: The only music blog I read is Said The Gramophone. All the others I just skim through and download the MP3s (and I don't like revealing my sources, sorry!). For acoustic sessions, KEXP and Daytrotter. For news, Pitchfork and Stereogum (how original).
GLG: What has been your most definitive moment since you started la blogotheque?
LB: Bon Iver's Pocket Party. Just watch it, you'll understand.
GLG: If you could interview any musician/band (dead or alive) who would it be?
LB: I don't do interviews, it's not my thing. And I don't have idols. But I would love to spend some time with Kurt Cobain, or Thom Yorke. Or Bertrand Cantat (singer of French rock band Noir Désir).
GLG: If you could be in any band (of all time), who would you rock with?
LB: Girls bands: Le Tigre, Hole, The Runaways. Other: The Beatles, Queen, Nirvana.
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Monday, September 06, 2010
Music Monday: Aquarium Drunkard, A Taste of the Eclectic
Gage is also 1/4 of the Mondo Boys sound collage collective and authored the 2009 guide/travelogue Memphis And The Delta Blues Trail.
What can you find on Aquarium Drunkard? From vinyl giveaways like the one that occurred for Serge Gainsbourg & Jane Birkin’s Je T’aime…Moi, Non Plus to interviews with The National (High Violet happens to be one of our favorites of the year), Arcade Fire and The Love Language, the blog runs the gamut from genre to content, all the while staying true to it's eclectic nature. Gage also goes straight to the source with members of bands such as Portugal the Man, Josh Rouse, Jim James of My Morning Jacket, and Lucero who have acted as guest contributors to the column entitled "Diversions".
1. How long has Aquarium Drunkard been operating?
Five & 1/2 years
2. What makes Aquarium Drunkard different from other websites?
The voice.
3. Do you think Aquarium Drunkard has a specific musical niche?
Anything with soul, anything you can feel.
4. What contemporary albums are you looking forward to coming out?
Light In The Attic Records reissue of Jim Sullivan’s 1969 album, U.F.O.
5. How does Aquarium Drunkard support independent music and what is important about doing so?
My label, Autumn Tone, has been in existence almost as long as AD. It's about as independent as it gets. We also put on shows, festivals, etc. in L.A. and across the U.S. While we have done (and still do) a number of Autumn Tone showcases the majority of what we do, event-wise, is through Aquarium Drunkard. The Mission of Burma and Thurston Moore shows were some early ones that were pretty special as I had been a fan of both for many years. As far as most memorable, I would say AD's WAVED OUT fest. We are gearing up for WAVED OUT II September 25th (with Dungen headlining) and I couldn't be more excited.
6. Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands.
For better or worse, yes. I still like a good rag, but it's becoming increasingly hard for them to keep up. The Internet loves its 'firsties.' Not saying that as a good thing either. It leaves less time for artists to work out the kinks before the spotlight finds them. Remember, the Beatles were around five or so years before any real success.
8. What has been your most definitive moment since you started Aquarium Drunkard ?
Just interacting with the readers. They are really great/inspiring/interesting. The back and forth between the readers and myself has yielded some amazing discoveries --- old, unreleased demos, live recordings and videos have all landed in my email address via like-minded readers over the years. At best the blog's post inspire conversation, debate and more in the readers.
9. If there is any musician/band you could interview (dead or alive) who would it be? It would probably be someone like Sam Phillips of Sun Records or some of the old Delta blues guys. The real primordial shit.
10. If you could be in any band (of all time), who would you rock with?
Something fun and way over the top. Led Zeppelin. Yeah, Zeppelin.
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Every Monday we turn the tables and interview one of our favorite media outlets on how they contribute to the indie rock scene and what they see as the future of music journalism.
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Monday, August 30, 2010
Music Monday - Glide Magazine Talks Billy Bob Thorton, Fleet Foxes, and Elvis Costello
Glide Magazine is more than just a music website. The site has so much information, it actually has its own blog Hidden Track, which is filled to the brim; that's how much music they cover. From breaking music news, live show reviews, CD reviews, mp3s, and more, Glide is one of the few independent music sites that honestly evolved from jam bands into every genre. Literally in one day you could read about both Disco Biscuits and The Swell Season, or Umphrey's McGee and Chromeo or Norah Jones. Glide's Shane Handler gives us the scoop.Music Monday Q&A
1. How long has Glide been operating?
Glide began in the fall of 2002, and we officially launched the site in early 2003. At that time we were a monthly online magazine, in that we posted news and reviews daily, but would publish a new batch of features and columns monthly, following the more traditional print-model. As we grew, we eventually moved to a daily updated site. In October of ‘06 we moved into the blogosphere with the launch of our popular blog, Hidden Track, which has a similar focus, but a voice and identity all its own.
2. What makes Glide different from other websites?
We’ve never shied away from bands or styles or genres, and always felt that if it was good, it was good...regardless of the pocket a band gets wedged into. Ironically, that wide range of coverage followed a parallel to the ever-changing music landscape that’s been morphing and growing since we launched seven years ago. When you look at the inaugural Bonnaroo from ‘02 and follow that up to the age of the festival and crossover genres and acts we’re currently in now – where any authentic act or genre is a plausible booking - we’ve kind of been living in that same vein since the beginning. So as our audience has grown, discovered new sounds, and moved into various musical territories, we’ve been growing and absorbing all of it right alongside them. Since that’s always been the mission so to speak, it’s given us a great sense of credibility to continue to expand our coverage and push boundaries without seemingly like we’re trying to hop on the next buzz band or genre and be something we’re not.
