Hooverphonic switched singers but still goes to Eurovision with ‘The Wrong Place’ After last year’s cancellation of Eurovision, a lot of countries opted to keep the same artist for 2021. In Belgium, they gave the band Hooverphonic another shot, but founding members Alex Callier and Raymond Geerts decided to change singers. 20-year-old Luka Cruysberghs, who was supposed to sing last year’s Eurovision entry ‘Release Me‘, saw her chances of performing at the contest vanish into thin air, when she was replaced by Geike Arnaert, who was the band’s lead singer from 1997 to 2008. With Arnaert on vocals, they hope to bring Belgium back to the finals for the first time since 2017 with their song ‘The Wrong Place’.
‘The Wrong Place’ was written by Callier, in collaboration with Charlotte Foret. The lyrics of the song are describing a “one night stand gone wrong” and the dark and moody vibe underlines that. The cinematic signature sound of Hooverphonic is there, but in a slightly more contemporary and exciting way than last year’s entry. The somewhat ominous instrumentation and Geike’s vocals bring layers of mystery that add to the atmosphere the ‘The Wrong Place’ paints in its lyrics (“Don’t you еver dare to wear my Johnny Cash t-shirt” is a line I never thought I would hear at Eurovision by the way.)
The track does not completely unfold on first listen. The chorus takes a little time to find its way into the mind, but once its there, it keeps on singing. The soaring melody gets just a little bit better with every spin. Now as we all know, this is not ideal for Eurovision, as most viewers will only have heard the songs once when they decide who to vote for, but an appropriate staging that underlines the mood of the song could surely make it more instantly memorable. The intriguing music video as a mood board would be a good start.
Either way I think Belgium has a good shot with the juries this year. ‘The Wrong Place’ is a strong composition that oozes quality and experience and I think Geike will be able to pull off the same on stage. It might not be instantly hit worthy enough to win the contest, but a place in the final and a decent result there should be well within reach for Hooverphonic.
MORE EUROVISION 2021 REVIEWS: CYPRUS – CZECH REPUBLIC – FRANCE – ISRAEL – LITHUANIA – THE NETHERLANDS
I have a love-hate relationship with compilation albums. Even the Alan Partridge ‘Best of the Beatles’ snobbery can’t put a dent in the joy of having all the best, or most interesting tracks in one release. But then there are the cynical money-making, album-cycle fillers, made for prime coffee table positioning, which no-one really needs in the streaming era. Rarely, though, do compilations stand on their own (The Smiths Louder Than Bombs, The Cure Standing On A Beach, Broadcast’s Work and Non Work and Memory Column: Early Works and Rarities by Mahogany immediately come to mind). When they do, they can act as a gateway for new fans to explore an artist’s previous work. The Leaf Library‘s latest release, Library Music: Volume One certainly belongs on the latter list.
Some may know the North London band by their studio albums, Daylight Versions, About Minerals and The World Is A Bell, which pluck gently at the intersecting fronds of ambient, shoegaze, drone and long-form post-rock. Library Music: Volume One, which includes 7″ singles, compilation tracks, one-offs and commissions chartering the group’s first fourteen years, is a self-contained world full of new insights into The Leaf Library’s songwriting journey. The track sequence is interesting in itself, with songs grouped by mood, not chronology. The album’s first half is a delightfully sunny nostalgic trip. Kicked off by ‘Agnes In The Square’, Kate Gibson‘s voice shimmers over a dirty Stereolab-like synth bass. ‘Goodbye Four Walls’ and ‘Walking Backwards’ are busier, guitar-driven indie singles which recall the jazzier nonchalance of early shoegaze, while ‘City In Reverse’ and ‘Soundings’ tilt like sunflowers towards a warm, folky glow (the former a real standout for its haunting dual vocals). More experimental textures are readily exposed on ‘Diagram Loops’, whose filaments crackle and pulse with increasing intensity. Another highlight, ‘The Greater Good’ is simple, but has those tiny guitar flourishes and chord transitions that give you goosebumps. Losing Places begins as a minimalist, music concrète series of loops, gradually switching on other bits of its alien machinery – whooshing pistons, chattering cogs and buzzing organs.
