Long before Tracey Thorn and Ben Watt took to the dance scene after the unexpectedly massive success of the Todd Terry remix of “Missing” from their 1994 release Amplified Heart, Everything But The Girl released a series of stripped down, acoustic pop records. In fact, they released nine of them.
Though the albums are truly great on their own, the majority of journalists seem to focus on the more dance oriented side of the group. It’s warranted, because the two still release some of the purest and lifelike music in the electronic scene today, but their past shines just as bright and the first four full releases from Everything But The Girl are getting a re-issue treatment that will be released on June 4th, 2012.
Eden, Love Not Money, Baby the Stars Shine Bright, and 1988’s Idlewild will be given an expansive facelift via the Edsel label, which specializes in re-issues. The albums will be each be put on the shelves as two disc sets containing BBC sessions, non-album cuts, and home recordings.
Check out that beautiful amount of dynamic range! We love EBTG records!
Check out “Cross My Heart” from Baby The Stars Shine Brightbelow and let us know yourfavorite Everything But The Girl song!
This morning, we woke up to a Facebook post from Music Marketing Inc. in which YouTube user Everyonestalking (Dani from the duo Everyone’s Talking) played a virtual instrument string patch on his MIDI controller. Sounds pretty normal, right? After all, everyone from the most obscure electronic musicians to the most noted mainstream artists use string patches in some way, shape, or form. But, something about this video was different..
After playing a few lines, Dani decided to throw some distortion on the strings. Normally, some tremolo, reverberation, or delay would be an understandable approach to getting your stringed instruments (whether live or virtual) to a specifically sculpted sound for your song. Distortion though? Distortion is used to crush things, to make them sound more warped and demonic than the stock warped instruments that come in Logic Pro. Why in the name of all that is musical would you DISTORT STRINGS?!
To answer your question: watch the video. Dani applies an AmpliTube plugin (which emulates the sound of amplifiers normally used for recording guitar instruments) with the preset setting disappoint. Dani then states, “..let’s see if it does that” and plays a few notes, detuning the instrument a bit.
The end result is extremely positive! Though the string patch has quite a heavy decay on it, you get an understanding of what’s sonically going on and the power it has to create an extremely powerful, gritty sound that emulates a sort of unique synthesizer lead.
Playing “Kashmir” by Led Zeppelin with the end result in the video also put a little smile on our face. Sound strange? Check out the video below and let us know what you think! Also, if you decide to use this plugin, give us a shout on Facebook, Twitter, or Soundcloud with the track so we can listen and share the results.
PS – Do you know how many results for G-Strings we received while searching for a picture for this post?
The past few albums from the always controversial industrial rock band Marliyn Manson have suffered conflicted reviews from critics, but if the newly premiered “No Reflection” contains any indication on what’s to come on the new record Born Villain (due out May 1st, 2012 via Cooking Vinyl Limited) it’s a safe bet that the album, which Twiggy Ramirez quoted as saying sounds like the punk rock musings of Mechanical Animals, will catapult the band back up to acclaimed status.
Even from the YouTube stream of the music video for “No Reflection” it’s hard to deny the outstandingly abrasive mixing techniques of the song is one of the many reasons it’s becoming as reportedly good as it is. There’s clear frequency space for all of it’s chaos, with the song not sounding muddy in any shape or form. From the hi-cut on the kick, to the mid-range guitars and vox up final outcome, there’s no flaw stopping this track from kicking the hell out of the listeners ears.
It’s song structure also adds to the charm of “No Reflection” with it’s breakdowns from chorus to verse, and an interesting semi-droning guitar melody (thanks to what sounds like delay usage) that makes a surprise appearance at the end of the song and breaks the song away from it’s core and introduces one final new piece to the puzzle, which plays the song out.
Always moody and dark, it’s no surprise that there are lines such as “I’m weak seven days a week” and “You don’t even want to know what I’m going to do to you” but the catchy background vocal chant that appears throughout the duration of this first single really helps drive the vibe home and add to the refreshing taste of blood that’s pouring out of the poor girl’s mouth in the music video.
