SHOCKER: Kanye West Claims He’s the #1 Musical Genius in Rock Music Today!



Is Kanye West the most significant musical figure of recent years? Well, he certainly seems to think so. 

“I’m a creative genius, and there’s no other way to word it,” is one of West’s tamer pronouncements on a subject that has also seen him ranting: “Man, I’m the number one living and breathing rock star! I am Axl Rose! I am Jim Morrison! I am Jimi Hendrix!”

According to many of those working in the music and entertainment media, his regular declarations of his own brilliance have become the stuff of satire.

For many, West is a comical figure, both ringmaster and clown in a gaudy pop circus that only emphasizes the superficiality of contemporary celebrity culture. He is headlining the Wireless festival in the U.K. this weekend (July 4-6), his first shows there since his fantastically over-the-top Italian nuptials with socialite and sex-tape star Kim Kardashian, whom West has described as “the most beautiful woman of all time, like, arguably of human existence!”


After a ceremony described in the New York Post as “opulent enough for Florence’s Medici dynasty and tacky enough for reality TV”, fans hoping that West is refreshed and ready for the stage may be concerned by news that the couple spent their honeymoon retouching off-colour flowers on a wedding photo for Kardashian’s Instagram site, a process that apparently took four days and left the bride “exhausted.”

Never one to stop when he has already said more than enough, West went on to offer to redesign Instagram, which apparently fails to meet his exacting aesthetic standards. It is not alone. “The world as a whole is f—ing ugly,” he added.

It is easy to make fun of West as he lurches from absurd proclamation to furious meltdown, courting controversy with every outburst, a modus operandi that makes him either the greatest self-publicist of a self-obsessed age, or a hapless victim of his inflated ego and poor impulse control. Or maybe a bit of both. “If I was more complacent and let things slide, my life would be easier, but you all wouldn’t be as entertained,” he has sadly noted. “My misery is your pleasure.”


So, musically speaking, what does West do???

In short he is into sampling, concocting tracks from short sound bites of other recordings... from King Crimson to Shirley Bassey. West takes a pre-recorded hook and plugs it to death, as he manipulates multiple tracks, speeding things up, slowing them down, weaving disparate elements together into constantly shifting and mutating grooves with his own recorded elements, programmed drums, synths with some live instrumentation.

His subject matter, ranges from his complex relationship with faith with, “Jesus” to the tragedy of black-on-black crime. In a genre that has relentlessly romanticized criminality and anti-social behaviour while aggrandizing the superficial pleasures of ostentatious consumerism, West has proudly asserted his own middle-class 'gang-sta' values.

He raps about drug dealing, from the perspective of an aspiring hoodlum, as well as, from a socio-political observer. “Drug dealer buys Jordans, crackheads buy crack / And the white man gets paid off all of that,"


His music and lyrics have been labeled as the most blatantly ridiculous nonsense not worth paying any close attention to (“I’m like a fly Malcolm X: Buy Any Jeans Necessary”).

Packed with foul word play and multiple "N-Word" rhymes, the rapper can barely hold a note but with the use of Autotune and Vocoder, he has transformed himself into a robo-soul crooner!

Fascinated by money, art, fashion, film, design and technology, he has launched clothing lines, marketed his own shoes, opened chains of restaurants and hinted at extending into different product areas, from water bottles to architecture. “I believe that the world can be saved through design, and everything needs to actually be architected,” he has said, apparently with a straight face, (by the way . And if he lacks formal training in any of these disciplines, well, it never held him back in his chosen field).

West doesn’t play any instruments or read music. But he has learned to use computer recording technology to create songs that have proclaimed his divinity such as the outrageous “I Am A God,” a song revelling in contrariness (“Soon as they like you make ’em unlike you / Cause kissin’ people ass is so unlike you!”) before descending into a screaming fit about being made to wait for his damn croissants in a fancy French restaurant.



Anyone who gets upset by West’s messianism is likely taking pop music too seriously. It is both sad and funny, and pretty much blatantly ridiculous.

