Maeve Steele – Real

Maeve Steele – Real

 

Maeve Steele – Real

Maeve Steele – Real

 

ARTIST NAME: Maeve Steele

 

SONG TITLE: Real

 

ALBUM TITLE: Maeve Steele

 

RELEASE DATE: May 17, 2019

 

GENRE: Pop/Electro-Pop/Indie-Pop

 

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Pop-Noir songstress and blue-velvet vocalist Maeve Steele revives the timeless iconography that redefined commercial music.

 

Forged in flames ignited by the likes of Etta James, Billie Holiday, and Amy Winehouse, Maeve Steele’s music promises longevity, reminiscent of the soulful, rhythm & blues legends that came before her.

 

Born and raised in the larger-than-life Bay Area, California, Maeve was baptized by San Francisco’s paradigmatic summer of love melodies, captivated by counter-culture pioneers and rock n’ roll originators, like Joni Mitchell and Bob Dylan.

 

Immersed in a haven for untamed creative souls, Maeve’s artistry was driven by a synergy of Folk, Rock, Hip-Hop, Soul and new-wave Pop.

 

Her innate, uncompromising and eclectic love of music led her to become a classically trained violinist, later learning to play guitar and piano.

 

Boasting intoxicating, cocktail-pop instrumentation and effortless swagger, Maeve holds the written word to a sanctified standard.

 

A champion on behalf of raw realism, Maeve’s lyricism allows universality to sound extraordinary, coupling fragility with an unmatched intensity— plain-spoken poetry, adorned with progressive pop production.

 

Steele made her debut with Burn— the stripped-down single, showcasing her authentic narration of walking truth. Maeve Steele’s sophomore project MAEVE STEELE-LP—a dual- track release, featuring the singles ‘Tourist’ and ‘Real’— is poised to both rival and inspire today’s mainstream hits.

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Tell us when you are most comfortable to sing.

In the car.

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Tell us what you like to write about in your lyrics.

I like to write about how I’m feeling in ways I’ve never heard it worded or described before, that hits it right on the head without being obvious.

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State your most emotional song and the reason.

‘Tourist’ is probably my most emotional song, at least to write. It really explores a specific period of time in my life, and how it felt to be going through the motions.

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Discuss the process in finding the right sound for your vocals.

My songs always start with a line or string of words and turn into a full song often with a guitar, maybe a piano. Once the songs are fully written; it’s about exploring the themes to find the sounds that fit with them in order to build the song up and really convey what it is about.

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State the challenges you have faced as a musician.

The hardest part of being a musician is putting yourself out there in a way that’s really vulnerable.

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Tell us your opinion on how artists should raise funds for their music projects.

There are so many opportunities to make money through live performance, and so many unconventional live music opportunities.

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Tell us about the present state of your fan base.

Small but powerful!

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Tell us if you consider sharing your music with the world or a specific geographical zone.

Ideally, I’d love to share it with the world; it may take a while to get there.

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State your genre of music.

My genre is kind of a compilation of all the previous genres and artists that have shaped me as a songwriter, I didn’t necessarily sit down and pick a genre as much as I just started writing and let it evolve over time.

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State the title of your best song.

I don’t know about best, but ‘Real’ is the most popular.

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Tell us your greatest supporter.

My family – when I was too shy to even play outside of my bedroom they always encouraged and pushed me out of my comfort zone.

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Tell us the artists that have impacted you.

Amy Winehouse, Tash Sultana, Tame Impala, Joni Mitchell.

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Describe the listeners that listen to your music.

Crying on the dance floor.

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Tell us many ways of generating revenue as an artist.

Live music is the big one – as well as using your songs alongside anything that can accompany them visually.

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Tell us the future of the music business.

Diverse and accessible.

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Discuss the gains and losses of technology to the music business.

Technology has given access to a lot of opportunities to create and share music without the connections and money that it used to take. However, it’s harder to make a splash in the music scene because there’s so much out there.

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Tell us if you still make CDs of your release.

Not yet, but I’d love to get something on vinyl eventually!

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Elaborate on the song.

‘Real’ and ‘Tourist’ kind of go hand in hand to explore a certain period of my life – both look at the ups and downs.

 

Mobile Version

J-CARTER - Fake Cats Fall Back

J-CARTER – Fake Cats Fall Back

 

 

J-CARTER - Fake Cats Fall Back

J-CARTER – Fake Cats Fall Back

 

J-CARTER – Fake Cats Fall Back

 

Song Title: Fake Cats Fall Back

 

Song Title:  Out the Door

 

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J-Carter comes straight out of New Jersey with a surgical type of flow that cuts through the soul.

 

He believes hip-hop should focus on great lyrical content, tight beats, and catchy hooks.

 

He started his musical journey writing lyrics at 13. A cartel of hip-hop artists that have come on the music scene in the past thirty years motivated him into developing his musical style.

 

His music is an amalgam of old school feel mixed in with the new contemporary feel of hip-hop, but he strives to maintain his own style and voice to distinguish him from the playing field.

 

Wasting no time, J-Carter is back with his third album ‘Take Hip-hop Back’ within a year.

 

J-Carter states” This time around the people will have no choice but to hear me.”

 

Critics have criticized him about sounding too old school, not having any trap music, club bangers, and that he should not even be making music at all.

 

With his new album, he plans to silence the critics and leave no room for uncertainty about his lyrical skills while leaving his mark in this hip-hop game.

 

With 38 tracks spread across this album, there is nothing lacking to quench the thirst of the real hip-hop heads looking for that lyricism and realness in the game.

 

‘Take Hip-hop Back’ is an album that balances that traditional lyricism with a contemporary outer shell.

 

‘Take Hip-hop Back’ is the album J-Carter believes will leave a mark on the music world and bring a sound and lyrical aim in this genre for the first time.

 

Mobile Version

The Ruffs - Alligator

The Ruffs – Alligator

 

 The Ruffs - Alligator

The Ruffs – Alligator

 

Artist’s Name: The Ruffs

 

Song: Alligator

 

Release Date: 8th June 2019

 

Genre: Rock’n’Roll/Garage

 

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The Ruffs are a three-piece from Nottingham made up of Connor Spray (Guitar, Vocals), Tyler Spray (drums) and Blaine Monk (Bass).

 

Their sound is a 90’s garage/Rock ‘n’ Roll mix. Having formed three years ago they have progressed well from the simple early support slots at grass root level venues around Nottingham right up to present day having just supported Black Grape at Rock City main stage.

 

They supported The Bluetones at Rock City, also earlier this year the band played at Le Truskel in Paris and took 50+ people along with them from all over the country. The gig was a massive success.

 

Last summer they played Bearded Theory Festival and Y Not Festival as well as successful gigs with This Feeling in Nottingham and Manchester gigging in most of the UK’s cities, most notably playing the Islington O2 Academy in London.

The Ruffs have supported DMA’s, Amazons, Pretty Vicious, The Enemy, Black Grape, Bluetones.

Their music has featured on Dean Jacksons BBC Introducing East Midlands show as well as an in-studio interview with him which was followed up with a BBC Intro gig at Rough Trade in Nottingham.

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Tell us what your fans are saying about your music.

From the horse’s mouth – ‘The next big thing.’

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Tell us the factors you consider in choosing a song as your favourite.

Personally, its more lyric based, meanings, story, making sense or not as some songs can do but still be really good. The actual music depends more on my mood whether or not I’m proper into it or not at that point in time.

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Tell us the names of the producers you will collaborate with if you have the chance.

Not too sure of many producers to be honest. We’ve got a great thing going with our current producer Phil Booth of JT Soar in Nottingham. He recently had Sleaford Mods in there and worked with another top Notts band Kagoule.

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Tell us the names of the songwriters you will collaborate with if you have the chance.

Wouldn’t mind collaborating with Shaun Mendez.

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Tell us your best mood to create a song.

 Stoned.

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Tell us your interpretation of fame or success.

Not interested in fame, though it is inevitable if you are part of something a lot of people are in to. Success, I’d say is where you’ve gone out and got something that has led you to look back on hard work and bad times with a smile.

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Tell us the names of artists you will collaborate with if you have the chance.

Collaborated already with Nottingham rapper Jah Digga which was a great experience and showed how both artists can cross genres and still make a great track. In the future…I don’t really know. Shaun Mendez?

