Jose Carlos Matos Sun, 16 May 2021 05:59:41 +0000 en-US hourly 1 Jose Carlos Matos 32 32 Rich Brian releases official ‘Sydney’ music video – Manila Bulletin Sun, 16 May 2021 05:06:40 +0000

Rich brian

Rapper, producer, singer and songwriter Rich Brian has released the official video for “Sydney”!

Directed by Bludshot & Grace Lee, the music video for “Sydney” finds Rich Brian in a surreal but beautiful setting. The serene nature of Brian’s surroundings in the music video, with its still and wide shots, provides the perfect backdrop for the song’s lyrics, which exemplify the high-flying lifestyle Brian has evolved into over the years. years.

In his journey from a YouTube chamber sensation in Jakarta to an Asian music icon, he reflects on how he has learned over the years to care less about his skeptics and focus more on his career, his lifestyle and next steps.

Following the release of his very famous project, 1999, Rich Brian dropped “Sydney” as his debut single of 2021. He has collected over 7.4 million streams to date! The track was released via 88rising, distributed by 12Tone Music LLC. Listen to it HERE. With a beat inspired by hip-hop group Three 6 Mafia, “Sydney” combines the deep and relaxed voice of Rich Brian with an added saxophone, demonstrating once again the artist’s ability to constantly change and reinvent his sound.

Last month, “Sydney” served as the new anthem for the PUBG MOBILE Pro League Southeast Finals.

PUBG MOBILE is a mobile gaming application with over 30 million active daily users and over 700 million people
downloads per year, which makes this a huge time for the Southeast Asian gaming community.

Last year Rich Brian released 1999. The EP is a diverse sound project born out of months of socializing.
isolation, the majority of which are both self-written and produced, including feature films by Louis Bell,
Bekon & The Donuts, & Santell in production. 1999 received high praise from outlets like HotNewHipHop,
Hypebeast, UPROXX, Genius and Complex. To date, Rich Brian has collected over 2.4 billion feeds.

The first Asian music artist to reach No.1 on the iTunes Hip Hop charts, Indonesian rapper, singer and songwriter
and record producer Brian Imanuel Soewarno, better known as Rich Brian, soared to the forefront of
a movement that diversifies and transforms hip-hop culture.

One of the leading figures in Asian rap, with over 3.2 million followers on Instagram alone and over 1.7 billion streams worldwide, Brian continues to earn large audiences and critical accolades. Billboard called him a “rap prodigy,” the LA Times praised him as “a phenomenon … a gifted MC and producer. [with an] introspective and authoritative voice ”, and Rolling Stone put it on their“ 25 Under 25 ”list.

The 20-year-old, whose singles regularly feature guest artists like Ghostface Killah, 21 Savage and Offset,
performs in sold-out shows in North America, Europe and Asia, and at festivals like Bonnaroo and
Rolling Loud (he should then play Coachella postponed). Proud to be an Asian artist, always
a commodity in short supply, Brian makes his way for himself and countless others.



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Dino Cazares on the possibility of finding classic Fear Factory programming: “ I don’t see it for a sum of money ” Sat, 15 May 2021 23:42:50 +0000

In a new interview with Australia “Scars and guitars” Podcast, FEAR FACTORY guitarist Dino Cazares he was asked if he thought he could do a reunion of the band’s classical formation – including the singer Burton C. Bell, bass player Christian Olde Wolbers and drummer Raymond Herrera – happen if “enough money was hanging in front of” them. He replied (as transcribed by BLABBERMOUTH.NET): “Yeah, but that doesn’t mean it’s gonna last long. First of all, you’re trying to get four guys who don’t like each other together. For any amount of money, that doesn’t mean it’s okay It might not even last a whole tour. So why bother? There’s too much luggage there… “

