Our Noise the Story of Merge Records, the Indie Label That Got Big and Stayed Small 1St Edition Download Free
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Stop Smiling Magazine :: Interviews and Reviews: Film + Music
Stop Smiling Magazine :: Interviews and Reviews: Film + Music + Books ... http://www.stopsmilingonline.com/story_print.php?id=1097 Downtown Dedication: The Return of Polvo (Touch and Go) Monday, June 23, 2008 By Dan Pearson We could have flown out of Newark, landed in Charlotte, and just hit a barbecue spot in Reidsville, but this was after all the Polvo reunion and it deserved more. We needed to feel as if we were making the descent, notice the disparity in New England and Southern spring, endure interminable DC traffic and feel that we had earned our ribs and slaw. So, I packed the Malibu with I-Roy and U-Roy, stomached $4 gas and my friend Bose and I left from Connecticut in a rainstorm, both of us in fleece. Night one we spent at a Ramada in Fredericksburg, never made it to the battlefield or historic downtown, but instead drove down the divided highway to Allman’s BBQ. I’m wary of food blogs, but the culinary scribes were dead-on: best ribs I have ever had outside Texas, enviable pulled pork and slaw, notable sauce in the squirt bottle — all in an old corner diner with spinning stools. What a foundation, not only for the evening, which consisted of ice cold tap Yuengling and inebriated dancing to Def Leppard in the Ramada lounge, but for the show to come. Just a stateline south, yes, Polvo, the seminal math rock quartet, reunited at their Ground Zero, the Cat’s Cradle in Carrboro. In the morning, it was only better, the slow slalom down Route 40 country roads leaving trails of red clay and another barbecue platter at Short Sugar’s in Danville, Virginia. -
The Quality of Recorded Music Since Napster: Evidence Based on The
Digitization and the Music Industry Joel Waldfogel Conference on the Economics of Information and Communication Technologies Paris, October 5-6, 2012 Copyright Protection, Technological Change, and the Quality of New Products: Evidence from Recorded Music since Napster AND And the Bands Played On: Digital Disintermediation and the Quality of New Recorded Music Intro – assuring flow of creative works • Appropriability – may beget creative works – depends on both law and technology • IP rights are monopolies granted to provide incentives for creation – Harms and benefits • Recent technological changes may have altered the balance – First, file sharing makes it harder to appropriate revenue… …and revenue has plunged RIAA Total Value of US Shipments, 1994-2009 16000 14000 12000 10000 total 8000 digital $ millions physical 6000 4000 2000 0 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Ensuing Research • Mostly a kerfuffle about whether file sharing cannibalizes sales • Oberholzer-Gee and Strumpf (2006),Rob and Waldfogel (2006), Blackburn (2004), Zentner (2006), and more • Most believe that file sharing reduces sales • …and this has led to calls for strengthening IP protection My Epiphany • Revenue reduction, interesting for producers, is not the most interesting question • Instead: will flow of new products continue? • We should worry about both consumers and producers Industry view: the sky is falling • IFPI: “Music is an investment-intensive business… Very few sectors have a comparable proportion of sales -
OMC | Data Export
Aimee Hinds, "Entry on: Awful Sound (Oh Eurydice) by Arcade Fire ", peer-reviewed by Susan Deacy and Elżbieta Olechowska. Our Mythical Childhood Survey (Warsaw: University of Warsaw, 2020). Link: http://omc.obta.al.uw.edu.pl/myth-survey/item/1128. Entry version as of October 06, 2021. Arcade Fire Awful Sound (Oh Eurydice) Canada (2013) TAGS: Underworld We are still trying to obtain permission for posting the original cover. General information Title of the work Awful Sound (Oh Eurydice) Title of the Album(s) Reflektor Sonovox; Merge Records / Arcade Fire; Markus Dravs; James Studio/Production Company Murphy Country of the First Edition Canada Country/countries of popularity worldwide Original Language English, French First Edition Date 2013 Arcade Fire, Reflektor: Awful Sound (Oh Eurydice), Sonovox; First Edition Details Merge Records / Arcade Fire; Markus Dravs; James Murphy, October 28, 2013, 6:13 min. Running time 6:13 min. Format CD, Vinyl, Digital Official Website arcadefire.com (accessed: September 22, 2020) iTunes (accessed: September 22, 2020) Available Onllne Spotify (accessed: September 22, 2020) Genre Indie rock*, Narrative song* Target Audience Young adults Aimee Hinds, University of Roehampton, Author of the Entry [email protected] 1 This Project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 Research and Innovation Programme under grant agreement No 681202, Our Mythical Childhood... The Reception of Classical Antiquity in Children’s and Young Adults’ Culture in Response to Regional and Global Challenges, ERC Consolidator Grant (2016–2021), led by Prof. Katarzyna Marciniak, Faculty of “Artes Liberales” of the University of Warsaw. -
