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All your music always with you Articles: Maximal Nation Read the reviews for Scottish producer Rustie's Glass Swords, one of the year's great albums, and there's this word that keeps on recurring. Dummy's Chal Ravens hails its "no-genres-barred maximalism," The Wire's Mark Fisher situates the album in an electronic dance counter-tradition of "maximalism" and "managed overload," and Pitchfork's own Jess Harvell refers approvingly to the record's "maximalist zeal." "Maximalism" is vague and capacious enough to contain a whole bunch of ideas and associations, but the general slant of these verdicts is that there are a hell of a lot of inputs here, in terms of influences and sources, and a hell of a lot of outputs, in terms of density, scale, structural convolution, and sheer majesty. Shove "digital" in front of "maximalism" and you've got a phrase that captures what has emerged as the dominant current in electronic music over the last year or two. Reversing all these priorities, Glass Swords swaps deep/dark/stark for flat/bright/busy.

Songsinc Ulule s’associe à Noomiz pour donner un coup de pouce aux projets musicaux La plateforme de crowdfunfing Ulule vient de conclure un partenariat avec Noomiz, site de découverte des artistes en devenir dans lequel chacun d’entre eux peut créer son propre blog, très personnalisé, via à une interface conviviale. Grâce à cette alliance, les 20 000 groupes et artistes que rassemble Noomiz pourront accéder aux services du site Ulule et ainsi lancer des campagnes de financement participatif de leurs projets. Noomiz soutiendra les projets issus de ses membres en leur consacrant des mises en avant, et en y participant symboliquement (5€ sont crédités sur le compte de chaque projet). Noomiz, start up parisienne fondée en 2009, a développé une brique technologique qui faisait défaut à l’industrie musicale. La plateforme propose en effet un outil d’analyse de l’e-réputation des artistes sur le site lui-même mais aussi sur l’ensemble des sites et réseaux sociaux de référence.

CASH Music 'The Smiths and Morrissey changed our lives' | Music | The Observer The Smiths existed for only five years, between 1982 and 1987, and so appealed to those born in the late 60s and early 70s. That was their soundtrack, and now they are turning 40, they are revisiting their youth. But what's interesting about the Smiths is how they have crossed the generational divide to appeal to current, real-time teenagers. Much of this has to do with the quality of the music. At the centre you have the partnership of Morrissey and Marr. It's all there: sexual and social confusion, vulnerability and violence, alienation and loneliness, the oscillation between feeling abject and worthless and wanting to take over the world, the fantasies of power and revenge. These emotional states – not often explored with such precision in popular music – were uplifted and dramatised by Marr's abilities as a guitarist, songwriter, arranger and producer. In the 1980s, they offered a real alternative to the mainstream pop and indeed politics of the time. Thomas Howarth: student, Derby

Convert Audio Online - Free MP3, WAV, OGG, WMA conversion Uniform Motion Tour Report: how we earned minimum wage as musicians for 9 days. We launched a gig funding (gigstarter) site a few months back called The idea was to see if we could get some concerts pre-financed to reduce the financial risk of touring. After one successful campaign for a solo gig in Gothenburg, Sweden, and two concerts with the full band in Zaragoza, Spain, which were indirect consequences of setting up the website, we decided to try and organise a tour in Germany. The campaign itself was not really that successful but it did help us communicate the fact that we were ready and willing to play some shows, which resulted in some of our friends and fans providing us with some assistance. Here’s a tour diary and some details on the financial and organisational side of things. Day 1: Dikkenek Café, Lyon We started our journey with a 6-hour drive from Toulouse to Lyon. The Dikkenek Café is a fairly new Belgian bar in a popular area of the town. Distance traveled: 600 km

Des données sur Paris et les Parisiens localisées par le biais du réseau métropolitain Revenu net annuel moyen par foyer fiscal. Année : 2009. Source : INSEE. Impôt annuel moyen par foyer fiscal. Nombre de chômeurs par rapport à la population de 15 ans ou plus. Nombre d'étudiants par rapport à la population active de 15 à 64 ans. Nombre de diplomés de l'enseignement supérieur long par rapport à la population non scolarisée.Diplômes de l'enseignement supérieur long : licence, maîtrise, master, DEA, DESS, doctorat, école supérieure niveau licence et plus (hors DEUG, DUT, BTS, diplôme paramédical ou social...). Nombre de célibataires par rapport à la population de 15 ans ou plus. Nombre de mariées par rapport à la population de 15 ans ou plus. Nombre de retraités par rapport à la population de 15 ans ou plus. Nombre de femmes et d'hommes par rapport à l'ensemble de la population. Nombre d'habitants au km². Nombre de ménages propriétaires de leur résidence principal par rapport à l'ensemble des résidences principales. Année : 2011. Source : RATP.

5 Things We Learned From Bandito’s Music News Analysis of Our iPhone Now that music journalism is online, developers can do all sorts of new things to deliver news and criticism that matters to you, as opposed to yesterday’s one-size-fits-all approach to music news. The Bandito iPhone app (free) scans your iPhone’s, iPod Touch’s, or iPad’s music library in seconds to see what you listen to the most, then matches those artists against music blogs and other publications to present neatly-wrapped package of the latest commentary exclusively about the bands you care about the most. In many cases, Bandito (from Public Radio Exchange and powered by The Echo Nest, publisher of goes beyond just being a reading app. Plenty of music blogs include full songs or samples, which stream within the app so you can catch up on new music in addition to finding out that your favorite band just announced/canceled a tour, or Pitchfork downgraded their rating to “lame.” 1. 2. 3. 4. 5.