Posts tagged with "Spin"

Taylor Swift illustration by Heather Skovlund for 360 Magazine

Fearless (Taylor’s Version)

FEARLESS (TAYLOR’S VERSION) BOWS AT #1 IN THE U.S., UK, CANADA, AUSTRALIA & MORE AND BECOMES TAYLOR SWIFT’S 3RD #1 ALBUM IN LESS THAN A YEAR & THE BIGGEST COUNTRY ALBUM DEBUT SINCE 2015
 
BIGGEST FIRST-WEEK DEBUT OF 2021 & BIGGEST FEMALE COUNTRY STREAMING WEEK EVER!

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Returning to #1 around the world and breaking numerous records, Taylor Swift has made history yet again with Fearless (Taylor’s Version). Notably, she’s the first woman with three new No. 1 albums in less than a year. Moving over 1 million units worldwide, Fearless (Taylor’s Version) logged the “biggest first week debut of any album this year,” “the biggest first week debut for a country album since 2015” and “the biggest female country streaming week ever. Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.
 
Generating 50 million-plus streams on release day, it also achieved “the biggest first day streaming debut for any album on Spotify this year” and marked her fourth consecutive album to exceed 50 million Spotify streams in 24 hoursFearless (Taylor’s Version) also becomes the first country album by a female artist to reach #1 on Apple Music’s US Albums chart.
 
In addition to capturing #1 on the Billboard Top 200, #1 on the Billboard Top Album Sales chart and #1 on the Billboard Country Albums chart, it went #1 in the UK, Canada, Australia, New Zealand, and Ireland. It debuted Top 5 in Belgium, Norway and the Netherlands and in Germany it was the biggest debut by a country album in the history of Germany’s album chart. Fearless (Taylor’s Version) charted at #1 on the iTunes Top Overall Albums Chart in 61 countries.
 
Fearless (Taylor’s Version) stands out as Taylor’s 4th #1 album in less than two years with the “3 biggest debuts since July 2020” with folkloreevermore, and Fearless (Taylor’s Version). It also emerges as “the biggest female country album debut since the inception of the Billboard Top 200 album-based conception charts in 2014.” Fearless (Taylor’s Version) is the eleven-time GRAMMY Award-winning, record-breaking superstar’s 9th #1 Album.
 
Taylor entered rarified air across the pond as Fearless (Taylor’s Version) became her 3rd album to chart #1 during its debut week in less than a year in the UK. The Beatles had previously accomplished this incredible feat the fastest in 364 days, but Taylor eclipsed the speed of The Fab Four as she reached this benchmark and accumulated three #1’s in just 259 days—a difference of 105 days.
 
Not only did it become her 7th #1 in the country, but Taylor became “the first and only solo artist ever to claim three UK #1 albums in less than 12 months during the 21st century” and “the first ever international artist and first ever female artist to land three #1 albums in the UK within one year in history.”
 
Physical sales of Fearless (Taylor’s Version) outsold the remaining combined total physical sales of the UK Top 15. The permanent downloads also bested the remaining combined total permanent downloads of the Top 70. She shattered her own record for the second time in the last year as “the first and only female artist to garner 7 #1 studio albums in the UK this century. Additionally, she has gathered “the 3rd Most #1 albums in the UK by a female artist.
 
Down Under, Taylor is now “the first artist to release three #1 albums in a 12-month period in Australia.” Taylor is the first artist to have three different albums top the ARIA Charts in a twelve-month period. She bests her own record of “the shortest span of #1 albums in Australia” with only 17 weeks between evermore and Fearless (Taylor’s Version). Her previous record was 20 weeks between folklore and evermore. With eight total #1 albums in Australia, she is second for “female artist with most #1 albums” only behind Madonna and just behind Eminem for “most consecutive #1 albums.” At radio, “Mr. Perfectly Fine (Taylor’s Version)” bows in the Top 10 on the Airplay Chart.

REVIEWS OF FEARLESS (TAYLOR’S VERSION)