Domino Records signed and noteworthy indie rock band Dirty Projectors have stayed quiet for two years but seem to be setting up to release their latest project Swing Low Magellan, which is slated for a July 10th, 2012 release.
Sadly, word has hit the news cycle that bassist, Angel Deradoorian is taking a hiatus from the band (she’s one of the two female vocals you hear on their vocally show stopping “Stillness Is The Move” from 2009’s Bitte Orca), but guitarist Dave Longstreth is still creatively crafting the band by writing, recording, producing, and mixing the summer due album with the rest of the group: Amber Coffman, Haley Dekle, Nat Baldwin, and Brian McOmber.
Last year, Spin magazine had a change to sit down with Longstreth to discuss the upcoming record in which he stated “A lot of the songs are about horror or fear. It just didn’t feel right to be making this super exuberant music. It might just be that I was up here in the fucking winter when it was light three hours a day and there’s three feet of snow on the ground.”
“Gun Has No Trigger” kicks off the dark record as first single from Swing Low… and is a clear indication that the band has maintained it’s stripped down, indie stylings (complete with some of the most in your face, combatting percussion instrumentation in the industry as of lately) but is clearly a bit more dismal. The female background vocals and bass melody line even give it a slight tirp-hop sounding vibe!
A song about the if’s in life defines the downing territory that the band seems to be taking. During the last verse of the track, a powerful last stanza states “They watch you sleeping. You watch their garbage cook. You’d weep a bowl of tears, if you had looked”.
The one thing missing from this song is the sparse melodic guitars that have become a staple in the Dirty Projectors sound, but we aren’t complaining. They’d sound quite out of place on this track. It’s perfect the way it is and we’re looking forward to the record!
Swing Low Magellan tracklisting:
Offspring Are Blank
About to Die
Gun Has No Trigger
Swing Lo Magellan
Just From Chevron
Dance For You
Maybe That Was It
Impregnable Question
See What She Seeing
The Socialites
Unto Caesar
Irresponsible Tune
While you’re gearing up for our review of Iradelphic by Electronic artist and Warp signed Clark, take a second to view the gorgeous video for the piano-only track “Black Stone”.
In this five minute epic, we watch a film by The Vikings where warmly dressed, scruffy man trudge through a blistering cold forest to find a black stone in which he turns over. Under the stone lies a peep hole that shows an underground room with a piano and the always good looking clark a shirtless, balding old man, who plays the song for us.
The soundscape was also done by Chris Clark.
The video is hauntingly beautiful and worth a view or two (or three, or four). Be on the lookout for the 2020k review of Iradelphicmaking its way onto our site in the next few days!
*Photo from Clark’s performance at La Machine du Moulin Rouge
As soon as talks of Madonna working with electronic masterminds Benny Benassi and William Orbit were announced in regards to a then untitled new record by Ms. Ciccone, the world began buzzing. Was it a return to the introspective approach to pop music that 1998’s critically acclaimed Ray of Light brought to us? Was it a continuation and new revelation of sonics experimented with through the Benassi remix of “Celebration” off the Greatest Hits compilation of the same name? The amount of noise surrounding the album, which became titled MDNA and was released stateside on March 23rd, 2012 was astonishing and nothing had even been announced.
Soon after, a demo version of “Give Me All Your Luvin’,” a song produced by Martin Sloveig hit the internet and a 31 year old from Spain was arrested on copyright violations. A sour taste was left in our mouths because of the legal aspects surrounding the way the songs leak played out, but all in all the track seemed like a 21st century surfing-anthem of sorts. Full of optimism, excitement, and poise, “Give Me All Your Luvin'” echoed the fans sentimentss and a flawless Superbowl performance alongside M.I.A., Nicki Minaj, LMFAO, and Cee-Lo Green gave the hype machine even more fuel to fire. With the album shooting up to the number one spot in 40 different countries on iTunes charts just in pre-sales, MDNA was shaping up to be one of the most arousing, anticipated mainstream records of the first quarter of the year.
