Daily Archives: July 13, 2017

Darling Waste Releases Video for "How I Spent My Summer Vacation"

Darling Waste has released a new video for “How I Spent My Summer Vacation”. Check it HERE. http://www.nataliezworld.com/search/label/News


RealNetworks to Release 2nd Quarter Results August 3

RealNetworks LogoSEATTLE, July 13, 2017 /PRNewswire/ — RealNetworks, Inc. (Nasdaq: RNWK), a leader in digital media software and services, will release its financial results for the second quarter ended June 30, 2017, on Thursday, August 3, 2017. The company will host a conference call to review results…


Hard Rock International Rejects RLH Corporation's Claims

Hard Rock International. (PRNewsFoto/Hard Rock International)ORLANDO, Fla., July 13, 2017 /PRNewswire/ — Hard Rock International believes that the RLH Corporation’s claims are without merit, and will vigorously defend itself against such claims. Hard Rock has more than 46 years of experience and we are the authority in providing premium,…


Watch Feist Rumble 'West Side Story'-Style in Intense 'Century' Video

Feist duels her doppelgänger beneath a bridge in the captivating new video for “Century.” The song appears on her most recent album, Pleasure. The clip also features a cameo from former Pulp singer, Jarvis Cocker.

The Scott Cudmore-directed clip recalls the Jets vs. Sharks rumbles in West Side Story, with Feist and her lookalike circling each other and singing the “Century” lyrics like jabs. Eventually, two rival crews converge around them, pumping their shoulders and snapping their fingers menacingly until a full brawl breaks out. In the middle of the big closing dance routine, Cocker appears in a black turtle neck, reciting a poem about time.

Along with releasing the “Century” video, Feist’s Pleasure was shortlisted for Canada’s prestigious Polaris Music Prize Tuesday. Other nominees include Leonard Cohen, BadBadNotGood and Tanya Tagaq. Feist previously won the Polaris Prize for her 2011 album, Metals.

Feist will continue touring in support of Pleasure this summer, with a European run scheduled through August. On September 28th, she’ll kick off a short trek through Calgary, Vancouver, Seattle and Portland.

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See Arcade Fire Dance Through New Orleans in 'Electric Blue' Video

Arcade Fire released a new album cut entitled “Electric Blue” on Thursday: a dancefloor-friendly number with a thunking beat and cascades of bright guitar. 

All the vocals on “Electric Blue” are sung in a dreamy, high register in the manner of seminal disco groups like the Bee Gees. The video follows Arcade Fire’s Régine Chassagne as she struts through New Orleans at night. The clip was filmed in the city during Mardi Gras season, and Chassagne dances through dark streets that are covered with trash from the celebrations. As she grooves, city workers and garbage trucks flow around her, attempting to clean up the mess.

“Electric Blue” will appear on Everything Now along with other advance tracks “Everything Now,” “Creature Comfort” and “Signs of Life.” The new LP was overseen in part by longtime Arcade Fire collaborator Markus Dravs. But the band also brought in new faces to help with production, notably Daft Punk’s Thomas Bangalter and former Pulp bassist Steve Mackey.

After the album’s release, Arcade Fire heads out on the Infinite Content tour, playing dates around the U.S. and Canada.

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Billy Corgan to Sell Guitars, Amps Used on Smashing Pumpkins Albums

Billy Corgan is partnering with online music gear marketplace Reverb to sell equipment he used to record and tour for multiple Smashing Pumpkins albums. Corgan plans to list over 100 items on the website.

“Of all the artist-owned gear we’ve been fortunate to sell on Reverb, this collection of gear from Billy Corgan has arguably the most historic prominence – you can feel it when you pick up any one piece,” Reverb’s Jim Tuerk said in a statement. “These are the tools that not only defined one of the all-time greats, but an entire generation of music.”

Corgan is selling the drum machine he used on the original Smashing Pumpkins’ demos along with a Stratocaster and a pair of Marshall JMP-1 amps that he played on both Siamese Dream and Mellon Collie and the Infinite Sadness.

In a statement, Corgan outlined the stories behind several instruments he will sell. He described his 1969 Gibson EB-3 Bass as having “a very Jack Bruce sound.” 

“I used this on everything from Mellon Collie to Machina,” he added. “It’s one of those secret-weapon recording basses.” Reminiscing about a 1950s accordion and autoharp that played a role in Mellon Collie‘s “We Only Come Out at Night,” he recalled, “The band laughed at me when I bought [the instrument], so they challenged me to write a song. That’s the song I wrote.”

The Official Billy Corgan Reverb Shop opens on Wednesday, August 16th. Sale items can be previewed on Reverb‘s website. 

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TLC on Reclaiming 'Queens of Girl Power' Status

Over the course of three albums in the Nineties, TLC dominated pop’s mainstream with emboldening, female-first singles that brightly melded R&B and hip-hop. The trio’s reign lasted nearly a decade, during which they sold millions of records and scored nine Top 10 singles. Rozonda “Chilli” Thomas, who joined the group in 1991, calls them “the queens of girl power.”

