RISE AGAINST
SHARE NEW ACOUSTIC VERSION OF THEIR ROCK HIT
NOWHERE GENERATION, FEATURING VOCALS BY MEG MYERS
WATCH THE VIDEO
TITLE TRACK OF THEIR NEW ALBUM OUT NOW VIA LOMA VISTA RECORDINGS
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The song—a stripped back take of the punchy original is the title track of Rise Against’s latest album, which debuted #4 on the Australian ARIA Album Chart, at the top of multiple Billboard charts with its first week sales (#1 on Rock, #3 on Top Current Albums, #3 on Vinyl, and the Top 40 of the Top 200). “When we released the acoustic version of ‘Nowhere Generation,’ we found that it really connected with a lot of people,” says Tim McIlrath of Rise Against. “We heard from a lot of unique and beautiful voices, and we knew that we needed to add another beautiful, unique voice to this song. Meg was the perfect choice and we are thrilled with how it all turned out.”
“When Rise Against asked me to sing on Nowhere Generation, I felt an instant connection to the song. There is a power and a purity about this song that is so healing and unifying,” explains Myers. “It’s the voice of a younger generation who feels unheard. I feel it is so important right now for our consciousness evolution, and for society to take a look around and ask ourselves, ‘who are we, what are we doing here, where are we going and why?’”
Rise Against will head out on a month-long U.S. tour next week in support of Nowhere Generation, joined by Descendents and The Menzingers, and beginning with a string of sold out shows in Cleveland, New York, and Asbury Park. A current itinerary is below.
On their new album, released June 4 via Loma Vista Recordings, the multi-Gold and Platinum band draws a line in the sand with its blazing and aggressive punk rock and lyrics that shine a spotlight on the social and economical deck that has been stacked against our younger generations’ pursuit of The American Dream. Nowhere Generation has been earning the band great press from outlets including Revolver, Consequence, Brooklyn Vegan, Grammy.com, American Songwriter, The Line of Best Fit, Clash, Kerrang!, and All Music, while June 4th was declared “Rise Against Day In Chicago,” the band’s original hometown. Last week, Rise Against also announced the Nowhere Generation graphic novel, which sees the band teaming up with writer Shaun Simon (True Lives of the Fabulous Killjoys, Electric Century) and artists Sally Cantirino, Val Halvorson, Huseyin Ozkan, Soo Lee, and more to be announced, due out this October via Z2 Comics.
Meg Myers‘ latest releases – 2020’s acclaimed Thank U 4 Taking Me 2 The Disco and I’d Like 2 Go Home Now EPs – represented the LA rocker’s first new music since the blockbuster success of her chart-topping cover of Kate Bush’s 1985 classic, Running Up That Hill. Originally performed in an NPR Tiny Desk Concert, the track made history earlier this year by ascending to #1 on Billboard’s “Alternative Songs” airplay chart 42 weeks after its official March 2019 release – the longest trip to the top in the chart’s three-decade history. What’s more, “Running Up That Hill” also reached #1 on Billboard’s “Rock Airplay” chart in its 29th week, tying for the third-longest climb to the peak position in that tally’s own 10-year history. “Running Up That Hill” is joined by an official animated video, created in partnership with the L.A.-based non-profit, Heart of Los Angeles (HOLA), and now has close to 7M individual views at Myers’ official YouTube channel. Myers is currently writing her next record.
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Stream ‘So Much Love’ (Soda State Remix) Here
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DESCENDENTS
9TH & WALNUT
FEATURING ORIGINAL
MILO GOES TO COLLEGE LINE-UP
OUT NOW!
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When Bartolomeo Cristofori invented the piano in the 1700s, he had no idea how many different shapes and styles it would take some centuries later. The piano went through classical era inventor John Broadwood, a romantic era in France (of course), and the modern era in which Steinway & Sons, Baldwin, and others contributed to the different styles of piano. Anyone that is musically inclined should understand the different types.
Upright Pianos
As the name indicates, it is a vertical design. The difference between a grand and an upright piano lies in the way the strings, piano action dampers, and soundboard run upright. This allows it to fit anywhere, including small rehearsal studios, as they don’t take up any more space than a couch. It is very common to see youngsters practice on upright designs.
