DT Music Pick: Justice

This week we take a listen to French electro duo Justice’s new album “Audio, Video, Disco.”


Read the accompanying article at Digital Trends.


Is Your Content Future-proofed?

Written by Yong Kim

Last week I attended a live filming of a podcast run by standup comedian, Steven E. Kimbrough (AKA Podbrother:  podbrother.com), called  “Read 3D Access.”   He used the phrase “future-proofing your content.”  I don’t know if he coined the phrase or not, but it was the first time I’d ever heard it.  He said (and I’m paraphrasing here), using 3D only makes sense, that it’s a way to future-proof your content.

The  Podbrother’s podcasts are always shot in front of a live audience, to add to the energy of the guests.  The one I attended had guests ranging from fight choreographer John Kreng and actress Christina DeRosa to the team of Francesco Rotunno and Alessandra Vinotto and film director Abraham Makowka.  Francesco Rotunno and Alessandra Vinotto directed the first Italian music video in 3D:  “Wild Dogs Run,” by Hollowblue and Sukie Smith.

Hollowblue and Sukie Smith “WILD DOGS RUN 3D ” – Anaglyph version from Francesco Rotunno on Vimeo.

When asked why they chose to shoot the video in 3D, Alessandra replied that it was because they wanted to work with a medium no one else around them were working with, that they wanted to be on the cutting edge; it was a way for them to immerse the audience into the music experience, not just throw a bunch of stuff at them.  The video was released about a year ago and went on to win the Best Music Video award at The 3D Film Festival Hollywood.

So, is Kimbrough right?  Is using 3D a way to “future-proof your content,” or is 3D just a fad whose popularity will die out like Tae Bo?

Article via Vodule.

Nirvana reunites for Q&A session in NYC

Former Nirvana band members Krist Novoselic and Dave Grohl have confirmed they will be joining Nevermind producer Butch Vig for a Q&A session hosted by Jon Stewart in New York.

Yes, it’s certainly a far cry from Nirvana’s magical Unplugged gig back in 1993 with Kurt, but well, I’ll take what I can get.

The Q&A session – slated to be broadcast by SiriusXM – will air live on Lithium (channel 34), on Saturday, September 24 at 8:00 pm ET.

Read the complete article at TG Daily.

Play Printed Music on an iPhone Using This App

This is rather geeky stuff (or totally geeky, depending on one’s perspective), but one person’s geeky is another person’s kewl. This iPhone app by Kawai will read printed music (even those that are handwritten) and play the notes on the phone. The video below shows how it works. The subtitles are in Japanese (I tried so hard to find one in English but to no avail), but the point comes across.

Call and Response- L A Rising 7/30/11 Los Angeles Coliseum

Live music is my drug, and when I heard that Muse AND Rage Against the Machine were headlining L. A. Rising at the Coliseum this summer, I felt as if my head would explode. Muse alone is one of my top 3 favorite bands and Rage is like that mythical unicorn that you are always wishing to see but search an entire lifetime to actually lay eyes on one.

Being a Los Angeles band, I knew this crowd was going to be thick with roughness. I was somewhat weary of how crazy it would actually get. Rage shows are notorious for inciting riot-like behavior, if not actual riots. I arrived to a scene of drunk Angelinos that had as many beers as they did tattoos. It was intimidating, mosh pits were forming in all corners of the floor and even a fire or two, but all in all the event proved to just as debaucherous as any rock show could be.

Chicago band Rise Against proved to be impressive as a live band and gave the the crowd a taste of the show to come. I was surprised at how good they actually were live and Tim Mcllrath’s incredible energy and spot on vocals. Zach Blair on guitar was quite the showman and these guys prove that they could hold their own in a stadium of 60,000.

At the exact moment that the Southern California sky went dark, Muse opened the flood gates with a symphonic roar and light show of Lucasfilm proportions. The show opened with Exogenisis Symphony Part 1 and into Uprising in which Bellamy’s spot on vocals soured over the electrified crowd. Muse put on a clinic of rock and roll proportions. They sandwiched their set list with tributes to rock and roll history as well as the festival headliner themselves. Bellamy is known fan of Rage and insisted on being on the bill as soon as they heard the show was in the works. The brit alt rockers brought the house down when they sandwiched AC/DC’s Back in Black into Hendrix’s Star Spangled Banner into their own Hysteria and later Led Zeppelin’s Heartbreaker into United States of Eurasia.