Some critics have questioned West’s sanity, and his pitched mood swings certainly seem to suggest some level of mania. West, typically, sees it differently: “I sit back and see s— and think ’Am I the only one that’s not crazy?’?”

But since when did we want our pop stars well-balanced?

West has noted. “You want me to be great, but you don’t ever want me to say I’m great?”


11 Guitar Picks That Dare to Be Different...



Courtesy of GuitarWorld.com

Looking for a plectrum that dares to be different?
From Dunlop to Sik Pik to Planet Waves and beyond, Guitar World presents an assortment.


Take your pick! 

1. Dava Grip Tips Delrin
Dava Grip Tips are the only picks with an over-molded rubber grip. The gripping area provides a comfortable nonslip surface that gives players more secure control. The pick’s tip is made of Delrin, which gives a smooth, fast release from the strings, not to mention excellent tone and superior durability.
LIST PRICE: Six-pack, $7.50, Davapick.com

2. Dunlop Tortex
It may not be new, but Tortex is the original innovative material for pick manufacturing, and Dunlop Tortex is the favorite pick of musicians worldwide. Tortex picks are carefully designed and manufactured to give the characteristic maximum memory and minimum wear that made tortoiseshell so popular in the first place.
LIST PRICE: 12 Picks/Players Pack, $5.70, jimdunlop.com


3. Awe-in-One Picks
Awe-In-One multi-edged picks combine thin, medium and thick gauges in each pick, allowing guitarists to change gauge quickly and easily. A unique indent prevents slippage, and by holding the picks at certain angles you can create harmonics, “pop” or “scratch” the string, and mimic the sound of a 12-string. The picks comes in four types: Folk Debut, Folk Power, Rock Vibes and Rock Licks.
LIST PRICE: $1.20, awe-in-one.com

4. The SnakePick
The SnakePick was created to shift guitarists’ focus from the pick to their playing. Although you hold it like a normal pick, it holds your finger as well, opening up new possibilities for playing technique, including picking with multiple fingers, and allowing you to play with more precise articulation. The Snakepick is available in different sizes and thickness.
LIST PRICE: Three-pack, $5.99, snakepick.com

5. Planet Waves Black Ice
Black Ice picks have a custom oversized shape that’s designed for speed picking with precise articulation. The picks are made of Planet Waves’ ultra-durable Duralin, which resists abrasion and provides balanced tone with a bright attack. Black Ice picks are triple-tumbled to create a soft-touch texture that’s very smooth, yet easy to grip.
LIST PRICE: 10-pack, $3.84; 100-pack, $29.74, planetwaves.com

 
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06. Dunlop Max-Grip Nylon
The Max-Grip Nylon pick's molded gripping surface has a coarse grid that provides an unparalleled nonslip surface. The combination of Max-Grip and molded nylon material makes it perfect for speed pickers and hard strummers who want extreme precision and durability without losing control of their pick.
LIST PRICE: 12 Picks/Players Pack, $5.70, jimdunlop.com

07. Swiss Pick
It may look like a small wedge of fine Emmentaler, but there’s nothing cheesy about the Swiss Pick. Combining utility and innovative design, the pale-yellow pick’s off-center holes with raised edges provide a superior grip. The Swiss Pick is made of Delrin for exceptional tone and, despite its name, is produced right here in the United States.
LIST PRICE: Six-pack, $5.99, swisspicks.com

08. Sik Pik The Sik Pik puts a new twist, literally, on traditional pick design. Its twisted tip won’t click, drag or snap on the strings like a standard pick will. As a result, it glides across the strings, producing a smooth, round tone. The Sik Pik opens new possibilities for dynamic playing, allowing you to “play on the edge.”
LIST PRICE: $3; four-pick set, $10, sikpik.com


09. Planet Waves Cellu-Glo Cellu-Glo picks provide celluloid’s natural feel and warm tone in a glow-in-the-dark pick. The picks can be charged in natural sunlight or under a light bulb, and their glow adds a new visual element to your performance (it also makes the picks easy to find on dark stages). They’re available in light, medium, heavy and extra-heavy gauges.
LIST PRICE: 10-pack, $3.14; 25-pack, $6.99; 100-pack, $24.49, planetwaves.com

