The influx of new music sites that incorporate social media could be attributed to the fact that users have the urge to show off the music they’re listening to. Musicians have also been taking advantage of the power of social media sites like Facebook and Twitter to share new music and keep their fans updated. Philippines-based Twitmusic is the latest player to the game: a Twitter-focused music site that allows users to play the music that’s featured on the site and tweet it. Budding musicians can also opt to launch your music on the site. Interested? We caught up with co-founder Stefano Fazzini to find out more.
What spurred your decision to start Twitmusic?
Back in the day, Twitter was growing rapidly and a large demographic of musicians were flocking to Twitter to connect with their fans and share their music. However, musicians would tweet links to their followers where the song could be played, but those websites didn’t offer a way for their followers to re-share it back to Twitter, besides a banal ‘tweet’ button – we saw this as a fundamental problem as it limited the level of sharing and engagement and consequently, the spread on Twitter. That’s why we created Twitmusic.com.

After exploring the site and its functions, Twitmusic seems to be a great venue for budding musicians to get their music heard. What were your intentions when you’ve decided to create this site?
Nowadays, almost every musician has a Twitter account. So we wanted to create a platform that lets musicians effectively share & promote their music on Twitter. Several artists have commended the service and love its seamless integration with Twitter. Aria Clemente, a Filipina YouTube sensation, has been using Twitmusic very effectively to reach her followers and new audiences on Twitter by posting her music and engaging with her listeners. Another artist making waves is Mr. Rootsy, one of our success stories on Twitmusic, who has attracted around 40,000 listeners from around the globe.

Barring users like Jason Mraz, MC Hammer, and Bow Wow, most of the musicians in the site are independent artists. How do you plan to reach out to mainstream artists?
That’s a good question. Right now, we want to create the best possible product for musicians on Twitter, and if we can do that, then there’s a strong reason for the mainstream musicians to jump on-board. Aside from that, we’re constantly in communication with music labels, artist managers and music artists to explore opportunities in promotion and distribution.

You also have a list of recommended artists in the website. What process do you go through to choose who gets to be on this list?
The team curates all the content on the site. We select music from various genres that we think are awesome! I’ve never been a big fan of dance/house/electronic music, but now that I’ve listened to a few tracks on Twitmusic, I’ve become a HUGE fan! We want all our listeners to experience that sort of music discovery on the site.

How do you see the site evolving once it has gained the attention of mainstream pop artists?
We hope that one day Twitmusic will be the exclusive launch pad for new singles and albums. In fact, Bryan Adams exclusively launched his new single “Don’t Look Now” on Twitmusic. You can listen to it here.

What other goals do you plan to achieve with TwitMusic?
Well, we’d love to get Justin Bieber and Lady Gaga signed up on Twitmusic. That would be the day!

 

Check out TwitMusic here: twitmusic.com and follow @twitmusic!

 

Article and interview by Cindy Tan

Cindy Tan is a music enthusiast who enjoys writing, amongst many other things.
Contact: thisiscinders@gmail.com

Tiësto

CLUB LIFE – Volume Two Miami

Tiësto, the renowned House/Club DJ who, among other things, performed the first live-streamed concert on Twitter in 2012 and has his very own wax statue at Madame Tussauds. Collaborating with artists from various music genres (Kanye West, Katy Perry, Yeah Yeah Yeahs, Goldfrapp), Tiësto is considered as the most hyperactive DJ in the world: he does regular world tours, DJ residencies, started a clothing brand, has his self-owned record label, Musical Freedom, and still manages to find time to create albums! Speaking of albums, Tiësto will be releasing his latest mixed compilation CLUB LIFE Volume Two Miami in May, distributed by Love Da Records.

International superstar DJ and producer Tiësto announces the April 23th release of his new Mix album, CLUB LIFE – Volume Two Miami, via his own record label, Musical Freedom. The second installment in Tiësto’s exciting CLUB LIFE series is inspired by Miami – one of the world’s premiere dance music cities.