  • A Rating” – The A.V. Club, Saloni Gajjar
  • “5/5 Stars” – The Daily Telegraph, Neil McCormick
  • “Fearless was always an exceptionally fine album of country-pop songs, detailing the romantic fixations of a wholesome teenage American girl on the verge of adulthood, and guess what? It still is.” – The Daily Telegraph, Neil McCormick
  • “4/5 Stars” – Rolling Stone, Jonathan Bernstein
  • “Her thirtysomething voice is richer, deeper, and more sure of itself.” – Rolling Stone, Jonathan Bernstein
  • “There are the songs that feel more moving now than they did 13 years ago.” – Rolling Stone, Jonathan Bernstein
  • “4/5 Stars” – The Guardian, Alexis Petridis
  • “Fearless is the kind of album in which fans have a genuine emotional investment.” – The Guardian, Alexis Petridis
  • “She’s changed from a talented kid with a guitar to one of today’s biggest superstars.” – USA Today, Hannah Yasharoff
  • “The new album is really well done.” – Entertainment Weekly, Lauren Huff
  • “Fearless (Taylor’s Version)” Is Even More Beautiful Than The Original Album” – Buzzfeed, Ryan Schocket
  • “Taylor’s vocals are undeniably stronger, smoother, and more connected than ever.” – Buzzfeed, Ryan Schocket
  • “The vault songs are making everyone question why the album wasn’t 27 tracks long to begin with.” – Buzzfeed, Ellie Bate
  • “Taylor Swift’s Fearless Re-Recording Is a Thrilling Timewarp.” – SPIN, Bobby Olivier
  • “4/5 Stars” – i Newspaper, Sarah Carson
  • “There are lyrics throughout Taylor Swift’s breakthrough record Fearless that nearly 13 years later, feel prophetic.” – i Newspaper, Sarah Carson
  • “There’s something really special about listening to Taylor sing these songs knowing the huge distance between where she is now and who she was when she wrote them.” – TIME, Annabel Gutterman
  • “I love that this re-recorded album is essentially a love letter to being a teenage girl. The world still dismisses teenage girls as not serious enough, too dramatic, and overall too much. Adolescence is often looked back on with embarrassment and shame. But these songs make me want to give my former 14-year-old self a hug and tell her she was doing just fine.” – TIME, Samantha
  • “It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears.” – Variety, Chris Willman
  • “Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not.” – Variety, Chris Willman
  • “It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close.” – Variety, Chris Willman
  • “4/5 Stars” – NME, Hannah Mylrea
  • “‘Fearless (Taylor’s Version)’ both celebrates and stays true to Swift’s ‘Fearless’-era.” – NME, Hannah Mylrea
  • “Swift never cringes away from her younger self. Instead, she revisits the songs with kindness and affection, celebrating the success of her teenage releases.” – NME, Hannah Mylrea
  • “Taylor Swift’s Fearless album proves her songs were written to last.” – The Independent, Roisin O’Connor
  • “We can’t help but be impressed…” – Evening Standard, David Smyth
  • “Taylor Swift has taken control.” – Forbes, Abigail Freeman
  • “ALBUM OF WEEK: The real treats are the extra tracks, previously unreleased outtakes from the Fearless sessions. Maren Morris duets on the gorgeous You All Over Me, Keith Urban crops up and Mr Perfectly Fine is the banger that should have shown 13 years ago why country alone could never contain Swift’s talent.” – The Sunday Times, Lisa Verrico
  • “I immediately went to the chorus of “Fifteen,” one of my 2000s pop high-water marks, to see if I’d get chills. Good news: I did. Felt that gut punch during “White Horse.” “You Belong With Me” had that crucial air of resignation.” – The New York Times, Jon Caramanica
  • “As she dives back into her past work, it’s another reminder of what she brought to the genre — and what it lost when she moved on.” – The Washington Post, Emily Yahr
  • “The redone tracks from the original release, which make up the album’s first portion, are almost uniformly better than their forebears: warmer, crisper, more clearly enunciated. They sound newer and, at the same time, more lived-in.” – The Washington Post, Allison Stewart
  • “Taylor Swift releases a ‘perfect replica’ of Fearless.” – BBC, Mark Savage
  • “Damn, this album holds up – not only to the hype of its initial release, but despite that, beyond that.” – Consequence of Sound, Katie Moulton
  • “8/10” – The Line of Best Fit, Ross Horton
  • “4/5 Stars” – The Times, Will Hodgkinson
  • “Swifties grab your tissues, the release of Taylor Swift’s Fearless (Taylor’s Version) is finally here in all its nostalgic and emotional glory.” – Wonderland, Staff Writer
  • “8/10” – Clash, Lucy Harbron
  • “Like a restored photograph brightening from black and white into colour, Fearless (Taylor’s Version) is the same, but better.” – Clash, Lucy Harbron
  • “It’s the latest evidence that Swift is not just fearless but also relentless.” – Stereogum, Chris DeVille
  • “8/10” – Gigwise, Kelsey Barnes
  • “Swift is creating a bridge between two worlds; one where she’s merging older, timeless songs with a mature voice and outlook.” – Gigwise, Kelsey Barnes
  • “4/5 Stars” – The Evening Standard, David Smyth
  • “A masterclass in classic Nashville songwriting, from the searing melodrama of Love Story to the breakdown of a relationship in Breathe.” – The Times, Will Hodgkinson
  • “5/5 Stars” – The Sun, Simon Boyle
  • “This is brilliant pop” – The Sun, Simon Boyle

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

NEEDTOBREATHE illustration by Heather Skovlund for 360 Magazine

NEEDTOBREATHE

NEEDTOBREATHE RELEASE NEW LIVE ALBUM

LIVE FROM THE WOODS VOL. 2

LISTEN HERE

WATCH THE BAND PERFORM, ALIVE, ON

THE LATE LATE SHOW WITH JAMES CORDEN HERE

GRAMMY Award-nominated rock band NEEDTOBREATHE has released their much-anticipated new live album Live from the Woods Vol. 2. The album is available to stream and download starting today HERE via Elektra Records. Limited edition merch bundles can be purchased exclusively through NEEDTOBREATHE’s online store HERE.

Live from the Woods Vol. 2 was recorded during three sold out, socially distanced outdoor concerts at Pelham, TN’s famed The Caverns last month. NEEDTOBREATHE decided to invite local audiences to experience these unforgettable shows, while simultaneously capturing them for listeners worldwide. The band previewed the album with an appearance on CBS’s The Late Late Show with James Corden last month. Watch their interview and performance of Alive HERE.

Live from the Woods Vol. 2 features electrifying performances of tracks from the platinum-selling group’s catalog, songs off their chart-topping new album Out of Body, and more. The album follows NEEDTOBREATHE’s 2015 live album Live from the Woods and was recorded during the band’s first concerts in front of a live crowd since January 2020.

NEEDTOBREATHE’s critically acclaimed 2020 studio album Out of Body is available physically and digitally via Elektra Records/Centricity Music nowHERE. The albumdebuted in the top 5 across three Billboard charts, and received critical acclaim from Billboard, People, Spin, Taste of Country, and more. American Songwriter commended the band’s phenomenal and dedicated songwriting and Southern Living crowned the group “our favorite Southern rock” band. All Music praised Out of Body as their tightest and most consistent set in years, adding this is an album designed to empower and motivate through life’s tough times.

Stay tuned for more news from NEEDTOBREATHE soon.