3. Do you think Glide has a specific musical niche?
Yeah, we cover it all, but our roots are in the jam scene...so at the end of the day, everything stems from that.
4. What albums are you looking forward to coming out?
Neil Young (TBA Daniel Lanois-produced album; Isobel Campbell and Mark Lanegan, Hawk; Black Mountain, Wilderness Heart; Fleet Foxes (TBA), Beastie Boys, Hot Sauce Committee Pt 1; Dr. Dre, Detox; Elvis Costello, National Ransom.
5. How does Glide support independent music and what's important about doing so?
We’ve always sought to discover new music and find innovative artists, and the independent music community is obviously a great place for that. And as independent publishers, I would imagine most bloggers and site editors feel like they are a part of something larger - pouring hours of yourself into the site, devouring new music, tapping into an exciting band no one has stumbled onto yet, nudging their exposure a little and watching the buzz begin to build. It’s fun to be part of the process from the ground level.
Our Hidden Track installment, Blips, features bands under the radar and oftentimes focuses on independent artists. Fleet Foxes was actually a Blip spotlight at one time, so as I noted above, its great to discover these bands, help get the word out and watch the story unfold.
6. Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
Online is just such a dominant medium for music discovery – it’s immediate, it’s efficient, it’s innovative, it’s sharable, it’s adaptable and it’ll continue to be a focal point for social media. Print is a different beast...it’s a solitary relationship you have on a train or on the can, and it’s great for long-form content. They are equally as strong, with varying capabilities and potentials. We could really throw a third tier in here and talk about the social equity of a band as the distribution extension for print and online – not taking precedence, but an essential in the viral exposure and integration into a fan base’s extended community.
7. What blogs/publications do you read other than your own?
There are so many great sites, but Hidden Track has a blogroll that’s pretty indicative of what we keep in the bookmark folder.
8. What has been your most definitive moment since you started Glide?
When we were granted a phoner with Billy Bob Thornton, I was both elated and justifiably, somewhat terrified. I prepared (and psyched myself out) more for that interview than any other I’ve ever done in my life. In the end, it ended up being one of the best times I’ve ever had speaking at long length with an artist. We covered a ton of ground, he opened up about a lot of different aspects of life and the conversation was genuine. Then a few months later he completely throttled that guy (Jian Ghomeshi) on Canadian public radio and I realized how bad that interview could have gone for me. I’d like to think that I had something to do with bringing out his good side, but I’ll never know.
9. If there is any musician/band you could interview (dead or alive) who would it be?
Any of these: John Lennon, David Bowie, Neil Young, James Brown, Ray Charles, Robert Johnson, Keith Richards, Bob Dylan, or George Harrison.
10. If you could be in any band (of all time), who would you rock with?
I’ll say AC/DC. They were the first band that melted my face, sitting on the baseball field at recess in fourth grade. Twenty years later, in the middle of the night, on a highway in Tennessee, listening to "It's a Long Way to the Top (If You Wanna Rock 'n' Roll" and the rest of High Voltage with the faint lights of Bonnaroo coming up in the distance, it still resonates like no other.
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Monday, August 23, 2010
Music Monday - Culture Bully Talks RZA, Marketing Your Band and Tight Jeans
Chris DeLine of Culture Bully makes you both laugh and really, really think about the world of online journalism and the serious impact it has on the way bands market themselves. But then he flips the fun switch on again when he says something totally out there (read question #8 for instance) that reminds us why we love working with bloggers. Online critics love music just as much as we do, and it's great when they have that balance of a sense of humor and seriousness and professionalism of it all. Culture Bully covers folk, hip-hop, electronic, everything, really. Major label superstars and indie underdogs. As to what Culture Bully likes to cover, DeLine said, "...if it sounds good to me, I like it. That said, if it ever comes to the point where Culture Bully is rocking some Seether on the reg, I would sincerely hope someone smacks me around with a tube sock full of batteries until I come to my senses."Music Monday Q&A
1. How long has Culture Bully been operating?
1,970 days as of August 23 2010.
2. What makes Culture Bully different from other websites?
It's the only site to be a) called "Culture Bully," and b) be 100% fully endorsed by me: Chris DeLine. I'd like to make it clear that I, in no way, stand behind the sub-par Culture Bully Español knock-off.. But if you're looking for an actual example of competitive edge... I can't think of another site that recently featured new music videos by Scissor Sisters, Behemoth, RZA and Joanna Newsom in the same day. So I've got that goin' for me.
3. Do you think Culture Bully has a specific musical niche?
(See: Behemoth & Scissor Sisters.) I was genuinely mulling this over about a week ago. To some degree I know the site alienates a lot of people because it's all over the place—too all over the place, even. But I'd rather go that route than try to pick a single genre, or sub-genre, and focus solely on that. It just doesn't seem like it'd be as much fun. I mean, at this moment there's stuff on the main page focusing on everything from heavy metal to hip-hop... Actually, come to think of it, there's a common denominator there: tight jeans. Maybe the site does have a niche and I just never realized it.
4. What albums are you looking forward to coming out?
Grinderman, Robyn, Kanye West... but there's an impossible amount of music to listen to that's released every day, so it's not like I'm on the edge of my seat waiting for anything to reach my ears. Each day offers a new surprise in that regard.