As electrifying as the minimalistic promotional campaign was for MDNA was, it obviously worked like a charm. Madonna’s record sold a modest 56,000 records in the United Kingdom but managed to break Elvis Presley’s UK charts record by becoming the first artist to have twelve number one albums. Her debut single off the record also became her 38th song to go top 10 in on the United States’ Billboard Hot 100 charts, and the record is pulling in steady numbers stateside, currently battling Lionel Richie’s latest release for the top spot on Billboard 200 Albums Chart.
MDNA itself seems to be her most mainstream dance record to date, this time gearing more toward the four-to-the-floor EDM/pop feel than that of the Trance and Folktronic routes she took on past records Confessions on a Dancefloor and the underrated American Life. It seems to be a step in the popular direction and a bit more in the vein of her roots than 2008’s urban-pop dud Hard Candy, but for the most part it plays out well over it’s deluxe edition’s hourlong timeframe, whereas the previous release suffered relevancy issues and cohesion complications.
An obvious upstanding piece is the previously mentioned first single from the record, “Give Me All Your Luvin'” which features collaboration it-girl Nicki Minaj and controversial Sri-Lankan rapper M.I.A. The two have similar badass approaches to music and have proved to have chemistry before (see Maya & Nicki’s fantastic “Teqkilla” Remix). They continue to demonstrate verbal creativity on the flower-power 60’s inspired Madonna track. It’s song structure subtly changes through the song while continuing it’s drive. Morphing from a cheerleading introduction, to surf-boy pop, stereo-paired acoustic guitar chorus, and a dubstep-esque breakdown, it genre bends effortlessly and introduces it’s featured guest spots without breaking up the overall dominion of the song.
In the same vein of positive music, “Superstar” and “B-Day Song” (which features Miss Arulpragasam yet again) continue their campy, carefree and bright percussive samples, guitar melodies. They add a great amount of instrumental feeling to MDNA and include some interesting vocal productions, introducing delay effects on the deluxe edition track and layers of adorable background vocals on the “Superstar” track. It even features Madge’s daughter Lourdes on background toward the end of the song.
Unfortunately, these are the only three tracks that fit outside of the densely electronic atmosphere and they seem to fall a bit short. There’s absolutely nothing lyrically wrong or inconsistent in gauging song structure superiority, but the mixing on the album aims to create an extreme emphasis on dance music. Because of this, the tracks that aren’t typically songs you would hear in an New York City club suffer sonic loss. Nothing quite indicates this point more clearly than the ironically titled “Masterpiece.”
“Masterpiece,” written for Madonna’s directorial W.E. unleashes a terrible mixing technique upon itself. The kick drum is quite literally the loudest instrument in the entire mix and is so loud that on inexpensive speaker systems, it could come across quite distorted or overpowering. Even on consumer headphones that fail to accurately translate low-end frequencies, the punch of the kick sample is so massively strong that it manages to obliterate any feeling that the rest of the instruments have to offer.
Beautiful reverberation surrounds one of Madonna’s finest lyrical ventures in her 21st century catalog and vocoders also help to supply the electronic consistency that MDNA offers while it’s string samples lie down the supporting pad-instrument to give an emotional outpour of mourning. “And I’m right by your side, like a thief in the night I stand in front of a masterpiece. And I can’t tell you why it hurts so much, To be in love with the masterpiece. ‘Cause after all nothing’s indestructible” summarizes the entirety of the track in precision that could only come from the words in which this pop queen has always shown on her records. William Orbit temporarily brought back fragments of Ray of Light and even the throwback-futuristic sounds of 2000’s Music to incorporate themes onto this production wonderfully. However, the way the record is mixed is entirely unbalanced for it to show anything more than brokendown beauty.
“Masterpiece” is the unfortunate misfire of what could have been bliss for MDNA and sits at an average rating of 6dB difference in Dynamic Range according to the TT Loudness Meter. In fact, the entire record sits at this 6DB dynamic range setting except for two tracks on the standard edition of the album.
