Kaki King, the previous subject of a MusicGeek.org spotlight, announced 2008 U.S. tour dates, detailed below. Her entire catalog is essentially made of gold; it’s certainly worth of more than a few listens.
Kaki King — 2 O’Clock | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/2oclock.mp3]
Reed KD, a northern California-based act with a refreshing indie-centric folk-bluegrass-pop style and a penchant for vocals that sound at least a smidgen influenced by Elliott Smith, are set to release The Ashes Bloom on Feb. 12. The album will be released on Dirty Laundry Records. The two tracks posted below, “Empty Bottles” and “Even If I,” are well-written, well-timed pop songs, and they’re certainly worth an attentive listen.
Reed KD — “Empty Bottles” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/empty-bottles.mp3]
Reed KD — “Even If I” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/even-if-i.mp3]
The OaKs, a band steeped in humanitarianism, are preparing to self-release their upcoming album, Songs for Waiting, which will be released on March 4. Posted below is “Masood,” a track based on personal experience during frontman Ryan Costello’s experience in Afghanistan, is a well-produced pop-rock track with some genuine feeling behind it.
The OaKs — “Masood” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/theoaks-masood.mp3]
Brighton, UK post-rock-sounding darlings Autumn Chorus answer questions from MusicGeek.org regarding production of their music, reception of their debut EP, Rosa, and the support they find in the UK and beyond.
Autumn Chorus — “Remember the Dead”
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/autumnchorus-rememberthedead.mp3]
What drives you to create ambient and post-rock music?
I think as a band we’re more about atmosphere as opposed to ambiance, as that suggests it’s in the background, and we want to be very much in the foreground! We’re never sure if we are “post-rock” but that’s what we seem to fit into. I think we’re influenced by classical music as much as we are other post-rock bands.
The Billie Burke Estate, who just released Let Your Heart Break, offer a strangely enticing combination of 1970s progressive rock, two-tone ska, and pop sensibilities that make themselves evidenced in “I Can Float” and “Everybody’s Gonna Die,” posted below for download and listening. The former exhibits a wealth of influence from across a wide musical spectrum, while the latter is a more straightforward piano-based pop song with a sardonic lyrical approach. Andy Liotta, mastermind of the Seattle-based The Billie Burke Estate, works vocals in forgotten ways, while instrumentation is effective but not over the top.
The Bille Burke Estate — “I Can Float” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/thebillieburkeestate-icanfloat.mp3]
The Bille Burke Estate — “Everybody’s Gonna Die” | download
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/thebillieburkeestate-everybodysgonnadie.mp3]
Music discovery service Last.fm, after announcing the addition of on-demand streaming of full-length tracks and albums Thursday, announced today that they would be adding a system by which artists and labels would be paid directly for plays through their system.
According to the site’s blog, blog.last.fm, artists will be able to upload their music for play and will receive royalties in the form of a share of advertising revenue.
More quietly, Last.fm announced a “soon-to-be announced” subscription service they will be deploying. Until the service is active, a track may be played three times, then a preview of the subscription service will be advertised, according to the blog.
The only details offered of the subscription service in the post consisted of “unlimited plays and some other useful things.”
Speculation, at this point, is hasty, but it would seem Last.fm is rethinking their business strategy.
One thing I have particular interest in, above most things considered mundane, is the ability music has to add perspective to natural environments. Take, for instance, my walk toward the university this cold morning: Before leaving the house, I slip my headphones on and find music fitting of my mood to listen to. It varies from day to day, of course, but I’ll often to listen something that’s caught my fancy lately.
This morning, it was a revisiting of ( ), an untitled album by vaguely-post-rock group Sigur Ros. The biting cold, coupled with icy sidewalks and that powdery snow Utah is famous for, didn’t fade away with the music, but it did seem a bit less important alongside beautiful music. In fact, excepting, of course, the biting cold, the music seemed to complement what was essentially a typically winter scenario in Cedar City, Utah.
Papercuts, fronted by Jason Robert Quever, bring us two unique and refreshing pop/folk rock albums: his debut Mockingbird (2004), and latest release Can’t Go Back (2007). In both albums, Quever takes on airy vocals that blend beautifully with his folk-style guitar work interlaced with string instruments, gentle percussion, and cheery pop tunes. His timeless style, most apparent in “Take the 227th Exit” and “Outside Looking In,” will very likely keep him in the spotlight for many years to come. Papercuts will also be going on tour this year beginning February 28th through April. Further information on tour dates may be found on gnomonsong.com.
Papercuts — “John Brown”
[audio:http://www.musicgeek.org/wp/wp-content/uploads/2008/01/papercuts-john_brown.mp3]