5. How does Culture Bully support independent music and what’s important about doing so?
I'm probably not the best guy to stand up and wave the indie-music flag, and I'm not even sure that I know what it means to truly support independent music. Is there a sticker, like the "I Voted" stickers you get during elections, that says "I support indie music?" Just like major labels, much independent music is so ridiculously god-awful to the point that I don't think I could wear the sticker in good conscious, if there was one. I had a friend in university who liked bands along the lines of Seether and Nickelback and whatnot, and when I would push him to qualify why exactly he likes that stuff when the options are limitless of what you can listen to he gave me a response along the lines of, "If it sounds good to me, I like it." To some degree I've grown in a similar direction. Ten years ago I wouldn't be caught dead listening to pop music, and the vast majority of rap made no sense to me. (Sidebar: not Wu-Tang though, them shits was tight even when I was in junior high, son.) But once you open your ears and let down your guard a little bit, life becomes more enjoyable; same holds true for music. I don't have much interest in ignoring major label music or specifically focusing on independent music just for the sake of doing so: if it sounds good to me, I like it. That said, if it ever comes to the point where Culture Bully is rocking some Seether on the reg, I would sincerely hope someone smacks me around with a tube sock full of batteries until I come to my senses.
6. Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
I guess the only way to know for sure would be to look at circulation statistics or earnings statements of the individual publishers to know if they're getting their asses handed to them financially. If they are, then I suppose you could draw the conclusion that the online world has taken over. Until then, though, I'd have to say no: I mean, until Pitchfork can move a couple hundred thousand issues of a print magazine every month, it's still just a website. There's still a market for print, and there will be one for the foreseeable future, but yeah, the shift toward digital publishing is eating up more and more of the pie as each year passes. There are certainly exceptions, but I still don't think the online world takes precedent quite yet. If your band gets a feature printed in some zine like NME, I'm still thinking that it means a whole lot more than getting a blog post on Stereogum (for example).
As far as bands are concerned, as the music blogosphere/world of online music publications continues to expand there becomes more opportunities to be featured somewhere on the Internet. Honestly, I love the idea that there are thousands and thousands of music blogs—so many that the idea of actually figuring out a ballpark figure is staggering—but the flip side is that there are thousands and thousands of music blogs. It becomes a blur after a while and unless you really connect with some site in particular as a reader—whether you like a blog's style, content, or are simply a fan of their niche—chances are that vast majority of everything that's out there is going to be overlooked anyways. So in the end, I'm not sure that it means that there are any more honest opportunities for bands now that there's a balance between print and online than there was when print dominated. It just means that the way bands have to market themselves is changing... but that's an entirely separate discussion for another time.
7. What blogs/magazines do you read other than your own?
Honestly, I pay more attention to Twitter and digg-ish aggregators than individual sites for the most part. But, as far as music sites are concerned, I check out arm's length-list that's featured on my links page fairly regularly. I've been enjoying more dance/electronic sites as of the late, for whatever that's worth. Non-music: Mashable, Cracked... Like I said though, on the whole I just go where the Internet leads me. It's a trying mistress at times, but one that typically treats me right in the end.
8. What has been your most definitive moment since you started Culture Bully?
This interview... or the time I got a cease and desist order from Axl Rose's lawyers... or both. It's hard to say.
9. If you could interview any musician/band (dead or alive) who would it be?
The thing about interviews is that they're pretty much force conversations between strangers. I don't know that you can expect too much from anyone you haven't really met before, especially considering the typical amount of time it takes to simply crack the ice with someone. The more you think about it, the more awkward the idea seems. That said...
Dead: I would like to hang out with Jimi Hendrix for a while. I think I could've learned a few things about partying from that cat.
Alive: I think Neil Young would have a few words that would help me gain some insight into life. The man's smart, and having lived through what he has, I can't imagine him not having a few amazing revelations just waiting to roll off his tongue. And if all else fails, we could just talk about hockey... though I honestly wouldn't mind just hanging out in awkward silence with the guy; seems like that'd make for a pretty great story to tell someone else's grandchildren.
10.If you could be in any band (of all time), who would you rock with?
I've never really wanted to be in a band. Sure, daydreams here and there, but I've never really wanted it. I'd much rather tour with a team of skateboarders, the Harlem Globetrotters, or even the Jackass crew. Actually, especially the Jackass guys: they're kind of like a band when you think about it. And I know Chris Pontius can actually jam a little bit. In the event someone has the power to make this happen holler at me, seriously—I'd jump at the chance to intern for their website or something. I'm pretty flexible and have already moved three times across two countries this year, so I have no qualms with picking up shop at a moment's notice. Please America, help show the rest of the world that dreams can come true!
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Monday, August 09, 2010
Music Monday - Chromewaves Talks Grizzly Bear and Keeping it Old School
Sometimes its a bit staggering to think back and see how long many online music/pop culture websites and blogs have been running. Many have lasted longer than print magazines have. For almost nine years now, Frank Yang has kept Chromwaves.net up and running strong in its home city of Toronto. Live reviews, MP3s of the week, music news, and a blog that covers CD reviews, offers MP3s and videos to listen/watch at your fingertips. While Chromewaves may call Toronto its home, the site covers the finest in international indie music and news, with just a little more CanCon than say, Pitchfork. I can't say enough about this website...they also feature a list of the latest movies, books and albums. They've really got it all. Heck, Chromewaves was voted "Best Music Website in Toronto" by NOW Magazine in 2008. I'll let Frank tell you more about it...Music Monday Q&A
1. How long has Chromewaves been operating?
As I write this, Chromewaves is exactly one month shy of eight years. September 2, is its birthday.
