![]() There’s no clear solution, but the emergence of concept records centered around a specific subgenre has been a fascinating aberration in the new music landscape. So as a new, emerging artist, how do you break through the noise? Nirvana’s haunting anthem “Something in the Way” is propelling album sales due to its prominent placement in the soundtrack for Matt Reeves’ new Batman film. Yet while a television studio can instantly get some memberships by rebooting Sex and the City or Mystery Science Theater 3000 or who-knows-what-else, music doesn’t get the benefit of reboots. As of this writing, catalog albums by Nirvana, Eminem, Fleetwood Mac, and Queen are in the Billboard Top 40 and show no sign of slowing down. Sorting through so many new releases can be exhausting (trust us critics on this: new media burnout is real), so falling back on the old favorites makes perfect sense. With more streaming services than anyone can reasonably name (both for film/TV and music), more shows and more albums are now available than ever before, making it nigh-impossible to keep up with current trends.Ī little over two decades ago, an existing label or studio was what you needed to get funding to make a movie or album nowadays, anyone can sign up for Distrokid and put new music out in the world within seconds. He said this while linking to Ted Gioia’s piece in The Atlantic, wherein he noted how “old songs” now represent over 70% of the music consumed via streaming services. “The market is so fragmented now that it’s incredibly hard for new media to achieve the mindshare old media has. The gently psychedelic ‘Holiday’ is bewitching escapism, stripped of irony or overthought.“You want to understand why so many new shows are based on old IP?” mused Toonami co-creator Jason DeMarco at the top of the year. ‘Luvin U Is Easy’ is a tender expression of blossoming love over a smooth Balearic instrumental. Yet at other points the group reveal hitherto unheard aspects of their personality. ![]() Their appropriation of ’90s aesthetics is so full-hearted that they’re unafraid to occasionally drift into full-on Eurodance territory. “Living life on the wild side just like a bear / We’re alive – we’re just animals with beautiful hair” Sugar Bones gurns like a third-rate playboy in an unplaceable accent on the deranged ‘What I Like’. It’s less silly but more assured, happy to let pumping ’90s-indebted rave instrumentals take centre stage as often as Planet and Bones’ storytelling. Nevertheless, it’s a decidedly different experience to its predecessor. Most of the songs are still about partying and fucking. The beats are still blaring, the grooves immediate and direct. On its follow-up, ‘TILT’, the Brisbane electro-poppers are still anything but subtle. READ MORE: Confidence Man: Australian party-starters go full ‘Tilt’ on their “weird and wonky” second album.Live, it was more preposterous still: a chaotic, out of time kaleidoscope of goofy dance moves and LED lights. ![]() Confidence Man’s first record, ‘Confident Music For Confident People’, was a masterclass in hyper-charged, over-the-top pop, fizzing with in-your-face grooves and hilarious lyrics about shit boyfriends, delivered with razor-sharp deadpan by the commanding Janet Planet and her himbo foil Sugar Bones.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |