Autotelic (whose new full-length launches September 27) are definitely capable of coming up with a spotless, meticulously-performed recording, and they deliver exactly that in “Dahilan.” Read about it (and stream it) here.
“If it feels unrefined but sincere, it’s cool. I’d pretty much go with the raw feeling of a note compared to a perfect sound without a touch of humanity in it.” Top Junk and sessiOnroad’s Coy Placido talks about his guitar-playing history. Get a tip or two, or simply enjoy some impassioned writing, here.
If the significant attendance and the overwhelmingly heartfelt performances at the first two Callback Sessions shows were any indication of its success, then this year’s Jack Daniel’s On Stage campaign is certainly on a roll.
The Strangeness, “the oldest young people I know,” teases upcoming single “Ramblin’ Man” through a video. The track is alt-country that doesn’t care much for the “alt,” that doesn’t lose sleep being all faux-apologetic and affected-embarrassed. In short, it is the best.
Though invariably pigeonholed as the country’s answer to Tony Bennett, Arthur Manuntag is, in reality and without paradox, a jazz-vocal original. Take a gander at Richie Quirino’s Q&A from a while back.
"[Acid jazz has come to mean music that tries] to get a little bit more funk, a little bit more edge, a little bit more acid, or corruption, inside the thing, that tries to mix this thing up and corrode it a little bit," Bluey Maunick and the rest of Incognito tell Planet Jazz. Read more here.
Since its inception in 2012, Heart of Music has always been at the forefront of musicians' welfare. On March 18, this cause will be furthered via a fundraiser featuring Dulce, Skarlet, AMP Nonet, and many others.
From “Big Girls Don’t Cry” to “Can’t Take My Eyes Off of You,” you can’t help but bop your head to these tunes and just feel uplifted. Karl R. de Mesa weighs in on the Frankie Valli-propelled OST for the Clint Eastwood-directed “Jersey Boys.”
Desplat’s “Budapest” OST has both the polish of an old-school gentleman’s shoes and the grime of gunpowder that presages its descent into filth. Echoes his work on “Mr. Fox” and “Moonrise” but with a definite, uncompromising edge.
“[Alexandre] Desplat was going for a brutish kind of direct aesthetic instead of continually beating around the bush,” Karl R. de Mesa writes about the score for “Godzilla,” which is “as stupidly big” as the beast in question.
"Henry Jackman's rousing score hits the bull's eye [and] provides an aptly paranoid and gloriously over-the-top accompaniment to the Captain's brave new world." Writer Karl R. de Mesa weighs in on the OST of the new Cap movie.
"For his ambition alone, [Nathan] Furst gets high marks as he tries to outdo his own previous B-movie efforts with his debut into the big screen's film-score elite." Our man Karl R. De Mesa on the music and score for "Need for Speed."