DHM means Deep Hidden Meaning, a song’s DNA, its core truth. It’s easy to do songs that are child-like and rhyme, but those child-like rhymes have to actually have a secondary, if not a tertiary, meaning to us. I honestly, I really don’t know how to do it any other way. | | | | Solange at the Latitude Festival, Southwold, England, July 13, 2018.
(Carla Speight/WireImage/Getty Images) | | | | | | “DHM means Deep Hidden Meaning, a song’s DNA, its core truth. It’s easy to do songs that are child-like and rhyme, but those child-like rhymes have to actually have a secondary, if not a tertiary, meaning to us. I honestly, I really don’t know how to do it any other way.”
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| | rantnrave:// Do androids hear music when they dream of electric sheep? Is there imaginary music in their android heads? Is there actual music on the android Bluetooth headphones that they wear to sing themselves to sleep? I asked SIRI but she wasn't any help, maybe because she doesn't like the word android. I ask you because APPLE has either bought or hired the founders of ASAII, a music data startup that says its algorithms can "find the next JUSTIN BIEBER, before anyone else." That means before you, you mere human A&R scout, and before you, you mere human playlist programmer, and before you, you mere human writer/curator sending emails into the void every morning. WARNER MUSIC owns one of these things, too, and a lot of smart people think they're the future of A&R—or, at the very least, a big part of the future of A&R. There are 3 million indie artists on streaming platforms and they're uploading upwards of 20,000 tracks a day, which are competing for space on 12,500 "key" playlists on SPOTIFY alone, reports CONRAD WITHEY, whose company, INSTRUMENTAL, is in the same data-mining business as Asaii and Warner's SODATONE. Withey's message is, if you think you can track which tracks are getting traction on those playlists with nothing but your human ears, eyes and nose, you're going to fail. He puts it in somewhat harsher terms. You need help, he says. Robot help, specifically. Meanwhile, in the middle of an interview well worth reading about the continuing struggle of songwriters and publishers to protect their copyrights in the digital sphere, composer JEAN-MICHEL JARRE casually mentions that we're all about to be blindsided by artificial-intelligence-based content creators. Jarre, who's president of the International Confederation of Societies of Authors and Composers (CISAC), says AI is on the verge of being able to "create original scores, original books, original cultural content," and the engineers working on this are currently focusing on "music that is like JOHANN SEBASTIAN BACH—an ideal type of mathematic music and melody." So if one AI is creating it and another AI is developing and signing it based on how many kids are listening to it, the one question that's bugging me is, are those going to be actual kids or AI kids? We know AI can create and we know AI can discover. But can AI literally listen? Will AI ever develop, to use a term of art, ears? I find myself thinking that our ears, our actual ones, may be our last line of defense between us and the coming robot invasion. And that we oughta be using them, every chance we get... UMG, following in the footsteps of WMG, makes a deal with MIXCLOUD... CALL ME BY YOUR NAME director LUCA GUADAGNINO is turning BOB DYLAN's BLOOD ON THE TRACKS into a movie... TRANSPARENT, the TV series, will end as a two-hour musical... CHANCE THE RAPPER has scheduled a press conference this morning "regarding the Chicago mayoral election"... Philanthropy is punk... Your local coffee shop may be killing you... RIP TAKEHISA KOSUGI and BILL KRASILOVSKY. | | | - Matty Karas, curator |
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| On the eve of her next album, the singer has hybridized her many talents -- music, dance, activism, aesthetics -- to inspire a new model for the modern pop artist. | | |
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| The importance of competing on innovation ecosystems, not just on finished products. | | |
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| The controversial new Queen biopic Bohemian Rhapsody is dividing opinion. But critics are united in the performance of Rami Malek as the charismatic frontman. Here he tells Tom Lamont why he risked all for the part of Freddie Mercury. | | |
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| Jean-Michael Jarre and Gadi Oron, leaders of global creator rights group CISAC, discuss the problems plaguing digital music. | | |
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| Simon has appeared on "Saturday Night Live" over and over again throughout the show’s 44 seasons, with four hosting stints, nine musical guest appearances (most recently in the latest episode), and six cameos under his belt. He’s played a part in several iconic moments in "SNL" history. | | |
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| On the release of his eighth full-length album, "Bottle It In," Vile talks about life on the road, his favorite books, and the best ways to include your kids in everyday band activities. | | |
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| Ed Sheeran, Dua Lipa, Calvin Harris, Pharrell and Jessie J are among the stars who have benefited from Emil Nava's visionary direction. Hi’s work has become so entwined with recent pop culture imagery that it seems as if he single-handedly carries the zeitgeist of youth culture with him. | | |
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| Instrumental founder Conrad Withey on some very interesting recent movements in his sector. | | |
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| Is music better off? Or has it been damaged forever? | | |
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| In this detailed conversation, Nile discusses songs from his new album "It's About Time," breaks down his approach to the guitar, and reveals the DHM (deep hidden meaning) behind hits for Chic, Sister Sledge, Diana Ross and David Bowie. | | |
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| "Eighth Grade" is a film permeated by anxiety. It is a persistent, low-level hum that trails its 13-year-old protagonist, Kayla Day (Elsie Fisher), in the fluttering electronic heartbeats and 16-bit synth blares of composer Anna Meredith’s score. But director Bo Burnham gives Kayla -- and everyone else -- one much-needed breather. | | |
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| As the UK celebrates it’s first ever National Album Day author Marcus Barnes explains the enduring cultural phenomenon of vinyl records and releases a guide to the best vinyl emporiums on the planet. | | |
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| Hip-hop has been increasingly intersecting with PornHub in a variety of ways. "XXL" compiles a brief history of the site's rap moments. | | |
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| Fighting back from a rained-out Tame Impala set, Desert Daze 2018 brought My Bloody Valentine and Slowdive to prove it's one of the most unique fests in America. | | |
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| Just this past January, I wrote an op-ed about copyleft professors using the American Law Institute (ALI) to underhandedly slip some copyleft crib notes to federal judges. The project paused and I thought ALI would put an end to it. But they are back after waiting many months to wage an attack when opponents least expect it. | | |
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| Twice a year, Sony/ATV Music invites 15 to 20 of its clients to multiday “sync camps,” where they try to create songs for commercials, movie trailers and video games. | | |
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| “It fascinated me that this 42-year-old who had already imparted his joy and wisdom through his songs into my life was just figuring himself out now.” | | |
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| In his 88-part poem "Cables to the Air" Thomas Merton tells us that 'La musique est une joie inventée par le silence' -- music is a joy invented by silence. | | |
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| By all units of measurement, Pinegrove spent the first half of 2017 nearing the level of fame most indie bands dream of. All of that came to a halt in November 2017, when, in the midst of the #MeToo movement, Evan Stephens Hall took to Pinegrove’s Facebook page to publish a statement acknowledging he’d been accused of “sexual coercion.” | | |
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| For over a quarter of a century, Stephen Malkmus has inspired countless aspiring musicians to pick up a guitar, form a band and write loud, dissonant melodies and playful, witty lyrics. Pavement and the Silver Jews are amongst two of the most influential bands of the 90s and 2000s. For the last seventeen years, however, Malkmus has been performing with The Jicks. | | |
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| | | | | | | From "No Pattern," out this Friday on Same Things Records. |
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| © Copyright 2018, The REDEF Group |
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