#musicfeeds

[my-chaos-radio]

Release: April 13, 2018

Lyrics:

I stand in the corner like a tired boxer

One hand on my cheekbone, one hand on the rope

And all my veins pump blood into my throat

So I can hit the note, go do it all again

Tell 'em all I said hi (hi)

Tell 'em all I said hi (hi)

And I lay half awake, thinking what it's gonna take

For my moment to arrive, so sick and paralysed

And I chew my gum on the left side of my mouth

Wonder when I'll spit it out, yeah, I'm just getting started

Tell 'em all I said hi, hope you've been well

You've been asleep while I've been in hell

Tell 'em all I said hi, have a nice day

I'll be just fine, don't worry 'bout me

Tell 'em all I said hi (hi)

Tell 'em all I said hi (hi)

I stand in the corner like a tired boxer

One hand on my cheekbone, one hand on the rope

And all my veins pump blood into my throat

So I can hit the note, go do it all again

Tell 'em all I said hi, hope you've been well

You've been asleep while I've been in hell

Tell 'em all I said hi, have a nice day

I'll be just fine, don't worry 'bout me

Tell 'em all I said hi (hi)

Tell 'em all I said hi (hi)

Lying on my side, watching time fly by

And I bet the whole world thought that I would give up today

Lying on my side, watching time fly by

And I bet the whole world thought that I would give up today

Lying on my side, watching time fly by

And I bet the whole world thought that I would give up today

Lying on my side, watching time fly by

And I bet the whole world thought that I would give up

Yeah, I bet the whole world thought that I would give up

Songwriter: Amy Billings

Tell 'em all I said hi, hope you've been well

You've been asleep while I've been in hell

Tell 'em all I said hi, have a nice day

I'll be just fine, don't worry 'bout me

Tell 'em all I said hi (hi)

Tell 'em all I said hi

SongFact:

This is a song recorded by Australian singer-songwriter Amy Shark. It was released on 13 April 2018 as the lead single from her studio album Love Monster (July 2018). At the ARIA Music Awards of 2018, Dann Hume and M-Phazes won Producer of the Year for their work on 'I Said Hi'. At the APRA Music Awards of 2019, it won Pop Work of the Year and Song of the Year. For the ceremony, Electric Fields performed their cover version of 'I Said Hi'. On the ARIA Singles Chart, it peaked at No. 6. By the end of 2020 it was certified 5× platinum for shipment of over 350000 copies.

Amy Shark says 'I Said Hi' was inspired by her retort to managers when they told her whom she was meeting to discuss her future: the same people who had knocked back her emails and calls. Shark told MusicFeeds: "It's an anthem for anyone who is waking up everyday fighting for what they believe in and challenging the universe!"

At the ARIA Music Awards of 2018, 'I Said Hi' was nominated for four awards; with Dann Hume and M-Phazes winning the Producer of the Year for 'I Said Hi'. At the APRA Music Awards of 2019, the song won Pop Work of the Year and Song of the Year. At the event, Electric Fields performed the song. At the Queensland Music Awards 2019 'I Said Hi' won Highest Selling Single.

[onyx-film]

Music Video Production Queensland | Video Production Brisbane | ONYX

ONYX is a Brisbane based film production company and its music videos company have featured on Rage, MTV Australia, & various music news outlets such as The Music, Clipped TV.

We thoroughly enjoy flexing our creative muscles by regularly producing all sorts of music videos for all sorts of music styles. We pride ourselves on our high concept narratives, captivating performance scenes, and uniquely vivid imagery – and always ensure that the musicians we work with are completely satisfied with the product and enjoy our process of collaboration and creation.

Our music videos have featured on Rage, MTV Australia and various music news outlets such as The Music, ClippedTV and MusicFeeds.

[girlandherfandom]

his facial expressions and hand gestures are giving me life

Music Feeds from Soundwave in Melbourne

February 23, 2015

[fuckyeahtheumbilicalbrothers]

Broden Kelly of Aunty Donna mentions The Umbilical Brothers’ infamous Woodstock performance in an interview for MusicFeeds.

