ALEX REVIEWS MUSIC (ARM): TOM DELONGE – TO THE STARS… DEMOS, ODDS & ENDS | 2015-04-22

Welcome back to another ARM blogpost. Again, the picking choice was hard on this one, having just witnessed the global celebration of Record Store Day and being forced to set aside other recent releases such as Alabama Shakes‘s Sound & Color or even waiting just for another bit before the highly anticipated The Desired Effect by Brandon Flowers and My Morning Jacket‘s The Waterfall would have been published. Yet, partly because of my past (and present) blink-182 and Angels & Airwaves (AVA) fandom and party because of the recent publicly aired band drama causing quite an uproar, I felt like I had to give Tom DeLonge’s first ever solo album To the Stars… Demos, Odds and Ends a try.

Freshly released in Europe’s mainland a day ago (21st April), the half-EP half-LP is allegedly containing blink-182 demos “along with a few extra tracks”, summing up to a total tracklist of 8 units (-1, considering instrumental filler “Landscapes” as a non-song). The album had already been sort of previewed by the anticipated release of singles (?) “New World” (to which a very angst-filled music video has been dedicated), acoustic ballad “The Invisible Parade” as well as skateboarders’ new anthem “Circle-Jerk-Pit” (which, not surprisingly, soundtracks a video made of skating pools, beers and pretty girls). With the exception made of the latter, which is almost too messy to be properly understood, the two songs Tom decided to release before the actual full-album publication are, sadly, in fact the only remarkable compositions present on the effort. Fluctuating between AVA nostalgia (“Suburban Kings” could’ve easily been born out of “Rite of Spring”‘s ribs) and quite embarrassing blink-182-success formulas (“Golden Showers in the Golden State”: “First Date” and “The Rock Show” anyone?), the album doesn’t appear to be able to take a shape on its own, even after repeated listens. I’m actually saying this with genuine disappointment, being a long-time DeLonge fan myself and having always appreciated his ability to reunite big melodies with compactness and effective lyrics.

To be fair, the record itself got in fact promoted as a kind of B-sides bucket of his, possibly intended as a concrete and material response to blink-182’s intentions to continue as a band even without him (Alkaline Trio’s Matt Skiba has so far replaced Tom on guitar and vocals in the line-up). Still, this isn’t probably the best self-esteeming reply Tom could have given to both his previous bandmates and the public/fans at large. Why not waiting a little bit more and instead releasing another solid AVA album like last The Dream Walker, maybe with a little help of his (new) friends (Ilan Rubin)? Directionless, at times dull and repetitive, “To the Stars” doesn’t really deserve to get associated with his songwriting abilities (maybe with the exceptions made for the aforementioned “New World” and “The Invisible Parade”), not least because even initially-promising “An Endless Summer” and “Animals” turn out, unfortunately, to be truly dislikable with time. Ok, “Suburban Kings” and “Golden Showers in the Golden State” aren’t bad songs at all, but they nonetheless sound desperately over-heard and too familiar to past successful attempts of his.

This one seems to be an extremely busy year for Tom, according to his own statements to the press (announcing the release of 4 albums and 15 co-written novels all this year, come on…), and while he’s always been someone who doesn’t necessarily like to take breaks between musical, cinematic, and entrepreneurial projects, his explicit plans appear to be too ambitious even for a persona like his. Probably, hadn’t he released this very album, he could’ve managed and allocated his resources more wisely into a more thoughtful product, ideally released later this year or even during the next one. Yet, sometimes the urge to respond to unclarity and defeats can be stronger than anything else, pushing its way through light and converting into forced pieces of art. The result in this case? Tom still De…longing for blink-182.

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

TOM DELONGE

“TO THE STARS… DEMOS, ODDS AND ENDS”

2015, TO THE STARS…

http://www.tomdelonge.me

TDL_TTS

VELO REC IS SPINNING ITS WHEEL | 2015-04-12

I’ve decided I’ll use this one as a small space for some shameless self-promotion. Actually, to be fair, I’d say it’s a healthy mix of well-deserved publicity, personal involvement, and genuine interest, not least because I’m talking about music, once more with love. Therefore, if you allow me, it’s not even the case that I’m diverging that much from the usual editorial strategy I’ve been adopting for this page, if there ever was such thing. Anyways, enough said for the introduction: this time I’m devoting this blogpost to the London-based house record label VELo REC (check out their logo attached below).

One of the reasons I’m writing about VELo REC, founded in early 2014 by two Swiss guys in Shoreditch, is that a couple of weeks ago I started helping them out a bit with their social media accounts, which, by the way, I highly encourage you go check out and support (they’re present on Facebook, Twitter, Ello, Instagram, and obviously, since they’re producing house music, on SoundCloud and MixCloud). So far it’s been real fun for me, I’m learning a lot from their insights from that wild beasty jungle called ‘music industry’ and I’m truly enjoying working with and around their music products. In this regard, VELo REC usually releases a one-artist-focused Single/EP each month, with their April’s release “Low House, Vol. 1” featuring Paris-based DJ and producer Parsifal about to come out on 13th April on Beatport, initially. Then, after a two-week exclusive availability on the online music store specialised in electronic music, the Single/EP normally hits (literally) all other digital stores around for the general sale.