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Tell us about your experience performing on stage for the first time or recording in the studio for the first time.

I can’t really remember when my very first time on stage was or being in a studio. I know it took me a while to get used to working in the studio though and learning that whole process of how things are put together to build and build towards a final point.

 

We record our tracks live now and it’s the best way for us whereas in the past at first we did it all in separate stages and I couldn’t get the hang of it.

 

We excel at playing live, so it made sense to play the songs live so they sounded the same as when we gig them. I enjoy the studio a lot more now and am always thinking of different things to try out, anything goes really.

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Tell us how you approach songwriting.

I don’t really approach songwriting, I’d say it approaches me. I’ve written songs whilst driving to town in my car before, a full song. Then I have got songs that I started years ago but just can’t finish. Songwriting is a mad old deal. I’m blessed to be someone that is into it and can make it work; I do love it and never switch off from it. But it can be a nightmare when you try chasing it and it’s just not working at that moment.

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Tell us your opinion on blending genres or experimenting with sound.

I’m all about blending genres, sounds, experimentation and everything else wonderful and weird. Someone will like it, even if it’s only you…

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Tell us how you deal with rejection.

Take it on board and use it for fuel. Either that or listen to Shaun Mendez.

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Elaborate on what compels you to sing.

I never feel compelled to sing. I just sing because that’s me and that’s what I do.

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Tell us how you record your vocals.

Sing into a microphone that is plugged into a computer/ recording device or my iPhone.

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Elaborate on the song.

Written about four years ago – Based loosely on modern day love and social media intertwined with Mick Dundee and Shaun Mendez.

 

Mobile Version

Siobhan Mazzei - I'm Not Scared

Siobhan Mazzei – I’m Not Scared

 

Siobhan Mazzei - I'm Not Scared

Siobhan Mazzei – I’m Not Scared

 

ARTIST NAME:  Siobhan Mazzei

 

SONG TITLE:  I’m Not Scared

 

RELEASE DATE: 21 June 2019

 

GENRE: Alt Rock/Folk/Grunge/Singer Songwriter

 

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Wearing a heavy coat of grunge rock, her music acts as apologues of seclusion, transmogrification and undoubtedly individualism.

 

Siobhan tells cautionary tales for the society dating back to scratched images on a cave wall and releases the caged frustration of today’s world.

 

Intelligent songwriting that cuts to the bone, brooding with imagery alike the stories of the Brothers Grimm, is hypnotic in Siobhan’s Gaelic tinged vocal.

 

Growing up on the hem of a city center, as a teenager, Siobhan found her solace in the shelves that lined her bedroom walls.

 

Fascinated by documentaries about human action, and wearing out her DVDs and video games, through living she became involuntarily exposed to the tragedy and wonder of the world around her.

 

In turn, she cut her teeth by playing guitar in high school screamo and metal bands, whilst worshipping those who dared to bare themselves on stage and forever etched on a record.

 

Finally able to sacrifice to the screaming inside her heart urging her to use her own voice, Siobhan found a release for the frustration as a young person who had already experienced heartbreak.

 

As a part of the first generation of musicians uploading covers to YouTube, Siobhan released the apprehensions and anxieties of adolescence into music. From a delicate whisper in the ear to screaming hysteria, Siobhan has trained not only her voice but herself.

 

Crafting music that nestles in your ear as easily as the propaganda of today’s popular culture, Siobhan’s latest release, Consumed By Chaos, is a rip-roaring whirlwind.

 

“I was absolutely knackered when writing the EP. I think the ideology behind the Consumed By Chaos EP is that is literally what I was. The songs that were coming out were more erratic than my older stuff. So much was going on, and it naturally just happened.”

 

For Siobhan, the EP represents a change in direction and an outlet that was needed for a while, for it wrote itself when the time was right.

 

“Although chaos was around me, I finally had control.” she says.

 

Having been crippled by writer’s block, the words started to pour out in a cathartic flood.

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Discuss how you find the sounds that fit your vocals.

It found me I guess!

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Tell us how you come up with ideas to create your lyrics.

Usually, I use whatever life has thrown at me, to be honest! Then it’s just a case of making it rhyme.

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Tell us how you ensure the music producer balances your vocals with the instrumentals properly.

I guess it depends on who you work with – I found from previous experience taking a demo of it and playing it in the car. If it sounds good in a car it sounds good anywhere!

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Discuss the recording process of this song.

I worked with Neil Segrott at Tiny Studios. We tracked the drums and guitar together first then layered everything else on top.

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Tell us your experience recording the vocals.

I’ve always had a good experience and find it pretty easy. It’s always good to lean back when projecting and all the little bits and tricks you sort of learn on the job! I’ve recorded vocals for my own stuff as well as a recent project for the BBC and Grace Petrie.

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Tell us how you ensure your songs sound well.

Sound well?  I guess again it depends on who you work with. I just go with what sounds good to me as that’s what’s important.

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State the best means of generating income in today’s music business.

You tell me! Ha!

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State the people involved in creating this song and their roles.

I wrote the song and the parts – it was just a case of the band putting their unique twist on it.

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Explain how you get involved in music.

I started off at open mic nights about ten years ago which led to actual shows and just gradually went up from there.

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State your favourite song and the reason.

My favourite song is Olafur Arnalds – 3055. If you listen to it you will know why. It’s just beautiful.

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Tell us your opinion on the use of digital effects on vocals.

I don’t have a problem with it to a certain extent.  As long as you’re not miming live then it’s fine!

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Explain the relevance of creativity to music.

Well, you got to be creative to make music right?  Statistically, music helps stimulate the brain particularly creatively so it’s all relative.

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Tell us the steps to take before going into the studio to record.

Rest and rehearse. Make sure your band is tight before you even think of stepping in a studio.  Know the songs like the back of your hand and make sure you work out the BPM of your tracks before you go in.

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Tell us what you know about your fans.

All I know is that I am very grateful and appreciate their time and effort to come to shows. I love making new friends. I’ve made so many pals through my music and I think that’s great.

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Tell us if you see music as a rewarding career.

I believe so – once you break through.  I can’t imagine doing anything else with my life.

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Tell us what you will do apart from music.

Well, I am currently working a day job as most musicians nowadays will tell you!

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Tell us if you will prefer to watch a movie to listening to music.

Music of course.

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Elaborate on the song.

The song came to me as a sort of fight between the dark and the light. It can be interpreted many ways, but for me, it was about fighting your demons.

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Elaborate on your artist name and the title of the album.

My artist name was given to me by my parents. Mazzei is Italian and Siobhan actually came from my Mum watching an interview with the band Bananarama on TV. One of the members is called Siobhan and my mum thought the name was nice and well here I am!

 

Mobile Version

Dav Paris - Party Till The Sun Up

Dav Paris – Party Till The Sun Up

 

Dav Paris - Party Till The Sun Up

Dav Paris – Party Till The Sun Up

 

ARTIST NAME: Dav Paris

 

SONG TITLE: Party Till The Sun Up

 

ALBUM TITLE: Lost

 

RELEASE DATE:  June 7th, 2019

 

GENRE: Hip-Hop/Rap/Electro-Pop

 

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At 25 years old, Chicago native Dav Paris breaks into the Chicago music scene with his debut EP titled “Lost.”

 

Influenced by aspects across all genres of music, with a focus on pop, hip-hop, and electro-pop and, the sounds Dav creates are both fresh and exciting.

 

Through his lyrics, Dav takes the listener on a rollercoaster of emotions—from love and heartbreak to loss and confusion. “Lost” delivers a unique yet relatable perspective for those just trying to figure life out.

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Tell us how you develop your sound and style to make it different from other musicians. 

I don’t believe anything is completely different or new. People get inspired by things that have already been done and seemed to mold it into their own, which is what I’ve done. Everything has been done in some sort of way.

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Tell us your opinion on the way new artists are coming up and the frequent release of songs.

I mean if it works for you, awesome. I believe in taking my time. I’ve never been one to rush a song and never will. I’m a bit of a perfectionist which is a gift and a curse. Sometimes it takes me two weeks to write a song and other times it takes me 30 minutes. Either way, I will go over it a million times until I feel it is right, which is rare. I guess it all depends on how my energy is that day.

