Samantha Scarlette has released her new video for the song “These Violent Delights”. Check it out HERE. http://www.nataliezworld.com/search/label/News
Category Archives: INDIE MUSIC NEWS
When you cross David Bowie’s work with a current act in the music scene, you’ll likely get something by the name of Kali Ra. They infuse David Bowie’s formula of music to create their own, …
The location has changed for the Hatsune Miku Halloween Dance Party. It will be held at the Belasco Theater in downtown LA: 1050 S Hill St, Los Angeles, CA 90015. We sold out the previous …
Kelly Clarkson is prepping a “Miracle on Broadway” — Nashville’s lower Broadway, that is — to benefit several local charities. The pop superstar’s December 20th show at Music City’s Bridgestone Arena will include performances by a who’s-who list of pop and country superstars: Reba, Trisha Yearwood, Garth Brooks, Ronnie Dunn, Kacey Musgraves, Paramore’s Hayley Williams, Charles Esten, Meghan Trainor and more names to be announced soon. All of the artists will sing classic holiday songs, as well as original tunes from Clarkson’s Wrapped in Red album.
All ticket proceeds will benefit the Fruition Fund of the Community Foundation of Middle Tennessee, with a portion divided between Vanderbilt’s Monroe Carell Jr. Children’s Hospital, Monroe Harding Children’s Home, Second Harvest Food Bank and Thistle Farms.
“I love my adopted hometown of Nashville with all of my heart and I am so honored to be able to give back to the community alongside some of my favorite artists and friends for my first annual Miracle on Broadway benefit concert!” Clarkson writes in a statement. “I thank all of the artists joining me, as well as the people of Nashville for making me feel so welcome over the last seven years I have called it home!”
Tickets go on sale October 18th at Livenation.com, all Ticketmaster outlets, or by calling 1-800-745-3000.
Wrapped in Red, released last year, is Clarkson’s first holiday album. The new mother has taken much of this year off but does have a song on country radio right now, “PrizeFighter” — her duet with Trisha Yearwood, which is the title track of Yearwood’s upcoming greatest hits album. A new album from Clarkson should be coming in early 2015, according to a tweet from the singer last month, in which she also hinted at a “special guest” on the project. It will be her first LP of completely original material in more than three years.
Yesterday, Florida Georgia Line released their hotly anticipated second album Anything Goes, the follow-up to their double platinum debut Here’s to the Good Times. But the new record’s rollout has been underway for weeks, with appearances on Today, The Tonight Show Starring Jimmy Fallon and even on ABC’s Nashville season premiere. On Monday, the duo’s Tyler Hubbard and Brian Kelley performed the album’s first single, “Dirt,” on Late Night With Seth Meyers and also offered a web-only performance of Anything Goes‘ title track. Check out the performance above.
During a recent interview with Rolling Stone Country, Kelley brushed aside any fears of duplicating the epic success of Here’s to the Good Times. Instead, he says, the group and its team are just anxious for fans to hear the dozen songs on Anything Goes.
“We’re not nervous; it’s just anxiousness right now to see these songs come to life. With songs like ‘Sun Daze’ and ‘Confession,’ we feel like we have a record that really represents who we are and how we’ve grown,” Kelley says. “If you listen to it from Song One to 12, it’s a journey — and hopefully you’ll listen to it all over again.”
While the summertime jam “Sun Daze” is the group’s latest single and more reflective of the FGL sound, its predecessor “Dirt” announced a more introspective side to the pair, who hope to repeat in the Best Vocal Duo category at next month’s CMA Awards. Even the band’s most vocal critics gave props to the more mature ballad. Good or bad reviews, however, Hubbard says he and Kelley soldier on, intent on entertaining fans, not critics.
“We don’t really let that affect us too much. If somebody’s not talking trash, you’re not doing something right. We use it as motivation. And there are a lot more people loving what we’re doing than don’t,” Hubbard says. “We’re just worrying about our live show and our songwriting and what we need to be focused on: selling albums and selling tickets.”
