Tag: Arcade Fire

NEWS ROUNDUP: International Women’s Day, Leaving Neverland, and MORE

Maggie Rogers, Mavis Staples, Phoebe Bridgers and Brandi Carlile meet at Newport Music Fest. Photo by Danny Clinch. The artists shared this photo along with messages of empowerment for International Women’s Day via Twitter.

It’s International Women’s Day!

Though some form of International Women’s Day has been around since 1909, the holiday celebrating women around the world has really gained traction over the last decade. This year’s theme was #BalanceForBetter, seeking to promote a more gender balanced world. Here’s how our favorite ladies in the music world celebrated.

  • Cardi B made a playlist on Apple Music for the occasion, featuring visionary women (including Grace Jones, Madonna, Tina Turner, and Solange).
  • Sharon Van Etten and Courtney Barnett both appeared as a guest curators for Amazon’s music streaming platform.
  • Ariana Grande tweeted a short video by director Hanna Lux Davis, reminding everyone a few tweets later “it ain’t feminism if it ain’t intersectional.”

  • Rihanna looked powerful in a black blazer.

  • Miley Cyrus shouted out some of her favorite bad ass bitches:

  • … while Lady Gaga paid tribute to her mama.

  • Maggie Rogers and Mavis Staples both reminisced via this photo with Phoebe Bridgers and Brandi Carlile.

  • Dua Lipa had some tea for those who fall short of protecting human rights.

  • And Micropixie released a video for Como Mínimo (#YesIsTheMinimum), from her upcoming LP Dark Sight of the Moon, out April 9.

The Fallout of Leaving Neverland

The explosive HBO Documentary about Michael Jackson’s alleged child abuse, Leaving Neverland, aired last weekend, and unsurprisingly, folks are divided on its message. Though the allegations are nothing new (Jackson settled a child abuse case out of court in 1994, and was acquitted in a similar case with a different victim in 2005) the harrowing testimonies of two men who say they were abused by Jackson when they were 7 and 10 are hard to dismiss. Radio stations have pulled Jackson’s enduring pop hits,  The Simpsons producers have pulled iconic episode “Stark Raving Dad” from the syndication due to Jackson’s guest voice over, and a Chicago run of biographical jukebox musical “Don’t Stop ‘Til You Get Enough” was cancelled, though its team said this occurred due to scheduling difficulties and that they’ve set their sights on Broadway in 2020. Jackson’s daughter, Paris, seemed unfazed in a series of tweets in which she told folks to “chillax” – implying that even if Jackson’s legacy took a huge hit, his $500 million estate would ultimately be unaffected by the doc (though they’d previously filed a lawsuit to block it from airing). Meanwhile, debate continues to rage regarding blame placed on the victims’ parents, the degree to which Joe Jackson’s horrific behavior absolves his son’s various issues (including the alleged child abuse) and, of course, the idea that Jackson himself is an innocent victim of a slanderous campaign. One thing is certain: Jackson’s story is ultimately one of the saddest in pop music history, taking into account his tarnished childhood, various tabloid scandals, untimely death due to physician-sanctioned drug abuse – and it’s only compounded by the suffering of his alleged victims.

That New New

Solange has blessed the world with the (semi) surprise release of When I Get Home, her follow-up to 2016’s show-stopping A Seat at the Table.

Cementing their legacy as Jersey’s favorite pop punks, The Bouncing Souls released the second single from their forthcoming 30th anniversary EP Crucial Moments, out March 15. Their massive tour kicks off the next day at Jersey City’s White Eagle Hall.

Vampire Weekend have shared two new tracks from their upcoming Father of the Bride LP, out in May

Mac DeMarco announced his next record Here Comes the Cowboy with a single called “Nobody,” giving Mitski fans a little déjà vu; both artists (and their shared PR team) say it’s just a coincidence.

Bedouine is back with a one-off single that reflects on the aftermath of her gorgeous 2017 self-titled debut.

SOAK has released another lovely singled from April 26 release Grim Town., announcing some US tour dates (including two at SXSW) to go with it.

Alan Vega’s final recordings have been released to benefit the Rock and Roll Forever Foundation, which provides teaching materials to educators seeking to engage students by teaching pop music history. The Suicide co-founder passed away in 2016.

Everyone loves a corgi – and that includes illuminati hotties, who are very honest about the fact that sometimes doggos are are the only thing keeping us in a mediocre relationship. They’ll be in Austin next week for SXSW.

Stef Chura has announced her sophomore record Midnight with its lead single “Method Man.”