Tiësto explains, “I picked Miami because it’s one of my favorite cities in the world. There’s so much to do, the club life there is amazing, it’s a very glamorous city. I play in Miami a couple times a year and that’s where I got my inspiration from on this album.”

CLUB LIFE – Volume Two offers unique access to Tiësto’s Miami, a city renowned for its world class night life, beautiful party goers and everlasting summers. Tiësto crafts the CLUB LIFE experience masterfully, using his own exclusive original productions and remixes as the driving force behind the album. Exclusive songs, written by Tiësto specifically with the Miami club culture in mind, include the enormous Wolfgang Gartner collaboration “We Own The Night,” the aptly titled “Chasing Summers,” and a high energy team up with Russian trio Swanky Tunes on “Make Some Noise.”

“I wanted to create songs that give fans the opportunity to experience the sound of Miami clubs, whether they’ve been there or not,” Tiësto says.
Showcasing his pre-eminent remixing abilities, Tiësto has created a handful of remixes for Volume Two. Coldplay’s “Paradise” gets a shot of patented Tiësto adrenaline; Gotye’s international chart topper, “Somebody That I Used To Know,” is reimagined as a late night party starter; The Naked & Famous’ indie anthem “Young Blood” gets tag teamed by Tiësto and young Dutch star Hardwell; and lastly Afrojack’s latest hit, “Can’t Stop Me Now,” is ramped up into a muscular, floor-filling affair.
Commenting on his remix work Tiësto says, “With the remixes on this album, I took a handful of songs I love and created remixes filtered through the CLUB LIFE sound. I’m really proud of how they’ve turned out and am excited for people to experience them.”
Rounding out the mix, Tiësto calls on his fellow DJs and producers, sprinkling in personal favorites from his Musical Freedom label as well as exclusives: Baggi Bagovic’s ”If A Lie Was Love”, Sultan + Ned Shepard’s emotive “Walls” and Avesta’s festival anthem “Arena” all inject a perfect dose of contrast and balance as only Tiësto could.

Tiësto’s official online store is selling exclusive CLUB LIFE – Volume 2 Miami merchandise bundles, including signed copies of the album, t-shirts, posters and more.
Tiësto will be supporting the album throughout 2012, starting with his March 23rd headlining performance at the Ultra Music Festival in Miami and continuing with more than 100 dates on the CLUB LIFE WORLD TOUR.


CLUB LIFE – Volume Two Miami Track List:
Tiësto – Miami (Original Mix)
Tiësto – Chasing Summers (Original Mix)
Tiësto & Wolfgang Gartner – We Own The Night ft. Luciana (Original Mix)
Tiësto – What Can We Do (A Deeper Love)(Third Party Remix)
Baggi Begovic ft. Josie Cotton – If A Lie Was Love (Original Mix)
Gotye ft. Kimbra – Somebody That I Used to Know (Tiësto Remix)
Coldplay – Paradise (Tiësto Remix)
Sultan + Ned Shepard – Walls ft. Quilla (Original Mix)
The Naked & Famous – Young Blood (Tiësto & Hardwell Remix)
John Dahlback – Life (Original Mix)
John De Sohn ft. Andreas Moe – Long Time (Original Mix)
Ivan Gough & Feenixpawl ft. Georgi Kay – In My Mind (Axwell Mix)
Avesta – Arena (Original Mix)
Afrojack & Shermanology – Can’t Stop Me Now (Tiësto Remix)
Tiësto & Swanky Tunes – Make Some Noise ft. Ben McInerney of New Navy (Original Mix)
Tiësto – Maximal Crazy (Original Mix)
Tiësto:
www.clublifemiami.com
www.tiesto.com
www.facebook.com/tiesto
www.twitter.com/tiesto
www.youtube.com/tiesto

Musical Freedom:
www.musicalfreedom.com
www.facebook.com/musicalfreedom
www.twitter.com/musicalfreedom

 

The Sound of Love and Vengeance: A Glimpse into the Heart of Ho Tzu Nyen’s “The Song of the Brokenhearted Tiger”

“Once upon a time, a Tiger and a Forest lay entwined in a coil of love”