The second half of Library Music feels much more contemplative and nocturnal; the soundtrack for a midnight walk on the beach. ‘A Stone In The Water’ is a gorgeous lullaby with vocals by Melinda Bronstein, recalling a dialled-back Broadcast track with lilting saxophone and clarinet tickling its edges. Recorded for Modern Aviation compilation Par Avion, ‘Wave of Translation‘ sends ripples of deconstructed violin, sax, guitar and piano (all recorded separately in various homes by the band) until they converge in blissful stillness. Gibson’s yearning, languid vocal returns on ‘The Still Point’ calling far out to the horizon, while on ‘Architect Of The Moon’ she’s staring back at the earth from the chilling, echoing emptiness of an orbiting satellite. ‘Tired Ghost’ and ‘Badminton House’ create looped temporal pockets, this time via sparse synth tracks which flex and twist in response to Gibson’s words. The album closes with two more compilation tracks, ‘Tranquility Bass’ from The Moon and Back, and the remarkable aural palate cleanser ‘A Gap In The Trees’, from the now sold out Concrete Tapes Red Flag.
By the time the last, squelching, burbling, phasing synth noises of Library Music:Volume One ooze from the speakers, you might have forgotten how it all started. Such is the breadth and depth of The Leaf Library’s catalogue (a huge hint in the album title) and also the care and attention to the selection and positioning of each track. They say: “We wanted to gather all our early, scattered work before we move on to our next album, to remind ourselves (and others) of some of the poppier and less characteristic things we’ve done.” We say, they’ve achieved not just that, but a record that captures the group’s essence and character, in all its guises. Is this a ‘best of The Leaf Library’ album? No, but it might just be my favourite.
‘Library Music: Volume One’ is released on 28th October via Where It’s At Is Where You Are.
Kai Faucher, 6 feet 6 and 280 pounds, is pulling off the rarest of doubles. On Friday nights, he’s a standout offensive and defensive lineman for Studio City Harvard-Westlake High. Three or four times a year, he’s also playing the baritone saxophone at school concerts.
“Kai stands out in any crowd,” said Terry Barnum, head of athletics at Harvard-Westlake. “He looks like the other students, just three times bigger. We order an extra big chair for him.”
Committed to Brown for football, Faucher has made jazz part of his life since his seventh-grade band teacher suggested he switch from symphony to jazz because “you’re too good.”
“It was more improvisational nature than classical music, so I got into it playing various acts,” he said. “I fell in love with music.”
As much as five hours a week, he’ll practice his music at home in preparation for concerts, where he joins 19 other band members as the solo saxophone player. He’s prepping for a December concert. The discipline learned from football helps with music, such as staying focused in keeping perfect time when he’s about to enter with his saxophone.
Harvard-Westlake’s academics are challenging enough for students, but coaches aren’t afraid to encourage developing additional interests, such as acting, robotics, music, singing and dancing.
Kai Faucher of Harvard-Westlake is a two-way starting lineman and saxophone player. (Eric Sondheimer / Los Angeles Times)
“I think a lot of times football players are depicted as kids who aren’t creative,” Faucher said. “It’s old stereotypes. Now it’s good that athletes aren’t just showcasing their athletic abilities but also their creative and artistic minds.”
Said coach Aaron Huerta: “I tell the kids I want them to do other things. It’s great for them, but it means there’s more responsibilities and it’s going to be harder.”
Faucher enjoys the chance to be an influencer in two completely different endeavors.
“I hope I have a presence and my own feel and personality when I play and paint my own picture as a player and as a soloist,” he said.
In football, he has helped the Wolverines (5-3) move to within one win of clinching a Southern Section playoff berth.
“He’s our offensive and defensive leader,” Huerta said. “He gets our guys going every day. He works with our young guys. The biggest thing is his demand for effort from other guys. He’s another coach. We’ve won five of the last six games and we’re going to throw the ball more than run because of him.”
Faucher had an interesting experience as college recruiters tried to impress him.
“Not too many recruiters know much about jazz but the ones who do I actually had great conversations with,” he said. “The UC Davis coach, we sang jazz back and forth.”
No matter how many pancake blocks Faucher gets in football, that environment of playing the saxophone is something he intends to savor.
“Jazz will be part of my life long after football,” he said.
