Rap group G-Unit have just premiered a new music video for their single "Rider Part 2" on May 28 . The clip was the follow up for their first clip "I Like The Way She Do It", that has just been outed on May 12. The new clip only features the three remaining members of the group, 50 Cent, Tony Yayo and Lloyd Banks. The video at first actually also sees another rapper, Young Buck, but for some reasons Buck's involvements on the clip and on other G-Unit's songs have been excluded by the group. The single itself is being set as the second from the rappers' upcoming new album after dropping "I Like The Way She Do It" as the first one. Beside being featured on "Terminate on Sight" the song is also available at the group's mixtape titled "Elephant in the Sand".
Recently the world of music videos has seen tons of artists turning their song into a short movie. Think of Panic! At The Disco and The Killers latest videos. However, when was the last time you watched a lead singer perform in his own video like he's in Broadway musical? Singer, Andrew Volpe, of the band Ludo definitely hits that note in their one-shot video for "Love Me Dead" that features several fascinating escapades in the background. It could be the best music video I've seen since OK Go hit those treadmills.
t. Louis power-pop band delivers us some of the best quirky rock since Weezer’s heyday on their major label debut...
My Story Ah, clever bands. We love them, don’t we? Bands like Harvey Danger and The Presidents Of The United States Of America, who know how to put out a quirky, left-of-center single that just grabs our heart. Of course, clever bands are also like that girl we met in class, who wasn’t super hot, but was pretty funny. So we got her number and talked to her on the phone a couple times. Maybe nailed her once (before we’d seen her dorm room and all those crazy stuffed animals) and then she got terribly clingy. So we stopped answering her calls and started sitting in the back of the class, making a bee-line for the door every time the damn thing was over. But then she got wise and started sitting in back too, showing up half an hour early just to make sure she could catch us. So we started ditching the class altogether and wound up failing the final, all to avoid talking to this chick who was once pretty fun to talk to but had slowly turned into a stalker…
Yeah, clever bands are sort of like that. We love ‘em and we ditch ‘em, and very few can ever transcend “fun to talk to” and reach the “fun to hang out with longterm” status. Not that its never happened. Hell, we’ve all practically married Weezer. So the question is: will Ludo, the newest clever band to come down the pike, get under our skin like Rivers Cuomo and his pals, or will we spend a night of passion with them and then wind up changing our cell providers?
Their Story Ludo formed in St. Louis, Missouri as an acoustic duo in 2003, the combination of vocalist/guitarist Andrew Volpe and guitarist Tim Ferrell. The group drew their name from the gentle giant in Jim Henson’s fantasy film Labyrinth. The ranks of the band swelled over the next year, growing to include bassist Marshall Fanciullo, drummer Matt Palermo and moog-player Tim Convy.
The band recorded their self-titled indie debut in 2004. Ludo was released that spring on the group’s Redbird Records. The album was met with positive reviews and kicked off a strenuous period of touring by the band. The next year, they recorded the EP Broken Bride, a rock opera. Even more touring followed.
By 2007, Ludo’s interactive live shows and indie albums had drawn the interest of several major labels. That year, they signed a 5-album deal with Island Records, which would keep their Redbird label as an imprint. In late 2007, the band entered the studio with producer Matt Wallace (who worked on Maroon 5’s debut, as well as several albums with Faith No More) to record their first album for Island. The set was slated for a February 2008 release. The lead single, “Love Me Dead”, impacted radio the month before and has made some waves on Modern Rock stations. The video is also making the rounds.
Following their Island debut’s street date, Ludo toured for the entire month of March, including a showcase at SXSW and shows opening for the reunited Presidents Of The United States Of America. For future tour dates, check out Ludo’s official site.
The Album On February 26, 2008, Island and Redbird Records released You’re Awful, I Love You, the second full length album by Ludo and their major label debut. The album features the hidden tracks “Goodbye Bear” and “The Boat Song”. The iTunes digital version contains the bonus track “Japan It!”.
Following on one of the most well received 16 minutes of music in recent history (2006's A Lesson In Crime EP), Newmarket Ontario's Tokyo Police Club will release a debut album entitled Elephant Shell, due out late April on Saddle Creek in North America and Memphis Industries in the UK.
Elephant Shell lands roughly a year and half after A Lesson In Crime (with last year's Smith EP and "Your English Is Good" digi-single and a ton of touring also bridging the gap) and barely four years from the band's 2005 formation. Not bad for four friends who learned to play during senior year in high school, later naming themselves for a nonsensical lyric from the song that would become track one on their first EP, which would in turn sell over 30,000 copies-probably about 29,000 more copies than they expected-and garner accolades from Entertainment Weekly ("We can hardly wait for the full length” A-), Rolling Stone ("If only all young guitar bands were smart enough to rock out this fast, banging out seven first-rate mod-punk party starters in barely more than sixteen minutes"), Interview, Blender, Nylon and The New York Times among others.
If bassist/vocalist David Monks once described the band's music as "wide-eyed post-punk with a tendency to get over excited-so much so that someone has to come and tell it to settle down," Elephant Shell is the sound of four early-20-somethings now seasoned through hundreds of shows from tiny clubs to the festival throngs at Coachella and Glastonbury, maturing a bit and learning to temper and modulate their own more varied musical moods. Or maybe Canada's socialized health care means easier access to generic Ritalin and Adderall? Either way, Elephant Shell delivers on every bit of promise in Tokyo Police Club's rapid-fire barrage of material to date.
The opening one-two of "Centennial" and "In A Cave" barely evaporates before "Graves" and "Juno" pack innumerable hooks and "what-does-that-remind-me-of" glimmers into meager 2-minute-and-change frameworks, while "Tessellate" and "Sixties Remake" encapsulate everything great about the manic TPC live experience: soaring guitar signatures and keyboard figures, driving backbeats and irresistible singalongs abound. Elsewhere, "The Harrowing Adventures Of..." and the down tempo standout "Listen To The Math" find our young protagonists ably adapting their energy into more subdued structures before the rousing coda of "The Baskervilles" brings the record to an all-too-early halt.
Unsurprisingly, Tokyo Police Club is already back on the road at press time and will continue to be through the release of Elephant Shell.
Music Review: Tokyo Police Club - Elephant Shell
With determination, you can accomplish quite a lot in under three minutes. In terms of Newmarket’s Tokyo Police Club, entire stories can be told in under three minutes and melodies can bob and weave through the confines of indie rock and post-punk revival without being hasty. On Elephant Shell, the Ontario group’s first LP, that’s just what they do.
With only one song clocking in over three minutes and a total runtime a smidgen under 28 minutes, Elephant Shell is one of the most succinct albums of the year and matches with REM’s Accelerate for depth through concision. The music is intricate and yet carries an unfussiness that creates melodies that are utterly hummable and alluring.
The bar was set pretty high after the critically-acclaimed Lesson in Crime EP, as its quick introduction to the band tore through 16-minutes of blazing guitar-riff heaven. In danger of perhaps being too to the point, Tokyo Police Club waited a year and a half before finally dropping Elephant Shell last month. The wait was worth it.