Apparently, Madonna had vast say in the final producing, mixing, and mastering sections of the record. She’s done this for a bit and it’s an extremely admirable aspect that she’s so involved if the recording process, but could possibly conclude why the record sounds as it does. (Sources: William Orbit Twitter and liner notes).
“Falling Free” is the most dynamic on the record and even the most listenable. It clocks in at an acceptable rating of 9dB and while it’s still a heavily compressed composition, it’s fairly obvious that extreme care was considered in the album’s final comedown and closing piece. While it could easily have been produced with yet another four-to-the-floor dance beat, it remains rhythmically silent, allowing synthesized melodies, and vocoder inklings to take hold and allow full sonic honesty and lyrical sensibility. Electronic beeps bring in brief moments of sentiment and a small, lethargic bass occasionally carries in low-end warmth, which allows the song to tell an overall comprehensive story along with the vocals.
One thing MDNA gets respect for is that it doesn’t stay true to the method of mixing pop records so that the high frequencies shine so bright that they’re nauseatingly predictable. Madonna’s vocals sometimes aren’t even the main focus of a mix. They’re bumped up a bit in the equalization frequency spectrum and heavily compressed for effects, sure, but a lot of mid-range and low end is also present throughout the record in consideration of vocal tracks. This is a great thing, as Ciccone has a great low end register from time to time. To have her vulnerable voice captured with tender care is something that the records since Something To Remember has aimed to capture, accurately succeeding.
What’s wrong though, with the rest of the dance tracks is that they’re compressed so heavily that the shining production comes across as dull and empty. The synthesizer envelopes never really reach any sort of dynamic peak and while their melodies are astounding through the album, they fall flat without any sort of attack or interesting sustain. “I’m Addicted” is a sure sign of this, as the plucked-sounding synth that is present through the better part of the track doesn’t seem to have much attack to it. As a matter of fact, it stays pretty much at the same volume with each note played and has a blunt kick drum accompaniment that doesn’t help the song’s case. Otherwise, the song could be right up there with “Impressive Distant” (Music, 2000) in the same vein of the Trance/Pop vibe.
There are instances where the cringe-worthy mixing of MDNA can be overlooked. Madonna comes across sounding a bit Shirley Manson from Garbage on “Most Girls” and the grunge-esque/electro synth bass, as well as synth-horn calls contain an abundant amount of power that is extremely difficult to ignore. Combine this with electronic vocal stutters, manipulations, loops, repeats, and you have one hell of a track that shows as a true star through MDNA’s play.
“Turn Up The Radio” also has a short sound effect in the background that goes hard on reverb effect and makes it’s way into the song a few times. It’s a clever interpolation of creativity that gives the song a bit more life and displays surface level exploration that’s gladly acceptable on the spring released album.
On a deeper level of experimentation, there’s a banjo present on “Love Spent,” that plays in and out of the mix while Madonna’s treated vocals boldly declare “You had all of me, you wanted more. Would you have married me if I were poor? I guess if I was your treasury you’d have found the time to treasure me.” (We also recommend the Acoustic version that was given away with the pre-order of the album on iTunes). As Jimmy Fallon mentioned during his live Facebook sit down with the pop artist, “Love Spent” plays out like three dance songs rolled into one pristine, three minute epic. Piano, guitar, banjos, and a constantly changing dance atmosphere creates a substantial amount of melodramatic principles and once the halfway point breakdown reaches its way into the listener’s ear, its clear that this is a well thought out production, spanning through various soundscapes to combine a conglomeration of sounds all coming together to enforce the main motive of the track and subject the listener to a very distinct understanding of the declarations Madonna is making.
“I want you to take me like you took your money. Take me in your arms until your last breath. I want you to hold me like you hold your money. Hold on to me ’till there’s nothing left.”
