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haveyouheardthisband · 3 months

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obscure bands and where to listen to them, part 2

Follow-up to [this post].

Here I'll go over five artists whose polls got an extremely low amount of "yes" votes, plug where you can listen to them, etc.

If you're a fan of one of these artists and I got anything wrong or you have anything to add, please send an ask!

Long post ahead.

PALMSY

Genres: Indie Pop, Jangle Pop, Bedroom Pop 10 out of 2,375 voters have listened to them. (0.4%)

Self-described as such: "Bedroom songs from the Netherlands. Feel-good sunny energy, jangly indie pop and the breezy energy of pop-punk." Their website (in Dutch) says they're influenced by artists such as Bombay Bicycle Club, Darwin Deez, Little Comets, and The Wombats. Released one EP in 2017 and seems to have been inactive since, but two members went on to form the band Banji.

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Apple Music Soundcloud Spotify YouTube (official) YouTube (auto-generated)

Clay J Gladstone

Genres: Pop Punk, Punk Rock 12 out of 2,495 voters have listened to them. (0.5%)

Australian. "Emo punk outfit Clay J Gladstone was formed in 2020, comprised of current and former members of powerhouses Resist the Thought, Caulfield, and Buried in Verona." Released one album and some singles in 2021-2022, but they're still active and playing shows! Apparently one of their guitarists got his equipment stolen recently but they were able to fundraise enough money to replace it so yay :)

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Apple Music Bandcamp Soundcloud Spotify YouTube (official) YouTube (auto-generated)

Radiation 4

Genres: Avant-Garde Metal, Mathcore 10 out of 2,314 voters have listened to them. (0.4%)

Los Angeles-based experimental metal band that dressed in lab coats and glasses for their live performances. Their MySpace listed their influences as "Sleepytime Gorilla Museum, Tom Waits, Mr Bungle, Botch..the list goes on." (IMO, the vocals especially are VERY Mike Patton-ish.) Released an EP in 2001 and an album in 2003, then went on hiatus in 2007 (though the vocalist uploaded some of their stuff to Bandcamp in 2022-2023?) Here's a fairly recent interview with the vocalist.

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Bandcamp Here are unofficial YouTube uploads of Radiation 4 (2001 EP) and Wonderland (2003 album), which aren't on the Bandcamp, or anywhere else that I can find. ...Also, I finally found a copy of the album art for Wonderland that isn't JPEG'd into oblivion.

LightGuides

Genres: Pop Rock, Indie Rock, Math Rock 4 out of 2,158 voters have listened to them. (0.2%)

Self-proclaimed "Glaswegian pop-punk samba legends" (they aren't really samba though...) previously known as We Hung Your Leader. According to their old website, their influences included Jimmy Eat World, Alexisonfire, Brand New, and The Get Up Kids. Released two "mini-albums" between 2010 and 2011, and ceased posting on social media around 2017. Here's an interview (from shortly before the release of their second album) if you want to know more!

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Apple Music Soundcloud Spotify YouTube (official) YouTube (auto-generated)

Tribraco

Genres: Jazz-Rock, Avant-Prog, Progressive Rock 12 out of 2,534 voters have listened to them. (0.5%)

Italian instrumental jazz-rock band, formed in Rome in 2004 initially as a trio but then grew to a quartet. Their MySpace listed such influences as John Zorn, Frank Zappa, Igor Stravinsky, and Fred Frith. Released two albums, one in 2008 and one in 2010. (...there's not much else I could find about them!)

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Apple Music Spotify YouTube (official) YouTube (auto-generated)

#talk #long post #Youtube

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museforblooms · 3 months

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★⠀⠀ ⁄ ⠀⠀ BELLADONNA is a fictional indie idol band formed through the third season of JTBC's Superband in late 2023. As the winners of the season, they were given a permanent contract with Superbloom Media, who would replace Dreamus Company as the new distributor. BELLADONNA would be formed in the first round of the competition and remain together for the entire duration, consistently beating any group that they went against by a significant margin. Their cover of U-GO-GIRL by first generation icon Lee Hyori would go viral in South Korea for their stage presence and new take on the song, projecting them into first place and leaving the other groups to fight for second. The group is composed of FIVE members: SARANG, WONHUI, HAENA, EULSUN, and YULLI.

★⠀⠀ ⁄ ⠀⠀ Being under the same label as the NATION'S SONGBIRDS, Plastic Flowers, comparisons between the two bands began as soon as the show finished airing. Leader KO SARANG would say ... " Belladonna is aiming to be different from our labelmates. While we love everything they've produced and done for us, there will be no overlap between us. " Despite this, Superbloom Media confirmed that they would be working with Plastic Flowers' lead singer OLIVER SONG and new in-house producer and former member of Lush DALLAS LINWOOD as they " continued to refine their sound and discover new mediums ".

