It’s that time of the year again: when people take words that others have said and twist them around to fit their own individual message. And no, we don’t mean election season; it’s time for another volume of Punk Goes Pop! In the fifth installment of the popular decade-old Fearless Records compilation, we get a mix of tunes from ’80s classics to contemporary chart-toppers. Here are five of our favorites from the upcoming November 6 release. Continue reading ‘Scenesters Channel Their Inner Divas On ‘Punk Goes Pop 5′’
Coldplay have premiered a new music video for their single “Hearts Like Heaven,” featuring footage adapted from their upcoming comic book series. That’s right, Coldplay are making comic books now. The video is an introduction into the fantasy/sci-fi world of main character Mylo Xyloto, which consequently is also the title of both the series and the album that tell the story.
According to StereoGum.com, Mylo Xyloto will be a “six-part miniseries… reportedly [leading] up to a feature film.” The first issue of this series will be making its debut this weekend at the New York City Comic-Con, with the remaining five installments scheduled for production starting in February 2013.
While this is a brand new direction for Coldplay, they are not the first band to go nerd on us. Prog-rock band Coheed & Cambria are almost a decade into their career of creating conceptual albums with accompanying comic books (which are also currently being made into a movie, coincidentally). Perhaps this may have inspired the English lads in Coldplay to pursue their endeavor. Who knows, maybe we’ll see even more conceptual comic book adaptations from other musicians once Mylo Xyloto hits the mainstream market… The Adventures Of Lady Gaga: Radio-Active Warrior Princess From Outer Space… anyone?
If you like Coldplay, then you might also like OurStage’s own TeamMate
Rhythms Del Mundo: Africa is the latest project from Artists Project Earth, an organization that aims to raise awareness and funds for climate change and disaster relief projects. The vocals of stars including Coldplay, Eminem, Red Hot Chili Peppers, Beyoncé, Fleet Foxes, Mumford & Sons, and Bruno Mars, combined with the instrumentation of high profile African musicians like Toumani Diabaté and Rokia Traoré, result in a collaboration of epic proportions. Previous releases from APE include Rhythms Del Mundo: Cuba, Rhythms Del Mundo: Classics and Rhythms Del Mundo: Revival.
Listen to some clips in the player below while you learn more about the project!
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Some bands use music as catharsis, grinding their axe against the injustices of the world. Some use it to broadcast emotion, bearing their hearts for all to see. And maybe some use it to ask questions—to ponder the inner workings of the universe. Canons, out of Tecumseh, Mich., uses music to celebrate their faith. But it’s not all choirs of angels and heavenly trumpets. Their music draws not only from divine inspiration, but from secular bands like Jimmy Eat World and Coldplay. “Someday Soon” is angular and turbulent, a caveat for those wasting their time here on Earth. “Someday we’ll wake up and see the dream is gone,” sings Dustin Lolli over crystalline guitars and thrashing drums. If that’s too dark a thought for you, skip over to “Take Hold Of My Hand,” a power ballad that compels you to wave your lighter in the air. Reverent rock isn’t for everyone, but if the spirit moves you, let there be light.
Move over, Coldplay. And tell U2 the news. Muse is gunning for the latter bands’ longtime job, the one for which the former might be considered naturally next in line: biggest rock band on the planet.
Bono, for one, may have seen this coming. When Muse opened for U2 on U.S. dates of the iconic Irish band’s 360° Tour in September and October of 2009, U2 frontman Bono touted the young English trio as one to watch — and listen to — the next biggest thing. Muse deserved the distinction: What other rock & roll band can claim responsibility for inspiring the Twilight saga?
“And, finally, thank you to the talented musicians who inspire me, particularly the band Muse — there are emotions, scenes, and plot threads in this novel that were born from Muse songs and would not exist without their genius.”
— Twilight author Stephenie Meyer
But being the muse of a best-selling author and earning plum spots on the soundtracks to the blockbuster films based on her blockbuster book series do not ruling rock Gods make. Muse, though, is about to give it a shot with their upcoming sixth album, The 2nd Law (due October 2), which is receiving perhaps the biggest pre-release marketing push since Lady Gaga’s Born This Way. Continue reading ‘Sound & Vision: Can Muse Become the Biggest Band in the World?’
