Jeremy is a Montreal-based musician, sound artist and improviser who loves giving advice to emerging artists on how to make their tours more effective. He writes, records and performs electroacoustic “concrète” music for tape, oscillators and amplified objects and surfaces, as well as solo guitar. He has performed and released material throughout Europe and the UK, Asia, the US and Canada, mostly with his trio Sontag Shogun.
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This is an exciting music video that takes full advantage of high-intensity performance footage and a gripping narrative. The members of Bullet for My Valentine are soaked by rain throughout the performance, which is both perfectly fitting for the song title as well as an ode to the twist in the storyline towards the end of the video. After discovering her partner cheating, the girl violently pours a can of gasoline all over the man, the other girl, and herself, before dropping the lighter to reveal that it’s in fact water — a cruel joke in retribution.
Muru was initially created to solve a professional problem I had as a music curator. As a consultant, I was creating these incredibly long playlists for small venues like bars, restaurants, hair salons, etc. The very initial idea for Muru was to build a search tool that would help me find more songs with the same “vibe” as the ones I had already found. If a Jackson 5 song worked really well in a previous playlist, I wanted to find songs with a similar vibe for the next playlist.
And yes, it’s a masterwork. This isn’t just Japanese new-age hindsight fetishism at play here. Takada’s brilliant suite for marimbas and synthesizer brings Asian timbres and African polyrhythms in perfect contact with the minimalist language of composers like Steve Reich, Terry Riley, and Brian Eno. The fact that this record never made it out of Japan was a cultural crime that needed to be rectified.
Modes and Key Signatures have a variety of different characteristics and are great for outside-the-box songwriting. Here’s a cheat sheet to remember them!
If things went according to plan, you probably made new friends and fans over the course of the tour. Now that you’re home, you’re noticing a bump in your social following and you have new people asking when you’re coming back to their town.
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Eventually, the bass line drops down an octave and changes its stubborn pedaling to play chord tones along with the rest of the rhythm section. It starts with the same old D and A. Next, it moves to C♯ and A for the A chord. Then it moves to the B chord but still keeps the pressure on with that non-chord-tone A. Finally, it rounds off with a pleasant, resolute walk-up, bouncing back up between notes of the major scale and A, which is the root of the chord. Classic!
You never know what could be worth exploring in more depth. If they’re doing really well with a strong following in Southern California, even though they’re based in Florida, maybe you want to look at expanding your reach to Southern California.
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This is one I’m sure you’re familiar with, even if you might not have known its fancy name. It’s also sometimes called Verse-Repeating or Chorus form, because it essentially repeats the same section, but with new lyrics each time. If we’re thinking of things in terms of “A” sections and “B” sections and so forth, this would just be multiple As, one after the other.
To collect these royalties, songwriters must be registered with a performing rights organization, or “PRO.” These organizations exist to track, collect, and distribute public performance royalties. The U.S. PROs include ASCAP, BMI, and SESAC. In the UK, there’s PRS For Music, France has SACEM, Germany uses GEMA, and so on.