Referring to the lawsuits brought by Olde Wolbers and Herrera against Cazares and Bell which led the guitarist and the singer to file for bankruptcy separately, Dino said: “Lives were ruined. Lives were changed. Lives were in danger. Careers were in danger because of these lawsuits, and stuff like that. So if anyone can forgive themselves for that , that’s a whole other thing. I don’t do it. ‘I don’t see it for a sum of money. But if we did it for the money, would it be fair, when there isn’t charisma on stage, nobody wants to be there? fans? I don’t think so. “

Cazares went on to say that he understands the enthusiasm of the fans to bring the original members together. “Of course it’s like a Fantasy Football League – you want to bring your favorite group together, your favorite team,” he said. “That’s all it is. It’s a Fantasy Football League, and that’s all it is. And it’s going to remain a fantasy for now. I’ll never say never, because you won’t. never know what’s going to happen. But I can say now, to have four members who don’t want to be with each other, don’t want to stay together, don’t want to be on the same stage with each other … It wouldn’t be fair. “

According to Dino, him and Bell tried several years ago to reform FEAR FACTORYthe classic line of corn were repelled by Olde Wolbers and Herrera. “We actually to have tried to sit down and have conversations about mediation, about trying to put the group back together, ”he said. Burton were actually asking these guys to come back, but their requests were just insanely stupid; it was so high that no one would take advantage of it. This idea was therefore rejected in 2015 – six years ago. “

After FEAR FACTORY dissolved in 2002, the group reformed the same year without Cazares, but with Olde Wolbers move on to guitar tasks and Byron stroud be brought to bass. This range made two albums – 2004 “Archetype” and 2005 “Transgression” – then paused. Meanwhile, Cazares formed the group DIVINE HERESY and recorded two albums with the band before rekindling his friendship with Bell and the launch of a new version of FEAR FACTORY, also featuring Stroud and acclaimed extreme metal drummer Gene Hoglan.

FEAR FACTORY has made four albums since split with Olde Wolbers and Herrera: “Mechanize” (2010), “The industrialist” (2012), “Genexus” (2015) and the next “Continuum of aggression”.

“Continuum of aggression” will arrive on June 18 via Nuclear explosion registers. LP features Cazares, Bell and drummer Mike Heller.

Last September, Bell issued a statement officially announcing his departure from FEAR FACTORY, saying he “can’t align” with someone he doesn’t trust or respect.

Bellthe exit of FEAR FACTORY came more than two weeks later Cazares launched a GoFundMe campaign to assist it with the production costs associated with the release of FEAR FACTORYThe long awaited new LP.

Bell said later Kerrang! magazine he broke up with FEAR FACTORY was a long time coming. “I’ve been concerned about this for a while,” he said. “These lawsuits [over the rights to the FEAR FACTORY name] just dumped me. Egos. Greed. Not just members of the group, but the lawyers involved. I just lost my love for it.

“With FEAR FACTORY, it’s always been, like, ‘What ?!’ You can only take too much. I felt 30 years old was a good race. These albums with which I made FEAR FACTORY will always be there. I will always be a part of it. I just felt it was time to move on. “

In a hurry to know if there is a chance of reconciliation with FEAR FACTORY down the line, Burton said, “I’m done. I haven’t spoken to Dino in three years. I have not spoken Raymond [Herrera, drums] and Christian [Olde Wolbers, bass] longer than that, and I have no intention of doing so. I’m just moving on with my life. “

In October, Dino issued a statement in which he stated that the door for Burton come back to FEAR FACTORY would not “stay open forever.” The guitarist also revealed that Burton “lost his legal rights” to FEAR FACTORY name “after a long legal battle” with Herrera and Olde Wolbers. “I had the opportunity to do something right, and I felt getting the name in its entirety was the right thing for both of us to do, so after almost four years we can continue as FEAR FACTORY, to make more records and tour, “he said.” This is why it is sad to hear that he has decided to quit and in my opinion for the issues he has it looks like it could have been fixed. ”

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The song Alan Jackson wishes he had written Sat, 15 May 2021 13:30:59 +0000

Alan jackson published a long string of country radio hits during his 30-plus-year career. Some of these hits were written by Jackson and some were written by other songwriters, but if there’s one song Jackson would love to have written, it’s his 1994 hit, “Gone Country.” .