This story originally appeared in Los Angeles Times.
The Country Music Association has revealed performers for its 12th annual holiday special, “CMA Country Christmas.” First-time hosts, Gabby Barrett and Carly Pearce, will be joined by Jimmie Allen with Louis York & The Shindellas, BRELAND, Brett Eldredge, Lady A, Pistol Annies, Carrie Underwood and Lainey Wilson for an intimate evening of holiday classics. “CMA Country Christmas” airs Monday, November 29, 2021 (8:00-9:00 PM/ET) on ABC.
“CMA Country Christmas” brings the holidays home again, inviting viewers to sit back and enjoy the season in a warm and intimate home setting reminiscent of classic Christmas television specials of the past. Coming together for a night of festive performances and cozy holiday moments, “CMA Country Christmas” is sure to celebrate the magic of the Christmas season.
“CMA Country Christmas” will also feature two student musicians, supporting CMA’s longstanding commitment to support equity in music education. A student at Nashville School of the Arts, Truman Eltringham, 17, and Carter Hammonds, an 8-year-old student at FH Jenkins Preparatory School, joined hosts Barrett and Pearce for an unforgettable performance you won’t want to miss.
Starting in 2010, “CMA Country Christmas” rings in the holiday season annually with a show full of festive classics and one-of-a-kind musical performances. The event is filmed in Nashville and airs each holiday season on ABC. ABC is the network home to the CMA Awards and CMA’s summer concert TV special “CMA Fest.”
Sarah Marze’s research involves microphones, not microscopes.
She’s one of seven student recipients of 2021 UConn IDEA grants, which support summer projects in entrepreneurship, community service, research, and the arts. With her classically trained vocal background and majors in voice performance and music composition, Marze (‘23) already had an impressive portfolio.
But she knew that she wanted to take her work to the next level for the IDEA grant. She decided to bring it back to the place where she first got her start in composition—high school classrooms.
The resulting project, entitled “Let Us Sing!,” is a collection of six art songs—short pieces composed for piano and a solo vocalist—geared toward high school singers, anchored in Marze’s study of vocal pedagogy. Marze created a set of beginner, intermediate, and advanced difficulty songs for higher voices, and a corresponding set for lower voices. The songs, she says, all have “strict parameters, so they work for a lot of different developing voices.”
Writers from the Connecticut Poetry Society worked with Marze to provide the lyrics. Many of these poets are current or former teachers, giving them a sense of the themes that would resonate with high school audiences. Her collaborations with these local poets were natural continuations of her engagement with educators and mentors throughout her life.
“I got to work with composers a little bit in high school, and I found that to be a really empowering experience as musician,” Marze says. “It’s really shaped who I am as a student and musician. I wanted to give back, especially, to the high school age group.”
“Let Us Sing!” is designed to provide students with engaging, accessible performance pieces from a young, contemporary composer. It was motivated by the gaps in the existing repertoire of similar pieces for young voices.
“Any voice teacher can tell you that there is a dearth of contemporary art songs that are vocally appropriate, emotionally appropriate, and financially accessible for younger students,” Marze explains on her website.
High school singers Emma Banton and Kyra Rook enjoy UConn Dairy Bar ice cream as a reward for helping Marze workshop the song series.
Working with Constance Rock, coordinator of applied vocal studies at UConn, and Kenneth Fuchs, professor of music composition, Marze compiled a book of sheet music and instructional guidance for each song. Her final research task was to demo the songs with two local high schoolers and their teachers in a collaborative workshop. Afterward, everyone got ice cream from the UConn Dairy Bar to celebrate.
This hands-on teaching experience helped Marze solidify her pedagogical takeaways from completing her IDEA grant project. She transformed her understanding into thoughtful notes that accompany the pieces in the book. (She notes that the song “Hush,” for instance, features “repeated ‘shh’ sounds [which] are ideal for teaching beginning breath support.”) The finished project is a testament to her conviction that “artistic endeavors are research.”
“In the same way that science is necessary for furthering human knowledge, music and art are really necessary for furthering the human spirit,” she says.
