The uptempo, Electro Hearts Revolution offered up “Teenage Teardrops” and we’re sharing with you a stunning remix of the track that popped up in our inbox a few days ago by Zack and Steve who make up the duo UpTill.
UpTill takes the Crystal Castles influenced track and remains true to the sound for the most part, while offering a slight Foster The People minimal-esque sunshine pop spin on it, giving the emotional angsty out pour of Leyla ‘Lo’ Safai’s vocals a platform to shine brightly over a track that offers a sweet dance hi-cut filter toward the 2:13 mark, and gives the vocal track several pitch manipulations, loops, which adds an even more Electronic and fresh feeling to the track.
What makes this mix great is that it’s also a very straightforward mix. There’s no large bells and whistles, no large production techniques, just simple mixing where the composition and song structure provides the basis of “Teenage Teardrops”.
The mix comes off the tail of a Remix Competition Hearts Revolution announced, which has since ended (on August 24th to be exact), but you can still download the multitracks to the song and give your own spin on the song by clicking here. The group urged competitors to be “Creative as hell” and that’s exactly what Uptill has done. Bravo, guys!
Lately, Late Night Alumni have been ultra interactive with their fans and we love it. They’ve held Facebook contests for a chance to win their entire discography on a Flash Drive, a T-Shirt designing contest, keep us informed with their statuses, and occasionally reply to a few fans here and there. Now, they’re asking for our help.
If case you didn’t know: touring is expensive. There is an article over at The Guardian, published in 2008, that just scratches the surface of how much money is taken in regards to fees to sell merchandise at your show and how hard it is to get label support to back you up, especially if you’re an up & coming act. Since they’ve been around since 2004, electronic music act Late Night Alumni are practically veterans to the music business and three albums into their career, even they need help catching the funds needed to supply the mandatory demands that a tour financially needs.
Late Night Alumni is made up of Ryan Raddon (aka Kaskade, who we’d like to congratulate on winning America’s Best DJ), Finn Bjarnson, John Hancock, and Becky Jean Williams, and being the resourceful bunch they are, they’ve set up a Kickstart campaign to ask willing fans to donate some cash to help them reach their goal of a steep $10,000 for the tour the group hopes to embark on.
The best thing about this is the fans benefit just as much as the band. In fact, for every dollar you spend, there is a some sort of kickback for the kickstart you’ve helped. $1 enters you into a drawing for a hoodie/T-shirt package prize, $5 gets you a personal thank you card, $20 grants you a remastered hard copy of the band’s debut record Empty Streets, and if you’re feeling extra helpful, $2000 gets you a chance to sit in on a recording session with the band! (2020k note: I’d kill for this, but unfortunately, I don’t even have $2000 to my bank account!!)
So far, the band has currently received $22,712 in donations, which has more than doubled the amount of money they originally asked. In a Facebook update, LNA stated “Hooray! The goal has been met! The more we raise the bigger the tour! Let’s keep it going so we can come see you in your home town!”
You have until October 2nd, 2011 to donate – why not throw in a few bucks toward a band that’s given us such authentic sounding Electronic music. Check out a video below of the band recording their third album Haunted and cross your fingers that they make a stop in a city near you. 2020k will be praying for a Pittsburgh, PA date!
Follow 2020k on Twitter and like us on Facebook for more Late Night Alumni news, music reviews, interviews, contests and more! Also, chat it up in the comments section and let us know what you think about artists using Kickstart for this reason and what you think about Late Night Alumni!
Abel Tesfaye, better known as The Weeknd, better known as 2020k’s vote for one of the most unique and refreshing artists to produce R&B music in the last couple of years, finds himself working exclusively with Doc McKinney (Esthero, Res) and Illangelo and submerging himself into deeper, darker, and more experimental atmospherics on his sophomore mixtape, Thursday.
Thursday carries forth the depression that it’s predecessor House of Balloons proudly displayed, and continues it’s downward spiral by remaining true to the signature subjects of sex, drugs, alcohol, and despair, but creates it’s own progressive niche by replacing the catchy melodies that songs like “The Morning” & “House of Balloons – Glass Table Girls” offered, with lyrics that sound more like a stream of consciousness, transcribed and morphed into R&B phrases. It’s only “The Birds Part 1” and “Lonely Star” that carry the strongest inklings of a strong and traditional hook, with all of the other songs relying on the mood of the track to carry Tesfaye’s melancholy crooning.