Blushh shared a one-off single to get folks pumped for their upcoming SXSW dates as well.

Toronto punks Greys have announced third LP Age Hasn’t Spoiled You, out May 10, sharing its first single “These Things Happen.”

Rick from Pile remains the biggest babe in all of DIY indie rock; this week the band released their latest single and announced forthcoming LP Green and Gray, out May 3.

In other DIY news, Patio ready themselves for the April 5 release of Essentials with their latest track, “New Reality.”

NOTS have seemingly recovered from their recent lineup changes and shared the first single from their upcoming LP 3, out May 10. Two of its members are also releasing an LP this year as Hash Redactor.

The National have announced a new collaborative project with director Mike Mills entitled I Am Easy To Find. It’s essentially an hour-long companion album to a 24-minute short film of the same name starring Alicia Vikander. The first track on the album, “You Had Your Soul With You,” has some guest stars as well – Sharon Van Etten, Kate Stables of This Is the Kit, The Brooklyn Youth Choir, and longtime David Bowie bandmate Gail Ann Dorsey lend vocals. The band have announced a bunch of tour dates with Courtney Barnett and Alvvays supporting.

Local Natives released two videos this week, one of which stars Kate Mara. Both will appear on the April 26 release of Violet Street, a follow-up to 2016’s Sunlit Youth; they’ve previously announced a slew of tour dates.

Sky Blue, a posthumous collection of unreleased material from celebrated singer-songwriter Townes Van Zandt, arrived March 7 to commemorate what would’ve been his 75th birthday.

Kishi Bashi returns with new LP Omoiyari on May 31, and has released the album’s first single, “Summer of ’42”.

Charly Bliss have shared a video for “Chatroom,” the second single from their upcoming record Young Enough, out May 10.

CupcakKe keeps it topical with a new single entitled “Bird Box,” referencing the recent Netflix horror movie and the Jussie Smollett controversy alike.

Having penned Grammy-nominated hits for Ariana Grande and Janelle Monae, Tayla Parx is poised to break out on her own with a highly anticipated solo debut on Atlantic Records, We Need to Talk, out April 5. Her latest video for “I Want You” follows earlier singles “Slow Dancing” and “Me vs. Us.”

Christian Fennesz, who records electronic music under his last name, returns to basics with a new 12-minute track called “In My Room,” from forthcoming 4-song LP Agora, out March 29.

Ahead of the April 12 release of No Geography, The Chemical Brothers share a video for “We’ve Got To Try.”

Festival faves Marshmello and CHVRCHES have collaborated on a sugary new single titled “Here With Me.”

Dido’s first record since 2013, Still on My Mind, is out today; her first tour in fifteen years hits the US in June.

End Notes

  • The Prodigy singer Keith Flint was found dead of apparent suicide at the age of 49.
  • I would unironically love to attend one of these West Coast Man Man shows featuring “Friday” singer Rebecca Black.
  • Gayle King interviewed R. Kelly for CBS regarding the sexual abuse allegations against him, prompting an explosive on-camera outburst from the singer that has been widely discussed. We’re so tired.
  • Swedish black metal band Watain have been banned from performing in Singapore due to their “history of denigrating religions and promoting violence.”
  • NYC concert-goers spontaneously burst into song on the ACE platform following a sold-out Robyn show at MSG.
  • Speaking of Robyn, she’s been announced as one of the headliners for Pitchfork Music Festival, which takes place in Chicago from July 19-21. HAIM and the Isley Brothers top Friday and Saturday’s bills respectively, with Stereolab, Mavis Staples, Belle & Sebastian, Earl Sweatshirt, Pusha T, Tirzah, Kurt Vile, Low, Julia Holter, Rico Nasty, Neneh Cherry, Snail Mail, Khruangbin, Soccer Mommy, Amber Mark, CHAI, and more set to play as well.
  • While we’re on the subject of festivals, Variety has leaked a potential lineup for Woodstock 50 and it’s not exactly overflowing with “heritage” acts; Jay-Z, Chance the Rapper, and Black Keys look like likely headliners.
  • Elton John tweeted an definite release date in October 2019 for his upcoming memoir.
  • Massive Attack have rescheduled some of the North American Mezzanine reunion tour dates due to illness.
  • You can buy the hospital gown that Kurt Cobain wore during a legendary 1992 Reading Festival Nirvana performance for a mere $50,000.
  • L7’s Donita Sparks emerged as a hero when, in true punk fashion, Marky Ramone and Johnny Rotten nearly came to blows at a panel discussion on upcoming John Varvatos and Iggy Pop-produced Epix docu-series Punk.
  • Morrissey is taking his upcoming covers record California Sun to Broadway.
  • Taylor Swift stalker Roger Alvarado was arrested for breaking into the pop star’s home again, fresh off of a stint in jail for the same charge (bringing his Swift-related arrest total to three).
  • Arcade Fire will reportedly cover “Baby Mine” in Tim Burton’s live-action Dumbo remake, and it’s a real family affair.
  • Mark your sundials – Red Hot Chili Peppers will stream a live concert from the Pyramids of Giza, Egypt on March 15.

