Month: June 2009 (Page 2 of 6)

Rip! A Remix Manifesto

A movie about the art form of mash-ups that features mash-ups of the movie within the movie itself? We’re pretty sure we just heard the space/time continuum begin to rip at the prospect. Director Brett Gaylor attempts to make sense of the intellectual property laws that allow some musicians to steal riffs and make millions (Led Zeppelin, the Stones), while other, more cutting-edge musicians are branded as criminals (Girl Talk), and the end result is “Rip! A Remix Manifesto,” a wake-up call to Big Media that, whether they like or not, the rules have changed. Gaylor declares Walt Disney to be the first mash-up artist, and absolutely pummels publishing company Warner-Chappell for refusing to let “Happy Birthday” to enter the public domain (it’s true: if you sing that song, ever, you’re a thief), and for suing Radiohead fans for mash-ups once W-C acquired the rights to In Rainbows. Truth be told, the doc isn’t quite a five-star affair – we were frankly surprised that he didn’t mention when John Fogerty was sued for ripping off one of his own songs – but we’re giving it an extra star because “Rip!” addresses an issue that needs to be sorted out sooner rather than later. Indeed, one could argue that the music industry’s very survival depends on it. (Disinformation 2009)

Click to buy Rip! A Remix Manifesto

Are you there, America? It’s me, Moby

Moby, you can get stomped by Obie — you 36-year-old bald-headed fag, blow me
You don’t know me, you’re too old
Let go, it’s over, nobody listens to techno
–Eminem, “Without Me”

Those words may have seemed somewhat clever in 2002, but seven years later, Moby’s still here, and arguably as relevant as ever. Matter of fact, he’s just about to release his ninth album, titled Wait for Me, and to celebrate, he sat down for a chat with Bullz-Eye’s James B. Eldred in which he discussed the recording and creative process, his waning popularity in America, and what he thinks the future of the record industry holds.

“As sad as this might sound, I sell more records in Belgium than I do in America. Even though I was born in the United States and I live in the United States, in terms of status or in terms of my record sales, it’s quite a small country.”

Remarkably candid about everything from his creative process to his cost of living, Moby comes across as thoughtful and contemplative — just like Wait for Me, which is being described as a somber and meditative departure from his last album, the more upbeat Last Night. And, much as you might expect for an artist who runs a site full of free tracks from his vaults, he’s pretty pragmatic about this whole Internet filesharing thing:

“Honestly, I’m flattered if anyone makes an effort to listen to my music. If they want to pay for it, that’s great, but I’d certainly rather someone steal my music than not listen to it.”

To read more of Moby’s Bullz-Eye interview — and learn about his gear setup, what went into the making of Wait for Me, and what he’d do if given the chance to produce a Britney Spears record, click here!

Don’t cover your ears for “It Might Get Loud”

Yeah, you see that right — it’s the Edge, Jimmy Page, and Jack White noodling together in a big-ass guitar summit, and someone was close by with a camera to capture the whole thing. That “someone” was Davis Guggenheim, who conducted interviews with the axe-gunning trio for his upcoming documentary “It Might Get Loud.” The “Inconvenient Truth” director spoke with each guitarist about his personal musical journey — and it culminated, of course, in a jam session. Watch the trailer below, and keep an eye on Bullz-Eye’s coverage for more!


Amazing Baby: Rewild

When UK bands were crashing on American shores during the Britpop boom of the mid ’90s, it made sense that Pulp would have a more difficult time making the transfer than some of their contemporaries. Singer Jarvis Cocker’s lyrics were steeped in class warfare and bedroom politics, meaning that most American teenagers wouldn’t quite understand what it meant to live like common people. Flash-forward a dozen years or so, and Brooklyn band Amazing Baby, born from the ashes of several other Brooklyn bands, lets their Pulp flag fly on Rewild, and the results are intoxicating. Ringing guitar lines, breathy but deathly serious vocals and pogo-friendly drum beats abound, but Amazing Baby are no knockoff band; Pulp, for example, would never have written “The Narwhal,” though Supergrass might have. After enduring band after band of self-absorbed ninnies, to see a group like Amazing Baby actually enjoying themselves is a sight for sore eyes. More, please. (Shangri-La 2009)

Amazing Baby MySpace page

Freeland: Cope

DJ Adam Freeland, recording under his last name alone, has finally released his second full-length album, CopeTM. Teaming up with Kurt Baumann for vocals and guitar work, Freeland stays well within his breakbeat roots while taking a romp through the many permutations of electronica and pop. With a full coterie of guest musicians, he creates an intriguing collection of songs that are more rock than dance, more driving than grooving. Influences abound: “Under Control” sounds like a perfect LCD Soundsystem track, “Rock On” is oh so Beck-ish, and “Silent Speaking” could be off of any number of Delerium discs… but all of this is a good thing. Freeland and Baumann tie it all together with distorted guitar synths and a constant energy that demands a fast car with a booming stereo and windows down, especially on “Only a Fool (Can Die),” which teams them up with Jerry Casale of Devo fame. At over six minutes, it is the longest and flat-out best song on the album. If there is any real weakness on CopeTM, it is the opening track, “Do You?” The listener has to get through this rather repetitive, non-melodic, simplistic opener to get to the good stuff, and this is unfortunate. It would be a shame to dismiss this very solid collection because one never got past the first song. Marine Parade 2009

Freeland MySpace page

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