Florida Georgia Line is gearing up for the latter with last week’s announcement of their headlining Anything Goes Tour, kicking off January 15th in Toledo. In addition, they’ll also lead the bill at a massive tailgate party in Jacksonville, Florida, on Halloween, and, in November, set sail on their own sold-out cruise — the This Is How We Cruise journey — along with Thomas Rhett, the Cadillac Three and more.
(Reporting by Beville Dunkerley)
One night after busting out a Black Sabbath cover with Zac Brown, Foo Fighters continued their Late Show With David Letterman residency by paying homage to the city Dave Grohl is most associated with: Seattle.
With the Space Needle projected on a large screen behind drummer Taylor Hawkins, the Foo Fighters welcomed Seattle rock royalty, Heart’s Ann and Nancy Wilson, to the stage for a rendition of their Little Queen single “Kick It Out.” Grohl stood mostly in the background this time around, letting the Rock and Roll Hall of Fame sisters do their thing. “Good God, we should do this every night,” Letterman shouted following the performance. “Every night it’s a party.”
While Tuesday’s Late Show didn’t feature Grohl sitting on Letterman’s couch again, the late night host did accidentally set off the show’s new “Foo Signal,” which was installed because the Foo Fighters will be spending all week with Letterman in support of their upcoming HBO series Sonic Highways. Once the Foo Signal was triggered, the band came running out from backstage to see if Letterman was in desperate need of assistance, but thankfully it was just a false alarm.
If five nights of Letterman performances and the premiere of Sonic Highways isn’t enough Foo for you, HBO also announced that immediately following the series’ first episode on October 17th, the band will perform a concert at Chicago’s The Cubby Bear that will be livestreamed via HBO’s Facebook page. This performance will also feature the live debut of “Something From Nothing,” the first single from Sonic Highways. According to the Hollywood Reporter, Grohl opted to visit the Cubby Bear because the Wrigleyville club was the venue where he witnessed his first punk rock show. The opening episode of Sonic Highways will similarly focus on Chicago.
Nearly 40 years ago, Patti Smith announced herself to music fans with the cutting, iconoclastic lyric that led off “Gloria,” the first track on her debut album, Horses: “Jesus died for somebody’s sins but not mine.” Earlier this year, the poet and singer recorded the serene, Biblically inspired lullaby “Mercy Is” for director Darren Aronofsky’s biblically huge film Noah.
“I wrote the first lines of ‘Gloria’ when I was 20,” says the silver-haired singer, who is seated in the conference room of a Times Square office building. “I recorded it some years later for Horses, but really, it was a declaration of self, not so much about Jesus. He is the vehicle, but I was declaring my existence, my right to make my own mistakes, my right to make my own choices. I was defining the type of artist that was entering the domain of rock & roll and the type of artist that I was, one who was going to make her own decisions. I’m not groomed by anyone.”
“Mercy Is” shows just how far Smith has been able to take her career. Lushly orchestrated by the Kronos Quartet, the gentle song offers hope and wariness in equal measure as Smith sings of two white doves guiding the listener to peace. The characters played by Russell Crowe (Noah) and Emma Watson (Ila) both sing the song in the film, which ends with Smith’s recording. It’s the first song Smith has ever written for a movie, and it’s an experience that has impacted her immensely. “I have a great life,” she says, smiling. “I’ve had many opportunities and many special things have happened to me, but there’s always something new. To be at this time in my life and get the opportunity to write a song for a movie – because I love the movies – it turned out beyond my expectations.”
Rolling Stone met with Smith – who recently completed her second book and is currently planning her next album and 40th anniversary Horses celebrations for 2015 – to find out how she arrived at “Mercy Is.”
What is your relationship with religion like these days?
I left organized religion at 12 or 13, because I was brought up a Jehovah’s Witness. I have a very strong biblical background. I studied the bible quite a bit when I was young and continue to study it, independent of any religion, but I still study it.