Midnight black dominates and forces itself into the field of vision. Ever so slowly, but at gathering speed, tendrils of smoke emerge from the foreground of what can be considered as the “stage.” A syncopated buzzing is heard. Starting off as background noise, the hissing and warbling sounds become as obtrusive and as unsettling as the darkness itself. A procession of some sort seems to be happening before and around the audience, for together with the gradually brightening houselights, rhythmic drumming is heard along with prophetic distortion from an electric guitar. When a deep voice telling of the chronicles of the brokenhearted tiger and four vague figures were perceived on stage through the overwhelmingly dense walls of smoke, we know that “The Song of the Brokenhearted Tiger” has commenced.

Music, Narrative, Theatre, Dance, Philosophy—what are these fields but man’s attempt to mine the truth from the experience of life? The search for truth, in love lost, in purity tainted and defiled is what “The Song of the Brokenhearted Tiger” aims to propel. The perennial quest for truth is the governing thematic force behind the The Studios series staged by The Esplanade to commemorate its tenth anniversary. Fusing the disparate elements of history, music, drama and Malay dance into a monumentally compelling work of art, “The Song of the Brokenhearted Tiger” situates the search for truth, clarity and an understanding of the present through a (re)examination of the past in a context that is distinctly South-East Asian. The Director, Ho Tzu Nyen, calls his project “an exercise in storytelling.” Distorted music layered with pounding thunderclap drums creates an atmosphere of ferment and chaos through which “the audience must generate the images upon the screens of their imagination.”

But what of the “Tiger” and the “coil of love”, then? How do these elements fit with the dominantly musical features of the project? Truly, it is in the marrying of the narrative of the tiger with the brutal noise rock that rages against the walls of the Studio Theatre, and the presentation of narrative with music in the form of traditional Malay dance that the sheer conceptual ingenuity of “The Song of the Brokenhearted Tiger” is evident. By appropriating the narrative of the Malayan tiger being displaced from its natural habitat by the overarching forces of industrialization and colonialism, Ho frames and situates the question of truth within the context of South-East Asian history. Where can truth be found, now that the pristine realm of the forest has been rent apart by the foreign feet of iron and steel? Where is the truth behind life lost and love lost? Where is the truth in change and chaos? How is the truth to be arrived at? Never proscriptive but always suggestive, “The Song of the Brokenhearted Tiger” hints that truth is created in the imagination of the audience as each member engages with the pummeling barrage of light and sound around them to author meanings that are historically grounded but also subjectively nuanced. Truth is the summit that heart and mind reach in unison.

At the end of an hour, “The Song of the Brokenhearted Tiger” ends with the Ghost of the Brokenhearted Tiger returning to Forest to sing a final song of grief, an elegy to his beloved “Green Cathedral.” Earsplitting sonic textures and deathmarch drums herald the close of project. Anguish and vengeance are implied in the last resounding salvo, underscoring the importance of looking within and through ourselves for the truth. Then the tiger stops signing. The houselights come on.

—Indran Paramasivam

Indran is a freelance writer especially interested in culture and the arts. In this age of speed and connectivity, the relationship between art and society and between art and culture is complex and dynamic. Situated in Singapore, Indran is actively involved in exploring how art, particularly, music, is produced and received amidst a backdrop of ever-evolving trends and influences.
Contact: indranparamasivam@gmail.com

Apr 162012

Singaporean musician Charlie Lim, who is based in Melbourne, recently returned to the island city as part of his Asian Spring tour, and caused a pretty big wave of excitement in his wake. His last show of the tour took place on 11th April at The Pigeonhole, which also closed local label KittyWu’s ‘Return of the Kitty’ showcase at the book café/ art space. Lim played to a capacity crowd.

The audience, comprised of mostly 20 to 30 year olds, had no qualms about waiting a half hour before Lim and his band took to the performance area. It was as if they already knew his hour-long set would be worth the wait. Playing mostly originals, interspersed with covers as diverse as Erykah Badu and Jeff Buckley, Lim led the young audience on a journey of discovery through the stripped down, improv-driven set.