Spinet
The spinet is a different style from an upright. Imagine a smaller version of upright, there you go, that’s a spinet! The difference mainly lies in the size rather than structure. It is usually just three feet tall, and they are considered to be the smallest type out there.
Console
In terms of size, a console stands at forty to forty-four inches tall. This means the console lies between a spinet and an upright piano. But they are much more compact than the upright models. Also, they are much more affordable than the spinet, and they are the most popular among the upright designs.
Studio
These are yet another type of the upright genre. Their size is around 44” to 47”. They are commonly found in schools and churches, as they are considered to have the best compromise between size and tone.
Grand Pianos
Owning a genuine grand piano is a privilege, as these are very expensive. They are considered a luxury, and many people like to keep luxury pianos in their homes. Some like them with customization with precious materials as found with a Malachite grand piano, with malachite-veneered and gilt metal mounted piano would look amazing albeit expensive. The Grand models have horizontally placed strings, and they feature a higher ability for note repetitions and the addition of subtle expressions to notes. This is the reason they are considered a great choice for solos and concerts. It is the go-to choice for most professional pianists because of its powerful tone and responsive key action. Here are the styles a grand may be available in:
Petite Grand
The size lies between 4’6 to 5’. It is the smallest of the grand models, and you’ll find that any grand piano less than five feet is considered to be a petite grand.
Baby Grand
The Baby grand ranges in length from 5 to 5’6 ft. It is designed to produce more sound in a small space. If it is remarkably long, it may be called medium grand or parlor grand. It is the best choice if there is limited room in the house or the space that you’re considering.
Medium Grand
A medium grand is between 5’6 to 6’6 in length. Somehow, they are a little difficult to purchase, as they are usually not readily available nowadays
Parlor Grand/Classic
The name comes from the fact that in the past, they were used most often in the parlors. These are between 5’6 to 6’1 in length, and they are suitable for large rooms in a home, a recital hall, or moderate rehearsal spaces.
Semi-concert /Ballroom/Professional
It is approximately 6’5 to 7’5 feet in length.
Concert Grand
This type of piano is the full-size version of the style baby grand, but it comes with longer strings, a more resonant sound, and a comparatively larger soundboard. Grand pianos are seen as a part of a symphony orchestra, especially when a soloist is performing a piano concerto. Large recording studios have these as official studio pianos.
Electric
An electric or a digital piano produces the sound electronically without the vibrating strings. These models also referred to as synthesizers, can create orchestral sounds through computing languages. They first became popular with jazz musicians, because, with these, the pianists could duplicate the solo breaks of a guitarist along with the cording. Most of the traveling bands prefer these as they can be carried on the road easily.
If you’re a musically inclined person, now you have a better understanding of the types and styles of pianos out there. Whether you need one for your home, school, or a concert hall or if you’re a part of a band, looking at the types that have been mentioned here, it is now easier to decide based on the size and the style you require. So, go ahead and get that piano!
Previous support for Cedarsmoke
“It’s a pained brand from Cedarsmoke that pulls you into its world.”
(Declan Byrne, Triple J)
“There are some songs that just sound like they’d be evergreen pub favourites.”
(Gemma Pike, Triple J)
“They’re a band that put storytelling at the forefront”
(theMusic)
“It’s a glorious pastiche of popular culture references.”
(AU Review)
“A gorgeous slice of sunny indie pop that mashes together a brash, rocky riff that gives the track an appealing one-two punch”
(Scenestr)
“It’s the power to generate such vivid landscapes of longing, loss, frustration and doubt that makes Cedarsmoke one of the most relatable bands going.” (Hysteria Mag)
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Where are you currently based?
A) The village of Canning, Nova Scotia in Canada.
How did you first start playing music?
A) 12 years old, acoustic guitar, learning Beatles tunes.
What’s been happening recently?
A) Parenting, pacing, hovering, drinking, stewing, and whining.
Your new album Dusted III is out on the 23rd of July, what influenced the sound and songwriting?
A) I wanted to capture a handful of songs, to sort of cleanse them from my busy mind. I wanted them to be recorded simply, naturally, the way I play them at home. The songs and lyrics come from a ten year period of my life, but the final selection seems to have an overarching feeling. It went well with all the transitions in my life- moving, returning to the province of my youth, saying goodbye, and embracing something new.
