É dado como certo que a Record ira promover mudanças na grade no próximo domingo. A mudança atende pelo programa Tudo é Possível que terá que vencer o programa “Eliana”. A derrota não foi engolida na emissora.
Pode pintar um programa AO VIVO e uma correria para montar e desmontar cenário já que o Gugu também é AO VIVO e ocupa o mesmo cenário, será que da tempo?
Filipino-Canadian Elise Estrada released her debut self-titled album in September 2008. With the first single released back in 2007, the most recent single is doing quite well on MuchMoreMusic. This was the first time I heard of her and decided to give her album a try.
The album opens with “Unlove You,” which sets up the rest of the album nicely. Right off the bat, she has a really nice sounding voice. The track is almost a ballad, but still maintains a poppy sound. She steps it up with the next track, “Insatiable.” This was the first single released from the album and it’s cute, upbeat and catchy. This would definitely be a great summer song. “One Last Time” is the album’s first real ballad. The album, while being pop, also has a touch of r&b to the songs, such as this one. I’m not sure if it’s as good as the opening track, but it’s still a good song. with emotional lyrics and a fitting arrangement.
The next track is “Poison,” the most recent single. This song is probably the highlight of the album. It’s sexy and insanely catchy. The video is sort of lame, but she looks fantastic in it. This is more of a dance track than any of the previous songs on the album, which I find enjoyable. Although a bit repetitive, it all works. “Crash & Burn” is back to the r&b ballads. I’m usually not a fan of this kind of stuff, but she pulls them off nicely. Her vocals are a little screechy in the chorus and overall this track doesn’t quite stack up to it’s predecessor, “One Last Time.” Moving away from the ballads, “Just Want You (Feat. Jah Fus)” is another catchy track. I’m not sure if she writes any of her lyrics or music, but the lyrics certainly shouldn’t be the focal point of the album. They would be forgettable if not for the songs being so catchy. Jah Fus’ parts are annoying and seem out of place; the song would have been better without his rapping, regardless of how brief.
There seems to be quite a few ballads so far and “S.O.S.” is another one. None of them are all that different from each other, which is a bit disappointing. I think she could use more variety in the ballad area, but at the same time, they’ve all been generally good. “Torture”is yet another ballad, but there’s a more emotional performance from her here than the last few ballads and it even a little sexy sounding.
“These 3 Words” is reminiscent of “Insatiable” with a playful and upbeat composition and matching lyrics. Compared to the rest of the album, this song has a somewhat child-like sound to it. Not saying it’s bad, but that’s just what comes to mind. “Ix-Nay” really stands out among the other tracks, with her almost rapping the chorus. I wish this was placed a few tracks back, rather than the end. In the end, this song just doesn’t quite do it for me. It’s very hip hop sounding, which doesn’t exactly thrill me.
Overall, I’m actually really impressed with the album. Yes, it could use a bit more diversity in it’s track, or at least among its ballads, but I think it’s a fine debut album. I also think it could have done way better than it has up to this point. I guess she’s had some okay chartings with her singles, but I can’t see why these tracks couldn’t achieve greater success. She has a good voice and most of the songs, being pretty solid, will get stuck in your head.
Rating: 8/10
Oasis prime mover, songwriter and elder brother Noel has finally had enough of his idiotic younger brother Liam – long the poster boy of ‘disenchanted’ British youth – and after a quick fisticuffs with the Oasis frontman, has left the band for good. The violent clash before their scheduled Paris gig saw Liam trash a guitar as brats do, prompting Noel to call it a day after the two hadn’t talked and after travelling apart for months aready.
Más de 11 mil personas bailaron juntas este sábado 29 -en el que hubiera sido el cumpleaños 51 del “Rey del pop”- el famoso tema “Thriller” de Michael Jackson en la explanada del Monumento de la Revolución en la Ciudad de México, con lo que lograron el récord mundial Guinness.
Fueron 11 mil 628 personas las que se registraron oficialmente para bailar el tema emblemático de Jackson, en la también conocida como Plaza de la República. Aunque se registró un total de 50 mil asistentes al evento.
Un imitador del “Rey del pop” que se hace llamar Héctor Jackson, fue quien dirigió a las miles de personas en la coreografía, los cuales muchos asistieron disfrazados al estilo de horror del video o por lo menos traían un guante blanco o la clásica chamarra roja que utilizó Michael Jackson en las imágenes de la canción que lo consagró en el mundo de la música.
Este es un video de cómo bailaron miles de mexicanos.