Supported by bassist Jase Ng, keyboardist Euntaek Kim and drummer Aaron Lee, the 24-year-old brought a fresh approach to the relatively old genres of jazz and soul. This fresh approach might have been the combination of a few things: his enviably dynamic guitar playing, which ranged from delicate notes on the opening of ‘Rust’ to unorthodox rubbing against his torso for effects during an impromptu mid-song jam; his impassioned, bold music direction & performance that had him jumping at the accents, stomping to the beat as well as re-starting a song that he felt needed to be more uptempo; his whimsical use of a vocoder on songs like ‘What Can I Do’, ‘Pedestal’ and Badu’s ‘Bag Lady’, just because “it’s the last show.” Perhaps, it was just his unassuming, geek chic appeal. He introduced a then untitled song by asking the audience to think about which title would suit it better, ‘Bitter’ or ‘Embers’. It was a tough choice considering the song’s dark connotations but somewhat uplifting feel, characteristic of the bespectacled songwriter who cut a stylish silhouette in a buttoned-up polo and slim fit jeans.

If Lim’s perfect combination of velvety vocals, exquisite falsetto and beautiful songwriting on his EP has gotten listeners infatuated, his live performance will make them fall in love. For those who have yet to hear his debut EP, now is a good time. Get a digital copy at charlielim.bandcamp.com/ to prepare for his upcoming gig this August at The Esplanade.

By Audrey Fenghuang

Audrey Fenghuang is one quarter of rock band The Auditory Effect, and an oddball fascinated by music in the context of pop culture.
Email: audreypere@gmail.com

 

Sea Of Bees aka Julie Ann Baenziger is releasing her new album – a breakup but not sad album, Orangefarben, after the acclaimed Songs for the Ravens in 2010. Robin Hilton from NPR described Sea Of Bees’ music as “rooted very much in folk and rock but wildly experimental”. The US multi-instrumentist’s sublte melodies, well-crafted arrangements and powerful uncommun voice give a great fresh shake to the folk genre.

After her hugely acclaimed debut album Songs For The Ravens, Sea of Bees – a.k.a. Sacramento-born and-based Julie Ann Baenziger – returns with a stunning new album, Orangefarben released on 9th April on Heavenly Recordings and distributed by Love Da Records.

With many of the instruments (drums included) played by Jules (as everyone calls her), Orangefarben is a more unified and mature work, rooted in the primary colours of guitar, bass and drums, but including glockenspiel, strings and pedal steel too. From deliciously upbeat (“Girl”) to mellotron-lined mystery (“Smile”), from swarthy passion (“Alien”) to ambient and tranquil (“Grew”), the album sits comfortably with Sea Of Bees’ primary influences (Bright Eyes, Sigur Rós, Joanna Newsom, Sunny Day Real Estate frontman Jeremy Enigk). But given Baenziger’s spine-tingling voice and her equally distinctive songwriting style, it only sounds like Sea Of Bees.

Orangefarben - German for ‘the colour of orange’ – comprises ten original songs and an equally heart-tugging cover of John Denver’s “Leaving On A Jet Plane” that plays a special part in the story behind the album. It’s a classic break-up record, recalling Jules’ former relationship with the woman she used to call… yes, Orangefarben, which unfortunately did not survive the year. Orangefarben is anything but maudlin however, as fired up by the discovery and wonder of love as the sadness of its passing.

Raised in Roseville, a conservative suburb of Sacramento, California, in a religious household where only Christian rock was deemed fit fir purpose, Baenziger eventually broke free and started writing songs and playing house shows. She was soon discovered by John Baccigaluppi, owner of Hangar Studios, who provided the means to record her debut EP Bee Eee Pee, which led to Heavenly signing her and releasing Songs For The Ravens in February 2011 and now Orangefarben, both of which Baccigaluppi produced at Hangar. Over-brimming with hooks, as gutsy as they are intimate and delicate, Orangefarben is a major leap forward for Sea Of Bees, who will be heading out on tour as a full band through 2012, having already toured with the likes of John Grant, Smoke Fairies, Calexico and Vetiver.

