Electric guitars: sales record due to Corona culture

It wasn’t long ago that the death of the electric guitar was announced. But in the Corona crisis the market is booming again. About an instrument whose myth is not being reborn but reinvented.

It was a little more than three years ago that the death bells were rung for the electric guitar. The old heroes had died, it was said, or like Eric Clapton, Jimmy Page, Pete Townshend or Keith Richards long over 70 and thus more than twice as old as they wanted to be. New heroes with a similar charisma? Not in sight. As well as? Ever since hip-hop and R’n’B became the leading pop genres in the noughties, the electric guitar has actually been more and more of a sound color among other things in pop arrangements. And no longer the instrument whose intros, solos or outros provide the real highlights.


Edith Whiskers: Who is behind the internet grandma? – Panorama

The British singer Tom Rosenthal may not be as successful as Ed Sheeran, but his songs are known, for example “Go Solo” from the soundtrack of the German comedy “Honig im Kopf” by Til Schweiger. But now, of all things, his song “Home”, which he covered five years ago, is making a worldwide career. He didn’t expect that – and he didn’t even expect to transform himself into a fictional character. You almost have to say: into a cult figure.

SZ: Mr. Rosenthal, why did you rename yourself in “Edith Whiskers”?

Tom Rosenthal: I was a bit uncomfortable when a song suddenly went viral that I had recorded five years ago. I haven’t even written it myself and sing in a high female voice. That was actually not intended for a large audience.

How did the recording come about?

A friend asked me to. For a video he made. The problem: In the original, the song is a duet. A man and a woman sing. But because time was of the essence and he had no money, I just took over both parts. The man and, much higher in voice, the woman. I haven’t heard from the song for five years. Now it’s being shared like crazy on the internet.

But not under your real name.

For me as an artist, the song is like a virus that you can’t get rid of. People should rather associate my real name with my own compositions. This song – originally from Edward Sharpe and the Magnetic Zeros – but suddenly developed its own momentum. So during a boozy Zoom conference with a few friends I came up with a pseudonym to hide behind.

Tom Rosenthal, 34, whose grandmother is from Germany, originally studied anthropology at Durham University. The musician lives in London and has two daughters with his girlfriend. In 2020 he should actually have given some concerts in Germany.

(Photo: Tom Rosenthal / private)

Why Edith Whiskers of all people?

Every evening I come up with new characters for the bedtime stories I tell my daughters. I’m good at making up names.

Many young people now believe: Edith Whiskers really exist.

Yes, we opened her own Instagram account for her, for example, and very, very many people write to her every day. It’s really amazing. She is more successful than me. And, no joke, all the big record companies have signed up and would love to sign them right away.

You have now had Edith release her own album. However, she mostly sings there with a male voice.

These are just old cover songs of mine. I still had that left.

In the meantime Edith has released her first album (here the cover). It all started five years ago with a cover version of the song “Home”.

(Photo: Tom Rosenthal / private)

You don’t seem to shy away from anything. You also asked people to send drawings. So that you know what Edith looks like.

She looks very old. It probably fits in well with our times when we need to be considerate of the elderly. The song “Home” really seems to hit a nerve right now.

Mr. Rosenthal, do you think that Edith’s success could become a problem for you at some point?

Yes, I probably opened Pandora’s box with Edith and created a musical competitor for myself. But especially in pandemic times, it’s actually a good idea that duets are only sung by one person, don’t you think? And as far as I’m concerned: that will be with my success. Sometime. But now it’s obviously Edith’s turn.


Corona donation from Dolly Parton: The mother of the Covid vaccine – culture

One of the greatest stories about Dolly Parton is when Elvis Presley didn’t sing a song of her after all. It was 1974, one of the typical anecdotes in which the phone rings one day and everyone thinks it was a joke. Dolly Parton was a star herself at the time, at least in the American country music district, but it was still amazing. Elvis wanted to record one of their pieces, said manager Colonel Tom Parker into the shell. Parton, then 28, a singer and songwriter from Tennessee, was freaking out with happiness.


