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A deep listening experience from the ambient-jazz quartet. For more, go to: NPR.org (Source)

Generationals team up with Sarah Jaffee on “Tryin To Reach Ya.”

[video src="https://cdn5.baeblemusic.com/generationals_tryin_to_reach_ya%2Fgenerationals_tryin_to_reach_ya.mp4" poster="https://cdn.baeblemusic.com/images/miscvideos/generationals/generationals_tryin_to_reach_ya.jpg"]

For more, check out: BaebleMusic.com (Source)

 JBL has announced the immediate availability of the JBL PRX ONE. The JBL PRX ONE all-in-one powered column PA features an acoustically optimized column array featuring a 7-channel digital mixer, a full suite of professional DSP, class-leading audio connectivity, Bluetooth functionality and JBL Pro Connect universal app control.   Key Features: • Superior Acoustic Performance – 2000W with clarity, low bass (35Hz), superior output (130dB), 130° x 40° dispersion • JBL A.I.M. Acoustic Technology – (Array Inumbration Mechanics) geometrically optimized array-shading technology provides controlled, consistent front-to-back coverage • Extensive I/O – 7-channel digital mixer with 4 XLR combo jacks, phantom power, Hi-Z, BT audio • […]

The post JBL Announces PRX ONE PA System appeared first on Music Connection Magazine.

For more, check out MusicConnection.com (Source)

Ukrainian blackened death/doom metal visionaries, 1914, continue to reflect the gruesome tales of World War I, its soldiers’ fate, their death, fear and feats to be never forgotten on their sinister third epos, Where Fear And Weapons Meet, out this Friday, October 22, via Napalm Records.
After smashing their…For more, check out: BraveWords.com (Source)

In a new interview with Canada’s The Metal Voice, DREAM THEATER‘s James LaBrie was asked if there was ever any talk of him trying out for the singer position in IRON MAIDEN when Bruce Dickinson left the British heavy metal legends back in 1993. He responded (as transcribed by BLABBERMOUTH.NET): “Yeah, sure. Absolutely there was. Because at the time, we were being looked at to be managed by IRON MAIDEN‘s management. And so, [MAIDEN‘s manager] Rod Smallwood, at the time, we were playing darts, and he took me aside and he said, ‘What do you think about…?’ “You’ve gotta remember — I was in a very bizarre situation,” he continued. “DREAM THEATER, we had already recorded [1992’s] ‘Images And Words’, we were looking for management, we were getting ready to try and set up a tour and get out there. And I remember him saying to me — he takes me aside, and the rest of the guys in DREAM THEATER were there too, playing darts, because we were looking at him for management. And he says, ‘I just wanna throw something at you.’ And he had his assistant with him too — Merck — at the time. And they were both standing there. They were going, ‘What do you think about being the singer with IRON MAIDEN?’ And I said, ‘What? What are we talking about here? I’m confused. Are you not here for the reason that you might start managing DREAM THEATER? Or are you here to get me to become…?’ And I had already recorded the [DREAM THEATER] album. Can you imagine how bizarre that was?’ LaBrie said: “Anyways, so I just said, ‘No. No way. You know what? I’m gonna tell you the reasons why I’m not going to do this.’ And they said, ‘What’s that?’ And I said, ‘One: DREAM THEATER. That’s it. Period.’ And I said, ‘But if I need to go any further with this, way back when I was 22 years old, I sang for a band called CONEY HATCH for a year. And I walked [in as the replacement for] another singer [named] Carl Dixon,’ and I said, ‘and basically what I felt like was a glorified jukebox.’ And I said, ‘Because I came into the band, I was able to sing all that stuff no problem — no problem — but there was never that ‘This is me. And this is what I created.’ It was about, ‘Are you looking at me for who and what I am?’ I don’t think so. And I don’t think you ever will. “Bruce and I have mutual respect for one another. We’ve met several times. We’ve done several shows. I remember doing the BBC show with him. And there was that mutual respect between the two of us. And I remember just thinking, ‘I’m not gonna get out there and be singing MAIDEN every night — even though I think they’re a great band, and Bruce is a great singer. No, thank you.’ I need to create something that I can say, ‘No, this is what I created from the beginning.’ And we all know, okay, I wasn’t on the first [DREAM THEATER] album, ‘When Dream And Day Unite’.” James added: “And [the offer to audition for MAIDEN] came and went. As fast as it was asked, it was dismissed. And they went, ‘All respect. Totally get it. No problem.’ Boom. And we moved on.” After Dickinson left MAIDEN, the job went to WOLFSBANE vocalist Blaze Bayley, an odd choice considering that Blaze‘s singing voice is quite clearly a baritone in contrast to Bruce‘s tenor/alto range. Bayley recorded two studio albums with IRON MAIDEN — 1995’s “The X Factor” 1998’s and “Virtual XI” — before Dickinson returned to the group. The MAIDEN albums Blaze appeared on sold considerably less than the band’s prior releases and were their lowest-charting titles in the group’s home country since 1981’s “Killers”. Back in October 2002, DREAM THEATER performed the entire “The Number Of The Beast” album by IRON MAIDEN during its appearance at the London Astoria. The progressive rock heavyweights played the material exactly as per the original album, with the exception of “Gangland”, which was done in a jazz style. DREAM THEATER, who feature a sole guitarist in the shape of the very-capable John Petrucci, reproduced the second-guitar parts by having keyboardist Jordan Rudess play them on the keys, including the solos. Following an intermission in the regular set, then-DREAM THEATER drummer Mike Portnoy took the stage wearing a MAIDEN shirt, after which the classic “The Number Of The Beast” spoken intro kicked in. “The Number of The Beast” album cover was projected behind the group, but with DREAM THEATER in the style of the IRON MAIDEN logo.