The song, released as Jackson’s third single Who am I Next album “Summertime Blues” and “Livin ‘On Love”, was written by legendary Nashville songwriter, Bob mcdill. In the air, Jackson sings about the growing popularity of country music around the world, citing three non-country musicians as examples. He sings a lounge singer from Las Vegas from Long Island, a folk-rock singer from new York City, and a Californian singer who is a “serious songwriter trained in voice and composition.” All these artists, after failing in their respective genres, decide to move to Nashville, Tennessee and “go country”.

“She’s gone to the country, look at them boots / She left the country, back to her roots / She left the country, a new kind of costume / She left the country, here she is, “ he sings in the first chorus.

The story of the song almost mirrors the journey of songwriter McDill, who according to CMT, initially interested in pursuing a career in pop and rock music. The songwriter, who studied literature in college, moved to Nashville after his compatriot Dickey Lee convinced him that he would soon become a musical hotbed for pop and rock. When he arrived in Music City, however, country music quickly caught his eye.

“I just had a revelation,” McDill said. “Then I started studying country music as a seminary student studying gospel.”

Although McDill never said “Gone Country” was about its own story, he did confirm that the song was inspired by real people he met.

“The people in this song were a composite of real people I had lunch or drink with in Nashville who said the kinds of things that are in the song: all those weak, thinly veiled excuses for moving to Nashville,” he said. McDill writes in Chicken Soup for the Soul: Country Music.

Read more: Flashback: Alan Jackson’s ‘Drive (For Daddy Gene)’ video celebrates his dad and daughters

Jackson eventually recorded the song and took it to # 1 in the Billboard country, but it took a while for the song to find its place. According to McDill, “Gone Country” was turned down by several country artists due to fear of making fun of the characters in the song.

“I think we are afraid in Nashville of making fun of people,” he said, according to The bitter southerner. “We’re scared as Southerners to make fun of New Yorkers and people from Los Angeles, because everything in Nashville was owned by people from New York and Los Angeles, I’d rather think it’s just good manners.

Jackson wrote several of his own country songs throughout his career, including the sentimental “Remember When,” but he also recorded outside songs written by other songwriters. Of all the outside songs he has ever recorded, he says “Gone Country” is the one he would have liked to write himself.

“When I first heard this song, I fell in love with it,” the country singer said in the Greatest Hits Collection. “I would have liked to write it because it says a lot of things I would love to say. I think it’s just a fun song actually, celebrating how country music has become more prevalent and accepted by all types of people. people all over the country. ”

“Gone Country” is at home alongside some of Jackson’s best country hits including “Don’t Rock The Juke Box”, “Chattahoochee”, “Little Bitty”, “Where I come from”, “Drive (For Daddy Gene)”, “It’s Five O’Clock Somewhere” (duet with Jimmy buffett), “Small Town Southern Man”, “Country Boy” and many more.

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The conductor who shaped American orchestras Fri, 14 May 2021 14:00:10 +0000

“For those who reached musical maturity with concert life in the United States in the 1930s and 1940s, her name may still have an aura,” Halina Rodzinski wrote in his memoirs, almost two decades after the death of his wife, the Polish conductor Artur Rodzinski.

“For those who are younger,” she continued with a lament, “my husband is a dry reference in a musical encyclopedia or a name on a record sleeve on the discount aisle of a discount store.”

That was 1976. And the decades that followed weren’t kind to Rodzinski, leaving him to remember, if at all, having embodied “everything a real maestro was meant to be,” one critic once written: “Smoothing, arbitrary, dictatorial, unpredictable, motivated by ambition.”

