The Last of Us, slated to be one of the highest-selling video games of 2013, is a genre-defining experience blending elements of survival and action developed exclusively for the PlayStation® 3 system. The game will immerse players in an incredibly realistic, lethal and savage world through its integration of intense characters that foster emotional resonance, a rich storyline and gorgeous visuals. The soundtrack for The Last of Us was composed by Gustavo Santaolalla, a multi-faced artist that is best known for his work writing movie scores and producing albums. He is also the founder of the alt-tango band, Bajofondo. As a composer, he has won two Academy Awards® for Best Original Score for his work on Babel and Brokeback Mountain.
There’s a whole world contained within Yamantaka // Sonic Titan. They’re a Noh-Wave prog collective, a black-and-white (and sometimes red) theatre company, an operatic psych cult, and the speculative prophets of humanity’s impending doom. Above it all, though, they’re a thunderous rock band, and on their third album, DIRT, they’re the heaviest they've ever been.
DIRT is the band’s first album since 2013’s UZU, their second straight to be shortlisted for the Polaris Prize as one of the best Canadian albums of the year. But the gap between albums hasn’t been a hiatus. Instead, the group hunkered down in the studio composing the mostly-instrumental score to the DrinkBox Studios video game Severed, along with members of the Canadian-Filipina gong group Pantayo. They emerged with new elements to heighten and distort into their already far-reaching sound, which combines and tornadoes Asian diasporic and Indigenous influences and perspectives.
When Canadian singer/songwriter Bobby Bazini released his first full-length album Better in Time in 2009, he was only 20. By that time, his debut single "I Wonder" had already spent nine consecutive weeks atop Quebec English single charts. Bazini's brand of emotional, earnest, singer/songwriter pop, hugely influenced by classic soul and blues artists, struck a chord with Canadian audiences
Bobby Bazini, auteur-compositeur-interprète d'à peine 20 ans est remarqué pour sa voix unique et son indéniable sens du soul. Le premier extrait, I Wonder (sorti en août 2009) atteint rapidement le top 3 au palmarès anglophone correspondant et y demeure pendant plus de 9 semaines. Après 23 semaines il est toujours inscrit au palmarès. Coup de coeur au dernier Midem, Mungo Park Records reçoit plusieurs offres pour sortir l'album Better in Time en Europe. Avec sa voix unique et sa musique entre le soul, le pop, le folk et le R&B, Bobby Bazini vous charmera. En Europe, en Amérique du Nord et au Japon Bobby Bazini n'a que des éloges. Tous lui prédisent une grande carrière internationale. Vous serez conquis !
KINGS & QUEENS OF THE UNDERGROUND was primarily produced by Trevor Horn, with Greg Kurstin also contributing as a producer to two songs - 'Save Me Now' and the anthemic lead single, 'Can't Break Me Down.' From punk pioneer to global superstar, William Michael Albert Broad - AKA Billy Idol - has left an indelible mark in popular music and remained a household name for over three decades. His style, music, and attitude have transcended time and trends. Billy is the original punk rocker who found a way to take that sneering punk attitude into the pop and rock mainstream, carving out songs that have lasted a lifetime.
Soundtrack to the 2013 Baz Luhrmann film The Great Gatsby, starring Leonardo di Caprio. The soundtrack was formulated by Luhrmann andrapper Jay-Z and attempts to translate the "Jazz Age" of Fitzgerald's original book into a contemporary setting: the Hip-hop Age. Jay-Z's own "No Church in the Wild" and "100$ Bill" feature along with new songs by Florence + the Machine, Lana Del Rey, Nero, will.i.am and the xx were written for scenes in the film. The highly eclectic soundtrack also features songs performed by such artists as Beyonc and Andr 3000; Fergie, Q Tip and GoonRock; Coco O. of Quadron, Gotye; Nero; and Sia. There's a also a few favorites with a new twist, such as Jack White's interpretation of U2's "Love Is Blindness", Beyoncé and André 3000 collaborating on Amy Winehouse's "Back to Black" and Bryan Ferry's new take on a couple of classics: his own "Love Is The Drug" and, with Emeli Sandé, Beyoncé's "Crazy in Love".
Myles Kennedy had finished his first solo album. Then he threw it away.
“I had been working on a record for about seven years,” says the singer/songwriter known worldwide as the voice of Alter Bridge and of Slash’s band, Myles Kennedy and the Conspirators. “It was actually finished two years ago, but when I listened to it with a fresh perspective, when all was said and done, I thought it wasn’t the right first step to take in this journey—its shelf life had expired.”