Find more about Sea Of Bees on her website, Facebook page and MySpace, and listen to the track “Broke” below:

Love Da Records (HK) announces the release of CRYBABY (Helium Records), the self-titled debut album by English musician, Crybaby aka Danny Coughlan. Set up on the theme of the difficulty in human relationships, Crybaby leads the listener into a smooth landscape of sad but beautiful songs.


['I Cherish The Heartbreak More Than The Love That I Lost' is] … a wonderful blend of Roy Orbison, The Smiths, Phil Spector and the Jesus & Mary Chain. An utterly charming debut.”
The Guardian F&M Playlist 13 Jan 2012

Crybaby make music for grown-ups, music for those amongst us who know that both pain and pleasure can be brutal but temporary, so you should hang onto their redemptive and restorative power as long as you can.

The first single, I Cherish The Heartbreak More Than The Love That I Lost (released 19th March) is a love song to heartbreak, and a statement of intent for the album as a whole. What Am I Supposed To Do Without You Now? takes the view of a lover turned carer in a relationship with a dementia sufferer. A Misery Of Love tackles the problem arising when two people find themselves stuck together through circumstance or fear of change and the resentment that can create, while When The Lights Go Out (the second single) is about saying goodbye to someone close and finding solace in your memories when they’ve gone. Crybaby’s songs look at the devices and tools we use to gain the upper hand in relationships, how we cope with the presence – and the loss – of others, and they do all that in a wonderful, moving sort of way we can all understand.

Bristol’s Danny Coughlan is from a large, musical Irish family and being a musician was his only ambition from an early age – school, was, “at best utterly dull and at worst terrifying.” As the years went on Danny would make music under many guises, from a heavy metal band at school to a sharply dressed mod-soul band Babel, who were signed to Acid Jazz offshoot People Tree. However, it wasn’t until November 2010 when Danny, paying the bills by working on a building site, bought a 4-track tape machine on eBay and began to write a load of new songs that drew on all the records he’s loved since childhood.

His demos came to the attention of Helium Records who put Danny in the studio with Merrick (Chris Hughes) from Adam & The Ants, who plays drums on several songs and co-produced the record with Mark Frith. What emerged from the sessions was Crybaby proper. Named after Garnet Mimms’ Cry Baby – one of the truly seminal songs in the development of soul music, it was famously covered by Janis Joplin – the name also references the John Waters film and hints at that peculiarly lachrymose strain of early 60s RnB. The resulting self-titled album is a collection of blissfully spare, fully focussed pieces propelled by dramatic imagery and gripping melody.
 

Find more about Crybaby on Ohcrybaby.com and Facebook.

Watch I Cherish The Heartbreak More Than The Love That I Lost and let yourself be charmed by this track:

Crybaby is distributed by Love Da Records in South-East Asia.

The media has always portrayed Myanmar as an isolated country rife with political turmoil. One would least expect to hear of an indie rock band emerging from this country but that is what Side Effect is – a three piece indie rock band from Myanmar who tells us about the side effects they have experienced due to their unique situation.

Hi guys, can you tell us a little bit about the backstory of the band? How did you guys meet?
Side Effect has three main members. Darko C., the lead singer and lead guitarist and Jozeff K., the Bass/Guitar are brothers. Darko met Tser Htoo when he was in another band, and managed to convince him to join Side Effect in 2005. When Side Effect plays live, they play with Hein Lwin, who is their stage Bass player.