How did you go about writing Dusted III?
A) I write all the time, so this selection was more to do with curating a digestible handful of songs. I didn’t overthink which ones I picked. I still have a few more records like this that I hope to finish. This is a step towards that goal.
What does the album mean to you?
A) Leaving things behind, and stepping towards the unknown.
Where and when did you record/produce/master and who with?
A) I booked Palace, a studio in Toronto, ON, the first few days of March 2019 and recorded everything there, live-off-the-floor, engineered by Chris Sandes. It was mostly vocal guitar, but also bass and wurlitzer. I then brought the album with me to Nova Scotia where I finished it in a makeshift home studio. A final drum and horn session was booked again in Palace when my other band Holy Fuck went to Toronto to do a CBC session. That was just before the pandemic began. I sat with it for a few months doing nothing, just settling into a weird time. And then I got cracking on the mixes. I sent them around to a few people, but luckily found a guy named Shuta Shinoda to do the final mixes. I have one song mixed by Dave Newfeld and one by Jarvis Taveniere.
How did you approach the recording process?
A) We set up many mics, more than we’d need, but that allowed me to go through and select the few that I liked for the mood and tone, depending on the song. I like field recordings, demos, very natural and unadorned recordings, so I just followed that instinct. The benefit to finishing this in a peaceful environment in Nova Scotia, Canada, was that I got to capture the sounds around me to give the album a sense of space and time – birds, rain etc.
Who are you listening to at the moment?
A) I had a DJ gig last week where I played a lot of my old disco and breakdance/ hip hop records. Last night I played a board game with my folks listening to Black Sabbath. The usual I guess.
What do you like to do away from music?
A) Escape to nature!
What’s planned for 2021?
A) Get this record out and hopefully play shows! I have another thing, a four piece called Quilting, that is hopefully releasing something, definitely playing shows in the fall, and maybe some Holy Fuck thing.
Favourite food and place to hangout?
A) I haven’t really lucked out with that here. I miss traveling. The Valley in Nova Scotia, where I live, is known for vineyards, but the dining scene is geared for students and tourists, but has shit-hours. Nothing is open late, so I mostly put on my headphones and walk around my backyard in the evenings when my daughter finally sleeps.
Twitter: @totallyDusted
Facebook: @totallyDusted
Instagram: @dusted_brianborcherdt
You can listen to “dreadful sorry clemency” on Bandcamp – Apple Music – Spotify – SoundCloud
Jennie is currently in the studio putting the finishing touches on her debut E.P slated for release in the Winter.
LISTEN/PLAY
Title: The Portrait (Ooh La La)
Label: CYBERPVNK
R3HAB and Gabry Ponte join forces to bring us “The Portrait” on R3HAB‘s CYB3RPVNK label, a unique and groovy track that paints a detailed sonic image of a mysterious and beautiful woman. Opening with an ominous bassline and singsong vocals, the track uses descriptive lyrics and complementing topline along with instrumental elements to describe its subject. The “Oh la la la” of the course continues the lullaby-esque quality, while the contrasting bassline becomes deeper and bouncier, layering in instrumental melodies for an additional point of interest. This unique track is the first time R3HAB and Gabry have teamed up; read on to hear from both artists about the making of “The Portrait“
“Gabry has always been a leader in the dance space, and it’s been a pleasure creating ‘The Portrait‘ with him. This song took a while to get just right, but it was worth the time it took us to capture the confidence, mystery, and swagger of the song’s subject. I hope you see a bit of yourself in this audio “portrait” we painted. I can’t wait to play this at my upcoming festivals.” – R3HAB
“When I first heard the idea of the song I fell in love with it, and I thought it would be the perfect match for me and R3HAB to collaborate. Working with him on the production was very challenging and inspiring. He has such a great vision!” – Gabry Ponte
Dutch–Moroccan Multi-Platinum DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the better part of the last decade. From his breakthrough remixes for Rihanna, Drake, Taylor Swift, Calvin Harris, The Chainsmokers, Lady Gaga, to anthems such as Gold– and Platinum-certified “All Around The World (La La La)” and “Lullaby,” to his collaborations with the likes of Luis Fonsi, Sean Paul, ZAYN, Andy Grammer, Sofia Carson, Smokepurpp, Dimitri Vegas & Like Mike, Astrid S, Olivia Holt and more, R3HAB has proven to be one of the most talented and forward-thinking artists in the game, whose work collected over 5B streams to date. In 2016 R3HAB founded his label CYB3RPVNK, which has passed 2B streams across all platforms since its inception. R3HAB himself continues to evolve and diversify his sound by working with a variety of artists around the globe, pushing the boundaries of dance music as he collaborates across genres and languages. In 2020 alone R3HAB celebrated over 900M Spotify streams. He is currently the most discovered artist on Spotify, one of Spotify’s top 150 most streamed artists across all genres worldwide, and ranked #13 on prestigious DJ Mag’s Top 100 DJs chart. With his combination of innate artistry and innovative attitude, in 2021 R3HAB is continuing his journey among electronic music’s elite.