Something interesting recently went down atop the U.K. singles and album charts. Elton John reigned on the list of best-selling albums with a collection of 40-year-old songs, while Florence + the Machine was No. 1 on the singles chart for the first time ever. The band’s vehicle? A song that was originally produced by Paul Epworth, a regular Adele collaborator (“Rolling in the Deep” and “He Won’t Go,” the best song on 21) who had never managed to go that high in the U.K. working with the world’s biggest female pop star.
Alas, he wasn’t exactly scaling that height with Florence either—at least not alone. And therein lies the twist in this chart saga: a good beat. Those Elton John classics had been updated with a danceable 2012 electro sheen by Australian production duo Pnau on the chart-topping Good Morning to the Night, an album featuring dozens of John songs from between 1970 and 1977 crammed into eight tracks and credited to Elton John Vs Pnau, while Florence’s Epworth-produced Ceremonials track “Spectrum” was the leading single via the re-titled and remixed-by-DJ/producer Calvin Harris (for optimal under-the-strobelight consumption) “Spectrum (Say My Name) (Calvin Harris Mix).”
When Bryan Ferry sang, “Don’t stop the dance,” was this what he had in mind? Beat-driven pop where singers share star billing with the producers who boost them to the top? More than ever, the recording arts have become a producer’s medium, in much the same way that film is a director’s medium, with the behind-the-scenes talent dominating both the sound and the vision. (The stage, in singing–when it’s actually live–as in acting, remains the domain of the performer.) With a smaller pool of star producers creating a bigger bulk of the hits, pop music has become as homogenized as Hollywood blockbusters.
According to Ron Fair, a veteran music executive and producer who has worked with Christina Aguilera, Fergie and Lady Gaga, it’s a logical progression from how records are now made. “A producer today is a hybrid role of producer, songwriter, and beat maker,” he says. “What we used to call arranging is now called making beats, so generally, the producer is the guy who walks in with the song. Back in [Beatles producer] George Martin’s and [Linda Ronstadt/James Taylor producer] Peter Asher’s day, they weren’t responsible for making songs.”
Dance music, however, has always been more of a producer’s forum than middle-of-the-road pop. But with disco in the ’70s, it didn’t always show. When one remembers Donna Summer’s greatest hits, Gloria Gaynor’s “I Will Survive,” or Amii Stewart’s “Knock on Wood,” the spectacular vocals probably come to mind first, then the beat. Continue reading ‘Sound and Vision: Do Today’s Pop Music Producers Have Too Much Power?’
Time flies, they say, when you’re having fun (probably more so when you’re having fun in fun.!), and 2012 appears to be whizzing by at a faster clip than usual. Not everyone is having such a blast, though. Yes, these are the best of times—still!—for Adele, but how could they not be? She continues to hover around the top of the charts with 21 more than a year after its release.
What about her brothers and sisters in pop? Here’s a scorecard for the first half of 2012.
Rihanna with a beat A word of advice to Rihanna: Don’t stop the dance. After she spent 10 weeks at No. 1 with “We Found Love”—her collaboration with Scottish DJ Calvin Harris and the first single from Talk That Talk, her sixth album— neither Jay-Z (on the album’s title track), nor Chris Brown (on the single remix of “Birthday Cake”), nor Coldplay (on whose Mylo Xyloto track “Princess of China” Rihanna appears) could boost Rihanna back into the Top 10.
It took a return to strobe-light pop, with Harris as co-producer (along with Dr. Luke and Cirkut), to give Rihanna her first new Top 10 hit of 2012, with “Where Have You Been.”
Lady Gaga in Southeast Asia The year began pretty quietly for Gaga until she kicked off her “The Born This Way Ball” tour in Southeast Asia in April. Then everything that could possibly go wrong did. Christian groups in South Korea, where she played Seoul on April 27, slammed her less-than-holy stage antics, resulting in government-imposed over-eighteen age restrictions for the opening-night show. Meanwhile, the protestations of the Muslims in Indonesia led to the cancellation of her June 3 show in Jakarta.
In Thailand, things went from bad to scandalous. First, she incited the ire of locals by touting Bangkok’s supply of “fake Rolex” moments after arriving for her May 25 concert there. Then they ripped her apart some more for wearing a traditional Thai headdress with a bikini and for sitting on a motorbike with a Thai flag tied to it during the show. At least she didn’t simulate sex with a statue of Buddha.
White boys with an edge Nothing but the beat isn’t just the title of David Guetta’s latest album. It’s become pretty much a mantra for most of the women in pop (see Rihanna) and many of the artists formerly known as R&B and hip-hop stars (Usher, Chris Brown, Nicki Minaj).