Scouting for Girls schwelgen mit ihren Texten in den 80ern und sind Die Drei !!! der Popmusik
»She’s so lovely« – über diesen Song bin ich immer wieder mal gestolpert, immer mit dem Ergebnis: geiler Song, wie hieß noch gleich die Band? Thorsten kannte die Jungs von Scouting for Girls schon von einem Live-Konzert und ein kurzes Reinhören machte mich doch neugierig. Der bekannte Song klingt ein wenig wie Keane im Albernmodus. Und auch die übrigen Songs machen verdammt gute Laune.
Die Band kennt sich noch aus Grundschulzeiten und folgerichtig verarbeitet man in den Texten hauptsächlich pubertäre Verirrungen, Wirrungen und Enttäuschungen in Sachen Liebe. Kindheitsträume kommen auch nicht zu kurz, denn wie andere kleine Jungs will auch Sänger Roy Stride eines Tages wie James Bond sein. Oder seine Kindheitsliebe aus dem britischen Fernsehen mal treffen (selbst wenn er schon vorher weiß, dass das mit den beiden wohl nix wird). Songs also mit jeder Menge – in Coacher- und Psychokreisen so gerne zitiert – »Innerem Kind«, nicht bemüht sondern vielmehr zur Schau getragen. Kostproben? »But I’ll get by, without your smile I’ll get through without you. But I wish it was me you chose…«
Scouting for Girls in ihrer Heimat England
So sind die Texte auf den ersten Blick eher einfach gehalten und garantieren zumindest Schmunzeln, wenn man genauer hinhört kann man aber durchaus spontan losbrüllen und feststellen, dass dies kleine, geniale, gemeine Reime sind. Kleine Déjà-vus wie bei »It’s not about you« wären so ein Kicherbeispiel, diese Dialoge kennt man wirklich gut aus seiner Jugend (oder aus aktuellen pubertären Gesprächen mit Verflossenen). Wenn dazu noch dieses leicht trotzige und in Ansätzen auch hysterische Wehklagen dazu kommt – sorry, da hält mich nix mehr, urkomisch!
Auch musikalisch setzen die Drei aus UK ein paar kindliche Akzente mit Plastikschweineorgel (vielleicht war das auch der Casio-Sound für Bläser). Das Piano dominiert den Sound meist, und bin ich immer wieder erstaunt darüber wieviel Krach man zu dritt machen kann. Das gleichnamige Album Scouting for Girls ist gute, handgemachte, britische Popmusik, die aber durchaus auch an amerikanische oder kanadische Vertreter erinnert, mich konkret an z.B. The Feeling, nur weniger pompös. Die Schotten klingen nicht überfrachtet (wird bei drei Instrumenten auch schwierig), bieten hübsche Backing Vocals, kleinere Überraschungsmomente (wie z.B. der Harmoniewechsel beim James-Bond-Song) und einen entspannten Songaufbau. Hier geht es ganz klar nicht um verkopfte Kompositionen, sondern um den simplen Spaß an der Sache, Easy-Pop-Listening. Unbeschwertes Aufspielen, einfache, geradezu dadaistisch wirkende Textzeilen, die aber genauso »im Alter« Anwendung finden wie damals zu Schulzeiten. Ein schöner Spiegel, den man da vorgehalten bekommt. Und das gelingt für meine Ohren unkompliziert und verdammt gut. Wahrscheinlich war das Album auch deshalb insgesamt 78 Wochen in den UK Charts und einige davon gar auf Platz 1.
Wer sich ein paar Videos von den Drei Ausrufezeichen anschaut, wird zum Einen erkennen, dass die Livequalitäten zwar nicht im formvollendeten Gesang liegen, aber man sieht den Jungs die gute Laune an, die auch auf der Bühne authentisch transportiert wird. Zum Anderen erkennt man eine äußerst sympathische Seite der Band: hier steht die Musik im Vordergrund und nicht stereotype, glattgebügelte Schönheiten in der vordersten Reihe (trotzdem macht mir der Gesichtsausdruck des Sängers im Video zu »It‘s not about you« ein wenig Angst). Passt ja auch zum Schuljungen-Image.
Und dazu wiederum passt auch die Benennung ihres Fanclubs Wolfcub was quasi ein Fähnlein Fieselschweif für die Community ist. Was übrigens wiederum daher rührt, dass der Bandname eine abgewandelte Form des Handbuchs Scouting for Boys ist (ein Meilenstein der Pfadfinderlyrik). *brrrz* Klugscheißmodus aus *brrrz* Ich hab’s nämlich erstmal nicht begriffen (zumal auf der Website zu meiner Verwirrung auch an einer Stelle Wolfclub steht. Aber auf der Site stehen ja auch noch Blindtexte und Platzhalterbilder, naja Websitebetreuungsfail).
