The Roundhouse and EMI dedicate September to emerging talent with 30/30. The Roundhouse has joined forces with EMI for the second year for 30/30, a groundbreaking youth project designed to cultivate and develop new and emerging talent. Every day this September, 30/30 will offer unsigned artists – between the ages of 16-25 – free recording time in the Roundhouse’s PRS/EMI Live Music Studio, along with top guest producers to professionally record and mix their track for free. Across the summer, the Roundhouse invited unsigned artists to submit their tracks for a chance to be included in 30/30 ‘ the result was an eclectic mix of music from hopefuls across the UK which has been whittled down to a selection of winners, ranging from Brighton’s young indie hopeful Max Pope to acoustic folk outfit Ajimal from North Shields. Confirmed producers include Joe Fields (Amy MacDonald, Mystery Jets), Kevin Paul (Mute Records artists including Nick Cave and Depeche Mode, David Bowie), and Abbey Road Studio’s Pete Hutchings and Mirek Stiles. On 13 October, the lucky acts chosen by the Roundhouse team will have the opportunity to put their questions to a panel of EMI experts from all areas of the music industry – from artist management and marketing, through to publishing and A&R. Last year’s project was a huge success, attracting submissions from hundreds of aspiring artists, which culminated in the 30/30 Compilation Album 2009, a collection of 30 tracks featuring artists such as Ghosts You Echo, Hella Better Dancer and Ken Kobayashi, all of which have since signed recording deals with the Roundhouse’s in-house label, Roundhouse Records. Albums cost just £8 and all proceeds go directly back into providing more opportunities to aspiring musicians.
The Quireboys’ debut album ‘A Bit Of What You Fancy’ peaked at number 2 and spent 15 weeks, in the UK charts, when originally released in 1990. It includes the hit singles ’7 O’Clock’ (UK No.36, 1989), ‘Hey You’ (UK No.14, 1990), ‘I Don’t Love You Anymore’ (UK No.24, 1990) and ‘There She Goes Again / Misled’ (UK No.37, 1990) The CD re-issue contains the original 12 track album plus eight bonus album demo recordings, and all the tracks have been digitally re-mastered from original master tapes, at Abbey Road Studios. The re-mastered album also Continue reading →
Underlining their timeless appeal and unique status in music, The Beatles have broken multiple chart records around the world following the September 9, 2009 (9-9-09) CD release of their digitally re-mastered catalogue. In the major music markets of North America, Japan and the UK, consumers purchased more than 2.25 million copies of The Beatles’ re-mastered albums, individually and in two multiple-CD boxed sets, one in stereo and one in mono, during the first five days of release (excluding non-traditional retail outlets whose sales are not tracked by the chart compilers). The Beatles’ original UK studio albums were re-mastered by a dedicated team of engineers at Abbey Road Studios in London over a four year period, carefully maintaining the authenticity and integrity of the original analogue recordings. The result is the highest fidelity the catalogue has seen since its original release.
Some critics regard Ruud Houweling as one of Hollands best songwriters. The music of Cloudmachine, in which according to OOR (means Ear) (leading Dutch music magazine) the entire history of popmusic is compressed with influences like John Lennon, David Bowie, Neil Finn, Radiohead and the classical music of Arvo Pärt, slowly finds its way to a larger audience. Their first two albums received a warm welcome by the Dutch music press. The first one, Sweater For The Cold World (2003) was bursting with ideas. On the balanced second album Hum Of Life (2006) Houweling finds his own voice in writing. The record brings many new opportunities for the band. The played the finest Dutch venues and festivals like Haarlems Bevrijdingspop with 150.000 visitors. The also had some decent airplay on Dutch radio. The third album, Back On Land is released on April 20th 2009. The band worked with renowned American engineer/producer Oz Fritz who is known for his Grammy-winning work with Tom Waits (Mule Variations, Alice, Blood Money). He also produced bands like Primus and Oysterhead (Stewart Copeland) and worked many years with Bill Laswell on projects with Ginger Baker, Iggy Pop, The Ramones, Herbie Hancock, George Clinton, Bootsy Collins, William S. Burroughs and Bob Marley. Also has credits on recordings with John Cale, Ornette Coleman and Elvis Costello.
