The album is due on Feb 24 with a leak pendning.
The official title for the fourth Gorillaz album has yet to be confirmed.
New album from Dave Gahan and the two others of Depeche Mode. The group is to tour Europe throughout 2017.
Sonic Highways is the upcoming eight Foo Fighters album. But before you go out hunting down the latest offering from Dave Grohl, be sure to stay away from bogus leaks and downloads. Here’s a short guide on how to do just that.
Once you determine that you are prepared to download something, you likely need some tips on doing it. The article is perfect for somebody like you. The following advice will educate you on how to download music. If you intend to download songs from a free site, be careful. These MP3s often contain viruses added by malicious users. Viruses are easily attached to downloadable music, and figuring out that the tracks are bugged often doesn’t happen until after you’ve proceeded with your download.
When you download music from an online source, you have to be careful when you download from various sites. It is wise to stay with reputable sources, since lots of other sites are known for the malware they send to your computer. If you are dealing with a little-known site, you are smart to protect your personal information. Take a look at the special deals whenever you are on Amazon’s music site. Both albums and singles are frequently available at incredible discounts, which will save you plenty on getting your favorite music. They have daily deals, so check the site often. If you’re looking for music and you’re on an unknown site, you may want to seek out reviews. Make sure to look for specific reviews that discuss how safe the site is. If you cannot find any reviews, it may be better to choose another site to download your favorite tunes from.
If you download music, you need to make sure you also backup your music, too. The music you have accumulated probably cost a lot of money and time. You don’t want to lose all of those music files due to a catastrophe. You never know if the sites you previously downloaded from will allow you to re-access the songs. You can find places online that will allow you to do this. Alternatively, you can use an external storage device.
For quality sounding music, ensure that what you are downloading is high quality downloads. Look at the speed of the file, shown in kilobytes per second. If the number is higher, the quality will be better. If you use Android devices, think about using Google’s music download service. It’s called Music All Access, and it works like any subscription service does. Plus it’s a seamless experience with Android. At a really cheap rate, it’s great for building up that music library.
Don’t let anyone use the Internet while you download to maximize your speeds. Do this by shutting everything down and restarting before beginning your download.
For your music downloading service, select a website that allows you to preview songs before downloading them. This will make it possible for you to hear the music prior to paying for the download. Well-known websites will often guarantee high quality downloads, but lesser-known companies will often not. You can avoid purchasing low quality music when you preview the track. On an Android device? Try out Google’s service. This service is like other subscription services, but it’s compatible with Android devices. Costing just $10 monthly, it is a great way to build a comprehensive collection.
Do you see how it really is so simple? Downloading music need not overwhelm you. Try using these ideas to grow your personal digital music collection. It won’t be a struggle any longer. Get a good selection of your top tracks, and start enjoying them, immediately. And you can keep increasing the size of your music collection each and every day.
While net neutrality is a hot topic right now, we’ve already seen some big changes on the net recently – Especially when it comes to the music scene. Spotify became even bigger last year, with a record number of users signing up to their services. And this month we’ve seen Dr. Dre take his Beats brand and make a competitor to Spotify. Then we’ve got SoundCloud possibly striking deals with labels, Rdio not going anywhere soon and Pandora still being relevant, especially in the US.
So does this mean the death of the MP3? Apple, who’s the main supplier for music downloads, isn’t seeing any decrease in sales – Yet. I would argue that we’re moving our music into the cloud. Most listeners would rather have accessible music, and a huge library, than a local offline alternative. Even if it would mean that it would cost us a month fee or that the quality wouldn’t be as high as a quality download. Having friends over, and not being restricted to one persons library is a benefit which is difficult to ignore.
But what about album leaks? Fans will always be fans – If there’s a way to hear an upcoming album by your favorite artist early, it’s difficult to ignore and wait. There are still ways for an album to get leaked; By the artist, at the label, by a journalist or by someone working at a plant (even if manufacturing CDs will go away in due time). And looking at a site like Has it Leaked, you still see the huge demand for leaks, from the comments alone.
And there’s also the promotional aspect of leaking an album early – Especially from the hiphop community, where there are a number of examples where artists albums are getting delayed and the artists are getting hostile towards their own labels.
So no, I don’t see leaks decreasing this year. At least not the interest and demand for it.
rredentia: Thesis Tracks, aptly named, was a thesis project of yours at Eckerd College. What degree were you pursuing with regard to this project?
