Thrice have announced on Twitter that their new album will be titled To Be Everywhere Is To Be Nowhere and will be “coming soon.” The artwork can be found by hitting read more
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The Hotelier have released “Piano Player” on Apple Music and Spotify. Pre-orders are also now available for purchase and the video for the song can be found on YouTube or by hitting read more.
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Against Me!ʼs Laura Jane Grace will be releasing her memoir, Tranny: Confessions of Punk Rock’s Most Infamous Anarchist Sellout, on November 15th. Pre-orders are already up at Amazon.
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There aren’t many people in music right now who are under more pressure than Brian Fallon. Labeled as the torchbearer of the classic rock tradition upon the release of 2008’s The ’59 Sound—the sophomore album from his Jersey-based quartet, The Gaslight Anthem—Fallon has spent the better part of his career not just having to live up to the quality of his own albums and songs, but to his idols as well. A lot of people got into Bruce Springsteen, Tom Petty, and Bob Dylan after hearing consistent references to each in Gaslight’s early music. In fact, Gaslight’s legacy got so entwined in the “inspired by Springsteen” narrative that fans started requesting Bruce songs at shows. Even Fallon’s side project, the Horrible Crowes, got whipped up in the Springsteen tornado, drawing at least a handful of parallels to Nebraska. Let’s be honest: figuring out a way to live up to an album as terrific as The ’59 Sound is hard enough. Doing it when everyone is comparing your stuff to albums like Born to Run and Damn the Torpedoes is just downright unfair.
On this week’s episode of Encore we start by talking a little about the Academy Awards, do some follow-up on last weeks “best 10 albums of the last 15 years,” and then tackle some reader questions. Thomas recounts his history with Set Your Goals, we give some updated thoughts on The Wonder Years’ last album, and we look at how we’ve changed or matured how we handle conversations on the forums. We talk a bit about “where to start” with different forms of art by well known musicians or authors or filmmakers and then get into some of the big news over the last week: Transit have broken up, Yellowcard are back with Hopeless, and The Hotelier have released the track listing and album art for their new album. We end with some talk of Rolling Stone’s top 40 emo albums and The 1975 aiming for that number one spot on two charts. And there’s the return of the siren. Rejoice.
Harriet Gibsone, writing for The Guardian, looks at the pros and cons of social media in the music industry. The article itself is interesting, but this tidbit really stood out:
“I mean I’m not a drinker any more, but when Twitter first came out I was, like, drunk tweeting, and nearly put my foot in it quite a few times,” Adele told the BBC last year. “So my management decided that you have to go through two people and then it has to be signed off by someone, but they’re all my tweets. No one writes my tweets. They just post them for me.”
This is probably something that should be put into place by most bands/labels/management. I wonder if there’s a market for an app like this? One that looks and works just like regular Twitter, but any post or reply gets queued up instead of posted immediately. Combine that with some fancy screening of the at-replies section (to filter out harassment, assholes, and spam), and maybe Twitter would be more attractive to celebrities, sports stars, and other public figures.
Sport Science: 2016 Slam Dunk Contest • The Simpsons: Screencap Search Engine
Ben Popper, writing for The Verge, looks at how Netflix has revamped their recommendation system to handle a more global audience:
“We were very worried that running the algorithms we knew worked well when we pulled data from a single country and a single catalog, if we tried across places where the catalog differed, the recommendations would be pretty bad,” says Carlos Gomez-Uribe, vice president of product innovation at Netflix, and the leader of the recommendation redesign.
This obsession over the data and delivering the best recommendations for every subscriber is something I think is sorely missing in the music world. Spotify cares more than Apple Music, but imagine if it gets this good?
MTV has been revamping their news and publishing recently and have put out just fantastic content. Hanif Willis-Abdurraqib recently wrote an article on Kanye West’s The Life of Pablo and the “myth of rare black genius.”
Assessing The Life of Pablo, like assessing the entire career of Kanye West, means considering the demand for black greatness and the toll it takes on the great. I am not commenting now on West’s mental or emotional state. I have no access to Kanye West, or his life, beyond what he shares through his work. I am talking about the toll it takes on artists in the black imagination, in the spaces where we hold them dear. It is equal parts frustrating and wholly understandable to see the way both white establishments and black consumers hold on to the idea of black genius. The concept is held so tightly and with so little change or evolution in what the black genius can or should represent. This leaves the imagination with so few established and named black geniuses that they must be protected at all costs. I have been guilty of this, both the limited naming and the relentless protection, more with Kanye West than anyone else.
So what are your ten favorite albums of the last fifteen years? That’s the question that makes up the main topic of this week’s episode of Encore. The rules are simple: favorite albums, 2001-2015, there can be only ten. We’d love to see your lists in the replies where you’ll find our super-sized episode goes into detail on how we picked the albums on our own lists. This was way harder than I expected. This week’s episode also covers some news on Kanye West and his new album, some first impressions of The Hotelier’s new album, and a discussion around walking into a very anticipated album or band for the first time. Oh, and of course there’s our usual random banter about life and things. We went long on this one to make up for last week! Hope you enjoy it. You’ll find show notes, ways to subscribe, and links to stream and/or download this episode by hitting read more.
Harper Lee, the author of To Kill a Mockingbird, has passed away.
People generally see what they look for, and hear what they listen for.
Natalie Angier, writing for The New York Times, looks at how and why we’re drawn to certain music:
Now researchers at the Massachusetts Institute of Technology have devised a radical new approach to brain imaging that reveals what past studies had missed. By mathematically analyzing scans of the auditory cortex and grouping clusters of brain cells with similar activation patterns, the scientists have identified neural pathways that react almost exclusively to the sound of music — any music. It may be Bach, bluegrass, hip-hop, big band, sitar or Julie Andrews. A listener may relish the sampled genre or revile it. No matter. When a musical passage is played, a distinct set of neurons tucked inside a furrow of a listener’s auditory cortex will fire in response.
The 1975 have released their new video for “The Sound” on YouTube. The video includes real quotes from past critical reviews of the band. Their brilliant new album is also now available on Apple Music. Over the years when writing about music I’ve come across bands that I think are special, that have it, and that find their way into rarefied air in my music collection. This is one of those bands. This is one of those albums. I hope it means as much to everyone that hears it as it has to me.
Boston Dynamics have released a new video of their robot, Atlas, which can walk on two legs, open doors, stack boxes, and handle being pushed around by dudes with sticks. I had two thoughts while watching this: First, “oh great, like the robots aren’t going to remember this one day.” And two, that maybe I’d been watching too much Humans, because I felt this ping of empathy for what I know is a machine.
Last week Bill Simmons announced his upcoming new website, The Ringer. Today his partnership with Medium for the publishing of said website has been announced. Edward Lichty’s post about the partnership is filed with PR platitudes but one line in particular set off my bullshit detector:
We eliminate the need for any investment in tech, provide access to a growing network oriented towards meaningful engagement, and deliver constant, always-on innovation from a world-class product development team, whether you’re a single blogger or a large commercial publication — all for free.
I think Medium is a really interesting product and a great environment for hosting medium to long form text — and I’ll continue to recommend it for a certain set of writers. But any company promising this sort of thing for free is really saying for right now. The other shoe drops eventually. I’d recommend a read of David Winer’s “Anywhere But Medium” for the counter argument.