Some things are ... out of the pocket and then it's behind the beat sometime, and it's like, yeah, [I] just left the s*** the way it was. It's like in its purest form, like conversation. You don't put a conversation on beat, you know what i'm saying? | | | | No, "Total Eclipse" singer Klaus Nomi is not wearing approved eclipse glasses.
(David Corio/Redferns/Getty Images) | | | | | | “Some things are ... out of the pocket and then it's behind the beat sometime, and it's like, yeah, [I] just left the s*** the way it was. It's like in its purest form, like conversation. You don't put a conversation on beat, you know what i'm saying?”
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| | rantnrave:// Temporary dark star today. You need special glasses to look, but any old device will do for listening to the soundtrack to the eclipse of the century. And you have options. PITCHFORK has put together a four-hour-four-minute real-time playlist designed to be played starting at 12:05 pm ET, featuring GROUPER, SUN RA, WILLIAM TYLER and lots more. THE KRONOS QUARTET is literally going to jam with the eclipse. If you happen to be on ROYAL CARIBBEAN's OASIS OF THE SEAS, you can watch BONNIE TYLER sing "TOTAL ECLIPSE OF THE HEART," backed by DNCE, at the moment of totality. While the moon may eclipse the sun, nothing will ever eclipse "Total Eclipse of the Heart." Except maybe KLAUS NOMI's "TOTAL ECLIPSE," which, in case you need the karaoke version today, here you go... Or, I don't know, feel free to play CLIPSE all day... I would love to have been at the meeting where it was decided JAY-Z's 4:44 would be released as a free download but his first major interview about it would be locked behind a paywall. Elusive life goal: understanding music marketing. If you're a TIDAL subscriber, though, the 70-minute sit-down with RAP RADAR's ELLIOTT WILSON and BRIAN "B.DOT" MILLER—conducted at a table with 11 drinking glasses and way too much food for three people—is a must-watch. Jay's current beef with his "little brother" KANYE was the headline news, but there's so much more going on in this seemingly no-holds-barred interview, from how he recorded the album on "s***ty-ass mics" while fighting a cold, to the casual racism of classic WARNER BROS. cartoons, to how BILLBOARD counts free SPOTIFY streams vs. how it counts free TIDAL downloads ("that has to change, and that will change"), to his rock-solid defense against anyone who thinks he actually meant that Jews own all the property in AMERICA. "I own things," he notes... LYOR COHEN call and response. And response. And response... RIP SONNY BURGESS. | | | - Matty Karas, curator |
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| Cyborg body modifications are altering the way we hear music. | | |
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| An unapologetic ode to gated reverb drums. | | |
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| Nashville singers have largely been silent about current events since the election. This week, things were different. | | |
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| Spotify's decision to remove white power music from its service has generated a lot of discussion. Here's why it was the right thing to do. | | |
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| Follow the moon's path across America with this playlist spanning the exact length of the eclipse and linked to its location at any given moment. | | |
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| Debating this year's Song of the Summer is futile: It's "Despacito," "Despacito" -- the teeniest bit "Wild Thoughts" -- and "Despacito." The predominately Spanish-language Luis Fonsi and Daddy Yankee smash, with the small contribution of Justin Bieber on its remix, is poised to become the Song of the Decade, breaking records at a pace contradictory to its title. | | |
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| You don't have to be the son of a jazz singer to recognize the voice of a loved one as music, made up of sounds so basic to our understanding that they precede language. And yet our digital devices strip much of that away, trading intimacy for efficiency. But what is the essential part of our voices, and what isn’t? | | |
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| In a victory for literalism, Bonnie Tyler will perform her volcanic pop ballad on a cruise while the moon drifts between Earth and the sun. | | |
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| Our Voyagers allow us to broaden the definition of what it means to be human. | | |
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| Garth Brooks' deal with Nashville arena blocks other country-ticket sales until December, which is causing a headache for Shania Twain. | | |
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| | | the sun ain't gonna shine anymore |
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| The anonymous tip came in from a metalhead on the warpath, whose goal was to rid the Twin Cities music scene of neo-Nazi infiltration. Ranking high on his hit list was a prominent Minneapolis intellectual-property lawyer who spends his spare time running a black-metal record label. | | |
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| Everyone sings about cars, sure. But software, Crock-Pots, and Band-Aids? We break it all down. | | |
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| I first heard Kesha under her own name in 2009, when I downloaded a loose mp3 of “TiK ToK” and synced it to a playlist on my iPod because the Singles Jukebox had reviewed it and I was in one of my intermittent phases of listening to stuff that came up on places like the Jukebox, which had been my keeping-in-vague-touch strategy throughout much of the 2000s. | | |
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| As the first Luke-affiliated major artist launch since his legal squabble with Kesha began, will Petras bring redemption, or at least pave a potential path to a comeback, for the embattled producer? | | |
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| When Chuck Reece and I launched The Bitter Southerner's Southern Music column, we did so through the recognition of our mutual love for music and culture beyond our obvious racial differences. | | |
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| New York’s Archives of Contemporary Music, George Blood Audio and the Internet Archive are working together to manage, clean, digitise and archive around a thousand records a day. | | |
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| French Montana has his first number one record and a team of women around him. | | |
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| Director Geremy Jasper’s directorial debut chronicles the journey of Patricia Dombrowski aka Killa P, a plus-sized white girl rapper from a poor Jersey suburb. And it is riveting. | | |
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| Sound supervisor Dean Hurley explains how David Lynch's unsettling world gets populated with crackling music and other audio horrors. | | |
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| In her new book "Good Booty: Love and Sex, Black and White, Body and Soul in American Music," Ann Powers explores how popular music became America's primary erotic art form. | | |
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| | | | | | | From "Urgh! A Music War" (1981). |
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| © Copyright 2017, The REDEF Group |
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