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Tell us your opinion on streaming and digital download of songs.

I think it is nice. It gives the independent artist a great chance of getting noticed and better opportunities to be successful in music.

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Tell us your goals and plans. 

For people to listen to my music and know even though life is hard, everything will be okay.

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Tell us five current artists that are your favourite. 

  1. Drake

  1. Martin Garrix

  1. Calvin Harris

  1. Dua Lipa

  1. Lil Nas X

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Tell us your best song up to date.

Party Till The Sun Up.

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Tell us your dream and hope for the future.

To make people feel good with the art I create.

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Tell us what has changed in the music industry.

There are a lot more tools for independent artists now than before.

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Tell us your opinion on television/radio stations playing the same songs from established artists and giving little chances to independent artists. 

I think it’s bogus. Half are industry plants. It should be real artists to get real recognition.

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Tell us the challenges independent artists are facing and how to tackle it. 

Direction for your career and value for your art – I think a way to tackle that would be to find a manager.

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Share your press release and reviews with us.

The Deli Magazine

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Tell us your opinion on using social media to promote music online.

I think it’s beautiful. It’s easier to get your music in front of potential fans with advertisements.

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Tell us about your music career.

It’s just starting so, so far so good. This is my first major release and it feels dope.

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Tell us what still motivates you to go on with your music career. 

Expression. Overcoming fear of expressing.

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Tell us about you as a person.

I love watching films and making music while drinking a Coke.

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Elaborate on the story behind the song. 

It’s about kids going out and falling in love at the moment.

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Tell us the process involved in making this song.

It is basically just a combined amount of times I’ve gone out with friends and strangers and had a good night – Inspiration from events that took place.

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State your artist’s name and elaborate on it.

Dav is a nickname my friends all gave me growing up so it is a part of who I am. Paris – because I’m from Europe.

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State the title of the song and the meaning.

“Party Till The Sun Up” pretty self-explanatory haha.

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State the title of the album and the reason for choosing the title.

The EP is titled “Lost”. I named it this because each song is an expression of how I felt at a certain point and time in my life. All have to do with relationships I’ve found myself in. The songs feel bipolar when you listen to all three in order.

 

Mobile Version

Lindsey Stirling – Underground

Lindsey Stirling – Underground

 

Lindsey Stirling – Underground

Lindsey Stirling – Underground

 

Lindsey Stirling – Underground

 

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Acclaimed and multi-award winning electronic violinist Lindsey Stirling has released a brand new music video for her new single entitled “Underground” through all digital and streaming platforms.

 

The new song will be part of Stirling’s expected fifth studio album, Artemis, which releases everywhere Friday, September 6th through BMG.

 

Featuring Stirling’s signature brand of violin-driven, electronic music, “Underground” marks a new chapter for the music impresario. Tackling themes of overcoming difficulties, and fighting through life’s downfalls to reclaim one’s happiness and strength, Stirling tells the story of Artemis, Goddess of the Moon, and draws parallels to her own personal experiences. The track’s new music video included this theme.

 

Set in a dark futuristic-world, the video opens with Stirling tethered to restraints as she plays the violin.

 

Artemis appears amidst a bright moon, shedding light on the futuristic world, giving Stirling the strength to break free of her restraints.

 

Stirling further expands on Artemis – “One of the best examples of perseverance is the moon. Time and time again she gets covered in shadow and if one didn’t know better, it would sometimes seem as though she ceased to exist. There have been times of my life where I have felt completely overcome by the shadow of grief or depression; I felt like I’d never feel full happiness again. But the moon has taught me a powerful lesson. Just because she gets covered in shadow doesn’t mean she isn’t still there… and that she won’t fight back to reclaim her full light. Artemis is the goddess of the moon. This album tells her story; it tells my story; I think it tells everyone’s story.”

 

Beginning this summer, Stirling will embark on tours in both Europe and Mexico.

 

The international dates will begin on August 10th where she’ll perform in front of an impressive 10,500 fans for a sold-out show at the Sports Palace in Mexico City. Other major European cities include Frankfurt, Munich, Milan, Krkow, Warsow, Berlin, Zurich, and London.

 

“Underground” is available now through all digital and streaming platforms. Artemis will release wide, Friday, September 6th. Lindsey plays London’s Hammersmith Apollo on October 14th (for tickets, head to Website.)

 

Mobile Version

Wrenleau – The Lucky Suite

Wrenleau – The Lucky Suite

The Lucky Suite by Wrenleau

 

Wrenleau – The Lucky Suite

Wrenleau – The Lucky Suite

 

Artist Name: Wrenleau

 

SONG TITLE: The Lucky Suite

 

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Share your biography with us.

We have fifty years’ worth of songwriting experience to draw on, beginning in 1966, in South Africa, and influenced by sojourns in Brazil, Colombia, and the United States.

 

The names, Wakeford Hart, Amethyst, Room 7, Hashtone Alley and Peter Wale are all those under which Peter Wrenleau has worked as a musician.

 

The recent switch of last names from Wale to Wrenleau was induced by:

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His having been disinherited by his father for the combined errors of having committed himself to a generally futile involvement in songwriting, as opposed to a more conventional profession.

 

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Having ended up so poor because of it that a return trip to visit family in South Africa, completely on his own ticket, was never quite within reach – The middle and last names, Alec Wrenleau are a reorganization of the letters his original middle and last names and, as such, constitute a new beginning on an old foundation, a form of personal transcendence which parallels the essential process of creating new music out of time-tested scales that remain fixed.

 

Peter’s partner in both life and music is Rachel Christenson.  Being so constantly together has given us the opportunity to work on our songs with a degree of attention to detail seldom afforded more conventional songwriting teams.  There are pros and cons to this, with respect to the product, but it’s kind of useless trying to analyze them.  This is our musical path together and we will walk it for better or for worse as regards how others respond to what we do…

 

For anyone interested enough to want to know more background information, perhaps the best thread to follow is whatever has been written concerning the creation of Peter Wale’s album of 1972 – The Memoirs of Hakeford Wart.  The effort to grow a new approach to songwriting during those years describes an unbroken series of minor evolutions stemming from those first efforts back in Cape Town…

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Discuss how you develop your melody.

You know, I really don’t have a method that I’m conscious of.  The songs I write normally begin with an idea around which melody, rhythm, and accompaniment begin to gel and grow.

 

When the idea is somewhat sophisticated, such as the song on Bandcamp called ‘Powers of Nine,’ which advocates for a certain mathematical approach in calculating the kind of tax rates I believe would better serve the interests of the people, as a whole, finding the right melodies to convey the import of the message, while hewing to the unconventional rhyme scheme chosen, was a bit like trying to solve a Rubik’s Cube.  Every aspect of the construction had to comport with every other aspect.  It took a lot longer than it took me to actually solve the Cube.

 

One thing I don’t try to do is either copy or to avoid copying, melodies I might have heard before.  That’s irrelevant to me.  I put no stake in being original for originality’s sake alone.  The piece has to end up being what it wants to be and I try my utmost to be faithful to that mission.  It can take a song many years to slowly morph into feeling…

 

You can find any number of instructional essays online about how to write a good song.  Generally, the approach outlined by such authors resides in the idea that there is a certain listenership out there that you are targeting and that you have to produce what they like to hear to be successful.  I reject that whole methodology.  Good songs come out of good songwriters in all kinds of shape and form and all good songwriters are unique channels for music.  The material they write is made out of WHO they are, more than what they can do, as uniquely an expression of their inner being as a child is to a mother.

 

To be a truly GREAT songwriter, you have to have had – and basically embodied – the life experience needed to give you the authenticity and the authority to stand alone and give a faithful account off yourself, through music, to the world.  It’s a quality that the music business welcomes at the beginning of a songwriter’s career, but often tries to suppress later on as the focus of attention on him/her moves up the corporate chain from the more open-minded A&R people in the front lines to the bean counters behind the lines who fear change and a lack of control.

 

One thing I should add is that using a range of different musical instruments and different modes does tend to stimulate the formation of new ideas in melody.

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Tell us your source of inspiration.

I feel most inspired when I’m in a passionate period and really psyched when I feel hopeful or excited.  It has a lot to do with the company I’m keeping and where I happen to be living.  Whenever I feel really vital, I tend to really engage with writing and practicing.