With “Let Us Sing!” now complete, Marze has turned to work on her honors thesis project, a rhapsodic piece for solo clarinet and chamber orchestra called “Morning Rhapsody.” She’s also wrapping up an auspicious undergraduate career studded with other composition and performance highlights, like her “Songs of Salem, 1692” song cycle memorializing the Salem Witch Trials.
Marze sees a multifaceted future for herself after graduating.
“The thing to know about people in music is that we all tend to wear five hats,” she says. “I want my career to be a combination of performing, conducting, composing, and teaching.”
Materials for “Let Us Sing!” are available for free educational use on Marze’s website. To the songs’ young performers, she writes, “I ask that you sing with your whole heart! Making your audience feel something is more important than being ‘correct.’”
Marze, alongside high school singer Emma Banton, will be performing the pieces from “Let Us Sing!” in the von der Mehden recital hall Monday, Nov. 4, from 5-6 p.m.
October is the Month of Discovery, when undergraduates are introduced to the wealth of research and innovation opportunities at UConn. This month, enjoy profiles of outstanding undergraduate researchers on UConn Today, attend a full slate of programming on campus and online, and register for Discovery Quest to launch your undergraduate experience to new heights.
Students interested in learning more about research and innovation opportunities at UConn can check out the series of events offered as part of the Month of Discovery.
The Philly-based alt-rock innovators, Nothing but a Nightmare notably sharpened their pop-punk hooks for their third studio album, The Salvation, which features the playfully protestive single, She Always Ruins a Good Time. If any single could take down the boss-level Karens out there that seem to be becoming increasingly prolific, it’s this riotous earworm, which comes complete with frenetically witty verses and choruses that will absolutely consume you in their euphoric pit-worthy energy.
With hints of Fallout Boy and Panic at the Disco woven into the sticky-sweet 00-Esque tapestry, Nothing but a Nightmare delivered a smorgasbord of modernised nostalgia that proves that there’s never any really growing out of an emo phase.
The Salvation officially released on October 14th across all major platforms; check it out here.
Wow! Another month in the books. 3 more to go before we finish out the year. Time flies by!! We end the month with a nice haul of well over 50 releases. I only want to hear a handful of these and they will be marked in Blue. Let me know what you want to hear this week and what we may have missed. Thanks for stopping by and I hope you all have a great weekend!
Richard Marx – Songwriter – (Shelter Music Group / BMG Rights Mgt): Can you believe Richard Marx is on his 13th Studio album. Crazy! But thankfully for us he is as I will always take new music from. I’ve been a fan of this pop artist since his mullet days! This album consists of songs in 4 different genres – pop, rock, country and ballads. Interesting.
Monster Truck – Warriors – (BMG Rights Mgmt): This Canadian hard rock, blues rock, southern rock band is back with another album. Have they run their course. I hope not, can’t wait to see what they have in store for us this time around.
The Dead Daisies – Radiance – (The Dead Daisies PTY): The Dead Daisies have had more singers then I care to count, but currently it is Glenn Hughes and I am a fan of his so I am interested in hearing this one for that reason only.
And then all the rest…I might listen to some, but in no hurry…enjoy!
Sammy Hagar & the Circle – Crazy Times – (F.W.O. / Universal Music)
Slipknot – The End, So Far – (Roadrunner Records)
Icon for Hire – The Reckoning – (Icon for Hire)
Tyler Childers – Can I Take My Hounds to Heaven? – (Hickman Holler Records / RCA Records)
Kristian Bush – 52 New Blue – (Songs of the Architect / Big Machine Label Group)
Yeah Yeah Yeahs – Cool It Down – (Secretly Canadian)
Pixies – Doggerel – (BMG Rights Mgmt)
Suzi Quatro – Uncovered – (Sun Label Group)
Alice Cooper – Live from the Astroturf – (earMusic)
Dropkick Murphys – This Machine Still Kills Fascists – (Dummy Luck Music / [PIAS])
Bjork – Fossora – (One Little Independent Records)
Snarky Puppy – Empire Central – (GroundUP Music)
Zac Brown Band – The Comeback (Deluxe Edition) – (Home Grown Music / Warner Music)
Dead Kennedys – Fresh Fruit for Rotting Vegetables (2022 Mix) – (Decay Records / Manifesto Records)
Buddy Guy – The Blues Don’t Lie – (RCA Records / Sony Music)
Kabaka Pyramid – The Kalling – (Ghetto Youths International / Bebble Rock Music)
YG – I Got Issues – (4hunnid / Def Jam Recordings / UMG)
The Analog Session is made up of Alexander Robotnick and Ludus Pinsky, a pair of absolute legends from Italy, best known from their Slavic-soundalike aliases and careers built upon wild creativity, unexpected success and archives of music so vast that no one could hope to catalog it all. As The Analog Session, the music itself becomes a viral replicant — Robotnick and Pinsky come up with a sequence, a loop, a pattern and through vibing together build up a track around it.