Mood is a central theme of any work The Weeknd has released thus far, and it’s become a stronger standpoint on Thursday. Strong rhythmic presence combines with electronic ambiance on the majority of the tracks, with the title track “Thursday” being the lead example of how this contrast in sonics work as well as they do. Bass, kick, snare, and supportive rhythmic samples are the main focus throughout the song, with a secondary focus on vocals.
What’s most interesting about this record is that the vocals are usually not the main focus in most of the songs. They’re compressed heavily sometimes, there’s some very nice, long reverb settings, delays, and layers to them, but if you listen to the first two tracks, it’s apparent that the vocals are shoved a bit further back in the mix to give balance and equal representation to all aspects of the music, which is a technique used more in rock music than in R&B. It’s a refreshing approach, but takes a few listens to get used to, especially on the album’s opener,”Lonely Star,” because even though it has the most pop/standard R&B influence on it, it remains experimentally obscure sounding because of the lack of extreme vocal presence that friendly melodies are normally associated with. …But, “I love the guitars!”
Yes, it’s true. The guitars are nice, especially on the second song, “Life of the Party”, that literally sounds like something you’d hear in a madhouse. There’s a nice synth that appears on every and of the beat that gives the track a warped reggae tone, combined with pop, electronic, rock, ambient, and R&B tones. It’s another one of the catchier tracks on the record, but in terms of the musical production on it.
Where the musical production and composition really gets into it’s zone though, is on the appropriately titled “The Zone.” Bass samples are manipulated to give a nice pulsing melody that helps drive the track and has an underlying synth pad underneath it that gives the track an odd Vespertine-Bjork-esque macro Electronic, minimalist production quality before the percussion kicks in to drive the urban vibe. Drake sounds super nice on the track as well and it’s a nice surprise to hear his voice on the track, especially given the push he’s give Abel since his debut a few months ago. “The Birds Part 1” also demonstrates a very nice musical composition, with it’s kick your fucking face in snare drum production and rolls and is the highlight of the album for 2020k.
But, it’s the sample of a girl hysterically crying that opens up “The Birds Part 2” and the sample of the extremely gut wrenching song “Sandpaper Kisses” by Martina Topley-Bird off her debut record Quixotic (UK)/Anything (US) that gives the album’s most emotional and shocking moments of the record. It’s raw emotion, captured, sampled, manipulated, placed into a Weeknd track, and is the most intense track Thursday offers to us. Basically, don’t fall in love with a nigga like The Weeknd. This is what he’s been trying to tell us track after track after track.
“Sandpaper kisses, papercut bliss Don’t know what this is, but it all leads to this: You’re gonna leave Her. You have deceived Her. Just a girl.” Click here to listen to the original track by Martina! (Who has collaborated with Trip-Hop artist Tricky and more lately, Massive Attack, who we’ve written about before).
Thursday is a fantastic display of growth from The Weeknd and it hasn’t even been half a year since the release of House of Balloons. We have one more release coming in fall/winter from him, and there’s no doubt we’re sitting on the edge of our seats, wondering how this mixtape trilogy is going to end. 2020k also commemorates The Weeknd and co. for giving their music away for free through their official website. It’s a bold move, but a smart one in the 21st century of the recording industry. You can download Thursday by clicking here.
Perez Hilton just released the scheduled performers for his second annual “One Night…In Los Angeles”. Top 40 artists Far East Movement and JoJo are scheduled to show up, as well as Gavin Degraw, The Veronicas, and a DJ set by Pete Wentz. It’s a great event in which all revenue earned from tickets sold benefits the Gay, Lesbian & Straight Education Network and would be worth checking out just for that philanthropic approach alone.
In an interesting twist in events, rapper Busta Rhymes has also been scheduled to appear at the event and while 2020k holds the hip-hop veteran at a very high position when it comes to the top talent in the genre, there’s something obscure about inviting an artist who has irrationally spoken out about against the GLBT community several times and, to our knowledge, has never publicly apologized for his statements.
In 2006, during the release of his record The Big Bang, Busta Rhymes proclaimed “I hate fucking faggots” after a fan approached him to congratulate him on his comeback and in the same year, contributed to the documentary Hip-Hop: Beyond Beats and Rhymes, a film set to explore issues of violence, sexism, masculinity, and homophobia inside hip-hop, in which he explained “I can’t partake in that conversation.” “With all due respect, I ain’t trying to offend nobody….What I represent culturally doesn’t condone [homosexuality] whatsoever.” and then walked out of an interview when asked if a gay rapper would ever be accepted within the genre.