Schön auch die grafische Aufmachung des Booklets, die in ihrem Scrapbook-Stil und den Kinderbildern ganz »wunderbar zum Thema passt«. Etwas seltsam finde ich die offiziellen Pressefotos, die auf der Columbia Berlin-Seite zu sehen sind (deshalb gibt es davon auch nur einen Ausschnitt). Warum bitte mt einer Ausstellungspuppe mit sterilem Studiohintergrund? Ein Shooting in einem Klassenzimmer oder auf dem Schulklo hätte ich da deutlich witziger gefunden. Aber mich fragt ja keiner. Die gute Laune lass ich mir trotzdem nicht verderben, und deshalb stehen Scouting for Girls derzeit auf meiner Gute-Laune-Playlist direkt hinter Ben Lee.
Scouting for Girls – Scouting for Girls
Release UK: 07-27-2007
Release D: 02-06-2009 (Quellen nicht eindeutig)
Besetzung:
Roy Stride (piano, voc)
Greg ‘danger’ Churchouse (bass, voc)
Peter Ellard (dr, voc)
Label: Columbia Berlin
bei Wikipedia
bei MySpace
Interview mit Roy Stride bei DailyMail
PS: Michaela Strachan ist quasi die UK-Ausführung von Anke Engelke oder Biggi Lechtermann:
Chris Berry (left) in the recording studio January 2009
Chris Berry – lead singer with successful covers band FOG and acoustic act CMC, as well as solo artist. Covering everything from the swing era to rock and pop classics, is on the lookout for a new agent.
‘I am looking for theatre bookings for 2010-2011,’ says Chris. ‘And whilst I have always handled my own bookings up to now the respective acts have all become pretty busy on the Yorkshire circuit. We have been told that our brand of entertainment would go down fantastically well for theatres, holiday resorts & abroad – notably in the Mediterranean. So I am now looking for an agent to handle that side of things whilst I concentrate on the performance side even more.’
The 3 acts are:
FOG – rock/pop melodic covers band playing everything from Brown Eyed Girl to Sex on Fire, Valerie to Twist & Shout.
CMC – electro acoustic duo/trio playing acoustic versions of predominantly 60s 70s and recent hits – everything from American Pie, Cum On Feel The Noize, Mrs Robinson to Hey There Delilah, Whole Lotta Love, and again Brown Eyed Girl
SOLO – Acoustic and swing set
Chris has released CDs both as a solo artist and with CMC.. tracks from FOG are available on their website.
Please visit: www.the-fog.talktalk.net; www.myspace.com/chrisberrysinger; www.myspace.com/cmcacoustic
Contact Chris direct on 07855 992834 or email chris@chrisberry.tv
Over the last few weeks, it has occurred to me a frightening number of times that quite a few engineers don’t really know the difference between an analog mixing console and a control surface. People are so concerned with not using a mouse to mix, that I’m not sure they understand what the faders under their fingers are doing. First, what is a control surface? It looks the same as a mixing console. It might even feel the same as a console. But what is it really? What does it actually do? Most control surfaces connect to a computer via USB, firewire, or Ethernet. The purpose of these units is to ‘control’ a DAW on your computer. So, when you push the fader up or turn a knob, is the control surface changing the parameter? No, the DAW is changing it, just like it would if you were using a mouse! In fact, it may be even more difficult to get around many plug-ins with a control surface because you need to cycle through all of the editable parameters. With a mouse you can just point, click, and drag. You can even double click and type in an amount on certain plug-ins. But the control surface doesn’t do anything your mouse can’t do! Boil it down to this: having a control surface is equivalent to having a separate mouse available to most every task you need your DAW to perform. Sounds cool, yes. But now, what is a mixing console? They have lots of faders and knobs just like a control surface. But the biggest difference is that it does not control your DAW and most of the time it is not even connected to your computer. Every channel of audio you may be mixing in your DAW will come out of your computer separately and into discrete tracks of a mixing console. The audio actually enters the console as an electrical signal. From there, that electrical signal is altered as needed on each channel. It can also be routed through your console to other gear and returned for later summing. The important distinction is that the audio actually goes through the mixing console, while no audio ever hits a control surface. Both units are worth having in some respects. For example, it is much easier to write automation to your DAW with a control surface than with a mouse and keyboard. Both units provide workspaces that all touch to handle the decisions, much like how audio was handled before the DAW. A good mixing console can also provide a great analog warmth and tone. I really don’t have any complaints about engineers taking their pick of console or surface, as long as they aren’t spending more than $10,000 on them. Yes, there are some great mixing consoles out there for under 10k, but the cost to interface them into a digital computer based system can be very expensive. A nice control surface can be had for under $10k and is very easy to interface. My real question is why do some people spend $100,000 and up on just a control surface? And not just a control surface, but only a 32 or 48 channel surface! That amount of money can buy a highly sought after console, all of the I/O you need, and give you an amazing sound that no plug-in can come close to. I just don’t get it. Why waste $100k on what essentially boils down to a bunch of mice? If I had that much money, I’d get an 8-track control surface to write automation, etc. but buy a great mixing console and make some great records! Don’t let the faders and knobs fool you! Mixing consoles and control surfaces are not equal!