It’s been quite the ride so far for Gabry Ponte. Producing an international hit single by the end of the ’90s with his band Eiffel 65, the song “Blue (Da Ba Dee)” turned into a dance classic that’s still played to this day. In the meantime, the Italian DJ/producer kept releasing solo material, always in rhythm with the newest sounds in electronic music. In 2019 he dropped another worldwide smash with his LUM!X collab “Monster,” followed last year by two more hit collabs with LUM!X in the shape of “The Passenger” (along with D.T.E.) and “Scare Me” (along with KSHMR), plus teamups with Timmy Trumpet (co-producing the title track for Timmy‘s “Mad World” album) and Galwaro and LIZOT (co-producing the popular cover of “Like A Prayer“). His latest release “Thunder” (with LUM!X and Prezioso) has been topping the charts all over Europe and already has over 13M streams on Spotify in 2 months.
Title: Hybrid Techno EP
Label: Self-release
PLAY/LISTEN
If you’ve been missing late night clubbing vibes a’la Ibiza, look no further than California-based artist Sevenn‘s new EP. Appropriately titled “Hybrid Techno,” the EP features four brand new tracks that cross the spectrum of house and techno, transporting the listener to the infamous White Isle. The EP opens with the dark progressive gem “Naked in the Rain.” Next up is “Alexander” with its arabesque instrumental elements and deep, mysterious vibes; just hearing the frog intonations will have you imagining you’re navigating a dark path to a clandestine jungle party. Sevenn turns the page with “Kanima,” a groovy and afro-house influenced track that sets a lively tone for the rest of the sonic journey, before driving it home with the dancefloor-filler house track “Paris to Berlin.” Read on below to learn more about Sevenn‘s inspiration behind the EP.
“I fell in love with techno in 2017 after spending around 6 days straight clubbing in Ibiza at clubs like Amnesia, Pacha and DC10, which changed my life. To me, it felt like what it must have been like for teenagers in the 60s to hear Jimi Hendrix for the first time, just completely revolutionary. So sonically authentic, vibrant, dramatic, dark… Each night felt like wandering into a dark forest you knew you shouldn’t be in but felt like you had to explore. I wanted to bring all those elements from melodic techno, afro house, deep house, and techno into a fresh new package, with powerful sounds, sometimes slightly detuned and twisted to play with more organic synthesis. Using the word “Hybrid” gives me (and other producers) room to explore this incredible genre and bring a new and charming sound to the dance floors.” – Sevenn
Kevin Brauer has exploded into the international electronic music stage as Sevenn. In his repertory he has four global hits: “Colors Of The Rainbow” produced in collaboration with Kathy, and successful releases such as “BYOB” and “The Wall,” produced with Alok, which reached over 50 million streams. Sevenn‘s massive collaboration with Tïesto “BOOM” debuted on Ultra Music Festival Miami in 2017. The single’s 2018’s version with Gucci Mane on the vocals had peaked #14 on Billboard‘s Hot Dance/Electronic charts amassing over 120 million streams on Spotify. Sevenn played at some of the world’s most celebrated festivals, such as Tomorrowland, Lollapalooza, and Creamfields.