One of the things instantly apparent is how frontman David Monks has expanded on the themes in Lesson in Crime and tears a slightly Decemberists-quality swath through Elephant Shell. The lyrics are strong, painting elegant word pictures that sail over the band’s pensive pop surroundings with ease. Monks’ lyrics are genuine, yet filled with a sense of gloom and desolation at times. Always eloquent, one can get a deep sense of insight with his simple phrases.
Songs begin suddenly and end just as abruptly, such as the album’s first track, “Centennial.” As though setting the bar for short, effective anthems, “Centennial” works as an overture and as a sign of things to come.
Other songs pour brilliantly into small spaces, like the graceful “Tessellate” with its spirited lyrics and clap-along tempo. Monks’ description of “all the kids who cut their knees on that old schoolyard fence” calls upon grey-skied memories and tickles of rebellion.
Monks and Co. deliver songs with mental clarity, unfolding pictures and dusty memories with a simple swoop of phraseology or an elegant flourish of guitar and keyboard. Songs like “Sixties Remake” and the bouncy “Your English is Good” showcase the group’s conciseness, as tight bass lines play with sharp rhythm and background vocals to create immediate poppy sticks of musical dynamite.
Always sharp and never tedious, Elephant Shell is a phenomenal follow-up to Lesson in Crime and serves as a beautiful collection of lyrics and quick songs that get to the point and linger long after the closing notes melt away.
Florida rapper, Plies, is getting ready for his eagerly awaited new album, and to help celebrate its release, he’s preparing to head on the road for a nationwide promo tour.
The trek will see the Fort Meyers-based rapper paying tribute to his fans in the U.S. military with a series of appearances in association with Army & Air Force Exchange Service (AAFES) and Navy Exchange Service Command.As far as the upcoming album, titled Definition Of Real, it’s already becoming anticipated as the single “Bust Is Baby Part 2″ begins to take off on both radio and TV.
The video is in heavy rotation on BET and has recently been added to MTV2.
In conjunction with the upcoming release, Plies is holding a special “Real Things” promotion in which two diamond chains will be awarded to a pair of very lucky fans. The promotion — which will run for three weeks, beginning on the album’s June 10th street date — allows fans to enter for a chance to win either a diamond “Plies Bust It Baby” chain or a diamond “Goon” chain.
The rapper is also offering exclusive swag to fans who pre-order the album via the Atlantic Records Media Store. In addition to an immediate MP3 download of “Bust It Baby Part 2,” buyers will receive their choice of a men’s “Certified Goon” t-shirt or a girl’s “Bust It Baby” baby-t.Additionally, he also is giving fans signed up to his official fan club at PliesWorld.com a chance to score tickets to shows in their area, first look at videos, photos and other exclusives.
Check out The White Tie Affair's debut album WALK THIS WAY available now at iTunes and the CD in stores April 22nd, 2008.
It's part one of the of the Uncensored Director's Cut of The White Tie Affair's short film, "Allow Me To Introduce Myself...Mr. Right" along with a special introduction and outtakes from the band presented by NO GOOD TV!!!
It's one of the hottest videos featuring from this kick ass band!!
TWTA's "Allow Me To Introduce Myself" is more than just a one night stand on the dance floor, it's the morning after and all the sex, drugs and rock n roll in between. Think about how many people say that they listen to "everything". When you meet someone new you ask what kind of music they're into and you always seem to get a wide range of artists - from Fall Out Boy to Timbaland and everything in between.
The members of TWTA are no different...it seems they have musical ADD. TWTA have set out to make music for the instant, iTunes, Playstation generation. They listen to everything and are influenced by everyone. They are bonded by a love of catchy music, whether it be sung, screamed or programmed
It is an adventure into pop, exploring many different styles and sounds.
They hope you find it as stimulating as they do. They want be the soundtrack to your great days.
Think about how many people say that they listen to "everything". When we meet someone new we ask them what kind of music they're into and we always seem to get a wide range of artists - from Fall Out Boy to Timbaland and everything in between.
The members of The White Tie Affair are no different. We all become very focal on a genre but, at the same time, it seems we have musical A.D.D. TWTA has set out to make music for the instant, iTunes, Play Station generation. We listen to everything and are influenced by everyone.
There are members of this band like some artists more than others, but we are bonded by a love of catchy music; whether it be sung, screamed or programmed. We have attempted to build an album that satisfies all of our different tastes. It is an adventure into pop, exploring many different styles and sounds.
We hope you find it as stimulating as we do.
At the end of the day, if our music makes you smile or dance or sing in some way, then we are accomplishing our goals. We want to bring a little fun back to music. We want to brighten up your bad days. We want be the soundtrack to your great days.
First time that I listen this song ,I say "Wow" .R 'n B style in easy to listen (I luv it). I can't fine information about this song or this artist .Pls someone tell me more!
But I just know this is the best nice song of my week.
Ever since UGK released “Underground Kingz”, I’ve been obsessed with them. I bought every one of their albums, and also Bun B’s first cd, “Trill”. Every release has been amazing, aside from “Dirty Money”, which is OK, but not great. “II Trill” deserves a place right above “Trill” as another solid release.
Bun B steps up his game, and creates a truly memorable album that is severly needed in today’s Hip Hop world. Every song on this album is good, and a handful of them are great. Songs like “Swang On Em” ft. Lupe Fiasco, “You’re Everything” featuring everybody, and “Damn I’m Cold” ft. Lil Wayne show how great Bun B is at collaborating with all different kinds of artists. He has a couple tributes to Pimp C, with “Angel In The Sky” working really well and “Pop It 4 Pimp” not so much. Their collaboration with Chamillionaire, “Underground Thang”, is really great, and makes me hope that Pimp recorded enough verses for Bun to put out a CD of new UGK material.
“II Trill” is another stellar album that Bun B should be proud of. With Pimp C gone, it’ll be really hard for him to ever be as good as he was in UGK, but if this is as close as he comes, I’m happy with that. Great Bun B is better than 90% of other hip hop artists out there.