My sister is still Jehovah’s Witness. We talk all the time. I like to keep abreast of what she’s doing and what she believes in. I believe there is good in in all religions. But religion, politics and business, all of these things, have been so corrupted and so infused with power that I really don’t have interest in any of it – governments, religion, corporations. But I do have interest in the human condition.
Darren Aronofsky told Rolling Stone earlier this year that you offered to write the song. How did you meet?
I was introduced to him at a small dinner party some years ago, but then we met again at the Venice Film Festival, and he was chairing the jury. I asked him what he was doing. He told me of this project, Noah, that he’s been dreaming of since he was a boy. He mentioned he needed a lullaby for it and I just asked him if I could do it, because I love lullabies. I’ve written a few, and I felt that between my biblical knowledge and my love of lullabies, I could do it.
Is writing a lullaby easy?
It might seem like a modest little song, but it was a complicated task. I had to write a song that Methuselah, Anthony Hopkins’ character, sang to Noah’s father, and Noah’s father sang it to Noah; it was handed down. And then Noah had to sing it to this little girl who might be close to death. And I had to imagine Russell Crowe as Noah and Emma Watson’s character having to sing it to her babies, and then I had to sing it at the end. So I had a slew of responsibilities.
It sounds like a tall order.
Well, I asked for it. I went back and looked at the scriptures. I really studied Darren’s script. I’m a big follower of Russell Crowe, so I just watched a few of his movies again. I wanted to write something that he could feel in the singing of it. And it had make sense historically, some kind of biblical sense or some kind of sense of its time and its mission. The song is supposed to remember Eden and hope that the Father will come and deliver us back to Eden, the hope of a new world.
These are things I know about because of my own education: The promise of a new world is paramount in the teachings of Jehovah’s Witnesses. There was a lot that I could draw from.
Did you workshop it heavily?
Lyric writing does not come easy to me, because you have so much responsibility. When you’re writing a song, you have a real responsibility to connect with as many people as possible. And certainly I’m no Smokey Robinson. That’s for sure. Just writing, going, trying to say something with simplicity is a laborious process. But I worked very hard. I had Darren’s feedback. I made one historical error, so he corrected me.
What was your historical error?
Originally, I’d written a line like, “Two white horses, two white doves to carry you away.” And he said, “It’s beautiful, Patti, but there weren’t any horses in Noah’s time.” [Laughs] So I just changed it to, “Two white wings, two white doves.” But besides that, everything was fine.
And then I asked Lenny Kaye to help me, because Lenny and I have written lullabies or hymns together, and he wrote the second musical change in it. I even sang it to my sister; we still study the Bible together.
You recorded your version with the Kronos Quartet. Have you ever done that before?
No. I’ve never sang with a string quartet and never recorded with live strings ever. But we did it in a couple of hours. And it’s a live take. I do a lot of live recording for my albums, so that wasn’t daunting. Darren was there, and he lent his support. In some ways, once I figured out my path, I found it to be liberating. Beautiful. I felt like it was singing a delicate aria or something.
So what went through your mind when you first heard Russell Crowe sing it?
Really, I cried [laughs]. I was so moved. I was moved by this film. I was moved that Darren could bring the urgency of the present concerns or our world, the environmental concerns within the context of this film. And I am a big Russell Crowe fan. He’s one of my favorite actors. To see not only someone sing and interpret part of a song I had written but to see someone that I so greatly admire, my words coming out of his mouth, it was a moving experience. I was moved to hear Emma do it. And to sit and listen it at the end, it was exciting.
The Roland TR-808 is one of the most distinct, influential and beloved instruments of the early Eighties, with the electronic rhythm composer used by everyone from Talking Heads and Afrika Bambaataa to Marvin Gaye and the Beastie Boys. Even Kanye West devoted an album title to the instrument’s unmistakable sound. In 2015, the story behind the landmark machine will hit theatres thanks to 808, a documentary that focuses on the Roland TR-808 and its cult following, and Rolling Stone has your first look at the film’s trailer.