To our knowledge, the man hasn’t said anything to counteract any of the statements mentioned above and has us scratching our heads as to why he’d agree to perform at this type of event. Maybe he’ll make a statement during his set, or maybe he’ll play it the entire way through without muttering a word about his past actions to the LGBTQ community. Perhaps the money and such were right, perhaps he’s changed his mind about his thoughts toward the community, or maybe it’s just to hit the stage again. Any sort of strategy, premeditated or not, that went into this sort of planning and allowance of this artist to take the stage is beyond us and we like to stay neutral around these parts of the blog, so we won’t speculate.
Either way, we think that Busta Rhymes is an exquisite display of talent, creativity, and performance and all we ask that he treat the crowd and our community, all communities, with respect, and wish him a great performance.
We’d love to hear your thoughts in our comment section below. We’d also love to hear Perez Hilton & GLSEN’s input on the decision made to include Busta on the list of scheduled performers. You can also let us know your thoughts via our Facebook or Twitter.
In lighter thoughts, check out Busta’s video for “What’s It Gonna Be” featuring Janet Jackson. No doubt, one of the coolest videos ever created.
We here at 2020k would like to take a minute out of our day to express our sympathies to the Haughton family as it’s been 10 years since the unexpected and tragic death of R&B singer Aaliyah.
To keep in line with how we roll on this website, we’d like to direct you to a piece that a blog called You Know I Got Soul did a few months ago in where they contacted most of the producers who worked on Aaliyah’s self titled third record. There’s lots of goodies and conversation on the album’s process and how it all came about and is the perfect way to remember the songstress: a hard working woman, with a career blooming before hers and our eyes, taken away far too soon.
Click here to read the article, featuring interviews with Tim Barnett, Digital Black, Bud’da, Tank, and more over at You Know I Got Soul and check out the song and video for one of Aaliyah’s best, “We Need a Resolution”.
Tori Amos returns to her humble beginnings, while finding ways to trudge forward along new territory with her latest offering, “Carry,” a song off of her 12th studio album, Night of Hunters, due for release on September 20th, 2011.
“Carry” contains the emotional lyrical out pour Ms. Amos is known for and holds our attention the old fashioned way, with no bells or whistles in this track, just Tori’s voice, her piano, and a string accompaniment. A little along the lines of some of her more stripped down songs off her 1996 release Boys for Pele, an album which utilized recording the piano sounds itself, but also recording the mechanics of how it worked as well. The song also has inklings of many of Tori’s early records from her debut Little Earthquakes, when it was just Tori, her piano, and other elements that helped aid the two, instead of the full on productions that most of her catalog holds.
A more technical review of the song will be featured in the 2020k review of the album. We need a lossless copy of this song to get a better understanding of what type of recording techniques went into the making of “Carry”.
The video contains many beautiful scenes and landscapes, and cuts back and forth between them and our songstress playing in a recording studio. With completely different lighting and atmosphere, the video can play out as if it were meant to be two different visual entities, that were later combined into one presentation, but it still holds an elegance to it and is a marriage between song and sight that is more traditional and holds a positive and entertaining state of simplicity. Miles better than the experimental and dull films featured on 2009’s Abnormally Attracted to Sin. (But still sometimes holds the same awkwardness. During the studio session scenes, it sometimes looks as if Tori is struggling not to look dead into the camera, trying to make it more theatrical with her quick movements. Perhaps I’ve got it all wrong and she sees a spider on the ceiling and keeps quickly turning her head to ensure it hasn’t moved closer to her…..or something?! I digress.)
“Carry” a nice start to the album Tori is about to release upon us. Night of Hunters will be released under the Deutsche Grammophon records, a label based in Germany that releases classical music under the Universal Music Group imprint, and yes, indeed, this album will be of the classical genre and will also be the first Tori Amos record made completely of acoustic elements.
If this wasn’t enough for you to swallow, the record will also be a concept album, with Tori Amos explaining, “I have used the structure of a classical song cycle to tell an ongoing, modern story. The protagonist is a woman who finds herself in the dying embers of a relationship. In the course of one night she goes through an initiation of sorts that leads her to reinvent herself allowing the listener to follow her on a journey to explore complex musical and emotional subject matter.”
If “Carry” is any indication of what’s to come, our bet is that the record will still hold a bit of an Alternative vibe to it, just with more classical elements as opposed to a full album of Beethoven-esque bangers. Whatever she has in store, 2020k is ready. You can head on over to Tori’s Facebook to listen to “Carry” and also take a listen to a second song off the record, “Shattering Sea”.