Article link | Video link

[msfoord]

I think this is so wonderful! Good on you, @goldenrobotrecords! 💖😷 Check out the link in @musicfeeds's bio for more #RockTheVax #GoldenRobotRecords #MusicNews #MusicFeeds #Vinyl #VinylLovers #Records #Melbourne #MelbourneMusic #MelbourneMusicScene #Vaccinate #Australia [ID: An image of a hand flipping through records. Underneith in a white banner, black writing says "Rock The Vax: Classic Rock Record Label Offers Free Vinyl To COVID-Vaccinated Aussies] (at Golden Robot Records) https://www.instagram.com/p/CSK1HAihXx-/?utm_medium=tumblr

[abandonmusic]

Newton Faulkner - Music Feeds! Tickets available now.

MUSIC FEEDS, the at-home charity festival to fight #FoodPoverty | 28/29 Jan | Tickets/info: www.MusicFeeds.org | 40+ unique artist performances to aid @FareShareUK @StagehandFund @HelpMusiciansUK | Presented by @coopuk and @EverybodyBelongsHere #MusicFeeds

http://www.MusicFeeds.org

[danlingforever]

🇦🇺🇦🇺🇦🇺🇦🇺 Dan and Frankie, interviewed during the Blast Of Our Kind tour in Australia, Nov 2015 - Video credit @musicfeeds - #musicfeeds #australia #lastofourkind #deluxe #interview #podcast #DanHawkins #FrankiePoullain #theactualdarkness #TheDarkness #danlingforever #music #rock #rocknroll #hardrock #classicrock #glamrock #glammetal #rockband #songwriter #producer #studioowner #engineering #guitarplayer #guitarhero #guitarmaster #danhawkinsofthedarkness #vegan #milkfree #vegetarian (at Australia) https://www.instagram.com/p/By0pvCmitz6/?igshid=iu32ophzdgfz

[cornjacknife]

Leave, if nobody responds to your knock. #wordsofwisdom #philosophy #photography #readers #music #musicians #artists #worldofmusic #musicfeeds #musicianslife #musiciansofbandra #musiciansofgoa #mumbai #bandra #sunset #yellow #coldplay #bryanadams #chesterbennington #jimcarrey (at Bandra West) https://www.instagram.com/p/BwcQTPuntir/?utm_source=ig_tumblr_share&igshid=1fejau17o5f9f

[streetdiamondent]

@hollywoodsmooth214 STREETS APPROVED ✅✅✅ “The Antidote” @themrhitdat #STAMPED #Salute #NewBanger #LinkInHisBio #TellaFriend #DJ #Replay #MusicFeed #ExplorePage #RADIO #addtoplaylist #Share #DallasTx #214 #Major #Request #RunItBackDj #dallasbig #ADD #Radio #TripleD 💪🏾💪🏾💪🏾🔥🔥🔥🙏🏾🙏🏾🙏🏾 @k104fm 📻 💎💎💎 (at Dallas, Texas) https://www.instagram.com/p/Bui2IaND6EL/?utm_source=ig_tumblr_share&igshid=1irl2o08hrrrq

[shakiim]

Greatest kings in the scene 🚀😈🔥⚜️🎥🚧🚧🚧 #shakimdixon #zooknationrecords #hiphopmusicartist #rapmusic2021 #trapmusic2021 #instagrammusicpage #popularmusica #raptico🇨🇷 #raperocostarica #traplatinow #floridamusicfeed #musicfeed #instagramrapper #ᴀᴇsᴛʜᴇᴛɪᴄᴘɪᴄᴛᴜʀᴇs #trapartists (at Madeira Beach, Florida) https://www.instagram.com/p/CLDrr4TDAWq/?igshid=jlveakntmqmm

[jeffbuckleyforever]

Chris Cornell performing at The Palais Theatre in Melbourne, Australia on October 19, 2011.

“After a handful of Audioslave, Soundgarden and Temple Of The Dog songs, Cornell started bantering with the crowd. A woman in the audience asked what the red telephone was for, referring to the telephone perched upon the stool next to him for the entire gig. “Oh this?”, he nonchalantly said. “This is Jeff Buckley’s phone. I’m not kidding.” Cornell raised the phone and showed the audience the faded writing where Buckley had scrawled his name.” Cornell went on to tell the fans that he used to have a phone just like it which he smashed in a drunken rage. When his friend, Jeff Buckley, passed away unexpectedly in 1997, Buckley’s mother gifted the phone to Cornell. When he was preparing for his first acoustic gig, he was scrambling to grab cords, microphones and equipment and accidentally brought the phone with him to the gig. Ever since, it’s been a tradition that the phone sits next to Cornell during his acoustic performances. He then performed a stirring rendition of Satisfied Mind, the last track off the post-humous Buckley album Sketches For My Sweetheart The Drunk. Cornell was involved in the production of this record.”  -Brett Schewitz, MusicFeed

[lashton-is-my-drug]

March 6, 2022 - Interview with Italian show “Radio Kiss Kiss”, when the boys are asked about their favorite actor Ashton says “Tilda Swinton is my hero”.

