I always feel like it’s my job to give people a little something that will be weird but also give them an avenue of understanding. | | | | | Bon Iver's Justin Vernon in Boston, August 2011. (digboston) | | | | |  | “I always feel like it’s my job to give people a little something that will be weird but also give them an avenue of understanding.”
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| | rantnrave:// I have no idea what the "news" is in LISA ROBINSON's VANITY FAIR cover story on ADELE. Maybe it's that Adele is not particularly interested in doing a major tour ever again ("I'd be fine if I never heard [the applause] again") but she does envision herself starring in a BROADWAY production of GYPSY when she's 50. Or maybe that she's "available to depression." Or that she withheld her music from streaming simply to "prove a point." But what fascinates me is the absolute wall of separation she's built between her pop-star life and the rest of her life—forced to make a choice, she'd quit touring in a heartbeat—and the accountant-like control and organization she exercises over the former. Depression notwithstanding, she presents as one of the most well-adjusted major pop stars you'll ever meet... BON IVER's JUSTIN VERNON, on the other hand, is dealing with his (admittedly smaller) stardom by diving headfirst into the question of what it means to make music and share music, and consciously ceding some control along the way. PITCHFORK's STEVE MARSH hung with Vernon during the unnamed experimental festival he curated with THE NATIONAL and a few other artists in BERLIN a month ago and reports back on an artist trying to figure out "What am I doing this for?"... Why isn't SPOTIFY's DAILY MIX a standalone product, and what if it was?... How SPOTIFY ends up costing EUROPEAN consumers more than US consumers by trying to cost the same. | | | - Matty Karas, curator |
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 | Rolling Stone |
| Survive, the Alamo Drafthouse, Mondo and more: How Austin became America's retro otaku warehouse and 'Stranger Things' showed the world. | | |
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 | Pitchfork |
| With his symbol-strewn new album and a recent freewheeling music festival in the German capital, Justin Vernon is trying to radically reconfigure how people create--and appreciate--music today. | | |
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 | Vanity Fair |
| Since her chart-topping coronation, the superstar singer has been determined to balance her real life with her record-breaking career. From behind the scenes of her world tour, she opens up about the challenges of motherhood, melancholy, and mega-stardom. | | |
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 | The Ringer |
| (Yes, Christmas music is already here.) | | |
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 | The Washington Post |
| The year’s best country album comes from Maren Morris, and if the trophy gods deliver justice at the 50th annual CMA Awards on Wednesday, she’ll win a prize for it. The 26-year-old is a straight-talking, forward-thinking fountain of dash, and she’s funneling it into some great country music. | | |
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 | WTF with Marc Maron |
| Roger Waters wrote songs that changed rock and roll, organized them in ways that changed how albums were made, and performed them in ways that changed how concerts were staged. The Pink Floyd frontman tells Marc why he only now feels like he's getting it right. | | |
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 | Billboard |
| What was once an exchange stemming from "Please listen to my demo" has now transformed into a retweet or social media post, and the real estate is often the same price in the eyes of major labels. | | |
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 | MusicAlly |
| The always-on culture of social media and its increasing demands for musicians' time may be bad for their psychological health, says Martin Goldschmidt. | | |
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 | Noisey |
| These are the Skeptas, Giggs' and Dizzees of the future, and, alongside XL Recordings, they're bring out a collaboration album. | | |
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 | The New York Observer |
| Thirty years ago this month, holy rockers Stryper unleashed what would become their biggest selling album ever, “To Hell With The Devil.” | | |
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 | Music Think Tank |
| Getting a record deal has never been easy. Even back in the days when the A&R man was your friend and an artist could make a substantial living from physical sales alone -- you still had to be discovered, and nurtured, by someone with clout, connections, resources and know-how. | | |
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 | NPR |
| Just in time for Día de los Muertos, here are 12 versions of an old song that still frightens. Hear "La Llorona" performed by Chavela Vargas, Lila Downs, Mariachi Flor de Toloache and more. | | |
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 | Reverb.com |
| In this video, Justin DeLay shows us how to approximate three classic Carpenter themes on synthesizers of the day, and gives tips and suggestions on how you can be inspired to experiment at home, all while getting followed by a mysterious Shape. | | |
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 | Music x Tech x Future |
| Implementing the obvious missing feature could point to a new product direction for Spotify. | | |
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 | The New York Times |
| This arrangement could spread as a way to stop the erosion of criticism in the genre, but it raises journalistic concerns. | | |
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| Noisey |
| We talk to the Toronto band about their new album 'Home on Native Land' and premiere a new video from it. | | |
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 | Complex |
| Ghostface's debut album, 'Ironman,' is 20 years old. We took a look at the lyrical innovations that made him a hip-hop legend. | | |
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 | Monday Note |
| Fifteen years ago, the iPod and its iTunes music distribution system were born. No one saw how they were to transform Apple, enable the Smartphone 2.0 era, and unlock hundreds of billions of dollars of revenue for the company. | | |
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 | Lone Star Music Magazine |
| The South Carolina duo discusses parenthood, loss, love and "Little Seeds." | | |
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 | Red Bull Music Academy |
| A true synthesizer pioneer, Suzanne Ciani's love of electronic music began in 1968 during a field trip to MIT, but it was her decade-long adventure mastering the Buchla 200 that would define her career. She worked in commercials and in the late 80's and 90's redefined herself again as a five-time Grammy-nominated new age artist. | | |
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 | via YouTube |
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