Arch Enemy Premiere The Race Video

Arch Enemy‘s Will To Power hit stores last month, and we have a new video for your viewing and head banging pleasure today. Michael Amott said this on the Patric Ullaeus directed clip for ‘The Race,’ “This was actually the last song written for the ‘Will To Power’ album. Listening through all the material we had up to that point we agreed that the album needed one more song that would be a relentless and fast paced counterpoint to some of the more epic compositions we already had. We sent Alissa the music and she came up with a thought provoking set of lyrics with an intense vocal arrangement that complemented the music perfectly. We’ve been having a blast playing this song on the current tour and we had our video director Patric Ullaeus come out to capture the mayhem at our recent show in Helsinki, Finland… Enjoy ‘The Race’!”

Pick up Will To Power here.

Source: Ghost Cult Magazine

Big Tech is Hurting Professional Creators and Why It Matters

In this op-ed, Chris Castle highlights a recent piece from musician and artist rights advocate Miranda Mullholland on how the pervasive algorithm based music culture is detrimental to artists and the creative process in general.



Guest post by Chris Castle of Music Technology Policy

If you’ve ever been in a job interview for coders, you’ll understand when I tell you that it’s like a cross between the beginning of 2001: A Space Odyssey and the hacking-on-shots employment interview scene in The Social Network that is a crude version of Socrates assaying for gold in your veins if Plato were Don Julio.

Whichever simile you prefer, one thing is clear: hackers value skills. So when Big Tech and the Silicon Valley shilleries take shots at professional musicians and other creators for being “elites”, it’s actually quite comical. Not to mention hypocritical.

Miranda Mulholland is one of the most articulate advocates for artist rights. Her talk at the Economic Club of Canada is among the top essays on the economic realities of being a professional artist in the post-Google creative apocalypse. In particular, Miranda tells the story of the independent “niche” artist who lacks the big advances from major labels because she creates outside of the Katy Perry-Coldplay-Rhianna style lock.

In her recent must-read post, Digital Revolution Fosters More Hurried, Less Skillful Creative Process Miranda points out the important negative effect of the algorithms that surround us (reminiscent of Cathy O’Neil’s groundbreaking Weapons of Math Destruction) and how an algorithmic life is antithetical to creativity and how creativity is the antidote to the algorithmic life.

It’s unfortunate that Google has actually attacked her in some twisted logic suggesting that supporting professional creators is somehow elitist. Given Google’s own vaunted personnel practices (for which it is currently being sued), and the smarter-than-thou hacker culture, you would have thought Google would embrace a call for professionalism among creators especially one from a professional creator who somehow manages to make a living in the current algorithmically compromised environment.

Source: HypeBot

Get Lost In Ccfxs Retro Pop Gem Venetian Screens NPR

CCFX’s self-titled EP comes out Oct. 20. Jamie Nadel/Courtesy of the artist hide caption

CCFX’s self-titled EP comes out Oct. 20.

Throw some guidelines for artistic conduct and appropriation into a small collective of musicians based in the same sleepy town (Olympia, Washington, in this case) and you can begin to see how inspiration takes root and how a scene is born. Chris McDonald’s Trans FX project, over the course of three albums released in the past two years, has deftly moved from the recesses of goth to the kind of blasted grandeur found in David Bowie‘s Berlin trilogy. The output of the duo CC Dust, fronted by vocalist Mary Jane Dunphe, covers similarly gilded terrain within the realms of ethereal pop and dashed electronic rhythms.

McDonald and Dunphe could have shared a practice space wall for how close their sources of inspiration overlap.

CCFX slots in these ideas in a formal merger of the two projects, one which nestles Dunphe’s alluring vocals against the expanse of McDonald’s deep dive into an adolescence dressed in shades of black. With bassist David Jaques anchoring, the pair’s debut self-titled EP speaks directly to the carefree swirl of dream-pop and soulful melody that informed parts of their separate endeavors (Dunphe was also the vocalist of raucous punk band Vexx, and currently shares a second project with McDonald, the country-rock band The County Liners).

“Venetian Screens” lunges forth with a boisterous drum loop, rolling bass against steady organ notes, and spindly guitar around Dunphe’s soothing alto, with the sort of retro-minded genre mash perfected by Saint Etienne. But in the trio’s hands, the track achieves a depth that reaches below the layers of nostalgia in their approach, no matter how sparsely applied its elements may seem.

Theirs is the sound of a late ’80s and early ’90s reckoning with technology, when samples and programmed beats were given a new, emotive context, from the Cocteau Twins to “Tom’s Diner,” amplifying their creators’ introspections under the banner of alternative rock. Songs like theirs are akin to opening an old yearbook and seeing all the faces replaced by newer, younger versions of yourself and all your classmates, a beguiling alternate reality where everyone looks as cool as they feel they are.

CCFX EP comes out Oct. 20 via DFA Records.

Source: NPR Music