Superchunk 22
P.O. Box 1235 Chapel Hill, NC 27514 USA Phone: 919.688.9969 x125 www.mergerecords.com International Sales: Lauren Brown- [email protected] TRACK LISTING: SIDE A SIDE B 1. The Majestic 5. A Small Definition 2. Reg 6. Dance Lessons 3. Her Royal Fisticuffs 7. Basement Life 4. The Mine Has Been Returned 8. Still Feed Myself to Its Original Owner SIDE A SIDE B 9. Fader Rules 13. Everyone Gets Crushed 10. Never Too Young to Smoke 14. Beat My Guest 11. Detroit Has A Skyline [Acoustic] 15. With Bells On 12. Does Your Hometown Care? 16. Clover MRG 221 17. Sexy Ankles Record Store Day SIDE A SIDE B 18. White Noise 23. The Length of Las Ramblas Exclusive 19. Thin Air 24. Becoming a Speck 20. Scary Monsters (and Super 25. The Hot Break Creeps) 26. A Collection of Accounts 21. 1,000 Pounds (Duck Kee 27. Freaks in Charge Style) 28. Blending In Superchunk 22. Anything Could Happen Cup of Sand **NOTE: Track 13, 22, and 27 not previously available on Cup of Sand 2CD I’ll be honest: this compilation came out 14 years ago, and I still don’t recognize the titles (reissue) of 60% of these songs, despite drumming on all but one of them. You think Alan Alda remembers every M*A*S*H episode? I’m sure he can give a scene-by-scene breakdown of the show’s now-legendary final installment (“Goodbye, Farewell and Amen”) and yet have no memory whatsoever of the episode where they help an injured cow give birth (“The Birthday Girls”). -
Bloodshot Records Announces 20Th Anniversary Compilation, While No One Was Looking
BLOODSHOT RECORDS ANNOUNCES 20TH ANNIVERSARY COMPILATION, WHILE NO ONE WAS LOOKING RELEASE DATE: NOVEMBER 18, 2014 ROLLING STONE COUNTRY PREMIERES BLITZEN TRAPPER’S COVER OF RYAN ADAMS’ “TO BE YOUNG (IS TO BE SAD, IS TO BE HIGH)” (album artwork, designed by Markus Greiner. Download for use HERE) While No One Was Looking: Toasting 20 Years of Bloodshot Records, a collection of 38 musical acts covering songs from the label’s catalog, will be released on November 18. The limited-edition double CD/triple LP/digital release (including a pre-order only blood- red vinyl) celebrates the 20th anniversary of the venerable independent Chicago alt- country/roots/punk label. The genre-spanning collection features artists such as Blitzen Trapper, Andrew Bird and Nora O’Connor, Ben Kweller, Mike Watt, Nicki Bluhm and the Gramblers, Shakey Graves, Chuck Ragan, Superchunk, and many others covering Bloodshot current and former roster acts such as Justin Townes Earle, Ryan Adams, Neko Case, Scott H. Biram, Ha Ha Tonka, Lydia Loveless, Old 97’s, Murder By Death, Robbie Fulks, Cory Branan, and more. The entire track listing – including original album titles – is included below. PRE-ORDER LINK: https://www.bloodshotrecords.com/album/while-no-one-was- looking-toasting-20-years-bloodshot-records On Wednesday, Rolling Stone Country announced the album details, artwork and pre- order link, and launched the album’s first track Blitzen Trapper’s take on Ryan Adams’ original “To Be Young (Is to be Sad, Is to be High)” from his seminal solo debut Heartbreaker. LINK: -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Pitchfork Media's Textual and Cultural Impact