On the top floor of New York City club Spotlight Live, guests sipped drinks and dined on mini hamburgers as they prepared for the man of the hour to arrive. The crowd—from bloggers to magazine folk—were eager to get a first listen to UGK member Bun B’s new joint, II Trill. The listening party even brought out backpack rapper Talib Kweli, the legendary DJ Premier, and label impresario Kevin Liles, who posed for pictures in the middle of the disco ball-studded room. Before the Texan rapper cued the DJ to throw on his record, he made his way towards the venue’s tiny stage, showing off his sparkling chain and black fitted with an orange “Houston” emblazoned across it. Bun kept it short and sweet on the mic, representing for his recently deceased UGK partner Pimp C by giving him a shout out. “This is a big moment for me,” he said as he stood on the stage by himself. “I don’t want to seem like I’m not nervous up here.” If Bun was nervous, he didn’t show it. His new album shook the speakers as he made his way through the room to greet almost everyone in the spot, making sure they had a drink in their hand and asking what they thought about the tracks. The answers always seemed positive, and as it played in its entirety, II Trill revealed something for everyone: guest appearances by Lil Wayne, Mya, Lupe Fiasco, and Rick Ross, and neck-snapping beats from Clinton Sparks, Scott Storch, J.R. Rotem, and Chops. 1. “II Trill” featuring Z-Ro and J. Prince Produced by Clinton Sparks Bun takes the title of this hard-hitting track and puns on “II,” incorporating it into rhymes like “Got II many killers” and “You II close to the police.” Houston-based rapper Z-Ro and Rap-A-Lot CEO J. Prince construct rhymes in the same way, flowing over an ominous choral sample and some thwacking drums courtesy of Clinton Sparks. 2. “That’s Gangsta” featuring Sean Kingston Produced by J.R. Rotem This track is the first single off the album, and it fits snugly with its brash synthesizers, thin handclaps, and clanging bells. Bun outlines what it means to be a true gangsta, rapping “A gangsta can have that but he ain’t got to show it / ‘Cause with or without it, he’s still gangsta and you know it.” Sean Kingston croons on the catchy chorus, harmonizing in a way that makes you want to join in. 3. “Damn I’m Cold” featuring Lil Wayne Produced by Chops Weezy pops up on this mid-tempo banger with a flashy beat by Chops, a producer who has worked with Paul Wall and The Game. Over electric guitar twangs and an undercurrent of organ drones, the two MCs talk about their ice and trade off lines during the third chorus. Wayne hops on the vocoder for the chorus, singing smooth vocal trills that recall 2Pac’s “California Love.” 4. “You’re Everything” featuring Rick Ross, David Banner, and 8-Ball & MJG Produced by Mr. Lee Bun slows the pace down on this Southern posse cut, featuring a glittery candy background and a sample of Jodeci’s “Cry For You.” He makes note of the “bass kick-kickin” and each of the guest MCs steps up to the plate to match Bun’s drawling flow. Rick Ross sounds hoarse as he delivers his verse and 8-Ball follows Banner’s verse by cataloguing a slew of rappers from the South. 5. “Swang On ’Em” featuring Lupe Fiasco Produced by Enigma This banger is one of the best tracks on II Trill with a guest appearance from Lupe that will leave your head spinning. The song begins with a chopped vocal sample that repeats “We ride 22’s or better” throughout, and Bun addresses the listener by growling “I know you heard of me.” Lupe switches up his flow to match the rolling and punctual Southern style, peppering the tuba-laced beat with enough charisma to inspire listeners to pop this in their car stereos, drop the top, and cruise slowly around the block. 6. “I Luv That” Produced by Scott Storch The Storch beat makes “I Luv That” the perfect addition to a club DJ’s set list with its spacey, synth melody, and some shiny musical sparkles thrown in the mix. Bun keeps his raps focused on the ladies, using the chorus to chant, “The club is packed, the bottles is poppin’… You know we do it B-I-G, so come and holla at a playa.” This one will surely make all you club goers get busy on the dance floor. 7. “My Block” featuring Jazze Pha Produced by Jazze Pha Bun represents for his block on this bass-buzzing track, featuring some thick drums and a minor keyboard melody. He raps, “We don’t hustle cause we want to / ‘Cause we have to” and Jazze shows up on the chorus to chant “This is my block.” The track fades out with the squiggly noise featured on Ciara’s “1, 2 Step,” and Bun creates an anthem for anyone “from the West to the East” to big up their home turf.
8. “Get Cha Issue” Produced by Bigg Tyme & Qwest This funky song shows a more serious side of Bun, with some political raps about everything from sinners to crime to the war in Iraq. Bun raps, “Motherfuckers is dying out here / And police ain’t killing them” and “Bring motherfuckers back from Iraq.” Although he waxes political on this one, he makes his message clear as he chastises the irresponsible masses of the world. 9. “Good II Me” featuring Mya Produced by Bigg Tyme / Co-Produced by Bun B and Intl Red Rap-Up cover girl Mya delivers a sassy chorus on this battle of the sexes. Bun lets his lady know that he will give her whatever she wants to keep a smile on her face, rapping “If you want pasta, we’ll fly to Milan” and “Girl, anything you wish, I’ll make it come true.” Mya lets him know what really matters to a lady, singing “I don’t care what you did to them / Just be good to me,” breaking it down on the bridge that leads to some nasty guitar shredding at the end. 10. “Pop It 4 Pimp” featuring Lil’ Phatz and Webbie Produced by Mouse “Pop” has that signature down South sound, boasting burning synthesizers and a spiced-up sample of Juvenile’s “Back That Ass Up.” The track is a celebration and a call to all the women across the world, and Bun makes sure that “Las Vegas” and “H-Town” women “gon’ pop it 4 pimp.” Lil’ Phatz and Webbie shine on the chorus and provide a much diverse feel to the song. 11. “Underground Thang” featuring Pimp C and Chamillionaire Produced by Cory Mo Pimp C makes a posthumous appearance on this Latin-flavored future radio banger. Bun reinforces the fact that he rules in his domain, spitting “It’s an underground thang / ‘Cause I’m an underground king.” Cham sings in his gutsy baritone on the chorus and Pimp C raps in double-time, churning out lines like “Atlanta was a country,” giving this jam the UGK touch that its fans have come to love. 12. “If I Die 2Nite” featuring Lyfe Jennings & Young Buck Produced by J-Rock The beat features some rich piano hits, and Bun uses this track to show where his priorities lie, stating “I’d rather do a bid, at least they could see me behind glass.” Lyfe breaks it down on the hook, repeating “Baby feel my pain / Make sure my niggas ride for me,” making this song endearing as it is sincere. 13. “Another Soldier” featuring Mddl Fngz Produced by DJ Khalil Trembling organ notes mingle with a guitar bass line on “Another Soldier,” a group cut that features menacing rhymes from all of the rappers. Bun barks out “Bun B is drawing spit, while you six feet under” and “2 nines, 4 clips / Prayin’ that you niggas slip.” Later on the track, he rhymes, “Don’t ever play us for a joke / You’ll get your bitch ass smoked.” This one is as intimidating as it gets on the record. 14. “If It Was Up II Me” featuring Junior Reid Produced by the BlackOut Movement Junior Reid wails on the chorus like his does on The Game’s recent “One Blood,” crying out, “I see my people every day on the floor.” Bun discusses how the projects are a mess, pointing out the apathy in the hood and how “minds be collapsed.” He ends the track by talking about how it is time to educate the people and spend more time with the kids, stating that “since nobody else gon’ do it, it’ll have to be me.” 15. “Angel in the Sky” featuring Lil’ Razah Produced by Cozmo A soft piano begins this sentimental tribute to Bun’s fallen partner Pimp C. With a sample of Stevie Wonder’s “A Ribbon in the Sky,” Bun gets personal and deep by reminiscing about how it all began for UGK, admitting “You know I miss my friend / But he’s looking down from above,” and that “My heart still hurts.” He ends his verses by letting listeners know that “I still cry.” This is the most touching and emotionally honest Bun may have ever been on a song, and it could not be more elegant than this. 16. “Keep It 100” Produced by Chops II Trill’s closer is an anthematic and triumphant conclusion to this whopping record. Layers of synthesizers and hi-hats race as Bun chants, “All day and all night / Make that anytime you see me / I’ma keep it super tight.” He lets his fans and foes both know that “It’s UGK for life.” If this album is any indication, it’s that Bun B will keep the UGK name alive, solidifying his reign as the king of the underground, with or without his fallen brother.