Pekoe Cat is multi-instrumentalist/producer Kyle Woolven. Like the city he comes from (Belleville, Ontario) Woolven is relatively unknown, but that does not stop his drive to create and progress. With the release of his new album in the fall (which is also called “Belleville”), Woolven continues to show that creativity comes first and a fan base comes second . . . or fourth. “I don’t like the idea of creating an entire album of the same song.” On “Belleville” Pekoe Cat’s multiple musical influences are certainly evident. Ranging from Tame Impala, to Neon Indian, to Passion Pit, and even a little bit of The Strokes, Woolven’s refusal to settle on a sound is beginning to form his signature sound.
Where are you currently based?
I’m living in my hometown, in Orillia, Ontario.
How did you first start playing music?
I started playing piano when I was 6, and singing in school talent shows a couple of years after that. I got a guitar for Christmas in the eighth grade and taught myself how to play so I could write songs with it. It wasn’t until high school that I started playing my own songs in front of people, which quickly became my favourite thing to do at every coffee house/ open mic I could get myself on the sign-up sheet for!
What have you been up to recently?
I have been pretty consumed with getting my new EP ready to release– making videos, doing photoshoots and all of the administrative stuff that comes along with being an independent artist. It’s pretty all-consuming, but it’s been really exciting for me! I’m also starting to write again and enjoying some time in the sun hanging by the lake!
What influenced the sound and songwriting on your new EP Enough?
I started writing this EP right around the time that I was dropped from my previous label deal. I felt like I hadn’t gotten personal enough in my prior releases and really wanted to get uncomfortably honest in my writing. All of the songs are relationship-focused and autobiographical– covering breakups to being in love again. I went into recording just focused on making something I was excited about, and wanted to try new things and have fun in the process. The sound was born out of a mix of contemporary pop influences with pop punk influences that I grew up with.
How did you go about writing the music?
I write about my own experience and that’s always been important to me. I fell in love with music because I found solace in the words of other artists who wrote really personal lyrics. Growing up, I was always posting song lyrics to my MSN status and Facebook wall about how I was feeling *SO CRINGE*.
Now, if I’m writing for myself, I like to use songwriting as a way to sort through my head and whatever I’m going through… (call it cheap therapy). Most of my songs start with a few lyrics, or a small poem in my notes app that I’ll eventually revisit and turn into a song when I am a little more removed and have a clearer headspace to sort through the feelings/ emotions.
Where and when did you record/produce/master, and who with?
Some of the songs were written as early as 2018, but I started recording these songs in 2019. The EP is 100% female produced– Hill Kourkoutis produced ‘Unsolicited Contact’, ‘I Don’t Trust Anyone Anymore’, and ‘Darkside’ in Toronto, and Robyn Dell’Unto produced ‘We Might Break Up’, ‘I Don’t Hang out with My Exes’ and ‘Enough’ in Nashville. They’re both so amazing at what they do and it was a dream working with them. Jason Dufour from Toronto mixed the EP, and Emily Lazar did the mastering.
How did you approach the recording process?
I had worked with only male producers previously, so I wanted to work with female producers on this project (especially because it came from such a personal, female perspective). It was such a different experience being in the studio with all female energy. Hill and Robyn are so talented, and I felt really comfortable to just be myself and try new things. I felt free to be creative, experiment and be vulnerable, which was crucial for this EP and made it so much fun to work on.
What does this EP mean to you?
“Enough” is a collection of songs that focuses on relationships, and explores both dealing with heartbreak and finding love. I understand that, thematically, the two don’t go together, but I’ve found in my experience that love and heartbreak aren’t sequential. It’s entirely possible to experience feelings of heartbreak and longing while being completely in love with someone new.
In the case of the title track, it’s about finding love and wholeness—acknowledging that real love, above all else, is enough. In the songs about heartbreak, the title is more about closing the door behind me and saying things that I didn’t have enough courage to say before. It’s about saying enough is enough to those feelings.
This project also acknowledges my journey as an artist and all of the self-doubt that has come along with my experiences. Throughout the making of this EP, I was able to remind myself that I could in fact do things my way, and that the work I created— despite my fears— has always been good enough. That I’m enough.
Who are you listening to at the moment?
My favourite band right now is Winnetka Bowling League– I love all of their songs and think Matthew Koma is a lyrical *genius*, but ‘On the 5’, ‘are you okay?’, and ‘Slow Dances’ are probably my favourites… It’s the type of songwriting that makes me want to be a better, more honest writer.
What do you like to do away from music?
I love spending time with my friends and my extended family– that’s where I’m happiest (and also why this last year has been particularly difficult for me to manage). When I have free time I love sewing, crafting, and getting active– playing tennis, rollerblading, and running.
What’s planned for the remainder of 2021?
A) Lots of fun things to come alongside the EP release — a couple more videos and even some merch. Beyond that, I’m excited to take a bit of a breath and recharge after the release. I’m looking forward to writing more again, doing some travelling, and hopefully making up for some lost time with my friends and family!
Favourite food and place to hangout
I have the biggest sweet tooth… anything baked. There’s a place called Mariposa Market here in Orillia and if it was acceptable to eat donuts for breakfast, lunch and dinner, I would eat their Texas donuts until I literally turned into one.
I’m not the biggest fan of going out– although after this year I’m sure my friends and I will be doing lots of that… But to be honest, my favourite place to be is at a friend’s house– hanging out and having a few drinks (and a lot of laughs) with my favourite people around a table, on a basement couch, or on the living room floor. Can’t wait to get back to that!
Twitter: @cassiedasilva
Facebook: /cassiedasilvamusic
Instagram: @cassiedasilva
TikTok: @cassiedasilva
Website: www.cassiedasilva.com
Psychedelic pop duo Wyndow announce
debut self-titled album out October 1st
via Summer Critics
Watch / share: https://youtu.be/
+ share new single ‘Pulling On A String’
Following the success of their first two singles ‘Take My Picture’ and ‘Two Strong Legs’ Wyndow (Laura J Martin and Lavinia Blackwall) return with their eponymous debut album. The project was ignited by a love of Robert Wyatt and an off-hand idea of collaborating on a version of his song ‘Free Will and Testament’. In a time of weird interludes, the self-examination of the song’s lyrics opened the pathway to themes examined throughout the record, that of being and wanting and the battle between knowledge and knowing. Who am I and do I see myself the way others see me?
What follows is an exploration of the uncertain and the impermanent. According to Martin, they are “tunes for whacked out worriers lifting weights in the worry gym,” where “feeling uneasy never felt so easy.” Reflections flit between two pendulums as each wrote and recorded remotely and exchanged these dog-eared musical postcards to see each others’ responses. Eschewing the “band in a room” aesthetic out of geographical necessity they focussed on maximising the sonic palette of each song, doing exactly what each piece demanded without thinking about who had to play each instrument.
The songs on Wyndow exist in the space between waking and sleeping, hazy tales that unfurl and engulf the listener in a slightly uncanny sense of familiarity. New single ‘Pulling On A String’ is based on the feeling of walking familiar routes and wishing they took you elsewhere, the duality of holding on to the familiar yet pulling yourself nearer to the beyond and the unknown.
Taking inspiration from the atmospheres and repetition of ecstatic minimalism and the joyful experimentation of Penguin Cafe Orchestra, songs were built from small fragments and loops, recorded spontaneously and sent to each other across the wires. Recorded and produced in Liverpool with Iwan Morgan (Euros Childs, Gruff Rhys, Cate le Bon) and in Clydebank with multi-instrumentalist Marco Rea (Euros Childs, Alex Rex) new textures with copious analogue synthesis and treated acoustic instruments were mined, even fretless bass was not off-limits. Recalling the tender pulse of Cluster on ‘Take My Picture’ and the late night hues of La Dusseldorf on album closer ‘Tidal Range’, Wyndow strikes a new path for both artists. On ‘Pulling on A String’ the close foregrounding of both voices call to mind The Roches, another key touchstone for the sound of the record.
The result is a melting pot of influences with both artists at the top of their game, reflecting on the smallest human experiences set against a galactic sonic canvas. Wyndow is due to be released on October 1st on vinyl, CD and digital via Summer Critics.
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THE LINDA LINDAS
SHARE NEW TRACK “OH!”
WATCH | LISTEN
SONG FEATURED IN TRAILER FOR
NETFLIX’S “THE CHAIR”
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The Linda Lindas Merch Available HERE
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