SevensVsEights: I received a degree in ‘Interdisciplinary Arts’, which is basically a liberal arts degree with a studio art focus. In my case it was centered around film studies (shooting and editing as well as film history) and sound design.
Much of what I have read about Eckerd College has been very positive. What led you to this school? Are you still in school, and if so, what are you currently studying? Do you have plans to seek a profession in the music industry?
I ended up at Eckerd almost by accident. I had applied to four colleges and was either rejected or wait-listed by all of them. I hurriedly applied to four more, most of which I knew little about except that they had a) a film studies program b) a philosophy program and c) they were small. Eckerd gave me a generous financial aid package so I went there. It ended up being a great school for me. I had the opportunity to run the radio station and book concerts for the campus.
I graduated in 2009 and am no longer a student. I miraculously got a job as a videographer for the last two years until I was laid off in February. I am now living the life of an itinerant rock climber, living out of my truck and driving around the American west.
I had my fill of office work for now and am more interested in getting a job outdoors. Maybe somewhere down the line I will pursue work in the music industry, but not for a few years.
You briefly describe Thesis Tracks as being influenced by Oval. For those not familiar with the reference, could you go into a little more detail about how you made this music?
I unapologetically stole my starting point from Oval – sampling physically distorted and marred CDs. I burned a huge number of the same album and went about cutting, scratching, melting, and drawing on them all. I used knives, tape, all sorts of markers, the sun, and a microwave (this ruined the CDs past the point where any CD player would recognize them, but it produced the cover art for the album). About half were total failures, unreadable by my CD player. Of the other half, about half would produce some novel and interesting sound, from a fraction of a second clip to several minutes of slowly shifting percussive skips. I collected hundreds of these samples and fed them into Audacity and Ableton, layering them, adding some simple delay, feedback, panning, and equalization until I had a result I was satisfied with. I was a very experimental, playful process.
Aside from the initial starting point, my process differs from that of Oval’s works, which I think is pretty evident listening to my tracks versus theirs.
You can read my original artist statement and see some the discs that I used here.
I think the focus in the press on Oval’s process has usually overshadowed what critics have to say about the music itself. Reading a description of your process, it’s very clear how influential Oval is to you, but this would not necessarily be obvious by merely listening to the music itself. Oval’s early music was sharp and angular-sounding, whereas Thesis Tracks owes more of a sonic debt to artists creating slighly less harsh drone ambient such asAsmus Tietchens and Thomas Köner. Procedurally, Thesis Tracks ends up having a lot in common with “glitch music”, but doesn’t necessarily sound that way. Was this a conscious goal?
I didn’t really enter into this project with any conscious goals. After I had what I felt to be a solid base of samples I just started playing around with them. I didn’t want to force them to be anything they were not, if that makes any sense. I wanted each sample to keep a kind of integrity. Other than that I really just spent a long time moving them around inside of Audacity and Ableton until I produced something I liked.
The primary source of samples ended up being Pantha Du Prince’s This Bliss. When I first listened to Thesis Tracks, I stopped after about a minute, and decided to listen to This Bliss first – an album I hadn’t listened to before then, though I had listened to his 2010 album Black Noise. Then I returned to Thesis Tracks. I wanted to do this, in part, because I felt I couldn’t apprecate Thesis Tracks properly until I was more aware of the context of its creation. Musically, there is not a real connection, and this was a real relief – not because This Bliss isn’t a good album, but because it meant that Thesis Tracks wasn’t a mere remix album, and was very original as a result. Was there a particular reason you chose This Bliss as a source, and what are your feelings about that album? Were there any other sources you used you’d care to mention?
Every sample on the album is in some way from This Bliss. I started out trying to use many different sources, but somehow I could never make the tones match between two different albums. I just seemed to get the best material from This Bliss, so I threw the other discs aside an concentrated on just obtaining the most interesting sounds I could from this one album.
Sources I discarded include Keith Fullerton Whitman’s Lisbon EP and Arvo Pärt’s Fratres. All three of these are favorites of mine, but I really can’t say what drove me to use them as source material. I just don’t remember my thoughts at the time.
I remember my first CD player and how fragile it was. It would skip with at the slightest distress, and the first time I put a data CD in to hear what it would do, the result was alarming to put it very mildly. CD players are considerably more robust and error correction in even a $20 portable is a profound improvement to the best equipment available during the first couple of generations. I suspect that even finding a new audio CD player that would not know better than to try to play a data track as audio would be difficult. Did you have to resort to using older equipment in order to capture the basic sounds of failure?
