Music

Music

I'm sitting here trying to write a blurb explaining why we, Buke and Gase, are throwing in the towel, and it's annoying to admit, but the income-factor is a part of it. Everywhere we go, music is being played in the background, and somehow the money for that usage never reaches the people who create the art. Streaming has made the selling of albums nearly impossible!

We knew that if a brother got a deal for 150k, he could keep the majority of it, but it also would facilitate and help the other brothers. It was part of our core and movement for us to spread the money around and help brothers eat, without a project out. It was like we were trust fund babies.

"I'll Follow the Sun" is "a 'Leaving of Liverpool' song," McCartney explained in his 2021 book The Lyrics. "I'm leaving this rainy northern town for someplace where more is happening." Once they did leave, the band's rise to fame was stratospheric.

About 12 seconds into the opening night of Sphere with U2 back in '23, I thought 'We have to do this, it's completely uncharted territory!' This residency gives us another chance to reinvent how we interact with our fans in a live setting. We are beyond excited to share this with the world in six months time, and way f- psyched to go next level!

On Friday, Hybe, the South Korean-turned-multinational entertainment conglomerate, and Geffen, the American label owned by Universal Music Group, announced that Bannerman would be going on a "temporary hiatus" to "focus on her health and well-being." The statement pledges that this decision was made "after open and thoughtful conversations together" and that the group will continue with their scheduled activities.

The sound stopped suddenly. I wanted to use my right foot to hit the drum twice, but I ended with the first try. At that instant, my brain really drew a blank. I thought, 'What's going on?' This was Yamaguchi's recollection of the first symptoms of musician's dystonia that appeared during a concert in 2009, marking the beginning of his five-year journey to diagnosis.

'Cool Job' pulls from meme culture pastiche and 'Temporary Secretary' trope to skewer the fantasy that the right job will save your life. Written mid-burnout, it's an anti-work anthem about corporate rot, identity collapse, and trying to care about meetings that could have been emails while everything else is falling apart.

The vision for the L Y F has been with us since the start. Way back in 2010 when we first sold the white on white bandana with the Heavy pop / Concrete Gold 12" - We foresaw a community of like-minds that would gather around the flame of our music, and through whose direct support we could operate with freedom, autonomy & the truth; to play our own (infinite) game.

this summer i have the pleasure of playing shows with esteemed orchestras across the U.S., i did this once in london and it was... fucking glorious! so lets go - to beauty!!

Spotify is rolling out a new feature that's meant to make transitions in between tracks even smoother. If you'll recall, the streaming service released the ability to create customized transitions within playlists in August last year. It gave people a way to create uninterrupted progressions and eliminate awkward silences between songs.

Over freakishly lucid, cybernetic production, Zel pens dope boy anecdotes and takes a scalpel to them, splicing, re-shaping, and overlapping his punch-ins as he fits them in wayward pockets. After years of SoundCloud-only singles, his first solo full-length is immediately up there as one of the most singular rap debuts of the decade so far.

'Song of the Swamp' is rooted in where we're from. Driven by Florida and the raw aggression of nature, it's a heavy track built on tension and hostility.

We began in the world that was-in the humid atmosphere of fin-de-siècle Vienna, from which Zemlinsky, Schreker, and Schoenberg emerged. In a program note, Blier wrote that the "Fugitives" concept was inspired by Zemlinsky's "Meeraugen," or "Sea Eyes," which tells of a "person staring into the roiling abyss of the ocean." You had the feeling, as the evening went on, that the crushing realities of twentieth-century history-war, revolution, inflation, the Depression, Fascism-made such refined aestheticism untenable and forced composers onto other paths.

But mainly, it's the result of the New Orleans duo's unique stamp on the sound of underground punk: Honeywell, often in a leather vest, howls with a pack-a-day voice over racing, lo-fi guitar, while RJ Santos, always sporting a dapper suit and tie, plays pedal steel. It's garage punk with an old-school country twang; as their personality seeps through the sound like dye, it takes on the color of music's sepia-toned past and technicolor present.

A deeply sensitive, unverified allegation is circulating in Hip-Hop after an interview aired on Doggie Diamonds TV, where a Staten Island woman identifying herself as Tai claimed she is related to members of the Wu-Tang family circle and described what she says was a traumatic, long-suppressed situation. Host Doggie Diamonds opened the segment sounding shaken, telling viewers: "In my whole 19-year career, I'm baffled." He added, "I don't even know what to say."

When the pandemic hit, and reality settled in that life would be isolated and mostly inside, Grammy winner Anderson .Paak found himself on the outside looking in, in a way he didn't anticipate. "I was the odd man out. My son was 8, and BTS took over the whole house," .Paak explained in an interview with The Times at his WeHo lounge, Andy's. "It was a K-pop storm. Before that, me and my son were bonding off of my music."

The smell of vinyl seats baking in the summer sun, the crackle of AM radio cutting through static, and dad's off-key humming as the family station wagon rolled down another endless stretch of motorway. If you grew up in the 60s or 70s, these sensory memories probably just transported you back to childhood road trips that seemed to last forever. Those journeys weren't just about getting from A to B. They were rolling classrooms where we learned geography from road signs,

I recently had the pleasure of interviewing Laurie Spiegel for the site. As preparation for the interview, I spent a lot of time over the last couple of weeks revisiting Spiegel's records, most notably The Expanding Universe, her 1980 masterpiece that blends synth experimentalism with early examples of what would eventually be called ambient music, and algorithmic composition techniques. It's a marvel that sounds both nostalgic and cutting-edge at the same time.