To celebrate the release of Night of Hunters, Tori has also put together a fall/winter tour! Check out her website for information on ticket sales and see the tour dates here:
09/28 – Helsinki, FI @ Ice Hall
09/30 – St. Petersburg, RU @ Oktyabrsky Hall
10/02 – Moscow, RU @ Crocus Hall
10/04 – Luxembourg, LU @ Den Atelier
10/05 – Paris, FR @ Le Grand Rex
10/07 – Milan, IT @ Teatro Arcimboldi
10/08 – Rome, IT @ Auditorium Parco della Musica
10/10 – Hamburg, DE @ Laieszhalle
10/11 – Berlin, DE @ Tempodrom
10/13 – Warsaw, PL @ Sala Kongresowa
10/15 – Eindoven, NL @ Muziekgebouw
10/17 – Amsterdam, NL @ Carre
10/18 – Amsterdam, NL @ Carre
10/20 – Oslo, NO @ Sentrum Scene
10/21 – Copenhagen, DK @ The Royal Theatre
10/22 – Copenhagen, DK @ The Royal Theatre
10/24 – Lucerne, CH @ KKL
10/25 – Vienna, AT @ Stadhalle F
10/26 – Frankfurt, DE @ Alte Oper
10/28 – Antwerp, BE @ QEH
10/29 – Brussels, BE @ Bozar
10/31 – Essen, DE @ Philharmonie
11/02 – London, UK @ Royal Albert Hall
11/03 – London, UK @ Hammersmith Apollo
11/04 – Manchester, UK @ Apollo
11/06 – Glasgow, UK @ Royal Concert Hall
11/08 – Belfast, UK @ Waterfront
11/09 – Dublin, UK @ Grand Canal Theatre
11/29 – Atlanta, GA @ Cobb Energy Performance Arts Center
12/01 – Philadelphia, PA @ Academy of Music
12/02 – New York, NY @ Beacon Theatre
12/03 – New York, NY @ Beacon Theatre
12/05 – Washington, DC @ Constitution Hall
12/06 – Boston, MA @ Orpheum Theater
12/08 – Toronto, ON @ Massey Hall
12/10 – Chicago, IL @ Chicago Theatre
12/13 – Vancouver, BC @ Orpehum Theater
12/14 – Seattle, WA @ Paramount Theatre
12/16 – Oakland, CA @ Paramount Theatre
12/17 – Los Angeles, CA @ Orpheum Theatre
12/18 – Los Angeles, CA @ Orpheum Theatre
12/21 – Austin, TX @ Bass Concert Hall
12/22 – Dallas, TX @ Verizon Theatre at Grand Prairie
If you take Natalia Kills for just another 21st century pop star, you’re wrong. She’s been incredibly hard at work for the past two years putting together and promoting the songs that make up her debut record Perfectionist. The album itself has been put through countless track list changes, release date setbacks, and has been in a state of confusion and anticipation among fans, but it’s slowly starting to be released around the world, finally hitting iTunes and store shelves in America on August 16th, 2011.
First thing’s first, Perfectionist is executive produced by Will.I.Am of the Black Eyed Peas fame and Cherry Cherry Boom Boom Records president Martin Kierszenbaum. They’ve enlisted Rob Orton to mix the majority of the record (there’s a cool article on his approach to mixing “Just Dance” here) and mastering engineer Gene Frimaldi (all three Lady Gaga albums, How I Do by Res, and Jason Derulo’s debut) so an extreme pop presence is felt throughout it’s entirety. There’s a subtle feeling of loudness and an urge to place vocals, kick, and snare at the forefront of the mix at almost all times, but accidental clipping isn’t much of an issue (whereas Gaga’s Born This Way is sometimes questionable,) so while the album is somewhat ear grabbing and tiring after a few listens, there’s still a tiny bit of breathing space amongst the bit of headroom left within the record.
It’s not just a pop record though, it’s dark pop and “Zombie,” the album’s buzz single, released in September 2010, is the finest example of using mainstream pop elements, warping them, and creating an almost paranormal sounding sound scape. It’s the only track not mixed by Rob Orton, instead, having the final mix of the track done by “Zombie”‘s producer, Jeff Bhasker and it shows. This track, one of the finest productions as a whole on the record, giving a lot more emphasis on muddying the lower frequencies and creating an almost horror-esque sounding track. Interestingly enough, the track is heavily autotuned, but instead of being annoyingly perfect and on pitch, it’s settings are used to be a bit awry sounding, giving Ms. Kills an eerie, haunting and creative vocal vibe. Behind it, vocal pitches, backwards reverbs, 1/4th note stereo delays, and various distortion effects are also used abundantly throughout the track. A chilling track for sure.