 

On the other hand, when the full complex of my circumstances leaves me feeling enervated and mired, when the thrill of life is not there for me, I tend not to have the spark to produce.

 

Engagement with life is what starts me being productive. Feeling like what I do has meaning for others gives me the juice I need to see the creative process through from incipient notion to a finished recording.  In that sense, I guess I’m a bit of a manic/depressive, but not so much as to be self-destructive.

 

Though I’m happily married, I’m still just a normal heterosexual male and the obvious attention of female admirers who really like my music really kicks my creative side into high gear.  In that respect, I’m hardly unusual.  That’s just life on ‘Planet Earth’ as a male human being for you.

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Tell us the most memorable experience in your music career.

Well, there have been so many.  Okay, here’s one:

 

After my first wife had left me struggling to hold together the woodworking business we had started together, for reasons which (like any clueless male) I am still unable to fathom, or justify,  I ultimately decided that plugging on alone through life was not going to do it for me.  I needed a partner; not just any partner, but the kind of partner I really needed for me to be fulfilled and one who wouldn’t jump ship when life got hard.

 

Being somewhat mathematically inclined, I decided to calculate the odds of just somehow running into exactly the kind of woman I had in mind in the general vicinity of where I was living – Seattle.   She had to be pleasing to my eye, somewhat younger, slim and fit, mild in temperament, loyal, upstanding, and very musically inclined and as keen on me as I was on her.  The calculation of those odds, if I just hung around being a struggling entrepreneur, rendered the rather dismal result that there were all of four women in all of Greater Seattle with whom I would likely be compatible.  Somehow, I had to improve my chances.

 

I elected to take a leave of absence from the business and go on a grand meditation-guided, car-camping search of the west of America until the person was encountered.  After two months of rambling across vast distances in my Renault LeCar (which I still drive around), going this way and that, throwing coins, I ended up in the wonderful little town of Ashland.

 

My first stop was a place that served espresso.  I walked up to the counter and saw a young woman who absolutely took my breath away.  My first thought was self-defeating. I just couldn’t be THAT lucky.  Three hours later, I took my leave, feeling like I’d lost something important.  It would be a long night’s drive back to Seattle and the business that would nearly kill me.

 

Fifteen months later, I was having breakfast with my housemate at a neighbourhood hangout; one of the waitresses walked up to ask if I wanted a refill on my coffee, I looked up and there she was, the same girl. “I know you!” I said.  She demurred saying that she had just moved to Seattle and knew no one, to which I replied, “No, you’re the girl from the coffee shop in Ashland”.

 

Well, that was the start of a chain of chance meetings at various places we both liked and, strangely, I wasn’t getting the usual brush off from her.  But how to make things stick I knew not.

 

On my 44th birthday, I eventually plucked up the courage to invite her out for dinner at a Japanese restaurant I liked.

 

Afterward, back at her place, there was a guitar leaning against the wall – one exactly like mine, a Yamaha FG 180.  I asked if I might play a song.  I could sense that she looked little uncertain, but I felt confident and played a song I had written called “Down in Africa.”  That was it.  It sealed the deal.  There’s a version of it on YouTube of us performing it together with Rachel on flute and me on piano.  It’s had 11,649 views.  Sometimes being a poor songwriter can be very advantageous.

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Discuss how you build your song.

I don’t have any pre-set approach to writing songs.  I’ve started from every side of the product you can think of – a riff, a topic for the lyrics, a story, a certain beat and tempo base, a melody line, a whole acapella song to which an accompaniment must be put.

 

Most times the process turns out to be a slowly evolving whole.  This gives me time to grow with the song. When writing a song, I think you have to be flexible and patient.

 

There is no point in writing music unless it is going to be not just heard, but listened to and enjoyed, preferably by as many people as possible.  Just who those people are is not something I know of in advance, but one thing I do know is that whoever they are and wherever they may be, they are already potentiated to like what I’m working on.  They can’t write that song for themselves.  It falls to me then to bring it through for them.  When I’m composing, I am acting like a channel for them. In reality, it’s THEIR song too.  What is a song without a listener? – Nothing but a cup of water, evaporating in the sun, with no one to drink it.  After all, if they were not so predisposed, they would not connect to the music, hearing it only as some kind of noise, the way a dog does.

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Tell us how you ensure your music inspires others.

I wish I could say, with confidence, that my music does, actually inspire others. Now and then, some people say nice things, but when I look at the statistics of our subdomain on Bandcamp, I’m far from convinced.  After fifty years of trying to improve my skills as a songwriter – forty-five of them wasted on a failed effort to make it in the American arena – I have to admit to not having inspired nearly as many in this market as would have been needed to warrant what I have invested in the writing of songs.

 

Let’s look at the numbers, shall we?  After five years of having had our music up on Bandcamp, until just this past week, not a single person – not even friends or family had bought even one single download.  The small price attached is virtually inconsequential.  That’s some pretty powerful indifference, maybe even rejection, if you ask me.  The ultimate barometer of having inspired others is how much cash they don’t mind exchanging to get a file, a CD, a record, or a ticket to see you live.  By that measure, I would be lying if I told you that I thought that our music inspired others.

 

Now, this may not be what you want to hear but I’m not going to pimp myself giving you a line of B.S.

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Discuss the relevance of promotion to the music business.

Hey, without promotion, what’ve you got? There’s nothing more soul-sapping than playing your guts out to a half-empty house, regardless of how much you’ve been paid to do it.  People have to know about what you intend to present for their entertainment or enrichment, or they’ve just going to sail blithely on into the distance as they go about their lives, oblivious to what you have to offer.

 

There are two principal types of promotion – proactive and responsive.  The proactive type is a lot more difficult for me than the responsive.  It isn’t easy to get people who have never heard about either you or your work to be curious enough to want to check out what you have to offer.

 

To many of them, you’re just another hungry mouth selling snake oil.  It’s really an uphill slog to get that part going. Blogs can help in that respect, especially if you have a compelling story to tell.

 

Once you have some kind of social presence, on the other hand, it’s a very different kettle of fish. That’s the downhill part of the career trajectory.  You go from having your foot on the accelerator to having it ready over the brake.

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Tell us what you will do apart from music.

First, you need to understand that, having been driven out of Seattle, after 39 years there, by the insatiable greed of landlords, we now live way out in the mountains of Oregon in a shrunken little town that once had a lumber mill and six times as many residents.

 

We bought an old abandoned cafe with significant structural defects.  Before we could move in, the power company cut the lines, so now we live without externally supplied electricity, on-tap hot water or a furnace (we have snow up here).

 

Rachel’s siblings very kindly contributed a Honda generator which can power anything we need to run, like the vacuum cleaner, even if we do have to lug it outside and use extension cords.

 

We don’t so much LIVE up here as survive.  Every day, it’s work, work, work, from dawn to dusk, just to keep up.

 

What we do have is a wood stove and lots of free wood to cook with and stay warm.  It’s cheap, but it takes a lot of effort to size the wood properly, all of which we do by hand because we both hate the sound and stink of a chainsaw and because you have to keep in shape to be able to live well in this environment.

 

Summer, which comes relatively late, is pleasant, but it’s also a time of hustling to get a lot of things done – the extensive garden we have, repairs to the building, the maintenance of another property we own and the caretaking of two other properties.

 

Grass grows like crazy in the early part of the summer.  It also burns like crazy, so you have to keep it mowed so that the town won’t burn down if we have a wildfire.

 

Aside from that, Rachel has stand-by work at the hospital, forty miles away, which makes for a long day, when you throw in the commute over a couple of passes.  The pay may not be lavish, but our expenses are much lower here than in the city.

 

Then there are the cats we have had to take in that are the product of other people thinking they don’t have to get their animals fixed.  We have five who live an indoor/outdoor living and one who is only outdoor.  They require daily attention and, to be honest, provide a higher level of a personal company than the other humans in this town do.

 

As the Beatles so aptly put it, all you need is LOVE.  A few townspeople may like us, some, but these cats really love us.  Thank God for pets!  The downside of this arrangement is that we are constrained in how long we can be away from here – three days max.