Live from the Woods Vol. 2 Tracklisting

1. Mercy’s Shore

2. Prisoner

3. Alive

4. Who Am I

5. Great Night

6. Feet, Don’t Fail Me Now

7. Banks

8. Garden

9. Bridges Burn / Forever On Your Side

10. Riding High / Honky Tonk Women

11. Hang On

12. Survival

13. With A Little Help From My Friends / Brother

14. Child Again

15. Encore Medley: Something Beautiful, White Fences & Washed By The Water

Learn more about NEEDTOBREATHE

NEEDTOBREATHE Website

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Lord Huron Long Lost Album Cover (By Ben Schneider) of Republic Records for use by 360 Magazine

Lord Huron – Long Lost

LORD HURON ANNOUNCE NEW ALBUM LONG LOST OUT MAY 21ST

NEW SINGLE “MINE FOREVER” OUT NOW WITH OFFICIAL MUSIC VIDEO

Who is Tubbs Tarbell? (Letter)

After causing a whole lot of chatter amongst audiences and critics alike, Lord Huron have begun to unwind the little riddle they’ve been spinning over the past few months and announce their fourth full-length album, LONG LOST, out May 21st via Whispering Pines Studios Inc./Republic Records, featuring new single “MINE FOREVER.

Pre-orderLong Lost HERE, listen to “Mine Forever HERE, and watch the official music video for Mine Forever (Directed by Anthony Wilson) HERE.

At the same time, the news only raises more questions. What can fans expect? What did the band lose and how long has it been lost? And who the hell is WBUB’s Mr. Tubbs Tarbell? All these questions (and more) have been brewing as easter eggs from the upcoming album have been revealed during Lord Huron’s Alive from Whispering Pines series.

During its first episode, viewers were introduced to Mr. Tubbs Tarbell, fell under the spell of commercials that may very well be lost tapes from the past, and were treated to some incredible performances by Lord Huron. The band played some old songs including “Meet Me In The Woods” (view video here) and provided a sneak peek at some new songs. The episode also featured a hotline where fans could call in and ask Mr. Tarbell questions and request songs from the band. Episode 2 included additional cryptic clues, more beautiful performances from Lord Huron (including  “The World Ender” and  “Frozen Pines”) and even the secret world premiere of “Mine Forever.” Last night on Alive From Whispering Pines, Lord Huron performed their triple-platinum single “The Night We Met,” as well as fan favorites “Ghost on The Shore” and “Never Ever.”

To help answer all these lingering questions, Tubbs has put out an official letter into the multi-verse from Whispering Pines Studios describing the mythical tale of recording Long Lost with Lord Huron and the origins of its cosmic music. Read the full letter HERE and below.

Long Lostwill also include previously released track “Not Dead Yet.” The single has already racked up 1.5 million Spotify streams and 500K video views. Additionally, the guys hit the stage at Jimmy Kimmel LIVE! for a show-stopping television debut performance of “Not Dead Yet.” Watch it HERE. Spin claimed, “they sharpened their teeth, while UPROXX described the track as “driving. In addition to plugs from Stereogum and more, Brooklyn Vegan touted it among “Our Favorite Songs of the Week.” See full track list for Long Lost below.

The last episode of Alive From Whispering Pines will broadcast in April, with more surprises to come. Fans can purchase tickets to each episode, a season pass to all four shows, and exclusive merch at Lord Huron’s website.

What could be in store for the band next? Only time will tell…As Tubbs says: “As ever, friends, may you live until you die”

Long Lost Track List:

  1. The Moon Doesn’t Mind
  2. Mine Forever
  3. (One Helluva Performer)
  4. Love Me Like You Used To
  5. Meet Me in The City
  6. (Sing For Us Tonight)
  7. Long Lost
  8. Twenty Long Years
  9. Drops in the Lake
  10. Where Did the Time Go
  11. Not Dead Yet
  12. (Deep Down Inside Ya)
  13. I Lied
  14. At Sea
  15. What Do It Mean
  16. Time’s Blur

About Lord Huron
Lord Huron first made a name for themselves with their debut album Lonesome Dreams and shortly after released Strange Taleswhich featured the triple-platinum single “The Night We Met.” In 2018, Lord Huron earned widespread critical acclaim with their first Top 5 debut on the Billboard Top 2—with their third album, Vide Noir. A cinematic collection of pensive, provocative and powerful rock, the record garnered praise from NPRTimeLos Angeles TimesSpinStereogumRefinery29UPROXX, and more as singles such as Wait by the River (which the band performed on “Late Night with Seth Meyers”) and When the Night is Over generated tens of millions of streams. The band’s extensive touring includes headline shows at some of the most storied venues in the country (including the Hollywood Bowl, Red Rocks, and the Ryman Auditorium) and prime slots at festivals ranging from Coachella to Lollapalooza to Bonnaroo.

Tune Prism Cover Artist Spotlight: Lord Huron and the Long Lost Sounds of Yore Words and Memories by Tubbs Tarbell

Friends,

I been thinkin’ a lot about the past again. I guess if you know me, that’s nothin’ new. Yeah, I smell what you’re sniffin’ at: “Oh boy, here goes ol’ Tubbs again, ramblin’ about those good ol’ bygone days of yore.” Well, sure, I’ll allow you that’n. Maybe I do tend to take a good hard glance into the rearview before I step my boot on the gas. But don’t we all? Or shouldn’t we, in any case?

It just seems to me that, these days, the past is everywhere you look. Hell, take another peek at that sentence again. The first time you read it is already in the past. Funny how time just keeps clickin’ along. These days, anyway.

So, sometime in what’s now the not-too distant past, I was sittin’ in my usual seat inside Whispering Pines, cozied up to a glass of something cozy, when, from outta nowhere, this particular tune crept into my ear. It was a funny thing, because it immediately felt familiar to me, as a song that creeps into your ear usually has to be—’specially for somebody like me who don’t write ’em…I just roll ’em. (You’ve heard me say that one more than a few times, no doubt.) But then the more I thought about it, and the more I listened to this little tune janglin’ around upstairs, I realized that I couldn’t place it as somethin’ I’d ever heard before. (And take my word for it: the ol’ upstairs is a titanium steel trap for tunes, even now.) It was a conundrum.

That little number stuck with me for more than a few days. I’d be doing something mindless— scrubbin’ my cup, combin’ my hat—when all of a sudden, here it came again: It’s hard to make friends when you’re half in the grave, but I ain’t dead yet and I’ve got something to say. It was the loveliest thing, and dang me if it didn’t keep sounding chummier and chummier. It was sublime—that drivin’ jangle of the guitar, the steady thump of the drums, those breezy, liltin’ voices—but I just couldn’t place it. Could it have been that ol’ Tubbs here had somehow tapped into that cosmic eternal and unwittingly written his first tune without even knowin’ it?

A week (or was it a month?) went by and the tune never went too far from my head. There’s a stranger in my eyes again… It almost got to where I was more used to the tune bein’ there under my hat than my own face. …I swear to God I don’t know him. But then it happened, somethin’ I’ll never forget for as long as I live: My little tune came to life before my very eyes.

Now, be patient. I’ll tell you how.

That day, one of my all-time favorite acts happened to be booked in Whispering Pines for a recordin’ spell, those good-time bootscooters and rhythm rascals known as the Lord Huron. As always, the boys showed up early—but not earlier than ol’ Tubbs here—and made haste toward the studio’s live room.

“Howdy, fellers,” says I. “Headed for the big room, I see.” (If Whispering Pines was a church—it ain’t, mind you, but iffin’ it were—the live room would be the holy pulpit, I reckon.)

Ben (he’s the singer) just looked at me, touched the brim of his hat, and nodded. “Thought we might try somethin’ different this time, good buddy,” says he.

So I just gave him my grandest grand welcome and stepped aside, happy to have them back. Those boys know what they’re doin’, havin’ made quite a few of their records with us. But the live room, this was gonna be a first, and a real treat. I tried my best to keep my grin to a simmer, sat down at the board, and watched as Mark, Miguel, Tom, and Ben started tunin’ her up

If you’ve ever had the pleasure of recordin’ at the Pines, then you know that nothin’ in the place is off limits. Guitars, cymbals, pianos, pedal steel, mandolins, microphones, saxophones—what’s ours is ours, that’s my motto. And as the Huron boys are basically my own brothers by now— well, nephews, maybe, but who’s countin’—I was glad to see their hands on all of it. I even heard ’em talk about recordin’ a gigantic string and woodwind orchestra in some dang place like Sweden or somewhat…those fellers really shoot the moon, I tell ya.

I’d barely had time to pour my coffee and hit the big red button when they settled into a dusky groove so quick I could hardly believe it. Must have been all that time playin’ out on the road together—even headlined that dang Bowl they got out in Hollywood since last I laid eyes. Hell, they’ve known each other since grade school so it don’t surprise…that’s the rumor, anyway.

Now, I’ve loved all their hits—“The Night We Met,” “Time to Run,” “When the Night is Over”—but this new stuff they started in on just sounded…well, it just sounded like somethin’ eerily familiar, as it were. Like somethin’ from a past life I’d heard before, but brand new, all at once. Like a note plucked long ago that had moseyed through time to finally belly up to my bar once and for all. It was a conundrum.

The first number they called “The Moon Doesn’t Mind,” and I say it reminded me of one of those cowboy pictures where the lone horseman is singin’ his heart out to the audience from atop his brave steed. But somethin’ about the pang in Ben’s voice made it seem like that feelin’ was more lonesome than just simply lone—or maybe it was just my view from the sidestage, as it were. Maybe the light catches a singer a little different when you’re not starin’ at him head-on, or even through a lens. I always did wonder if those cowboys were really as rootin’ and tootin’ as they looked on TV. I gave the boys a good round of applause before they launched into a real sunset of a song they called “Mine Forever,” a swingin’, full-on heart-renderer with a bubbly sound. All of a sudden I heard handclaps and female voices—I swear those ladies must have risen up outta the floorboards! Never saw ’em come in, and didn’t see ’em leave. That’s just the magic of the Pines, I suppose. Door knockin’s for strangers.

The next one, “Love Me Like You Used To,” brought to ear of one of those classic lovelorn country ballads, like one sung by Handsome Scott or even ol’ Roy Casey himself. “Long Lost” and “I Lied” both slowed the tempo down a notch or two, but sounded no less grand. The boys were really firin’ on all cylinders that day, I tell ya, fillin’ the air of that grand live room—and my own soul—with those tales of hard luck, heartbreak, and redemption. It was as if the boys had become conduits for the spirits of the room and were usin’ them to tap into that same cosmic eternal I’ve always felt—known—was hoverin’ around inside Whispering Pines.

I was feelin’ pretty fine. Our old pine clock on the wall had long stopped tickin’ and the boys surely didn’t need any help from little ol’ me, so I helped myself to a little somethin’ cozy and kicked my boots up on the board. And it was then, in that instant, that I heard it…my tune.

All messed up with nowhere to go, I stare at myself in the mirror alone… It’s hard to make friends when you’re half in the grave…

That drivin’ guitar jangle, the steady drum thump, those breezy, liltin’ voices…it was all unmistakable. My tune! It had somehow crept out from that titanium trap I keep under my hat and sneaked into the live room to serenade me from behind the glass studio wall. Time seemed to stand still, even more than it usually does around here. It was like some long, lost dream come to life, a forgotten classic from a parallel dimension, the echo of a memory that wasn’t mine. But the feelin’ was real.

“Say, boys, what’s that one called?” I hollered into the talkback, trying to seem casual.

They looked at one another, laughed. “Well, I’m not sure,” Ben replied. “What does it feel like it’s called to you?”

As he spoke, I caught a glimpse of myself in the unpolished studio glass, and somethin’ hit me, somethin’ I’ve never been able to explain. “Well, I reckon it’s called ‘Not Dead Yet,’” I reckoned. And wouldn’t you know it? Turned out, it was.

