fourds-blog

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Adomas & The Mittens produces electronic cabaret with its visual aspect: VJ, scenography, composition and the lyrical side of it.  Collaboration of musicians & visual artists, exploring the boundaries of electronic music, cabaret, and self-expression. An idea to diminish the thin line between popular and conceptual arts and building up to something that is experimental but nevertheless understandable and adaptable for any kind of ear or mind. It all started as 'a' goal to be a professional band, gradually building up and involving other artists to create an overall world of sound & vision. The ultimate goal is to prepare a showcase, where instead of building up the layers of concepts, and audience prerogative is to imagine the storyline in organic way. We take a different approach, in which every word has a precise image that will be shown during the showcase. Its a medium of story telling gathered into songs with visuals that accommodate the sound that entices the spectator to escape & embark on a new adventure. In simple words -"electronic cabaret". Adomas Laurinaitis - vocals, keyboard, electronics; Leonas Somovas - guitar, electronics, effects; June Peduzzi – visuals; Marijus Aleksa – drums.

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Hey music lovers!

Here we announce the sync of the week. 

Kopparberg Cider and Sleigh Bells get together for this new commercial. I like the idea and the message behind this commercial. 

Don't you have any new sync discoveries? Want to share with us?

Source: Music Week http://bit.ly/jvwhkA

Duygu

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As synchronization agency 4DS.ync is providing music to support visuals and exploiting fresh and specific music throughout different and new media channels. 

The core business of 4DS.ync is functioning as a middleman for other small and/or independent companies that are looking for music that would be used for films, games or other purposes.

[fourds-blog]

I Am Number Four

After having watched the film I am Number four I was not that excited about the film itself, but the soundtrack was something that really surprised me. Two songs were taken from the XL recordings catalogue, The XX – Shelter and Adele – Rolling in the deep. Although I think the music did not really fit to the visuals it was a cool thing to choose those songs. Furthermore the track ‘tighten up’ was taken from the latest Black Keys album Brothers which is a nice and excited Bleus/rock song. One track that really amazed me was somebody’s watching me by Rockwell. All in all I am number four has a great Soundtrack.

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Google Would Have Paid More Than $100 Million to Major Labels for Licenses

Many music fans were disappointed by Google Music Beta, the cloud-based locker that the company released at Google I/O this year — in particular because it lacks the ability to purchase music and stream seamlessly without uploading. Now it seems Google was prepared to offer big bucks to make a more robust notion.

Bloomberg Businessweek is reporting that Google was ready to shell out $100 million to the four major labels — up front — for licenses. However, those negotiations fell apart because of “the music industry’s concern that search results in Google and YouTube often point to pirated music.”

We already know that Google was having issues getting the labels’ blessings. The piracy angle is new, however. It was reported that Google was fed up with the labels, particularly WMG, which was said to be suggesting that Google charge users $30 per year for the cloud service. Apparently, Google wanted users to be able to try the service for free with the first 500 tracks stored.

As a result, Google launched Google Music Beta without licenses with the first 20,000 stored songs on the house, meaning that users have to upload all their music to the cloud-based locker (a lengthy process) for listening across devices. This is a much less intriguing — and much bulkier — offering than what could have transpired if Google had been able to nab those licenses.

The cloud-based music business has been heating up of late. Amazon launched its Cloud Player (similar to Google’s service) recently, and we’ve been hearing reports that Apple is close to unveiling its offering — possibly called iCloud — as early as Apple’s developers conference in June.

Apple has reportedly scored deals with three of the four major labels, which means that its service could be far superior to Amazon’s or Google’s. Armed with licenses, Apple’s service would scan a user’s iTunes library and match those songs on its services — no uploading required.

What do you think? Were the labels right to turn down Google’s overtures?

Source : www.mashable.com

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The (New) Music/Record Companies: Seriously What’s All The Fuss About?!

My insecurities about the industry and the search for what makes it tick drove me to writing this article.

In the course of the last decade we (the music industry) have been predicting and contributing to our own death- one for which never seem to come around. Don’t get me wrong, I’m not saying is all blossoming but is neither as gloom as we paint the prospects.