★⠀⠀ ⁄ ⠀⠀ Belladonna's debut was announced on JANUARY 1, 2024 with the official release coming FEBRUARY 14, 2024. They took the fourth quarter of 2023 to write and produce their first mini-album CURSE OF CAPULET and the title track Burn Alive, which was described as a "rock track exploring themes of identity, longing to recognition, and the desire for power and validation". As the most watched season of Superband, with 4.6% viewership for the finale alone, many are looking forward to BELLADONNA's debut and are excited to see what they bring to the table.

★⠀⠀ ⁄ ⠀⠀ company. superbloom media ( since 2022 ).

★⠀⠀ ⁄ ⠀⠀ debut date. february 14, 2024.

★⠀⠀ ⁄ ⠀⠀ debut song. curse of capulet.

★⠀⠀ ⁄ ⠀⠀ fandom name. doves.

★⠀⠀ ⁄ ⠀⠀ fandom colors. white winged dove ( #ffffff ) && rose colored glasses ( #dd86a0 ).

★⠀⠀ ⁄ ⠀⠀ THE MEMBERS OF BELLADONNA ... KO SARANG ( leader, 2000 ) , KIM WONHUI ( 2000 ) , BAE HAENA ( 2001 ) , KIM EULSUN ( 2001 ) , KWAK YULLI ( 2002 ).

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you-need-not-apply · 5 months

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What are you favourite artists really getting paid?

A comparison of streaming platforms

Music plays an incredible part in shaping our society. From protest songs, educational rhymes, folk, classical, rock, techno, indie and disco music, it shapes our world view in a unique and powerful way. The way of listening to music has changed dramatically over the last one hundred and fifty years, from live bands on corners, to the invention of the radio, record players, CD’s, tapes, electronic music and now live streaming.

However, in a world where everything is about profit and popularity, the competition between streaming services is stiff. The pay ranges from awful to poor and as the algorithm evolves to recommend new artists to you, who is really making the most money?

The obvious answer is the streaming platform itself. Spotify wracked in a $18.68 billion (AUD) revenue in 2022 alone. Although Spotify don’t post their net profit, they did report a $391.2 (AUD) million loss in 2022, assuming this loss came from their initial revenue, Spotify should, theoretically, have made a staggering $18.28 billion dollar profit.

This leads us to the artists themselves, with such a large amount of profit and roughly 11 million artists on Spotify, we can only assume that split evenly and leaving a $2 billion (AUD) dollar profit for Spotify themselves that each artist would be paid an average of $1480 AUD per year.

This is not the case. Spotify pays around $0.003 - $0.005 USD per stream, a pitiful amount. In fact, per 100,000 streams on Spotify an artist can only hope to gain around $300 - $500 USD. On top of this already insanely low number, Spotify practices a 70/30 model with an average of 70% of profit going to the artists themselves, while they take an additional 30%. This leaves us with around $210 - $350 USD profit. The remaining royalties are then divided between the songwriters, publishers, and owners of the master recording. This could include the artist themselves, but it could also be the label they're signed to, leaving an even smaller profit for the artists themselves.

One of the most popular artists in the world, Taylor Swift, makes around $0.0043 USD per stream on her music. The highest paid artist, Drake, makes around $0.0049 USD per stream on his music. To be considered for having a ‘good number of streams’, an artist needs around 10,000 to 50,000 monthly listeners, however only 213,000 artists have hit this threshold out of the initial 11 million we discussed earlier.

In conclusion, Spotify is a scam. Buy physical items, such as CDs, records, merch, concert tickets etc, to truly support your favourite artist. And for god’s sake, don’t use Spotify

#spotify #spotify wrapped #streaming #music streaming #taylor swift #spotify playlist #spotify music #spotify update #playlist #songs #spotify link #drake #youtube music #essay #essay of stupidity

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newleasemusic · 2 years

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Fluffy Shares Video For 'My Love' From Long Lost Sugar Pistol album.

Alternative rock FLUFFY band have shared the video for ‘My Love,’ which stars Steve Hindalong who you might recognize from The Choir, Lost Dogs, Lifesavers Underground, The Normals, and Dead Artist Syndrome. The dreamy rock number is taken from their latest album Sugar Pistol which is out now across various music platforms.