What is it like being in an indie band in Myanmar?
There are a lot of challenges. On the one hand, we face similar difficulties to bands anywhere in the world – we can’t earn enough money from our art and music, we can’t afford gear and instruments and recording studio time, and its tough to step up to mainstream pop acts with corporate dollars backing them… But we’re happy to do our recording DIY even if it doesn’t sound spectacular, and we pool together our resources, and beg, borrow and steal from our friends to make our music. On top of all this, there are special challenges in Myanmar. There is no 24 hour electricity, our music is censored by a government board, and we can’t earn enough in our day jobs to pay for our music habit…

Is there an underground/indie music following or scene there?
Hardly. There is a punk scene and a metal scene and a hip-hop scene, but people define themselves too much on their genre, and if you don’t fit into the strict categories (like us!) then it’s a challenge to find fans. Young people want to rebel against the system, but they hide behind the comfort of labels and cliques. The most popular and famous bands in Myanmar don’t play original music – they play Burmese-language covers of Western rock and roll and Top 40 hits. Most of their fans don’t know that they are ‘copy songs’ and not original tunes…

As Myanmar had been isolated for a period of time, how easy or difficult was it to get access to foreign indie or underground music from Myanmar while growing up?
When we were young, it was really tough to get a hold of foreign and underground music in Yangon. In the late 90s and early 2000s we desperately were trying to get Kurt Cobain and Nirvana tapes to listen to. One time in University I somehow got a hold of a copy of a French music magazine – there was an article about the White Stripes – I didn’t understand a thing, but I knew I had to try to get their music. The Internet connection here is super slow, so its really tough to get new underground and indie music.

Have you seen a change in that now?
Nowadays some of our foreign friends bring us tons of new MP3s. We’ve recently been getting into The National and The Maccabees. Sometimes you can find White Stripes and other popular indie bands CD and DVDs at local music shops these days. The Internet is as slow as ever so its hard to get access to new tunes still.

What are some of your favourite bands and musical influences?
The Ramones, Handsome Furs, The Strokes, Yeah Yeah Yeahs, Placebo, Blur.

We understand that you have met with some difficulties in raising funds to record your debut album. Do you have plans to venture overseas to develop your music career?
US and international sanctions towards Myanmar have a devastating impact on everyday people like us. We don’t think Americans mean to hurt indie musicians, but the story of how our crowd-funding campaign on indiegogo.com was frozen because of US banking sanctions is good evidence. We played our first ever show abroad in Bali at the ASEAN Summit in Indonesia in November 2011. We had an incredible time, and got to jam with some Indonesian heroes of ours from Superman Is Dead. We really hope to be able to break into the Asian market and play more with our brothers and sisters across the region… We are looking for sponsors and booking agents to help us play in Thailand, Singapore, China, etc.

Thank you so much for doing this interview with us. We’d really love to hear your album and we wish you all the best.
Our debut LP is going to be out on May 5th, 2012! It will be available on our  for digital release on our Bandcamp and at stores across Myanmar for physical release.
 

Interview by Cindy Tan.

Cindy Tan is a music enthusiast who enjoys writing, amongst many other things.
Contact: thisiscinders@gmail.com

 

Things are happening for 4-piece alternative folk rock band MONSTER CAT (Singapore). To start their year, the band shared the stage with Bombay Bicycle Club and The Naked and The Famous at The People’s Party. They’ve released their five-piece track, Mannequins, last year and now teamed up with Director Kristen Ong for their first official music video for “Underwater.” We had a chat with the guys to talk about their sound, events stacked up, and their pet cat.

You guys used to release performance videos of your songs, but what made you decide to finally film a music video?
We take visual extensions of our music very seriously. We think that when our songs are paired with carefully chosen imagery, it will provide the audience with a good understanding of what our art is about. When Mannequins was launched, we focused this aspect on our ‘live’ shows to create that experience in person. So our performance videos were necessary to document this and also to show people the ‘human’ side of MONSTER CAT, because a lot of our promotional initiatives are online. This provides them with the necessary emotional connection to identify with if they discover us on the web. The music video is a natural extension of this. To be honest, we were actually toying around with the idea of a short film based heavily on montages. But that was too immense for us. The next viable option would be for a critically thought-out video to express one of our songs, and fortunately Kristen and her team reached out to us at the right time.

Who came up with the video’s concept for “Underwater”?

The storyboard was primarily conceived of by director Kristen Ong and her DOP Lincoln Yeo, with the band helping in the translation of the visuals. We consciously tried not to impose too much on them, but stepped in occasionally to ensure the narrative and choice of visuals resonates with key elements in the song. We love and respect the energy that arises from collaborative projects—we frequently work with a visual artist for our live shows. So we had no qualms with giving Kristen and her team creative control for this. And it really paid off, because we think the work they produced is absolutely stunning.