 

Notwithstanding the lack of free time, our life together is rich with interests and the better part of that is that I have Rachel to share it with.  We’re both existentialistic in our outlook on life, so virtually everything is opened for investigation.  Of course, there isn’t time for everything, and we have a demanding vegetable garden and fruit trees to attend to and keep going through the very dry hot season if we are to get decent yields.

 

Over the years of working for a living in America, I developed a broad range of practical skills.  The upside of that is that I can repair almost anything.  The downside of that is that I feel that I have a duty to fix everything that could use those skills; and since things break and wear out, there is never an end to the things that need to be fixed, maintained or tended.  Tools, cars, appliances, musical instruments, our house, trees, and the garden – they all need attention to remain in decent condition.

 

Consider our five vehicles, acquired over a period of forty years for the accrued outlay of $2,800 – a 1963 GMC pickup, a 1978 Renault LeCar, a 1983 Honda Civic sedan, a 1986 Audi 5000 and a 1990 Volvo 740 Turbo station Wagon.  That’s an average vehicle age of 39 years, which translates into quite a bit of car work to keep the whole collection roadworthy.

 

Ironically, we don’t do a lot of driving.  On the other hand, we have never been unable to get where we needed to be when we needed to be there, because of car trouble, and always been able to move anything we needed wherever it needed to go.

 

If all of this sounds a little isolationistic, I don’t blame you.  But don’t be fooled.  We’re actually pretty gregarious people who enjoy engagement with society.

 

Aside from the too rare times we get to hang out with friends (because of practical circumstances), I spend a large amount of time using what writing skills I have to advocate for better conditions in society, environmental sustainability, fiscal responsibility in government and lower levels of personal exceptionalism, militarism, poverty and homelessness in America.

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List the names of the instruments you can play.

Well, that’s easy: piano and guitar.

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Tell us if you have any music background.

I’m assuming here that you want to know whether I had any instruction in music when I was a child.  The answer is, yes indeed, not just in piano, but with the school choirs, I sang in.

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Tell us the piece of advice you will give to a new artist on entering the music chart.

Far be it from me – a proven struggler in all things musical – to tell anyone how to go about being their own kind of maker of music.  But maybe there are a few clues I can shine a light on.

 

The first thing I should say is that the race goes to the turtle, not the hare.  The turtle just keeps on plugging and is not distracted by other prospects, his intention remaining ever fixed on getting to the finish line, whether he wins or loses to the hare.  So don’t be in too much of a hurry to make your first million dollars hit record.  You’ll be far more fortified for the long haul if you focus more on liking the music, learning about basic music conventions like notation and chord structure and fully appreciating the collaborators, allies, and friends who give you credit as you attempt to progress toward whatever general goals you have in mind, with respect to music.  More than anything, life involves the making of memories.  The happy ones will sustain your involvement with music; the uncomfortable ones will load you down, especially later in life.

 

Also, on a cautionary note, limit your personal exposure to people who appear not to appreciate you for the path you feel compelled to follow, whatever aspect of music it relates to, especially those you are expected to be close to, especially direct family and lovers.  The closer you are to them, the more potential they have to harm your morale with their indifference or disdain.

 

You may be God’s gift to the world of music, but if your joy is shattered by some thoughtlessly hurtful word or action by someone you have failed to keep at arm’s length and allowed to get under your guard, it can mean the death of your would-have-been fabulous career.  I lie not.  This path isn’t all good times, easy lovers, bouquets, and pats on the back.  There are snakes in the grass of life and they will bite you if they can, so if you value what you do, learn to recognize where they lay waiting and steer clear of them.

 

Oh, lest I forget, you should be rigorous about learning what offers to take and what to take a pass on.  Bad experiences at the hand of disingenuous actors can break up a band just like THAT!

 

Last, once you have reached the level where you know, for sure, that people enjoy hearing you perform, unless you want to end up playing at open mic nights at nebulous cafés for the rest of your life, insist on being paid if you’ve been invited to play live before a crowd.  If they don’t want to compensate you for your efforts, be sure of one thing:  they’ll be using you for their own gain, at your expense; not a good situation.

 

OK, let’s assume you got really good and made a great recording.  You’re ready for the big time, right?  Wrong.  Even the very greatest song ever written can come to nothing in the world, never having reached the tiniest fraction of the people it should have given pleasure to.  In fact, that is exactly what happens to most of the truly awesome songs written; they just die on the vine, waiting for people to come and discover them.  Great songs are less discovered than aggressively plugged and promoted.

 

With every decade that passes, people think up new ways to promote songs and write extensively on what they think works.  The trouble with “what works” is that, as soon as the cat is out of the bag, everybody and their mother is out there doing the same thing, effectively negating the advantage gained by any of them.  I think you have to be sly, like a cat, if you are to be successful, realizing that any true advantages you gain are only true because they pertain either exclusively, or personally, to you and not to others.

 

You have to know when to wait and when to pounce, what you can succeed at and what is too big for you.  If your social skills are good and you know how to express yourself well, you will be better prepared to take advantage of your opportunities than those whose skills in those areas…

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Elaborate on melody and rhythm.

One thing you discover as you become better at songwriting is that certain melody/lyric combinations can go from sounding lame to being very snappy when the emphases contained within them are selectively shifted from the downbeat to the offbeat or twixt the beat, or converted to being three notes on top of a four-beat bar and so on.

 

The best way to get a handle on this is to find popular songs, from any era, that you are familiar with, that use these techniques and sing along with them.  That way, you don’t need to delve into the complexities of how the timing works; you just get a feel for it.

 

As far as melody is concerned, I pay a lot of attention to having a lot of moving lines in what I do, with all of the lines having their own pleasing structure.  During the course of a piece, different sections of the scale will be moved to the fore, and then back to allow some other part to be featured briefly.  It is safe to say that my material is melodically dense, in contrast with most popular music these days, based as it is, so often, on loops.

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State your future goals.

I’ve had many future goals over the years and none of them amounted to anything worth talking about, except perhaps mournfully.  So, with respect to goals, for the most part, I take things one step at a time these days.  I tend to get more done that way.

 

That said, I have to confess to having some mid-range and longer-term goals, with respect to music, and you will pardon me, I hope if they sound overly inflated.

 

I did not set out from South Africa on a yacht, back in 1972, with small dreams.  I wanted nothing short of becoming recognized internationally for the music I would one day write.  That goal remains unchanged.  And though I lack the means to make the fullest use of the material that Rachel and I have been preparing, my skills have finally reached the point where that material is ready to be recorded in the way I have always yearned to see.  The pieces you listened to are the beginning of that process and in the form presented only a demo.

 

The plan is to elicit the support to produce all of this material in optimal form, painstakingly produced and on vinyl, in a highly provocative album with arresting inserts, using the skills of the very best people for every skill needed.

 

After that, depending on how I feel about how it all turned out, I’d very much like to try for some traction in Asia.  It’s the center of mass for humanity and incredibly diverse.  I’m not sure whether this would be a good or a bad thing, but I think it would be a very interesting thing to be at least partially successful in doing if, indeed, it were even possible.

 

With respect to life goals, time spent living somewhere in Europe (where migrant refugees are humanely treated and universally accessible healthcare is considered a right, not an unaffordable fantasy) is a long-overdue experience we need to undertake.

 

I can see myself, an elderly man, twenty years on, sitting quietly with an espresso at an outdoor table overlooking the restored Aegean, watching the beautiful young people of the future go down to the beach and the boats on the water, chatting amiably with the expats from elsewhere around the globe, penning a note or two to friends, before retiring for my customary midday nap, after which, I get up, have a shower, put on something nice and go out to dinner  with some beloved companion and, thence, off to the universe of dreams, in which, I appear young, handsome and strong, with new dreams – dreams within a dream…..

 

Surely, that’s not too much to ask.

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Share your recording experience with us.

I have been recorded in studios in Cape Town, Johannesburg and Seattle and at concerts in Cape Town and Cortland, New York.  In addition to that, I have done a lot of home recordings on some fairly decent equipment.  One thing I have not done is taken as much time as would be needed in a studio environment to reach the pinnacle of the potential in any given song of mine.

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Tell us the most difficult part of the recording.