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#alternative rock #California #Fluffy My Love #indie group #indie music #love song #Music #new music video 2022 #new releases 2022 #unsigned group #unsigned music #USA #Youtube

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missoneminute · 4 months

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The Libs on Waterloo: A comedy of errors

Rockin'on interview, 2015

Interviewer: What about You're My Waterloo then? This is a love song about a beloved soul mate who one is destined to meet once in a lifetime but who also becomes his nemesis later. Is this about you from Peter's point of view?

Carl: But the phrase of the song is a metaphor for Napoleon's most worthy opponent, which means Admiral Nelson who defeated him at the Battle of the Waterloo.

Interviewer: I think it was not Admiral Nelson but the Duke of Wellington that beat Napoleon at Waterloo.

Carl: Shit. Nelson was the one at the Battle of Trafalgar. My mind is in a haze after touring every day (blushes). Back to your question, the name of the song used an English colloquial word that implies respect for the best opponent of one's life. Saying it's a love song will cause funny misunderstanding again ...

Interviewer: But the lyrics say 'you're the only lover I had who ever slept with a knife'? Oh well.

Les In Rocks interview, 2015

Interviewer: In ‘You’re My Waterloo’ on your new album, you sing 'You are the survivor of more than one life’. Even though this song was written long ago, do you feel like survivors?

Peter Doherty: Carl didn’t write that song about me. And I didn’t write it about Carl. That line comes from the shock of learning that when he was born Carl had a twin brother, who died when he was a baby. We played it at a concert recently. Just after I sing, 'You’re the only lover I’ve had’, sometimes people like to look for clues about our relationship, but every time I meet his gaze when I’m singing those lines, he makes this face [looks up to the sky and shakes his head, grimacing].

Carl Barat: I actually used to sleep with a knife.

Peter Doherty: Yeah, what’s strange is that he actually used to sleep with a knife.

Carl Barat: It made you paranoid, so I stopped. You were really upset, 'What’s that? Are you going to use it against me?’

Peter Doherty: I don’t like to think about the time that Carl threatened me with a knife and …[he shudders]. I think when you’re openly straight, at 18, and they think you’re a mod, and you’re going to the indie-nights every night, trying to find a girl, without any success, all of that creates this strange atmosphere. Imagine us, both sitting on the night bus home, after spending the evening in the West End, trying to chat up a French girl, in vain…

Interviewer: To return to the question, do you feel like survivors?

Peter Doherty: Oh, I’m sorry. What’s the origin of that line. The first time that Carl took me to his mother’s house, I saw a photograph of his twin brother, and that made a big impression on me. In fact, it even became somewhat unhealthy, because afterwards, I used to tell everyone that I had a twin brother who died. It was a bit weird.

Carl Barat: Fortunately, it was not done with any bad intent.

Peter Doherty: I’m so honest that five minutes after I said it I confessed that it was a lie.

Carl Barat: So you’re a survivor?

Peter Doherty: I am a survivor of lies, of course, 'more than one life.’

A Likely Lad, 2022

"'You're My Waterloo'... ended up being one of The Libertines' big songs. There's a line in that song, 'You're the survivor of more than one life', which is about Carl - his twin brother died when they were just weeks old - but the actual subject matter of the song was Sally. 'You're My Waterloo' was also an important song for the development of Carl and me as songwriters. I had these chords and lyrics and bang, he came out with the bridge straight away. He wrote the musical melodies in answer to the lyrics that were about him, the idea being they entwine in rhapsodic ecstasy. It was a real symbol of what we could do together."

#since we are discussing this #the libertines #peter doherty #carl barat #pete doherty #pete and carl

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black-arcana · 1 month

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WITHIN TEMPTATION Shares Preview Of New Single 'A Fool's Parade'

On April 5, 2024, WITHIN TEMPTATION will release their brand-new song, "A Fool's Parade", which marks a collaboration with the talented Ukrainian producer Alex Yarmak. According to a press release from WITHIN TEMPTATION's publicist, "A Fool's Parade" "highlights Russia's pretense regarding the war, and condemns its lies, ongoing crimes and brutal intentions."

A preview of "A Fool's Parade" is available below.

The song, released as a harbinger of the much-anticipated "Bleed Out 2024 Tour", is a powerful expression of what the press release calls "WITHIN TEMPTATION's commitment to continue shedding light on the ongoing existential struggle that Ukraine is facing against Russia's cruel invasion."

For the recording of the accompanying music video for "A Fool's Parade", Sharon den Adel — the frontwoman of WITHIN TEMPTATION — traveled to Kyiv, Ukraine. The music video is being directed by renowned Ukrainian video director Indy Hait.

With involvement in initiatives such as the Ukraine Aid OPS foundation, WITHIN TEMPTATION aims to keep drawing attention to Europe's much-needed support for Ukraine's defense.