NEWS ROUNDUP: Rihanna Snaps Back, Lauryn Hill to Headline Pitchfork Festival & More

NEWS ROUNDUP: Rihanna, Lauryn Hill, Pitchfork & More

By Jasmine Williams

Rihanna Snaps Back

Rihanna has publicly accused Snapchat of victim shaming after the social media app displayed an advertisement the referenced Chris Brown’s 2009 brutal assault of the mega-star. The ad, for online game, “Would You Rather?!” makes light of domestic abuse by asking viewers if they would choose to “Slap Rihanna” or “Punch Chris Brown?” After fans pointed out the despicable ad spot Rihanna used major Snapchat competitor, Instagram, to make a statement, posting:

“I’d love to call it ignorance but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!! This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet ….you let us down! Shame on you.” -Rihanna

Snapchat responded with an apology and has since blocked the advertiser. On the same day that Rihanna made her statement, Snap Inc., the parent company of Snapchat decreased by 7%. Don’t mess with RiRi!

The Pitchfork Lineup is Here! And, Lauryn Hill is Back?

Any fan of Ms. Lauryn Hill will tell you, she never really left. However, years of super delayed shows, on-stage tirades, and uneven performances have given the former Fugees member a shaky reputation when it comes to live shows. Now, Pitchfork Music Festival has upped the ante by putting the spotlight on Hill for the 2018 edition of the fest which also marks twenty years since the 1998 release of her seminal (and singular) studio album, The Miseducation of Lauryn Hill. The controversial artist headlines Sunday’s lineup. Although the spot is being billed as an “anniversary performance,” there’s no telling what will actually happen on stage, especially given the fact that Hill has not always been friendly to her caucasian fans and Pitchfork isn’t exactly known for their diverse crowds.

The 2018 Pitchfork music festival runs from July 20th through 22nd in Chicago and also includes Tame Impala, Courtney Barnett, Big Thief, Fleet Foxes, Blood Orange, Chaka Khan and many more.

Other Highlights:

Yo La Tengo’s fifteenth album, There’s a Riot Going On, is out today! Arcade Fire premiered a short film this week while Courtney Barnett, Vic Mensa, and David Byrne all debuted new music videos. Jack White will be playing a “no phones allowed” show at Warsaw in Brooklyn on March 23rd. To gain access to tickets for the Greenpoint concert you have to purchase tickets for this summer’s Gov Ball. MTV is doubling down on their shaky reboot of TRL. Earlier this week Say Anything debuted a new song at SXSW. Tour announcements abound from Fleet Foxes, Liz Phair, La Luz, Beck, Culture Club, and many more, coming to a venue near you. A signal switch in airwaves may be coming soon – IHeartMedia has filed for bankruptcy. In local news, DIY Brooklyn venue, Silent Barn, is closing on April 30th.

HIGH NOTES: What Music Is Like on Every Popular Drug

Drug culture and music culture have long overlapped, from the psychedelics at 60s and 70s rock festivals to the MDMA, cocaine, and ketamine in modern nightclubs. People bring drugs to these settings not just to facilitate social interactions but also to appreciate the music on a new level. In fact, 69% of 21 to 29 year olds in a recent Detox study said they need drugs to enjoy music. 

But the way you experience music depends which drug you’re taking, and even when the same drug is involved, effects vary from person to person, song to song, and night to night. Here are just a few ways drugs can affect how you experience music, according to people who have taken them.

Alcohol

For Stephen, 33, wine unlocks music’s hidden meanings. When he wants to gain insight into his life, he’ll drink wine from Caduceus Cellars, the vineyard owned by Tool’s Maynard James Keenan, and put on Tool or another favorite band. It feels like “the universe is trying to communicate” through the music, he explains.

The effects of alcohol on music, though, totally depend on the drink and the genre, he says. “If I’m drinking whiskey and listening to country music, I just want to get feisty.”

Nadia, 36, says alcohol gives her less discriminating music taste. During her teen years, she says, “alcohol made me able to party to shit music.”