But in reality, it isn’t all about the beat. The two biggest No. 1 singles of the first six months of 2012—fun.’s “We Are Young” and Gotye‘s “Somebody That I Used to Know”—are both quirky pop songs that have little to do with the prevailing sound of the times (dance music). Where either act goes from here is anybody’s guess, but it’s nice to know that in 2012, you can still score a big hit even if you can’t dance to it.
Madonna’s latest album Okay, so the Queen of Pop is in no danger of being evicted from her throne and sent to the poor house anytime soon. She can still demand top dollar (as in hundreds of them) for mediocre seats and sell out her current “MDNA” world tour anyway. And her 12th album, MDNA, did debut at No. 1 with 359,000 copies sold in the week after its March 26 release.
Alas, it spent only a pair of weeks in the Top 10 (dropping a record 86.7 percent in week two), and by the time the “MDNA” tour kicked off in Tel Aviv on May 31, it was out of the Top 100 completely. Meanwhile, “Give Me All Your Luvin’,” the first single, hit No. 10 on Billboard’s Hot 100, but it was on and off the charts within two months, and thus far, there’s not a follow-up hit within earshot.
Lionel Richie Sometimes it’s not where you start but where you end up a few weeks later. Although Richie’s latest album, Tuskegee, entered Billboard’s Top 200 album chart in the runner-up position to Madonna’s MDNA, it didn’t stay there for long. It eventually crawled up to No. 1, and by May, it was the second best-selling album of 2012 (with 789,000 copies sold), right behind Adele’s 21.
Adam Lambert His sophomore album, Trespassing, did debut at No. 1, making him the seventh American Idol contestant to get to No. 1. Unfortunately, Lambert did so with only 77,000 copies sold—the lowest sum for a No. 1 debut since February of 2011, when Amos Lee’s Mission Bell began on top with first-week sales of 40,000. And it was only downhill from there. After four weeks on the Top 200 album chart, Trespassing was way down at No. 54.
Where were those Glamberts when Adam needed them? Did they defect to Team Beliebers?
Summer and songs. They fit together like Santa and snow, like sex and the city, like Coldplay and Rihanna in the “Princess of China” single and video, which both acts no doubt are hoping will be the song of the summer of 2012. (And if it’s not, Rihanna’s got another shot anyway, with “Where Have You Been,” the fifth single from her Talk That Talk album.)
But the songs of summer aren’t just about the latest, greatest hits when warm weather starts to roll around. If they were, we all would have been stuck with Adele’s “Rolling in the Deep,” Nicki Minaj’s “Super Bass” and LMFAO’s “Party Rock Anthem” on an endless beach loop last summer (and certainly some of us were). The hottest season has been figuring prominently into pop since the beginning of time, regardless of the temperature outside.
This year, it will be no different. So while the rest of the world is sweating it out to Rihanna and Coldplay, or Rihanna on her own, or brand new music from Justin Bieber, Usher, Chris Brown, or Fiona Apple (my personal beach pick), feel free to pad your summer mix with these ten entries, some of the best “summer’ songs ever.
It’s been more than a hot minute since multi-platinum boy bands like *NSYNC and Backstreet Boys roamed the earth and ruled the charts. Now, after a decade-long dormancy, cute, heavily-styled guys who sing in harmony and don’t play instruments are suddenly back in fashion.
Once again, the UK is leading the charge onward and upward. While Backstreet Boys and *NSYNC were born in the USA, they enjoyed their earliest success in the UK. This time, though, the new wave of blushing boy bands represents an authentic UK-born-and-bred British invasion.
The members of The Wanted, whose “Glad You Came” single has climbed into the Top 3 of Billboard’s Hot 100 (the quintet’s self-titled US debut album arrives April 24), and One Direction, whose first album, Up All Night, just outpaced Adele to enter Billboard’s Top 200 album chart at No. 1 (176,000 vs. 148,000 copies sold), all hail from Britain and Ireland.
In just a few months, both groups already have enjoyed more US success than Ireland’s Westlife, or Take That, perhaps the UK’s biggest boy band ever, who aside from one Top 10 single (1995’s “Back for Good”), never made it big in the States. (With the exception of Spice Girls and Bananarama, UK female vocal groups—including All Saints in the ‘90s and, more recently, Sugababes and Girls Aloud—haven’t fared much better in the US over the years.)