With nowhere to find free streaming music online, turntable.fm launches Piki

With nowhere to find free streaming music online, turntable.fm launches Piki http://www.tinymixtapes.com/sites/default/files/1301/news-13-01-piki-turntable-fm.jpg

Do you like Pandora, but hate the fact that it chooses music for you using a lame-o algorithm? Well, you’re in luck! Hypebot tells us that the friendly people who brought you Turntable.fm, the social set list site where you can take turns playing DJ with your friends, are now hocking a brand-new, state-of-the-art social media music listening experience (minus the math) called Piki. It’s not an encyclopedia of Pokemon characters, but rather a new way to listen to streaming music online that draws heavily from the Pandora model, shifting the focus to social-driven song selection (yay!) instead of robot mind control (boo!) or whatever it is they use over at Pan-snore-a.

I imagine most people use Pandora because their friends have shit taste in music and they need a computer to help them find new tunes, but if you want to let the people you’ve collected online to be in charge of what song comes piping into your ear holes next, then by all means sign up to be a beta tester here. An accompanying mobile app (for iPhones) is said to be on the horizon.

It’s yet to be seen if it’s a good idea to go into this market, what with Apple’s rumored upcoming entrance, but as a listener, it’s always good to have options.

• Piki: https://piki.fm

Mouse on Mars tour North America, but they’ve missed the chance to play in space

Even though I don’t really understand the science of space or the math of space or anything like that, I still like reading about space. And I just read about a meteorite from Mars that’s 10 times as old as any other one that’s been found and contains a pretty decent amount of water, which apparently brings up the possibility of life on Mars 2.1 billion years ago.

So here’s my question for Mouse on Mars: shouldn’t you guys be touring the red planet instead of North America? Just to check things out? Maybe look for fossils or alien dinosaur skeletons? Bring a few copies of your 2012 albums, Parastrophics (TMT Review) and WOW so you can see how the Martians dig them? At the very least, how about if you guys beam up the video for “Polaroyced”? And maybe the one for “They Know Your Name” too? I’m sure whoever’s hanging out on Mars could be in the mood for something electronic.


02.15.13 - San Diego, CA - The Soda Bar
02.16.13 - Los Angeles, CA - The El Rey
02.17.13 - San Francisco, CA - The Independent
02.19.13 - Portland, OR - Doug Fir
02.20.13 - Seattle, WA - Neumo
02.22.13 - Salt Lake City, UT - The Urban Lounge
02.23.13 - Denver, CO - Summit
02.25.13 - Minneapolis, MN - 7th Street Entry
02.26.13 - Chicago, IL - The Mayne Stage
02.27.13 - Detroit, MI - The Pike Room
03.01.13 - Montreal, QC - Il Motore
03.02.13 - Boston, MA - Great Scott
03.03.13 - New York, NY - Santos Party House
03.04.13 - Philadelphia, PA - Johnny Brenda’s
03.05.13 - Washington, DC - U Street Music Hall

• Mouse on Mars: http://www.mouseonmars.com
• Monkeytown: http://www.monkeytownrecords.com

Iannis Xenakis to have vintage works collected on new Recollection GRM LP

Did you guys get what you wanted for Xmas? I sure as fuck didn’t. I got some sort of fancy cork. But here’s your chance to make it up to me, mom. You see, just in time for my birthday, Greek experimental composer Iannis Xenakis is to have some of his vintage works collected by Editions Mego.

According to FACT, “GRM Works 1957-1962 collects material recorded during the Greek composer and architect’s stint with Pierre Schaeffer’s highly influential Groupe de Recherches Musicales, a mid 20th century lodestone for electro-acousic composers and avant-garde musical operators.” This record, titled GRM Works 1957-1962 will be released via Mego’s Recollection GRM archive sub-label, active since early last year.

You don’t even have to wrap it. You can just mail it to me.

GRM Works 1957-1962 tracklisting:

01. Concret PH
02. Orient-Occident
03. Diamorphoses
04. Bohor

• Iannis Xenakis: http://www.iannis-xenakis.org
• Recollection GRM: http://editionsmego.com/releases/recollection-grm

The Knife try to announce live shows, but no one can tell quite what they’re saying behind those damn bird masks

Listen kid, I don’t care how many Ayn Rand books you’ve read or what murky significance your willfully unconcealable tattoos have, you’re still not allowed to be individual enough to not like The Knife. Sorry. You’re a part of this society whether you like it or not, and in this society, we flip our shit every time The Knife sneezes, and we flip it HARD.