The Huron kept at it for a little while longer that day, but I must have drifted off peaceful-like in somethin’ of a cosmic slumber, with my tune—all of the tunes, in fact, as all of them were now mine—janglin’ heavy and happy in my heart. When I woke, the light from the next day was just startin’ to ease into the Pines, and I was alone. I stood up, stretched my creaky back, scratched a little stubble. As I turned to grab my leavin’ hat off its peg, somethin’ caught my eye: A hand- scratched note bound to a faded vinyl record sleeve was layin’ on the floor.

I bent down to snatch it up. The record was called “Long Lost,” and it looked as if it had been layin’ there on the floor since before Whispering Pines was even a whisper itself. I brushed the dust off the cover and saw that the artist was none other than the boys themselves—Lord Huron.

“Say, Tubbs,” the note read. “Time washes aways what man creates, but ‘Long Lost’ might convince you that a note can live on. Be good now. The Boys.”

And just like that, they were gone.

As ever, friends, may you live until you die, Tubbs

ABOUT REPUBLIC RECORDS

A division of Universal Music Group, the world’s leading music company, Republic Records is home to an all-star roster of multi-platinum, award-winning legends and superstar artists such as Ariana Grande, Black Thought, Drake, Florence + the Machine, Greta Van Fleet, Hailee Steinfeld, Jack Johnson, James Blake, James Bay, Jessie J, John Mellencamp, Jonas Brothers, Julia Michaels, Kid Cudi, Lil Wayne, Lorde, Metro Boomin, NAV, Nicki Minaj, Of Monsters and Men, Pearl Jam, Post Malone, Seth MacFarlane, Stevie Wonder, Taylor Swift, The Weeknd and more. Founded by brothers and chief executives Monte and Avery Lipman, it is also comprised of innovative business ventures, including American Recordings, Boominati Worldwide, Brushfire, Casablanca Records, Cash Money, Lava Records, XO, Young Money, among others. Republic also maintains a long-standing strategic alliance with Universal Music Latin Entertainment (J Balvin and Karol G).  In addition, Republic has expanded to release high-profile soundtracks for Universal Pictures (Fifty Shades of Grey), Sony Pictures (Spider-Man Into the Spider-Verse) and NBC TV (The Voice), as well as other notable film and television franchises. Extending further into the worlds of film, television, and content, Republic launched Federal Films in order to produce movies and series powered by the label’s catalog and artists. Its first production was the Jonas Brothers documentary Chasing Happiness for Amazon Prime Video.

John-Robert by Darren Baber and Warner Records for use by 360 Magazine

John-Robert – Rock Back & Forth

MULTI-TALENTED ARTIST/PRODUCER JOHN-ROBERT SHARES NEW SONG “ROCK BACK & FORTH” – WATCH THE VISUAL HERE

HEALTHY BABY BOY, PART 1 ARRIVES APRIL 2

Renowned for clever storytelling in both his lyricism and videos, 20-year-old rising artist and producer John-Robert shares a new single entitled “Rock Back & Forth” today via Nice Life Recording Company / Warner Records. It’s the fourth track to be unveiled from his Healthy Baby Boy, Part 1 project, now set for release on April 2, 2021.  Listen to “Rock Back & Forth” HERE.  Pre-order/Pre-save Healthy Baby Boy, Part 1 HERE.

On Rock Back & Forth,” a smooth, clean guitar riff underscores his breathy verses before blossoming into a simmering hook, “They just don’t move like you move, they just don’t dance like you do. In the accompanying visual, he moves in a myriad of ways, attending an aerial physique teacher training session, pole dance workout, and even roller skating by the beach.  Watch it HERE.

About “Rock Back & Forth,” he explained, “I wrote this tune after watching Dirty Dancing with my previous partner. I adored how she was able to express herself through dance. I never felt comfortable dancing myself, but it was a joy to watch someone else be so liberated. ‘Rock Back & Forth’ was assurance for my partner. Even though there are other beautiful people in the world, what you love about your partner is their nuances, individuality, and unique style. I thought I would discover different forms of movement to see if it’d help with my own self-confidence. I hope other people can take courage if they’re as uncomfortable with dance as I am.”

The music of Healthy Baby Boy, Part 1 relays the artist’s coming-of-age, whisked out of obscurity in Edinburg, VA by mega-producer Ricky Reed and trading a town of 1,000 residents for Los Angeles, where the budding talent is now making a lifelong dream a reality.

Most recently, he unveiled “Damn Bean” with a Pulp Fiction-inspired music video. Prior, John-Robert dropped “USMO,” an acronym short for “You Should Move On” and set the stage for Healthy Baby Boy, Part 1 with the release of title track Healthy Baby Boy” last October. The autobiographical slice-of-life immediately attracted tastemaker praise by the likes of  SPIN, who raved, “On his latest single, ‘Healthy Baby Boy,’ John-Robert shows his depth as an emerging songwriter by his understanding of the poignancy of life,” and American Songwriter noted, “He pours his emotional angst directly into his new song, the charmingly nostalgic ‘Healthy Baby Boy.’  In The Know put it best, “John-Robert is a name you’ll want to know…a small-town baby boy who’s steadily rising to super stardom.”

At age 16, John-Robert was invited out to L.A. by Reed, who’s described him as “a transcendent, once-in-a-generation singer and songwriter.” Sure enough, John-Robert’s 2019 independent release “Adeline” has amassed over 3 million streams and garnered fans like Camila Cabello, who posted an Instagram story praising it. Last year, he recorded a breathtaking rendition of Fiona Apple’s “Criminal” for the Recording Academy’s® “ReImagined” video series. In May, he released his debut EP, Bailey Barely Knew Me, featuring “Adeline” and other standout tracks.

