Author: Jeff Giles (Page 19 of 41)

I Swear I’m Gonna Make You Love Me: 15 Great Bands We Used to Hate

Chances are, you don’t love all the same music you were passionate about five, 10, or 20 years ago. Some artists seem like a perfect fit for us at first, but we slowly outgrow their work — and with others, it’s just the opposite, and the stuff we couldn’t stand to listen to winds up becoming some of our favorite music. It’s a common experience among music lovers, and one shared by the Bullz-Eye music staff in a new feature called “I Swear I’m Gonna Make You Love Me: 15 Great Bands We Used to Hate.”

Taste is subjective, of course, and we have all sorts of odd reasons for being rubbed the wrong way by music, whether it’s the vocals (in his essay about coming around on Coheed & Cambria, James B. Eldred describes lead singer Claudio Sanchez as sounding like “the bastard lovechild of Geddy Lee and Neil Young”), subject matter (Michael Fortes dismissed the Flaming Lips as “kid stuff” after hearing “She Don’t Use Jelly”), or even an allergic reaction to hype (Mike Farley was tired of Kings of Leon before he even heard a note). But it’s funny how our tastes change over time — we burn out on some stuff, experience new things, and develop an appreciation for what once drove us up a wall. Hence Jason Thompson’s slow-burning love for the Velvet Underground (“Life without them now would be pointless”), Taylor Long’s hard-earned Sleater-Kinney fanhood (“I like them so much now that I’m embarrassed it took me so long to “get” them”), and Jamey Codding finally overcoming his “irrational aversion” to Tom Petty.

And those are just a few of the artists mentioned in the article. See how the Bullz-Eye staff’s tales of musical evolution match up with your own by following this link!

Heather Kropf: Hestia

The opening track of Heather Kropf’s Hestia, titled “Joy Comes Like the Morning,” sneaks up on you slowly, with Kropf’s quiet, understated vocals buffeted gently by a lovely piano melody and some minimal steel guitar fills. There isn’t an ounce of flash in the track; it rises and falls purely on the strength of Kropf’s gifts as a songwriter and performer, much like Hestia itself – which is both a blessing and a curse. When it comes to the album’s stronger cuts, like “Morning” and the Laurel Canyon-tinged “Downtown” and “Kite,” Kropf presents herself as a bewitching blend of Shawn Colvin and Suzanne Vega, contrasting innocent-sounding vocals with pensive melodies and occasionally world-weary lyrics – but her inordinate fondness for sleepy melodies and plodding tempos leaves much of Hestia teetering between tasteful and dull. Kropf says her songs function as sanctuaries – for herself and, hopefully, for others – and there’s no denying the warm, cozy feel of this album, or Kropf’s gift for spinning deceptively simple webs of delicate sound. The end result is a record that feels as light as a feather, and may leave your attention wandering for songs at a time, but one that nonetheless leaves an unmistakable imprint. (Heather Kropf 2009)

Heather Kropf MySpace page

Diddy’s “Making the Band” circles back, eats itself

Here’s the good news: Inveterate sampler, fashion mogul, and restaurateur Diddy (a.k.a. Puff Daddy, a.k.a. P. Diddy) has announced that his next album will be his last.

Now here’s the bad news: He’s also announced that the recording of said album will be preceded by yet another season of “Making the Band” — one which will find Der Didster sifting through the contestants to find the musicians and singers that will perform (at least allegedly) on the recordings. No, seriously — here’s a portion of the press release to prove it:

You’ve seen Diddy create a hip-hop group, a female pop group, and a male R & B group. Now the grande impresario is creating a group for himself, to perform on what he is calling his last album. Diddy and his team will leave no stone unturned as they scour the country for musicians and back-up singers to bring his music to life. Those who make it through the early auditions will spend several weeks proving their worth and ultimately Diddy will choose the best of the best to be in his band.

Diddy’s publicist is charmingly optimistic, and it certainly can’t hurt to try, but…bring his music to life? That’s an order too tall for most seasoned studio musicians to fill, let alone a gaggle of hapless reality show contestants. Watch a clip of the show below for a glimpse of the carnage that awaits us all, starting July 27.

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!


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