Death Cab For Cutie came as a trio: Ben Gibbard sang, Nick Harmer played bass, and we wheeled in our piano for Zac Rae. This intimate set included two new songs — including “Black Sun,” the first single from their new album Kintsugi.
The album title refers to the Japanese art of reassembling broken pottery and making the breakage part of the newly formed pot. Death Cab For Cutie, a groundbreaking band formed in 1997, has gone through its own rebuilding of sorts. Chris Walla, a founding member of the band, has left, after contributing music to Kintsugi, but that’s his farewell offering.
Death Cab For Cutie is still strongly defined by Gibbard’s words, and that couldn’t be more evident in this beautifully stark performance, which also includes “No Room In Frame” from Kintsugi, as well as two stripped-down favorites from the past. One, “Your Heart Is An Empty Room,” is from Plans, while a beautiful love song from Transatlanticism, “Passenger Seat,” moistened more than a few eyes in the crowd.
“Black Sun” 0:07
“No Room In Frame” 5:13
“Your Heart Is An Empty Room” 9:23
“Passenger Seat” 14:00
Producers: Bob Boilen, Maggie Starbard; Audio Engineer: Kevin Wait; Videographers: Maggie Starbard, Carlos Waters; Assistant Producer: Emily Jan; photo by Emily Jan/NPR
“Captain of My Soul” by Automatik Eden, visit them at automatikeden.com
We are excited to release our Renegades music video by Cela Scott, who plays Lexxa’s mother in the film. The song based on the poem “Invictus” by William Ernest Henley, which plays a prominent part in Renegades.
In the video, you will get a first look at some of the amazing VFX created by our very talented team, as well as some never-before-seen footage from both the film and our flashback shoot!
Production update (3/15/2015)
Every VFX shot is now in the film! Out of the total 637 VFX shots, we only have 20 remaining that need to be polished and finalized. Also, we are starting the process of updating the Archer Bridge with monitors and other visuals (which is also a part of post production).
We are completing the color correction for the CBS temp film and it will be ready for presentation at the end of the month.
Thank you for your amazing support and your continued patience
WIN 2 x VIP passes to see us play Wildlife Festival in June! Just Shazam FOREVER (PT.II) to enter the competition.
Forever (Pt. II) feat. Kaleem Taylor is taken from Snakehips - Forever (Pt. II) EP
Buy ‘Forever (Pt.II) EP’ on iTunes - smarturl.it
Stream ‘Forever (Pt. II) EP’ on Spotify - smarturl.it
Music video by Snakehips performing Forever (Pt. II). (C) 2015 Sony Music Entertainment UK Limited under exclusive licence to Hoffman West
In the first weeks of 1964, the Beatles’ “I Want To Hold Your Hand” raced up the US charts, giving the Liverpool band its first American hit single and helping to launch the British invasion. At around the same time, the Rolling Stones were enjoying a number-three hit in the UK with “Not Fade Away,” as well as a number-one British EP. The Stones tried - but couldn’t immediately replicate - the Beatles’ stateside success, lagging behind by more than a year.
The decisive breakthrough for Mick, Keith and company came with the release of “(I Can’t Get No) Satisfaction” in June of 1965. The song rocketed to the top of the US charts, partly fueled by claims that the lyrics referred to sexual frustration.
But “Satisfaction” was not the Stones’ first top ten single in the US. In March 1965 the band released “The Last Time,” which rose to the number-nine spot stateside, while topping the charts in the UK. Unlike “Satisfaction,” the story of this song is not one of scandal and rebellion, but rather one of admiration and imitation. It possessed stylistic flairs and influences that would ultimately foretell the band’s future stardom.
But as the corporate money flows in, with it can come expectations from some musicians that the dollars will trickle down. On Wednesday, the band Ex Cops, from Brooklyn, took to Facebook to single out McDonald’s for its Austin offer: The group could play the company’s sponsored stage but would be compensated only with free food.
Brian Harding, one half of the duo, wrote: “In lieu of being paid like a real artist, or anyone who is employed to do a service, McDonald’s assures us that we will ‘be featured on screens throughout the event,’ as well as POSSIBLY mentioned on McDonald’s social media accounts like Facebook (57MM likes!).”
In December, the fast food behemoth vowed to “improve the SXSW experience for everyone” with its corporate patronage, in the form of the McDonald’s Lounge, offering coffee and Wi-Fi, and the “Fry-Fi” food truck, with fries and even more Internet access.
Avers performs “Harvest” at WNRN in Charlottesville, Virginia. Subscribe to our channel to see more in studio performances!
According to their FB page, they are hooked into mostly East Coast gigs right now, but will be at SXSW.
Born in West Africa in c.1775 JOSEPH ANTONIO EMIDY was enslaved as a child by Portuguese traders, taken to Brazil and subsequently Portugal where he became a virtuoso violinist in the Lisbon Opera. Kidnapped by British sailors during the Napoleonic wars, he spent the next four years as a ship fiddler before finally being abandoned at Falmouth in 1799.
In Falmouth Joseph Emidy began by earning his living as a violinist and teacher. In 1802 he married JANE HUTCHENGS (or Hutchins), a local tradesman’s daughter and five of their eight children were baptised at the Church of King Charles the Martyr before the family moved to Truro around 1815.
Emidy remained in Cornwall to perform, teach and compose throughout the county organising concerts, pioneering harmonic societies and eventually becoming Leader of the Truro Philharmonic Orchestra. His own chamber works, concertos and symphonies made him the most celebrated and influential musical figure in early nineteenth century Cornwall.
Joseph Antonio Emidy died in Truro on 23rd April, 1835 and his tombstone is in Kenwyn churchyard.
Unfortunately, no copies of his compositions are known to have survived.
BUY PLECTRUMELECTRUM: plectrumelectrum.3rdeyegirl.com
Produced by: JPA ENTERTAINMENT
Adapted from Original Song by Alice Smith, Rebecca Jordan, Reginald “Syience” Perry
(c) NPG Records 2014
What if “Twinkle Twinkle Little Star” was a scientifically accurate song? Check out this little cartoon by illustrator Chris Jones, and Zach Weinersmith of SMB comics.
Update 12/23/14 at 9:34 am: I forgot to mention that Henry Reich, the creator of Minute Physics, wrote the song.
White power music was in trouble. But then racist bands discovered iTunes, and now they’re back in business.
The racist music industry, a once lucrative source of funding for the white power movement, is a shadow of its former self. Over the past decade, it has become increasingly fragmented and disorganized in the wake of the collapse of several major labels and distributors. Concerts have become scarce and those that remain have been driven even further underground. However, the ever-resilient white power music scene has found new hope and new profit amidst the wreckage of a once multimillion-dollar industry from an unlikely source: the world’s largest music vendor, iTunes.
The digital media marketplace, owned by Apple Inc., boasts the sale of more than 21 million songs every week, from a catalog of more that 26 million songs that, as of September 2014, included at least 54 racist bands.
The catalogs of bands from across the spectrum of hate music, ranging from established acts like Skrewdriver, the Bully Boys and Max Resist to little-known, DIY groups, can be purchased as MP3s or streamed with iTunes’ radio service with ease. Providers of MP3s receive a wholesale payout of 70 cents per song and $7 per album sold, as well as an additional fee per play through the iTunes Radio interface and a proportionate share of monthly advertising revenue.
The iTunes legal department did not respond to multiple requests for comment.
Where does this money go? Directly into the war chests of the individuals and organizations promoting racism and violence against minority groups both in the United States and abroad.