In complete contrast to “Zombie,” Bhasker’s only other offering on Perfectionist, “Free,” demonstrates a less layered, more straightforward approach to production. Standard sampled percussion samples drive the synth bass driven, piano line aided track. The vocals are, for the most part, very dry and in your face, with splashes of reverbed delay on the word “free” in the chorus, and a slapback-esque delay to add some kick to “Stretch that dollar bill, stretch that dollar bill” line. The United States release throws Will.I.Am. on one verse, repeated throughout the song. The thing that makes his delivery interesting is that the first time the verse presents itself in the song, it’s used more or less as an opening rap. As the track progresses, it once again makes an appearance, this time, providing a bridge between Natalia’s “get your 5’s, get your 10’s, get your 50’s out” break, and her distorted high frequency verse that follows Will’s low frequency, stereo spread vocals. A complete contrast in all senses and extreme creativity in how the song’s structure goes about it’s business.
Lyrically, “Free” is one of the more sophisticated offerings on Perfectionist. Words that allow Natalia to switch from being self-indulgent and greedy in spending & consuming, then becoming free from that greed/self-indulgence because of all of the spending she’s done. Stretching those dollar bills and those multi-meaning lines one by one, using catchy pop melodies, referencing stilettos, anorexic wallets, late rent payments, and morphing them into sophisticated phrasing? That’s clever pop!
“Wonderland,” the album’s second single, produced by “The Ron” Feemster is Perfectionist’s opener and holds a nice neutral theme from the ultra dark and simple extremes that Natalia Kills offers throughout the debut. Very synth and percussion heavy, subtle melodies, and stereo spread vocal effects on the ending of verse phrasing. The only problem with “Wonderland” and a few other tracks is that the instrument melodies are sometimes buried within the loudness and over-emphasis on vocals and kick/snare. It’s not a huge problem, but it’s quite difficult to hear and get into the siren-esque synths that lies underneath both verses, and tick-tock sounding guitar strum that’s present throughout the entirety of the track.
Also, there’s a stuttered scream during the video version of this song that comes in right after the breakdown that’s not present on the album version of the song. It’s obvious that it was added in specifically for the video presentation, for added dramatics, but it sounds awesome when paired up for the high pitched synth, right before the chorus kicks in and could’ve been a great effect to be presented front and forward on the record.
Beyond the complications, the vocal production is absolutely wonderful on this record (save for a few moments where small autotune glitches are heard within Natalia’s voice) and there are brief moments in “If I Was God” where Natalia switches from singing to speaking lines which sound quite lovely. As far as overall production, delivery, and melodic presence, lyrical substance, and straight forward emotional pop this track is the stand out and is one that’s easy on the ears, great sounding, and one for the repeat button.
Outside of the record and from a marketing standpoint, 6 tracks are missing from the physical release of the CD. “Kill My Boyfriend,” the new track specifically included on Perfectionist for the United States release is only available on the iTunes deluxe edition. Also only available digitally is the album’s wonderful introduction track, a mere 33 second piece titled “Perfection,” an experimental and atmospheric monologue (..really, Cherrytree? What’s the sense in cutting the intro and providing it for $1.29?)
However, the biggest WTF is the absence of “Activate My Heart,” which was a United States iTunes released single, equipped with a video, and is not featured on any of the releases of Natalia’s debut record. Perhaps these are tactics aimed at fans reaching out to purchase multiple copies of the record. After all, it’s hard out there for a new artist. Especially one that has a record that could fit in right beside Rihanna’s dark, depression heavy Rated R, which was almost a pop failure if it weren’t for the saving single “Rude Boy,” which breathed a bit of life into the chart run of the singles and record itself.
Despite it’s mishaps, Natalia Kills delivered one hell of a first record, a slew of great videos, a lovely series called “Love Kills” (which you can view on her VEVO account via YouTube) and continues to impress audiences with her acoustic performances and impressive work ethic. It’s a career that looks long and promising if she continues down the road she’s heading in, and 2020k looks forward to following her through her path.