Review by WilliamRauscher : Your first live show is always a turning point. It says, This isn’t just something we do in the basement anymore. You're probably nervous, so maybe it’s best to just invite ten close friends, the ones who are always happy to support your indulgences and won’t mind if you forget how to play. Hercules & Love Affair, the new, highly touted, shiny disco jewel in the crown of DFA Records, did not have such a luxury. For their first show ever -- on May 17 at Studio B -- was in front of a sold-out crowd, at an all-night event sponsored by downtown fashion force Opening Ceremony.
Hercules’s self-titled album is the brainchild of New York DJ Andrew Butler. He roped in a number of collaborators, including Tim Goldsworthy of DFA to produce and Antony of Antony and the Johnsons to sing. Despite the live instrumentation, the record doesn’t come off like a band playing together but like polished dance compositions that happen to feature humanoid musicians.
Thus, the live performance wasn’t only remarkable for being a grand unveiling for the next phase in the rising wave of New York disco, but also as a testing ground for the tricky translation from studio composition to live experience. Ever since 1974, when Frank Farian, the German svengali later responsible for Milli Vanilli, composed and sang all the vocals on a cheesey track called “Do You Wanna Bump?” and then hired performers to act as the band Boney M, there’s been a need for disco masterminds to make their lab creations come to life.
Not to say by any stretch that the Hercules & Love Affair live-show posse are any kind of contract labor like in Farian’s case. Far from it. It’s a ten-person dance army, with Butler heading up a four-man rhythm section, plus two horn players, two singers, and, very important, two vogue dancers. That's important because, flanking the stage with incessant strutting and undulations, they turned it from a show into an event. Their very presence said Studio 54, Larry Levan, David Mancuso, and so on -- the great and until recently rather ghettoized heritage of New York disco.
For the most part, the translation process was a success, and the show made it clear why listening to any kind of dance music on your iPod speakers at home is kind of like taking a shower with a raincoat on: The sheer surging physicality is lost. While the corporeality of Hercules & Love Affair’s glitzy, flamboyant stomp was in full effect, however, some details in the group’s dense compositions did get lost in the ruckus, be it some of the busier horn lines or the beautiful shape of the long, winding vocal line that takes flight in their terrific single, “Blind.”
The extended-groove outros were without exception both effective and abruptly ended. With time, maybe Butler’s group can take a cue from LCD Soundsystem, the Zeus of the DFA Parthenon, and gather the courage to let the compositions’ gathered steam fuel the funk train into uncharted territory.
***
About Hercules And Love Affair
Hometown: Brooklyn, New York.
The lineup: Andrew Butler (DJ, producer) plus collaborators Antony, Nomi and Kim Ann.
The background: "Experimental disco" would seem to be a contradiction in terms, trying to apply Ideas and A Strategy to a music whose raison d'etre has always been, to paraphrase the original disco dolly, that "only when you're dancing do you feel this free" - "free" as in unencumbered by thought or intellect or indeed anything but the desire to sustain the body's perpetual motion. But there is a long and illustrious lineage of clever-clogs club music, and in fact it could reasonably be argued that the history of dance music, from Motown and Philly to Chic, Jam & Lewis and beyond to today's Timbaland and Neptunes, is really the story of brainiac behind-scenes (male) technicians contriving illusorily intuitive melodies and rhythms for women to sing and dance to.
All of which brings us to Hercules & Love Affair, a fancy cover for a New York producer/DJ called Andrew Butler, who a couple of years back decided to make the leap from college-based dance projects to fully-fledged recording artist, via the NYC art scene. His debut album is co-produced by himself and Tim Goldsworthy of DFA at Plantain Studios in Manhattan, and yet, with vocal contributions from Antony (of & the Johnsons), a woman called Nomi whose own debut album Lost In Lust was described as "Sade meets Wu-Tang Clan's RZA", and acid-house DJ/singer Kim Ann, it sounds quite unlike that LCD-affiliated production unit's usual punk-funk. The latter's track Athene, for example, sounds like Sylvester's Mighty Real in a mighty murk, and like much of the album evokes Arthur Russell's woozy psych-disco, Kevin Saunderson's Inner City, and old Chicago house only with a 2008 matte varnish.
Mostly it sounds like proper late-70s disco. Not the camp glitterball retro electro-pop of Kylie circa Spinning Round, but actual underground disco, like something long-lost from the vaults of the Loft or the Paradise Garage, real 1977-78 vintage stuff. Hercules' Theme is the highpoint and absolutely the best thing Antony has ever put his mannered croon to, with its Cerrone-style strings, muted horn parps and production sound so authentic you fully expect John Travolta to come sashaying across your field of vision. Opening track Time Will is slower and sadder, locating the melancholy at the heart of the dance. Then there's You Belong, which recalls classic Salsoul, or Inner City's Good Life, only with all the goodness and life sucked out of it. It sounds pleasingly enervated: dance music as debilitating fever, or something.
"Moving Mountains" has been produced by Timbaland and written by The-Dream. It is a mid-tempo track with some hot beats.
This is the second single from Usher's upcoming album "Here I Stand", which will hit the stores on May 27. Unlike on his first single "Love In This Club" where he teamed up with Young Jeezy, the singer won't be collaborating with any artists on the second single.
The story of the new video, which has been shot earlier this month, was the follow up of his first clip for "Love In This Club". The video sees the club in the previous clip has burnt down in front of him.
The video was shot back to back with "Love In This Club", both were directed by Brothers Strause.
I don’t know what it is about this time of year but country music seems to step it up a notch as the warmer weather climbs on in. Julianne was made famous from her victories on Dancing With The Stars and has decided to take a crack at country music. First of all she’s got the style, second of all she’s got the voice, and third of all she’s got the excitement and enjoyment in her performance. All she needs to do is make it to the home plate.
When I saw this single being released I thought get ready for another negative review (There has been a lot of those recently) because she is not a person that is known for country music but is venturing into it at a time when it is becoming the cool thing to do. I was really surprised the first time I heard it, not because it was bad, but because it was a unique, catchy song that I think will do well on radio.
The first thing everyone knows Julianne Hough from is ABC’s show “Dancing With The Stars” which has been a success and she also has been a success on the show winning it twice. She seems to be good at everything she does as “That Song In My Head” is a great song and is a song that has been in my head all day as it is just about as catchy as they come.
In one way, Julianne Hough could be considered the first member of a new generation of country singers. Scholars and fans alike have noted the evolution of the country genre from the music of the rural lower class to the soundtrack of suburbs. This demographic shift, and the coincident thematic divergence of radio singles, have brought great growing pains as traditionalists struggle to adjust to the new radio environment and rock-pop carpetbaggers attempt to prove their country credentials whilst recording unimaginative and literal songs to communicate the truths that their vocal performances cannot. Julianne Hough may be the first new artist who identifies with the contemporary radio environment by instinct rather than commercial necessity, and as a result, Hough can make much better music than many of her contemporaries.