10. Blue Magic Pick
Though it’s many times larger than the typical plectrum, the Blue Magic pick is ergonomically designed to improve and enhance guitarists’ skills. Its three parts—head, body and scraper—let you hold the pick in a way that feels natural and use your strength to its full capacity, thereby allowing you to play more easily and precisely. The Blue Magic pick is available in light, medium and heavy gauges.
LIST PRICE: $5, three-pack, $15, bluemagicpick.com

11. Tonetek Heavy Metal pick
ToneTek’s Heavy Metal stainless-steel pick is one big chunk of metal, but its mass and density can increase string volume and sustain and fatten tone. Its edge is designed to glide across the top of the strings, allowing you to perform pick-hand slides and create new techniques that combine tapping, slides, sweeps and glissando, and it can be used to tap above the end of the fretboard.
LIST PRICE: $29.95, Tonetek.biz
 
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9 Reasons Your Band Isn’t Getting Press...



by Ari Herstand | Digital Music News.com




1) You Don’t Have A Story

When was the last time you read a show preview or album review of a band that discussed the actual music: the song structure, guitar tones, harmonic and melodic choices, drum tones, the pocket, innovative syncopation, varied time signatures, sonic flourishes, unusual studio techniques that they HEARD in the recording and not told by the press release?

Music reviewers know their audience. The average reader doesn’t care how you achieved that guitar tone on the bridge of track 3. But if your lead singer went on a spiritual quest for 9 months in the Amazon and came back with 12 songs written on an invented instrument he made out of found objects in the rainforest, now THAT’S a story!

When you write your press release or pitch an article highlight the most interesting aspects of what makes you stand out.


2) You Send Out Your CD Shrink-wrapped

The mental effort it takes to battle with a shrink wrapped CD far outweighs the actual time and effort it will take to actually unwrap it. In your mind you have thought this out: “It’s more professional if I give them my CD shrink wrapped. It looks like I’m a legitimate artist. They’ll enjoy unwrapping it – like a present!” This is wrong on all accounts.

Always unwrap your CD when giving it to someone important, especially when mailing it to a music reviewer. Many times when you first pitch the article via email they’ll be happy to listen to your album on BandCamp, SoundCloud or Spotify, but sometimes, especially the older journalists, will request a CD.

If a reviewer sees 5 discs on her desk, 4 are shrink wrapped and 1 is not, which do you think she’s going to start with?


3) Your Band Photo Isn’t Professional

Music reviewers will go through all of your material when reviewing your band. They’ll visit your website, Facebook, YouTube, Twitter, and many times Spotify and iTunes to see the action there. If your website and Facebook lack professional promo photos it’s going to be much harder to get a reviewer to decide to move forward with your review.

Every featured band review is accompanied with a photo. It diminishes the publication if they print (or post) a pixilated band photo that looks like it was shot by the drummer’s girlfriend on her iPhone.

Hire a professional to do a photo shoot for every major, press-worthy event.


4) You Aren’t Pitching An Event

If you’re trying to get a reviewer to write a show preview for a local show then you have to make it an event. I once organized a show in Minneapolis called The Unknown Order featuring 4 buzzing bands. No band had sold out the 800 cap Varsity Theater on its own prior to this show. The concept of the show was that the order of bands wouldn’t be announced and 10 minutes before each set the emcee would pick the name out of a hat. I wanted to move away from the concept of headliners and openers.

The show was so buzzed about that it sold out 10 minutes after doors opened and 200 people got turned away.

We garnered major press for it and every band’s visibility amongst the local media community was heightened.

Make sure every event you pitch a reviewer is newsworthy and not just a local 4-band bill on a Wednesday night. Why does your story merit bumping every other music story off the cover? What makes your event unique?




5) You Don’t Have A Great Video

It doesn’t need to be a music video. It doesn’t need to be a live video. But whatever video you’re featuring needs to be great. It is no longer acceptable to feature shaky, fan shot iPhone videos from the 6th row. Or singing in front of your MacBook camera.