CREATING A CULTURE: PITCHFORK MEDIA‘S TEXTUAL AND CULTURAL IMPACT ON ROLLING STONE MAGAZINE A Thesis Presented to the Faculty of the Graduate School at the University of Missouri- Columbia In Partial Fulfillment of the Requirements for the Degree Master of Arts by EMILY BRASHER Dr. Stephanie Craft, Thesis Supervisor DECEMBER 2013 The undersigned, appointed by the Dean of the Graduate School, have examined the thesis entitled CREATING A CULTURE: PITCHFORK MEDIA‘S TEXTUAL AND CULTURAL IMPACT ON ROLLING STONE MAGAZINE Presented by Emily Brasher A candidate for the degree of Master of Arts And hereby certify that in their opinion it is worthy of acceptance. Professor Stephanie Craft Professor Mary Kay Blakely Professor Andrew Hoberek Professor Lynda Kraxberger To my family, for always believing in me. ACKNOWLEDGEMENTS I would like to thank Dr. Stephanie Craft for all of her support and patience though this process. The road was long—there were a few address changes and even a name change along the way—but Dr. Craft spurred me on until the journey reached a happy end. My deepest thanks also to Dr. Mary Kay Blakely, Dr. Andrew Hoberek, and Dr. Lynda Kraxberger, for bearing with me through it all. Thanks to Dr. Betty Winfield for getting me started, and to Ginny Cowell and Martha Pickens for their invaluable advice and help. ii CREATING A CULTURE: PITCHFORK MEDIA‘S TEXTUAL AND CULTURAL IMPACT ON ROLLING STONE MAGAZINE Emily Brasher Dr. Stephanie Craft, Thesis Supervisor ABSTRACT The main purpose of this research is to demonstrate how cultures and subcultures can be created and disseminated through media, and how newer forms of media such as websites can have a tangible effect on the content of older forms of media such as print magazines. -
Freak Scene Favorites of 2010 – Compiled by Randy B
Freak Scene Favorites of 2010 – compiled by Randy B. I talk about weed and my cat and being lazy a lot. I don't think lyrics need to be deep just write whatever comes out of you. You don't need to find intense meaning in everything. Bethany Cosentino of Best Coast to Pitchfork Top 10 Burn on a solid foundation of sinewy Black Rebel Motorcycle Club – 1) Surfer Blood – Swim – Astro hooks and mileaminute bon mots Mama Taught Me Better – Beat The Coast: …there are no chamber sections, tumbling from Vinnie Kircher’s jittery Devil’s Tatoo no pocket harmonies, no integration of vocals. – The Onion AV Club Titus Andronicus – No Future Part 3: West African rhythms (ok, there's some Escape From No Future – The Monitor of that), just a desire to create a The Get Up Kids – Keith Case – 7) The Hold Steady – Rock relentlessly catchy, "classic indie" Simple Science Problems – Heaven Is Whenever: album in your own dorm room, and if Los Campesinos! – Romance Is One might suspect that The Hold that's what Surfer Blood set out to do, Boring – Romance Is Boring Steady’s rock repurposing would Astro Coast succeeds wildly. – Pitchfork Bettie Serveert – Deny All – eventually chafe, but they’re achieving Pharmacy of Love the opposite effect, again pulling off The Joy Formidable – The Last Drop 2) Arcade Fire – Month of May The with heroic sincerity the idea that – A Balloon Called Moaning Suburbs: The faster tunes, like "Ready heaven is lying on the floor listening to Jenny & Johnny – Straight Edge Of to Start" and "Month of May," are records—even if you’re well past 16. The Blade – I’m Having Fun Now leaner and meaner than you'd expect. -
Artiste Album Label
FERALISTE FEVRIER/MARS 2014 CODES COULEUR : JAUNE GROUPES LOCAUX / VERT PARTENARIATS BEAUB FM (ALBUMS/CONCERTS) / MARRON PARTENARIATS FERAROCK artiste album label 1 ARTISTE ALBUM LABEL 2 WE INSIST WE INSIST VICIOUS CIRCLE 3 CHEVEU BUM BORN BAD RECORDS 4 KAROL CONKA BATUK FREAK MR BONGO 5 SNA-FU KNIVES AND BELLS KLONOSPHERE 6 RACHID TAHA ZOOM NAÏVE 7 ANGEL OLSEN BUR YOUR FIRE FOR NO WITNESS JAGJAGUWAR 8 LOU MARCO SOUS LA PEAU AUTO PROD 9 THEE SILVER MT ZION FUCK OFF WE POUR LIGHT ON EVERYTHING CONSTELLATION 10 NAO III JARRING EFFECTS 11 PIANO CHAT LANDS KYTHIBONG RECORDS 12 AGES AND AGES DIVISIONARY PARTISAN RECORDS 13 CONGOPUNQ NO GUNS MORE DRUMS 14 EAST INDIA YOUTH LOOKING FOR SOMEONE STOLEN RECORDINGS 15 GASPARD ROYANT 10 HITS WONDER SARDANAPALE 16 MOGWAI RAVE TAPES ROCK ACTION 17 BECK MORNING PHASE CAPITOL RECORDS 18 BLACK LIPS UNDERNEATH THE RAINBOW VICE RECORDS 19 ORVAL CARLOS SIBELIUS SUPER FORMA CLAPPING 20 PLAYERS GO PLACES SONGS FROM BASICS DESIRES AUTOPROD 21 WAR ON DRUGS (THE) LOST IN THE DREAM SECRETLY CANADIAN 22 BOOGARINS AS PIANTAS QUE CURAM 23 DICK VOODOO ST PAPAZ PRODUCTION 24 DUM DUM GIRLS TOO TRUE SUB POP 25 JEF BARBARA SOFT TO THE TOUCH TRICATEL 26 KING PEPE & HIS CALYPSO COMBO TROPICAL INVASION 4B PRODUCTION 27 MARINA P MY HOMEYS HOMEYS RECORDS 28 SHY BOYS SHY BOYS HIGH DRIVE RECORDS 29 ESCOBAR ST AUTOPROD 30 ILLUM SPHERE GHOSTS OF THEN AND NOW NINJA TUNE 31 COMPILATION MOBILISATION GENERALE BORN BAD RECORDS 32 MAJOR LAZER MAJOR LAZER FREES THE UNIVERSE DOWNTOWN RECORDS 33 METRONOMY LOVE LETTERS BECAUSE 34 KING KHAN -
'Flush with Punky Guitars and Grabby Pop Melodies.'
