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From Spin:

Krist Novoselic bought a Nirvana bass-tabs book ahead of the band’s 2014 Rock and Roll Hall of Fame induction so that he could relearn his parts. The Washington resident talked toRolling Stone for their piece about the big night on April 10, when Novoselic, Dave Grohl, and Pat Smear played the grunge gods’ classics fronted by Joan Jett, Kim Gordon, St. Vincent, and Lorde.

“I picked up a Nirvana tab book a week before to relearn my parts,” said Novoselic, “but we weren’t up to speed at first. But then it started to flow and it got better and better. Then it hit me and I got kind of somber. I was like, ‘Oh my God. I’m playing these songs again.’”

Grohl weighed in as well on the experience of returning to material they’d left behind two decades previous: “I haven’t played those drum parts since I was 25. I’m 45 now. We played for 10 fucking hours each day. After the first night of rehearsals, I limped home, had two glasses of wine, three Advil, took a hot shower and slept for 10 fucking hours. That’s a coma for me, because I never sleep.”

Toronto’s Harbourfront Centre is looking for the GTA’s hottest independent artists and bands to take centre stage this summer and compete for the fourth annual SoundClash Music Award. Designed to showcase Toronto’s talented, creative and forward-thinking independent musicians, the SoundClash Music Award is an opportunity for independent artists or bands to play on Harbourfront Centre’s WestJet Stage and compete for $10,000 cash and other prizes including vocal coaching, artist development, a promotional photo shoot, two return flights valid for anywhere in the WestJet network (courtesy of WestJet * restrictions apply) and more.

SoundClash Music Award monetary prizing
1st Prize: $5,000
2nd Prize: $3,000
3rd Prize: $2,000

While other music competitions focus on specific genres, SoundClash Music Award is open to musicians from a wide variety of genres. Artists from diverse, contemporary and cutting-edge music forms including (but not limited to) rock, pop, hip hop, country, reggae, Latin and other global music forms are encouraged to apply.

A panel of music critics, bloggers, artists and music industry leaders will create a short list from the submissions received. The winner of the SoundClash Music Award will be determined by a combination of jury selections and public votes.

To enter the competition, artists must be Greater Toronto Area residents (including the municipalities of Durham, Halton, Peel and York). Each artist or band must be independent with no attachment or affiliation to major record labels in order to be eligible for the contest. Participants must also be available to perform at Harbourfront Centre’ s Canada Day Extravaganza and the winner will perform at the Hot & Spicy Food Festival.

Submissions can be through Sonicbids.com from April 1-May 1, 2014 or made via email at [email protected] Applicants are asked not to attach MP3s or other digital files to their submission. Full submission details can be found at harbourfrontcentre.com/soundclash.

Steve Jordan, Founder and Executive Director of the Polaris Music Prize, today announced the key dates for 2014. After stints in Vancouver and Montreal, the Long List will hit the road again this year, touching down on June 19th at the National Music Centre in Calgary during this year’s Sled Island Music Festival. The Short List will be revealed at The Carlu in Toronto on July 15th.

The winner will be announced Monday, September 22nd at the Polaris Music Prize Gala, returning to The Carlu at the corner of Yonge and College St. in Toronto.

The eligibility period for the 2014 Polaris Music Prize runs from June 1, 2013 to May 31, 2014. The Long List and Short List are determined by an independent jury of over 200 music journalists, broadcasters and music bloggers from across Canada. Eleven people are selected from the larger jury pool to serve on the Grand Jury. The grand jury convenes the night of the gala to select the Polaris Music Prize winner.

The Polaris Music Prize awards $30,000 to the artist who creates the Canadian Album of the Year. Judged solely on artistic merit, without consideration of genre or record sales, the prize’s past winners have included Godspeed You! Black Emperor (2013), Feist (2012), Arcade Fire (2011), Karkwa (2010), Fucked Up (2009), Caribou (2008), Patrick Watson (2007), and Final Fantasy (2006).

Polaris Music Prize 2014 Key Dates:
June 19th – Long List Announcement – National Music Centre, Calgary, AB
July 15th – Short List announcement – The Carlu, Toronto, ON
September 22nd – Polaris Music Prize Gala – The Carlu, Toronto, ON

Watch Madlib produce a beat from scratch in this exclusive video, shot with ten of Sony’s Music Video Recorders running simultaneously. Armed with a couple of CDJs, mixer, drum kit, and a keyboard/sampler to pull it all together, this is a cool insight to a rare look at a genius at work.

From MPR News:

Starting April 19, Minneapolis bars and clubs that feature live music will have to offer free earplugs to patrons under an ordinance approved Friday by the Minneapolis City Council.

The ordinance is believed to be the first of its kind in the country. It will apply to about 185 bars, clubs and performance venues as a condition of their liquor licenses.

The earplugs will be provided to the businesses at no cost thanks to a coalition of private funders, including the clothing company Locally Grown, Globally Known.

Its president, Brian Felsen, says the goal is to make hearing protection as accessible as possible.

“It’s much easier for people to introduce it to their own lives if it’s something that they don’t have to pay for,” Felsen said. “It shouldn’t come down to, ‘Oh, I don’t want to pay a dollar for the earplugs’ when that dollar is an investment not only in their ability to hear but their hearing health and their well-being.”