In a June 2023 interview with James Wilson-Taylor of Rock Sound, Den Adel spoke about the lyrical inspiration for WITHIN TEMPTATION's "Wireless" single: "When the war started in the Ukraine, we were in the studio writing songs, And it's one of the songs that we wrote. And it is about war, of course. It's about a soldier going to war and thinking he's going to liberate people, do good stuff and be a hero and everything, but then he finds out that he's been lied to by media but also government. And then he finds that he can't go back because he's already in his army gear, for instance. You can't go forward, you can't go backward because you have your buddies next to you and you'll all die in the field. And in front of you, you have a mission impossible almost."

The Dutch singer continued: "So that's what we try to do — maybe also shine a light on certain situations within the war. It's just we're storytellers — it's like amplifying a certain kind of emotion that people could feel in this situation."

Asked how she and her bandmates decided to use Russia's invasion of Ukraine as inspiration for one of their songs, Sharon said: "Well, from my point of view, it's not just their war. I really believe what some people are saying — it's really our war as well. Because it's next to us. They already said, they're not gonna stop at Ukraine; they're gonna go further. And a couple of hours flying from my home, it's already Kyiv. So it's also our war. I think we should be aware of the fact that this is a danger for all of us. They won't stop. And hopefully — we wanna keep this a little bit alive in our own small way by writing about it and talking about it and waving a flag on stage about it."

In March 2022, WITHIN TEMPTATION was one of the artists who took part in a telethon concert in support of Ukraine. "Save Ukraine - #StopWar" united more than 20 countries and bring together more than 50 participants. The marathon was broadcast from Warsaw on the Polish TV channel TVP. In addition, broadcasters from many countries around the world, including Estonia (EBR),Lithuania (LTR),the Czech Republic (ČT2),Georgia (GPB / First),Albania (RTSH 2),Montenegro, Slovenia, Latvia (LTV),Croatia (HRT),Slovakia (RTVS),Austria (Puls 4),Cyprus, Canada (OMNI) and others, rebroadcasted the marathon on their local channels.

In an interview with Greece's Rock Overdose, Den Adel stated about her band's participation in the event: "For us, it was an honor to be asked for it. I think as a band and as people, we really value freedom of speech and freedom and democracy. I think as a band, people sometimes say, 'Don't be so political,' people say, 'Don't be so expressive and don't take a side on things.' But as a musician, I think it's important to represent who you are, not just in music but really stand for what you make and what you are saying in your lyrics in a way. And things that are happening in the world inspire us to write music, and then you also have to take a stance and what side you are. I think when it's so obvious where there's an aggressor and where there is a country being violated, invaded, you should take a stance and then it makes it much easier even to be very clear about where you stand in this whole conflict. Of course, it's something that we are keeping ourselves updated with every day because we find it very sad to see that a country that wants to be a democracy is invaded this way. So we are very honored to be asked also to play for this event, this marathon, and happy to do it."

Released last October, WITHIN TEMPTATION's latest album, "Bleed Out", signifies a bold leap forward for the band. From contemporary, hard-hitting, and djenty riffs to soaring melodies displaying their symphonic roots, WITHIN TEMPTATION has created a sonic journey that fuses diverse musical styles and thought-provoking themes. This is an album that is as epic as it is unflinchingly outspoken, and now more than ever, this is a band who isn't afraid to make a stand on issues the members care about.

Since the start of the war in Ukraine, WITHIN TEMPTATION have shifted their focus from writing about personal emotions and societal subjects to tackling global injustices and reflecting the tumultuous state of the world in a way that other artists seem unable or unwilling to do.

While songs such as "Wireless" and "We Go To War" examine the authoritarian aggression on display in Ukraine and other warzones, the title track itself addresses the plight of women fighting for their rights in Iran after the murder of Mahsa Amini.

The album also grapples with the complex issues around a woman's right to choose in recent single "Don't Pray For Me" and throughout, this impassioned and political focus is reflected in the intensity and heaviness of the music. Embracing a new era of musical exploration and lyrical depth, WITHIN TEMPTATION have pushed boundaries and showcased their artistic evolution, delivering a fist-in-the-air proclamation of both their moral convictions and their fearless approach to music.

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#sharon den adel #within temptation #a fool's parade #Youtube

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wub-fur-radio · 6 months

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I Dreamed I Saw Dwight Eisenhower (or, How Come There’s Never an Old Weird American Around When You Need One?)