The time pressure – When there is pressure to get something recorded, as is normally the case, it acts against being able to just relax and let one’s expressive side take over.  This tends to rob the execution of the piece of liveliness, which gives it that special edge.

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Discuss the greatest mistake you have ever made in your music career.

This happened in Rio de Janeiro, in 1972 and I never forgot it.  Somehow, TV  Globo had learned that there was this Anglo-educated piano playing singer available – me – so they asked me to do a rendition of the song, “I Can’t Live If Living Is Without You” by Badfinger and made into a huge global hit by Harry Nilsson.  Stupidly, I agreed to the very narrow window of opportunity to practice it up.

 

The day came, the cameras rolled and I absolutely bombed – a complete meltdown on the launch pad of my career in Brazil. They had a studio orchestra there.  It was absolutely humiliating.  There is no doubt that it destroyed what credit I had with the people at Odeon records who had been initially impressed with my demos.

 

One day, I’m going to sit down and absolutely nail that thing and put that little devil to bed.

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Tell us how you build up your composition.

I do a lot of rewriting as I go about practicing what I have -deletions, additions, inserts, key changes, modulations, wordsmithing and sometimes, scrapping.

 

When I’m completely tapped out of ideas about what to change next, I move on to performing the piece as expressively as possible, because that, too, is an important element in existential totality of the piece if it is to be a living and compelling thing.

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Discuss the relevance of music.

Maslow’s Pyramid of human needs puts self-actualization at the very top, above power and esteem.  To my way of thinking, there is no form of self-actualization higher than a sincere and heartfelt immersion in either the creation or the appreciation of aesthetically exacting outcomes in some medium or other.

 

Here we are talking about music, but the way of the artist and the lover of art goes way beyond music.  It includes anything that can be done with creative finesse.

 

The special status of music resides in how difficult it is to master convincingly and also because it really is the making of something out of nothing but air and movement through the dedicated application of a great deal of concentration and effort.

 

The awe we attach to some legendary performer’s offerings is in some way magnified by the fact that he or she is a mortal being – a transient presence in the grand march of time – whose divine and unique form of expression will be heard no more in the flesh after death, except in memory.

 

With the advent of records we have eased some of the poignancy of that realization, but not completely.

 

How any given person responds to the question, “Is music relevant?” depends on what level of Maslow’s Pyramid; their consciousness focuses on most keenly.

 

If they are very poor and homeless, and 100% their energy and effort are being directed toward getting enough to eat and drink to be able to stay alive, they’re not going to think that music is very relevant in their lives.  The next step, once the first level has been addressed, is safety and security.  People in the throes of trying to meet that need will most likely say that music is somewhat important to them.

 

In the next step up – human relationships – music begins to be a very important part of their lives, often taking center stage as an enabler of those processes.

 

One step up from that – development of empowerment and wealth – music becomes an absolutely essential component of just about every action involved, not just as a tool to facilitate events, but also as a personal passion.

 

In the pinnacle of the pyramid – self-actualization – if the path chosen up the mountain happens to be music, you live and breathe it.

 

So as you can see, the relevance of music is relative.

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Elaborate on the song.

It began simply enough.  I liked the sound of a certain chord – a certain voicing of G major ninth, with a jaunty sound to it.  It turned into a chord progression with a descending bass note and, viola, the essence of the song was born.  The sound of it suggested an upbeat theme and the most upbeat thing I could think of was the hugely positive difference that Rachel’s appearance had made to how regarded life after the awful sequence of life events that had preceded that serendipitous meeting.

 

A song with three nice verses presently emerged, basically all in one musical modality, which was OK but kind of context with the sad sense of the first two verses.

 

So I thought to myself, can I use a muted transposition of the basic chord structure, using G minor ninth, and thereby add to the interest factor in the construction of the piece? – And what about an introduction on the piano to set the mood or an overture kind of thing?  I tried it and Rachel said she liked it, so I broke up the meter in the poetry of the first two verses to make it even more interesting and added a solo-like kind of break, with a chromatically ascending pivot after the second verse to connect the parts together and a chromatically descending cadenza to finish it off.

 

What we ended up with was in no way similar to anything out there – no convenient loops, no recognizable genre grooves, no choruses, no underlayment of bass and drums, just endlessly unfolding interwoven melodies and a story.

 

Well, it got awfully hard to do in one sweep, so before I gave up on it, we decided to write out the whole piano part so it wouldn’t get lost, like so many other big pieces I’d done in the past.  That took about two months.

 

We had a friend about twenty miles distant in another small town who we would visit who had developed a keen interest in software that could write notation and be played back.  He offered to transcribe Rachel’s hand-written notation into a program called Audacity.  Then we would drive down to his place and edit the work until it played as I wanted it to sound, complete with expression instructions.  That sounds simple, doesn’t it?  In fact, it was damnably difficult and took more than two months to bring to completion.  Putting the voices and recorder parts on was relatively simple…

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Elaborate on your artist name and the title of the album.

Wrenleau?  Are you sure you want to know?  Okay.  Way back when I was named Peter Laurence Wale.  That was the name I performed and wrote under until 2019.

 

My father was a wealthy man – a millionaire – but when he died and his will was opened, everything had been left to my sister.

 

I wasn’t mentioned and ended up receiving only a pitiful fraction from her of what I would normally have been eligible for.

 

My relationship with my father had never been very close – his choice, not mine – but from my perspective, it had been conducted honourably, throughout.

 

Being struck from the will drove right to the heart – Memories of times past that I had rationalized away as normal for a British- oriented family suddenly took on a darker and less charitable caste.

 

I resolved not to have this thrust down my throat without some appropriate response.  That response was to end all connection with a family that, in the balance of things, had brought me more grief and diminishment than happiness, and the surest way I had of doing that was to adopt a new name phonetically different from that which my father had given me and, in particular, his name, Laurence.

 

I would keep Peter because too many who loved me knew me as Peter, but the other two would go.

 

My one concession, in honour of my natural birth mother, who had left when I was three, was that I would keep the letters of those names inside the new name I chose.

 

I am now, legally, Peter Alec Wrenleau, half English and half French, in accordance with my complex ancestry, and stretching back to the year 1066 and will, henceforth, be known in the music world as Wrenleau.

 

Mobile Version

Hendrix - Dispirited

Hendrix – Dispirited

 

Hendrix - Dispirited

Hendrix – Dispirited

 

Artist Name: Hendrix

 

Song Title: Dispirited

 

Release Date:  6/25/2019

 

Genre: Indie Electronic/Electronic Pop

 

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Discuss how you find the sounds that fit your vocals.

I experiment.  I usually find the sounds and work the vocals in.

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Tell us how you come up with ideas to create your lyrics.

I think I’m a little bit different from other artists on how they create the music.  For me, the music creates the lyrics.  The music puts me in a mood.  I derive emotion from the mood, and then put the emotion in a setting.

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Tell us how you ensure the music producer balances your vocals with the instrumentals properly.

The mix is always fluid.  I think because of my unorthodox style of writing and developing the music, it can be difficult to find the balance.  I feel we’ve done a really good job with ‘Dispirited’ and the other songs that can be found on the website.

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Discuss the recording process of this song.

I start all the songs on acoustic guitar and then move them to the computer in my home studio.  Once I’ve figured out the “canvas”, I move it to a studio to add the analog and vocals.

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Tell us your experience recording the vocals.

I don’t sing…I wish I did, but I wasn’t blessed with the gift.  I’ve been blessed with working with some very talented vocalists as is the case with ‘Dispirited’ where Katie Shorey lent her amazing gift.

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Tell us how you ensure your songs sound well.

It’s a process.  We mix…I take them home and listen and listen and listen…make notes and bring back to the studio.  It can go quick or slow.

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State the best means of generating income in today’s music business.

Generating income at an independent level is extremely hard.  Having access to social media, internet, etc. helps to some extent.  I think it’s having a unique vibe to your offering.  I’m hoping that through the video series I’m creating on the website will allow a visual presence as well.

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State the people involved in creating this song and their roles.

I wrote and laid down the instrumentation for ‘Dispirited.’  Katie Shorey provided the beautiful vocals.  Robert Eibach from Del Oro Studios engineered, mixed and helped with the production of the song.

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Explain how you get involved in music.

I’ve been around music all my life.  My parents always played various instruments while I was growing up.  I always wanted to do something with music no matter how large or small.

