A music blog dedicated to keeping you updated with the latest in music releases, reviews, concerts, and throwbacks with more to come in the future!
Avid Sound was founded on May 26, 2014 by two University of Florida journalism students actively seeking to exercise their writing abilities and voice their opinions and insights regarding the music industry.
In the near future, Avid Sound will be expanding and recruiting staff writers and contributing writers. If you're interested, inquire below.
VIDEO REVIEW: “Break Free” - Ariana Grande (feat. Zedd) Bradley Norman, Avid Sound Staff Writer
Donning her signature emotionless face, pleather white go-go boots and high ponytail, Grande stares blankly into the camera and slightly moves her mouth along to the lyrics of her newest single, “Break Free” featuring Lady Gaga’s prodigy, Zedd.
The singer, who’s sophomore album, My Everything, is set to be released August 25, 2014, channels her inner Xena: Warrior Princess only in what could be described as a d-list claymation hybrid of Star Trek and Star Wars, including a mini lightsaber lipstick.
Grande looks gorgeous in the video and the concept, while tired, is cute and kitschy, something I believe is apparently her current schtick.
Sadly, it’s almost impossible to overlook the running flaw: her awful lip syncing.
Her voice is so emotive but the same can’t be said for her lip-syncing, which is incredibly distracting and has been a reoccurring problem for the “Problem” singer.
One can only hope in the not-so-near future intergalactic warrior princesses aren’t saving the universe while sporting that tacky hairstyle.
Try as we might, it seems like “Baby Got Back” is never going to go away.
That’s not necessarily a bad thing. Sir Mix-a-Lot’s ubiquitous 1992 one-hit wonder about his fascination with the female backside has been revived in a number of songs since the turn of the century, but in none more blatantly than in Nicki Minaj’s newest single “Anaconda”.
Before the song was even leaked, the album’s cover art—the callipygian Nicki crouching while wearing a bright pink thong—made it obvious that her generous behind would be the focus of the song. It begins with one of “Baby Got Back”’s most notable lines: “My anaconda don’t want none unless you got buns, hun.”
Accompanied by its opening beat, Nicki starts rhyming about her relationship with a bad boy and how she took control and kicked him to the curb. Nothing new here. The song’s “anaconda” hook then returns, followed by Nicki referencing the eternal line “oh my gosh, look at her butt.”
The next verse follows the same pattern, albeit with more clever lines such as “Pussy put his ass to sleep, now he calling me NyQuil.” In the song’s outro, similar to Sir Mix-a-Lot’s original spoken interlude, she expresses her fondness of large buttocks and her dislike for women who aren’t as voluptuously gifted as she is, all while cackling wildly.
“Anaconda” is by no means a masterpiece, but it is undeniably interesting and one of the most unique entries in her repertoire.
Somewhere, Sir Mix-a-Lot is cashing a hefty royalty check and has no one to thank but Nicki’s derrière.
Elly Jackson, better know by her stage name, La Roux, has finally returned with the long-awaited follow-up to her 2009 self-titled debut LP.
Five years later, Trouble in Paradise is here.
The trouble may not only be in paradise though, as her typical synthpop and electronic sound is mostly gone in favor of some cozy guitar and bass riffs with sparing synths that spawn visions of the beach.
While the change in sound is nice, it’s not exactly welcome on first listen and seems far too toned down.
However, with more listens, this album grows; its strengths reveal themselves in small moments, with a shift in notes or a sudden halt.
Trouble in Paradise is not something from the La Roux that we have come to know and love, but maybe something from one that we will learn to appreciate as an artist who refuses to be defined by genre, bravely risking the alienation of her audience in doing so.
For the track-by-track review, follow the read more link below.
The Drums return to tour along with mysterious new music Conor Soper, Avid Sound Staff Writer
The Drums are back and they’re creepier than ever.
The band recently announced on twitter that they had a big announcement coming, and while they haven’t announced anything yet, I decided to do some snooping.
I went to see if their website had changed layouts and it did. On it is an odd looking cover art for what might be a new album or single, though it’s not discernible which of the two it is yet. Above that though, is the Drums leave us with a cryptic video.
In it there are black and white shots of a little stream of running water that reminds me of something out of Fantasia that changes to shots shining lights periodically on and off of members Jonny Pierce and Jacob Graham. Jonny appears to be wearing some strange metallic type shoulder piece.
Apart from the video, the accompanying audio sounds like something out of a classic Sci-Fi alien movie where the synths almost mirror a Theremin.
The shift in the bands tone can be noted from their early “summertime” vibe to the transition of heartbreaks on their second album, Portamento. Hopefully, after three years, this new album will follow this tonal shift the band seems to be taking.
At the end of the video Jonny starts to hum a bit and we get the news that The Drums will be embarking on an Autumn tour and releasing a new single this year. In the meantime, it also states that a new single, “Magic Mountain” will be available soon this summer.
It should also be noted that when I went to share this video on Facebook the title appeared as “MM Trailer,” so I’m assuming it’s a safe bet to say what we’ve heard is the start of “Magic Mountain” and the start of a new era for The Drums.