2. What makes Chromewaves different from other websites?
Nowadays - is that it's still run as an old-fashioned, one-post-a-day, one-writer blog. This used to be normal, but recently the magazine/multi-writer format has become more standard so what I do is kind of old school. But I'm too old and lazy to change formats at this point.
3. Do you think Chromewaves has a specific musical niche?
I don't have a niche that's easily identified- my mandate is simply to write about stuff that I'm interested in and that I think would be of interest to my readership, as I understand them and what they'd like to hear about. It's mainly your standard indie rock with an affection towards Brit pop and stuff from the '80s and '90s that I grew up with.
4. What albums are you looking forward to coming out?
It's already been a banner year for new records, but still forthcoming that I'm keen to hear are the new Superchunk, Belle & Sebastian and the debut from Warpaint.
5. How does Chromewaves support independent music and what's important about doing so?
It's hard to quantify how much benefit there is from coverage on any blog, but I would hope that people would hear something I post about and maybe buy a record or go to a show. It's just about letting people hear stuff that I think is good and having them make up their own minds from there. It's important because there's so much content available now thanks to the democratizing effects of the Internet that some people want filters that they can trust to point them at what's signal instead of noise.
6. Do you think online publications are taking precedence over print magazines? What kind of effect do you think that has on bands?
I would hope online publications could coexist with print - I like print, I still buy music magazines. It's much easier and enjoyable to read feature-length pieces in print. Online's strengths are in immediacy and multimedia, but there's something about sitting down and reading something on print that I still prefer.
7. What blogs/magazines do you read other than your own?
It certainly increases the number of avenues that bands have to be heard, but there's still a funnel effect when it comes to mass exposure. Like there may be a million blogs that can get you five pairs of eyeballs/ears, but there's still only five sites that can get you a million ears and eyeballs. Mostly sites that have similar sensibilities as my own that I can plunder for tips and content. I add tons of stuff to my RSS reader, often I don't even know what they are.
8. What has been your most definitive moment since you started Chromewaves?
Probably the Hot Freaks shows that I and other blogs helped put together at SXSW for a number of years. We assembled those lineups ourselves and established a pretty good track record of identifying acts that would go on to much bigger and better things; St Vincent, Grizzly Bear, Lykke Li and Land Of Talk, for example. It was fun to actually do something tangible beyond just typing on a computer.
9. If you could interview any musician/band (dead or alive) who would it be?
I don't really do interviews so that's kind of impossible to answer, but I think hanging out with Jarvis Cocker would be a lot of fun.
10. If you could be in any band (of all time), who would you rock with?
I would like to play with my site's namesake, Ride. Because that means they'd have reunited.
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Monday, June 21, 2010
Music Monday - Consequence of Sound Talks Arcade Fire, Vampire Weekend and More...
Music Monday Q&ARunning a music blog/website ca be a 24-hour job. People like Consequence of Sound's Alex Young don't have regular set hours because if you want to break the latest news, and beat others to the punch, you need to be ready to do so at the drop of a hat. That means a lot of work, late hours and scanning the Internet for new music. Based in New York and Chicago, one of CoS' coolest sections is Festival Outlook; a database that keeps track of all the newest lineup and rumors running around for music festivals all over the world. They must have spies on the inside. Considering how busy he is, we truly appreciate Young answering our questions.
1. How long has CoS been operating?
We have been up and running since September 2007. Ironically enough, however, it was never meant to be one... it eventually evolved into. Initially, it was just a hobby, but after meeting Michael Roffman – who is now the President & Editor-in-Chief – it sort of quickly evolved into a full-time profession.
2. What makes CoS different from other websites?
I think the thing that separates us from a lot of other websites is our passion. It’s not like we’re making a living off this – at least so far – but we’re still completely obsessed with making sure we are first to report a story, review an album, etc. We don’t have necessarily have hours. Instead, we often find ourselves posting at all hours of the day and night, seven days a week. I’m not sure many other websites can say that.
3. Do you think CoS has a specific musical niche?
We pride ourselves on covering all genres, ranging from indie rock and hip-hop to alt-country and electronica. So I don’t think we have a specific niche per say.
4. What contemporary albums are you looking forward to coming out?
Arcade Fire, Ra Ra Riot, The Thermals, Beastie Boys, and Kanye West.
5. How does CoS support independent music and what is important about doing so?
I think it goes without saying that no one buys music anymore. So the best ways to support artists are to do things like buy merch, attend a concert, and telling a friend. So make sure you do that. On CoS, we do things like post tour announcements and provide links to buy tickets and post spotlights about up-and-coming bands. We are also really trying to get into the events business, which would serve as another vehicle to showcase independent artists.
6. Do you think online publications are taking precedence over print magazines? What kind of effect do you think that has on bands?
In some respects, yes, but I do think both can co-exist. A magazine is a better outlet for feature stories since it’s a more engaging activity to read print on a page than it is on a website. (People on the web have short attention spans.). But I think when it comes to news and learning about new artists, online publications take precedence. After all, a magazine cannot publish breaking news or include an mp3.