Kylie Minogue et Andrea True, dancing queens


Why Taylor Swift covers her own songs – Panorama

The plague, the forced closeness in the apartments, all of this can also be a creative catalyst. Wouldn’t be the first time that art has grown out of the crisis. But what if you, like US singer Taylor Swift, 30, have long since recorded the pandemic-era lifestyle? “Folklore” came out at the end of July, a cooperation with Aaron Dessner, the songwriter of the indie rock band The Nationalwhat you can hear clearly. Little tempo, a lot of piano and a melancholy veil that seems to cover the songs. Lockdown used perfectly.

But now Swift wants to re-record all of her old songs again. “Exciting and creatively fulfilling,” she wrote on Monday on Twitter. Could that be a resumption of forced pandemic cocooning now that the third wave hits the US with all odds? Re-import 82 songs plus bonus tracks – that’s how you can get around a Corona winter.

But this is not about preparing for a best-of album, but about a complicated legal battle. Swift’s antagonist in this dispute is the music manager Scooter Braun, with whom she has long been enemies, there is no other way to express it. Braun bought Swift’s old record label Big Machine Records last year and with it the rights to their songs. “My worst-case scenario,” as the singer said back then. In the meantime, the rights have been passed on to a group of investors, writes Swift on Twitter, a second sale without their participation. And the only way to prevent Braun from continuing to earn money on her songs is to cover herself.

Swift had a long-standing feud with rapper Kanye West

Taylor Swift has often proven that she is vehemently committed to her rights and uses the power of her 140 million Instagram subscribers and 87 million Twitter followers. In 2015 she wrote an open letter to Apple under the heading “To Apple, Love Taylor” and protested against the company’s plans to offer songs for three months free of charge in its then new streaming service. Just a few hours later, management revised the move. Swift also had a long-standing feud with rapper Kanye West, who once stormed onto the stage during a Swift acceptance speech and said that Beyoncé should have won the award. And with singer Katy Perry, who had poached three dancers from Swift, she was already in a public clinch.

Swift was born in 1989 in Reading, Pennsylvania. Even as a child she wanted to be a musician, when she wasn’t even 14 she got her first record deal. When her father, an investment banker, realized his daughter’s seriousness about music, the family moved to the country stronghold of Nashville, Tennessee. At first she was in the country scene, singing songs about past loves and longings for small towns. But even then, long before she won ten Grammys between 2010 and 2016 and played in a league with Britney Spears, Madonna and Beyoncé, there were nuances in her lyrics. Even then it was clear that Swift, who writes her own songs, can do more than naive mainstream pop.

In recent years, Swift has appeared more and more as a feminist and advocate of the LGBTQ movement. In the dispute with Apple, she fought not only for herself, but for all musicians who barely earn any more money with their songs in the age of streaming. And her last of the eight albums so far adds a completely new facet to her art. Taylor Swift has moved on from year to year, musically, humanly, even in this weird 2020 where everything stops.


Autechre, double outlets – Culture / Next

We call it poptimism: an aberration of our time where the listener, thanks to the Internet, could finally appreciate everything according to the same criteria and his only sensitivity, the latest Taylor Swift, the reissue of a rarity of Congolese rumba for years 70 and a piece of electronic music recorded in Darmstadt in 1960. Whether or not we believe in the benefits of this burst of a disconnected taste, the simple fact that we can consider that Autechre – veteran electronic duo and resolute emblem of research made art – still participates in pop music as it is in 2020, is a miracle to be put to the credit of this duo and their enormous work, which has been described as autarkic and detached from fashion, in reality in perpetual dialogue with the worst and the best of times she has passed through.


In fact, it is undoubtedly the will of the English Sean Booth and Rob Brown to “participate” in their time which best explains SIGN and PLUS, their form, their mood and the strange circus of their arrival in the world, the first announced a month beforehand, the second tumbled without warning twelve days later, as if to come to shake up all the critical certainties that we had been able to build. Because beyond the double game allowed by this double release, we are dealing with two albums in the traditional sense of the term, in itself an artistic compromise from Autechre, which have repeatedly declared their desire to free themselves from the temporal limits of LP / CD format and including recent Elseq 1-5 (2016) and NTS Sessions (2018) lasted four and eight hours, respectively.