What do you think about Natalia Kills’ Perfectionist? Is it the flawless debut you’d wished and hoped for? Let us know in the comments section! Also, follow us on Twitter and Facebook for the latest on Natalia and more!
Hi, Kids! The Weeknd literally just uploaded Thursday, his second Mixtape to his official website. Unsurprisingly, the site crashed within minutes of the launch, but we have the full record for you to download!
Since it’s fresh out the oven, 2020k has no official review as of yet. But, please feel free to follow us on Twitter and Facebook, as we’ll be listening hardcore and posting about it as soon as possible. Plus, we rep The Weeknd pretty hard on this website, so you’ll want to stay locked in.
While you listen to the new set of tracks and let your ears sink into the dark R&B perfection that this mixtape is sure to offer, check out our review for House of Balloons by clicking here.
Origamibiro is one of the most interesting things 2020k has come across recently. It’s a stunning group of guys based out of Nottingham, UK, that blur the lines of a conventional band by combining beautiful organic and electronic music/audio, provided by Tom Hill and Andy Tytherleigh, with visuals created by The Joy Of Box aka Jim Boxall. The marriage between sound and video give way to one hell of a creative project and if “Quad Time” is any indication of what we’ll be seeing on their forthcoming release Shakkei, due out August 29th, 2011 – we’re all in for some serious auditory and visual treats.
Cue the typewriter, crinkled and ripped paper for percussion, a metal stand with the hi-frequencies rolled off of it for a muted kick drum effect – add in guitars, a xylophone, and a few other stringed layers and you have a wonderful instrumental track that’s filled with gorgeous layers and layers. On top of that? It’s mixed to perfection. No over-saturated or cheap effects, just traditional mixing that’s used to create clarity and allow all of the instruments, percussion, and melody in “Quad Time” to have their own pristine sound and balance in the mix.
If all this isn’t enough for all you video/audiophiles, the press release for Origamibiro’s record states: “Origamibiro will be releasing a limited edition DVD release featuring the full album in multiple audio formats including surround sound and hi-definition stereo and an accompanying video archive of past promos, live excerpts and av experiments.”
I’m sold. You’re sold, right? Great..read on!
To promote the release of Shakkei, the band is giving away “Quad Time” as an MP3 and is also paired with the video! Inside the file are also gorgeous remixes by Joseph Minadeo, Juxtaphona, LeafcutterJohn, Soil and Water, and my personal favorite, Low in the Sky. The best part? It’s all for free! Click here to download the package and watch the amazing video below.
Track Review: 5/5
Note: The version on the Free download doesn’t quite sound like the one in the video, but still gets a solid 4/5 from us.
Thank you to reader Adam Daly and Origamibiro themselves for E-mailing me a tip off to this track and project. If you have any recommendations on what you’d like to see written about on 2020k, please feel free to tweet us, shout us out on Facebook, or shoot us an E-mail at cras.rkozain@gmail.com.
Over 100 record labels have been affected by an arson attack on the Sony DADC Warehouse, used by distribution companyPIAS, with the Association for Independent Music confirming that all stock housed within the warehouse has been destroyed.
Mute, One Little Indian, 4AD, Domino, Warp, and Matador records were among the companies hit hardest by the arson, with Warp Records releasing a statement mourning the loss of their vast back catalog, fearing for the worst, and declaring that while they’ll try their best to replenish all that they can from different sources, it’s possible that some releases may never again be available to be physically purchased. Upcoming releases from the label’s CANT, Plaid, and Rustie were thankfully unharmed, however, most of the physical UK copies of Battles‘ new single “My Machines” were destroyed in the flames. It will still see a release on Monday, with limited 12 inch vinyl available from the bleep.com website Nothing Bleep currently has stocked on hand was harmed.
The film industry has also been affected by this fire, but the outlook looks brighter in some cases with Network Releasing managing director Tim Beddows stating “Whilst the loss of stock (and mercifully only stock) is regrettable, I’m happy to reassure everyone that the interruption in supply will be short term and is the only aspect of the business affected” explained Managing Director Tim Beddows. “Whatever was lost that night is completely replaceable as we have asset backup for all our projects.”
Unfortunately, over 600,000 DVDs from distributor Guerilla Films have been lost.
So far, over 900 people have been arrested for the riots including two males, ages 17 & 18, who are alleged to be the ones responsible for the fire set to the Sony building.
PIAS and Independent company AIM have come together to establish a fund to help the labels affected by this extremely unfortunate event.
2020k 