7. What blogs/publications do you read other than your own?
My favorite websites are twentyfourbit.com (most unique info out there), rockitoutblog.com (only music blog that is also a video blog), stereogum.com (they are some of the most clever writers out there), and brooklynvegan.com (since I live in New York).
8. What has been your most definitive moment since you started at CoS?
Standing on stage during Vampire Weekend’s set at Lollapalooza last year and staring out at the 60,000 people watching.
9. If there is any musician/band you could interview (dead or alive) who would it be?
Jack White. By far the most interesting musician alive. I would love to write a book about him one day.
10. If you could be in any band (of all time), who would you rock with?
The Clash? The Raconteurs? The Thermals? Couldn’t choose just one.
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Monday, June 14, 2010
Music Monday - The Devil Has the Best Tuna Talks My Bloody Valentine, MIA and More...
Music Monday with The Devil Has the Best TunaThe Devil Has the Best Tuna is an odd name for a music blog, but we're fine with that because they have been staunch supporters of Green Light Go artists. Based in Liverpool, England, "The Devil is dedicated to unearthing known, unheard, unseen, unheralded, unfamiliar or down right unbelievable bands old or new that have not yet hit the radars of the British public." Main Devil, Paul Kerr has reached out to North America, picking up on the newest State-side bands as well. He does such a great job, we decided to let him keep his "European/Canadian" way of spelling things like "flavour."
Music Monday Q&A
1. How long has Devil been operating?
The Devil's first post was on Sunday August 6, 2006 ... titled "I've Started Something." I started it because of a band called the Monolators. I loved their sound and wanted to share their brilliance with the world. I can’t believe that it was nearly four years ago and the blog is still thriving.
2. What makes Devil different from other websites?
The Devil focuses on the unheard, the unknown, the unseen, the unheralded, and the unfamiliar. The type of band that lost a champion when the late great John Peel died. The Devil takes the road less travelled seeking out talent and originality in those dark corners that others pass by. You’re more likely to find an Indonesian Yeah Yeah Yeahs sound alike on The Devil Has The Best Tuna than the latest blogosphere flavour of the month.
3. Do you think Devil has a specific musical niche?
The Devil is too eclectic to be considered niche. I write about bands that excite me, that move me, that make me laugh, that make me cry, that make the world a better place. There’s something for everyone on the blog whether you’re into Americana, Brit-pop, alt-rock, shoegazing, punk, junk or avant-funk.
4. What contemporary albums are you looking forward to coming out?
I love the use of the word contemporary just in case I was looking forward to the Greatest Hits of Vera Lynn or Engelbert Humperdinck's latest oeuvre! I’d love to be able to say I was looking forward to the second La’s album and the new My Bloody Valentine album ...but I assume you mean albums that are likely to see the light of day!
Although they’ve already released albums this year I’m already looking forward to hearing more from Happy Birthday, First Aid Kit and Tiny Vipers. I’m hoping that the amazing Gaggle will be releasing an album sometime soon and I can’t wait to hear ‘Surfing The Void’ the much anticipated new Klaxons album. Other albums that I’m hoping will make my ears smile are M.I.A’s ‘/\/\/\Y/\’, The Coral’s ‘Butterfly House’, Bombay Bicycle Club’s ‘Flaws’ and School of Seven Bells’ ‘Disconnect To Desire.’
5. How does Devil support independent music and what is important about doing so?
The Devil’s mission is to bring independent music to a wider audience. I spend hours each week searching the Internet for the wired, the weird and the wonderful. As well as the blog, I tweet on independent bands and I wax lyrical about independent bands on Facebook. I like to think I do my bit!
It’s important to do so because if music was left to Simon Cowell, the suits, and the major labels we’d be served up nothing but over hyped, over processed homogenized common denominator, spreadsheet rock. Wallpaper music for lifts and shopping centres and what a dull, boring and excruciatingly irritating world that would be. So it’s important to support independent music if only to wipe the smile of Simon Cowell’s smug self satisfied face”!
6. Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
It may be a generalisation, but where oldies like The Devil cling like limpets to the printed word, the younger the music fan the more likely they will get their information online rather than through print. The online world is more democratic and provides many more opportunities for bands to be heard and to reach beyond their hometown audience. However the sheer size of the Internet can make it difficult for bands to make themselves heard. The blogosphere can sometimes seem like the biggest closed shop in the world with the same bands appearing on multiple blogs. It’s often the bands with the best PR companies, not necessarily the best bands that get the most publicity. Plus ca change!
7. What blogs/publications do you read other than your own?
As you would expect I read a lot of different music publications and blogs to both keep up with what’s happening in the world of music and to find new bands that I’ve not yet stumbled across to feature on the blog. There isn’t enough room to list all the various blogs/publications that I read but those I find myself returning to time and time again are MP3Hugger, Song By Toad, Artrocker, NME, Mojo and Uncut.
8. What has been your most definitive moment since you started your blog?
The most definitive moment was when I got my first reader on the day I posted my first blog. It was that one reader who made me think it was worth continuing. I wish I knew who he or she is so I could thank them for making an old Devil very happy. Without their curiosity the blog may never have gotten past the first post!
9. If there is any musician/band you could interview (dead or alive) who would it be?
Alive would have to be Morrissey, but I’d probably be struck dumb and end up asking him something really stupid. Dead would be John Lennon and I’d ask him was the Walrus really Paul.