Also the two albums extend the other ambition of these last two fabulous animals to stick to less progressive and more vertical compositions, compressed inside more compendious proposals, which gives the impression of a desire to squared simplification. So SIGN, past its opening in the form of a machine of bones and rubber emerged from the sands, has the air of an ice palace, with, at least in the foreground, cascades of synthetic notes as we had not heard since the beloved Oversteps (2010). A step aside, which will better allow neophytes and refractory to a music which is after all immensely original and complex, to appreciate its always disheveled lyricism, but will not fail to disappoint those, more committed, who follow with passion for the exponential expansion of their universe, where the notions of rhythms, noises and melodies merge a little more into each other with each of their disc in the form of a stage point.


PLUS, with the three monsters x4 (twelve minutes), TM1 open (eleven) and ecol4 (almost a quarter of an hour) as a foundation, is more playful, energetic and juicy, like a remedy for the naked beauty of SIGN, even if it seems certain that the two albums, twins by the number of letters in their title and their circled artwork, were designed in parallel, with the same software machinery, this famous hyper-versatile system designed by Booth and Brown themselves to to comply with the least of their wills. But it seems above all acquired that these two wonders released at the same time, by the same pipes, as albums by Bruce Springsteen or Ariana Grande, will separate the pros and cons, since they each create, perhaps in reaction the one to the other, their own exclusive rules, grooves, harmonies, senses and misinterpretations of the beautiful – and of the ugly too.

Olivier Lamm

Autechre SIGN and PLUS (Warp).


An Annie who wants you well

Dark Hearts is an album that will not suffer from the hypothetical future, the one without dance floors and without bringing together bodies. Annie’s new album can be listened to in a bubble, to contemplate the present from a distance. Together alone, he will also be appreciated in a car, during these new drive-in gatherings, from concert to political rally, such Joe Biden acclaimed during his campaign by activists parked in front of his platform.

«So before we crash /Kiss me under the stars /In american cars», sings Anne Lilia Berge Strand. His album becomes a road trip that is not afraid of going backwards, delivered eleven years after his last album Don’t Stop, in retrospect rather badly named.

Back in 2020, Annie is no longer a disco-queen like Róisín Murphy or Robyn, these other Europeans whose contribution value to dance music has been too overshadowed by our American obsessions. However, we still have everything to gain by listening to his sexy-candid hits, such Heartbeat or Chewing-Gum. The new album was produced with Stefan Storm from the Swedish duo Sound of Arrows, their collaboration sealed by their devotion to the Pet Shop Boys, whose anachronistic sounds they spare us to prefer the melancholy of Chromatics and the timeless vapors of Cocteau Twins. Annie does not hide it: her luminescence was charred by mourning and the clock, pretexts for darkwave on Corridors of Time or The Streets Where I Belong. On the latter, she lets herself be possessed by fan lyrics: “Annie, Annie, they’re playing your song / And for a moment I’m transported to where I’m from.”

Annie comes from Bergen, on the Norwegian coast where, after joining a rock group, she becomes a DJ and will co-write with her companion DJ Tore the single The Greatest Hit in 1999. The expected album never saw the light of day, cut short by the brutal death of DJ Tore. Annie’s meeting with producer Richard X then marks a new start with an album Anniemal, great success in 2004 on the dancefloors.

Now, Annie is in her forties and no longer tries to nail us down with an unbearable feigned levity. Her voice still flies like a helium balloon, but on It’s Finally Over, crystalline vintage pop standard, it especially announces its “Going out into the light, never to come back”.

Charline lecarpentier

Annie Dark Hearts (Annie Melody)


Corriveau, Daho, Carpenter, François… The playlist of the “Liberation” music book

Every Saturday, the Tsugi webradio accompanies the music book of Release with one discovery and five new features.


Antoine Corriveau, Quebec shine

Why consider it a discovery when he now has four albums to his credit? Because, apart from a visit to the Pézenas festival (Hérault) and a stopover by the Café de la danse in Paris for the Traversée – Franco-Quebec exchange led in particular by the Fair device – Antoine Corriveau remains more than confidential on the stages French. Until now, this thirtysomething hoarse voice embodied a certain idea, as woozy as it was dandy, of dark melancholy. But we did not know his conquering ability to jump over hurdles.