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State your favourite song and the reason.

It’s hard to state a favourite song because that varies with my emotions.  If I’m happy, I like more upbeat music.  If I’m down, I like more solace vibes.  I’m all over the place.

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Tell us your opinion on the use of digital effects on vocals.

I like using effects on vocals.  I look at vocals like any other instrument.  I think you can be creative with them, but again, you can have too much…just like any other instrument.

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Explain the relevance of creativity to music.

I think it’s important to be creative in all aspects of art.

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Tell us the steps to take before going into the studio to record.

As mentioned earlier, I like to have a song ready to go before I record.  I have the “canvas” ready and then put the colours on in the studio.

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Tell us what you know about your fans.

 They have good taste in music!

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Tell us if you see music as a rewarding career.

I don’t see music as a career…I see music as a necessity for my sanity.

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Tell us what you will do apart from music.

My family is my other focus apart from music.  I love them dearly.

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Tell us if you will prefer to watch a movie to listening to music.

I like both mediums and it also depends on my mood.  However, there’s nothing like going on a long drive with a great playlist.

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Elaborate on the song.

‘Dispirited’ is a rather obvious song.  It’s about a love breakup and the pain that goes with it.

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Elaborate on your artist name and the title of the album.

Hendrix, fortunately enough, is my last name.  I would be a liar if I said I wasn’t trying to capitalize on the familiarity of the name.  On top of that, I like the logo that was created to go with the name as well.

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Share your press release and review with us.

Press

 

Mobile Version

Sean McMorris – C’est La Vie

Sean McMorris – C’est La Vie

 

Sean McMorris – C’est La Vie

Sean McMorris – C’est La Vie

 

Sean McMorris – C’est La Vie

 

ARTIST NAME: Sean McMorris

 

SONG TITLE: C’est La Vie

 

ALBUM TITLE: C’est La Vie

 

RELEASE DATE: April 19, 2019

 

GENRE: Alternative Pop/Rock

 

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Website

 

Tell us how you develop your sound and style to make it different from other musicians.

I’ve always been drawn to writing original music and have spent very little time in cover bands. Over three decades, multiple bands and solo projects, I’ve developed a fairly unique approach. Ultimately, my voice, songs, lyrics, and melodies allow me to stand apart. Producer Christian Cassan has definitely helped shape the sound of my records.

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Tell us your opinion on the way new artists are coming up and the frequent release of songs.

It’s very difficult to break through the noise out there. But, the internet and social media are powerful tools for independents like me to help us reach out to people. I’ve released three solo albums so far, and it’s my preferred medium. A single just doesn’t tell you much about the artist. That said; there’s something to be said about putting out singles in this day and age. Let’s face it – it’s cheaper and quicker.

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State your experience as a musician.

I’m a top-shelf drummer who attended the Berklee College of Music. I finished my Bachelor of Arts in Jazz Performance at CUNY. I’ve played with theatrical legend/Tony Award winner Bill Irwin, with Richard Lloyd of television, and countless other projects ranging from jazz, blues, rock, to R&B.

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Tell us your opinion on streaming and digital download of songs.

I’m all for it as long as the artists are able to make a living. The problem is, as always, who controls the channels of distribution and how does the money flow.

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Tell us your goals and plans.

I’m working hard on social media to reach new eardrums. I’m also gathering songs and ideas for the next album. I’d like to perform a few shows but have no plans for touring.

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Tell us five current artists that are your favourite.

Parker Millsap, Tal Wilkenfeld, Milk Cartons Kids, Wilco, Neil Finn, The Punch Brothers, Radiohead, and many more…

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Tell us your best song up to date.

I have no contractual obligations to release anything; therefore I only put out my best stuff. I just released C’est La Vie which is as good as the best of them and also happens to be upbeat, danceable and catchy.

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Tell us what has changed in the music industry.

Anyone, anywhere in the world, with an internet connection, has access to my music. That’s the single biggest change for musicians. You don’t need a record label for worldwide distribution. Social media allows you to reach out to potential new fans everywhere.

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Tell us your opinion on television/radio stations playing the same songs from established artists and giving little chances to independent artists.

Fame is still the single most powerful factor in marketing and selling. Independents don’t have the kind of budgets necessary to exploit this reality. It should be more about the music and less about marketing anyway, but that’s just how it goes!

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Share your press release.

Sean McMorris is a cunning pop tunesmith who taps into the hook-laden vein that runs from The Beatles through Crowded House up to the present moment, mixing reflective, philosophical lyrics with earworm melodies for maximum impact.

 

Besides being a gifted singer/songwriter with three albums to his credit, he’s also a top-shelf drummer who refined his skills at the Berklee College of Music and played with rock heroes and cult figures alike.

 

Despite sporting as Irish-sounding a name as you can find, McMorris grew up in Paris, France before making his way to the U.S. as a teenager.

 

After attending Berklee, he eventually made his way to New York City, where he played with everyone from theatrical legend Bill Irwin on Broadway to Richard Lloyd of punk-era icons Television.

 

In the 2000s, he worked with NYC bands Peg, The Blondes Inc., and Lazy Lions.

 

In 2013, the brainy pop gems McMorris had been honing for ages finally made their way to the ears of the wider world for the first time when he released his solo debut LP, Lo & Behold.

 

Two years later, he followed it up with another album’s worth of trenchant tunes, Elevated Man.

 

In 2018, McMorris relocated to Los Angeles, where he’s currently keeping his drumming skills sharp by working with Billy Joseph & The Army of Love.

 

This year, he’s released his third and most ambitious album yet, C’est La Vie. Working closely with producer, engineer, and multi-instrumentalist Christian Cassan (best known as indie-pop phenomenon Jonathan Coulter’s right-hand man), McMorris has crafted a set of songs that are simultaneously more emotionally weighted and more gracefully crafted than anything he’s done before.

 

In addition to the melodic tapestry weaved throughout the album by McMorris and Cassan, C’est La Vie boasts some extra sonic firepower courtesy of a rock guitar giant. Cassan got the tunes to Dave Gregory, known far and wide as XTC and Big Big Train’s lead guitarist. Gregory liked what he heard, and added his unique sound to a number of tunes on the album, giving it that extra musical boost up into the stratosphere.

 

Never at a loss for ideas, McMorris always has at least another album’s worth of songs at the ready by the time he’s released the last one. So don’t be too surprised if he pops out another LP full of equally enticing tunes before you’ve fully absorbed his latest.

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Share your review.

Jacob Aiden for Jamsphere Music Magazine, April 2019

 

I really enjoy music that reflects the artist, not artists that reflect the music. Sean McMorris’ songwriting and lyrics are impeccable, and this album aptly illustrates his immense ability. Put it on and let it play through. Every track is great, one of his best to showcase his songwriting capabilities.

 

Sean is an amazing talent whose rough edges only make his brilliance shine brighter. This is an important record. Not just for a Sean McMorris fan to have, but for any fan of genuine music. The first three songs alone are worth 5 stars.

 

For example, if you listen to the amazing opening track “Don’t You Let It” on headphones, you can crank up the volume to hear the beautifully layered acoustic guitars and shimmering keyboards. And when Dave Gregory’s guitar solo slides in, it’s quite euphoric.

 

Guest guitarist Dave Gregory of XTC and Big Big Train appears on 4 tracks on this album. The sound is primarily rock, emotionally strong, and upbeat, so expect driving and intense arrangements like the title track, “C’est la Vie” and the guitar crunch of “Strong and Gentle Hands,” which again features Gregory’s six-string.

 

First, these songs excite you. Then, they leave you gently melancholic. Then, they make you blissfully nostalgic. I’m talking about the triad of tracks that comprise “Vortex”, “Never to be Heard Again” and “She Spins a Revolution”. They invigorate you to the degree that you know this is more than just entertainment.

 

Once more, Sean shows maturity both in his guitar style as well as his singing voice, which is in fine form. It helps, of course, that he is playing alongside a bunch of highly competent musicians such as Christian Cassan, Bennet Paster, Thad Debrock, Richard Feridun, and the aforementioned Dave Gregory.