Possessing a “huge vocabulary of Polish profanity” which he unloaded on musicians, like Time magazine reported, Rodzinski is also said to have driven with a gun in his pocket. Granted, Halina confirmed in her book – and it was loaded.

But there was a time when Rodzinski was among the country’s most beloved conductors. He was perhaps “not a poet of the stick,” as critic Virgil Thomson said in October 1943, when Rodzinski became musical director of the New York Philharmonic. But he was “a first-class orchestral maker” and “master trainer,” Thomson wrote later that season.

It can be said that no man has more contributed to making American orchestras the technical marvels they became in the mid-twentieth century – whether through those he conducted himself or by example. he gave. He shook the standards of some of the great ensembles of the radio age: the Philadelphia Orchestra (as assistant from 1925 to 29), the Los Angeles Philharmonic (as musical director from 1929 to 33), the Cleveland Orchestra (1933-43), the NBC Symphony (which he premiered in 1937), the New York Philharmonic-Symphony, as it was then called (1943-47) and the Chicago Symphony Orchestra, for a single season tumultuous thereafter.

More showy conductors would take these groups further: Leopold Stokowski, Rodzinski’s boss and booster, in Philadelphia; Otto Klemperer in Los Angeles; Arturo Toscanini, Rodzinski’s mentor, with NBC; George Szell in Cleveland; Rafael Kubelik in Chicago. Their achievements were built on Rodzinski’s foundation, but their fame and commercial success largely eclipsed his.

Maybe Rodzinski’s recordings could change our perception of him. With a rush of recent archival discoveries, for the first time since the LP era, there is much to do. Immaculate classic has released a series of stunning remasterings of Rodzinski’s studio work with the NBC, Cleveland and Chicago orchestras, as well as some broadcast records from his New York period.

Weightier is still a 16-disc box from Sony, which recovers mostly 78s made with the New York Philharmonic from 1944 to 46, filling a gap in the orchestra’s discography and offering a companion to the Sony box, released two years ago from the Philharmonie recordings by John Barbirolli, Rodzinski’s largely ridiculed predecessor.

Compendiums like these can bolster reputations, as long-silent work reaches fresh ears or confirms legends that were born long ago. Sometimes, however, these caskets simply confirm the verdicts of the story. And this is unfortunately the case with Rodzinski.

Here is a conductor capable of extraordinary feats of clarity and poise, capable of putting on foot the most lush romanticism, be it in a sparkling Rachmaninov. Second symphony, or in vivid and exciting scenes from Wagner’s operas, including parts of “Die Walküre” with soprano Helen Traubel.

Perhaps surprisingly for such a turbulent character, objectivity was Rodzinski’s interpretive goal. He Told It’s time for a cover story, just before his dismissal from the New York Philharmonic, that he hoped “the music goes from the orchestra to the audience without going through me.” (The very different Stokowski, he says contemptuously, “plays music sexually.”)

But if this literalism helped Rodzinski to form his orchestras with extreme precision, and brought out the best in insoluble works like that of Sibelius Fourth, he could also be boring – without the tension and vehemence of his idol and role model, Toscanini.

New York Times critic Olin Downes admired Rodzinski’s technique, but he wrote in 1943 that he feared “a reluctance to approach overfinancing”. Even Thomson – whose acclaim for Rodzinski surely had nothing to do with the inviting conductor Thomson, who was also a composer, to drive the Philharmonic in its “Symphony on a hymn tune” in 1945 – had to admit that guest chefs like Charles Munch made more of the orchestra that Rodzinski had built.

Rodzinski was born on New Years Day 1892, in Split, and raised in present-day Lviv, a long-disputed city that was part of the Habsburg monarchy and, later, of Poland. While studying law in Vienna, he trained at the Academy of Music and, after being injured by shrapnel on the Eastern Front during World War I, found a job as a pianist. cabaret in Lviv – relieved of days spent inspecting butcher shops. He made his debut at the head of Verdi’s “Ernani”, then moved to Warsaw. Stokowski heard him conduct “Die Meistersinger von Nürnberg” by Wagner and offered to take him to Philadelphia.