Come out, ye gifted kings and queens And hear my sad complaint No martyr is among ye now Whom you can call your own – R. Zimmerman

Wub-Fur once again finds it needful to apologize for an overlong absence from the Internet airwaves and offer in recompense (as is our wont) another eclectic mix of contemporary indie rock and such. We recently awoke, as one does, from a recurring prophetic fever dream of a nation teetering on the edge of the fascist abyss and rushed to our virtual turntable to assuage our bewilderment and dismay by finding some excellent new tunes to share with you all. Featuring magical, melodious, and magnificent musical outpourings from Allah-Las, the Softies, Rain Parade, Beach Fossils, Woods, the No Ones, Pink Mountaintops, and 11 more of our favorite artists of 2023.

Nb. We didn’t really like Ike all that much, but he was a freakin’ saint compared to the authoritarian conman the Grand Old Party threatens to return to the White House next year. If you are an American citizen, please act (and vote!) accordingly.

▶︎🎶 Listen on Mixcloud or 🍎 Music

Running Time: 1 hour, 4 seconds

Tracklist

365 (3:06) — flypaper | London, UK

The Stuff (3:55) — Allah-Las | Los Angeles, CA

Marijuana (Acoustic) (2:37) — Together Pangea | Los Angeles, CA

One Day (I'll See) (2:22) — Hot Apple Band | Sydney, Australia

Graveyard Song (4:29) — Jeff Rosenstock | New York

In the Store (2:27) — The Lost Days | California

Change My Ways (1:23) — The Softies | Portland, OR †

Pink Cake (2:45) — Sonny & The Sunsets | San Francisco, CA

Weep (3:34) — Woods | New York

Run to the Moon (3:44) — Beach Fossils | Brooklyn, NY

Bring You Back (3:10) — Rain Parade | Oakland, CA

Sunset on the Faders (3:32) — Hiss Golden Messenger | Noeth Carolina

I Wanna Go Down to the Basement (2:51) — James & the Giants | Wisconsin

Downwards Daze (3:34) — Pink Mountaintops | Los Angeles, CA

Tiger at the Drugstore (3:37) — Skating Polly | Tacoma, WA

Left on Coast (4:52) — The Garment District | Pittsburgh, PA

Time Sent Lewis (4:02) — The No Ones | Portland, OR

The Document (4:03) — Bird Streets | Brooklyn, NY

All tracks released in 2023.

† Apple Music version substitutes “Fluff” (1:30) by Tony Molina (2022) for the Softies track, which is sadly unavailable on that platform (and which is also, not coincidentally, a cover of a Tony Molina song.)

#indie rock #jangle pop #neo-psychedelia #dream pop #indie folk rock #music mixes

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thesinglesjukebox · 3 months

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SOPHIE ELLIS-BEXTOR - "MURDER ON THE DANCEFLOOR" (2001) (2024)

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23 years on and this groove's still got some life in it...

[7.11]

Thomas Inskeep: Sophie Ellis-Bextor should've been the next Kylie — and for a couple years, almost was. Her 2001 debut album Read My Lips spun off a trio of top 3 singles in the UK, including this one, which has over time become her true classic. Dua Lipa's entire career was birthed in this single, the dictionary definition of ebullient dance-pop. (It's fitting that Lipa's "Houdini" is currently the most-played song on UK radio as this single is re-ascendant.) SEB has never gone anywhere: she's still making music, touring (based on her 2022 Sophie Ellis-Bextor's Kitchen Disco (Live at the London Palladium), she still sounds great), and is now a DJ on BBC Radio 2. She just didn't become the massive pop star she deserved to be. Now, thanks to its placement in a climactic scene in Saltburn, her greatest single is getting its flowers, climbing back up to #2 in the UK (so far — my fingers are crossed it can make it that final notch higher). "Dancefloor" still sounds fresh, certainly fresher than the glut of '90s-sampling dance-pop dominating the UK charts. This single sparkles, SEB giving a knowing wink as she sings, especially on the line "gonna burn this goddamn house right down." She knows what she's doing here: making magic. [10]

Edward Okulicz: I bought this on single back in 2002, which tells you something (other than that I am old): it was an irresistible bit of sparkly disco radio pop back in the day. Move it forward or backwards a few years and it might have been an indie rock song for someone else, a filter house record, or (gulp) a Ronan Keating record. Fortunately that never occurred, and it's a delight to see a classic gain new fans from age groups and territories that didn't get it on saturation rotation. Part of it's the solid song by Gregg Alexander, who at his best was a master craftsman of a much-maligned form. Another part of it's the much nimbler, slinky production compared to the rest of his soft-rock oeuvre. And a very, very large part of it is the Debbie-Harry-but-English pose of Ellis-Bextor, too cool to do anything but be filmed dancing from the waist up while she stomps her heel into your eardrums. "Murder" really has everything — a catchy chorus, the tinniest guitar solo ever, hooks that fall as much off the words as the melody — and so is perfect for every occasion, even a movie I am never, ever going to see. [10]