The band recorded in Weesp, in a vintage studio designed in the sixties by the same man that designed the famous Abbey Road Studios. The mixing took place in California in the same studio and with the same gear used on Tom Waits’ Mule Variations, the album that triggered the band to contact Fritz. The arrangements on Back On Land have great variety. It’s not just the band playing, there’s room for strings and brass, vibraphone, triangle, and authentic keyboards like a wurlitzer, cp70 and a 1939 Steinway grand piano. On the album they ‘ve further refined the characteristic pleasant melancholic Cloudmachine sound. With a lot of focus on the lyrics and arrangements.
The band will record the live session at London’s legendary Abbey Road Studios, the home of The Beatles historic first ever satellite broadcast, and will feature live mixed graphics from world renowned digital artists D-Fuse.
3D glasses will be available from keanemusic.com, and all retailers with the 7′ of the new single ‘Better Than This’.
The audio from the gig will also be simultaneously broadcast live on-air on newly launched national station Absolute Radio and in it’s full 3D video glory at www.absoluteradio.co.uk.
Keane release Better Than This taken from the album Perfect Symmetry, on 16th March, through Island Records.
More about Keane.
Vocals: Tom Chaplin / Piano: Tim Rice-Oxley / Drums: Richard Hughes
Keane formed in 1997 at a Hastings Secondary School.
In 2002, following several years of experimenting and honing their sound, Keane decided that they needed to get out and play live. They booked two acoustic gigs, one at the 12 Bar Club, another at the Betsey Trotwood. Fierce Panda mini-mogul Simon Williams caught the Betsey Trotwood gig, and asked Keane to put out a single on his label.
They chose ‘Everybody’s Changing’, a sweeping, majestic ode to feeling utterly lost when everyone else seems to know the score, which was recorded for zero pence. “The recording session was a little rough and ready – the song was literally made in a room in someone’s house,” Tom laughs. “And we had to go round to a different house to mix it, because the speakers broke.” It would be difficult to find origins more desperately indie, yet ‘Everybody’s Changing’ sounded like a Number One chart hit before you even got to the chorus, and it immediately began turning heads. Steve Lamacq decided that it was one of the best singles in Fierce Panda’s entire history – not bad for a label, which housed early releases from Coldplay, Idlewild and Supergrass. He declared that Keane were “somewhere between a scuffed Coldplay and a frankly bewildered Beautiful South”, hammering the single on his show and eventually calling the band in for a session on BBC 6Music. Xfm were on the case, too, with Clare Sturgess requesting a session from the band, while a Sunday Times profile noted that Keane were responsible for “three and a half minutes of pure pop loveliness”. NME wrote that ‘Everybody’s Changing’ was “indisputably mighty” and compared Keane with “‘Kid A’-era Radiohead covering A-ha”.
What all these people spotted – and what the rest of the world will shortly find out for themselves – is that despite the reference points, Keane’s beguilingly beautiful music really isn’t like anything else that’s out there right now. “Our songs have universal themes and are emotional,” Tim nods. “People want emotion. But that seems like quite a rare thing these days. I don’t think there are many bands who are making music which actually means anything. There’s nothing to identify with.”
Things, at last, were beginning to gather pace. Keane’s first UK tour saw Tom, Richard and Tim performing at venues up and down the country to audiences of between five and 300 people. They didn’t look like many other bands – there was no guitarist, a factor which might send some purists screaming into the hills but, Richard says, really wasn’t a conscious decision.
By the time spring 2003 rolled around, the boys were out on the road again, and labels were already putting offers on the table. “All we were after was the opportunity to make the right record with the right people,” Tom shrugs – which is where Island stepped in. “We’ve never wanted to be a small, cult band,” Tom adds. “We want to get our music heard by as many people as we possibly can, because that’s why we’re making it.”
Throw in a startling appearance in the New Bands tent at the Reading and Leeds Carling Weekend, more plaudits for the boys’ second single ‘This Is The Last Time’. And, once again, it sounds like all the bands who’ve ever meant anything to anyone, but at the same time it only sounds like Keane.
“People often say that they wish they’d been around in the 60s,” Tom says. “But we’re happy just where we are. We love rock’s back catalogue, and now we’ve got a chance to add to it. After all, tunes never go out of fashion.”