She’s the One Emerging Female Artist Competition is an annual Canada-wide talent search for an emerging, Canadian female singer.

As part of their special 20th Anniversary edition, the RBC Bluesfest is zeroing in on the best young, emerging teenage female singers in Canada. They are looking for one special artist with an incredible voice backed up by a moving live performance.

You might be the onewinner for this year’s incredible grand prize. RBC Bluesfest is providing a whirlwind, career-building trip to Los Angeles to work with Barrett Yeretsian (Jar of Hearts, Christina Perri), a top LA-based music producer to record a song at the legendary Sunset Sound Recording Studio. You also receive a star makeover, photo shoot and music tutorial before you make your Hollywood Style music video courtesy of Popmania.

You can apply and more details here.

From Business Insider:

Investing in a startup like Turntable has to be hard. You put money in and it seems like a rocket ship — then all of a sudden it tanks. What’s that like?

FW: Well, I think we made a bunch of mistakes there, some of which I would blame on the board and some of which I would blame on the company. But in general I think we did not react to the data. The problem with that service was people churned out of it very quickly.

People would come in, fall in love with it and then six to eight weeks later, they were done with it. We knew that pretty early on, but it was hidden by the fact that the number of people who were coming on board every day was higher than the number of people who were churning out. It looked good, but we actually knew that there was something about the service.

I think the problem was that it was too demanding. You had to be in it. It was too social of an experience. What I think we could have done, if we had moved quickly, is that we could have created a passive listening experience. The reality is, if you’re into electronic music or Indie Rock music or Hip Hop or whatever, there were Turntable rooms that were creating as good of a passive listening experience as anything you could get on the Internet, with these super-engaged small groups of users who were creating the streams. If there was a way to just put a Turntable room on and listen to it in the background, I think we could have built an interesting business. But we didn’t move to do that. We just stuck with it too long and it fizzled out.

BI: Spotify came out pretty soon after and stole some of the thunder.

FW: Spotify had been around. I think Spotify launched in the U.S., though, in a big way. I think those are different things. I don’t feel that that was the problem. Someone told me a long time ago that 80% — and this number has been true since the dawn of recorded music — 80% of listening is when someone’s playing the music for you and 20% of listening is when you’re playing the music for yourself.

Vinyl records, CDs, MP3, iTunes and Spotify are experiences where I get to control what I’m listening to and Pandora or AM radio or FM radio is when someone plays the music for me. I think there’s a huge market out there for, “I don’t really want to think about it. I just want to listen.” Pandora is huge.

I think with Turntable we just got that mix wrong. But it was good while it lasted.

 

You can’t fight the seether, or the reunion bug. First, The Afghan Whigs reform and start to announce shows for 2014, and now ’90s alt-rock vets Veruca Salt are reuniting their original lineup to release a new single for Record Store Day. Almost 20 years after parting ways, the group have announced their own tour. Your own nostalgia has officially begun:

06/22 Portland, OR @ Mississippi Studios
06/23 Seattle, WA @ The Tractor Tavern
06/24 Vancouver, BC @ Biltmore Cabaret
06/26 San Francisco, CA @ The Independent
06/27 Los Angeles, CA @ The Roxy
07/09 Minneapolis, MN @ Varsity Theater
07/10 Milwaukee, WI @ Turner Hall Ballroom
07/11 Cincinnati, OH @ Bunbury Music Festival
07/12 Chicago, IL @ Lincoln Hall
07/13 St. Louis, MO @ Firebird
07/21 Washington, DC @ Black Cat
07/22 Philadelphia, PA @ Theatre of Living Arts
07/24 New York, NY @ Bowery Ballroom
07/25 Brooklyn, NY @ Music Hall of Williamsburg
07/26 Boston, MA @ Brighton Music Hall

From Drowned In Sound:

When you returning to old material on the reunion tour, a lot of it is very dark in tone. Is it tough to relive those songs?
When I was in them it was, as time goes by it’s okay. While I was doing it, it was hard. I was reliving it every night and it was still really close to me. A lot of the songs off Gentlemen were just mean, and I started not liking myself for writing them. By the time we did Black Love, I had had cut a bunch of them out and wouldn’t play them. I recognise the person who wrote those songs, but I don’t have to exist as him anymore.

It must have been strange that those songs off Gentlemen were the ones that drew a lot of new fans to you?
Sure. I had begun to be that person in Congregation, which was really when I found my voice, but you don’t get to chose what you go through in life. And what you go through in life, you’re going to represent it artistically. I certainly did, and in a lot of ways it helped me because it took things that I was thinking and feeling in my mind out in front of me. I didn’t necessarily enjoy what I saw, but there it was.

At the time it was a very public thing, people wanted to watch me do it. It was strangely masochistic. It just got strange, and then I started doing things to alter the strangeness like drugs. Then it just turns into a big mess. So the next record I did… it was personal but in a cinematic context. Black Love became a way for me to distance myself from that stuff, so I wouldn’t feel those feelings anymore – it was kind of protective.

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