There is no doubt the industry and our civilization as a whole finds itself in transcendental times. Advances in technology, morphing of the human biology, changes in aesthetics all attest to this phenomenon. Commence us we sometimes fail to recognize is not an island, its part of the bigger WE (human). Therefore there is no doubt that as our attitudinal and aesthetic preferences evolve, so shall the institutions that seek to capitalize on them.

First lets not ignore the fact that music (record) industry is as much commerce as the art it seeks to distribute. Thus, the basic principles of economics apply.

My favorite basic principle for the free market is Adam Smith’s invisible hand theory. According to Adam Smith there are three propellers of the invisible hand: self-interest; competition; and supply and demand.

So hypothetically speaking: record consumers represent self-interest; industry institutions (production and distribution, record companies, streaming sites etcetera) represent competitors; artist and consumers together with industry institutions represent supply and demand side respectively.

Now, basing on the assumption that if each consumer is allowed to choose freely what to buy and the form of consumption (Cds, illegal or legal downloads, ad supported streaming, purchased cloud services, radio etcetera) and each producer is allowed to choose freely what to sell and how to produce it (DIY, indie or major), the market will settle on a product distribution (forms of consumption) and prices that are beneficial to all the individual members (consumers, artists and various institutions) of an industry, and hence to the industry as a whole.

Having made a connection between the invisible hand and music industry, I return to my initial stance. Time should not be wasted speculating on which App, business model and or service that will be the ultimate game changer saving the supposed “dying” industry. As a matter of fact I think there is not going to be a single game changer. So just focus on a segment you seek to serve, look out for your best (self) interest, be better than the competition (providing superior service), the rate of demand and supply will be appropriated by the market’s invisible hand.

The music industry is not dying nor is it in need of a savior, is just unfolding in a manner in which the gray haired execs couldn’t have imagined.                                                          Let it be and just be.

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May Soundtrack Picks

‘It! The Terror From Beyond Space‘ One Of The Top Soundtracks To Own For May, 2011

Also worth picking up: Atlas Shrugged, Bad Manners, The Blob, Fringe: Season 2, Priest, Sleuth, Stake Land and The Tree Of Life To purchase the soundtracks from this list, click on the CD cover

1) CRYSIS 2

Price: $15.98

What is it?: EA’s biomechanical warrior returns to the ruins of New York to take on all comers, aliens and humans included. And just as warrior and futuristic firepower are merged, the explosive work of main game composers Borislav Slavov and Tilman Sillescu seamlessly join with Hans Zimmer and Lorne Balfe into one mean musical machine.

Why should you buy it?: It must say something about Slavov and Silescu’s first-gen music to entice Hollywood’s most formidable composer to throw down in a big way with one of his own well-regarded warriors. Yet together, the resulting onslaught of high-tech samples, gnarly guitars, explosively accelerating percussion, slithering alien motifs and Zimmer’s gloriously elegiac main themes speak in one, hugely exhilarating voice. CRYSIS 2 bursts with the kind of massive sonic production values that continue to break down the wall between “video game” music and the real cinematic deal. Yet where this soundtrack starts out as prime first person shooter adrenalin, CRYSIS 2 ups the ante by revealing a true emotional arch to its apocalyptic rumble, with a brooding solo violin and a soaringly tragic orchestra encasing the player in the sound of lone wolf heroism.

Extra Special: With an epic scope that spreads out over two CD’s in a single-priced set, CRYSIS 2’s music only gets more gripping as it goes along, with a booklet that has Zimmer, Slavov and Silescu revealing the secrets of a powerhouse collaboration, one whose example will hopefully draw more Hollywood big guns into a medium that’s all about multiple player creativity.

For the rest of the article check: http://www.filmmusicmag.com/?p=7917

- Sophie Brinkerink

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Turn it up. Turn it down. Close the casket: Life Without Music What A Drag!

“Without music, life would be a mistake”- Friedrich Nietzsche 

Vast majority of individuals live their lives pondering on the meaning of life. I live mine with a blissful curiosity of how life would be without music. Hold on! Before you start labeling me as being a sadistic non-realist, I’m of the opinion that life without music is one hell of a boring journey on a unicycle. Be my guest if you beg to differ.