But unlike a lot on the “experimental” side of electronic music, there’s also no doubt that The Analog Session is supposed to be fun: two guys jamming together and seeing what dope music comes out of it. Before they did this at festivals and in nightclubs they did this in someone’s garage, and still do, and the implicit message here is that so could you.
The results are unpredictable and sometimes brilliant — I had the slamming Analog Session track “Ascension” as my alarm for more than a year and woke up startled if not invigorated almost every day. It’s also about as un-commercial as contemporary techno can get. Their new Seven Textures of Sound LP leads off with a track called “Extended Chord,” and it’s as much a description as it is a title. Even some of the most bad ass DJs are scrambling to cope with listeners’ attention spans that streaming services like Spotify have shorn down to the nub, altering their arrangements to cram choruses into the first 20 seconds of any track before listeners shuffle off in search of the next endorphin hit. “Extended Chord” on the other hand is trapped in stasis. It’s nearly 10 minutes long, and for the first four minutes it’s nearly immobile. It’s like staring into an opal. From this primordial sludge a melody, a pulse of percussion and then a groove emerge, feeling fresh and unlike anything that has come before it. Moments like these are beautiful; they can only come from electronic music and a sensibility that may be heading toward extinction but was never in ample supply to begin with.
And that’s a feeling that pervades The Analog Session — like we’re hearing the last great flowering of techno live acts, the first and best of which were composed of multiple talented individuals collaborating together in the spirit of a band. I don’t know if I will see The Analog Sessions live, and at this point in history it’s not a guarantee anyone will. But this is music that belongs to them only. We may play it but we’re just borrowing it.
The Analog Session: Seven Textures of Sound LP (Hot Elephant Music / Digital / November 2021) 1. The Analog Session: Extended Chord (9:20) 2. The Analog Session: Analog Heroes (5:58) 3. The Analog Session: Two Arpeggios (8:59) 4. The Analog Session: RU-more 130 (7:39) 5. The Analog Session: Liquid reflections (8:54) 6. The Analog Session: Tech Obsession (9:27) 7. The Analog Session: Broken Song (6:49)
Disclosure Statement: This record was submitted as a promo by EPM.
In 1983, a small group of opera admirers decided the Pensacola community deserved to be enlightened and enriched by the beauty of opera music.
Now 40 years later, Pensacola Opera will celebrate its position in the arts community with a one-night-only gala concert Nov. 12 at Saenger Theatre called Forty Forward: Celebrating Four Decades of Opera in Pensacola.
“There’s a reason why those diehard opera fans love it,” said General Director of Pensacola Opera Chandra McKern. “They’ve been listening to it from the time they were little kids, or maybe you’re new to it and had no idea you like opera until you actually experience it. It’s pretty magical.”
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That magic comes to life when the audience is in their seats, the curtain goes up and they see the giant sets, beautiful costumes and makeup. There are no microphones, just the natural sound of singers’ voices projecting across a 30-piece orchestra.
The Forty Forward concert will have 16 thrilling vocalists take center stage and will collaborate with other local art organizations including Pensacola Symphony Orchestra, Pensacola Opera Chorus, Pensacola Choral Society, Pensacola Children’s Chorus and Ballet Pensacola.
The concert will include productions of Pensacola Operas past as well as never before performed productions such as Richard Strauss’ “Der Rosenkavalier” and Ralph Vaughan Williams’ “Serenade to Music.”
History of Pensacola Opera
Pensacola Opera was started when a small group of people interested in opera, including singers, parents of singers, singing teachers, professionals and business leaders, decided that Pensacola could use their rich local talent to produce quality opera and created a grassroots opera company called “Pensacola Chamber Opera.”