NOVEMBER 2010 ISSUE MMUSICMAG.COM REVIEWS HOLE SNobody’sUPERCHUNK Daughter [Universal] Majesty Shredding [Merge Records] The first album released under the Hole moniker since 1998’s Celebrity Skin is Superchunkreally doesn’t aspire to be Merge Records’ most innovative frontwoman Courtney Love’s second solo album—co-founder,or best-selling act. Mac McCaughan and Laura Ballance—founders songwriter and lead guitarist Eric Erlandson isn’t involved,of both Superchunk and Merge—leave that to the Arcade Fire, whose nor is any other previous Hole member. So it’s Love andSuburbs three album recently became the venerable North Carolina indie ringers on 11 new songs—10 of which Love wroteimprint’s with first-ever chart-topper. The decidedly less ambitiousMajesty collaborators like Billy Corgan,Shredding Linda ,Perry Superchunk’s and new first full-length in nine years, is a gift to fans guitarist Micko Larkin. (Perry gets full credit on one tune, “Letter to God.”) who have been following the group since its Clinton-era heyday. Flush Much of the riveting intensity of the group’s 1990s heyday appears to havewith left punkyalong with guitars her former and grabbyDaniel Jackson pop melodies, the album could have been bandmates, but there are fl ashes here of the snarling Too often, though, the slower songs trip her up. While once fury Love deployed to suchreleased devastating in effectthe mid-’90s,back in the day. just theyas werethe quartetshowcases was for harrowing transitioning displays of from naked theemotion, She spits out her vocals with vengeful disdain on “Skinny Little Love sounds more dispassionate these days. -
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1 9 8 4 - PerCursos 7 2 4 6 It’s just a reflector: Orfeu, o fantasma e a era especular em Reflektor da banda Arcade Fire Resumo O texto trabalha a apropriação do mito de Orfeu e Eurídice no aparato visual Francisco das Chagas Fernandes (notadamente os vídeos) de Reflektor, quarto álbum da banda musical Santiago Júnior canadense Arcade Fire, com objetivo de localizar o momento no qual o mito Doutor em História pela clássico encontrou a reflexão sobre a era das imagens na cultura global Universidade Federal Fluminense atual. A partir de uma análise iconológica, será investigado o uso de – UFF. Professor da Universidade conceitos visuais, especialmente os temas do fantasma, do espelho e da reflexão nas obras audiovisuais produzidas para o álbum da banda, os quais Federal da Universidade Federal tiveram ampla divulgação na internet. do Rio Grande do Norte - UFRN. Brasil Palavras-chave: Arcade Fire; Mito de Orfeu e Eurídice; Cultura visual global. [email protected] Para citar este artigo: SANTIAGO JÚNIOR, Francisco das Chagas Fernandes. It’s just a reflector: Orfeu, o fantasma e a era especular em Reflektor da banda Arcade Fire. Revista PerCursos, Florianópolis, v. 17, n.33, p. 55 – 93, jan./abr. 2016. DOI: 10.5965/1984724617332016055 http://dx.doi.org/10.5965/1984724617332016055 Revista PerCursos, Florianópolis, v. 17, n. 33, p. 55 – 93, jan./abr. 2016. p.55 Per It’s just a reflector: Orfeu, o fantasma e a era especular em Reflektor da banda Arcade Fire Francisco das Chagas Fernandes Santiago Júnior Cursos It’s just a reflector: Orpheus, the ghost and the specular age in Reflektor by Arcade Fire Abstract The text works the aspects of appropriation of the myth of Orpheus and Eurydice in visual apparatus (mainly the videos) of Reflektor, fourth album by Canadian band Arcade Fire, to meet the moment in which the classic myth merged with reflection about the images age in the actual global culture.