Case in point? The duo has deemed it appropriate to play two (count ‘em, two) shows this spring. Both in the same venue. In the same city. On back-to-back nights. In support (maybe) of a new album that no one has heard a lick of yet because it doesn’t come out until April 8 (April 9 in the US) via Rabid/Brille/Mute. And following up a seven-year-old dance record and a freaking Charles Darwin-themed opera. BUT HERE WE ARE, like our friends at Pitchfork, reporting the shit out of that shit anyway. So don’t you dare roll your eyes or pretend like you’ve got better things to do than pine over how much you wish you could fly out to Copenhagen this May, junior. I don’t care how many more tourdates get announced soon. Get over yourself, get with the goddamn program, and get your ass out there and start geeking out over these two shows. And for god’s sake, share this trailer for Shaking the Habitual a few dozen times while you’re at it:

05.12.13 - Copenhagen, Denmark - Vega
05.13.13 - Copenhagen, Denmark - Vega

• The Knife: http://theknife.net
• Rabid: http://www.rabidrecords.com
• Brille: http://www.brillerecords.com
• Mute: http://mute.com

Sony and BMG shotgun remarry to attempt to adopt Universal’s Parlophone children; quickie divorce planned afterward

Once upon a time, there was CBS/Columbia Records, and it was a relatively big label with history dating to the beginnings of the recording industry. Alongside it was RCA Records, another big label and sometimes rival. (Has there ever really been competition in the recording industry, though? Like, the “competition” that is supposed to drive the free market?) Later on, one of CBS’s children, Clive Davis, ran off and created Arista Records, the latter of which became good friends with RCA as the years went by. Then the 80s happened, in which kaiju-sized conglomerates that made Japanese zaibatsus look like men in rubber suits ran around and swallowed up as much “property” as they could. All these labels were taken over by the Axis powers in a somewhat demented plan to retake Europe and the Americas through radio subterfuge CBS/Columbia would be taken over by the (ostensibly) American branch of Sony — creating Sony Music Entertainment — while RCA and Arista (among others) would be eaten by Bertelsmann, creating the new monstrosity Bertelsmann Music Group (BMG). After this vore consolidation era, there was quiet.

Then, BMG and Sony Music decided to get married in 2004, in the wake of the Massachusetts Supreme Court decision. When they realized how much of a bureaucratic nightmare it would be, and their form of marriage would have no pre-nups available to bypass this, they settled on a civil union. The resulting Sony-BMG joint venture lasted for about five years, upon which Bertelsmann decided to vomit up the record labels, hand them over to Sony, and live out its days as a publisher.

Fast forward to today. With EMI still slowly eroding like that statue of God at the end of ActRaiser 2, Universal’s purchase of the recording side of EMI has made it run afoul of European (and only European) antitrust regulators, requiring the sale of some assets. The primary asset that needs to be sold is EMI’s crown jewel, Parlophone Records (though not the Hope Diamond within that crown jewel, The Beatles). Home to a wicket’s worth of the most profitable acts ever to grace the Home Islands, including Mansun, Duffy Power, and Bat For Lashes, Parlophone served as the primary reason EMI survived as long as it did. Now, there exist several contenders for adopting Parlophone into their family, including Warner Music Group and the effervescent Ronald Perelman.

With all this in play, Sony and BMG looked wistfully back on their civil union while having drinks at some trashy bar, and thought to give it another go. They are now planning another civil union, this time to get Parlophone for themselves. However, their intent seems malevolent: rather than keep Parlophone whole if they gained the winning bid, Sony-BMG 2.0 would make a quick separation, and then dismember Parlophone into several small pieces, taking only the parts (or bands) they want and leaving the rest of the body to the dogs. Of course, for BMG, these small parts and organs may in fact be necessary for steppin’ out and making a label comeback, if the recent purchase of the Mute Records catalogue means anything. But who knows. All will be made clearer in the next two weeks, as bids will be finalized for the Parlophone adoption.

That said, if Parlophone does get dismembered, I call dibs on the right pinkie toe. That contains all the good records from Duran Duran’s career!

David Bowie returns with new single, news of new album, wanderlust for Germany

If you didn’t jump out of bed at the sound of your alarm clock this morning like it was Christmas morning, you should have, for David Bowie has surprised the world with the announcement of a new record. Titled The Next Day, the album will be Bowie’s 30th and his first in almost a decade. Out on Columbia Records on March 11 everywhere except Down Under (where it will be released on March 8, something to do with their toilets flushing in the opposite direction), the first single has already been released with an accompanying video that you can view below.

Featuring a conjoined twin doll with Bowie’s face projected on to one of the heads and scenes of a pre-unified Berlin playing in the background, the short film by Tony Oursler has some speculating that Bowie may be returning to his famed trio of experimental records from the 70s as inspiration. The song, titled “Where Are We Now?”, includes a smorgasbord of German words and is contemplative in tone. Reuters is also reporting that the album artwork references the artwork of Bowie’s album Heroes from 1977, the second in the so-called Berlin Trilogy. Regardless of whether or not that’s true (see above and decide), it’s a great ploy to drum up even more excitement than would ordinarily be expected from this kind of announcement.

• David Bowie: http://www.davidbowie.com
• Columbia: http://www.columbia.co.uk