Healthy Baby Boy, Part 1 tracklisting:

  1. Healthy Baby Boy
  2. Damn Bean
  3. USMO
  4. Move It To The Side
  5. Novia Scotia
  6. Rock Back & Forth
K Camp RARE Family visual

K Camp – RARE Family

Friday July 3rd, multi-platinum rapper, entrepreneur, executive, and RARE Sound C.E.O. K Camp presented the brand new RARE Sound compilation album, RARE Family. Get it HERE via RARE Sound. The twelve-track surprise project pops off with verbal fireworks from K Camp as well as RARE Sound artists, including True Story Gee, Lil Bird, and more. Among various highlights, the crew trades rhymes with Yella Beezy on the celebratory and slick “Birthday” before delivering hard-hitting bars all around on “Stack N Pray” alongside West Coast phenomenon Mozzy.

Check out the full tracklisting below. Right out of the gate, HipHopDX wrote “K Camp gives his RARE Sound roster a chance to bask in the spotlight,” and RhymeHipHop claimed, “K delivers and displays a cohesive nature to his entire roster, to which each artist flows seamlessly in a shared sound.” Once again, K Camp quietly affirms himself as one of the most impactful talents and bosses in the game through a combination of dynamic rapping and just as dynamic business moves.

The RARE Family release was celebrated at the “RARE Family Cookout” this 4th of July Weekend at the RARE Sound Studios in Atlanta, GA. Stay tuned for a lot more from K Camp very soon.

About K CAMP

It takes a rare talent to elevate the game from multiple angles all at once. As a rapper, entrepreneur, and executive, K CAMP personifies rarity across the board.

Establishing himself as a titan in the Atlanta scene through a knockout combo of clever rhymes and chantable hooks, the multiplatinum star quietly maintains a position amidst hip-hop’s most influential forces. This status remains evidenced by nearly four-billion cumulative streams as well as four gold singles and three platinum singles— “Cut Her Off,” “Money Baby,” and “Comfortable”—since emerging in 2009. Among many accolades, he holds the endorsement of everyone from BET who nominated him for “Best Club Banger” at the 2014 BET Hip Hop Awards and XXL who included him in its 2015 “Freshman Class” as well as Rolling Stone, Spin, and many others. The MC’s discography spans the full-length debut Only Way Is Up and 2018’s RARE Sound, which HotNewHipHop dubbed “16 tracks of precious melodies.” Not to mention, he leads a movement as the C.E.O. of his own RARE SOUND label and RARE Studio, office, and headquarters. He continued to light rap up with Wayy 2 Kritical [2019] and Kiss 5 [2020] with more to come.

Follow K Camp: Instagram | Twitter | YouTube | Facebook

Aamir Khuller, Oliver Malcolm

Oliver Malcolm – Helen

RISING ARTIST OLIVER MALCOLM RELEASES SELF-DIRECTED MUSIC VIDEO FOR SINGLE “HELEN” FOLLOWS CRITICALLY ACCLAIMED, DEBUT SINGLE “SWITCHED UP”

WATCH VIDEO

Rising artist Oliver Malcolm has today released the music video for his self-produced single, “Helen.” A jack of all trades, Oliver extends himself creatively once again by directing the arresting visual which bears repeating after the first play. The video first premiered on Pigeons & Planes, who appointed Oliver as one of their “Best New Artists” last month — to read the interview Oliver gave the outlet, CLICK HERE.

Oliver Malcolm recently participated in FADER’s Digital Fort 2020 and took to breaking down the single “Helen.” For an insight in Oliver’s production and songwriting process, watch “The Making of ‘Helen’” HERE. The Swedish born, London raised artist is fast becoming one of music’s favorite new discoveries. With two explosive singles under his belt and more to be released soon, Oliver has received early praise by the likes of New York Times, FADER, Ones To Watch, SPIN and more.

Listen to “Helen” HERE

Praise for Oliver Malcolm & “Switched Up”

“A sleek hybrid of rap and R&B” — FADER

“The drums lurch toward the offbeats, some looped guitar picking tugs against that pulse and Malcolm’s voice is a rattled, quavery moan…Everything stays off-kilter for the two and a half paranoid minutes of “Switched Off” by Oliver Malcolm” — New York Times, Playlist

“Oliver Malcolm’s ‘Switched Up’ Is Intoxicating… new single ‘Switched Up’ is a mesh of influences, a confluence of sounds, a mosaic of techniques.” — CLASH

About Oliver Malcolm

Oliver Malcolm got his start early, teaching himself how to spin records at 12 years old. Shortly after, he downloaded Logic and taught himself how to produce – working with IDK, Aluna George, Joey Bada$$, Jay Rock, Masego Tinashe and more. Now twenty, Oliver has developed his own voice. Touching everything from the production, vocals, songwriting, engineering, mixing and mastering,  Oliver’s sound is unique and does not fit the mold of one genre. A multidisciplinary at heart, this is just the beginning of music lovers can look forward to from the new artist.

INSTAGRAM / TWITTER / YOUTUBE

Maggie Rogers Announces North American Tour Dates

 Just before launching her sold-out spring tour tonight, Maggie Rogers announced a new series of North American dates. The Heard It In A Past Life tour will kick off on July 26 at Thompson’s Point in Portland, ME. The outing will include a two-night stand at New York City’s Radio City Music Hall (October 1 & 2) and shows at the Greek Theatre in Berkeley, CA (September 20), Nashville’s Ryman Auditorium (October 15) and ACL Live at The Moody Theater in Austin (October 19).  Empress Of and Jacob Banks will join Rogers as support. Visit http://www.maggierogers.com/live/ for itinerary. The acclaimed producer/songwriter/performer will also play numerous festivals, including Coachella. 

 

Pre-sale tickets for the summer/fall shows go on sale to members of Rogers’ fan club on Monday, March 25th.  The AMEX pre-sale begins on Monday, March 25thand the Spotify pre-sale starts on Wednesday, March 27th.  Tickets go on sale to the general public here on Friday, March 29th, at 10:00 AM local time. AEG Presents will present the majority of Rogers’ fall tour. The remaining dates will be presented by independent promoters. Rogers recently wrapped up a tour of the U.K., Ireland and Europe. At London’s O2 Academy Brixton, Florence Welch of Florence + The Machine joined her onstage for a performance of “Light On.”