In the beginning, they were selling the costumes, auditioning and rehearsing singers, and designing and printing the program.
In the early 1990s, Pensacola Opera moved to its current home at the historic Saenger Theatre in downtown Pensacola. A full-time office, run by volunteers, allowed Pensacola Opera to offer its first season subscriptions and to begin its outreach programs.
The opera began its Artists in Residence program, now called the Jan Miller Studio Artist program, in 2004, bringing young professionals in for residency to tour across Northwest Florida with its education programs. That same year, Pensacola Opera was among the “fastest-growing companies in the United States,” as recognized by Opera America.
In 2008, the Opera Center added 1,100 square feet of office and conference space. In May 2009, during the 26th season, Pensacola Opera returned to the newly renovated Saenger Theatre.
Forty years later, the company has grown into an established nationally renowned regional opera company that reaches over 50,000 people of all ages each year.
Artistic Director Corey McKern did not grow up with opera when living in Alabama, but when he was exposed to it he fell in love with the sheer power of the music. He went to Mississippi State University and started singing, hoping to make it into a career.
As the artistic director he feels like a missionary, bringing that same sheer power to an audience and watching it hit people the same way it has influenced him.
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For Corey McKern, opera is a place where multiple artforms come together to form one amazing show.
“It’s sort of a one-stop shop if you want to see what all of classical music and dance and acting comes to the opera,” Corey McKern said. “And so I think it’s a good thing for young people to see and it’s something they might have not experienced. It’s like classical music on steroids.”
Music Director Cody Martin describes opera as an utterly human art form where they use their bodies as an instrument, amplified by the fact that everybody is on stage.
It’s all of the weeks of preparation leading up to the performances that make the orchestra such a breathtaking experience, including the set design, lighting and the people backstage who make sure that everything on stage runs smoothly.
“Every time I go to a performance I leave with some sense of warmth and calm like I just feel like, ‘OK, that really refueled me, warmed my soul and made me feel human,’” Martin said. “And I always come away just a little more relaxed, but also excited about what might come next, So I always hope audiences go away with that sort of feeling as well.”
Tickets to Pensacola Opera’s anniversary concert start at $25, ranging in price to $75. Tickets can be purchased online at pensacolaopera.com/event/forty-forward/, on Ticketmaster, and through the Pensacola Opera office at 850-433-6737.
Actor and comedian Leslie Jordan wasn’t done with country music yet, and a new interview makes it clear country music hadn’t had enough of him, either.
Jordan — who died on Monday (Oct. 24) at age 67 — sat down CBS News’ Anthony Mason two weeks ago in Nashville for a piece scheduled to air in November. However, the tragic news accelerated what might end up being his final television interview.
Watch the full career-encompassing interview below. Portions were filmed at Nashville’s Eastside Bowl, where Jordan was filming a new music video with country duo LoCash and “The Git Up” singer Blanco Brown.
Brown shared a short clip on Instagram on Oct. 21, with Jordan commenting, “I am so proud of this song. Thanks for making it happen.”
One day before Jordan died in a vehicle crash in Hollywood, he shared video of himself singing with songwriter and producer Danny Myrick. There, he teased even more new music. The clip is of him singing the same song he sings to close the interview with Mason, but the Instagram video includes this caption:
“Danny helped me with a new original song that should be comin’ out real soon. Love. Light. Leslie.”
A new post at @thelesliejordan indicates his fans won’t have to wait long to hear and see what the new project was. In a matter of hours, the photo received more than 100,000 comments and nearly two million likes.
Jordan told Mason he’d found a home in Nashville and felt comfortable in the community. Stars of all ages and calibers embraced him as well, some even going as far as to sing with him. An album of gospel songs called Company’s Comin‘ (2021) included songs with Dolly Parton, Tanya Tucker, Chris Stapleton, Brandi Carlile and more. That same year, Jordan would appear at the ACM Awards in Las Vegas.
Popular roles movies like Ski Patrol and The Help, plus television shows like Will & Grace are how Jordan became famous, but his star began to burn its brightest during the COVID-19 pandemic, when he started posting two videos a day to Instagram. For 80 straight days he kept up this pace, and millions fell in love with his relatable observations and humor.
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