Alfred Soto: Like the Pet Shop Boys' "Rent," waaayyyy too good for Saltburn — perhaps Emerald Fennell thought their incandescence would rub off on her as if it were glitter. Part of a vanished climate of French house-inspired crossover pop like Kylie Minogue's "Love at First Sight," Sophie Ellis-Bextor presages Katy B's regular-person anonymity: she surveys the strings and rhythm guitar licks like a party hostess keeping an eye on the band while sipping her prosecco. [8]

Alex Clifton: I haven't seen Saltburn and frankly have no interest in it, but this film has led to the Sophie Ellis-Bextor renaissance which is a net good for society. "Murder on the Dancefloor" is just brilliantly composed and produced; it feels as fresh today as it did twenty years ago. There are so many thrilling little moments from Ellis-Bextor's vocal delivery: the way her voice curves into "about your kiiiiiind," the little rasp in "there may be others," the little trill of "dancefloor" in the bridge. I feel so biased writing this review because I've literally been listening to this song since I was a kid, but I'm so jazzed about "Murder" finally receiving the love it deserves. [10]

Ian Mathers: How can you not love pop music when it'll randomly do things like this, suddenly giving us a song to review from before the earliest days of the Jukebox, that is here purely because of its use in a movie that I have not seen but am informed was probably picked on the basis of Ellis-Bextor's plot arc in the music video. And if I'm not willing to go to bat for it quite as hard as I would for "Running Up That Hill," I did love "Murder on the Dancefloor" in 2001 and it still sounds great now. I don't find myself having any reaction more complicated than happiness at hearing it again and that particular joy of people liking something you like. [8]

Nortey Dowuona: If you told me this came out in 2021 and Emerald Fennell asked Sophie to use it in her movie set in 2001 because it was just that on point in depicting the time, I would agree. Then after taking out my phone, I'd be punched in the face and meekly give up my phone. Then, after watching you sprint into a nightclub, I'd immediately thank goodness you didn't ask for the passcode and run like hell for the closest subway. I am three stops from home before I remember this did not actually come out in 2021; there are other Sophie Ellis-Bextor songs and jailbreaking is a thing now. [10]

Leah Isobel: RIP Mark Fisher. You would've written a hell of a blog post about Saltburn. [7]

Mark Sinker: Necessary digression 1: heraldry as a science in Europe is roughly 900 years old, a bright and stylised easy-read guide, highly rule-bound and policed, to class and land and title — which is to say to material history (its jargon-field is still mostly words not otherwise used in the UK since the 14th century; even property law is less lousy with extinct Norman French terms). And like many very aged things, it has necessarily also passed through phases and fashions, as technologies of display arrive and depart. In fact the first inkling I had that I wasn’t going to get on with Saltburn was the typeface chosen for the title on-screen at the outset. It’s a font with a fairly specific ill-set ungainliness to it: it wants to have the weight of "pleasingly and weirdly old; not how we do things now," but it might just as well be some off-the-peg super-modern studio confection — or even (though I slightly doubt this) something custom-fashioned purely for the film. There’s no discernible care to the choice. Necessary digression 2: back in the late '70s when Peter Saville was busily and insouciantly borrowing from this or that actual-real document or design, of such-and-such era, part of the point was the severity of the decontextualisation — except there was a rigour to the carelessness. The item was being supplied with an iconicity (the very word) pulling you in towards whatever the item was that Factory Records was then placing on the market. The surface glamour of the original was to be funneled through in such a way that its weight amplified only the new relationship. In fact (in its stylised easy-read way) Saville’s work was ruthlessly the opposite of heraldry, so very good at managing the ambient melancholy that suffuses the wider Factory moment; all the blocks and counterspells necessary to conjure here beyond the end of creative time as the context for the music to have presence. Anyway, long story short (lol) Saltburn – which would love to believe it has accessed the aura, for example, of the cover of New Order’s Technique — is attempting to juggle the same double burden. It wants to conjure a play between the decontextualised pull of 24-hour-party-people hedonism and the real ineluctable unremovable weight of actual history and actual class and actual land and actual title. Except for its story to work it needs both dimensions (hedonism and weight; heraldry and careless scribble) to register, as Saville absolutely didn’t. No block, no counterspells, nothing to dampen the disturbances — so when poor old Sophie EB’s voice and poise are scalpeled out of their 20-year-old chart context and abruptly c/p-ed into whichever late-stage scene it is, well, here they are, as a clumsy synopsis (calculation, side-eye, dancing, death) the structure really shouldn’t require, in a role the song is the wrong mood (a faintly gauche trifle, a chirpy hustle) to deliver. The movie never works out where it gets its deep reveal from, or what shape its politics are (if politics is even a useful word here). Ill-set ungainliness all over again: the carelessness floods back into the borrowed adornment, and breaks it in pieces. I don’t even love this song that much but I hate how it gets what value it has so gracelessly driven out of it. [2]