But in 2002, rapper Lisa “Left Eye” Lopes died in a car accident, and 3D, the TLC LP released seven months later, appeared to be the group’s final work. It stayed that way until June 30th, when remaining members Thomas and Tionne “T-Boz” Watkins returned with a self-titled fifth album that serves, complicatedly, as both a gift to fans – who raised over $400,000 to allow the pair to record with no strings attached – and a proper farewell: The duo say this is their final studio recording.

“It’s not the last of TLC, just the last TLC album,” says Thomas, speaking over the phone before the first date of the group’s I Love the Nineties: The Party Continues tour – a joint expedition with Naughty by Nature, Biz Markie, Montell Jordan and Mark McGrath of Sugar Ray – in Everett, Washington. “When we were around and before us, people went and bought albums,” she continues. “Now numbers that we thought were failing numbers a long time ago are winning numbers. That side of the business is very different, and it’s even more political now than ever. It’s a headache.”

Back when CDs were a standard living-room accessory, TLC were a frequent consumer selection. Hip-hop’s DNA was readily apparent in their sample-heavy beats, often created by producer Dallas Austin, and Lopes’ raps; their R&B element came from group backing vocals and Watkins’ surprisingly low, melismatic leads. The resulting combination was shiny and supple, showing facility with decades of R&B history, from Motown groups to Prince to New Jack Swing, at a time when the genre was a fixture in the pop mainstream. As Babyface – who wrote and produced songs for TLC in addition to signing them to his label LaFace Records – put it in 2015, “there was a time period, mostly in the Nineties, when R&B was pop.” TLC thrived in that space, landing four Number One singles, and their sound has trickled down through Destiny’s Child, Blaque, Jojo, Keyshia Cole, Sevyn Streeter, Ariana Grande, Zendaya, Kehlani, Tory Lanez and even Ed Sheeran, who credits writers of TLC’s “No Scrubs” on his recent Number One hit “Shape of You.”

“There will never be anything like ’em,” explains Daryl Simmons, a crack songwriter who penned several TLC tunes – along with evergreen numbers like Boyz II Men’s “End of the Road” and Toni Braxton’s “Another Sad Love Song” – often in collaboration with Babyface. “[TLC’s sound] was hip-hop, but it wasn’t hardcore hip-hop; it was such a fun sound, but it was serious,” Simmons says. “[It was] one of a kind.”

Thomas suggests that the “serious” side of of the group’s music was instinctive. “We’re very outspoken and pretty unapologetic about how we feel and the things that we say,” she explains. This had a bracing effect for fans. TLC went to Number Two with “Baby-Baby-Baby,” an unusual love ballad: “A girl like me, won’t settle for less/I require plenty conversation with my sex.” A similar don’t-settle message percolates through “No Scrubs,” which is like a Nineties update of Aretha Franklin’s “Respect.” It went to No. 1.

Jermaine Dupri, who also produced several songs for TLC, remembers seeing the impact of these songs and others like them firsthand. “They got so much fan mail about how encouraging they were for other girls,” he recalls. “You’re pre-Aaliyah, pre–Destiny’s Child, pre-Beyoncé: Girls didn’t talk about their own situations when these records came out like they talk about in today’s society. [TLC] were so far ahead.”

The group stayed steadfast in their commitment to incisive pop, even when market pressures pushed them away from it. “I remember that Missy Elliott had a song and L.A. [Reid, who co-founded LaFace Records] wanted TLC to do it,” Simmons recalls. “The song was hot. I remember T-Boz specifically saying, ‘L.A., the song’s a hit, but it’s not a TLC song.’ That spoke volumes. They were so pro-TLC.”

The duo believes there’s a void for what they call “lyrical content” in pop today. In particular, TLC are worried about what Watkins dubs “the day of being promiscuous.” She starts in – “It seems like the more promiscuous you are on reality TV and Instagram …” – before Thomas sweeps in incredulously: “It’s praised! They say you’re winning when you’re doing stuff like that!” This has been a longstanding concern for the duo; in 2014 they sniped at other (unnamed) singers, proclaiming, “It’s easy to sell sex,” and subsequently tussled with Rihanna on Twitter.

“We want to be seen by the little girls who don’t want to do that,” Watkins continues. “We’re living proof that you can keep your clothes on and have a career. You don’t have to take that route unless you choose to do so. People will still accept you.”

TLC don’t delve overly far into this topic on their new album. They preach self-love, as they have been doing since their 1992 debut, on “Perfect Girls,” and attack general human cruelty on “Haters:” “Don’t you ever change/People gonna say what they say/But we don’t care about that anyway.” “There’s always somebody that is going to say something negative about you, no matter your age, color, creed, group or the accolades you have in this business,” says Watkins. “You can’t believe what they’re saying. Those people are sad. They need love.”

