Billie Eilish and her father will start a new radio show, “me & dad radio,” on Apple Music.
Billie Eilish and Her Father Launch New Radio Show
Drew Beringer Launches: Bad Zine, Everyone’s Fault
Good friend Drew Beringer, you know him, has started a new newsletter. His first issue has fourteen essays all about Hayley Williams and how her music has impacted lives:
Now that the generation who loved Paramore and saw what Hayley meant at the time are the professional critics, and also probably owing to the increased accountability for blatant sexism within this music scene, we’re seeing a shift in critical evaluation of Paramore, finally some recognition of how brilliant they’ve always been. That might play a part in Hayley’s shedding that shame, but probably it’s mostly that she’s grown older, has been through some shit, and is ready to claim the confidence in her role that she has always deserved. It seems to me that that is what has allowed even for her to not have to utter the phrase ‘solo record’ as if it’s a dirty word, let alone to create one, and one that is this honest, expressive (both emotionally and musically) and unapologetic. It’s a triumph, one that is deeply rewarding to witness.
This was an instant subscribe for me.
Victory Records Launches New Website
Victory Records has launched a new website.
Foxing Launch Patreon
Foxing have launched a Patreon.
We’re coming up on 10 years of being a band which we find unbelievable. Time with you has flown by. Whether you were there with us in the first basements we played or found us on Tiny Desk, you’ve completely changed our lives. So here’s a Patreon page for those of you want to share in our experience more than you are now. This is where we will be sharing as much of ourselves and our process as we possibly can.
Vulture Interview With Hayley Williams
Eve Barlow, writing at Vulture:
The pop-punk and emo scene in the early 2000s. It was brutally misogynistic. A lot of internalized sexism, and even when you were lucky enough to meet other bands who were kind and respectful, there was other shit that wasn’t. And I was really feisty. We got offered Warped tour, and there was a caveat: “It’s a stage called the Shiragirl Stage. It’s all female.” I was pissed! I wanted to qualify for a real stage. When I’ve been offered female opportunities, it feels like a backhanded compliment. But people sometimes think that’s anti-feminist, that I don’t wanna be grouped in with the girls. As a 16-year-old who had dreams of playing with the big boys, it felt like we were being slighted.
And:
Dude, yeah. Summer of condoms, 2006. I got condoms thrown at me. In 2005, I wore T-shirts every day. In 2006, I was a little more comfortable. I’d wear a tank top. But my chest was exposed. We were in San Diego or San Francisco, and a condom flew at me, and it stuck to my chest while I performed. I was so embarrassed. I started talking shit because I was so young and arrogant. I don’t think I was wrong. It’s just I have more anxiety now than I did at 16.
Anyway, yeah, the entire thing is fantastic and worth reading.
Streaming Follows a Trail Paved by Thieves and Pirates
But, most of all, legitimate services will struggle to replace the community that grew naturally within What.cd. It was a place willed into existence by people who truly love music, not something that labels constructed to attract customers, and it was held together by that community. Some digital music services have tried to create similar connections — Apple Music and Spotify users can share their playlists, and iTunes users of the past could do the same with iMixes. Apple, in particular, has tried a little too hard on two separate occasions to turn music into a social network, with little success.
Make no mistake: I understand the legal and ethical ramifications of torrent trackers and file sharing. I would vastly prefer to pay artists — and it’s just the right thing to do. It was merely a perk that What.cd was free, but I do not see that as its defining characteristic. If it were a legitimate streaming service, but was otherwise exactly the same, I would have paid many times the amount of my current Apple Music monthly subscription. That’s how good it was.
I thought this was a really well written, and thought provoking, piece on current music streaming services and where they succeed and fail compared to the piracy platforms that came before.
Artists Earn Over $7 Million From Bandcamp Sales
Bandcamp has announced that artists earned $7.1 million from sales last Friday.
A Day to Remember Talk New Album Delay
Jeremy McKinnon of A Day to Remember talked with NME about the release of the band’s new album:
It’s still up in the air, everyone obviously wants it to come out as soon as possible but we’re going with the flow here. We’ve almost got all the masters in, I’m expecting them any time now. We’re still trying to get our artwork done. I know that’s been annoying fans but we have such a thing going. Every ADTR record has had these cool silhouettes that are unique to them and then, just because we were lazy and didn’t like people yelling at us, we just didn’t do it for ‘You’re Welcome’ yet. How lame is that?
YoungBoy Never Broke Again Top The Charts
YoungBoy Never Broke Again has the number one album in the country this week:
YoungBoy Never Broke Again scores his second No. 1 album on the Billboard 200 chart, as his latest release, 38 Baby 2, bounds in atop the tally. The set arrives with 67,000 equivalent album units earned in the U.S. in the week ending April 30, according to Nielsen Music/MRC Data.
Saves the Day Launch Patreon
Saves the Day have launched a Patreon.
Welcome to the Saves The Day Patreon page!! We thank you from the bottom of our collective Hearts for being part of this new and most special project. Here we will give you, our most loving fans, access to every behind-the-scenes moment, memory, memorabilia, special private live-streams, lyrics, and lessons on how-to-play your favorite Saves The Day songs, plus brand new Bug Sessions singles delivered right to your earbuds every month!
Another Hayley Williams Interview
Hannah Ewens, interviewed Hayley Williams for Vice:
Hayley remembers being very sensitive about being singled out: “Being female and fronting an all-male band was like throwing your soul to the wolves. People didn’t know how to take you — if your supposed power meant that they should be intimidated or inspired. In the midst of all of that there’s just a tension. Sometimes I didn’t want that.” What she did want was for the band to be recognised as a pack: for their connection to each other, or at least for their songwriting abilities. “All these reviews would come out that would paint me as some sort of dictator in a band setting, or as a brat – it’s because I was a female, really,” she says, calmly, adding that she learnt a lot from the experience. “I’m not bitter about it but I grew up understanding that I was a little kid wearing a demon costume that I couldn’t see but everyone else could.”
MusiCares’ COVID-19 Relief Fund Depleted
MusiCares announced Thursday (April 30) that its COVID-19 Relief Fund is depleted and that it has been forced to stop accepting new applications.
“Unfortunately, until we can raise more money for our COVID-19 Relief Fund, we can no longer accept new applications from those seeking assistance. While our goal is always to provide support to everyone in need, we are currently bound by the funds available,” the Foundation said in a statement.
Fall Out Boy Release ‘From Under the Cork Tree’ Merch
Fall Out Boy have launched some merch to celebrate the 15th anniversary of From Under the Cork Tree.
Roc Nation Files Copyright Claim Over Deepfake Videos
Andy Baio, writing at Waxy:
Over the weekend, for the first time, the anonymous creator of Vocal Synthesis received a copyright claim on YouTube, taking two of his videos offline with deepfaked audio of Jay-Z reciting the “To Be or Not To Be” soliloquy from Hamlet and Billy Joel’s “We Didn’t Start the Fire.”
According to the creator, the copyright claims were filed by Roc Nation LLC with an unusual reason for removal: “This content unlawfully uses an AI to impersonate our client’s voice.”
Record Store Day to Be Split Into Three Drops
Since 2008, Record Store Day has grown into the world’s largest single-day music event, shining a light on the culture of the indie record store across the globe. In 2020, that world is different, so Record Store Day will be too. RSD is now scheduled to be celebrated with special, properly distanced release dates on Saturdays in August, September and October. […]
The titles on the RSD 2020 Official List, launched on March 5th, will be released at participating record stores on one of these three RSD Drops: August 29th, September 26th, and October 24th. The new version of The List, with newly assigned RSD Drops dates will launch on June 1 so check back here for a look at when you’ll be able to pick up the titles on your RSD 2020 wishlist at your local record store.