 

Rogers is touring in support of her Capitol Records debut album, Heard It In A Past Life, which entered Billboard’s Top Album Sales chart at No. 1 and charted at No. 2 on the Billboard 200. It has sold nearly 200,000 album adjusted units to date with cumulative streams across all tracks exceeding 400 million. Her current single, “Light On,” topped Billboard’s Adult Alternative Songs chart for two consecutive weeks. Rogers recently performed “Burning,” another track from the album, on “The Late Show With Stephen Colbert.” View here.

 

In this feature, The New York Times said, “‘Heard It in a Past Life’ is a collection of buoyant electronic pop songs, but the lyrics are unmistakably the work of an introvert struggling to recalibrate.” Rolling Stone awarded the album four stars and hailed it as “a laser focused statement with nary a wasted lyric or synth line.”TIME said, “The album confirms Rogers as a tender but powerful musical force, putting her in the company of a group of solo female artists claiming space outside of the typical machines of pop, country or R&B.” NPR Music noted, “’Heard It In A Past Life’ (is) smart sparkling pop.”

 

Maggie Rogers grew up in Easton, Maryland. After graduating from NYU’s Tisch School of the Arts, she released her critically acclaimed debut EP, Now That The Light Is Fading. The BBC, Tidal, Google Play, Vevo, Pandora and numerous publications – including Rolling StoneNYLON, SPINBillboard and more – have tipped her as an artist to watch. NPR named her one of its Favorite Musicians and The New Yorker declares, “Maggie Rogers is an artist of her time.”  Rogers’ television performances include “Saturday Night Live,” “The Tonight Show Starring Jimmy Fallon,” “Late Night with Seth Meyers,” “The Late Late Show with James Corden” and “The Ellen DeGeneres Show.” Named as the first YouTube Artist On The Rise (AOTR) of 2019, she has also been included in Twitter Music’s #ArtistToFollow, Amazon’s First And Last and Pandora’s Drumbeats programs.

 

Maggie Rogers – Heard It In A Past Life World Tour – Summer/Fall 2019

 

+ Empress Of to support 

^ Jacob Banks to support

 

Newly Announced Dates

7/26Portland, METhompson’s Point

7/30North Adams, MAMASS MoCA

7/31Toronto, ONRebel

9/12Portland, ORArlene Schnitzer Concert Hall

9/13Vancouver, BCOrpheum

9/14Seattle, WAWaMu Theater

9/17Santa Barbara, CASanta Barbara Bowl

9/20Berkeley, CAGreek Theatre

9/23Denver, COThe Mission Ballroom

9/24Kansas City, MOArvest Bank Theatre at the Midland

9/26Minneapolis, MNThe Armory

9/28Columbus, OHExpress Live!+

9/30Pittsburgh, PAStage AE+

10/1New York, NYRadio City Music Hall+

10/2New York, NYRadio City Music Hall+

10/4Philadelphia, PASkyline Stage @ The Mann+

10/5Boston, MAWang Theatre – Boch Center+

10/8Washington, DCThe Anthem+

10/9Charlotte, NCThe Fillmore Charlotte^

10/11St. Augustine, FLThe Amp^

10/12Orlando, FLHard Rock Orlando^

10/15Nashville, TNRyman Auditorium^

10/18Dallas, TXBomb Factory^

10/19Austin, TXACL Live at The Moody Theater^

 

Maggie Rogers Named YouTube’s Next Artist On The Rise

In a striking, single-shot video, acclaimed producer/songwriter/performer Maggie Rogers performs her No. 1 single, “Light On,” with 50 fans and guitarist Elle Puckett.  Produced by La Blogothèque (Justin Timberlake, Chris Stapleton), the video was filmed last November in Paris and directed by Elie Girad. View the clip HERE. 

Rogers has been chosen as the first YouTube Artist On The Rise (AOTR) of 2019. The program features eight artists of varied genres over the course of a year. 2018, the inaugural year of AOTR, featured such artists as Rosalía, Brockhampton, Ella Mai, and many more. Rogers has also been named a Twitter Music #ArtistToFollow. The new program highlights one emerging artist per month by using their Twitter Music profile to showcase their voice and personality.

“Light On” – which is from Rogers’ Capitol Records debut album, Heard It In A Past Life, set for January 18 release – topped Billboard’s first Adult Alternative Songs tally of 2019.  Rolling Stone awarded the single four stars, and praises “Light On” as “a cathartic counterpoint to today’s pop-empowerment anthems.”Streams of “Light On” surpassed one million globally in under a week and are approaching 25 million.

Rogers will celebrate the release of Heard It In A Past Life with performances on “The Ellen DeGeneres Show” (January 16) and “The Late Show With Stephen Colbert” (January 22). She made her “Saturday Night Live” debut last fall. Rogerswill play a sold-out album release show at the Fonda Theatre in Los Angeles on January 17. Most of her North American dates, sold out at on sale including a March 29 show at New York City’s Hammerstein Ballroom which sold out in minutes.  She will embark on her global headline tour on February 14th in Dublin, Ireland before hitting the U.S. in March.  Rogers will also perform at Coachella in April- visit http://www.maggierogers.com/live/ for itinerary.

Heard It In A Past Life is now available for pre-order in CD, digital and vinyl formats. Fans who pre-order the digital album will instantly receive the five tracks that have been released thus far: “Light On,” “Give A Little,” “Alaska,” “On + Off” and “Fallingwater.” Cumulative streams for these five songs already exceed 230 million globally.