Judging from those lines, there’s an elephant in the room. A big elephant. It’s impossible to overlook the fact that Madonna’s 2008 split from director Guy Ritchie obviously plays an important role on a lot of the themes and subjects covered on this release. The bonus track “I Fucked Up” also makes this point loud and clear, as does the most experimental track on the record “Best Friend”.
“Best Friend” contains an interesting and greatly programmed rolling-sort of synth that flows through the bulk of the song, only dropping out during the choruses to allow the track to brighten up to morph and have a bit of space amongst the suffocating and demanding atmosphere that it brings upon itself. Madonna’s voice is treated using a pitch corrector that sounds like something of the pitch correction tool in Logic Pro as opposed to Autotune (if anyone knows the plugin used for this track, let us know!). It has a sort of tuned down setting making it a nice alternative touch to the robotic feel of today’s pop music in regards to pitch correction. Overall it all makes for a great sounding electronic track because of it’s smart programming.
Though the album has it’s dark moments in both lyrical motives and mixing/mastering misfires, it’s a thorough album that explores what it’s like to be a veteran pop artist in the 21st century and trying to maintain a balance of relevancy and artistic integrity. Mostly, MDNA is the poor man’s Music in that it’s an attempt at infusing different genres into an overall dance album, but fails to do so as elegantly and effortlessly as the 2000 released from the same artist. However, it still shows diversity. “Girl Gone Wild” shows the disposable, but respectable and highly infectious top notch/Top 40 attempt, while “Gang Bang” plays against a minimalist electronic beat while experimentally venturing off into Dubstep territory without coming across as desperate to remain homogenized with the current state of mainstream music.
MDNA is a million worlds wrapped up in one album and although it’s by far not her best, it still contains replay value and is an honorary attempt at creating an album that’s as heterogeneous and daring as anything in Madonna’s catalog.
Today, Fiona Apple posted the album art to her fourth release The Idler Wheel… via her official Facebook page. It’s debut was set up along side a caption which announced the album’s release for June 26th, 2012 and a tracklisting, which you can view below:
01 Every Single Night
02 Daredevil
03 Valentine
04 Jonathan
05 Left Alone
06 Werewolf
07 Periphery
08 Regret
09 Anything We Want
10 Hot Knife
Some things of note:
1. The full title is on the cover art, where as her sophomore record When The Pawn.. contained the words but were certainly not the main focus of the artwork.
2. If you don’t count the “Across The Universe” bonus track from When The Pawn…, it is tied up with Tidal as having the least amount of tracks on an album. It’s quality over quantity, right?
Judging from this artwork, we’re in for quite a ride.
You can view a beautiful rendition of “Anything We Want” via her SXSW 2012 performance via several YouTube uploads. “Valentine” has also been played live. But, it’s “Jonathan” we’re the most anxious for our ears to grab a listen to. Fiona writes perhaps the most darkly poetic pieces in regards to relationships, so we’re sure whoever Jonathan is… well he’s shaking in his boots right now.
In the meantime, we hope you all continued seeing Ms. Apple on her mini-tour. We’re crossing our fingers for a bigger performance schedule upon release of the record (with bigger arenas. We’re still bitter about scalpers being able to buy up all of the tickets within seconds).
Check back at 2020k for the latest news on the The Idler Wheel… and a review upon it’s released. It’s one of our most anticipated records of 2012!
This is just a small little blip in continuation with our coverage of the new Garbage album Not Your Kind Of People (expected release: 5/15/2012 on the band’s own STUNVOLUME record label) and a small look at the marketing plan behind the band and the record.
“Battle In Me” was uploaded to Garbage’s official YouTube account on the 20th of March with a title confirming that it’s the official single for United Kingdom listeners in regards to the initial promotion for their upcoming release.
Considering that Garbage has their own record label, it’s a bit surprising that they’re releasing different singles in different countries as opposed to going for the worldwide appeal that Radiohead, Nine Inch Nails, and countless other bands without major label support usually use to their advantage. In fact, the campaign they seem to be embarking on is a nice infusion of traditional marketing means mixed flawlessly with 21st century social media tools. Not a bad way for these veterans to start spreading the word out there.