This is interesting because she has done many LGBT films, her general look is very androgynous, and February 14, 2021 during an interview she did with Vogue Magazine she came out as queer, and says she has surrounded herself with a “queer circus” of people. During the AIDS crisis, she attended many friends funerals.

At first Ash is unsure if to say it and suggests “Tilda Swinton?” softy towards Cal,

then Cal says “she’s good”,

then Ash says “Tilda Swinton is my hero”.

Ash’s answer was in the video interview but wasn’t put into the written version, for some reason. Could just be an oversight (possibly due to language barrier?) or it could be on purpose, I’m unsure.

During Ash’s promo interviews for his solo album “Superbloom”, he spoke about being influenced by androgynous artists.

The following is a very personal in-depth interview Ash gave for musicfeeds. I urge everyone to go read the full thing. (Link at end of post)

Ashton co-directed the 5sos music video for “Valentine” with Andy Deluca (the band’s photographer). On the Capitol Records’ article, Ash had the following statement about exploring the androgyny and femininity of lead singer, Luke Hemmings. Find yourself someone supportive like an Ashton ❤️

“Collaboration has always been one of the key most important things about 5 Seconds Of Summer since day one and co-directing the video with Andy was an incredible and very fluid experience,” Irwin said in a statement. “There are a few things we wanted to capture; the androgyny and the feminine element of the way Luke performs as well as the dark romance of the song. This video is us taking something into our own hands and attempting to be a part of every single detail of what we create.”

Links to articles:

Tilda Swinton for Vogue

Tilda Swinton for Pink News

5sos interview with Italian “Kiss Kiss Radio”

Ashton Irwin for musicfeeds

Ashton Irwin’s statement on Capitol Records site for “Valentine” video

[aurora-daily]

Most arresting about Aksnes’ music is the preternatural darkness of her lyrics. Murder Song (5, 4, 3, 2, 1) is a disturbing murder ballad, sung from the victim’s standpoint. Even Aksnes has dropped the word “morbid” in interviews. “First of all, I have a really vivid imagination,” she laughs. In fact, Aksnes suggests that penning something like Murder Song allows her to sublimate anxieties over what she sees occurring in the real world via the news.

“You know that these things may be happening to someone right now. It’s kind of a terrifying thought. I just had to get that thought out of my head – and that’s why I wrote this song. But the two characters are actually just made up in my head. I’ve written many songs about them – maybe I’ll make a book with them.”

AURORA on “Murder Song (5, 4, 3, 2, 1)” in an interview for Musicfeeds | 20.04.2016

photo by Bent René Synnevåg

[theoriesontheory]

Say it again, but make sure it has feeling

Intertextuality and the perceptions of aura and authenticity in film reboots and musical covers

In their video essay Intertextuality: Holywood’s New Currency Nerdwriter1 offers a harsh and pointed criticism at the mainstream movie industry for relying on what they call ‘weaponised intertextuality’. (2016) By which they mean, using cultural touchstones and references to illicit a response in viewers rather than write a compelling plot with engaging characters. (ibid.) The essay referenced several movies including the Beauty and the Beast live action remake, the new StarWars trilogy, the Hobbit, Star Trek, the list goes on and looking at the list of films and series mentioned, I must agree. Lots of these films seem to rely on viewers liking the IP already and once you have paid to consume the media they don’t really care if there’s a story there.

After watching the essay, I was left wondering, where do we see intertextuality in music and music production? The answer seems obvious, remixes and/or covers would be the most direct parallel with a reboot, with the practice of ‘biting’ or ‘sampling’ being a more subtle reference made.

In their video essay How Coltrane Broke “My Favourite Things” (feat. Adam Neely) Polyphonic praises John Coltrane’s 1961 modal jazz cover of the musical song “My Favourite things” calling him a genius more than once in the video. (2020) They explain the way the structure of the original song lent itself to experimentation, the compositional thinking, fractal theory, all of the innovations that Coltrane made on this recording. But at its fundamental level, it’s a reboot.