UPDATE: "Magic Mountain" just got released listen here on Soundcloud.
Azealia Banks and Interscope part ways at last Bradley Norman, Avid Sound Staff Writer
Azealia Banks has finally parted ways with her label, Interscope/Polydor.
The bad-mouthed spitfire has, however, made it very clear that she’s happy about being dropped and, considering the tumultuous relationship Banks had with her label, we can’t blame her.
The “ATM Jam” singer took to Twitter to express her excitement.
Banks also retweeted a slew of fan support and admiration, which she made known she believes every woman deserves, regarding her decision.
Interscope has yet to publish a statement or remove Banks from their website’s official artist roster. However, the “212” singer has expressed her desire to part from her label for months now and it’s likely that influenced the decision.
About a month ago we excitedly reported that Banks had registered two new tracks with the American Society of Composers, Authors and Publishers (ASCAP) and was also teasing a new music video via Twitter. Now, however, it’s likely these two tracks, as well as anything recorded for her constantly delayed debut studio album, Broke With Expensive Taste, will ever see the light of day.
It should be noted that in an interview with Gigwise, the brutal raptress stated that she had been hiding quality tracks from her label.
"I haven’t been releasing anything that could potentially be phenomenal," she said. "I haven’t been doing anything good because I don’t want these people to want me. It’s like a relationship with an ex-boyfriend, where you kind of do things to make him go away."
There’s still hope… if you’re naïve enough. This isn’t the first time we’ve been duped by the empty-promise slinging singer-songwriter.
Interpol shatters the silence with “All The Rage Back Home” Conor Soper, Avid Sound Staff Writer
After three years of hiatus, Interpol is finally back with the video and audio for “All The Rage Back Home.” The hiatus began in 2011 after the release and tour of their self-titled fourth album.
Time seems to have healed Interpol’s wounds with the first studio release from their fifth album, El Pintor.
The song promises a return to the band’s former glory and a more familiar sound. Not that Interpol has ever been poorly received; it’s just that Interpol was very clearly the weakest of their previous albums, still a great one as always though.
“All The Rage Back Home” starts off with a guitar that rings of nostalgia from Our Love to Admire, specifically of “Pioneer to The Falls.”
The chorus defies this nostalgia though, as Paul Banks picks up the pace, a lot like “Barricade” did, but it does so more effectively and smoothly.
Interpol has clearly grown from their time apart. The video accompanying the audio is nothing special, all black and white film of the band playing interspersed with some cool surfing footage.
On second watch, the crashing of the waves seems to personify the clashing of the guitars paired with Bank’s shrill notes that we’ve come to know and love. It also seems to be a theme the band is sticking with for this album since two of the songs off the album track list are titled “Breaker 1” and “Tidal Waves.”
Based off this song, it’ll be exciting to see what else Interpol has in store for us come September.
Australian singer and (smash hit) songwriter, Sia, is back after an excruciating hiatus following her last album, We Are Born.
She’s come a long way in four years: From her international breakthrough on David Guetta’s “Titanium ” and the commercial success of Flo Rida’s “Wild Ones,” to struggling with her personal health and recovery.
1000 Forms of Fear’s influences and sound are a result of her breakthrough into the industry; the broken inflections in her voice on various tracks reflect the struggle and hardships she faced while battling her various health issues.
Despite the vulnerability in her music, Sia’s sound has taken a turn toward a more mainstream sound, which, luckily for her, has resulted in increased media attention. The album’s debut single, “Chandelier,” is, to date, Sia’s first top 40 hit as a solo artist, peaking at 20, and first single as a solo artist to appear on the Billboard Hot 100.
While Sia’s sound has become more noticeably mainstream, one might fear that this is a sign of her “selling out,” but, if anything, she may have finally found her voice.
For the track-by-track review, follow the read more link below.
VIDEO REVIEW: “URL Badman” - Lily Allen Bradley Norman, Avid Sound Staff Writer
Offensive bloggers, eat your heart out.
In the video for the fourth single, “URL Badman,” off her third studio album, Lily Allen embellishes her snarky lyricism to confront those who have ever criticized her.
In an interview with Rolling Stone, Allen opened up about the personal nature behind the song.
"I wrote that after I put out the video for ‘Hard Out Here’ and everyone said I was racist," she said. "I was really alarmed by that reaction. I stand by that video, and I know what my intention was, and I’m sorry that people interpreted it in a different way."
Allen joyously dances around the malfunctioning, buffering blogger while uttering loose, flowing narrative mocking the “broadband warrior.”
“What really pissed me off was the misogynistic, hipster, male bloggers that went after me in a completely different way,” the British singer-songwriter said. “I just thought, ‘Fuck you, I’m going to write a song about you.”
Sadly, the song itself is almost counterproductive in nature.
The masterful lyricism defines the “offensive blogger” mindset ingeniously while critiquing those who themselves spend their days and nights criticizing the successes and, in some cases, failures of others.
Weaving in pop culture references between repeated lashings, Allen has evolved her signature side-eyeing, insult-ridden style with hyperaware lyricism; however, the track only manages to add insult to injury.