Weed

As a musician, Cass, 24, usually analyzes the music and lyrics of every song she hears. But when she’s stoned, she can just sit back and appreciate it.

Peter, 28, similarly finds that weed helps him get immersed in a song. “The mood of the music becomes very perceptible and much more apparent,” he says. “It’s easier to feel like you’re in an artist’s specific world.”

Weed also helps Lindsey, 34, get out of her head and into the music. “I fall into this wormhole of getting into the lyrics or the guitar or synth,” she says. But with edibles, she can sometimes feel the music too much — to the point where it actually makes her nauseous. After eating them at a Mykki Blanco concert, she “could feel the bass through the bench.”

MDMA

Most MDMA users love how it makes music sound; that’s part of the drug’s appeal. “Music becomes more euphoric, much like the drug itself,” says Peter. “I’m not someone who loves dancing, but on MDMA, I love to dance.”

Nadia describes a similar effect. Ecstasy helped her enjoy dancing to house music for the first time, and often, the music serves as a blissful backdrop to self-discovery. “The dancing resembles a trance, and you can travel in your mind, realize things about yourself,” she explains.

David, 28, likes to listen to trance on MDMA because it’s “engineered to be more emotional and molly gives me the feels.” But, he adds, a variety of music will sound like “the best music ever” on MDMA.

Cocaine

In Peter’s experience, coke doesn’t affect music-listening at all. Nadia believes it actually hurts the club scene by making people aggressive if they get addicted. “Cocaine is not helping the music industry,” she says. “A lot of DJs have replaced it with meditation and clean living. This is how the scene can keep on flourishing.”

Coke makes David “a zombie,” but it does make the repetitive sounds of techno and house more enjoyable for him.

Ketamine

For Nadia, music on K can be a journey through space and time. She remembers one particularly otherworldly experience as “Wicked Game” by Chris Isaak played at a club. “It felt like that song lasted forever,” she says. “I went to the beach where the video takes place. I felt like I had lived a whole love story, and then I came back at the end of the song. I asked my friend if they had only played the song once. She said yes… so I had a whole other life experience in four minutes.” Nadia finds that people on K look happier on the dance floor than they do on club drugs like MDMA that can have a harsh comedown.

Daniel Saynt, Chief Conspirator at the New Society for Wellness (NSFW) a private members club which organizes the physician-led responsible drug use class “Just Say Know,” likes pairing K with spiritual music, since the combination helps him turn inward and explore his own psyche.

LSD

Richard Goldstein, a former rock critic for The Village Voice in the 60s who used to drop acid with The Beach Boys, previously told me that LSD was “a very aesthetic drug” that strips words of their meaning. This allows him to connect with a more universal meaning that comes from the sound itself.

“We’re all connected through the subconscious, so when we listen to music on acid, it makes us have more of a tribal feeling,” he says.

Peter has the opposite experience, though. On acid, he’s more prone to finding meaning in music. If anything in the music is even remotely related to his life, his mind will pick up on it and make it significant.

Shrooms

Shrooms provide “a feeling that your body is sort of permeable,” making you feel music more intensely, says Lindsey.

For Peter, this shroom-induced connection to music can be ecstatic. “Once, when I was listening to one of my favorite songs on mushrooms, I actually came,” he remembers. “It reminded me of the joy in my life, and I just felt really warm, like I was in the prime of my life.” (In case you’re wondering what song accomplished this, it was “Tunnels” by Arcade Fire.)

Music

For some people, music itself is a drug, bringing their mind to a state of increased emotion, energy, or depth. That’s one reason Nadia’s become a fan of “clean clubbing” — i.e., clubbing without drugs. “There are bits and pieces [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][of drug-induced experiences] left in your brain, and the effect comes back with the right music and atmosphere triggers, even when sober,” she explains. “The reason I had needed alcohol, weed, or pills before was simply because the music was not good enough. I became a fanatic club dancer even taking myself out alone, sober, on Sunday nights.”

In fact, drugs alone aren’t enough to create the trips Nadia desires. “I can’t imagine doing drugs away from a club or party. I need the cocoon of the loud music and heavy bass on a proper sound system,” she says. “Right drugs and right music combined equal a mini holiday, an educational escape.” [/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

NEWS ROUNDUP: Spotify Celebrates Pride, Meet Bot Dylan & More

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

Palehound made a Pride playlist on Spotify.