Exactly right. I managed to find a boxy CD played from the early 90’s that was not programmed to try and elide over scratches in the way that most modern players would do. I learned quite a bit about the physical construction of CDs and older players while working on the project.
Would it be accurate to describe the creation of Thesis Tracks as experiment-driven? If so, could you describe an unexpected result which you were particularly happy with?
I can’t really narrow it down to one happy accident because the way I designed my process the entire album is nothing but happy accidents. From the very start I was never sure what I was going to get off of any particular scratched disc, mostly I just hoped that I had damaged it enough to produce glitches, but not so much that it was unreadable. Once I had picked out a handful of samples I thought might meld together well it was another series of experiments until they took on some form or progression I felt happy with.
Thesis Tracks lies comfortably between avant garde electronic minimalism and some of the more extreme barely-there minimalist music. What artist was your introduction to this style of music, and how did you become interested in it?
Hmm, this is a hard one for me to answer. I would guess Brian Eno and Keith Fullerton Whitman as the artists who I stumbled upon first that really got me interested in sort of avant-garde ambient music. I was always extremely interested in music growing up, but living in the country I gleaned most of my information on new music from Rolling Stone and the BMG music catalog I got in the mail until I finally got the internet. From there my taste in music just exploded in all different directions, so it is very hard for me to pinpoint why or when I developed this line of musical inquiry.
There’s an interview from about 1999 with Autechre – I can’t find it, unfortunately, so I’ll have to paraphrase. One of the duo observes that the popular music of the day is dictated by everything that came before it, which plays against the popular fortunes of experimental electronic music. If humanity had its musical memories and equipment wiped, and were presented with different styles of music, a lot of what we consider “experimental” would fare much better than it does now, because culture is informed so heavily by classical composition, rock, blues, folk, hip hop, and so forth. If this experiment were carried out and that memory wipe button were pressed, do you think popular music (or even music journalism) would be the better for it?
Music is not produced in a cultural vacuum, so I don’t think any sort of scenario is remotely useful to think about. Culture dictates counter-culture.
Have you written any music since Thesis Tracks? If so, is it available? Have you shopped this or any of your music to labels or other distributors? If so, what sort of response have you received?
I have worked haphazardly on a few projects since this, but nothing I have been happy enough with to release. Making this into a project for school with a hard deadline was probably a real boon for my scattered attentions. I didn’t send it to any distributors, but I did send it out to a handful of music critics I respect. No responses, however.
What music least like your own do you enjoy the most?
Least like my own is incredibly subjective, but this seems pretty far removed from what I do:
t.A.T.u. – Ya Soshla S Uma (I like the original in Russian so I can just enjoy the song and ignore the insipid lyrics)
I’d also like to use this space if I may to draw attention to Time and Temperature, my favorite current musician from my former hometown of Columbus.
I forgot to ask you the most obvious question, the question that gets old right about the second time an artist gets interviewed: Why did you choose the name “∕∕∕”?
I could pretend it was because it was vaguely evocative of how I was disfiguring the CDs or something, but really I just like using symbols to title things. No deeper meaning, look no further.
I’ve enjoyed Thesis Tracks a great deal. I urge anyone interested in experimental and minimalist music to sit down with your music and give it a close listen. Thank you!
The interview was conducted by What.cd
Since Megaupload was shut down earlier this year there’s been a few dramatic changes to the most used file sharing sites. FileFactory and FilesTube put a stop to their file sharing abilities and has since dropped out of the Top 50. Mediafire, 4Shared and Rapidshare are still in the lead while Deposit Files and and its russian counter part Let it bit has seen a major increase in visitors.
For album downloads and MP3 leaks, Mediafire, Deposit files and Rapidshare seems to be the most used services right now – But as we’ve seen, things can change very quickly. Which file host do you prefer?
It’s not an easy task to list the best hip hop albums of all time. One would say it’s impossible. This post is for the true hip hop fans to recommend any albums that have recently dropped that others may not already know about. About the CunninLynguists, if you’ve only heard their new album but not A Piece of Strange, you NEED to snatch APOS. APOS is a absolutely undeniable fucking masterpiece, track by track, and in my opinion, it’s one of the most perfect albums of all time.