Maggie Rogers grew up in Easton, Maryland. After graduating from NYU’s Tisch School of the Arts, she released her critically acclaimed debut EP, Now That The Light Is Fading. The BBC, Tidal, Google Play, Vevo, Pandora and numerous publications – including Rolling StoneNYLON, SPINBillboard and more – have tipped her as an artist to watch. NPR named her one of its Favorite Musicians and The New Yorker declares, “Maggie Rogers is an artist of her time.”  Rogers’television performances include “Saturday Night Live,” “The Tonight Show Starring Jimmy Fallon,” “Late Night with Seth Meyers” and “The Late Late Show with James Corden.”

NAWAS Release New Track: “She Knows”

Just today, Louisiana-bred, Nashville-based trio NAWAS release a new track “She Knows” vial all digital partners. It is available to stream and download HERE.

The sleek, soulful track was written by NAWAS and produced by Grammy Producer of the Year nominee John Hill (Portugal, The Man, Demi Lovato)

“She Knows” is the first new music from NAWAS since the band released its debut EP Trouble last year, which followed in the wake of their well-received singles “Wrong,” “So Low,” “Make It Work,” and “Who Are You.”

“‘She Knows’ is a new direction for us as a band. After touring last year and receiving so much encouragement and support from fans and listeners, we were excited to get back in the studio and work with John Hill, who brought out new musical elements in us that fit our desires perfectly,” says front man Jake Nawas.

Brilliantly mashing up elements of electronic music, hip-hop, and R&B, NAWAS sound is built around Jake Nawas, shape-shifting vocals, Ben McDaniel’s crystalling guitar work, and Joey Gonzales powerful yet minimalist drumming. Bringing rule-breaking originality to their silken production, NAWAS push the limits of pop with daring and darkly charged lyrics that lend each track an unforgettable depth.

A video for “She Knows” will be released in the coming weeks, followed by more new music throughout the fall.

What critics are saying about NAWAS:

“‘So Low’ is beautifully produced with smooth beats and an R&B-esque tempo. The direct, contemplative lyrics are delivered in (Jake Nawas) bewitchingly androgynous falsetto”FADER

“(NAWAS is) primed and ready to rattle speaker systems.”EARMILK

“‘Wrong’ is a dense, sparkly track featuring heavy bass and fluid guitar riffs that find the medium & between Prince’s androgynous melodies and Calvin Harris’ euphoric bangers.”SPIN

“‘Who Are You’ is as inspired as it is excitingly new. Front-man Jake Nawas’ androgynous singing is on fire on this track, and the instrumentals backing him up are as epic as they are illustrious. ‘Who Are You’ is exactly what you’d want from a fun summer song.”BAEBLE

Maggie Rogers

[On Give A Little] Rogers churned out a cathartic pop song about empathy and unity

Toss in a righteous guitar riff, plus a cascade of affirming handclaps, and Rogers emerges with a much-needed sunbeam of a song.” – Pitchfork

Give A Little is a natural and groovy extension of her stunning organic soundscapes.” –V Magazine

Like every song she puts out, [Give A Little] is a surprise that further proves her dexterity and versatility as an artist.” –Paper

It’s a warm, rippling pop song that makes the most of Rogers’ graceful, approachable voice. It already sounds like a hit.” –Stereogum

Today Maggie Rogers debuts the video for her new track Give A Little from her forthcoming debut album on Capitol Records. Filmed in Pacoima, CA the video was co-directed by Rogers and Alan Del Rio Ortiz and features Rachel Matthews, Camila Mendes, Myriah Rose, Firefly, Makayla Menard and Bridget Gamble.

Watch it HERE.

I had so much fun directing this video alongside Alan Del Rio Ortiz,” says Rogers. “I was obsessed with 70s skate culture in high school and really just wanted to have a silly day recreating my favorite scenes from Lords of Dogtown and paying homage to my favorite Farrah Fawcett photos. Those early skate videos feel so raw and powerful, it was important to me to show that that energy could also be female. It was super special to have my two college pals, Rachel Matthews and Camila Mendes, along for the ride. We’ve been friends since the first week of our freshman year, but our schedules have gotten so beautifully and amazingly kind of crazy since we graduated a couple years ago. It was so much fun just to spend the day dancing and giggling with each other like the old days.

Produced by GRAMMY winning producer Greg Kurstin (Adele, Sia, Foo Fighters) and Rogers, the upbeat, effervescent song can be streamed / downloaded HERE. Give A Little follows the acclaimed single Fallingwater, which NPR hailed as a powerful, mesmerizing depiction of Rogers’ transition over the last two years a celebration of the terrifying yet thrilling process of change.

Rogers will kick off a North American headline tour on October 15 at The Fillmore in San Francisco, CA. The run will include shows at The Observatory in Santa Ana, CA (October 18), The Vic Theatre in Chicago, IL (October 30) and Royale in Boston, MA (November 5). Mallrat will support on all dates- see all dates here. The outing marks Rogers’ first headline tour since her summer 2017 outing, which sold out in minutes.
Rogers will also headline two sold out shows at Koko in London (August 29 + 30) following her performances at the U.K.’s Reading and Leeds festival. She will also perform at the Pilgrimage Music & Cultural Festival in Franklin, TN (September 22 + 23) and co-headline the 2018 All Things Go Fall Classic, one of Washington, DC’s largest signature festivals. She and LPX (Lizzy Plapinger) curated for opening day, October 6.

Maggie Rogers is a producer, songwriter and performer from Easton, Maryland. After her education at NYU’s Tisch School of the Arts, she released her breakout single Alaska and subsequent critically acclaimed debut EP, Now That The Light Is Fading. Alaska has since charted in Spotify’s Viral 50 in 40 countries, hit #1 in 23 countries and now has over 100 million global combined streams to date. The BBC, Tidal, Google Play, Vevo, Pandora and numerous publications including Rolling Stone, NYLON, SPIN, Billboard and more have tipped her as an artist to watch. NPR named her one of its Favorite Musicians and The New Yorker declares, Maggie Rogers is an artist of her time.

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