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Monday, Nov 24, 2014
The ultra-danceable "I'll Wait For You", which can count the songs of Imogen Heap as its sonic kin, is the latest from the Canadian musician Iris Campo.

Spanish born Canadian Iris Campo is a drummer since 1997 of the indie band Roads (Indica Records). Iris will launch her solo career in 2015; her forthcoming EP was written at home in Montréal and three singles produced in Nashville together with Scott Moffatt of The Moffatts.


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Thursday, Nov 20, 2014
by PopMatters Staff
David Baldacci’s books are great gift options for everyone on your holiday list and we are giving some away just in time for the holidays.

One (1) winner will receive:
·      David Baldacci’s new thriller, The Escape
·      His new Young Adult fantasy, The Finisher (ages 10+)
·      plus a $100 Visa gift card for holiday purchases


David Baldacci Book Giveaway + $100 VISA Gift Card in PopMatters's Hangs on LockerDome

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Thursday, Nov 20, 2014
The latest tune from the Long Beach trio Bella Novela, "Four Walls", is a classic rock-esque number in the vein of Heart and Pat Benatar with the tonality of a James Bond theme.

Long Beach, CA rock trio Bella Novela is one of those bands that is able to pull off the tricky task of sounding like classic rock without merely imitating the genre’s tropes. Frontwoman Jackie Laws’ vocals bring to mind Heart and Pat Benatar, but she also sounds undoubtedly contemporary, her voice coalescing perfectly with guitarist Jacob Heath’s Muse-esque leads. On its newest tune, “Four Walls”, Bella Novela amps up the drama with a chord progression and vocal line that sound ready to be the next James Bond theme. But rather than go for the classic Bond theme pace of slow and sultry, the trio amps up the energy, due in large part to drummer Jannea McClure’s rapid fills. This sense of bombast is a fitting one for the group’s forthcoming LP, Telemetry, a concept album based on a popular Mexican telenovela. The new prog influences on Bella Novela’s music, especially on “Four Walls”, make it a distinctive voice in the Los Angeles music scene.


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Thursday, Nov 20, 2014
With a career as illustrious as Sir McCartney's, it is no surprise that these ten performances hit it as far out of the park as they do.

Throughout Paul McCartney’s illustrious career as a member of both the Beatles and Wings, as well as his solo career, he has released over a dozen live albums and concert films. Clearly, the man has had many memorable live performances. These videos span over five decades and feature obscure rarities as well as some of rock ‘n’ roll’s greatest hits. As he celebrates his 72nd birthday with a break from his current touring schedule, it is a great time to take a look back at his greatest live recordings.


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Wednesday, Nov 19, 2014
Sinoia Caves (Black Mountain's Jeremy Schmidt) did the iconic score for 2010's Beyond the Black Rainbow, the demand for it leading to a 2014 release for the first time. Now, Schmidt walks us through his Fave Five Film Scores, and it is a trip in and of itself.

Isn’t it kind of great when your day job (playing in a celebrated modern psych-rock outfit known as Black Mountain) and your favorite hobby (making film scores) eventually merge to become the same thing?


You see, back in 2010, Jeremy Schmidt—best known as Black Mountain’s highly-regarded synth player—flexed his muscles under his Sinoia Caves moniker to create the brooding, throbbing, psychedelic-yet-intensely-dark score for Panos Cosmatos’ 2010 feature Beyond the Black Rainbow. The visually intense homage to ‘80s horror/sci-fi never got much in terms of a major release, but as the years have gone by, its reputation as a DVD cult favorite has grown and grown. The score, it turned out, proved to be a major part of it, and even with Black Mountain cheekily subtitling their Year Zero best-of compilation “Original Soundtrack By”, it’s the demand for Schmidt’s work as Sinoia Caves which has grown and grown, up to the point where his longtime record label, Jagjaguwar, finally put out his epic score for BtBR in Fall of 2014.


To celebrate this event, much less one of those magnificent occasions where a score can completely stand on its own even for people who haven’t seen the film, PopMatters asked Schmidt to name his “Fave Five” film scores. It was a fascinating insight into Schmidt’s cinematic influences, but, does so also with a qualifier:


“It’s hard to narrow down such a broad category into ‘five faves’ without at least a few glaring omissions, ie; Aguirre, Wrath of God, Suspiria, Zabriskie Point, and no John Carpenter—because I couldn’t pick one!  So this, as a result, is far from being any kind of comprehensive list. I decided to stick with those film scores that, at least to a larger extent, harken back to a certain “golden age” of the analogue synthesizer—which heavily invaded the soundtrack vernacular of the late 70s and early 80s. Listed here in no particular order ...”


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