Daily Archives: June 1, 2018

Adenoid Cystic Carcinoma Pipeline Analysis 2018: Focusing on Clinical Trials and Results, Drug Profiling, Patents, Collaborations, and Other Recent Developments

Research and Markets LogoDUBLIN, June 1, 2018 /PRNewswire/ —
The “Adenoid Cystic Carcinoma Pipeline Analysis 2018 – Focusing on Clinical Trials and Results, Drug Profiling, Patents, Collaborations, and Other Recent Developments” report has been added to ResearchAndMarkets.com’s offering.
Adenoid Cystic…


Illinois General Assembly Passes Bill to Improve and Expand Historic Tax Credit Program

SPRINGFIELD, Ill., June 1, 2018 /PRNewswire-USNewswire/ — The Illinois General Assembly passed a bill to improve and expand the existing River Edge Redevelopment Zone Historic Tax Credit (RERZ). By an overwhelming majority, the Assembly sent the bill, SB3527, to Governor Bruce Rauner,…


Exchange Traded Concepts to Close and Liquidate the REX Gold Hedged S&P 500 ETF

OKLAHOMA CITY, June 1, 2018 /PRNewswire/ — After careful consideration, the Board of Trustees of Exchange Traded Concepts Trust has determined to close and liquidate the REX Gold Hedged S&P 500 ETF (NYSE Arca: GHS) (the “Fund”). Exchange Traded Concepts, LLC (“ETC”) serves as the…


Review: Father John Misty's 'God's Favorite Customer' Is a Lennon-esque Pleasure

In its piano-ballad gait, baroque-pop raptures and confessional sting, Josh Tillman’s fourth album as the darkly antic Father John Misty often sounds like it was made more than 40 years earlier under yet another name: John Lennon. It’s as if Tillman wrote and arranged these songs under the sumptuous, despairing spell of Lennon’s early-Seventies solo records, with time off for the late-Sixties Zombies and the Beach Boys’ Sunflower

In “Just Dumb Enough to Try,” Tillman dresses his remorse and amends in Imagine-like curtains of mellotron and spires of slide guitar. Echoes of Mind Games run through the opening track, “Hangout at the Gallows” and the piano-and-reverb framing of Tillman’s helplessness in “The Palace.”

What lifts God’s Favorite Customer beyond homage is Tillman’s slicing,free-associative candor as he examines the cost in sanity and constancy of hiscraft and touring life. In “Mr. Tillman,” he checks into a hotel roomthat should have padded walls. “Please Don’t Die” is a flimsyassurance of good sense (“I’ll take it easy with the morbid stuff”) undercutby the singer’s lost-weekend state in the title track. There is no happy endinghere. But there is a familiar twist of Lennon in Tillman’s relentlessquestioning: “We know so little about ourselves,” he sings in the bigrock finish, “We’re Only People.” “Now how does that addup?” 

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Coborn Engineering Recently Featured in BBC British Bid Video

Coborn Engineering LogoLONDON, June 1, 2018 /PRNewswire/ — Coborn Engineering is one of the world’s leading diamond tooling manufacturers, and have recently been featured on BBC.com, the BBC’s commercial international-facing website.
The British Bid is a global initiative designed to demonstrate the best…


Camargo Celebrates Fifteen Years

Camargo Pharmaceutical Services, camargopharma.com (PRNewsfoto/Camargo Pharmaceutical Services)CINCINNATI, June 1, 2018 /PRNewswire/ — June 1, 2018 marks the 15th anniversary for Camargo Pharmaceutical Services, LLC, (“Camargo”). Camargo has grown from a small strategic drug development services provider to become the global leader in 505(b)(2) drug development and global…


MAA Announces Regular Quarterly Preferred Dividend

MAA logo. (PRNewsFoto/MAA)GERMANTOWN, Tenn., June 1, 2018 /PRNewswire/ — MAA (NYSE: MAA) today announced a full quarterly dividend of $1.0625 per outstanding share of its 8.50% Series I Cumulative Redeemable Preferred Stock. The dividend is payable on July 2, 2018 to shareholders of record on June 15, 2018….