  • Spotify Announces Pride Month Playlists
    From the streaming service’s press release: “In celebration of Pride Month, Spotify is proud to present The Spotify Pride Hub, a series that highlights queer icons and music of hope, self-acceptance and empowerment.” They’re using streaming data to rank the proudest cities, which seems a bit unnecessary, but they’re also offering playlists by LGBTQ activists and queer musicians. Don’t know where to start? We recommend this one, curated by Palehound.

https://open.spotify.com/user/spotify/playlist/37i9dQZF1DX9Ho37OqYz1i?play=true&utm_source=open.spotify.com&utm_medium=open

  • The Future Of Music: A Folk Song Writing Robot?
    Move over, Bob Dylan; the A.I. program Bot Dylan can also write folk songs, though it probably won’t be winning a Nobel prize anytime soon. The bot was put to work analyzing tens of thousands of Irish folk songs, and from that data, has written a staggering amount of its own material. The London scientists who created it were surprised that the tunes weren’t that bad, either. Read more about Bot Dylan here and listen to one of its compositions below.

  • RIP Gregg Allman
    The Southern Rock  legend and member of the Allman Brothers Band died last Saturday due to complications from liver cancer. He was 69. Gregg was a vocalist and keyboardist and formed the Allman Brothers Band with his sibling, guitarist Duane. Even if they weren’t fond of the term, the group is crediting with creating Southern Rock and inspiring later jam bands. Read a full obituary here.

NEWS ROUNDUP: St. Vincent, Kim Gordon & More

St-Vincent-audiofemme

  • St. Vincent Times Three

    St. Vincent, has been in the news this week for several reasons. First, she’s releasing a line of signature guitars with Ernie Ball. The uniquely shaped guitar has with three humbucker pickups and a whammy bar, and comes in four colors (Clark gives a nod to Bowie by referring to the white model as the Thin White Duke). Here’s what it sounds like. Second, she’s directed a segment of a horror series that feature women directors. Hers is titled “Birthday Party,” and features Melanie Lynskey of Togetherness, Heavenly Creatures and But I’m a Cheerleader. Keep scrolling to watch the trailer for all four short films, but prepare to be creeped out. Third, her new album, which she describes as her deepest and boldest, is due sometime in 2017.

 

  • Watch A Kim Gordon Interview/Interrogation

    Opening with the text “It is well known that Kim Gordon does not like to be interviewed,” the next shot shows the artist, blindfolded. The voice that asks such questions as “When did you know you wanted to be an artist?” and “How many fingers am I holding up?” (too many, she says) is the voice you would use to demand ransom, warped by a computer to be unidentifiable. Some shots place us in the room with her, some show video surveillance of the room. Check it out via Huck:

  • Scientists Are Covering Sigur Rós’

    From their website: “The International Space Orchestra (ISO) is an assembly of star-spangled space scientists from NASA Ames Research Center, Singularity University, and the SETI. The International Space Orchestra is the world’s first orchestra of space scientists… [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][adapting] science to our creative needs.” They’ve performed with Beck, Damon Albarn, and Bobby Womack and now, by covering the Sigur Rós’ track  “Viðrar Vel Til Loftárása” they aim “to reach the final frontier.” Download the track here and listen to the original below.

https://www.youtube.com/watch?v=9oI27uSzxNQ[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

AudioFemme’s Best of 2013

Best of 2013 Graphic

From elaborate roll-outs to surprise releases, 2013 was a banner year for comebacks, break-outs, break-ups, and overnight sensations.  The fact that the most oblique content could cause rampant controversy to reverberate through the blogosphere turned every song into a story and made every story seem epic.  At the heart of it all are the sounds that defined this particular calendar year, from electronic pop to punk rock  to hip-hop to hardcore and everything in between.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”AudioFemme Staff” author=”Top 50 Albums of 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2014/01/01MBVmbv-300×298.jpg”]

After much debate, we’re proud of our little list and believe it represents releases that are among the best and most important of the year.  Here are our top 50 LPs in two parts: 50-26 // 25-1

[prw username=”audiofemme” boardname=”audiofemmes-favorite-albums-of-2013″ maxfeeds=”21″ divname=”myList” printtext=”0″ target=”newwindow” useenclosures=”yes” thumbwidth=”50″ thumbheight=”50″ showfollow=”none”]

And check out our Top Albums of 2013 Playlist on Spotify.
[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”AudioFemme Staff” author=”Top 50 Tracks of 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2014/01/05HaimDays.jpg”]
In a given year, thousands of records are released, many of them having upwards of ten tracks apiece.  So it’s actually physically impossible to hear them all, and can be downright daunting to wrangle them into some kind of intelligible countdown.  But we certainly have done our best, here cataloging the tunes we just couldn’t stop playing, and stuck fast in our heads when we finally managed to turn them off.