Replacing Stokowski at Carnegie Hall in 1926, Rodzinski was already able to hold an orchestra “firmly in his hands”, Downes Noted. Los Angeles and Cleveland followed – the latter a place where Rodzinsky could add operas to the symphonic repertoire, most notably the US premiere of Shostakovich. “Lady Macbeth of Mtsensk” in 1935, a coup d’état which he marked against Stokowski’s Philadelphia.

When Toscanini resigned from the New York Philharmonic in 1936, Rodzinski was invited to conduct eight weeks of the following season, and was widely regarded as a plausible heir to the maestro’s throne. He became Toscanini’s favorite candidate after the Italian conductor heard him at the Salzburg Festival.

But the Philharmonic Orchestra took a bet on the less experienced Barbirolli who December, before Rodzinski had a chance to prove himself, which he did with “Elektra” “Historical intensity”, Downes wrote, the following March. Furious, Toscanini asked NBC to ask Rodzinski to drill into the orchestra he was recruiting for the Italian’s sensational return to New York.

After the Philharmonic Orchestra corrected its mistake (at least as Rodzinski saw it) at the end of 1942, Rodzinski had unanimous support from critics; their venom was endless for Barbirolli, whose highly subjective aesthetic appalled writers who had been seduced by Toscanini’s lean and pushed style.

“The orchestra needs to be revised in every way”, Downes insisted. Time reported that guest chefs called its “unruly and arrogant members of the Dead End Kids.” When Rodzinski had 14 musicians fired months before his arrival, including the solo violin, he was seen as proof of a seriousness that Barbirolli lacked.

After Rodzinski’s first concert in October 1943, efficient Beloved Elgar de Barbirolli in a conscious attempt to demonstrate how this should turn out, Thomson wrote, bluntly, that it was “nice” to hear the philharmonic playing “all together”. In April, he reportedly reported that the strings “now play in harmony”.

With that kind of shadow, Rodzinski couldn’t do much but shine. He focused on the music of the previous hundred years and rarely returned beyond Schumann and Berlioz to Beethoven, Mozart or Haydn. In the Sony box, his Brahms symphonies keep going without getting too overwhelming; his Tchaikovsky Sixth is pretty cool – “too conventional, too objective and too civilized,” as Downes puts it in a see again of his corresponding concert.

Contemporary music played an important role in Rodzinski’s time, occupying a place in most of his programs. Trying to fight with Serge Koussevitzky’s Boston Symphony Orchestra, Rodzinsky competed to create the works of Shostakovich and Prokofiev, including Fifth symphony he was the first to be released on record. Hiring Leonard Bernstein as assistant conductor in New York, Rodzinski also supported American composers like William Schuman and William Grant Still. Morton Gould’s “Spiritual”, Aaron Copland’s “Portrait of Lincoln” and Darius Milhaud’s “French Suite”, all composed during WWII, receive convincing recordings in the Sony box.

Yet for Rodzinski, the Philharmonic Orchestra eventually became the conductor graveyard she had long been famous – much more than Barbirolli, who moved on to bigger things with the Hallés in Britain. Despite the uniform praise for the excellence imposed by Rodzinski, his position was never assured.

Contract negotiations with the director of the Philharmonic Orchestra, the powerful agent Arthur Judson, dragged on so interminably that Rodzinski’s lawyer, future CIA director Allen Dulles, gave up. The conductor was left to discuss the conditions on his own, as he became more anxious about his lack of control over the guest conductors – his rival Stokowski among them – and what they played.

The Chicago Symphony Orchestra, rebuilt after Désiré Defauw’s brief postlude to Frederick Stock’s 37-year tenure, sniffed an opportunity and offered a position around Christmas 1946. With that offer in hand, Rodzinski dressed the board as administration of the Philharmonic Orchestra with a one-hour speech on his problems with Judson on February 3, before disclosing his resignation to the press tonight. The board returned him on the following afternoon, in the middle of mutual recriminations.