A electropop está rejuvenescida, variada, cheia de personalidade e recomenda-se! Uma leva de nomes no feminino insurge-se com aparente controlo sobre o que faz e como o faz. Eis algumas das novas vozes que têm despoletado do lado de lá e do lado de cá do Atlântico.
Lady GaGa
É loura, escreve sobre fama, dinheiro e erotismo. Os que gostam dela descrevem-na como uma fusão de Madonna, Kylie Minogue, Blondie e Scissor Sisters. A crítica diz que é mais uma cópia de Britney Spears e Christina Aguilera, com algumas presunções. Ela não parece importar-se. Lady GaGa, ex-Joanne Stefani Germanotta, 23 anos, nova-iorquina, já é a estrela que ambicionava ser. Apesar de ter iniciado a carreira nos bastidores – a escrever canções para as Pussycat Dolls e Britney Spears –, as luzes da ribalta focaram-na em Abril de 2008, altura em que lançou o álbum The Fame. A partir daí, as oportunidades seguiram-se em catadupa: cantou na eleição da Miss Universo 2008, momento-chave para que o seu primeiro single, Just Dance, começasse a fazer furor no seio da dance pop. Goste-se ou não, o álbum de estreia, uma combinação de disco, pop electrónica e rock, com um toque de burlesco, já alcançou um lugar cimeiro nos tops de vendas em todo o mundo.
É a terceira artista, em 16 anos de história do top 40 Mainstream, a ter três singles no primeiro lugar num álbum de estreia. Depois de Just Dance e Poker Face, a música Love Game chegou ao primeiro lugar da Billboards Mainstream. The Fame mantém-se no top 5 de álbuns Billboard 200. Depois de Ace of Base (1993) e Avril Lavigne (2002), é ela quem alcança este feito. Quanto ao seu nome artístico, é provável que soe familiar… isto porque, Lady GaGa é uma referência à música Radio Ga Ga, dos Queen.
A roupa? Difícil de descrever. Tem um estilo próprio e inovador, sempre irreverente, com muita atitude e glamour. Extravagante para a maioria. Mas a graça está toda aí. Lady GaGa é uma artista na moda. Seguindo a linha fashion destruction, conseguiu atrair para si todos os holofotes: cores fortes, franja, um laço de cabelo ao estilo Minnie, perucas e combinações exóticas, abusando sempre dos bodies e das meias calças. No fim de contas, cada performance sua é uma pequena obra de arte pop. Os seus ícones de arte são Peggy Bundy e Donatella Versace.
La Roux
Tiveram uma estreia ambiciosa e auspiciosa. A face visível deste duo originário de Brixton, Inglaterra, é a vocalista e compositora de 21 anos, Elly Jackson – a ruiva que dá nome ao projecto. Ben Langmaid é o teclista e produtor. A dupla veio provar que a invernia synthpop e o retrofuturismo desenterrado dos anos 80 estão longe da exaustão criativa, em parte graças à precisão acutilante dos sintetizadores e à personalidade vocal de Jackson, metálica, mutante e ardente. O álbum de estreia, homónimo, tornou-se um dos mais aguardados de 2009. Primeiro foi Quicksand. Depois, In For The Kill. E, recentemente, Bulletproof. Estes três singles começaram por circular online e a aceitação foi imediata. Disco, pop e electrónica fundem-se na perfeição. Um cocktail que marca uma independência da pop mainstream, com fortes influências de nomes como Depeche Mode, Daft Punk, Eurythmics, Prince e Michael Jackson.