For more, go to: Blabbermouth.net (Source)

Area21’s aliens “Own The Night.”

[video src="https://cdn5.baeblemusic.com/area21_we_own_the_night%2Farea21_we_own_the_night.mp4" poster="https://cdn.baeblemusic.com/images/miscvideos/area21/area21_we_own_the_night.jpg"]

For more, check out: BaebleMusic.com (Source)

[video src="https://cdn5.baeblemusic.com/The_Shindellas_Feeling_The_Pain%2FThe_Shindellas_Feeling_The_Pain.mp4" poster="https://cdn.baeblemusic.com/images/miscvideos/the_shindellas/the_shindellas_feeling_the_pain.jpg"]

For more, check out: BaebleMusic.com (Source)

The Mechanical Licensing Collective (The MLC) announced that Simply Royalties and Verifi Media have joined its Data Quality Initiative (DQI) Partner Program, partnerships that will make it easier for each company’s customers to participate in the DQI and check the accuracy of their musical works data with that listed in The MLC’s database. With the new additions, The MLC now has seven music data companies onboarded as official DQI partners. The MLC continues to emphasize the importance of data accuracy with its Members now that the organization is distributing digital audio mechanical royalties on a monthly basis, and the DQI […]

The post The MLC Adds New Data Quality Initiative Partners appeared first on Music Connection Magazine.

For more, check out MusicConnection.com (Source)

From nips slips to guitar smashing, we look at some of the blatant double standards women face in rock and metal. Continue reading…

For more, check out: Loudwire.com (Source)

With two decades of hindsight, it’s kind of funny to notice how at war with themselves music critics seemed regarding Incubus, especially by the time the unapologetically SoCal troupe released their fourth studio album, Morning View. As has been unendingly discussed, especially now with all of these other era-adjacent anniversaries, rock music was a tricky subject in the late ’90s and early 2000s. The Strokes were only juuuust getting around to putting their nonchalant, retrofied spin on the genre, and for the six-ish years prior, a successful radio rock band was probably going to be lumped in with Korn, Disturbed, Limp Bizkit, Drowning Pool, and the rest of the Ozzfest lineup. Incubus were not quite as easy to categorize, though goodness knows promoters tried, frequently dumping them in the nu-metal bucket on the festival circuit. Sure, Incubus’ earliest work went Deftones-hard, but then you also had acoustic, mid-tempo ballads like “Drive” and a gentle, oft-shirtless lead singer, and, welp, now the pop kids who loved *NSYNC and Britney could rock out a little too. I should know — I was one of them.

For more, go to: Stereogum.com (Source)