Jacob Satter: At the risk of killing the groove, this is a pretty boring choice for a manufactured revival track. Call me back when the kids discover "It's In Our Hands." [4]

Jacob Sujin Kuppermann: I'm glad everyone's having fun here but the more I try to enjoy this — either on its own terms or as an icon of nostalgia — I get nothing. Unremarkable in any year. [4]

Lauren Gilbert: It was a [10] in 2001, it's still a [10] now. [10]

Katherine St. Asaph: The thing about it being 2024 is that in the intervening 20-plus years since "Murder on the Dancefloor" came out, approximately ninety million more disco-revival tracks came out. Some of them are by Sophie Ellis-Bextor, even. And so many of those tracks are smooth where this is stiff, magisterial where this is timid (and not in a winsome Katy B kind of way; Katy got better arrangements), charged where this is inert and just generally unmurderous. It's actually startling how inessential this sounds by comparison. [3]

Oliver Maier: Even as a youth, before my brain was burdened with indulgent critical vocabulary, I felt like this song just didn't work. I can't pin down whether "Murder" is knowingly a little chintzy (dare I say camp?) or if it's just cheap tat trying sincerely to sound boutique. Benefit of the doubt granted or not, Ellis-Bextor sounds like she's doing karaoke off the sofa. [4]

Michael Hong: When Ellis-Bextor pauses, it's easy, like a quick and graceful end to a conversation rather than the expectant response to her more spirited word choice. She's committed to this casualness, easily slipping away at the hint of a faux pas, which makes the occasional lingering word more charming. "About your kind," she sings, as if looking you up and down, wondering if she's got it wrong this time; the word "others" is trailed as if she's daring you to eliminate the competition. In that way, "you better not kill the groove," delivered with such nonchalance, becomes a fervid instruction. [7]

Will Adams: It's cute, Sophie is ever-charming, but there's real problem when you've got songs in your catalog with titles like "Bittersweet" and "Heartbreak Make Me a Dancer" that offer way more palpable drama than the one with the word "Murder." [5]

Joshua Minsoo Kim: Every other line is threatening here. “Stay another song,” “Don’t think you’ll get away,” “You better not kill the groove.” Sophie Ellis-Bextor isn’t demanding fear, though. That’s what makes “Murder on the Dancefloor” so irresistible: she sounds like a friend, albeit one who’s deathly serious about having a good time. When you hear her, you believe it can be this good for you too. [8]

Taylor Alatorre: Wow. They were allowed to make these slick disco-pop reimaginings with actual guitar solos back then? We must retvrn. [8]

Tara Hillegeist: It feels like a time capsule from another era in pop music entirely, because it is. There was a time when Ellis-Bextor's stately, imperial, nigh-inhuman precision of a delivery felt like nothing so much as the edifice within which pop star royalty could be crowned, particularly in the world of UK pop; it's still hard, even now, to deny the simple pleasures of someone who knows what her job is and then executes it flawlessly. But it's been over two decades since this song originally bowed, and it must be said that it was the impact of songs like, yes, "Murder" itself that raised pop music's skill floor high enough that such icy professionalism now feels like the most tiresome part of it — Dua Lipa does this regularly, after all, and with equal anonymity. No, what saves it, and ensures the song remains nothing so much as a delightful diversion (conditions of its resurgence be damned, I say), are the sampled whoops that come in beneath the guitar solo; notwithstanding that such a slice of controlled disco can credit itself with having a guitar solo to begin with, but the canned hype is such a stupendously goofy touch. It humanizes the song instantly, stripping the archness of its artifice aside to reveal the awkward smile underneath. The moment passes, of course. But the smile lingers. [7]

