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Kevin Morby - «il faut essayer de nouvelles choses pour garder sa musique intéressante »

David Bowie

Musique punk et visibilité queer. Le punk est un genre musical qui n’aime pas beaucoup les systèmes oppressifs.

Musique punk et visibilité queer

Les insidieuses oeillères des vieux mâles blancs programmateurs de musique. How White Kids Stole House Music from Black Aunties – Cuepoint – Medium. To paraphrase Césaire, Europeans ruined everything as usual.

How White Kids Stole House Music from Black Aunties – Cuepoint – Medium

By the early 90s, the house formula in Europe was mostly associated with Eurodance, a frenetic mash of synthesizer grooves and nonsensical lyrics made (most of the time) by white European producers and black vocalists. The genre produced the first era of true bangers, with either nods to or trespasses against the black musicians of a generation past; Jocelyn Brown and The Gap Band were sampled by Snap! Illegally on 1990’s “The Power” and more-or-less legally on “Ooops Up.” By the mid-90s, Eurodance artists like Italy’s Joy Salinas were mimicking black predecessors’ vocals over techno-y backing tracks, like her 1995 cover of Don Armando and Fonda Rae’s “Deputy Of Love.” However, these rhythms were useless for anything other than a popper-fueled romp through an Ibiza bathhouse; they might have had power, but they didn’t have feeling. Pop. 1280 est toujours le groupe le plus ingérable d'Amérique du Nord. Toutes les photos sont de Yann Le Flohic.

Pop. 1280 est toujours le groupe le plus ingérable d'Amérique du Nord

Un peu comme l'aîné de la famille chargé de reprendre la boucherie chevaline à sa maturité, Pop. 1280 s'est retrouvé investi sans comprendre pourquoi d'une mission qui le dépasse totalement : perpétuer l'héritage noise-punk-déviant-new-yorkais. Une situation relativement étrange pour un groupe qui déplace peu les foules et qui, s'il titille certaines madeleines (plutôt Birthday Party qu'autre chose si vous voulez mon avis) trace finalament sa route de manière plutôt classique et sans faire tant de vagues que ça.

Pour ceux qui s'imaginaient Pop 1280 en fils des âges farouches adoubés par Michael Gira, c'est un peu raté. Noisey : Bonne nouvelle : je n'ai pas de question sur la Chine [où a vécu Ivan Lipp Le guitariste du groupe], ni de comparaisons à faire avec d'autres groupes. K What People Expect of Us' - Rolling Stone. "You know, to create new Refused music, it was not on my list of things to do," says Dennis Lyxzén, phoning Rolling Stone from his home in Umeå, Sweden.

k What People Expect of Us' - Rolling Stone

The 42-year-old singer is discussing his band's new album, Freedom – the existence of which is as much a surprise to him as it is to the legions of Refused fans who were caught unexpected when an announcement came, two weeks ago, that the Swedish four-piece were releasing their first new material since their seminal 1998 disc, The Shape of Punk to Come. That effort, which exploded the band's coiled, live-wire attack and leftist sloganeering with techno beats, jazzy instrumental wanking, ambient soundscapes and a general feeling of anything – and everything – goes, seemed to rearrange the very DNA of hardcore punk itself.

At the time, of course, almost no one noticed, and Refused broke up just months after The Shape of Punk to Come's release, while in the throes of a disastrous U.S. tour. REFUSED: Pop Songs for the Revolution. “Most musicians have nothing to say. They’re not very interesting, and they’re not very smart”: Refused’s raw, radical politics return for the Bernie Sanders generation. It’s easy to get the wrong idea about Refused.

“Most musicians have nothing to say. They’re not very interesting, and they’re not very smart”: Refused’s raw, radical politics return for the Bernie Sanders generation

When the Swedish hardcore punks announced their reunion in 2012—fourteen years after they had split originally—they landed a slot at Coachella and played sizable U.S. venues. During the band’s initial tenure, however, things were quite different; in fact, Refused announced their breakup in 1998 with a manifesto that very succinctly expressed their perceived failure at having moved the cultural needle: “We were hoping that we could be the final nail in the coffin of the rotten cadaver that was popular music, but unfortunately the reification was too big for us to succeed with our feeble attempts to detour this boring discourse.” Produced by Nick Launay (Gang Of Four, Public Image Ltd.) David Sandström of Refused: “New Noise” Drum Cam Video. When Swedish experimental hardcore band Refused offered MD Online a chance to host a video focusing on David Sandström playing the track “New Noise” at a recent concert, we were thrilled to oblige.