The song itself is great, but so far only a YouTube version of the track can be officially heard, so an in depth review will be saved for a later date. 2020k does really like the song structure, especially the pauses during the song, which are semi-reminiscant of “Supervixen” off of their debut album, don’t you think?
Iamamiwhoami seem to be on a roll with the promotional campaign surrounding their debut album Kin (slated for a June 2012 release via Cooperative Records). It’s almost as if they’ve planned something little to happen just before the release of a new song and this time it’s the announcement of their spot at the 2012 Stockholm Music & Arts Festival, held in Sweden from August 3rd-5th. The band’ll be performing a set on the last day and have been put on a bill with Buffy Sante-Marie and legendary Icelandic artist Bjork. Not a bad gang of artists to be affiliated with, Huh?
Best of luck to the band and we hope they knock it out of the park just as they did during their live debut at Sweden’s 2011 Way Out West festival. (Click here to watch the entire 45 minute show via YouTube..It’s amature camera work, so it’s even filled with some great “Oh my God! Oh my God! JONNA!!” moments).
While we’re all anticipating Iamamiwhoami to play their second official show, we’re also busy chilling out to their highly infectious, March 28th 2012 released single “Play”. Move over Toro y Moi, shut up Neon Indian, and step aside Alternative Hip-Hop producers because “Play” has continued their approach to coming completely out of left field. The song is debatably their most pop influenced track to date, complete with urban, ethereal, and glorious Chillwave influences.
The first thirty five seconds of the track contain an eerie, ambient beginning that flourishes into a noisy, industrial build up. It’s full of panned beeps, effects, and heavily equalized effects to distinguish low-end sounds from high synth-rhythms that setup a start that sounds like it may clear into another densely layered epic like “; John” or the dark Electro territory covered by “T”. But, instead “Play” completely drops off it’s appendage.
After the introduction, the sonic landscape is left with not one instrument from the first segment of the track, but a completely new set of them and luscious step into the world of chillwave! The band has been experimenting with more of a trance/electro sound recently, so it becomes another breath of fresh air that this new magnificent direction has been thrusted full forced upon us like those amazing pelvic movements and booty shaking featured in the unforgettable “; John” video.
One main melodic synthesizer repeats it’s phrase through the first verse while a trickling drop-synth that pans occasionally left and right and record crackling quietly creates a life-like vibe in the background. A minimal Hop-Hop percussion track accompanies the relaxing production and succeeds in creating a lazy rhythm that compliments the tripped out vibe chillwave and Alternative EDM strive for. It starts sparse, builds into a euphoric world, and flips back and forth between them for the song’s 5+ minute duration.
Lyrical content is simplified glory and hits the aurally emotional spot just right. “Take off your hat and pull a rabbit out for me” Jonna sings through thick reverberation implying that though someone or something has grabbed ahold of her, she still expects a lot more from it if it wants to completely win her over her mind, body, and spirit. It’s one of the only inklings of confidence because though the track is strangely optimistic sounding, the track itself puts together a folklore and mass conglomeration of emotions. “I’m like a lion now, I play on my back and on my knees” is the follow up line that elegantly implies vulnerability, strength, and weakness all in one bold statement.
“But I can dance tonight and make up songs for us to sing/You hold my heart because it’s cheap and to your rhythm I will shout “my love for play!”
The oppression and fight to break free from it is becoming overwhelmingly crucial to the Iamamiwhoami concept and is a heartbreaking subject that’s being vastly and accurately explored visually, aurally, figuratively, and literally.
The true meanings of the lyrics and themes are still extremely clouded in wonderment, but though all of these Iamamiwhoami video theories continue to thrive throughout the comments section of their YouTube videos, Iambountyfan’s discussion chat room (pictures in this piece are credited to them), and other various outlets – oppression seems to directly, or indirectly relate to the majority of the inquiries fans and critics seem to be fighting to find answers to.
