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Music Industry News

  • Model Citizen

    Model Citizen is an 18 piece band, helmed by songwriter, producer, and keys player, Mark Ciani. The core of the group -- Mark, drummer Matt Musty, guitarist Alvaro Kapaz, bassist Ryan Gleason, and engineer and co-producer Fernando Lodeiro -- have collaborated on two prior full-length albums, Stone Mountain Station's, Electric Sile_ce, and The Alternative Facts' Don't Worry, Babe. Joining the fold for this iteration of the band is Josh Logan, a former contestant on The Voice.

    Model Citizen's new album, The Next Life, set for release in... read more

  • Daniel Steinbock Releases Feb. 15 Album
    Daniel Steinbock Releases Feb. 15 Album

    Indie Folk artist, Daniel Steinbock recites honest and heartfelt poetry wrapped in a delicate, acoustic package. His new album, Out of Blue, sets free the pain and reminiscence of love in order to commence a journey of healing. The title, Out of Blue, betokens sudden creative energy that reveals itself when provoked by love, loss, and self-discovery as if peeking its head through the dark. The album is out for release on February 15.

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  • Daniel Steinbock Announces Feb. 15 Album Release

    

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  • Club Kuru new single out now
    Club Kuru new single out now

    Single release: 'Cherry Bloom' by Club Kuru
    Release date: Out now
    More info: Band website

    Today, Club Kuru... read more

  • STAFF PICKS: our favourite recordings
    STAFF PICKS: our favourite recordings

     

     

    For this Staff Picks we ask the guys in the shop to delve into their Spotify playlists and tell us about their favourite recordings... and why we think you should hear them too!

     

     

     

     

    MILES DAVIS - In A Silent Way

     

    When it comes to recording, performance trumps production every time – at least for me. That’s why I’ll... read more

  • Mackenzie Shivers Releases Feb. 8 Album
    Mackenzie Shivers Releases Feb. 8 Album

    The new adult contemporary album, The Unkindness, from Mackenzie Shivers burns with empathy like a smoke signal bursting through the haze of political destruction in the United States. Seeking comfort during chaos, each song on The Unkindness travels like a lifeboat in troubled waters. Guiding the way towards dry land, Shivers reaches a compassionate hand into the ocean of ugliness and rescues those beginning to sink under. The Unkindness is out February 8.

    The Unkindness... read more

  • Sistertalk debut single out now
    Sistertalk debut single out now

    Single release: 'Vitriol' by Sistertalk
    Release date: Out now
    Label: Family Portrait
    More info: Band Facebook

    Today, elusive North... read more

  • Fontaines D.C. debut album out 12 April 2019
    Fontaines D.C. debut album out 12 April 2019

    Album release: 'Dogrel' by Fontaines D.C.
    Release date: 12 April 2019
    Label: Partisan Records
    More info: Band website

    Over... read more

  • Charly Bliss new album out 10 May 2019
    Charly Bliss new album out 10 May 2019

    Album release: ‘Young Enough’ by Charly Bliss
    Release date: 10 May 2019
    Label: Lucky Number
    More info: Band... read more

  • Larry “Ratso” Sloman debut album out 5 April 2019
    Larry "Ratso" Sloman debut album out 5 April 2019

    Album release: 'Stubborn Heart' by Larry "Ratso" Sloman
    Release date: 5 April 2019
    Label: Lucky Number
    More info: read more

Featured Articles

  • Nicolas Winding Refn's Drive-Reposted from Jeremy Richey’s blog Moon in the Gutter

    Every time I go to the movies I hope and pray that I will come across a new film that moves me as much as my favorites from the seventies and early eighties. With each passing year it seems like I find fewer and fewer modern works that spark that special flame in me but when I do I am both exhilarated and grateful. Drive, the masterful new film from director Nicolas Winding Refn is one of those rare new movies that hits me as hard as those films that I routinely list as my favorites, like Arthur Penn’s Night Moves and Wim Wender’s Paris, Texas. It’s an audacious, gripping and absolutely pulverizing work that combines the themes of the seventies existential neo-noirs with the dazzling style of the eighties Cinema du Look.

    Like a film that it owes much to stylistically and thematically, Paul Schrader’s still-stunning American Gigolo (1980), Drive is centered on man who has become a prisoner of a persona he has tried so hard to cultivate. Like Schrader’s lonely Julian Kaye, Drive’s unnamed main-character is a man who has worked his whole life pushing people away when all he truly wants is to let someone in. As played by Ryan Gosling, who delivers a elegiac and poetic performance that stands with the best I have ever seen, the character in Drive is a man who seems to be having a constant inner-monologue…a man who finally realizes that beneath the cool façade he has worked so hard to create lies a human being with the capability of doing something meaningful and pure. As my buddy James Hansen writes in his eloquent piece over at Out 1, “He is nothing if not a reluctant super hero decidedly unaware of his powers due to their quotidian function in his life.”

    Opening with a long near-silent sequence that pays homage to the works of Michal Mann (who owed much to Jean-Pierre Melville), Drive suddenly becomes a work driven by sound during its striking opening credit sequence, which seems to pay homage to incredibly both American Gigolo and Risky Business. From the first frame to the last, Drive is a stylistic triumph for Refn but it’s also filled with the kind of emotional depth rare for American films released today, especially the many modern action films that Drive could have become in less intelligent and thoughtful hands.