 

As we move ahead through the album, the quality of the compositions, lyrics, creativity, musicianship, and vocals is of the highest tier. “Winds of Love”, “The Yearning”, “No Ordinary Life” and “Crazy” should be spiritedly embraced in the same pantheon of music as his more famous peers.

 

Eloquent and poignant the motifs of “The Yearning”, upbeat and jangly the tones of “Winds of Love”. Throughout Sean McMorris seems to be in a comfort zone that makes the record feel more complete.

 

All things considered, Sean has yet again put together a fine record that proves his consistently excellent knack for song-craft.

 

In a music industry where mindless pop clogs our charts, a musician such as Sean McMorris is more than a breath of fresh air. That he will build momentum and popularity over time should be inevitable…in a perfect, just world.

 

Unfortunately, we’re stuck in this impaired one – C’est la vie! Luckily Sean McMorris is right where he needs to be artistically – a top-notch singer and songwriter, at the height of his game. He is a wonderful artist, and I couldn’t possibly love this album more.

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Elaborate on the story behind the song.

The idea that, in the age of social media, it’s never been easier to “find yourself a mate who shares your distaste,” had been floating in my head for a while. Social media is the perfect vehicle for the “misery loves company,” crowd. One’s antennae must be on high alert at all times. Prick up your ears and read between the lines!

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Tell us the process involved in making this song.

As it does most of the time, it all begins with an acoustic guitar in hand. I tend to work out about 80% of it on my own and leave enough room for producer Christian Cassan and me to sit together and finalize the tempo, the form, the chord changes, etc.

 

We then record acoustic guitar and vocals and build the track from there. The acoustic guitar is sometimes abandoned as the track organically develops into its own through exploration, trial & error!

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State the title of the song and the meaning.

“That’s life” is a direct translation of the French expression “C’est la vie.” It’s used when you resign yourself to accepting something for what it is. The irony is built into it. English equivalents would be “that’s how it goes,” “that’s the way the cookie crumbles,” or “it is what it is.”

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State the title of the album and the reason for choosing the title.

For the title for the album, I appreciate the more literal meaning of C’est La Vie. It simply says, “This is life,” where the entire collection of songs paints a broad picture of the times we live in, in all its complexities.

 

Mobile Version

Nicki Minaj - MEGATRON

Nicki Minaj – MEGATRON

 

Nicki Minaj - MEGATRON

Nicki Minaj – MEGATRON

 

Nicki Minaj – MEGATRON

 

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Nicki Minaj emerges with her new sweetheart in the music video for the song entitled ‘MEGATRON.’

 

The song is spinning while the performance is dramatic.

 

The lighting of the video is outstanding, and it adds to the value of the video.

 

MEGATRON is well-produced.

 

Nicki Minaj

With a distinct style and glamour, Nicki Minaj skyrocketed into superstardom with a skill that brought to mind past legends but wasn’t like anything before it.

 

Coming from early days that included shaky attempts at an acting career and being fired from Red Lobster for not being polite to customers, Minaj progressed from MySpace demos to adored Mixtapes to household-name status, working with Drake, Lil Wayne, Kanye West, and every upper-echelon rapper and pop star before moving up to stardom that had her selling lots of albums and performing in the Super Bowl halftime show.

 

As a rapper, Minaj was known for her unique flow that shifted on a dime from sugary to snarling, with razor-sharp wordplay and blunt lyricism.

 

Her crossover into pop territory later yielded some of her most successful work.

 

2010 album, Pink Friday, saw the rapper branching out into radio-friendly melodicism and was the first of her albums to sell in the multi-platinum reaches and top chart positions.

Establishing herself as more of an iconic presence than an album artist, Minaj released well over 70 singles under her own name in her first decade of recording and stole the show in guest appearances on countless hits for other artists. Minaj’s fame was canonized by stand-alone singles like “Superbass,” “Starships,” and “Anaconda,” all of which were chart-topping smash hits with stream counts in the hundreds of millions.

 

As one of the most successful rappers and crossover pop stars of her age, Minaj stands in a lineage that includes Jay-Z, Missy Elliot, Drake, Beyoncé, and others who made impressions the world over.

 

Nicki Minaj was born Onika Tanya Maraj in 1982. Born in Saint James, Trinidad and Tobago to parents who were both gospel singers, she lived with her grandmother in Saint James until the age of five, when she joined her mother, who had moved to Queens, New York.

In high school, she discovered the performing arts, setting her sights on acting as her main pursuit.

She transitioned more into music, working as part of a group called the Hood$tars in the early 2000s before branching off solo.

In 2007, Dirty Money Entertainment CEO Big Fendi discovered her demos on MySpace and signed her to the label.

At Fendi’s suggestion, Maraj took on the stage name Nicki Minaj, jumbling her last name to reflect a more ruthless persona.

Dirty Money Entertainment released both her 2007 debut Mixtape Playtime Is Over, and its 2008 follow-up, Sucka Free.

Industry buzz was already surrounding Minaj on her earliest releases, and these Mixtapes already featured guest appearances from stars like Lil Wayne, Gucci Mane, Jadakiss, and Lil’ Kim.

 

2009 Mixtape Beam Me Up Scotty was a favourite among a growing fan base and also included her first songs to hit the Billboard charts.

 

In August 2009 Minaj signed to Lil Wayne’s Young Money Entertainment, becoming the label’s first female artist.

 

The floodgates opened from there, as Minaj made cameo appearances on tracks from Gucci Mane, Kanye West, Pusha T, and others and offering verses to hits like “Bedrock” and “Roger That” from the 2009 Young Money collaborative album We Are Young Money.

The official debut album came in the form of Pink Friday, released in November 2010 but preceded by the hit singles “Your Love” and “Check It Out.”

The album saw her leaning more into a pop style than the hard-edged rap of her Mixtapes, but the hybrid of the two proved successful, and the album debuted at number two on the Billboard 200 and went platinum, selling upwards of 375,000 copies during its first week alone.

 

She earned a handful of 2011 Grammy nominations, including Best New Artist, Best Rap Album, and Best Rap Performance.

An all-out media blitz followed between albums, with extravagant performances at award shows across the globe, an appearance as a musical guest on Saturday Night Live, and joining Madonna alongside M.I.A. for her Super Bowl XLVI halftime show.

 

In early 2012, the Euro-dance-influenced single “Starships” signaled the coming of her official sophomore effort, Pink Friday: Roman Reloaded, an album built around her devil-may-care alter ego “Roman Zolanski.” Guest artists included Nas, Lil Wayne, Rick Ross, Chris Brown, and Beenie Man, while production came from the likes of RedOne and Ke’Noe.

 

The album hit number one on the U.S. album charts, driven by a Top Ten showing for “Starships,” and “Va Va Voom” also reached the Top 40. By the end of 2012, American Idol assigned Minaj as a judge for the 12th season, although she left at the end of the season.

 

It hardly affected her success, as she set two career records during 2013: the most-charted female rapper in the history of Billboard’s singles chart, and the first person to win Best Female Hip-Hop Artist at the BET Awards four times in a row.

She then announced her third studio album, The Pinkprint, which appeared at the end of 2014.  Young Money compilation Rise of an Empire released in March of that year included the first single “Looking Ass” while follow-up “Anaconda” was in nomination for Best Rap Song at the 2015 Grammy Awards.

 

Filled with songs about regret and failed relationships, critics received the album well and it debuted at number two on the U.S. Billboard 200 chart.

 

Throughout 2016, Minaj guested on many singles, including DJ Khaled’s “Do You Mind” and Ariana Grande’s “Side to Side,” and she also released her own “Black Barbies.”

In 2017, Minaj issued a trio of stand-alone singles: “Regret in Your Tears,” “Changed It” with Lil Wayne, and “No Frauds” with Lil Wayne and Drake.

The latter song went gold and broke into the Top 20 of the Hot 100 and Top Ten of the R&B and rap charts.

That year, she also appeared on the Migos track “MotorSport” with Cardi B and on Jason Derulo’s “Swalla” with Ty Dolla $ign.

She returned with the singles “Chun-Li” and “Barbie Tingz” in spring 2018, paving the way for her fourth studio album, Queen, slated for an August release that year.

Before the arrival of the album, the single “Bed” featuring Ariana Grande came out to further entice fans.

~ David Jeffries & Fred Thomas, Rovi

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