But a classic musical release is not the only quality thing VELo REC puts out periodically. In fact, they’re also hosting two very cool monthly podcasts called “VELo Radio Show” and “VELo Session” (which are all listenable and downloadable on their SoundCloud page). The first one consists of a radio-format episode in which usually the monthly artist gets widely introduced and hosts a special mix with favourite/notable electronic gems surrounding their release. The VELo Session instead is a one-hour guest-mixed podcast which highlights and shares some of VELo REC’s favourite new tunes around. As mentioned earlier, the genre they’re producing is generally house-related, with a slightly heavier focus on the tech- and deep- sub dimensions (so far they’ve counted on collaborations with artists such as Stefano Ritteri, Megan Faye, Tom Alemanno and Divalvi), so expect all of their publications to revolve around that musical cluster.

On top of all that, VELo REC is currently planning various additional projects involving, amongst others, a huge 1st-year-of-label birthday party at the end of May, a brand new blog, and some very cool merchandising. On a more hurried note, in addition to all the released material and podcasts, you can definitely go check out a short snippet from Parsifal’s “Low House, Vol. 1” (out tomorrow) on their SoundCloud profile. If you happen to like it, too, nothing is stopping you from supporting them by buying the thing as well.

All in all, the label is absolutely worth a in-depth check out for anyone interested in house and electronic music in general, the guys are talented and creative: their artistic wheel is definitely spinning at higher rates!

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

VeloRec_Logo

THE RISING TIDE OF SOCIAL MEDIA: REFLECTIONS FROM #EVNSOCIAL | 2015-04-04

It is certainly not the biggest of all surprises that the main substantial takeaway from attending an industry-driven summit on social media trends – organized at the LSE on 26th March thanks to a successful partnership between the European Broadcasting Union and Polis – is the conviction that social media are fundamentally reshaping what it means to do good journalism in the public interest. Probably a little more unexpected was the fact that such an agreement was almost unanimously shared by all stakeholders practicing in the realm of public service broadcasting. That is, the public service entity does in fact represent a category which is not exactly the definition of precursors with regard to adaptations to new innovations, large-scaled reorganizations, and more generally willingness to undertake strategic changes in the media landscape, not least because of their often underestimated burden of having to deliver performance under the pressure of optimizing the use of incomes generated by the license fees paid by the respective populations.

Probably the most interesting point coming out of the event was, in my opinion, the inherent juxtaposition between repetitive claims that “there is no such thing as ‘best practice’ in the use of social media” – even comparing it to the art of painting by Mike Mullane, Head of Media Online at EBU – on the one side, and the deep readiness to “philosophically reinvent” the notion of public service on the other side, with the latter process especially emphasized by NRK’s Head of Social Media Ingeborg Volan. In a way, it is as if everyone agrees that for healthy media outlets there is no way of bypassing social media use in the current landscape, but at the same time there are very little existing points of reference that could act as initial guidelines in implementing social media strategies onto traditional editorial processes. I think that this sort of dilemma does nothing more than rising both the excitement and the risk perception on the part of media practitioners willing to invest in social media presences.

Actually, a number of speakers, captained by Director General of Swedish Radio Cilla Benkö as well as BBC News’s Jeremy Skeet, tried to outline some conceptual pillars concerning the initial embracement of social media, addressing particularly the most skeptical ones in the field, expressing in this case that “you really have to be on social media simply because your audience is on social media” or again “social media journalism can and should be fun”. Whether these and similar statements really help in formulating concrete strategies for the use of social media on the part of public service broadcasters is probably to difficult to tell. Rather, it is the enthusiasm and believable conviction manifested by the majority of the speakers when talking about their (current or future) use of social media that should, as it appeared to me, be the best and most honest promotional tool for investing in it.

I really like the suggestive idea that something practically uncontrollable a priori like social media and their impact on content strategies and management are meant to fundamentally reshape a cornerstone of modern secular societies such as the functioning of public service broadcasting. In some ways, some hesitation on the part of the players necessarily affected by its now fully recognized establishment in the digital media universe is partially understandable. Probably to overcome such initial indecisions, if not fears, of journalists about to embark in the social media adventure, Swedish Radio has been clever and kind enough to produce – in my opinion – a very useful as well as publicly accessible Social Media Handbook available as PDF for all those who do not have a single clue on where to start from.

I believe it is fair to say that, if even public service broadcasters have come to the agreement that social media is no longer “the future” but an inescapable, powerful reality that cannot be ignored, it is really time to preach their actual establishment in journalistic practices almost globally (or at least on an European level, judging the countries of origin of the speakers present at the summit). While it is no secret that commercial and private media have already fully invested in social media resources a while ago, at least with regard to the intensity of the investment, there are no excuses left for their colleagues operating in the public service sector to follow the trend and start surfing along on the multiform wave of social media channels. After all, did we not already hear at some in history point that, in the end, a rising tide lifts all the boats?

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

AV

P.s.: this blogpost has also been published on Polis’s blog in a slightly edited form.

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