Music in itself defines us as human in developing our communication, cognition and empathic abilities.  From the ancient Greeks who sang their drama lines, to college students studying whilst pumping Carl Craig through their headphones, there are no doubts the boost music gives to the brain. Albert Einstein is famously known to have figured out his problems and equations by listening and playing music. In a recent article published by Paul Belluck for The New York Times titled To Tug Hearts, Music First Must Tickle the Neurons, reference is made to how music serves as a form of motion and activity for the brain (sort of brain exercise), strengthening and opening up new path ways.

From a biblical account: whenever King Saul was suffering of torments from evil spirits, David would take his harp and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him.

Fast-forward to the post enlightenment era, 1970 to be specific, a group of researchers researching the effects that beats of music have on the human. They found out that slow music could slow the heartbeat and breathing rate, as well as bring down blood pressure levels.

On another health note, Dr. John Diamonds an Australian physician found a direct link in muscle strength and music. He discovered during an experiment all muscles go weak when subjected to “stopped anapestic beat”, now that’s secret for Rockstars living longer lives.

I cannot live without music, when the dark clouds hover upon my shoulders I turn to music let go all the emotions. In times of celebration music is secondary to none (probably a tie with the booze), we escape through music by setting the mood right. Honestly we do not need PhD holders and qualitative researchers telling us the relevance of music, we know it and live it everyday.

Music is an inherent part of our gene coding, we might as well just enjoy and appreciate the different shades and rich textures it add to our individual lives and collective history.

 Do share your thoughts and imagination on how life without music would be like. Dennis Acquaye

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New. Experimental. Independent. Unique. Perfect for visuals.

LUUMM Star wars (live) from 024 v on Vimeo.

Luumm is a duo from Vilnius (LT). Besides being completely awesome in this video, they also play live gigs for silent movies. Right now they’re working on some new material that is to be recorded at the end of this summer, but until then check out their current EP Variations. - The Baltic Scene

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This week AMCtv.com released the Mad Men Season 4 music list which includes period classics such as "I Saw Mommy Kissing Santa Claus," "Trust in Me," "Hot Dog, Here He Comes," and many other feel-good '60s hits. Mad Men fans agree: The show's soundtrack not only adds authenticity but has developed into an integral part of the show. “Tobacco road” by The Nashville Teens is featured in episode 1

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FridayThoughts.ninjatune.net

Amon Tobin, Andrea Triana, Antibalas, Bonobo, The Cinematic Orchestra, Fink, Funki Porcini, Jaga Jazzist and many more, of course let's not forget Stateless who altogether are the face and the sound of Ninja Tune now almost for 22 years. How many of these artists made the images speak? Games, movies and commercials, such as Global Chaos, InFamous, Blur, Chaos Theory and I believe many more that I do not know. 

Talking about the game development and music compositions, Brazilian-born Amon Tobin inspired and helped producers to compose music for InFamous in 2009. The unique sound and techniques used seems like a perfect match for the gaming industry.

http://www.youtube.com/watch?v=yqWvheuVf6w&feature=fvst

Amon has scored the Splinter Cell 3 video game soundtrack as well as the film soundtrack for Taxidermia.

Remembering the Foley Room released by Amon in 2007 might explain the composer choice made by InFamous production team.

http://www.youtube.com/watch?v=IlwG3DSESyE

So what is this component that makes images click with sound perfectly? Good sampling skills? Unique recording ideas or maybe music genre?

After a 4 year break the birth of ISAM reaches fans in early 2011. The same techniques and work continues to explore Tobin’s sci-fi influence while incorporating new software for an innovative sound.

http://www.youtube.com/watch?v=Vz6xaTol75A&feature=related

Ninja Tune, thank you for a great artist who always brings the thought of future! And be careful with musicians such as Toddla T, who makes your old fans wonder what is happening with a label and it’s roots. Cheesy, popish and a bit old school… 

http://www.youtube.com/watch?v=tAqENlABNQk

However, from my perspective different opinions and arguements bring more attention!

Good luck and hear from you soon!