But then the question stands for me, in discussions on film theory this is seen as the fall of modern cinema, yet a great remix or cover is celebrated in the music industry. Why is intertextuality weaponised in Hollywood but utilised in the studio?

The primary difference to me as a creator (primarily of music) but also as someone who loves to absorb media is that in the music world, covers or remixes that achieve success on a mainstream level are usually some form of new expression on some sort of fundamental creative, human level, whereas lots of film or television remakes seem to lack some sort of heart or ‘aura’ to use the term in the way Benjamin would. (1935 as cited in Taylor, 2021)  

While many reboots of film franchises are recognised as cash grabs, because more often than not they are, there is seemingly little money to be made as a great covers musician, that trend left in the late sixties and early seventies with the rise of the original composer. Covers generally feel like a new expression of a similar idea whereas cinematic remakes feel like there is very little thought put into it.

I thought an interesting experiment to do would be to breakdown what I consider a great cover and look for the intertextual references and understand how they are used differently from the way they are used in film. The Cover I will look at is the Alex Lahey ‘Welcome to the Black Parade’ by My Chemical Romance cover done for Like a version.

The cover is a spectacular example of a cover in my opinion, earning itself a spot in the hottest 100 of 2019 as well as a shout out from My Chem on the internet. Doing a purely audio and music theory analysis of the two songs there are very few differences, the timbres, melodies, instrumentation and structures are all similar enough that one song is unquestionably a version of the other, a well-made version but a version none the less. The primary technical differences were the use of orchestral percussion and four guitar players. I think the primary difference between this cover and the way movies are remade is the cover is perceived to have more authenticity than the Hollywood remakes. The authenticity is recognisable in some way, Gerard Way from My Chemical Romance praising the feeling of the song even though he was in the U.S., saying that it gave him chills. (Langford, 2019) If the source material, being the lyrics and chords and structures are all the same, one must conclude that it is the method by which these things are put together that give it the aura or authenticity. I feel like in watching the cover and seeing how the musicians were performing and expressing, it all felt very real. All the additional parts were not only there for their compositional appeal, but the band was made up of a group of young Australian musicians from other bands who all grew up listening to My Chemical Romance and now get to play it on national radio Additionally there is knowing the cultural touchstone that My Chemical Romance and particularly that song has to so many emos of a certain age demographic that the song hit’s all the right notes for so many people as it is. I think that the sense of authenticity also comes from the frequency with which covers come out from musicians. A performer might have one cover that has any kind of impact in their entire song book for their entire career, whereas it feels as if studios like Disney are almost made to churn out reboots now. If Alex Lahey decided to become a My Chemical Romance Tribute act permanently (after some initial interest) fans would start wanting the old Alex back, we know how Gerard Way looks at the world, we want to know how Alex does it now.

In looking at the ways that film reboots are different from music covers, I have found that one of the key foundational differences is the feeling of authenticity as perceived by the audience. In film the social knowledge that remakes are primarily made to make money has made the concept of intertextuality a weapon and a fighting point. Contrastedly , in music due to the authenticity often felt in the performance and recognised in the context of the rest of the musician’s career intertextual references are often a time for celebration.

References:

Langford, J. (2019 September 24). Gerard Way Praises Alex Lahey For Her My Chemical Romance Like a Version. Musicfeeds. https://musicfeeds.com.au/news/gerard-way-praises-alex-lahey-for-her-my-chemical-romance-like-a-version/ Nerdwriter1. (2016 May 16). Intertextuality: Hollywood’s New Currency [Video]. YouTube. https://www.youtube.com/watch?v=QeAKX_0wZWY

Polyphonic. (2020 December 4). How Coletrane Broke “My Favourite Things” (feat. Adam Neely) [Video]. YouTube. https://www.youtube.com/watch?v=Bg1RGmyl-_A

Taylor, J. (2021). Art Pop and The Culture Industry [Google Slides] SAE Campus online https://campusonline.gscm.sae.edu/mod/page/view.php?id=108482

Embeded video:

triple j. (2019 September 20). Alex Lahey covers My Chemical Romance 'Welcome to the Black Parade' for Like A Version [Video]. YouTube. https://www.youtube.com/watch?v=nC_k8j8YwjU

[slenderframe71]

Twitter

Music Feeds@musicfeeds·29 nov. 2019.@jarrydjames, @MattCorby, @donjoyride & Rohin Jones take on @coldchisel for 'Like A Version