The doc features interviews with many marquee drummers and artists who have utilized the machine, including Damon Albarn, Phil Collins, Diplo, New Order, Fatboy Slim, David Guetta, Jimmy Jam and Terry Lewis, Talking Heads’ Chris Frantz and Lil Jon. Talking about Bambaataa’s seminal “Planet Rock,” one of the first hits constructed out of an 808, Pharrell Williams says, “‘Planet Rock’ just did something else too. We never heard anything like that before.”
“The rhythm of an 808 has its own internal groove,” Rick Rubin says of the instrument that was the backbone of the Beastie Boys’ Licensed to Ill, while Questlove adds, “It’s the futuristic thing I ever heard. A drum inside a machine.”
The documentary also answers a question that has troubled music fans for years: Why was the Roland TR-808 discontinued so quickly at the height of its success and influence? In an exclusive interview, 808 talks to Roland founder Ikutaro “Mr. K” Kakehashi to solve the mystery.
“Making a documentary about a drum machine, a piece of electronic equipment, is an interesting challenge,” director Alexander Dunn said in a statement . “It has no voice of its own, so as a protagonist, it’s rather difficult to mold a story around. 808 has really been a journey of discovery for me. One that led myself and the team to meet over 50 musicians and artists from all around the world, hearing their personal stories about the 808 and the music they created using its iconic sounds. Those artists and musicians are the real protagonists of the film and the 808, in the hands of our contributors, would change music forever.”
808 was produced by Atlantic Films, You Know Films and Arthur Baker. An era-spanning soundtrack featuring many of the greatest hits produced by a Roland TR-808 will accompany the film.
Bono has officially apologized for his part in making U2’s new album, Songs of Innocence, a compulsory free download on iTunes. In a Facebook Q&A dubbed #U2NoFilter, the singer answered a “question” requesting that the band never repeat the album launch because “It’s really rude.”
“Oops,” Bono said. “I’m sorry about that. I had this beautiful idea and we got carried away with ourselves. Artists are prone to that kind of thing: [a] drop of megalomania, touch of generosity, dash of self-promotion and deep fear that these songs that we poured our life into over the last few years mightn’t be heard. There’s a lot of noise out there. I guess we got a little noisy ourselves to get through it.”
But the singer’s contrition did not dampen the mood of the video interview, in which the four band members sat in a phalanx with their backs to each other. At one point, when the Edge was asked to answer a question about when he wants to throw Bono out a window, the singer chimed in, “Get it all out, the Edge.” (Incidentally, the Edge dodged the question, saying, “It’s hard being in a band. Bands are like street gangs. So to be in a street gang, age 40-plus, is kind of unnatural and even more difficult than maybe when you’re in your 20s, but we still manage to make it work.”)
And at another time, when a fan asked the Edge how he felt about actor Benedict Cumberbatch photobombing the band at the Oscars, the vocalist ran around the couch and climbed in to photobomb the guitarist’s big moment.
When all was said and done, and the band was leaving, the video ended with Bono simply requesting a pint of beer.
Regarding the iTunes release of Songs of Innocence, Bono recently told Rolling Stone, “If you don’t want it, delete it. Here’s the link.”
In June, Tove Lo thought she had finally crossed over. The Swedish pop songwriter’s debut EP, Truth Serum, had gone Top 20 in her home country, and its best track, the Kendrick Lamar-esque “Habits (Stay High),” could occasionally be heard on U.S. radio. Four month later, “Habits” keeps getting bigger – radio won’t leave it alone – and her debut full-length, Queen of the Clouds, is coming up right behind it. Shortly before the record’s September release, Tove discussed the transition from songwriter to solo artist, her self-destructive tendencies and what she’s learned from Swedish pop maestro Max Martin.
In America, people are obsessed with the concept of Swedish pop but often don’t know much about what is actually happening in Stockholm. What is the music scene like there?
It differs. You have a big group of “pop girls,” the kind of artist who also writes for herself, that has a bit of an electronic edge. I’m always in that group, and there are so many talented ones. We also have our boy bands. And people know us because we have guys like Max Martin, and they write for such big names and they’re always on top of the charts.