10. If you could be in any band (of all time), who would you rock with?
At the risk of being boring it’d have to be The Smiths, although given my lack of musical talent and being tone deaf I’d probably end up on flower duty.
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Monday, June 07, 2010
Music Monday - Foundwaves
Music Monday with FoundwavesFairly new to the web scene, Foundwaves.com is based in Boston, mainly covering Boston-area bands, but is prepping to add New York and Philadelphia. Based off upcoming concerts and bands playing in the Boston area, Foundwaves doesn't cater to any specific niche or level. Their coverage is based on live shows, reviewing and feeling a part of the performance.
"Perhaps what distinguishes us the most, however, is that instead of viewing ourselves as a traditional media outlet that observes and critiques, we see ourselves as participants in the music scene who actively support it and seek ways to encourage collaboration between musicians and other creative types through the creation of original content."
Music Monday Q&A
1. How long has Foundwaves been operating?
We're the baby of the music blogosphere with only three months of existence, but we're growing quickly. We have five contributing writers (about to add five more), over 20 photographers, and several videographers. Currently our coverage is limited to the Boston area, but we're preparing to expand to NYC and Philly in the next month or so and then other major cities later this year.
2. What makes Foundwaves different from others websites?
We base most of our music coverage around our weekly concert picks. We listen to 100-200 bands a week (seriously!) playing in the Boston area and pick 10-20 of them to feature. Which bands we pick is based on the music, not on whether the band is signed or not, just won an award, or is being buzzed about on the blogosphere. In fact, when we're making the decisions, we don't even know what venue they'll be playing at, and often don't even look at the name of the band. Because of this, we're able to find some amazing bands that a lot of other blogs overlooked.
Once we've made our picks we post show previews and/or show recaps for as many of the bands as we can to introduce our readers to new bands and motivate them to go out to the show or make them wish they hadn't missed it and determined to go next time. We do this through Foundwaves-exclusive photography and videos and our still-evolving Foundwaves show preview writing style, which is notably different from many other blogs. Rather than focusing on biographical, historical, and technical descriptions, our writers try to share the experience of listening to the music using imagery and metaphor. We feel this kind of writing better captures why we love music and encourages a more welcoming environment for all music fans, regardless of their musical background.
3. Do you think Foundwaves has a specific musical niche?
Our focus is primarily on indie bands. So then what is "indie?" ....We'll just have to say that we know "indie" when we hear it. There are plenty of independent, unsigned bands that are definitely not "indie" and there are plenty of signed bands that are "indie." The word really has no relation to "independent" anymore – it's just a word that somehow encapsulates everything from Pavement to Neon Indian and beyond.
4. What contemporary albums are you looking forward to coming out?
Since all of our coverage is built around live concerts, we don't really follow the album release cycle. We can, however, list some of the bands we're looking forward to seeing again the next time they play in Boston: Bad Veins, Hanne Hukkelberg, Leopold and His Fiction, Forest Fires, Conservative Man, Reverse........
5. How does Foundwaves support independent music and what is important about doing so?
In the age of file-sharing, we believe that the most realistic hope independent bands have in making even a subsistence living is through touring. However, at this point the small club scene is a long way from bringing in enough revenue to accomplish this. Therefore, our goal is to help grow the live music scene so that enough music fans are going out to these smaller club shows to support modest livings for independent musicians. There are so many tremendous musicians pouring their heart into their music for very little reward.
6. Do you think online publications are taking precedence over print magazine? What kind of effect do you think that has on bands?
The growth of online music media has been one of the most important developments in music. Print media is limited by the number of magazines and the number of pages in each magazine. Online media obviously has none of these limits, which means many more bands can be featured. In addition, music fans can immediately hear a band and or watch a video online, something that is impossible when reading a print magazine.
7. What blogs/publications do you read other than your own?
We don't want to play favorites with our peers!
8. What has been your most definitive moment since you started at Foundwaves?
Without a doubt, the most definitive moment since launching was receiving our first submission to the Song Muse series, a poem inspired by a song by the great Boston band, Magic Man.
9. If there is any musician/band you could interview (dead or alive) who would it be?
We rarely find band interviews that interesting, so we'd have to go with one of the most eccentric musicians ever: jazz composer and pianist, Sun Ra, whose life experiences included a brief abduction by aliens from Saturn. Really!
10. If you could be in any band (of all time), who would you rock with?
Without a doubt it would have to be Earth, Wind, and Fire in 1975.
Follow Foundwaves on Twitter
Like Foundwaves on Facebook Click Here to Read More..
Monday, May 24, 2010
Music Monday - FensePost
Welcome the first edition of Music Monday. Each Monday we will feature a Q&A with the bloggers, critics, writers and taste-makers behind music websites, blogs, magazines and other publications that keep us all in touch with the latest in new music. First up...
Music Monday with FensePost - The Indie Music Blog
"Based in the fertile lands between Seattle, WA and Vancouver, BC," FensePost.com is truly about supporting independent music. With live concert reviews, music news, CD reviews, videos and so much more, FensePost is more of a fan blog that has turned into a site worth checking out daily to learn about new bands. We were fortunate to get FensePost's very busy Andrew Fenstermaker to take a second from checking his other 982 unread messages in his inbox to tell us about how it his love of undiscovered music and fondness of Swedish bands that keeps him going every day. The staff may be small at FensePost, but they are mighty and mighty busy. Fenstermaker is the main writer for the site, but is a champion of new music writers, giving unknown critics a chance to be published. He also makes a point on how being a blogger can be a daily stress, trying to fit enough into the blog while maintaining a life outside of the Internet.