This song is included in your 5-track release Mannequins, – can you describe your sound in this album?
Haunting, intimate and intense. I guess if you want to break it down musically, there are elements of folk, post-rock and alternative in the music, but when we were crafting the songs we were thinking more texturally and thematically. We’d like to say that the sound on this album is nocturnal, ethereal and feels like something born out of the subconscious…something that keeps you up at night.

You’ve recently shared the stage with internationally known acts such as Bombay Bicycle Club, The Jezabels, and The Naked and The Famous at The People’s Party in SG. How was that experience for you individually and as a band?
Our manager Errol called us up when we were eating Ramen during lunch, and we said ‘Yes!’ on the spot. It was unbelievable. We’re fans of Bombay Bicycle Club and followed their first performances on Watch Listen Tell all the way to their meteoric rise to popularity today. There was also Metronomy, who were just announced for this year’s Coachella. To be sharing the stage with these world-class acts was out of this world, and we’re very grateful for the opportunity. It’s quite surreal, considering our debut release Mannequins isn’t even a year old! We’re very thankful to the organizers and our manager. Also, the show was really well-organised—the sound and lighting were top notch. It’s been our most enjoyable stage so far. Kudos to the organisers for having a mix of acts, and not simply relegating ‘local’ bands to warm-up acts for a show. It’s a great practice that can only serve to grow the scene and industry. After all, we should be way past the myopic ‘local vs foreign’ distractions—you either like the music or you don’t. Copy Cat actually nicked a fingernail off while hitting the bass drum during “Underwater” and played the bass with a bloody middle finger for the remainder of the set. The adrenaline while playing only meant he realized it after the show, but copious amounts of beer helped to numb the pain.

What could your fans expect for the coming days?

Well, for the short term, there’s a very interesting ‘collaboration’ with Swedish torrent website The Pirate Bay. They’ll be promoting us on their front page, and for a limited time, we’ll be offering some really awesome promotional deals that we’ll be announcing soon, part of which would include giving away our album for free via their webpage, to a global audience. As musicians, it’s a statement on how we approach digital music culture. Torrenting, file sharing and downloading (be it legal or illegal), are here to stay. These are the consumer habits of today. It is a situation that has no straightforward answers and calls for creative, unexpected solutions rather than the use of moral force or worse, the law to protect a status quo. It’s an opportunity for all in the music industry (artists, fans, labels, distributors, gig organizers) to redefine how music is created, consumed, shared and enjoyed. And at the end of the day, the goal remains the same – to create great music and get it out there. So we’ll see how it goes. Aside from that we have a few more videos that we’ll be releasing over the course of the next few weeks and days, so we should be in touch really soon! For the long term, we’re concentrating on growing our fan base both locally and overseas with some exciting collaborations with other creative individuals from fashion and the visual arts in the works. Our focus is also mainly on working on a full-length album of completely new songs, creating some real solid material to unleash upon the public.

And lastly, you guys claim to love cats, do you have, like, a band pet?
Yes, we do. Our band pet is a demon cat / human hybrid known as Torpedo Lard. He’s really handsome and looks like Tony Leung. But he’s fairly psychotic. Also, he can open doors, feign innocence and smell fear…which are pretty stellar qualities for serial killers.

 

Find more about Monster Cat on their website, Facebook and Bandcamp!

 

 

Fashion and music go together like cookies and milk, peanut butter and jelly, spaghetti and meatballs – one seems so much better with the other. So Koolastuffa, a young brand spearheaded by talented Indonesians Dedy and Widya Kurniawan,decided to team up with indie pop/rock band L’Alphalpha to create a magical bunch of pieces, inspired by the group’s songs. Clothes were recently launched at Monka Magic, and stocks are said to be limited — so why don’t you visit Koolatuffa and hear what the band has to say about their merchandise?