    Directed with a fierce fluidity by Refn, Drive is a, rightfully, propulsive experience that manages to feel frenetic even when it is chillingly still. While the film features several of the most shocking and well-done sporadic moments of violence I have seen in quite a while, Drive is at its most potent in the scenes between Gosling and the character played by Carey Mulligan, who says more with her touching smile than most actresses can say with the best dialogue at their disposal. The two have a palatable chemistry that radiates off the screen, and at times it feels like Refn is allowing us to look at a private, but destined to be doomed, intimacy we probably shouldn’t be allowed to see.

    While the film is controlled by Gosling and Mulligan’s poignant performances, Refn has gathered together a truly outstanding cast of supporting players including a magnificent Albert Brooks, a menacing Ron Perlman and a wonderfully damaged Bryan Cranston, who plays Gosling’s mentor and only friend in the world. Christina Hendricks (good in a part originally meant for Bobbi Starr), Oscar Isaac and Andy San Dimas also pop up in the film, one of the most perfectly cast of the year.

    Along with Refn’s confident and expertly handled direction, and the performances given by his cast, much of Drive’s success is due to the wonderfully sleek and shimmering photography of cinematographer Newton Thomas Sigel, a gifted artist who has usually been confined to photographing films that aren’t deserving of his talents. With Drive Refn really allows Sigel to shine, and if all the film had to offer was its look it would still be among the most notable of the year.

    Also delivering devastating work is composer Cliff Martinez, as his score here joins the ranks of his best (which include Solaris and the more recent Contagion). His music, as well as the songs carefully selected for the film, tells us as much about Gosling’s character as Tangerine Dream’s score did for James Caan in Thief or Moby’s “God Moving over the Face of the Waters” did for De Niro and Pacino in Heat. Martinez’s score becomes its own character in Drive, a work in which each sound seems as carefully chosen as every movement.

    Drive has had its critics (including my friend Tony Dayoub over Cinema Viewfinder) but it moved me like no other film has in a very long time. It even provoked a physical response as I left the theater shaking and I have barely slept since I saw it, as images of Gosling’s haunted stare keep replaying in my head. Drive left me feeling shook-up, dazed and, like my favorite films, if left me feeling like I had been granted a glimpse into part of myself that I didn’t know (or had forgotten) about.

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  • John Carpenter's The Ward-Reposted from Jeremy Richey’s blog Moon in the Gutter

    While I am one the biggest Ghosts of Mars fan on the planet, I think that John Carpenter’s latest film The Ward may very well be his best work in more than twenty years. Carpenter’s first feature-length film since Ghosts of Mars a decade ago might not be as ambitious as his In the Mouth of Madness (1993) or as exciting as his Vampires (1996) but he hasn’t delivered a work directed quite as beautifully directed since They Live, his sadly undervalued masterpiece from 1988.

    Set in the mid-sixties and starring the fascinating young actress Amber Heard (finally an ‘it’ girl with some real chops) as Kristen, a troubled girl who ends up in an all-female wing of a mental hospital after burning down a farm house for no apparent reason, The Ward is a smart and sneaky fright-film from the pen of Michael and Shawn Rasmussen, a young writing and directing team responsible for 2005’s Long Distance. While there isn’t anything particularly original about the script and the film’s ending is perhaps a little too transparent, The Ward is a real filmmaker’s film as Carpenter’s skill behind the camera easily makes up for any pedestrian moments the plot suffers from.

    While Carpenter’s direction controls the film, The Ward is a production overflowing with talent in fron of and behind the camera. With its splendid supporting cast, including Mamie Gummer, Danielle Panabaker, Laura-Leigh, Lyndsay Fonseca and the always great Jared Harris, lively score courtesy of Mark Kilian (sitting in for Carpenter who opted out of providing the music for this one), and eerie photography by talented cinematographer Yaron Orbach (a man not usually associated with horror films), The Ward is an extremely well-rendered film that is so much more successful as a true fright-film than any other released in 2011.

    Even though Amber Heard is absolutely terrific as the lead, the real star of The Ward is indeed Carpenter’s direction, which is at its confident and controlled best. When I met John Carpenter a few years back, around the time he had finished up working on his Masters of Horror episodes, about the last thing he seemed interested in was directing another feature so to see him come back with a work so polished, muscular and beautifully finessed is a really fabulous. The Ward is also incredibly contemporary feeling and outside of a marvelous visual and musical cue inspired by Halloween this is not at all Carpenter in summation mode…this is the man firing on all cylinders again and the news that he is preppy another film is extremely welcome.

    Like most of John Carpenter’s great films, The Ward was released to a mostly hostile critical reception earlier this year and sadly it didn’t even have a chance to become a popular success as its time in theaters was limited at best. Pity, as this is a wonderfully elegant and well-made horror film overflowing with style. Watching this I kept saying to myself, ‘This is how you do it…this is how its done’, and I felt truly privileged to watch a new film by of our great American masters, who has been out of sight far too long.

    The Ward looks fabulous on both DVD and Blu-ray but sadly it has arrived with only extra, an enjoyable audio commentary track from Carpenter and Jared Harris. While many have gone out of their way to trash The Ward, I found this to be quite a return to form for the great Carpenter even if it finally doesn’t rank among his very best, as it doesn’t have the transformative power of Assault on Precinct 13, Halloween, The Fog, The Thing, Escape From New York or Christine. I am confident that time will catch up with The Ward though and it will eventually be viewed as quite a special little-film from one of our great American auteurs.

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