David Sandström of Refused: “New Noise” Drum Cam Video

The band, which reformed a couple years ago—you can read all about Sandtröm’s career in the February 2016 issue of Modern Drummer magazine, on sale here—has been touring the States behind its recent comeback album, Freedom. Sandström, for his part, isn’t exactly a “selfie” drummer who spends time watching playbacks of himself in action. In fact, upon viewing this clip of a recent performance of the cut from the band’s classic 1998 album, The Shape of Punk to Come, he admitted, “I was surprised to see my posture and grimaces. I don’t even recognize the style of playing…it’s very much an emotional thing. I won’t be looking at videos of myself playing again. The Story of Feminist Punk in 33 Songs. By Vivien Goldman It’s punk, not spunk.

The Story of Feminist Punk in 33 Songs

So loaded towards males is the English language, though, that we may have to reinvent our whole vocabulary. Because some of the best words to describe our female punks are phallocentric: “spunky,” “ballsy.” Start calling us “cunts” or “pussies,” though, and it won’t go down so well. Why is a comparison to our vaginas not considered a compliment? Dix choses que vous ne savez (peut-être) pas sur l'album «Horses» de Patti Smith. Il y a quarante ans sortait «Horses», déclaration d'indépendance d'une égérie rock habitée par la rage et la poésie.

Dix choses que vous ne savez (peut-être) pas sur l'album «Horses» de Patti Smith

Un des meilleurs albums de l'histoire, que Patti Smith joue en live dans le cadre d'une tournée spéciale. Elle fera escale à l'Olympia les 20, 21 et 22 octobre 2015. Écoute commentée. David Lowery: Here’s how Pandora is destroying musicians. David Lowery has become both beloved and notorious over the last year as one of the musicians most critical of the ways musicians are paid in the digital era.

David Lowery: Here’s how Pandora is destroying musicians

The Camper van Beethoven and Cracker singer brings an artist’s rage and a quant’s detached rigor to his analysis of the music business. He’s currently fired up about a federal lawsuit filed in New York in which several record labels have sued Pandora (and before that, Sirius FM) for neglecting to pay royalties for songs recorded before Feb. 15, 1972. Why we love repetition in music - Elizabeth Hellmuth Margulis. Earworms: Why catchy tunes get trapped in our heads. Our resident psychologist Tom Stafford reveals why our brains find it hard to get rid of annoying, catchy songs, but he offers a possible solution.

Earworms: Why catchy tunes get trapped in our heads

"Earworms", some people call them. Songs that get stuck in your head and go round and round, sometimes for days, sometimes for months. For no apparent reason you cannot help yourself from humming or singing a tune by Lady Gaga or Coldplay, or horror upon horrors, the latest American Idol reject. To a psychologist – or at least to this psychologist – the most interesting thing about earworms is that they show a part of our mind that is clearly outside of our control. Earworms arrive without permission and refuse to leave when we tell them to. We all get these musical memories, and people appear to have different ones, according to a team at Goldsmiths University in London, who collected a database of over 5,000 earworms. Lost in music Another fact about earworms is that they often seem to have something interesting or usual about them. The Downward Spiral de Nine Inch Nails : la jeunesse de ses vingt ans - RADIO METAL.

Musicians Who Hate Spotify. Ces machines qui ont forgé des genres musicaux. Sans elles, pas d’acid-house, d’abstract hip-hop ou même de disco. Retour sur ces bécanes qui, à elles seules, ont su lancer des mouvements. Si, la plupart du temps, la créativité des artistes a poussé l’émergence de nouveaux styles, aussi bien dans le rock que la musique électronique, certains pans de la musique moderne n’auraient pas pris la forme qu’ils ont aujourd’hui sans certains instruments devenus des mythes à eux tout seuls. Soundcloud, la fin du conte de fées? Les sites officiels de musiciens sont-ils encore utiles ?

Il n’est pas anodin de se poser la question tant un artiste évolue et communique, de nos jours, sur Internet, partout sauf là où on pourrait naturellement s’attendre à trouver des informations fiables et précieuses à son sujet : son site officiel. Un artiste, pour se faire entendre et se faire relayer, n’emploie pas aujourd’hui 1 000 chemins différents. Pour qui n’est pas signé chez un major ou un label indé à forte notoriété, la marche à suivre reste quasi universellement la même : publication d’une nouvelle track sur Soundcloud ou d’un nouveau clip sur Vimeo/Youtube, partage en amont d’un lien privé auprès de son précieux réseau médiatique (quand on a la chance d’avoir glaner ici ou là des adresses hyper VIP), puis harcèlement social sur Facebook (quand on peut s’offrir le luxe de sponsoriser ses posts afin de toucher plus de 6% de sa fanbase durement acquise) ou sur Twitter (quand on a la renommée pour avoir plus de 400 followers).

Et c’est dommage !