Hi, guys! Tell us more about your collaboration with Koolastuffa. How did it start?
Herald: It all started when Koola Stuffa had the interest to offer an endorsement for L’Alphalpha’s stage performances. We are very happy to know that their image and characteristics have the same concept as our band’s music, so we’re happy to accept the endorsement. We supported each other since then, and then idea for this collaboration came up.

Those are very cool sweaters, cape and vests! Do you have any favourite pieces from the collection?
Herald: [I] love the sweater. The sweater is very nice and comfy. And they also have T-shirt vests, and the cape with various and cool designs. Overall, they have many interesting pieces in the collection; everything is great because the illustration was really intriguing. I love to wear them on and off the stage!

How involved was the band in the creative process of designing the apparel?
Byatriasa: In this project, Koola made the products based on our songs. We are all really open for interpretation of our songs, so we gave them the freedom to work on what they like to do.
Ildo: Koola visualized L’Alphalpha into the illustration. The fun part is how our songs were interpreted into great design. There’s a little of us in each Koola stuff.

Why did you decide to do this collaboration with Koolastuffa?

Citra: Koolastuffa is a unique brand produced by talented Indonesian youngsters. They have great stuff to offer. We’re so happy that our music inspired them to make all their products in this collection and we feel very honoured to do this collaboration. Since we have the same concept and theme, they’ve interpreted our music very well and made it into a very cool design and illustration which fits the band. We believe in dreams, and that we could make it happen if we focus on that dream — and Koolastuffa had the same vision.

What would you like to tell your fans about this project?

Purushma: Buy the products! Also, you can look forward to seeing more of us on the scene! We hope that you love this project. Go grab it fast, it’s limited!
 

More info on L’Alphalpha’s website and Facebook Page, on Koolastuff’s blog and in this video:


 

Whit.li, an Application Programming Interface (API), is an exciting app that helps you explore the minds of people like you. An API is an interface implemented by an application allowing other applications to communicate with it.
Whit.li helps get to know people who share similarities with you. How exactly does this work? By analyzing psycho-social key features (life-stage, demographics, rare interests, relative conscientiousness, agreeability and other personality traits) to compare you to people.
Take the test and you’ll discover your “Team” and “Style”, and will be able to check your Roomies, Shopping, Work, Travel, Friends compatibilities with others (only those having used the app). But it’s not only about you vs. the others. Whit.li is also a tool to gather offline communities, test affinities in a work team, provide recommendation to users, etc.

Jack Holt, CEO of Whit.li answers our questions about the possible applications of the API, especially in the music industry.

What is Whit.li? Would you describe it as a marketing tool?

Whit.li scores relevance between people or between ideas and people in different scenarios. Eg, you may be very compatible working with your business partner but she may travel or listen to music very differently from you. We do this by creating a “psycho-social profile” using the information a person creates online. Along with learning about one’s demographics and interests, we developed algorithms to divine your personality based on the words you write.

Could you give us some precise examples of the concrete application of Whit.li, “a portable psycho-social identity for consumers, enabling a faster, more personalized experience”?

Our developer community is just getting started using the Whit.li API for their applications. Examples so far include an infographic resume (www.resumUP.com) which includes a personality profile and many people in the digital media industry. They will be able to develop a personality for an idea or story, then recommend it to the readers most likely to enjoy and share it.

Do you think there could be a special application within the music industry? To get to know the tastes of the consumers, or the trends in a country for example? Or to gather offline communities?

Definitely. We have some R&D going on with regards to a music scenario, or context, to include with our others (working, living, friends, shopping, travel). There are quite a few recommendation apps for music, though, so we’re still just sniffing around it. As to on or offline communities, we could match you to people who share the way you explore new music. For example, if you’re very open to new kinds of music, we’d put you in a community of people who are very open-minded – when it comes to music. Others who are very rigid in their music tastes could hang out together. In this way, you wouldn’t have someone who ONLY listened to Country music rating a Jazz Fusion band to a person who might be open to such a sound.

 

Find out more on whit.li and developer.whit.li.
Read an article about Whit.li on the developers’ side here.


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