Growing up on the south side of Chicago IL, Jennifer started singing in the church choir at the age of seven. For Jennifer, emoting inspirational gospel is the cornerstone of her beginnings as a talented singer, "the church is my favorite place to sing. My first solo was "Must Jesus Bare The Cross Alone." She attributes her vocal ability to her dear late maternal grandmother, Julia Kate Hudson, who was an avid churchgoer and also sang in the choir. Throughout grammar and high school, Jennifer cultivated & showcased her talent by participating in a host of local talent shows and musicals. During this time she also performed at various clubs, weddings and benefits in Chicago and surrounding areas.
In the Fall of 2002 Jennifer successfully auditioned for one of the Disney Cruise ships and landed her first major role as "Calliope", the head muse on the "Disney Wonder" line the ran from February 2003 through August of 2003 Jennifer loved her time performing on the ship and considers herself a member of the Disney family and was thrilled to be able to do what she loves to do, stating, "singing for thousands of people, and to be paid to do this, its amazing!." Taking a leap of faith, Jennifer consciously decided not to renew her contract with Disney; instead she flew to Atlanta to audition for the Fox hit reality show, American Idol: Season 3 in August 2003.
Amongst 70,000 hopefuls Jennifer was a stand out choice as a top 12 competitor. She wowed the idol judges and viewers spanning across the globe with great performances of classic songs by icons such as Aretha Franklin & Whitney Houston. As judge Randy Jacksons Wild Card pick, Jennifers journey with American Idol accelerated her to the 7th position. Viewer response to her early departure was quite controversial and unprecedented and sent shockwaves across America as well as unleashing a torrent of criticism about the idol voting process. During her time in the "Top 12", she received high praise from some of musics biggest industry legends. Sir Elton John was quoted as saying she was "the best of the lot". The deep, rich, powerful, classic texture of Jennifer Hudsons voice continues to touch everyone that hears her sing. In response to hearing Jennifers incredible range during the competition preparation for his very own classic, "Weekend In New England" Barry Manilow stated "My catalog of songs requires that you have range, you cannot do what Jennifer is doing, she takes it to a whole other level.". Movie director Quentin Tarentino was also enchanted by hearing Jennifers powerful rendition of the Whitney Houston song "I Have Nothing" from the mega hit soundtrack "The Bodyguard". Quentin states "Hudson takes on Houston and WINS!" Although Jennifer did not win the idol crown she left an indelible mark on the music industry and viewers across the world.
After the show ended the top 10 finalists embarked on a 48 city tour and Jennifer received critical praise for her performances from many of the local newspapers covering the event. Being voted off was an initial disappointment but reaction to her departure yielded much unprecedented coverage that includes a duet with Barry Manilow on "On Air With Ryan Seacrest" who also invited her to sing on tour with him, heavy spotlighting from Entertainment Tonight & other entertainment news intrigued to interview Jennifer as well as a guest spot on David Lettermans Top 10 List. Of her idol experience Jennifer has this to say, "I have learned a lot," she said. "It's been the biggest experience of my life. "It's just a blessing from God to just be able to use my talent to make my living - to be on American Idol and be on stage."
Post "Idol" life for Jennifer Hudson has been very rewarding. She has performed at several important benefit concerts, including a performance in the hit Broadway musical "Hair". Jennifer makes it no secret that she has a strong interest in the stage and has received rave reviews from established stage performers after her stand out delivery of "Easy To Be Hard", which she has recorded for an ensemble cast HAIR benefit album, due for release in early 2005. Ms. Hudson was also invited to perform at an event in her hometown along side such notable acts as Destinys Child, Kanye West and others. Jennifer debuted an original song entitled "Stand Up", which has since been strongly supported & requested on radio and has already created a buzz on the internet.
With a 5 octave range, Jennifer has been compared to legendary voices such as Patti Labelle, Whitney Houston, and Jennifer Holiday. What you heard from Jennifer on American Idol was only a sliver of her vocal ability. Listeners should be excited to hear what she has to offer. Jennifers voice is a throwback to powerful old school performers. Back when singers could sang. There is a duality in Jennifers voice that listeners will find very pleasing. She has the prowess to deliver an old soul classic but can just as easily woo you with a big power ballad that made many of todays musical stars famous.
In November 2005, Hudson was cast in the prized role of Effie White, the role originally created in a legendary Broadway performance by Jennifer Holliday, for the film adaptation of the musical Dreamgirls. Hudson has won particular praise for her show-stopping onscreen rendition of the hit song, "And I'm Telling You I'm Not Going". As Effie White, Hudson has garnered twenty-nine awards from film critics as Best Supporting Actress and Breakthrough Performer of 2006. She won the Golden Globe Award as Best Actress in a Supporting Role. In addition, she has been named Best Supporting Actress by the Broadcast Film Critics Association and also by the Screen Actors Guild. On February 7, 2007, Hudson was named Best Supporting Actress and Best Breakthrough Performance by the Black Reel Awards, awarded by the Foundation For The Advancement Of African-Americans In Film. On February 25, 2007, she won the Academy Award for Best Supporting Actress for her role in this film. At 25 years old, Hudson became the eighth youngest winner of the Best Supporting Actress Oscar. She became only the third African-American to win the Best Supporting Actress Oscar. Jennifer also became the fourth African-American actress to win an acting award in Oscar history. She was also the first African-American to win an Oscar for her screen debut. Currently, she is also the only person to have gone from participating in a reality television series to becoming an Academy Award winner. In November 2006, Hudson signed a record deal with Arista Records and is currently working on her debut album which is scheduled for release the first quarter of 2008
In the case of the extraordinary young piano virtuoso William Joseph, that statement applies both literally and figuratively.
This twenty-five year old Phoenix, Arizona native has displayed an innate affinity and enduring love for his instrument virtually from the cradle. Matched with a dedication and discipline that has given polish and precision to his passion, William Joseph has indeed reached deep within to discover and nurture his spectacular gift.
It’s a gift gloriously displayed on Within, William Joseph’s dazzling debut album on 143/Reprise Records. Highlighting eleven tracks that deftly demonstrate his exceptional range and versatility, Within was produced by the legendary artist, songwriter, producer and talent scout David Foster.
It’s a sentiment that is quickly becoming a reality, as William Joseph has brought his extraordinary virtuosity to an ever wider and more appreciative audience. Since completing work on Within, Joseph has been much in-demand for a number of high profile musical events, most notably an opening slot on the recent summer tour of baritone sensation and 143 Records’ label mate, Josh Groban. A series of sold out dates were spotlighted with an acclaimed two-night stand at the Greek Theater in Los Angeles along with appearances throughout the U.S. and Canada.
It’s a promising launch for an artist who, at age eight, had already garnered a full ride music scholarship that would allow him to study classical piano with the likes of the acclaimed Russian instructor Stella Saperstein.
Yet even while immersed in such rarified realms, Joseph’s eclectic musical tastes prompted him to sample a wide array of styles and sensibilities. A natural born performer, he had songwriting ambitions and a love for cinematic scoring that could give full range to his richly textured and subtly nuanced skills. At sixteen, he penned the theme song for the hometown hockey team, The Phoenix Coyotes, and subsequently the moving anthem “Seeds Of Hope,” which helped to draw international attention to the Kosovo refugee crisis.
After taking a break from music in his late teens, Joseph returned to active performing, and within a few years had garnered a loyal local following thanks to the release of two independent albums and an extensive concert itinerary.
It was in 2003 that the young artist’s unique musical ability came to the attention of David Foster, in Phoenix for a charity event honoring Muhammad Ali. “I knew where he was going to be,” recounts Joseph, “so I just showed up and introduced myself. It was in the middle of a rehearsal, with all the musicians on stage and something promoted me to ask him if I could sit down at his piano and play a song.”
The original composition, which would later appear as the title track to his major label debut, stopped Foster in his tracks. “He sat down and played this beautiful piece magnificently and to perfection,” he remembers. “I was so impressed I asked him if he would perform that evening. A standing ovation later and I knew I had to work with him.”
That work got underway almost immediately with Foster and Joseph working closely together to select a repertoire that would truly represent the range and dynamism of the young pianist.
“Some of the material, like ‘Ave Maria” I’d been playing since I was a kid,” Joseph explains. “Others, like ‘Stella’s Theme’ and ‘Grace’ I co-wrote with David. It was a great honor for me, having grown up loving his music, but what I appreciated most was his willingness to try new things.”
Included in that later category are distinctive renditions of Paul Simon’s “Homeward Bound” and the total reinvention of such varied material as Kansas’ “Dust In The Wind,” Led Zeppelin’s “Kashmir,” and “Butterflies And Hurricanes” by UK rock innovators Muse.
“I had huge expectations going into the studio with David,” enthuses Joseph, “and they were hugely exceeded. I really feel as if we got to the heart of my music; how different styles can be brought together to create something greater than the sum of its parts.”
All of which goes to prove that what’s within a true artist will always find a way to express itself, literally and figuratively.
“I love William’s musicality, his writing and the magic he weaves on the piano. He has a unique gift the whole world should hear.”
William Joseph - Beyond *New Track* (Live in Saskatoon)
K. Smith Feat Omarion - Better Man [NEW] by PeteRock
Coming straight outta SoCal is up-and-coming rapper K. Smith, and his debut single "Better Man". As if being the nephew of rap pioneer and Hollywood icon Will Smith wasn`t enough star power, K. scooped up Omarion for some additional assistance.
Better Man will definitely gain the attention of a young female audience, and once it gains momentum there, it just might make a charge for the Top 10 on most urban charts.
Ennis is formerly The Ennis Sisters. Ennis is Maureen Ennis (lead vocals-songwriting-acoustic guitars) and Karen Ennis (backing vocals-acoustic guitar-mandolin-tin whistles). The Ennis Sisters, started playing music at a young age, encouraged by their father John and their mother Ceilie. They released their first album, Red is the Rose, on June 25, 1997. The album sold 15,000 copies within 18 months of release, and has gone on to sell more than 50,000 units. By the end of the year, the album was named Best Folk Album by the Music Industry Association of Newfoundland & Labrador (MIA). The following year, they received Female Artists of the Year and Group of the Year awards from the MIA.
The Ennis Sisters released their second album, Christmas on Ennis Road, in 1998. The album also landed the girls their own Christmas special on CBC, An Ennis Road Christmas. In 1999, Maclean's magazine named the trio one of the Top 100 young Canadians to watch. They returned to the studio to record their third album, Three, in 2000. The same year, they received an East Coast Music Association (ECMA) award for Album of the Year.
The album Three was also named Album of the Year by the MIA. At the 2001 ECMA Awards in Charlottetown, Prince Edward Island, the girls were named Roots/Traditional Group of the Year. That same weekend, The Ennis Sisters received a two-album record deal from Warner Music Canada. The Ennis Sisters' fourth album, simply titled The Ennis Sisters, was released on October 9, 2001. The first single, "It's Not About You," reached the top 5 on Canadian Country Radio, and the top 10 on Canadian A.C. radio. The video was played on both MuchMoreMusic and CMT in Canada where it stayed. In 2002, Maureen won the SOCAN award for top grossing Canadian Country Song of the Year for the album's second single, "I'd Never Walk Away." That same year, the Ennis' won a Juno Award for Best New Country Artist/Group.
They were once again named Group of the Year at the 2002 ECMA Awards. The same album, now titled It's Not About You, was released on Rounder Records in America on April 15, 2003. Meanwhile, they released their fourth album in Canada, Can't Be the Same, on November 18, 2003. That 2003 release went on to win the 2004 ECMA Award for Best Roots/Traditional Group Recording. The Ennis Sisters have two gold records (one in collaboration with the Chieftains) and a Juno (Canadian Grammy) to their credit, and have toured with The Nitty Gritty Dirt Band and Jann Arden as well as sharing the stage with Trick Pony the Chieftains, Mary Chapin Carpenter, Rufus Wainright, Ron Sexsmith, and Bruce Cockburn to name a few.
Youngest Ennis Sister, Teresa Ennis, left the group early in 2007 to pursue other interests. Ennis will release their debut album, Be Here for a While, in America in 2008. ‘Be Here for Awhile’, ENNIS debut album, is produced by Randy Scruggs and features remarkable performances from some of the finest studio musicians in Nashville. In addition to Maureen’s (and her writing partner Mark Murphy) latest collaborations with Randy Scruggs, Susan Gibson (Wide Open Spaces), Billy Burnett and Tommy Lee James ‘Be Here for Awhile’ features ‘Worlds Apart’, a duet with Raul Malo (Mavericks), and ‘Touch me if you Dare’ a dynamic instrumental featuring Karen on whistles. Give Me Love, the debut single and video from ‘Be Here for Awhile’ will be released in America in November. ‘Be Here for Awhile’ will be released early in 2008 on Six Thirty Three Records.
Ennis - Give Me Love Music Video
Ennis will release their debut album, "Be Here for a While", in America in 2008. Produced by Randy Scruggs, the album features remarkable performances from some of the finest studio musicians in Nashville.
"Give Me Love", the debut single was released early in 2008 on Six Thirty Three Records.
The Who Image is everything in hip-hop. So when Naledge and Double-O, two ivy league graduates turned hip-hoppers, released their 2006 debut album, School Was My Hustle, it took some time to win fans over. Their clean cut, suburban image didn't exactly capture the imagination of hip-hop fans, but thankfully, their talent did. The fact the duo was inked to Rawkus Records, and co-signed by hip-hop producer, Just Blaze, didn't hurt either. Naledge and Double-O met at the University of Pennsylvania in 2000. Naledge is a Chicago, IL native who is not only a respected lyricist but an author as well, self-publishing his own book, The Straight Jab. Double-O's background is equally as impressive, as the Lakewood, NJ beat-maker ran track and field for Belize in the 400-meter hurdles at the 2004 Summer Olympics.
The Buzz:School Was My Hustle was distributed through Rawkus Records and was received well by fans and critics alike. The group began to acquire an even bigger backing upon signing a new label deal with Duck Down Records, which will release their sophomore album, In The Crowd. The album's lead single, "Drivin' Down The Block," has acquired a solid buzz on hip-hop blogs and various message boards as well. The success of the single eventually lead to a remix, which features UGK's Bun B, Pusha T of The Clipse, and The Cool Kids.
The Verdict: The formula for a successful rap group used to be simple: A dope MC would join with a comparable producer/DJ, and, voila, you have the foundation that spawned legendary duos such as Eric B & Rakim, Gang Starr, and Kool G Rap & DJ Polo. As easy as it sounds, though, the art, or some would say, science, of putting together a group has changed with the times.
Kidz in the Hall follow in the tradition of the aforementioned groups in spirit. Naledge is certainly a talented lyricist, and Double-O is a proficient crate digger with a penchant for soulful samples. They are two talented individuals who share a passion for the hip-hop culture. This is evident throughout their sophomore LP, The In Crowd. The cocksure Naledge flaunts his complex rhyme scheme on "The Blackout," a brilliant early '90s derived boom bap track. The song is a throwback to the heyday of hip-hop, when dope rhymes and hard beats were all you needed. The duo also shows its diversity on "Inner Me," which finds an existential Naledge chronicling the trials and tribulations of an aspiring emcee.
While dope sonics and rhymes are Kidz in the Hall's trademark, that isn't enough to produce a great album. More than anything, The In Crowd highlights the duo's promise, as well as their inconsistency and inexperience. At this point in his career, Naledge is a raw talent. He's a great young lyricist, but he isn't the most charismatic or engaging individual. There's no real personal connection with the material on The In Crowd. It's merely a hodgepodge of songs with no consistent direction. The album's lead single, "Drivin' Down The Block," is a prime example. Throughout the song, Naledge hijacks contemporary southern slang, like "chuck a deuce," while referencing the "D's on his caddy," and spewing laughably bad lines such as, "My car's like a Shoprite, got cheese, got bread, yeah, yeah, I shop right." The song even features a Masta Ace vocal sample intended to mimic Houston's chopped-n-screwed aesthetic. Talk about clichè
Then, there is "Lucifer's Joyride," another trite effort that suffers from more overly simplistic lyrics, and, worst of all, an off-key hook that features a vocalizer. Can we please retire the vocalizer already! These two songs make you realize that Kidz in the Hall are constantly searching - for an image, a sound, and some direction. It's never clear who their intended audience is - one moment it's underground hip-hop fans on "The Blackout," and the next it's "chucking deuces" with Paul Wall's demographic. It's obvious Naledge and Double-O are still trying to find their place in hip-hop, and that's understandable. But for now, these Kidz still have some growing pains to overcome.
The Verdict give it: C
Official Kidz In The Hall "Driving Down The Block" Video
Coldplay - Violet Hill - Le Clip! (New) by wonderful-life1989
"Violet Hill" is a song by English rock band Coldplay from the band's fourth studio album "Viva la Vida" or "Death and All His Friends". The music video for the song was filmed in Sicily, Italy.
Martin described the song as having a "chalky, pastel feeling" which he said reminds him of his childhood. "Imagine a pseudo guitar-like circus music with a pinch of Chicago... It's something new from us and you will be impressed."
The new Coldplay single, and the first from forthcoming longplayer Viva la Vida and Death or All His Friends (details), isn’t as far a departure from the band’s trademark sound as the album’s title would have you believe. From the sounds of ‘Violet Hill’ this isn’t going to be the album where Coldplay look down from atop their piles of dough, go into a headspin and start rapping in non-sequiturs about the Congo or filling their bodies with silicone and junk.Brian Eno is here just in case, though, and the song drifts in on one of the trademark, Blade Runner drones colouring things like Ambient 1: Music for Airports, (think the start of ‘2/1’). Any fears that Coldplay have the balls to follow this path are waylaid when the plod happens and Chris Martin sleepwalks into a vocal that recalls Oasis track ‘Don’t Go Away’ as much as anything else.The song trots into life with five strikes of a crashing piano – as arch now as they were slowed down in Bowie’s ‘We Are the Dead’, which is strange given that Eno wasn’t around for that and most of ‘Violet Hill’ is as earnestly heroic as you’d expect from Coldplay, (“I wanna be a soldier who a captain on some sinking ship would stow far below/if you love me, won’t you let me know?”).The fact that it sounds heroic at all probably points to a return to Rush of Blood…-era musings, which somehow seemed darker-eyed and more manly than the frailties felt on last album X&Y. Taking that into account, along with the album’s art and title, it’s tempting to assume that Coldplay hear Viva la Vida… as a marker of resurgence – as a vengeful comeback of sorts. That’s all well and good, but to these ears ‘Violet Hill’ suffers just like the rest of Coldplay’s work – Martin’s desire to be a martyr is let down by the lack of a tangible cause and as such his band’s new single sounds too suffocated and self-absorbed.
Get ready to abandon typical musical nomenclature like female singer/songwriter; Aimee Allen looms on the horizon as a virtual one-woman army. A quick listen to her upcoming debut album and you understand why. Gigantic rock chords slamming into riotous, street-tinged hip hop beats all blurring under raspy, up-all-night vocals. Loud, righteous, 360-degree noize a full frontal assault on the senses that couldn’t possibly come from a chick born in Montana.
About Aimee
At nineteen, Aimee Allen felt she had already conquered her native Montana, with sold out club dates and frequent radio play, she longed for bigger adventures in a new city. Determined to reach people with her music, she packed her car and moved to Los Angeles to start living her dream. Leaving the comfort and stability of her friends and family, she hit Hollywood’s less than glamorous side – night shifts waiting tables and couch surfing till the perfect opportunity arose. Roles in MTV’s Undressed and The Bold and the Beautiful gave her a taste of the entertainment industry but it was only after months of playing out and writing did Aimee start to get results. And the results were well worth the wait; a bidding war between the labels started– a dream situation for any artists but one that rarely happens in today’s turbulent market. Ultimately Aimee was signed to Elektra Records, and commenced work on her album, “I’d Start a Revolution If I Could Get Up In The Morning”. The album became an underground hit even before its release, the fan favorite “More Man Than You’ll Ever Be” was a scathing mission statement, declaring that she was ready to play (and win) the boys club radio –rock game. Leadoff single “Revolution” would infiltrate film, TV and radio with its anti-anthem hook, “I’d Start A Revolution if I could get up in the morning" was ultimately picked-up by “Birds of Prey” on the WB and in Warren Miller’s “Storm”. Underground MC Pharoahe Monch dirtied up “Oblivion,” a track topped in sultriness only by the hedonistic “If It Feels Right.” Her resume reads like a who’s who of industry heavy-hitters; discovered by American Idol and platinum selling producer Randy Jackson, she worked with Bloodshy (Britney Spears), Scott Storch (Jay Z, Eve), Justin Stanley, (Beck, Nikka Costa) Mark Ronson (Amy Winehouse, Lily Allen) Don Gilmore (Linkin Park, Duran Duran) and the list goes on. While on tour with Unwritten Law, supporting her album, she and lead singer Scott Russo discovered and nurtured an intense and creative relationship. By the time Elektra collapsed, Aimee was already working on the “Scott and Aimee Project” re-recording some of Aimee’s original Elektra tracks as well as creating and writing new material including “Miss America” and “Southern California Love” for the album “Sitting In A Tree”. At the same time, Aimee was writing material for Unwritten Law’s album “Here’s to the Mourning” and collaborating with Linda Perry and Scott Russo on the Billboard Chart topper “Save Me” which reached 5 in the Billboard rock charts. With a scorching hit “Cooties” on the Grammy nominated Hairspray Soundtrack and guest vocals on reggae legend Lee “Scratch” Perry’s up-coming release ‘Repentance”, Aimee’s all conquering attitude and hard work is establishing her as a successful name in the industry. She has continued to explore the relationship between her music in film, and is featured in “Numb”, an independent tribute to the 80’s punk movement which she performs three songs for. Her haunting ballad “I’m Here” featuring world renowned guitarist Kaki King is featured in Tate Taylor’s “Pretty Ugly People” set for release in 2008. A combination of hard work and talent has even gained her celebrity recognition, Tila Tequila, star of MTV’s hit show “A Shot At Love with Tila Tequila” recently fell in love with Allen’s “Stripper Friends” and has re-recorded it to be used as the title music to the second season. Underground soul king Kevin Michaels also reached out to Aimee for his reworking of “We All Want the Same Thing”, which was released through Atlantic in 2007.