Final Cut is (relatively) cheap and easy to use. iMovie comes pre-installed on MacBooks. Studio quality mics are inexpensive as are audio interfaces and recording programs like Logic, Pro Tools and even Garageband (which comes pre-installed on MacBooks as well). High quality SLR cameras can be found in every artist circle around the world. It’s not tough to put together a high quality video.

If you don’t have the resources to create the music video you’re envisioning, then setup some lights in a warehouse, or take it outside and use the daylight, and put together a live performance video.

People will watch videos before they will listen to music. Reviewers are no different. They will visit your YouTube page (and you should include a link to your best YouTube video in the initial email pitch). Many times the publication will embed this video in the article.

Before your next newsworthy event make sure you have an impressive video to accompany your pitch.


6) You Don’t Have Any Shows Booked

Having shows booked validates you on many levels. It shows that you’re a band on the move. On the rise. Reviewers are much more willing to review touring bands – especially if you’re contacting out of town press when you’re passing through their city.


7) You Attached The Press Release (Or Mp3) To The Email

Never attach anything to an email in your initial pitch. Many reviewers have filters setup to send these emails directly to trash. Don’t clutter their inbox up with your attachments. Copy and paste the press release into the body of your email BELOW your personalized pitch.

Traditionally, in the age of snail mail and printed paper (remember that?), you’d send out a cover letter, the press release, a printed promo photo and CD. Now if you do that you look out of touch. The first contact is ALWAYS made via email. Include 1-2 links to your best songs on SoundCloud, 1-2 links to your best videos on YouTube and if it’s an album review a link to the BandCamp, SoundCloud, Spotify, or if it’s unreleased, a Box.com link to download it.

Occasionally reviewers will ask you to put a CD in the mail. But that’s rare. And no one needs printed promo photos anymore. They’ll just request a high quality jpg. Once they request this, THEN, and only then, can you attach it. Better yet, send a link to Box.com where they can download it.




8) Your Press Release Is Too Long

Press releases are one page long. No exceptions. The initial pitch email can contain a personal intro, ‘cover letter’ paragraph or two, but the press release is one page. Press releases contain the vital points of information:

1st paragraph: Who, what, where, why, when, how much
2nd paragraph: Background on your band (interesting story/accolades)
3rd paragraph: Information about the event
4th paragraph: Other interesting information

These are loose paragraph guidelines, but this is the order. Sometimes your background will be 3 paragraphs and info about the event will be 2, but all of this will be under one page. No exceptions.


9) You Have No Buzz

It seems like quite the Catch 22 that no reviewer will want to review you until you’re buzzing, but you can’t start buzzing without press. Well you can buzz without press. I consistently sold out venues with grass roots promotion and zero press for years until the press warmed up. You have to get people talking about you. You need name recognition.

Music reviewers are people. These people go to shows, coffee shops, record stores, waste time on Facebook, flirt on Twitter. Make sure you’re making waves where these reviewers are. Get your posters up around town. Target Facebook ads to reach them. Follow them on Twitter. Interact with their crowd on twitter and get retweeted by friends they respect. Show up at other bands’ shows (where they’ll be at). Read their reviews. Comment (occasionally) on their articles and then get a mutual friend to introduce you at a concert.

Once they get to know your name they’ll be much more willing to review you when they receive your press release in their inbox.

For national press/media, you need YouTube plays, local press, Twitter buzz (not just numbers – everyone knows those can be bought), Spotify plays, blog buzz. Start local and grow from there. Or start on YouTube. But start somewhere and kill it.



VIDEO: Dude Surfs & Plays Electric Guitar LIVE!



Chris Hau Wakesurfs while playing guitar using Positive Grid’s JamUp App

Words can’t describe this video... probably the ultimate surf guitar video! At first I thought Chris Hau is provably miming, but doing an excellent job of it, then he hits the open strings and I realised he isn’t miming.