“New York,” Rodzinski swore to a reporter, “is going to collapse.”

It lasted a few months in the Midwest. Critics there praised the now-familiar praise of the increased quality of the game, and there were some lyrical successes, but Rodzinski again ran into deep-seated interests, racking up deficits and finding much less willingness to make personnel changes. Chicago Board of Directors fired him in January 1948.

There would be no more important positions for Rodzinski, the perfectionist who set the standards for the post-WWII era. He would more records in the 1950s, primarily with the Royal Philharmonic on the Westminster label, but his health declined and he would never appear with the New York Philharmonic again. He died in 1958.

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Mike Rutherford: “I covered a lot of ground with the double neck and bass pedals – they gave the band some extra sound” Wed, 12 May 2021 10:04:53 +0000

Shortly before a virus took control of the planet, the big musical buzz for progressive rock fans was the announcement that legendary bassist Mike Rutherford would join Tony Banks (keyboards) and Phil Collins (vocals) in a reform of their old group. , Genesis.

For those of us of a certain vintage, it’s no surprise that the tour, now postponed for obvious reasons, sold out in record time, forcing the trio to add more dates.

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Ernie Ball Music Man Unveils New Signature Joe Dart Basses Wed, 12 May 2021 00:30:33 +0000

By Will Brewster

Extension of bassist Vulfpeck’s sleek signature model from 2019.

After the huge reception at the initial limited release in 2019, Ernie Ball Music Man has once again teamed up with Joe Dart to release two new basses as part of the Joe Dart Signature Collection.

Read all the latest product news here.

Best known for his funky, ultra-precise playing with the nu-funk Vulfpeck ensemble, Joe Dart is an undisputed titan of modern bass playing. His approach to groove and technique demonstrates serious commitment and finesse, and to see him be celebrated by a company like the Ernie Ball Music Man genre is just great.

The new signature line, which consists of the Joe Dart Artist Series Signature Bass and the short-scale Joe Dart Jr. limited edition, takes inspiration from Ernie Ball’s classic StingRay construction, with a distinctive design philosophy. “ less is more ” applied to everyone. instrument.

Ideal for players who want a clean and streamlined sound, the Joe Dart Artist Series Signature Bass combines a lightweight figured ash body with a deluxe flamed maple neck and figured maple fingerboard with 22 frets, producing a crisp sound to help you slice through the mix.

A single custom-wound passive Sterling bass pickup sits in the instrument’s bridge position, while an oversized control knob allows for simple volume adjustments, leaving the rest of the tone shaping to be done. and the player’s technique.

Other features include a vintage Music Man top-loading steel bridge with nickel-plated saddles, as well as Schaller tuners and a custom five-bolt neck junction adorned with Dart’s signature, and comes with winding strings flat for a classic vintage funk sound.

The Joe Dart Artist Series Signature is also available in two finishes, with Ernie Ball offering both Velvet Natural and Black Velvet colors.

Also new to the Signature Joe Dart Artist Series collection: Joe Dart Jr., a short-scale version of bassist Vulfpeck’s regular signature model, limited to just 50 units worldwide.

Featuring a custom contoured body and a 30 ″ scale, the Joe Dart Jr. is perfect for smaller players looking to delve into funky styles or bassists who prefer the feel and tone of short instruments. ladder.

The bass features a lightweight ash body and selected maple neck and fingerboard with 22 frets, as well as a single neodymium humbucker in the bridge. However, unlike its predecessor, the Joe Dart Jr. does away with the unique volume control, making it about as easy as a bass can get – and all for the better.

Other features include an opaque white finish and a custom gold tri-ply pickguard, the bass also comes with a black ‘Vertigo’ Mono gig bag, marking the very first collaboration between the two musical equipment makers.