Q-Tip – The Renaissance
Panacea – A Mind on a Ship Through Time
Wale – Mixtape About Nothing
Brother Ali – The Truth is Here EP
Black Milk – Tronic
Pacewon & Mr. Green – The Only Color that Matters is Green
Exile & Blu – Below the Heavens
Ced Hughes – What Up Tho
Mr. Lif – I Heard It Today
N.A.S.A. – The Spirit of Apollo
Granite State – The RE-Public
Guilty Simpson – Ode To The Ghetto
Chris Young – Mood Swing EP
Reks – Grey Hairs
Mac Lethal – The Love Potion Collection 5
Theophilus London – This Charming Mixtape
J. Cole – The Warm Up
Wu-Tang Clan – Chamber Music
KiD CuDi – Man On The Moon: The End of Day
Wale – Attention: Deficit
Orphans Of Cush – White Noize
CunninLynguists – Strange Journey Volume Two
Blue Scholars – OOF! EP (2009)
Sandpeople – Long Story Short EP (2009)
Freddie Gibbs – The Miseducation of Freddie Gibbs (2009)
Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty (2010)
Eligh – Grey Crow (2010)
Big K.R.I.T. & Grillade – The ‘Wuz Here’ Sessions EP (2011)
C-Rayz Walz – All Blvck Everything: The Prelude (2011)
Kendrick Lamar – Section.80 (2011)
Blue Scholars – Cinemetropolis (2011)
J. Cole – Cole World: The Sideline Story (2011)
Akua Naru – The Journey Aflame (2011)
Action Bronson – Dr. Lecter (2011)
Action Bronson & Statik Selektah – Well-Done (2011)
Evidence – Cats & Dogs (2011)
The Roots – undun (2011)
Schoolboy Q – Habits & Contradictions (2012)
Bobby Raps – Gimme Daps (2012)
Vic Mensa – Straight Up (2010)
El-P – Cancer 4 Cure (2012)
Killer Mike – R.A.P. Music (2012)
Soundbombing II (1999)
Talib Kweli & Hi-Tek – Reflection Eternal (2000)
MURS – 3:16: The 9th Edition (2004)
CunninLynguists – A Piece of Strange (2006)
Deltron 3030 – Deltron 3030 (2000)
Hi-Tek – Hi-Teknology 3 (2007)
Madvillain – Madvillainy (2004)
Nosaj Thing – Views/Octopus EP (2006)
While Myspace did come and go, Web 2.0 has been of huge importance for the record industry. Facebook and Twitter is the most common place to share music and get unsigned bands retweets and likes. But it hardly ever generates an income, and as evident in most successful cases – Touring and playing gigs are still highly affective.
Before distributing your music for free, it’s important to remember that few of the internet savvy people are actually going to pay for a digital download. Especially if you’re getting som traction – If your album is available for free it’s going to be difficult to convince people on the net to support you. As stated in a recent study, it also depends on which music genre you’re in. Hiphop is known to have a big pirate scene attached to it, while in genres like jazz and classical music are less affected by illegal downloads.
But it shouldn’t matter which genre you’re into – There are great marketing methods for musicians. A recent study showed that even a music genre like classical music has great potential in promoting themselves via social media.
If you want to distribute your music, I would strongly recommend Twitter and Soundcloud. Upload all your music to Soundcloud, and then start to follow and tweet to listeners of similar artists. Offering free album downloads via Soundcloud is a great way to get fans, while providing them streams and not necessarily MP3s. Don’t be afraid to contact labels through Twitter either, by simply linking to your best Soundcloud streams. As long as you try to be original in your tweets, and not try tro reach as many labels as possible. Quality is better than quantitive. Remember that word of mouth is the best way to distribute your music, not constantly asking lots of people to check out your band. If it’s good, and your tweets aren’t “spammy”, the word will spread on its own.
There’s a great study titled:
[quote]MARKETING MUSIC ON THE INTERNET AND WITHIN SOCIAL MEDIA
– How Individual Folk Musicians Can Promote Themselves with Little Money[/quote]
Download the full thesis here. It’s from 2012 and has great and interesting view on social media and music marketing.
There’s also a very interested study titled:
[quote]Can social media transform the online music industry? A look at shared value and shared social responsibility[/quote]
Download it here. It comes recommended since it gives an updated picture of the music industry and Web 2.0
We’re now a couple of weeks into Digging for files website and I think things are coming a long pretty alright. We’re still in the start-up phase and still need to set up album downloads from a few indie groups – But all in all I think we’re getting some traffic and see potential in the site’s future.
This site is about to launch. Stay tuned my friends!