Remembering WOXY and the Modern Rock 500 – Belt Magazine By Robin James Cover image by John Dunlevy
Simon Reynolds profiles experimental pioneer and prescient thinker Laurie Spiegel— whose groundbreaking work with computers in the 70s and 80s helped lay the foundation for many of today’s electronic noise makers— in our newest feature, “Resident Visitor”.
Six reasons why “if you want to get paid for music you should play it live” is an idiotic argument. maura: Some bad-ass dude replied to Damon Krukowski’s breakdown of how much money he makes from streaming services with a sneer and a windy response that basically boiled down to “duh, quit yer bitching and … Read more
To put this into perspective: Since we own our own recordings, by my calculation it would take songwriting royalties for roughly 312,000 plays on Pandora to earn us the profit of one– one– LP sale. (On Spotify, one LP is equivalent to 47,680 plays.).
I love this Reader B Side cover illustration by Jeremy Wheeler.
Horror movies are especially amenable to experimental composers—dissonance and strange noises pair well with monsters and murderers—and Carpenter’s musical instincts are, unsurprisingly, well suited to them. The main theme from his score to Halloween—one of the most famous examples of 5/4 time—has not only become sonic shorthand for stalker paranoia but also does an incredible job summoning the actual feeling.