Discover the Signature Joe Dart Artist Series collection via Music by Ernie Ball Man. For national inquiries, contact CMC Music.

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WASP guitarist Douglas Blair releases new Signal2 Noise single ‘Generica’ Tue, 11 May 2021 22:38:17 +0000

In the spirit of legendary power trios such as RUSH, KING X, NIRVANA and PRIMUS An unprecedented duo of power emerges – featuring a familiar character. Guitarist / singer Douglas blair, known for his searing and emotional management work with WASP, presents to the world its well-kept secret – the innovative SIGNAL2NOISE.

BlairSelf-invented eight-string GuitarCross creates a wall of thunder, atom-shattering guitar and bass – all while being a drummer Toxy London (SANTA CRUZ) slice the preparation into pieces. Blair says, “The power duo simply employ the very core of every successful collaboration – two artists, bringing their halves of the equation to the table in the simplest way!”

The title of the coat rack “Generica” Alludes to BlairWidely shared frustration with the ubiquitous and generic nature of society – while the lyric “I desire to be someone other than myself” succinctly sums up the direct result of such an environment. The talented from Los Angeles ORCHID QUARTET brings an interwoven and powerful string composition, depicting the journey of reflective self-assessment – which, of course, results in a shattered television.

To recognize May as Mental Health Awareness Month, all proceeds from the sale of “Generica” will be donated to the National Alliance on Mental Illness. It can be downloaded via Bandcamp.

the SIGNAL2NOISE first offering of nine songs, tentatively titled “Fighting mental illness”, is nearing completion and will be published by Platform West LLC.

“I believe we all face varying degrees of mental illness in our lives. We are all affected and influenced differently, which leads to very disparate results, ”says Blair. “I have witnessed so many of these scenarios in our industry and beyond, so I am truly honored to be part of the mental health awareness cause!”

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Kishore Kumar’s son Amit Kumar on Indian Idol 12 Tue, 11 May 2021 06:22:22 +0000

A recent episode of Indian Idol 12 paid tribute to legendary singer Kishore Kumar. The show even featured Kumar’s son and music director and singer Amit Kumar as a special guest.

As soon as the Saturday and Sunday episodes aired, the whole plan backfired and Judges Himesh Reshammiya and Neha Kakkar began to experience backlash. Internet users were gravely offended by the way they sang Kumar da’s iconic songs.

Now in an interaction with India time, Amit said, “The truth is no one can sing like Kishore Kumar, he was a mountain of one personality and a man of many faces.” Young people today have no idea about him, they just know Aradhna’s Roop Tera Mastana. I did as I was told. I was told that sabko praised karna hai. I was told jo jaisa bhi gaaye usko uplift karna hai because it is a tribute to Kishore da. I thought it would be a tribute to my father. But once there, I just followed what I was asked to do. I told them to give me portions of the script in advance, but nothing like that happened. “

Besides Himesh and Neha, Indian Idol 12 is being judged by singer-songwriter Vishal Dadlani, absent from the series since filming was transferred to Daman due to restrictions imposed by the government of Maharashtra in light of the rise in Covid affairs. . Vishal has been replaced by Anu Malik.

Read all the latest news, breaking news and coronavirus news here

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Hananoʻeau, rock musician from the island of Maui, nominated for the Nā Hōkū Hanohano Awards Mon, 10 May 2021 21:08:00 +0000

Island Rock musician Ka’imi Hanano’eau performs Pua Hone for a music video: Photo courtesy: Ka’imi Hanano’eau website

Island Rock musician Ka’imi Hanano’eau was nominated in the final ballot for the 44th
Annual Nā Hōkū Hanohano Awards in the Alternative Album of the Year category for “Pohaku
Motu. “

This is Hanano’eau’s third appointment as a solo artist. The Maui-raised musician was also nominated in 2015 alongside his fellow rock / reggae band HiRiZ.