Watch Big Boi Soundtrack First Date in 'All Night' Video

Big Boi provides an aura of confidence to a young man’s first date in the rapper’s new video for “All Night,” the latest single off Big Boi’s 2017 album Boomiverse.

The video follows a bubbly teenager as he prepares for a date, meets the girl’s parents and takes her to the restaurant and, later, a motel.

The OutKast rapper makes several cameos over the course of the video: As a pharmacist who gives the protagonist an “All Night” pill, as the dreadlocked sommelier at the restaurant and as the motel operator who gives the couple a key to a room for the night.

Previous Boomiverse videos include “In the South,” “Chocolate,” “Kill Jill” and “Mic Jack.”

Big Boi will complete his tour in support of Boomiverse on June 8th with a hometown gig at Atlanta’s Tabernacle. This fall, the rapper will serve as special guest on Christina Aguilera’s first North American tour in over 10 years. Big Boi also has a role in the upcoming Superfly reboot.

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On 'Daytona' and 'Ye,' Kanye West Proves the Strengths (and Limitations) of a Short Album

At first, Pusha-T wasn’t on board with the idea. Kanye West pitched him on a series of albums from their artists on G.O.O.D. Music: An album every week, for five weeks, each with only seven tracks. Pusha’s would be the first to be released, and the seven track limit would mean cutting songs that were ready to go for King Push, his long-awaited follow-up to 2015’s King Push — Darkest Before Dawn: The Prelude. But the idea was simple: “I think, in seven songs, you can get everything you want off, and we can have the most concise, strongest project ever,” is what Kanye told Pusha, according to a recent interview with New York Magazine. “Oh, I’m the guinea pig?” Pusha recalled.

The gambit worked. Last Friday, Pusha-T released Daytona, a tightly wound piece of lyricism over seven of West’s best beats this side of My Beautiful Dark Twisted Fantasy. Since its release, it’s been hailed as the sharpest version of Pusha-T to date, his best work (at least as a solo artist), and likely the best rap album to be released so far this year. It contains two decades of continually sharpened skills that, due to its short runtime, are honed to a devilish point. By jettisoning any flourishes, anything unnecessary at all, Daytona is an artistic statement boiled down to its purest distillation, and feels longer than its tracklist suggests. “I was very wrong about the seven not being enough,” Pusha went on to tell New York

If Daytona feels like the platonic ideal of a laser-focused statement album, Kanye West’s seven-track solo effort Ye – which was livestreamed last night and released this morning – feels like the opposite. It’s a stream of consciousness exercise rather than precisely weighed storytelling. Daytona sounds like it took 20 years to make; it’s clear Ye was made in the past month. When it occasionally touches on real world events, Ye is a light apologia for his controversial, Donald Trump-courting run-up to this release, an attempt at explaining himself and disclaiming his critics, often in the same breath. At just 23 minutes, it not only feels like Kanye’s shortest album (it’s about half the length of Yeezus), but his slightest.

While Daytona felt impressive from its first listen, Ye’s abrupt 20 minutes provide a different advantage: you can listen to it quickly. Kanye albums have always rewarded repeat listens. On Ye, he’s found a way to supercharge that quality.

Though the first listen felt lukewarm at best, having the opportunity to listen to it three times an hour has helped Ye immensely. It’s a general rule that the more you listen to an album the better it sounds (though this rule has plenty of exceptions), and Kanye, true to form, has provided enough on Ye that multiple listens are rewarded. It’s still too early to make a qualitative judgement on an album like this after a matter of hours, and there may not be enough to uncover here that will support the weight of months of listens, but the fact that I’ve been able to run through it tens of times in a matter of hours has pushed my opinion in a positive direction every go-around. And, in that sense, even more than Daytona, Ye feels like an antidote to the streaming-induced bloat that’s become the norm for topline hip-hop albums in the few years.