Play’s video is obviously a continuation of all of the short films we’ve seen from Kin so far, but seems to be one of the most boggling videos of all. Loads of theories surround it, and of course everything ForsakenOrder types up makes for a fascinating read (a tip of the fedora for his David Lynch quote). It’s the overall feel direction of it that makes this music video one of the more captivating watches from the band yet! Jonna Lee’s facial expressions continue to send us into fits of giggles (this time, at 0:59-1:03 where she gives a cheekily cocky expression before getting struck by lightening), the bird’s nest of a hairstyle quirkily works, expressive dances with oversized mop looking clumps wind up cinematic charm, and the warm colors are faded throughout the video to seem cold which lends emotional depth in regard to the entirety of the shockingly catchy visual experience.
The most shocking aspect of all is how pop sounding the song actually is. In fact, the “Play” structure seems to be the band’s most straight forward, simplified production to date. If the experimental vocal production wasn’t present, you could hand this to nearly any Electronic or daring Dream Pop artist, ask them to sing it, and it would come out just as lovely as the version our ears are currently listening to.
But, this is not an M83 Dream Pop production and as much as Jonna reminds us of something Alison Goldfrapp would visually put together and melodically cook up, it’s not her either. “Play” is pure Iamamiwhoami. The experiments are there, they’re present, and they truly make the track one of a kind amongst the critically branded Hipster genre of chillwave. This creative twist in “Play” most certainly proves that this project is not shy about broadening a horizon of any aspect involving their motives, which makes them all the more nobel and more inspiring than any of us could have ever imagined they would become.
While you’re waiting for our review on pop queen Madonna’s latest record MDNA, we thought we’d share the latest on an interesting 24 hour feud between Ms. Ciccone and dance music’s Deadmau5.
It all started when Madonna made a surprise appearance at the Ultra Music Festival to introduce Swedish house artist Avicii‘s headlining set. Starting out, she gave a nice speech about electronic music always being a part of her career and that she can say “A DJ quite literally saved my life.”
Then, she said she had a few questions for the audience. The first inquiry?
“How many of you have seen Molly?” (If you don’t know what Molly is, take a look at this informative article).
Afterward, fans who attended the show and watched from YouTube’s exclusive stream seemed to be on two sides of the spectrum: either rather enthused about the appearance, or a bit let down that she chose to dance about the stage to an Avicii remix to her second single “Girl Gone Wild” instead of giving a bit of a performance. Regardless, the same played out, but playful joke caroused the internet on every news site available with journalists, fans, and bloggers stating “Madonna’s looking for Molly and Britney Spears is still seeking Amy.” (Admit it, you giggled).
Cue Deadmau5, who has had his fingers busy lately updating his Tumblr with little mouse squeaks of entries (one of which we retweeted because we agreed with). An article entitled Responsibility basically slammed Madonna for using drugs to market her way into the Electronic Dance Music community and sell more copies of her already drug related record title MDNA.
Joel Zimmerman stated: “still, we have, and will always have personal choice. Thats how our lives are shaped… through the good or bad choices we make. we learn every day from them… but theyre ours to make, and its our responsibility to make the right ones for each of ourselves.Not to be pandered down to us in metaphorical pill form from BIG voices as a marketing scheme to “fit in” with todays young and “hip” crowd to sell a fuckin CD.”
In the same night, Madonna took to Twitter for one night to answer questions that the fans would Tweet to her throughout a two hour rapid fire, witty, insightful, and wonderful un-filtered Q&A session.
The following pictures demonstrate the exchanges made:
And then all was calm, while some interesting tweets from mau5 toKaskade remained and Kaskade’s tweets backing Zimmerman still stands. (Though the tweet is most likely because of Joel’s own difficulties with the Ustream service).
2020k’s review on Madonna’s MDNA to be posted in a few days after a few more listens. Post your thoughts on this small feud and your thoughts on the album in the comments section below! Don’t be scared to follow us on Twitter and like our Facebok page. We’re 2 away from 100 fans!!!!!
2020k 