The set was flawless and the barrage of visually stunning lights, Dominic Howards astounding percussion, and Bellamy and Christopher Wolstenholme operatic guitars that only were matched by Bellamy’s epic voice. They whipped the crowd into a frenzy when they broke into Rage’s Township Rebellion at the end of the already powerful Stockholm Syndrome. The crowd’s roar only hinted of what was to come.

Always a politically charged band, they came to support the cause. Muse is the melodic and polished counterpart to Rage’s in-your-face direct assault on the senses. The rise up against inequality, local government and the Iraq war was the message for the day. Rise Against threw the first rock and Muse came out with a fleet of cannons.

If Muse fired the cannons then Rage Against The Machine dropped the A-bomb. Over 20 min late to start and a few sound issues in the first minuets of Testify, Rage had the crowd’s forgiveness by song’s end. Like a sucker punch, they came out with all the fury of a caged beast. Mosh circles erupted everywhere and up to 18 were going at one point in the show. Even a small fire had to be extinguished in the middle of one of the larger circles. This is what the crowd was waiting for.

A all-familiar red star as the backdrop and also a larger version blanketed the upper back center section of the mighty Coliseum. Black flags had replaced the usual at the top of the stadium for the show as well. The Coliseum’s iconic columns were lit red as the Olympic flame was torched and sirens sounded at the opening of Testify. Volatility was in the air and the mood was thick with angst of Gen Xers who were fueled with alcohol coupled with the month’s long anticipation for this show.

De La Rocha’s energy was on high and he took the crowd on the ride of their lives. Tom Morello was as always the musical master who did not rob the fans of his unique wizardry on the guitar. There was no lack of his multi-dimensional riffs and unique stylings that are the backbone of the Rage sound. After almost 20 years to the day together as a band, they showed that their music still incites an emotional and physical response amongst their fans and critics. They kept the charge alive with a power set of Bulls on Parade, Down Rodeo, Guerilla Radio which had 60,000 people in unison shouting “It has to start somewhere / It has to start sometime / What better place than here? / What better time than now? / All / Hell / Can’t Stop us Now!”
The electrical current running through the crowd was palpable and goosebumps ensued. During Wake Up, De La Rocha had strong words for Los Angeles and called out for rebellion against the city’s government for its mistreatment of the poor. Sometimes their message gets lost amongst so many of their overly intoxicated fans who are just looking for an excuse to be violent. This time the same fans surprised me and kept it focused on the music. It was all you could ask for and yet there was more.

Rage came out for an encore of epic proportions with Freedom and Killing in the Name that ended the night with the entire stadium in solidarity, fist in the air and shouting in unison “F*ck you, I won’t do what you tell me!” it was a moment like none I have ever experienced at a stadium show like this. It was inspiring. A virtual sea of raised fists and an ear shattering call and response. It was the one moment where Rage’s intended message was heard by all…and it was glorious. It was a show for the ages indeed.

New Music Tuesday Pick of the Week: Joss Stone LP1

Joss Stone is proof that you can be talented and successful and not fall victim to the debauchery of the music scene. In the wake of Amy Winehouse’s death, Ms. Stone is a soulful breath of fresh healthy air. She has proven that she can make quality soul album after album and always progress as an artist. A positive reminder of what is still right with the music industry.

LP1 is Joss’ 5th studio album in 8 years. The Grammy award winning artist brings back her sassy soul-sister style on her new label Stone’d Records with Producer Eurythmics’ Dave Stewart. The first single Somehow is a quintessential Stone diddy, that is sure to have your toe tapping along with the groovy beat. Her progression from her debut album of covers to Boniface award winning recording artist over the past decade has been what music dreams are made of.

There are some great funk throwbacks on this album with songs like Karma and Don’t Start Lying to Me Now. She proves she can belt out a thick sultry ballad reminiscent of Mary J. Blige on the powerful The Last One To Know, Cry Myself to Sleep and Drive All Night. It is hard to believe this seasoned voice is comes out of a 24-year-old-young woman who has already sold over 11 million albums.

This album showcases well rounded arrangements from soft R & B to Funk to power ballad. Stone brings it with this this one. Signed, sealed, delivered, and stunning.

Recommended tracks:
Don’t Start Lying to Me Now
Drive All Night