Have you worked with Martin before?
I’m part of his songwriting team – a group that him and Shellback have signed called Wolf Cousins. It’s six different producers and me as the top-line writer. So maybe Martin and Shellback will write a song and produce it together with one of these new young writers, which obviously gives us a huge chance to be on a bigger project that we would never get a chance to be on otherwise. And it’s also kind of like mentoring: We’re all sitting together in this big studio complex in Stockholm, which is awesome, and they’re just working their asses off. That’s pretty recent – it just started end of last year.
It’s cool to see, because you understand why he’s so successful. When you’re writing a song, it’s easy sometimes to settle, but I’ve never seen him do that in that way. I love writing, though now I haven’t been doing it because I’ve been just playing and doing press. But it’s best to be in the studio.
In the last few years you’ve released singles called “Habits (Stay High)” and “Not on Drugs.” What about the drug metaphor appeals to you as a songwriter?
I write about what I know and my way of dealing with things, good or bad. And I think no matter what your drug is, if it’s weed or alcohol or just adrenaline in general, it’s whatever gives you the ultimate high. I like to compare things to that because that’s what everyone’s always chasing, at least I’m that way. I can’t live just being content. I can’t have a routine. I can’t be settled because then I just get really frustrated. I need to get these rushes. I’m pretty much chasing rushes.
I just like to talk about drugs in my songs because obviously a lot of people know what I’m talking about: It’s not a secret. I can tell that everyone knows what I mean when I say these things.
But then, you know, you have all the other reasons for why I shouldn’t. Because if I sing about it in a positive way, I’m no longer just only sitting in my studio. People are starting to know who I am, and young kids will listen and feel inspired – either to not to do it because they’ll see the “Habits” video and just say “Fuck, that looks awful,” or be like “That’s so me; I want to be that self-destructive person.” Which is kind of how I was when I was growing up. I was always drawn to the self-destructive kind of way. I thought there was something beautiful about it, I don’t know why. But yeah, I don’t know if I should take a stand or not. Right now I’m just writing what I know.
Is it weird making that transition, where people now hear the songs you write and try to learn something about you from them?
I didn’t just want to give these songs away because they were too personal, but I haven’t really thought of the difference of coming out and suddenly being the face of your own thing – it’s hard. I don’t think I ever will understand how much people will have the energy to have opinions and feelings about me as a person, depending on the stuff that I release and decide to give up to the public. It will never be enough to just to be like, “Here’s the music. I’m performing live. That’s it.” People are always gonna want more and know more and get more from me as a person.
But I get it too, I love reading all these personal interviews about an artist whose music you love because you want to know the back story. I think it’s because if you relate so personally to the music you want to relate to the person too. It’s been a big change that’s taken me a while to accept. Especially when it comes to the appearance of me – like, how I look and what I wear and my make-up and my hair and everything. It’s suddenly just because I’m a pop girl that’s very important. It means a lot to everyone around me that I look good, and I don’t think it should have to. I just think I should look the way I do. [laughs]
So as you were becoming more famous, more of a “pop girl,” what were you trying to do with Queen of the Clouds?
When I wrote for this album I was like, “I’m still just gonna keep it very personal, like all the lyrics are mine and it’s just kind of my story.” But it’s surreal, everything that’s happening right now. I wouldn’t have minded having an indie career. But now that it’s kind of taking off you’re watching your actual teenage dream coming true, slowly but surely. So the album is raw and personal. It’s my kind of dance-y pop but with that little bit of pain in there, a bit of darkness.
I’ve divided the record into three parts: “The Sex,” “the Love” and “the Pain,” which is basically the way that all my relationships usually start and end – I realized that looking at it [laughs]. But yeah, it’s got maybe a bit more of the happier side of me as well, which I feel good about. I want it to just feel emotional and big, but still have that kind of quirky pop to it. It’s the mix of the organic and electronic beats – it’s messy. I feel like it’s messy and it’s raw and it’s honest, and I’m really proud of it, actually. I feel very good about it.