Chris has his Fender Telecaster plugged into an iPhone running Positive Grid’s most excellent app JamUp Pro which he has tweaked for classic surf guitar tones. 




It’s hard enough to surf the wake of a boat without having to try and play a medley on guitar that has a GoPro strapped to the headstock, great work Chris!


You can see the "Behind the Scenes" making of this video below...





VIDEO: Yngwie Malmsteen Talks To GUITAR WORLD About 'Guitar Gods' Tour...



Legendary Swedish guitarist Yngwie Malmsteen recently talked to Guitar World magazine about the "Guitar Gods" tour (also featuring Ron "Bumblefoot" Thal of GUNS N' ROSES and Gary Hoey), and his love for Fender Stratocasters. 

Check out the clip below.



Malmsteen is currently mixing a live album and DVD recorded at back-to-back shows in Tampa and Orlando. According to Yngwie, it will be released in August and will probably be called "Spellbound Live". He told CitizensVoice.com about the live album and DVD: "That's a perfect example of how when I play, it's always different. Because one's from Tampa and one's from Orlando, and it's completely different."

Regarding how the Guitar Gods tour, which kicked off June 12 in Wilkes-Barre, Pennsylvania, is structured, Yngwie told Highway 81 Revisited: "A lot of people probably get the idea that I'm this extremely calculated kind of guy, and in a lot of ways I am. But when it comes to music or artistic expression, I'm very uncalculated and do things very spontaneous. If I didn't do that, I wouldn't want to do this anymore. I can't just play the same thing over and over, it would drive me crazy."


He continued: "So for instance, if I do a regular show, like 20 minutes before the show, I say to the tour manager, 'Here's the setlist,' and it's not the same setlist as the night before. And I say to the tour manager, 'Print them out and put them on the stage.' So now everybody has a setlist. And once I hit the stage, I'll play a different setlist anyway. If you go to two of the shows, they're very different. This is how I keep the thing alive, this is how I stay inspired."

On the topic of "Relentless", the memoir he published last year, Malmsteen said: "I felt that I had to put this on paper from the only perspective from which it could be told, which is my perspective. I'm talking about walking in the snow when I'm seven years old and wondering what the fuck am I doing here, why am I born in this fucking place? And now of course I'm looking at palm trees, so now I'm remedying that; I'm still thawing out. But the thing is, it has to be read to understand where I'm coming from."

He added: "It's not just all the chicks — it was that too, you know the rock 'n' roll thing? I did all that fucking shit. Trust me. I'm a very different person now. I don't touch alcohol, I don't touch cigarettes, I don't touch drugs. I'm a very clean-living person for the last 10 years, maybe more now. I just felt it had to be told. It's so different from where I started. When I looked back, I said, fuck, that was me? It's very therapeutic as well."

Yngwie's latest album, "Spellbound", was released in December 2012.



New Evidence - Music Talent Is Largely Innate...


New research on twins finds nature and nurture interact to produce accomplished musicians. A second study suggests chimps might be among their fans.

If a chimpanzee practiced the violin for 10,000 hours, could it become a great musician? The short answer, suggested by two new research papers is: No, but it’s not because chimps don’t appreciate music.

The issue, rather, is that the “10,000 hours of practice" makes you proficient, regardless of your "innate talent” meme, popularized by Malcolm Gladwell, appears to be on very shaky ground.

The latest challenge to that theory, originally proposed by psychologist K. Anders Ericsson, is from psychologists Zach Hambrick of Michigan State University and Elliot Tucker-Drob of the University of Texas at Austin. Using data from the National Merit Twin Study, they examined the extent to which musical accomplishment is determined by (a) one’s genetic make-up and (b) persistent practicing.


Their sample consisted of 850 pairs of same-sex twins who were high-school juniors in 1962. Approximately 60 percent were identical twins, who share nearly 100 percent of their genes; the others were fraternal twins, who share approximately half of their genes. “It is likely that genetically influenced penchants and/or aptitudes for music could lead children to dedicate themselves to music practice.”