A separate strand of TLC history seeps into “Start a Fire” and “Scandalous,” which reach back to commanding, libidinous numbers like “Baby-Baby-Baby” and “Kick Your Game.” “We always flip the script: A guy wants you to freak for him; it’s like, you be a freak for me,” says Thomas. “That’s just how we do it. We like to educate the ladies: always flip that shit.”

The group sticks to roads they paved decades ago; still, there is an unavoidable difference in TLC today: the absence of Lopes. “You have to find your new normal,” Watkins states. “Once you show people what that is, if they accept it, they accept it; if they don’t, they don’t. Lisa would want us to move forward. She lives through us, and we always keep her incorporated in some capacity. [Her death] didn’t ever mean we lost our talent or our ability to sing and dance.”

If the group remains resolute in their decision to leave the studio behind, those abilities will now be on display only during live performance. TLC appear comfortable resting on the durable compositions in their back catalog. “Those messages [in the old songs], which are great, will never go away,” Watkins says. “And just because we’re not making new songs, doesn’t mean we’re going to shut up.”

Thomas adds, “Good luck trying to shut up TLC.”

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New Radicals' 1998 Album, "Maybe You've Been Brainwashed Too," Gets First-Ever Vinyl Release As 2-LP Set, Plus Special Translucent Gold Album Edition, August 4, Via UMe

NEW RADICALS’ 1998 ALBUM, MAYBE YOU’VE BEEN BRAINWASHED TOO, GETS FIRST-EVER VINYL RELEASE AS 2-LP SET, PLUS SPECIAL TRANSLUCENT GOLD ALBUM EDITION, AUGUST 4, VIA UMe   Album includes hit single “You Get What You Give” and “Someday We’ll Know”LOS ANGELES, July 13, 2017 /PRNewswire/ — New Radicals were an American alternative band formed by singer-songwriter Gregg Alexander.  Maybe You’ve Been Brainwashed Too, the 1998 MCA Records release – featuring the hit single “You Get What You Give” – is now being reissued by Interscope/U…


"TO THE BEAT," The New Series From Kurt Hugo Schneider And Sony Music's Rumble Yard, To Debut On go90 July 13

NEW YORK, July 13, 2017 /PRNewswire/ — go90 and Rumble Yard, the original video content division of Sony Music Entertainment, launched today their new go90 series, “TO THE BEAT WITH KURT HUGO SCHNEIDER,” starring Kurt Hugo Schneider, YouTube composer, music producer and video directo…


Nine Inch Nails Preview 'Add Violence' EP With Driving New Song 'Less Than'

Nine Inch Nails will release a new five-song collection, Add Violence, on Friday, July 21st. 

Trent Reznor’s outfit – which now includes longtime movie-scoring-collaborator Atticus Ross – also put out “Less Than,” the EP’s first track. The new single is an uptempo number that builds around a peppy synthesizer riff. As the song progresses, Reznor and Ross gradually obscure the cheerful synth melody with abrasive, gnarled guitar riffs. “Did you fix what was wrong with you?” Reznor wonders. “Are you less than?” The song ends mid-gallop without warning.

Add Violence is the second installment of the group’s three-part EP series. The first portion, Not the Actual Events, came out last December. On Nine Inch Nails’ website, Reznor called the release “an unfriendly, fairly impenetrable record that we needed to make.”

In a conversation with Zane Lowe on Beats 1 Radio last year, Reznor also presented his new music as an antidote to current pop music. “Something that we have always felt strongly about is the role of what we call rock has been one that should feel untethered and filled with expression and uncompromised and at times challenging,” Reznor said. “In general, it seems from my perspective, and I feel Atticus feels the same way, that most entertainment, particularly music is pretty boring. Certainly, rock is boring.

“A lot of what’s blessed as ‘the cool thing’ feels pretty generic and also feels, a lot of it, like a desperate plea for commercial airplay and success,” he continued. “That combined with just our own worldview and a kind of daydream I was having led to ‘Let’s make a record that feels challenging, and exciting to us …’ I wanted the music to sound kind of ugly and to sound unfriendly, not suck you in with a sexy hook.”

No release date has been announced for Nine Inch Nails’ third and final EP. The band has four live dates scheduled at festivals around the U.S. this summer. Speaking with Lowe on Thursday, Reznor said he hoped to tour more frequently in the future. “When I imagine myself on stage again with the new material we have to play,” he explained, “it seemed like something that felt uncomfortable – and felt exciting.”

Add Violence Track List

1. “Less Than” 
2. “The Lovers”
3. “This Isn’t the Place”
4. “Not Anymore”
5. “The Background World”

Nine Inch Nails Tour Dates

July 23 – Los Angeles, CA @ FYF Fest
July 30 – New York, NY @ Panorama Festival
September 15 – Chicago, IL @ Riot Fest
October 21 – Sacramento, CA @ Aftershock Fest

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