So he started over, and found himself “writing like a madman.” More than twenty songs spilled out in a short period of time, and as Kennedy listened to his work, he began to comprehend the direction in which the music was pulling him. “It became incredibly obvious what the source of inspiration needed to be lyrically,” he says. “I realized it was time to jump head-first into something I’ve been putting off for my whole life as a writer.”
What eventually emerged was Year of the Tiger, an album almost entirely focused on the loss of Kennedy’s father when the singer was just four years old. “My family was very involved in the Christian Science church,” he says. “So when he became ill, he chose not to seek medical attention, and passed away a few months later. By all accounts, my father was a good, honest man, but I still struggle with the choices he made which ultimately led to his death.
“This was something I had wanted to dive into throughout my career,” Kennedy continues. “It just took decades to muster up the courage. Beneath the surface, the wounds were pretty raw, but it just had to be done.”
Delving into this emotional territory required a musical approach far different from the hard rock that has defined Kennedy’s arena-filling career. The majority of the record was written on acoustic or resonator guitar and recorded directly to tape using a limited number of tracks. Kennedy himself plays banjo, lap steel, bass, and mandolin in addition to guitar on Year of the Tiger, joined by drummer Zia Uddin and Tim Tournier on bass, along with longtime Alter Bridge producer Michael “Elvis” Baskette.
“I’ve always wanted to make a record where I could have the opportunity to explore and document a different element of my musical DNA,” he says, citing his love for the blues, R&B, and acoustic based music and listing such influences as Mississippi John Hurt, Chris Whitley, K.D Lang, Nick Drake and the acoustic songs on Led Zeppelin 3 and 4. “I was trying to tap into something a little more subtle, as opposed to a big, bombastic, high gain sonic attack.”
With the production and arrangements, too, Kennedy began with what he didn’t want, which was anything that felt too processed and slick. “I wanted this recording to be about the vocal, so we kept the instruments arranged in a way so that my voice would be dominant in the mix,” he says. “The recordings I love aren’t perfect. Going straight to tape, going for the song and the performance, making sure that the lyric is honest and resonates with you—the way to capture that is not to suck the life out of it. They call it wabi-sabi in Japanese culture, the idea of embracing beauty in imperfection.”
Even as a singer, Kennedy—three-time winner of Loudwire’s Vocalist of the Year award—was determined to explore a new range and approach. “I was trying to keep things in a lower register,” he says, “not relying on the vocal histrionics that I fall back on in a rock context. On this sonic canvas, I didn’t want to distract the listener from the depth of the song, what was paramount was how the lyric was conveyed emotionally.”
The album found its initial direction from the title track, which was an idea from Kennedy’s first pass writing a solo album. “I remember stumbling onto the melody and title of the song years ago. It stuck with me but I couldn’t seem to complete the concept until it dawned on me that 1974 was the Year Of The Tiger according to the Chinese Zodiac.” he says. “Once I realized that was the same year we lost my father, I knew where I needed to take the record lyrically. The song is really the preface for the entire story from my mother’s perspective. It’s a battle cry of resolution, to persevere under the circumstances we were enduring after dad passed away.”
Kennedy pays tribute to his mother throughout the album. The song “Mother” tries to imagine her experience of the tragedy, fighting to keep things together for Kennedy and his brother. “Turning Stones” represents the singer “trying to get in my mom’s head throughout the difficult journey” while “Ghost of Shangri-La” opens with an image taken directly from his family’s lives in the aftermath of his father’s death.
“The song starts with the line ‘There are thieves outside of our window,’ which was inspired by something that happened to us,” Kennedy explains. “A few weeks after dad passed away, our house was broken into. Ultimately, it served as the catalyst for my mom to uproot us from Boston and move out west and start over again.”
“The Great Beyond” is perhaps the most ambitious song, the grandest in scope, on the album. “That one is probably the least congruent sonically, but it’s so epic in nature that it felt appropriate because of it’s subject matter,” he says. “It describes my father’s passing with surreal imagery from a lyrical standpoint. It was perhaps the most challenging lyric to write, and perform, but it is a very necessary part of the story.”
With Year of the Tiger, Myles Kennedy opens himself up in ways that would be painfully, shockingly personal and intimate for anyone, much less for a revered rock and roll frontman. “Songs like ‘Blind Faith’ or ‘Nothing But a Name’ are almost like open letters to my father, expressing an ache that’s never subsided,” he says. “This record is my attempt to convey things that I’ve needed to express for a long time. What I found hiding in the deep, dark corners of my psyche was difficult to face, but in the end, what came out of the creative process was very cathartic.”