Começaram por abrir os concertos de Lily Allen, mas já sobem aos palcos sozinhos, jogando emoções debaixo de uma parafernália dançável. In for the Kill alcançou o 2º lugar no Uk Single Chart e 9º no Eurochart.
A imagem da metade feminina dos La Roux herda traços dos dias mais estilizados e andróginos da também ruiva Annie Lennox, assim como de David Bowie. O olhar é ao mesmo tempo defensivo e desafiador. A sobreposição de roupas e a maquilhagem colorida completam o visual.
Little Boots
Compatriota de La Roux e sua concorrente directa. A cantora, teclista e compositora britânica Victoria Hesketh, de 25 anos, escolheu o nome de código Little Boots para se lançar a solo no universo electropop. Depois de uma passagem falhada pelo concurso Pop Idol britânico na adolescência, seguida de uma temporada a cantar jazz na Europa e de uma experiência curta numa banda de indie-pop, Hesketh começou a despejar canções para o Youtube e o MySpace. Pouco depois, estava a registar o álbum de estreia, Hands, com o multifacetado Greg Kurstin, compositor, músico e produtor americano, tendo sido avançada pela imprensa britânica como a «next big thing» da pop no feminino. Stuck on Repeat e New in Town são as canções de que se fala, demolidoras e intoxicantes na pista de dança, convites para um mundo sintetizado, e alegremente pop. Há quem diga que o álbum não passa de uma mescla de Kylie Minogue, Goldfrapp (fase Supernature) e Lily Allen, com um resultado não muito impressionante. Mas Little Boots pretende demarcar-se desse rótulo.
O nome é retirado do filme Caligula (que significa Little Boots, em latim). Hesketh toca piano, stylophone (órgão electrónico de bolso) e um instrumento electrónico japonês, chamado Tenori-on.
Mais uma loira com atitude, estilo muito próprio e originalidade. As suas roupas são brilhantes e a sua maquilhagem carregada, fazendo lembrar o ambiente puramente caleidoscópico de uma discoteca. O imaginário proposto por Little Boots faz recuar ainda à nostalgia dos anos 80. As suas influências (visual e vocalmente) incluem David Bowie, Gary Numan e Kate Bush.
Florence and The Machine
Florence Welch, 22 anos, foi a escolha dos críticos nos Brit Awards e um dos destaques da tabela de apostas para 2009 da BBC. Estreia-se com o álbum Lungs. Ela e os Florence and the Machine são um só, a derivação nominativa é simplesmente um mero detalhe artístico. A excentricidade da voz de Florence homenageia a cada vez menos esquecida Kate Bush e, em parte, a islandesa Björk, levando mil e um mundos diferentes para a música. Musa folk e ao mesmo tempo um monstro da soul, branca, desgarrada, festiva e forte, eis a voz e a alma da banda. Percussões tribais adaptadas ao pop-rock inconformista, um certo revisionimo barroco e uma atitude punk tornam-se os aspectos mais salientes. Singles como Kiss With a Fist e Rabbit Heart (Raise it Up) são destaque.
A escolha do nome do álbum prende-se com a simbologia que a banda atribui ao órgão: há algo de mecânico e físico nos pulmões e um forte controlo sobre eles quando a voz é o instrumento com o qual se trabalha. A obsessão de Welch com essa imagem estranha e ao mesmo tempo carnal é marcante. O título refere-se ainda a Between Two Lungs, uma das faixas do disco.
Partilha a cor do cabelo com La Roux, mas as parecenças não ficam por aqui. Apesar de mais feminina e de explorar uma postura mais teatral, o estilo é igualmente arrojado, fresco e provocador.
POR JOANA CLARA
To this:
It turns out your iPod playlists say more about you than just the music you like. A new study conducted by the University of Cambridge finds that people form opinions about personality, values, ethnicity, and social class all based solely on musical taste.
80 young adults from the UK were asked to think about the fans of six different musical genres – rock, rap, pop, jazz, classical, and electronica. They rated fans on several personality dimensions, including extraversion and neuroticism. The participants also had to rate more personal characteristics, such as intelligence and attractiveness, as well as determine the probability that fans come from a certain ethnicity or social class.
Jazz enthusiasts are perceived as having the most positive personality. Participants labeled them as friendly and emotionally stable, while classical fans weren’t so lucky. They are considered friendly and intelligent, but also unattractive and boring.
Those with rock oriented taste are seen as artistic and rebellious; however, they are also viewed as emotionally unstable. Rap fans are labeled as athletic and energetic, but with a more hostile personality. A relationship was also established between genre and social class, classical being associated with upper-class and rap with lower-classes.