Filter returns with their first new album in six years. Can Anthems For The Damned be a worthy follow up to The Amalgamut and help the band to get back in the mainstream's attention?The Band
Robert Patrick-Vocals, Guitar, Bass Guest Musicians- John 5, Wes Borland, Josh Freese, Rae DiLeo, Ryan Williams, Josh Abraham, and Luke Walker
The Track Listing 1. Soldiers of Misfortune-4:25 2. What’s Next-3:34 3. The Wake-3:56 4. Cold (Anthem For The Damned)-3:45 5. Hatred Is Contagious-4:25 6. Lie After Lie-3:45 7. Kill The Day-3:31 8. The Take-3:16 9. I Keep Flowers Around-4:26 10. In Dreams-3:51 11. Only You-4:40 12. Can Stop This-5:55
The Review It has been six years since Filter’s last album, The Amalgamut, was released and a lot has happened in the band since then. Frontman Robert Patrick went into rehab, the band went on hiatus, Patrick formed rock super group Army of Anyone, which released an album and broke up in less than two years’ time, and Filter reunited, with Patrick being the only member to return. It’s not a big deal though; Patrick basically started the band by himself (with help from Brian Liesegang).
Anthems For The Damned is an album that, like its predecessors, isn’t content with playing one style of music. You have many different musical styles constantly clashing with one another. One song will be a heavier affair with a industrial feel to it, only for the next song to be a mid-paced acoustic romper. Patrick keeps the listener on their toes with every new song.
If there was one song that would represent the album’s musical direction, it would be current single “Soldiers of Misfortune.” The song is critical of the war overseas, while being pro-troops at the same time. A steady guitar riff, augmented by an acoustic track in the background, drives the main melody, with a slight edge to it in the chorus. It’s a great track and a nice opener to the album. Any doubt that Filter has gone “soft” or “mellow” is quickly dissolved with the back to back hard rockers “What’s Next,” co-written with guitarist John 5, and “The Wake". Both tracks conjure up memories of the duo tracks “My Long Walk To Jail” and “So I Quit.” off of The Amalgamut. Thankfully, Patrick puts more intelligent lyrics into “What’s Next” and “The Wake” and tones down the profanity a great deal. Sorry, Filter fans, that means no “MOTHER FUCKERRRRR!” screamed loudly followed by excessively coughing.
The album is mostly a more mid-paced affair, with an extra emphasis on atmosphere and melodies. The acoustic guitar is used to great effect, especially in the middle of the album. Some of you may cry about the fact that Patrick is trying to replicate the success of “Take A Picture,” but its more than that. It’s a natural progression for Patrick to tone down the heaviness and focus on solid songwriting.
Patrick succeeds throughout Anthems For The Damned in this aspect, as the songs all progress naturally and most have their memorable moments. Just a few include the infectious chorus to “Kill The Day” (it’ll have you singing out loud, trust me) and the pulse-pounding metal anthem “The Take,” which is a quick blast of metal that just grabs you by the throat and tightens its grip on you, then brings an melodic, acoustic breakdown that gives the listener a false impression of a calm and smooth ending before speeding to the finish line.
The last quarter of the album is where the sum of all the musical parts comes together. From the opening bass line of “I Keep Flowers Around” to the acoustic "Only You,” the listener will be enthralled with what Patrick brings to the table. These three songs are some of the best songs that Patrick has ever written and show a mature side of Patrick, not only lyrically, but vocally as well. The only disappointment is that instrumental “Can Stop This” is a lackluster end to a great album. However, it’s way better than The Amalgamut's last track “The 4th.” Some of the tracks are also guilty of sounding similar to each other, with the title track through “Lie After Lie” being the most noticeable.
Anthems For The Damned is an album that may not hit you the first time. I know it didn’t for me. I though, at first, it was a decent album, but nothing special. Like many albums I’ve grown to enjoy, Anthems For The Damned took a few listens to digest. Those are the best types of album though; the ones that take their time to really leave an impression on you. Hardcore Filter fans will love this album, as it has all the best qualities of the past three albums. Some of you may find the politically charged lyrics to be distracting and may cry fowl at Patrick being “just another musician trying to be all political.” However, I think it shows a more mature side of Patrick, one that cares about the world around him. Hell, Patrick has been writing lyrics like this for years (at least he’s getting better at it. Remember “World Today?” Enough said). In the end, I thoroughly enjoyed Anthems For The Damned and hope that it doesn’t take another six years to hear from Filter again.
In her new tune, "7 Things" – which debuted Tuesday on the syndicated radio show Elvis Duran and the Morning Zoo – the 15-year-old describes the pain of a recent breakup. In the chorus, she runs through a laundry list of all the things she "hates" about her ex: "You're vain, your games, you're insecure/You love me, you like her/You make me laugh you make me cry."
The song – which combines Avril Lavigne-style teen angst with dad Billy Ray Cyrus's country twang – is the first single off her upcoming album, due out July 22.
This town is colder now, I think it's sick of us It's time to make our move, I'm shakin off the rust I've got my heart set on anywhere but here I'm staring down myself, counting up the years Steady hands, just take the wheel... And every glance is killing me Time to make one last appeal... for the life I lead
Stop and stare I think I'm moving but I go nowhere Yeah I know that everyone gets scared But I've become what I can't be, oh Stop and stare You start to wonder why you're 'here' not there And you'd give anything to get what's fair But fair ain't what you really need Oh, can u see what I see
They're tryin to come back, all my senses push Un-tie the weight bags, I never thought I could... Steady feet, don't fail me now Gonna run till you can't walk But something pulls my focus out And I'm standing down...
Stop and stare I think I'm moving but I go nowhere Yeah I know that everyone gets scared But I've become what I can't be, oh Stop and stare You start to wonder why you're here not there And you'd give anything to get what's fair But fair ain't what you really need Oh, you don't need
What u need, what u need...
Stop and stare I think I'm moving but I go nowhere Yeah I know that everyone gets scared But I've become what I can't be Oh, do u see what I see...