Here’s our Top Tracks of 2013 Playlist on Spotify.

[/fusion_testimonial]

Staff Lists:

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”RiotGrrl’s Influence in 2013″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/kimkathleen.jpg”]
Not only are we as a culture stepping up to finally examine sexism and exploitation and appropriation within the industry, there are more acts than ever completely unafraid to do their own thing – be it overtly political (see: Priests) or revolutionary in its emotional candidness (looking at you, Waxahatchee).
[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Best Album Art” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/sunbather.jpg”]
Let’s all just agree to agree that hip hop as a genre won the album cover contest this year, okay?
[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Rebecca Kunin” author=”2013’s Best Soundtracks” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Soundtrack.jpg”]
Music has the ability to make or break a cinematic moment.  Would Jaws be as scary if it weren’t for the theme song? Or would we cry as hard when Leo Dicaprio sunk to the bottom of the Atlantic Ocean if Celine Dion didn’t belt “My Heart Will Go On” every five minutes? Probably not.
[/fusion_testimonial]

 

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Lindsey Rhoades” author=”2013: The Year in Music Controversies” image=”http://www.audiofemme.com/wp-content/uploads/2014/01/musicthoughts.jpg”]In the age of the ubiquitous think-piece, here’s another, and this time, it’s about think-pieces.  In 2013 what think-pieces mean is that no one is about to get away with anything.[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Kelly Tunney” author=”Top 10 Unexplainable Kanye Moments” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/Kanye.jpg”]
Mr. West has built up quite a reputation for himself. His musical talent has remained impressive throughout his 6-album career (Yeezus easily made several of this year’s “best of” lists, including our own) but Kanye’s persona has been the subject of parody and scandal for a long time now. This year, though, held several moments of Kanye-crazy that stood out among the plethora of examples from his memorable past.
[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Carena Liptak” author=”Notes From The Road” image=”http://www.audiofemme.com/wp-content/uploads/2013/12/BTHEHc8IgAAESY0.jpg-large.jpeg”]
At the beginning of 2013, adventure felt overdue — something about going to new places, with no routine or expectations, opens you up to hear music you’d never think to listen to otherwise.
[/fusion_testimonial]

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_testimonial company=”Raquel Dalarossa” author=”Top 7 to Anticipate in 2014″ image=”http://www.audiofemme.com/wp-content/uploads/2013/12/outkast-reunion-big-boi-andre-3000.jpg”]
Between the exciting festival rumors and anticipated album releases, 2014 is already shaping up to be a pretty amazing year (at least musically speaking).
[/fusion_testimonial][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

A Year in Controversies: How the Think-piece Shapes Music Criticism

musicthoughts

In the age of the ubiquitous think-piece, here’s another, and this time, it’s about think-pieces.  In 2013 what think-pieces mean is that no one is about to get away with anything.  You’re a white girl who twerked in a music video?  You’re a white girl trying to criticize consumerism by skewering the particular facets of hip-hop culture that bug you most?  You’re a white girl making a comeback built on spoofing both these things?  Well guess what – you’re racist.  Are you a male journalist discussing any of this?  You aren’t even allowed to.

Arcade Fire, Lorde, Miley Cyrus, Lily Allen, Beyonce, and also everyone who has negative thoughts about Beyonce: you are racist.  Robin Thicke, Justin Timberlake, Action Bronson, James Brooks, Chris Ott, Beyonce, and also everyone who has negative thoughts about Beyonce: you’re sexist.  And R. Kelly?  You are criminally sick, and it’s sad it took us all this long to come to terms with that.

While the internet has been known to work itself into a tizzy and sometimes misses the point, all this goes beyond the “haters gon’ hate” anachronism.  This year certainly wasn’t the first time anyone examined culture through a progressive lens, but it feels refreshing to read about privilege in relation to pop music.  There will be those that will roll their eyes and some whose eyes will be opened.  Whether you are more upset over Arcade Fire’s appropriation of Haitian culture in the making and promoting of Reflektor or that they asked fans to dress in formal wear for their shows doesn’t exactly matter because the conversations are still happening.

And sometimes, just the conversation is the positive thing, the thing that shows real sea change.  Best case in point: the roundtable of eight female journalists that Spin assembled to discuss the work of James Brooks, an artist who’d been discussed up to that point mainly on message boards and on his girlfriend Grimes’ tumblr.  As a song, “On Fraternity” was not especially memorable, but the discussion that followed its release – about whether it was appropriate for Brooks as a man to “explain” rape culture to women, or to name his project Dead Girlfriends, kind of was.  Because it compiled the opinions of eight amazing writers who, because of their gender, are still a minority in their industry (even in 2013).

It’s the same industry that produced a guy like Chris Ott, who has some very valid points about the ethics of advertisers appropriating “cool” as interpreted by young writers.  But because he singled out the Pelly twins (and dug himself a deeper hole in trying to explain why) his arguments got lost in the (equally valid) debate about whether his comments were sexist.  In the end, he may have looked more curmudgeonly than anything else, but it raises an interesting question about the very blurry lines between free speech, hate speech, and sponsored content.

Which brings me to everyone’s favorite Marvin Gaye rip-off.  Robin Thicke’s video, the MTV VMA performance, and the date-rapey overtones of “Blurred Lines” were among the most discussed stories of the year.  In one of the more interesting examinations of the song’s politics, a feminist writer talked about how she was able to compartmentalize the its content because she just really, really loved the song.  There are a lot of women who share her ability to do that.  Agree or not, you have to admire that admission, because there were plenty of people who just shrugged and kept dancing without bothering to point out that women have to do this all the time, because so much of music portrays them as less than human.

There have always been controversial characters and questionable lyrics.  That piece also named R. Kelly as one of them (the writer, again, was able to set aside Kelly’s “alleged” crimes to enjoy “Remix to Ignition”).  But that was before Jess Hopper interviewed Jim DeRogatis, the reporter who broke Kelly’s sex scandal.  For fifteen years, juries and fans alike ignored his crimes, made jokes.  But because of that piece there are a lot of people who are now unable, or straight up refuse, to compartmentalize that reality to get through Black Panties without wanting to barf.  Why did it take fifteen years to come to terms with the fact that R. Kelly is a predator?  We knew it all along.

The difference, really, is the internet.  Most of DeRogatis’ reporting on the subject was done in print; Hopper is in a distinct position as music editor of Rookie, contributor to Spin, Village Voice, etc. etc. etc. to reach an audience that DeRogatis could not.  There are a lot of people writing think-pieces and open letters and retweeting important writing these days, and while they may not do it as eloquently as the professionals, they are no longer just screaming into a void.  Will that give artists in 2014 pause while they consider more deeply how their works and actions will be perceived?  Even if it takes us until 2050, let’s keep thinking.

ALBUM REVIEW: Arcade Fire “Reflektor”

Despite conspicuously broadening the instrumental range of their albums and going through a battalion of members since the outset of its career, Arcade Fire has retained many of the themes that defined Funeral, the band’s first album, just over nine years ago. Reflektor–which came out on October 29th, 2013–features churning, string-heavy verses that build up to high-energy choruses, overachieving lyrical themes, and a general sense of bleakness juxtaposed with lush, orchestral instrumentation–all hallmarks of Arcade Fire’s previous work. In addition to this, though, Reflektor dials the role of electronic instruments way up on this album and brings the drum beat further into the foreground, creating a kind of driving pulse to back nearly every track.

Reflektor2

Die-hard Arcade Fire traditionalists, fear not. All changes work in service to the band’s sound. By trading out some of their former graininess in favor of strong, eighties-inspired beats on tracks like “We Exist,” Arcade Fire heightens the drama behind devastating, cyclical chants–“You’re down on your knees, begging us please, praying we don’t exist/But we exist. We exist. We exist”–and adds an epic, mythical quality to  the anxiety that’s always been behind the group’s songs. Arcade Fire seems to have achieved, with this album, a more expansive take on instrumentation, and they’re operating with every tool they’ve got.

Canadian husband-and-wife duo Win Butler and Régine Chassagne, the two founding members of Arcade Fire still in the band, continue to sing duet on many of the tracks of this album. Their call-and-response style provides a familiarity that’s even more satisfying after listening to the farther-out passages of Reflektor. David Bowie–who also put out a new album in 2013– lightly graces the album’s title track with his vocal stylings, amping up the album’s grandness. The theatrics aren’t disconcerting; they feel like the logical result of Arcade Fire’s career up to this point.

Does the album feel, at any point, over-doctored? Well, with any band that’s seen this many members, there’s a case for the too-many-cooks-in-the-kitchen argument. Many styles appear on this album, interweave, stop on a dime and melt into each other. There’s a lot going on here. But all ends of the spectrum are fully explored, every idea gets sussed out and masterfully articulated. The hypnotic final track, “Supersymmetry,” lives up to its name with an elegant and ambient chorus of strings and electronic instruments, perfectly balanced and weaving benevolently around each other. The last artist I can think of to put forth this kind of ambition in a record, and to pull together so many disparate styles and negotiate them into harmony with each other, is Kanye West on his 2013 album Yeezus.