Always yours,

 Diana

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Last night I was looking into my black box, something that I don't do very often, but hey! We all need our moments of relaxation. When staring at the screen there was not much happening, there was only one commercial that caught my attention, the new Rabobank Commercial. I knew right away that they had used one of the soundtracks for the film ‘d'Amélie’, The one film that has to be in the ultimate student movie collection. The Song is by Yann Tiersen and is called 'comptine d'un autre été l'apres midi' well that's a mouth full. Although I think it was rather easy to use such a well known and highly emotional song, the commercial is well executed and it is a great combination of combining image, audio and words

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Around the Bend by the Asteroid Galaxy Tour is a perfect example of a song that has been synchronized in a commercial and made the commercial fun to watch and to get good publicity for their song. It is the commercial for the IPod Touch 2G. Thanks to the song the commercial wasn't annoying to watch and everyone wanted to know what the song in the IPod commercial was called. A win-win situation for both IPod and the Asteroid Galaxy Tour.

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Show Me Your License

Have you ever considered recording a cover song for a CD project? Did you ever want to use audio that you sampled from somebody else's album or from some other musical work on one of your recordings? Would you know what to do if someone asked to use your original music in a film or commercial, or to stream on a Web site?

Welcome to the world of music licensing. Although there are dozens of types of music licenses and possible scenarios, understanding a few of the major concepts and how to secure or grant a license helps protect you and your compositions.

Music usually involves two forms. The first is the song, which is the original creation of notes, melodies, and, if applicable, lyrics. The owner of the song is usually the songwriter-lyricist or publisher.

The second form is the sound recording, which is the particular recorded version of a song. The recording artist or record label usually owns the masters for the sound recording. The song and sound recording are independent of each other and require separate licenses.

To learn more, check the rest of the article here: http://emusician.com/mag/emusic_show_license/

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How Music Licensing Works

The Basics

Music licensing in the United States is made possible by the protection that U.S. copyright law provides for artists. According to this article from the U.S. copyright office:

The copyright code of the United States (title 17 of the U.S. Code) provides for copyright protection in sound recordings. Sound recordings are defined in the law as "works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work." Common examples include recordings of music, drama, or lectures.

Copyright in a sound recording protects the particular series of sounds "fixed" (embodied in a recording) against unauthorized reproduction and revision, unauthorized distribution of phonorecords containing those sounds, and certain unauthorized performances by means of a digital audio transmission. The Digital Performance Right in Sound Recordings Act of 1995, P.L. 104-39, effective February 1, 1996, created a new limited performance right for certain digital transmissions of sound recordings.

So a sound recording is just that -- a recording of sounds.

The sheet music for a song can be copyrighted.

There are several things that can be copyrighted in any sound recording for a song.

There are the actual sounds themselves -- the performance of the work.

There are the notes that the musicians play to create the song -- they could be embodied in sheet music.

There are the lyrics for the song -- they can be written down on a sheet of paper.

According to the the U.S. copyright office, copyright protection extends to the contribution of the performer(s) whose performance is captured.

For more information check the article here: http://entertainment.howstuffworks.com/music-licensing1.htm

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FEVER RAY - THE WOLF

The Swedish singer Karin Dreijer Andersson Best known from the electric duo The Knife has two songs featured on the soundtrack for the upcoming movie Red Riding Hood. The songs “The wolf” and “Keep the streets empty for me” that can be heard on the soundtrack are done by Fever Ray her solo project which she debuted with in 2009.

The movie is directed by Catherine Hardwicke who is also responsible for the Twilight films. The original release for Red riding hood was set for the 22nd of April 2011 but was postponed to the 11th of March 2011. So, for now just the soundtrack

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Sony adds extra features to iTunes movies

Some of Sony Corp.'s movies sold through Apple Inc.'s iTunes store are now available with extra features that enable people to search scenes for actors and bits of dialogue by typing terms into a computer.

Other features allow viewers to choose clips to share on Facebook and Twitter and check where songs from a soundtrack appear. A link to the iTunes store makes music purchases easy.

All three features are available now on "Burlesque" and "The Others Guys." The non-music features are available on "Salt" and "Resident Evil: Afterlife" and will be available on "The Tourist," when it is released March 22.

Studio Senior Vice President Rich Berger said in a statement that adding the features boosts the value of Sony's digital movies and makes them more collectable.

March 9, 2011 - 4:20PM

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Retrieved from; theage.com.au

Duygu