The awards ceremony for Hawaii’s Most Talented Musicians, Songwriters and Producers will take place in September, “pandemic permitting.”

Hanon’eau was nominated for Alternative Album with: Chroma (Vol. 1) by Sean Cleland (Sean Cleland Music LLC); Feels like home to Dustin Pacleb (Dustin Pacleb); Sanya by Sanya (unlabeled) and In Memory Of You by Layla Kilolu (unlabeled).

The full list of the latest Nā Hōkū Hanohano Awards ballots is here.


Hanano’eau’s recent album “Pohaku Motu” features a modern interpretation of classic songs from the Hawaiian trio such as “Pua Hone” by Dennis Kamakahi and “Ka Uluwehi O Ke Kai” by Edith Kanakaole.


Although Hanano’eau refers to its style as “island rock with an edge,” incorporating elements of rock guitar and metallic percussion, the vocal delivery and structure of the song retain their original formats. With an alternate take on Hawaiian classics, Hanano’eau hopes to break down boundaries on how Hawaiian music can be shared nationally and internationally.

Hanano’eau is a singer-songwriter, musician and sound engineer. He is the nephew of Aunty Napua Stevens, a beloved Hawaiian artist, who helped name him “Ka’imihanano’eau”, which translates to “Consistency and diligent effort through his ability to work, achieve, meditate and do with guidance, passing on knowledge and heritage from this generation to the next.

Hanano’eau started playing the ukulele at the age of five and got his first job at a production company / Hula Halau at age 14. By the time he graduated from high school, he had mastered the ukulele, bass, guitar, piano, and Tahitian percussion. . A graduate of Brigham Young University of Hawaii (BYUH) in La’ie, he received a BA in Music and Hawaiian Studies and trained in the Bel Canto style with voice teacher Neva Rego.


For more information, visit his website.

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Gary Kemp of Saucerful Of Secrets: “Playing with Nick Mason and Roger Waters was totally intimidating” Mon, 10 May 2021 11:00:25 +0000

This is a brave group that takes over the back catalog of Pink Floyd, even though it features a member of Pink Floyd himself. But Saucerful Of Secrets by Nick Mason, the band formed in 2018 by Floyd’s founding drummer and longest-serving member, played it smartly. Their live shows found themselves forgoing the obvious big hitters to focus exclusively on the deep cuts from the start, pre-The dark side of the moon catalog, drawing heavily on the Syd Barrett era. That means See Emily play, Interstellar overdrive, The song of the Nile and Intrepid rather than comfortably Numb, Money and Another Brick in the Wall. “Everything David Gilmour and Roger Waters don’t play,” says Gary Kemp, singer and guitarist of Saucerful Of Secrets.

Kemp is the wild card on the SOS frontline. Where bassist / co-singer Guy Pratt, guitarist Lee Harris, and keyboardist Dom Beken all have direct or indirect connections to Floyd, Kemp is best known as a member of the New Romantic dandies Spandau Ballet. But like anyone who saw the band’s shows in 2018 and 2019 – or listened to the following ones Living in the rotunda album, recorded in the eponymous location in north London – can attest, he is a key factor in helping to make Saucerful Of Secrets more than a Pink Floyd tribute band that features the Pink Floyd drummer in their line-up . “Yeah, we play those old songs,” Kemp says, “but we play them with youthful energy, despite the age we’re all adding to. I think there is a feeling of fun and fury in what we do.

Planned dates for Saucerful Of Secrets in Spring 2020 have inevitably been postponed, with shows now taking place in early 2022. It’s enticingly called The Echoes Tour, which suggests that they’ll bring the epic track that makes up the second. opposite Mingle generally. “It’s not as intimidating as you might think, but you still have to get it right,” Kemp says. “I’m just lucky I’m up there playing with Nick.”


The very first Saucerful Of Secrets concert took place at the Dingwalls club in London in May 2018. What did you take away from this show?

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