There’s an example of the kind of balance I mean right at the beginning of “Here Comes The Night Time,” the first thirty seconds of which alone are worth the price of the album. The song begins with the ambient sounds of people talking, maybe somebody kind of half-heartedly playing a drum beat far away. Then, the real drum beat kicks in, and the track immediately jumps from kind of a lazy ambivalence into frenetic, siren-wailing, powerhouse rock and roll. Then, not fifteen seconds later, everything kind of slows and backslides into a sultry, bass-heavy rhythm that takes us into the first verse. It’s one of the many airtight phrases on Reflektor, flawlessly coordinated and immediately engaging.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

FLASHBACK FRIDAY: A Decade of Arcade Fire

arcade_jpg-largeOn the cusp of Arcade Fire’s fourth — and likely most evolved — full-album release, it’s the perfect time to take a look back at how the band has grown over the years. Throughout the band’s development, countless cracks have been made about their numerous band members, but considering the complexity and popularity of their music, the “band with enough members to form their own country” is here to stay. Frontman Win Butler shares the stage with his now-wife, Regine Chassagne, along with Richard Reed Parry, William Butler, Jeremy Gara, Tim Kingsbury and Sarah Neufeld, but the list of past band members extends much further. Since the days of its inception, the Quebec-based project has gained a cult following; but they certainly didn’t begin their musical journey that way.

Arcade Fire released its first self-titled EP in 2003. Unfortunately, it flopped. It wasn’t until 2005 — after the release of 2004’s Funeral, which snagged the attention of critics and the public — that the EP was re-released and subsequently supported in the public eye. Funeral itself was packed with the perfect mix of hard rock and acoustic, soft tracks that make a hit album. Every song is irresistible to sing along to, thanks to Butler’s unique crooning. From each of the four “Neighborhood” tracks to “Wake Up” and “Rebellion (Lies),” the album sounds as if it were crafted by an ‘80s rock band rebranded for the new millennium. Funeral introduced Arcade Fire’s distinct inclusion of a multitude of musical instruments, including violin, cello, xylophone, French horn, accordion, mandolin, harp and hurdy-gurdy, allowing them to create their unique sound and stage presence.

In 2007, Butler and company returned with Neon Bible, an album filled overwhelmingly with sorrow for the state of America. This album is admittedly darker, and while it echoes the indie-rock style of Funeral, it’s clear that Arcade Fire had fine-tuned their sound for their sophomore album. “Black Mirror,” the album opener, begins with the lyrics “I walked down to the ocean/ after waking from a nightmare/ no moon, no pale reflection/ black mirror” and only gets darker from there. Even standout hit “Keep the Car Running” is dark in its nature, where Butler sings of men coming to take him away and details his envisioned escape. Neon Bible also amped up the grandeur in terms of instruments. Sweeping harps and horn blasts are scattered throughout, to create an ethereal, heavenly sound in many tracks, most notably “Ocean of Noise.”

Once again, Arcade Fire spent three years between albums before delivering 2010’s The Suburbs. Although by this point the band had received acclaim from many top music charts, magazines and culture critics, it wasn’t until they received the prestigious GRAMMY for “Album of the Year” for The Suburbs that their place in history was cemented. While some people were outraged that these rockers who had received no other Grammy awards could win the night’s biggest prize, they’ve proven they belong among the ranks of other Album of the Year recipients. The Suburbs is a dip into the mainstream, yet still holds the essential elements that make Arcade Fire different from any other band. Album after album, Butler continues to enchant listeners with his lost-boy lyrics, and the virtuosity of the musicians he has accrued over the years.

Now, with a decade of music making under its belt, Arcade Fire will release Reflektor on Oct. 29. They’ve been previewing the album in all kinds of ways, from performing on late-night talk shows to scheduling secret shows throughout North America. The album harnesses a new sound, obvious through its title track; and new might not be so bad. It’s difficult to tell so early, but it may turn out to be Arcade Fire’s best endeavor yet. Though, whatever the outcome, the band’s journey and evolution up unto this point shouldn’t be forgotten. After all, they couldn’t be where they are now without the band they had been.

Check out their raucous CMJ 2013 performance at 299 Meserole, of their new album’s title track, “Reflektor”, via Youtube.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”] [retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]