Other albums from this year, like MigosCulture II and Rae Sremmurd’s SR3MM — both clocking in at over 20 songs and 1:40 runtimes — defy the idea of an album made to be listened to in a single setting, opting instead to take a scattershot approach to hitmaking that puts the onus on the listener to find what they like, and discard the rest. The best way to listen to these albums is to listen once, make a playlist, and include the songs you liked best, culling the output into something manageable. Streaming-optimized listening for streaming-optimized albums. 

With its short runtime, Ye doesn’t make that an option. Instead, it neatly makes the easiest way to listen to it just keeping it on repeat; it ends so suddenly every time that searching for something else to listen to seems like a waste of time, and album opener “I Thought About Killing You” is its strongest track, the easiest sell when it starts up again. I listened to the album twice in full on my commute to the office this morning without any hesitation.

While the album itself is light on explanations for its creator’s past six weeks, its repeatability has proven that there’s more to find here than shock and outrage. Presumably, by the time I’ve listened to Ye 30 or 40 times, the correlated rise in esteem will taper off, but for now it’s a refreshing feeling to put an album on repeat, if only for a day.

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10 New Albums to Stream Now: Father John Misty, Kanye West, Natalie Prass and More Editors' Picks

EDITORS’ PICK: Father John Misty, God’s Favorite Customer
Josh Tillman’s fourth album under the FJM banner sounds “as if Tillman wrote and arranged these songs under the sumptuous, despairing spell of Lennon’s early-Seventies solo records, with time off for the late-Sixties Zombies and the Beach Boys’ Sunflower,” writes David Fricke. 
Hear: Amazon Music Unlimited | Apple Music | Bandcamp | Spotify | Tidal

Kanye West, Ye
The latest opus from the MC-producer-cultural lightning rod, which West debuted in Jackson Hole, Wyoming, last night, is “so short that it’s almost jarring,” writes Elias Leight, but it still manages to fit in cameos from the likes of Ty Dolla $ign, Charlie Wilson, John Legend and Nicki Minaj. 
Read Our Feature: Inside Kanye West’s Wyoming Listening Party
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

Natalie Prass, The Future and the Past
The Virginia-born soul-pop singer’s second album “pairsthe sharp and the smooth, its keenly observed lyrics about love and politicsgiven grounding by arrangements that recall soft-pop highlights from the pastfour decades,” writes Maura Johnston. 
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Black Thought x 9th Wonder & the Soul Council, Streams of Thought Vol. 1
It’s remarkable that – after nearly 25 years in the music industry – this EP is Black Thought’s first solo project. (He planned the solo debut Masterpiece Theater in 2000, but it was eventually absorbed into The Roots’ 2002 Phrenology.) Musically, 9th Wonder and the Soul Council’s production is spare and subtle, with tracks like “Making a Murderer” notable mostly for their hard, totemic percussive notes. That leaves the focus on Black Thought’s words. True to the title, he doesn’t offer any choruses, just streams of verses that cover his own lyrical prowess, history and politics, and whatever else comes to mind. His voice sounds gravelly – two decades of constant touring will do that – and substitutes tonal nuance for raw power, like a horn player blowing his lungs out. “These rappers are Peter Pan/I’m pan-African,” he raps on “9th vs. Thought.” A mic-trading session with Rapsody on “Dostoyevsky” is a notable highlight. Mosi Reeves
Hear: Apple Music | Spotify | Tidal

