In certain circles, Five Iron Frenzy is the biggest band on earth. The group played Christian ska music from 1995, the height of the third wave ska era, until 2003, when they performed what was to be their final show in a sold-out Denver arena.
Of course, a band that specific has to reunite at some point. There aren’t many bands filling the void in the Christian ska punk genre, or at least not any that are as good as Five Iron.
Pelican’s Forever Becoming is the band’s fifth studio album, and their newest release since 2009’s What We All Come To Need. It’s also the first album with new guitarist Dallas Thomas, as founding member of the band Laurent Schroeder-Lebec left the group last year.
From the album’s first track, it’s clear that Schroeder-Lebec’ departure led to at least a slight departure from the sound found on the band’s last few albums. Pounding drums on the album opener suggest heaviness, but its jangling guitars dictate its lighter tone, appearing as if the new album is set up to be an expansion of the group’s lighter, more post-rock-oriented work. The crushing chords and relentless riffage of “Deny The Absolute” immediately prove that idea to be inaccurate.
The wait is over! The Earbits iPhone app is available now!
If you haven’t heard the news, the Earbits iPhone app is awesome. It will analyze the music from your phone and recommend channels you’ll like from over 400 genre-based selections. Then, we intelligently blend your own music into those channels. The result is awesome music discovery with your favorite tracks mixed in.
Of course, just like the Earbits you are used to, we have no commercials, no subscription fees, and no strings attached. We help you discover new music that you may not find on other platforms, and make it easy to connect with the artist – just touch the G button, and you can instantly join a mailing list, follow on Twitter, and more.
Ever since founding Def Jam Records from his NYU dorm room and catapulting the careers of the hip-hop, punk and heavy metal greats (with a few pop stars sprinkled in), Rick Rubin has been one of the most well-known producers in the music industry. Working in a role that typically goes unrecognized in the realm of music creation, Rubin and his beard, his monk-like philosophy and his penchant for going barefoot have made him an icon in his own right.
Barons of Hiddenhausen, is a mysterious and hidden secret, with it’s origins in Vienna. Although the project sounds like a full-fledged band, the mastermind behind the project is one person: Moritz Kofler. Kofler is no stranger to the genre – after he recorded “World Withdrawal,” he collaborated with Digital Noise Academy in L.A., a project by Ken Andrews (Failure, Beck, A.P.C. NIN), Jordon Zadorozny (Blinker The Star, Courtney Love, Melissa Auf Der Maur) and others. That experience shows in this record.
Listen to Barons of Hiddenhausen on Earbits
The album cover for Static, Cults’ sophomore LP, plays on the theme of the band’s debut self-titled album. The two primary members of the band — vocalist Madeline Follin and guitarist/drummer/singer Brian Oblivian occupy either side of the LP’s cover, rocking out, with their long hair flying around the rest of the white space. Cults features the musicians in simplistic black-and-white, while Static is actually a .gif, with flashing blue and white pixels made to look like television static (not shown here, because the back-and-forth flashing gets really annoying after a while).
Four Tet, the mad scientist of bedroom beats, is currently streaming his new album Beautiful Rewind in its entirety. The artist — government name Kieran Hebden — tweeted a link to a SoundCloud stream of the project earlier today.
*If you like what you hear, check out Earbits Radio’s Deep House channel for more great electronic tunes.*
Although the artist has amassed a large following, especially during electronic music’s recent rise in popularity of the deep house genre, Four Tet claimed that he’d keep the hype surrounding the project minimal.
In a series of tweets a few months ago, Hebden tweeted the following:
It’s been a while since rock music has sounded the way Stars In Stereo plays it. The group approaches its songs with a firm grasp on gritty rock instincts as well as a innate understanding of clean pop sensibilities. The main attribute of Stars In Stereo, the band’s recently released self-titled album, is that its particular style is difficult to pin down. It’s not totally heavy and not totally soft, but more a combination of the two than some strange middle-ground.
Listen to Stars In Stereo on Earbits
Touché Amoré’s third full-length Is Survived By officially comes out on September 24th via Deathwish Inc., but it’s streaming now via Pitchfork Advance. This album is the follow-up to the band’s strong debut …to the beat of a dead horse and the improved sophomore LP Parting The Sea Between Brightness And Me. I’d argue that those albums, as well as Touché Amoré in general, are responsible for the creative revitalization of what folks would’ve called “screamo” ten years ago. That designation means, essentially, screamed, emotional lyrics combined with melodic hardcore punk music.
This is a guest post by Marcus Taylor, founder of Venture Harbour, a digital marketing agency that specializes in working with brands in the entertainment industries.
Collectively, Google and Facebook probably own more data on market supply and demand patterns than anyone else. What many people do not realize is that much of this data is publicly available. For a bit of fun I decided to see what patterns I could find about the music industry in Google and Facebook’s pool of user behavior data.
#1 Less people want to buy music, but the same amount are trying to sell it.