“The parents of 394 pairs reported that both twins took music lessons,” the researchers write in the journal Psychonomic Bulletin and Review. “Of these, 254 individuals reported that they practiced frequently,” while 242 said they practiced only occasionally, and 291 admitted they did not practice at all.

Musical accomplishment was determined by whether an individual met one of seven criteria, including “received a rating of good or excellent” in a competition, “performed with a professional orchestra,” or “composed music which has been given at least one public performance.”

Not surprisingly, Hambrick and Tucker-Drob found a correlation between practice and musical accomplishment. But they also found that the amount of practice young musicians engaged in was influenced by their genetic make-up.

“It is likely that genetically influenced penchants and/or aptitudes for music could lead children to dedicate themselves to music practice,” the researchers write. In other words, early indications of potential, along with encouragement from parents and teachers, led to more time practicing.


Even after taking practice out of the equation, however, “over three-quarters of the genetic variance in music accomplishment remained,” they report. This means that the aforementioned “genetically influenced propensities” to practice “are not sufficient to explain all of the genetic influences on accomplishment.”

Rather, the researchers conclude, musical accomplishment is determined in large part by “a host of other genetically influenced factors, such as musical aptitude or basic abilities.”

Their study provides evidence for the common-sense notion that “genetic potentials for music accomplishment are most fully expressed and fostered by practice.” The genes, in other words, contain the seed, while the practice provides the nurturance that allows the talent to develop to its full potential.

Now, about those chimps... 
Previous research concluded that they not only lacked the discipline to become virtuosos, but that they don’t even appreciate music. Several studies concluded they preferred a quiet environment compared to one where music was playing.

But a team led Morgan Mingle and Frans de Waal of the Yerkes National Primate Research Center at Emory University wondered if previous researchers were simply using the wrong genre. Their study is published in the Journal of Experimental Psychology: Animal Learning and Cognition.

Over a series of days, the researchers played “40 minutes of continuous West African akan, North Indian raga, or Japanese taiko instrumental music” in an enclosure housing 16 adult chimpanzees. The animals could hang out in an area where they could hear the music clearly, one where they could barely hear it at all, or two where the sound was muted.


The chimps “spent more time in areas close to the source of Indian and African music, suggesting a preference for both music types over silence,” the researchers write.

“These preferences were stable throughout the experimental period, suggesting they were not simply caused by stimulus novelty.”

So what did pique the chimps’ interest? The researchers note that the Indian music has very few strong beats, and the African music almost entirely consists of strong beats. In either case, they write, “the listener does not hear an obvious pulse to the music.”

“In contrast,” they add, “the Japanese music, which was not preferred (by the animals), had regular strong beats every other beat, producing a clear, percussive pulse” not unlike Western music.

“Chimpanzees may perceive the strong, predictable rhythmic patterns as threatening, as chimpanzee dominance displays commonly incorporate repeated rhythmic sounds such as stomping, clapping, and banging objects,” de Wall told the American Psychological Association. That being the case, it’s easy to understand why, in their minds, such music wouldn’t create a pleasant, relaxing environment.

So, everybody’s a critic—even chimpanzees. That’s something young musicians should keep in mind, even as they’re honing their innate skills through countless hours of practice.



Mark Tremonti – 2014 Alter Bridge Touring Rig



Alter Bridge Guitarist Mark Tremonti’s 2014 Touring Rig.

Mark often switches out heads in his rig, (he’s like the metal version of Joe Bonamassa), but the Mesa Dual Rectifier is usually always present as is the Fender Twin ’65 Reissue for the clean tone. The amp that Mark mentions is a new acquisition is the Voodoo Amps V-Rock, which is a 2 or 3 channel EL34 powered head designed for hot rodded 80′s tones available as a 50 or 100 watt model.



What is kind if interesting is that Mark now has a Fractal Audio Axe-FX as part of his rig but he is still using his TC Electronic G Major for effects, he says in the video that the Axe goes to front of house so I’m assuming he’s actually using only the amp modelling and this is combined with his selection of tube heads. I will be interested to see if Mark ever moves to an Axe-FX only rig, but somehow I doubt that will happen.

VIDEO: