Jimmy Iovine Talks With Billboard

Jimmy Iovine

Jimmy Iovine talked with Billboard about why the music industry may be too optimistic about streaming:

Getting into the weeds, Iovine went on to point out labels’ inevitable hardships over royalties derived from back catalogs amidst this new landscape. As rights for older catalog albums hit their contract reversion dates, it will be hard for labels to negotiate the type of splits they formerly took for granted. Likewise, on newer releases, artists are entering contract discussions with the leverage of millions of fans behind them already and getting better deals than ever before, he said, pounding his fist on the table to accent his point. “That’s a great thing but what I’m saying is that everybody has got an issue … the problem is not solved yet, the solution is not there. And I could poke holes in any of it, because I live it. And some of these things have got to be dealt with.”

Modest Mouse Singer Isaac Brock Sued for $865k

Modest Mouse

Aimee Green, writing for The Oregonian:

A 41-year-old Portland city employee struck by the SUV of local rock star Isaac Brock — who said he fell asleep at the wheel — filed an $865,000 lawsuit Wednesday against the Modest Mouse lead singer.

The lawsuit, filed by city employee Cassidy Kane, claims Brock — the frontman of the indie rock band — was “impaired” when he slammed his 2004 Land Rover into the back of Kane’s City of Portland pickup truck at 9:20 a.m. on Aug. 3, 2016.

Glassjaw Talk About ‘Material Control’

Glassjaw

Jonah Bayer, interviewed Glassjaw for Noisey:

I think it’s probably the cleanest recording we’ve had as far as mental anguish. In the past, you’ve got to deal with people and desires and shit and I’ve said it a million times: It’s always been Justin and myself just spitting out our ideas. On this one, we really tapped into that and didn’t hurt anyone’s feelings, we just kind of went in and did it. The music was written and done and we went in and showed Billy, and Billy was just a fucking beast and caught on really quick. He’s a professional. The whole process was really simple; I couldn’t imagine it being more simple than how we did it. We didn’t stay in the studio in Hollywood for three months, we didn’t camp out at the Oakwood apartments, we didn’t spread the recording over two years and lose the fire. It was just us from front to back maintaining the sound. I love it. I would never want to do it any other way again.

Review: Kindling – Hush

“Rap is the new rock n’ roll,” Kanye West declared in a passionate 2013 interview with Zane Lowe, and whether you like it or not, he’s right. Any passing glance at how Top 40 has change over the past 35 years will confirm mainstream radio’s transition into pop and hip-hop. Even major rock releases this year from genre mainstays like Foo Fighters and Weezer were quickly set aside in favor of the stronger, more youthful voices of artists like Open Mike Eagle and Big K.R.I.T.

Ultimately, this leads us to a larger conversation centered around age, privilege and politics, but short of (re)writing a thesis about the importance of hip-hop in 2017, I offer you this: rock music, as a general genre tag, is dead in the water. Where it continues to thrive, however, is in niche markets – select corners of internet forums like this one and on DIY airwaves, where new bands attempting to revive everything from dream-pop to post-punk are offered equal opportunities to share their vintage visions. One such place is DKFM, an L.A.-based radio station operated by shoegaze blog When The Sun Hits, where cuts from Kindling’s massive new album, Hush, have become regular rotation.

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