Anna Katrina Lockwood: I've been waiting 20+ years for an opportunity to issue a dissertation on the songwriting genius of Gregg Alexander and by god am I ready. Though it's hard to imagine it in a different form, "Murder on the Dancefloor" was apparently a cast-off single for Alexander's New Radicals debut, replaced by the equally glorious "You Get What You Give" — like, imagine being such a talented songwriter that you can just cast off a song like this, knowing you've got an equally great one to replace it with! "Murder on the Dancefloor" is just perfection in Ellis-Bextor's hands, with a galaxy of terrific choices in its production to go along with the amazing melodic structure. I still can't help but burst out laughing at the initial vocal hit in the intro on occasion, a perfect, delicately harmonized coo of "Murder!," cutting through the disco instrumental setup occurring all around. It's as great a moment of pop songwriting as I'm aware of — setting the expectation of the song's vibe from the outset. Ellis-Bextor's lyrics are outstanding, cleverly arch but not too shiny, in the thick of it yet also gliding past suavely. The song is incredibly detailed, a carefully calibrated piece — it lopes by with a relaxed stride rather than a reckless dash, a well-tailored Savile Row suit as opposed to an H&M tunic, cut to the millimeter. Yet it's also very clearly of the disco, built for singing along, difficult to avoid dancing to when it comes on. It turns on its heel at moments' notice, with layers of melody playing off each other throughout. Matt Rowe's efforts in production also deserve notice — this song sounds great, so distinctive that it is still eminently listenable 23 years on. I honestly have not a single thing to criticize about "Murder on the Dancefloor," and it's been a long time that I've considered it to be one of the truly great pop songs of my lifetime. It feels like incredibly just desserts to see it garnering so much praise now. [10]

[Read, comment and vote on The Singles Jukebox ]

#sophie ellis-bextor #saltburn #music #pop #pop music #music writing #music reviews #music criticism #the singles jukebox #Youtube

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louisupdates · 10 months

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Louis Tomlinson brings Faith In The Future tour to Oregon!

Louis Tomlinson - June 27th, 2023 - Mcmenamins Edgefield , Troutdale, OR

British musician Louis Tomlinson recently brought his Faith in The Future tour to one of Oregon’s most spectacular outdoor concert venues at the McMenamins Edgefield. The concert grounds were located on the field of their 74 acre property that can seat up to 7,000 concertgoers per show. One thing I always enjoy about Louis Tomlinson gigs are that the openers are always amazing - at our show we got to see incredible opening performance from Andrew Cushin and The Snuts.

First to perform was Andrew Cushin with just his guitar and a keyboardist. Cushin had freshly released his song “It’s Coming Round Again” just two hours before taking the stage, which had him pretty animated through out his entire set. Many fans showed up early and braved the harsh sunlight during his set which goes to show how good of a performance he puts on.

After a short change over, The Snuts took the stage. The four-piece Scottish band has a classic indie rock sound that you’ll be a fan of if you like artists such as The Wombats, The Kooks, and Catfish & The Bottlemen. I’m certain many concert goers who went into the show knowing nothing about The Snuts left as brand new fans - people were singing along to their songs like “Always” and “Hallelujah Moment” and dancing along even when they didn’t know the lyrics.

Anticipation was high as Louis Tomlinson took the stage right as the golden sun rays peeked through the trees. Adorned with a pair of Ray-Bans and a bright yellow Jamaican football jersey, the screams were at an all time high. He opened the show with “The Greatest,” which also happens to be the opening song of his second studio album Faith In The Future that was released in 2022.

You can tell how much thought Louis and his team put into making sure this tour would be one the crowds will remember for a lifetime. The production was a huge step up from his previous tour, with LED screens hanging from the ceiling of the stage and pyro that went off a handful of times. It was fun to sit back and watch the show - there wasn’t a bad seat in the venue. Throughout the night Tomlinson took time to sign fans’ signs when he found them funny, and would occasionally flip fans off which has become more of an inside joke with fans that he’s done throughout his career.

Alongside his impressive touring band, the 31-year-old singer-songwriter performed a total of 23 songs, mostly from his first studio album Walls and his most recent album Faith In The Future (even performing some of the songs from the bonus version of the album that was released this year). But Tomlinson didn’t stop there - we also got to hear a couple of One Direction songs and the cherry on top was his cover of Arctic Monkeys’ song “505.” I personally would love to see him explore the Rock/British Rock genre a little deeper, as it suits his voice so well and you can tell he is heavily inspired by bands within this scene. One of my favorite aspects of Louis Tomlinson concerts is that they feel curated by Tomlinson himself - the pre-show playlists, the openers, the production, and even the merch. It’s truly been a pleasure getting to witness Tomlinson’s musical growth and creativity since the disbanding of One Direction.

The night ended with Tomlinson’s final encore song of the night, “Silver Tongues,” where the singer made his way down to the barricade to interact with fans as red streaming confetti into the crowd further back. This moment surely left the show on a high note.

Louis Tomlinson will be touring through North America til July, then will be heading back overseas to finish up the world tour in Europe and United Kingdom. You can find out if a show is coming near you on his site here.

Photos by Sarina Solem

Photos part 2

#fitfwt23: troutdale #louis tomlinson #27.6.2023

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