Neko Case, Hell-On
Case’s clarion pipes remain the calling card, but on her 8th studio LP, between lyrics and vocal arrangements, they’ve never channeled more imagination or sense of purpose. A set of rangy folk-rock, Hell-On opens pondering the nature of God (“an unspecified tide … a lusty tire fire”) and hits its stride dissecting love, most dazzlingly on “Winnie” (“joy ran through us like welders flux/We just wanted to be music!”). Beth Ditto, k.d. lang, Eric Bachmann, Laura Viers and others reinforce the key point: No instrument has more power than the unadorned human voice. Will Hermes
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Oneohtrix Point Never, Age Of
“OPN auteur Daniel Lopatin is a composer-producer (David Byrne, AHNONI) who’s grabbed the mic; words and breathing just provide more sound to scramble,” Will Hermes writes about this “brain-bending” album. “On ‘Babylon,’ his digitized croon recalls Bon Iver’s 22, A Million; ‘Black Snow’’s fingersnaps echo Lorde’s ‘Royals,’ but with apocalyptic vision and cyborg voices. It’s more a mirror to a freaked-out soul than a balm, but there’s comfort in the prog-rock dazzle, and it resolves in a cozy cosmic jazz coda.” 
Read Our Feature: Why Oneohtrix Point Never Wrote “Nightmare Ballads” in an Egg-Shaped House for Age Of
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

American Aquarium, Things Change
BJ Barham earns every bit of his Southern Springsteen cred on American Aquarium’s first studio album since 2015’s Wolves, and its first with an entirely revamped lineup. The change, as they say, does Barham good, who’s been gifted the perfect players to soundtrack his bewilderment and rage over the 2016 presidential election. Rhythm section Joey Bybee and Ben Hussey are in lockstep on the resilient anthem “Tough Folks,” pedal-steel player Adam Kurtz gives “Crooked + Straight” its immersive wall-of-sound vibe, and guitarist Shane Boeker’s solo on “The World Is on Fire” is appropriately apocalyptic. But Barham’s lyrics are the centerpiece here, as he ponders a fractured country (“I saw firsthand what desperation makes good people do,” he sings in “Tough Folks”), mourns the mass exodus of his old bandmates (“When We Were Younger”) and celebrates the restorative power of hard labor (the marvelous “Work Conquers All”). Aside from a few twangy licks, Things Change is an unabashed rock & roll record – a snapshot of a band and its reinvigorated leader. Joseph Hudak
Read Our Feature: How BJ Barham Makes Sense of Trump Nightmare on New American Aquarium Album
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Kitten, Pink Champagne
The power-synth-pop collective, led by the charismatic Chloe Chaidez, sparkles on this EP, which bleeds into the red on “I Did It!” – a sugar rush so compact, its three-plus minutes include a squealing guitar solo and a wrenching bridge – and splits the difference between Blood Orange and “Pretty In Pink” on the slow-dance-ready “Abigail.” Maura Johnston
Hear: Amazon Music Unlimited | Apple Music | Spotify | Tidal

Various Artists, African Scream Contest 2
The sequel to an equally fantastic 2008 set again compiles vintage Sixties-Seventies Afropop from Benin – a melting pot of styles mirroring Nigerian juju and Fela Kuti-style Afrobeat from the east, jazzy Ghanian highlife from the west, plus English and American rock and funk. The music is effervescent and propulsive, with, you guessed it, the occasional joyous scream for emphasis. And the anthropological detective story of the LP’s curation, detailed in a handsomely illustrated booklet, makes it worth buying the old-fashioned way. Will Hermes
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Ustad Zia Mohiuddin Dagar, Ragas Abhogi & Vardhani
The late Ustad Zia Mohiuddin Dagar performed slow, unraveling ragas on the rudra veena, a classical, low-register, double-gourd instrument that was eventually supplanted in popularity by the bass sitar. Sunn O)))’s Stephen O’Malley – an enthusiast of both raw bootlegs and drones of all shapes – has unearthed two Eighties performances, releasing them on his Ideologic Organ imprint. This volume, splitting two ragas across two pieces of vinyl, has a closer feel and a deeper boom. You can hear what – I assume – are the creaks in the instrument’s body, as well as his own cough, as Dagar bends and journeys. Christopher R. Weingarten
Hear: Bandcamp | Spotify

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