Isle of Wight, the music festival on the English island, is happening June 13-16th 2013.
The line-up includes Ellie Goulding, Bon Jovi, Fun., Imperial Teen, and Blondie.
*All the info. you need for Isle of Wight 2013
Author: aftertheshow (Page 153 of 191)
Song of the day is “Judas My Heart” by Belly:
Defensive Modernism in art and architecture is a reaction against the chaotic, frightening aspects associated with a modern, urban milieu (ex: Art Nouveau).
Defensive Modernist art has a tendency to reject the uncertainty of modern times, favoring a more halcyon past time.
The four songs below deal with Defensive Modernist themes:
“My Apartment” by Ben Kweller:
“Modern Day Love Song” by Bethany Sharayah:
“End of An Era” by The Like:
“Execution Of All Things” by Rilo Kiley:
Angus & Julia Stone are a brother and sister from Australia. They’ve been a band since 2005 & have a bevy of great songs.
“Stranger”:
“And The Boys”:
Angus & Julia also have solo albums out.
Most covers stay pretty true to the original song. It’s easy to recognize them as covers just by listening.
Some covers, though, are completely unrecognizable from their original songs, like Julia Stone’s cover of “You’re The One That I Want” from Grease and 67 Special’s cover of “Scar” by Missy Higgins:
“You’re The One That I Want”:
“Scar”:
But sometimes figuring out what qualifies as a cover can be harder. What about when a singer plays his song with a different band? Is it simply the same song and not a cover, or is it a totally new composition, or a semi-cover?
Two good examples of this murky cover definition are when Jenny Lewis played a song from her solo album with Rilo Kiley. The vocals were the same, but the music was different, and when Nina from Girl in a Coma played her song “Smart” with Joseph from Deadbeat Darling, turning the song into a duet:
“Rise Up With Fists”:
“Smart”:
There’s a fine line — An artist should make a cover her own, injecting her own fingerprint onto it, but if a cover is so drastically different from the original that it loses/ignores the melody, that’s not satisfying for the listener.
I got to the Studio @ Webster Hall early on Friday to catch The Jim Ivins Band open for Rooney’s Robert Schwartzman.
The band started strong with “Run” — very catchy chorus. Most of their songs sound like late 90s/early 2000s power pop.
The sound was good and full, but 5 people made the stage too crowded. I think they would’ve been tighter with 3 or 4 band members, ditching the extraneous Korg keyboard.
I’d be interested in hearing some of these songs stripped down/acoustic.
“Rollercoaster” was a highlight, and they ended their set with “Everything We Wanted.”