Cutting not only a distinctive physical, but musical figure in the world of rock, Bradford Cox has for years been one of music’s most creative, enigmatic and fascinating personas.With Deerhunter, the noisy ambient-punk band he fronts with equally capable singer/songwriter Lockett Pundt, and with his ongoing solo project Atlas Sound, Cox has crafted an immense, stunning body of work that truly stands alone. Although he is probably most famous as a defender of the loud, in your face spirit of punk, and for the stunning noise-rock he has created with Deerhunter for years, Cox is equally as incredible unplugged.
Corey Taylor of Slipknot and Stone Sour has no problem going acoustic. In fact, he’s played loads of acoustic covers, and we must say, he sounds downright bitchin’. Here Taylor tackles the classic Black Sabbath track “Paranoid.”
Today we're excited to present you the world premiere of moe.'s music video for "Blond Hair and Blue Eyes." The song is featured on the band's upcoming album No Guts, No Glory, available May 27, 2014 on Sugar Hill / Vanguard Records. For nearly 25 years, moe. has let their knack for dynamic, democratic improvisation influence nearly every facet of the band's existence.
For his eighth studio album Twelve Tales, A.J. Croce (son of legendary songwriter Jim Croce) took on a recording approach that was ambitious, if not downright challenging. Recorded with a multitude of legendary producers across a variety of American cities, the songs represent a patchwork of styles and influences, making Twelve Tails a sharply written and effortlessly performed blend of Americana and folk rock.
An Americana track with a tinge of British landscape, "Take Me Away" tackles the longing to be on the road and the wish to return home. It’s a simple strummed track with a few melodies embedded in the chords. It requires a big sounding guitar so my eye went straight to this 1950 Gibson Super Jumbo 200 Natural.
James Durbin was first launched into the national music scene as a contender on season 10 of American Idol. He was known for his rock edge on Idol, but after being eliminated from the show, Durbin explored this territory deeper with the harder sounds found on his debut album, Memories of a Beautiful Disaster. Recorded with heavy-hitter producer Howard Benson, the record is chock-full of gained-out guitars and pounding drums – there’s even a song featuring Mötley Crüe guitar god Mick Mars.
Candyrat Records, home to some to today’s most skilled fingerstyle acoustic guitarists, recently uploaded a video of musician Daniel Voth. Performing a new song called “Brazil,” Voth incorporates tapping techniques that, by this time, we’re well acquainted with. What’s different here, however, is the pace at which Voth propels his way through the arrangement, creating an ambient and enveloping experience through the use of delay.
Never has it been easier for songwriters to get their music heard. But never has it been harder to get paid for it. Now Legislation introduced last month by Rep. Doug Collins (R-GA) and Rep. Hakeem Jeffries (D-NY), members of the House Committee on the Judiciary, hope to address this inequity by updating two key provisions in the Copyright Act so that songwriters, composers and publishers receive fair compensation for the use of their intellectual property.