Music Monday Q&A
1. How long has FensePost been operating?
FensePost launched in June of 2006 after I finished my MBA. I started it to keep up with my passion in music as I left my college radio station, KZUU. We started with two to three posts per week and have grown to two posts per weekday on average. It's primarily just me, but I have a few loyal writers to toss stuff my way on a fairly frequent basis. I probably write about 2/3 of the posts under the guise "Fense" which was my DJ name in college (a rendition of my last name, Fenstermaker).
2. What makes FensePost different from other websites?
We don't really follow the trends or hype. Sure, we'll cover the hot bands on occasion, but we like to place a great emphasis on covering truly unknown bands that we think are great. Of course, I recently posted a live review of a James Taylor / Carole King concert I went to with my parents, but that's a rarity. Most music is independent. I also write about a lot of Swedish bands.
Another thing that's different about FensePost is that anyone can write for the site. Part of the reason I started it was to give young music fans an outlet from which to write if they so desired without the need to create an entire site on their own.
3. Do you feel FensePost has a specific musical niche?
Not really, outside of independent music. As writers, we each have our preferences. I love indie pop and have had a huge thing for garage since The Legends' Up Against The Legends (Labrador Records, 2004). Ron, who is my most consistent contributor likes pop, rock, folk and even covers an occasional hip hop artist. Cyndi, a new contributor from Oregon, has passed along a lot of great folk. I even cover jazz on occasion (I have a fairly extensive classic jazz LP collection).
4. What contemporary albums are you looking forward to coming out?
I wrote a piece recently listing a few reasons why Sub Pop could very well dominate my 2010 best of list. They've passed along some really great albums this year so far, and I think they've got some amazing stuff lined up. I'm SUPER excited that Hardly Art will be reissuing the old Carissa's Wierd [sic] albums, although that's not really contemporary. I'm also looking forward to seeing what Slumberland (Records) has in store for us in the second half of 2010. And I'm pretty excited to hear new stuff on Woodsist (Records), which dominated my "10 Bands I Should Have Checked Out in 2009" list from a month or two ago.
5. How does FensePost support independent music and what is important about doing so?
I think it's important as a blogger to not only support bands that you (the writer) feel are good and worthy of promoting, but that you also do your part to support the artists you love. I receive a lot of albums in the mail and digitally for free by bands and labels and promotion companies that want me to write about their band. If the group has a single or released an album on vinyl and I really like it, I'll do my part and pick it up on vinyl. It supports the band, and I have the means to do so (from time to time). In today's digital world, I don't think a lot of young people who grew up with readily available free music (albeit not necessarily legal) understand the importance of what that type of support means.
I try my best to only post songs that have been cleared by a band to be posted, and I do my best to link to labels and band websites where readers can order an album directly from the artist or label. I think both of those elements are an important part of supporting independent music.
6. Do you think online publications are taking precedence over print magazines? What kind of effect do you think that has on bands?
I'm kind of immersed in the social media world, so I would have to say yes. But I don't think print magazines will go away. They just need to change in a way that makes sense. People will always buy magazines, but these publications will need to find new ways to reach their audience. I think there's a great opportunity for them using devices like the Kindle and iPad.
As for the second half of the question, there's a big shift that's occurring. It doesn't matter if you're in a band, own a small business, or are part of a large organization, you have to think of this stuff differently these days. What's put out there today is public in a way that's completely different than yesterday. If I told my friends of a great band in the 90s, it only went so far. It mattered, but it was different. That type of "word of mouth" still exists, but due to the dominance of blogs and social networking, it's now global.
7. What blogs/publications do you read other than your own?
As much as people hate Pitchfork, I like to visit the site once every few weeks and check out their Forkcast. I think it's really relevant and they cover some really great bands. I'm also a huge fan of Daytrotter and have been since their seventh session (Drakkarsauna). Locally in the Pacific Northwest, we have a few really great blogs. There's IndiePages, which is occasionally updated with some very super underground pop from around the world (Chris Mac recently opened a record shop and mail order in Seattle; you all should go buy stuff from jigsaw-records.com). My favorite these days is Finest Kiss.
8. What has been your most definitive moment since you started FensePost?
I think a good definitive moment came about two months ago. I was getting a bit overwhelmed with everything... work, personal life, home ownership, turning 30 (soon), and I had an epiphany: the world won't end if FensePost isn't updated. As a blogger, we set strict regimens for ourselves that are sometimes unrealistic. I would love to post three times a day, but I also want to keep my house clean, have a nice looking yard, and watch Arrested Development for the 67th time. You can't do everything. You can't listen to every band that sends something your way. It sucks, but that's just a part of life. What you can do is this: do what you can, and have fun doing it. It's kind of a recurring definitive moment... I have the same epiphany about once every six to nine months.
9. If there is any musician/band you could interview (dead or alive) who would it be?
I'm not much of an interviewer, but I'm trying to get into it a bit more. I'm pretty stoked -- I'm just about to send off a few questions to the band that released my favorite album of 2009, Venice is Sinking. I think it would be great to pick the brain of a master like (Brian) Eno or (David) Bowie or even Tom Verlaine (guitarist for Television). Maybe even Morrissey, although he'd probably just get pissed at me 'cause I'm a huge Smiths fan and I'd want to know all about what his beef is with his former band mates and why they won't get back together.
10. If you could be in any band (of all time), who would you rock with?
The Smiths or Television. Maybe Sweden's best pop band, Acid House Kings. I have a huge thing for Swedish pop. Click Here to Read More..
Monday, May 03, 2010
Live Sneak Peaks of Golden Bloom, My Morning Jacket, Superdrag mp3s
When we first heard that Golden Bloom's Shawn Fogel performed his new song "Mr. Belvedere" at his gig opening for Guster on April 14, for a second, we thought it could be a cover of the '80s TV show theme song of the same name.In all actuality it's a superb new pop song written by Fogel and Large Hearted Boy posted the live version of it from the recent Golden Bloom show with Guster, giving a sneak peek of the song that will appear on Golden Bloom's next album. Fogel/Golden Bloom is currently in the studio recording the follow-up to Fan the Flames. On the same spot, LHB also has new tracks from Superdrag, Godspeed You Black Emperor!, My Morning Jacket and Guster.
Along with the gaining momentum of his Neutral Uke Hotel project, Fogel is also a band member of The Zambonis (a band that sings only songs about hockey), The LeeVees (a band that sings only songs about Hanukkah) and The
live photo by Kenneth Parry
Monday, April 26, 2010
Free MP3s for Music Monday from Large Hearted Boy
You say you want to listen to some free tracks from The White Ravens, The True Jacqueline and No Second Troy and Grand Atlantic?
Look no further than the wonderful world of Largehearted Boy where mp3s by all four bands are available for your listening pleasure. Week after week LHB offers the best in mp3s by both upcoming young bands and hot tracks from your favorite indie bands. They even keep in check on what's happening over at Spinner and point us to their free Full CD Listening Parties, like they did last week for Grand Atlantic's State-side release of We Survive. You can still go and listen to the album before you head to Amazon.com to purchase your own hard copy of the superb record.
Listen here at LHB for The White Raven's tracks "Sparks" and "Tick Tock" and No Second Troy's "This is the End of Me," "The Black and White Movie," and "Leap of Faith." There's also some cool tracks by Black Rebel Motorcycle Club, Shout Out Louds for your listening pleasure.
Less we forget to listen here for Largehearted Boy's pick of mp3s by The True Jacqueline (pictured to the right). Bop to their peppy tracks "Monde Green" and "It's the Water." Click Here to Read More..
Look no further than the wonderful world of Largehearted Boy where mp3s by all four bands are available for your listening pleasure. Week after week LHB offers the best in mp3s by both upcoming young bands and hot tracks from your favorite indie bands. They even keep in check on what's happening over at Spinner and point us to their free Full CD Listening Parties, like they did last week for Grand Atlantic's State-side release of We Survive. You can still go and listen to the album before you head to Amazon.com to purchase your own hard copy of the superb record.
Listen here at LHB for The White Raven's tracks "Sparks" and "Tick Tock" and No Second Troy's "This is the End of Me," "The Black and White Movie," and "Leap of Faith." There's also some cool tracks by Black Rebel Motorcycle Club, Shout Out Louds for your listening pleasure.
Less we forget to listen here for Largehearted Boy's pick of mp3s by The True Jacqueline (pictured to the right). Bop to their peppy tracks "Monde Green" and "It's the Water." Click Here to Read More..
Monday, April 19, 2010
Grand Altantic's Album Streams on Spinner Today!
At GLG, we like Mondays (sorry Boomtown Rats), and all the new (and free) music that is available for us to hear!
Online music mecca Spinner is home to their prominent Spinner Full CD Listening Party will be streaming Grand Atlantic's full-length album How We Survive in its entirety today!
The Aussie's U.S. release for How We Survive is available for purchase on Tuesday, April 20, but you can hear the album in full all Monday on Spinner. We're delighted to get this album out to U.S. ears. Take a sneak peak listen on Spinner and we know you'll want it all to yourself by Tuesday.
Full of incredible harmonies and vocal layers, soft and melodic guitar riffs, and catchy choruses, How We Survive, is an album that feels like a timeless Brit-pop album. Full of glorious song after glorious rocking song, whether its perfect pop-rock, a little psychedelic pop or guitar heavy Brit-influenced. How We Survive is at times evocative of a groups such as Supergrass, Stone Roses and even the power-pop disguised as rock of Sam Roberts Band; Grand Atlantic is more ready to take on the U.S. with the State-side release of How We Survive. Click Here to Read More..
Monday, April 12, 2010
Music Monday's Melange of Mp3s
Alex Young of the website Consequence of Sound knows a good tune when he hears it. Each Friday the website makes these amazing mp3 Mixtapes. How cool is that?
Included on Friday Mixtape XCVIII (that's a lot of mixtapes!!) are free tracks by our own Alan Cohen Experience, Fan-Tan, Grand Atlantic, Naked Hearts and No Second Troy.
Our lovely artists share the "tape" with a really diverse mix of artists including The Futureheads, Owen Pallett, Elk City and Priestess.
CoS has a great thing going here. Just go to the page each Friday and listen to dozens of new songs instantly.
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