Dandelion thus reveals itself a variegated record although with an ostensibly rock envelope. A record of letting go of richness, especially since it never lets itself go to the vulgarity of display. Garage exhalations (Albany) with the finest silk (Perhaps), electric explosions (Somebody) with a heartbreaking caress (Disappearance), Antoine Corriveau excels in all subjects. A dynamic acrobat who does not neglect the brilliance of the writing and the force of the subject, between intimacy and social vein.

Read alsoNick Waterhouse, Narca, Stéfi Celma … The playlist of the “Liberation” music book from last week

That he draws a post-punk and insanely current inflammatory charge against racism (They speak) or denounce the ghettoization of indigenous peoples (Mixed Bloods), the Québécois always puts himself at the service of songs. There is also an unmistakable Stephan Eicher pop wonder, the short duration of which keeps returning. (Awkwardness). The whole takes part in the rise of an explosive beauty which sounds like a formidable weapon of consolation against the icy ugliness of this period. Patrice Demailly

Antoine Corriveau Dandelion (Secret City Records)

Myd feat. Mac DeMarco, Moving Men

Escaped from Club Cheval, the French Myd is definitely the most exciting electro-pop producer of the moment, as this new title shows again with the collaboration of another weirdo, the Canadian Mac DeMarco. Hang on to the Covid, long live the Comyd!

The Kills, I Put A Spell On You

To believe that the song has fallen into the public domain, it’s raining covers of the old Screamin ‘Jay Hawkins hit. After William Shatner here is the very electric one of The Kills. A bottom of drawer in their case, since extracted from an album of side B and rarities. As if to say goodbye.

Etienne Daho, His silence speaks volumes

Taken from a “lost” album recorded in 2005 and released for the recent Record Shop Day where covers are legion, this original track deploys a devastating charm between minimal country and minimal folk. As if the man from Ibiza had (re) found his inspiration in Nashville.

John Carpenter, Weeping Ghost

Okay, Halloween is behind us. But we can very well get a last thrill by listening in complete darkness to the new composition of the legendary composer and director, great master of synths and even, as here, of guitars. The die is cast.

François & the Atlas Mountains, Hello

After a solo Baudelairean escapade, François Marry returns to the Atlas Mountains for a Hello caressing, announcing an album in February whose title, Blue banana, is not a new incarnation of Sébastien Tellier, but a geographical concept of the 80s. You had to know it.



Michael Jackson at the top

According to the “Forbes” list
These pop stars continue to make millions – even though they’re already dead

You rake in millions upon millions. And that although they have been underground for years. The US magazine “Forbes” has published a ranking of the richest dead pop stars. Right at the front: The “King of Pop”.

Eleven years after Michael Jackson’s death, the pop star’s heirs still earn a lot from his music. Works by the “King of Pop” who died in 2009 had earned around 48 million dollars in the past twelve months, estimates the US business magazine Forbes in its annual list of dead top earners. The list published on Friday relates to income from October 2019 to October 2020.

In second place is the children’s book author Theodor Geisel, who died in 1991, under his pseudonym “Dr. Seuss “famous. Best sellers such as “The Hangover With a Hat” and “How the Grinch Stole Christmas” grossed $ 33 million. Just behind (with $ 32.5 million) is the “Peanuts” creator Charles M. Schulz, who died in 2000.

With advertising contracts, the golf champion Arnold Palmer, who died in 2016, landed in fourth place with an estimated $ 25 million, followed by Elvis Presley (1935-1977), who brought his heirs around $ 23 million, mainly through the tourist attraction Graceland.

Basketball star Kobe Bryant, who died in a helicopter crash in January, is new to the list of 13 top earners dead. The sale of sportswear and his autobiography brought about $ 20 million in the box office. After the death of 21-year-old rapper Juice Wrld (“Lucid Dreams”) last December, music sales soared. With revenues of around $ 15 million, he ranks 7th.

The other names on the list: singer Bob Marley, ex-Beatles John Lennon and George Harrison, pop star Prince, “Queen” singer Freddy Mercury and Hollywood star Marilyn Monroe.

(mja / dpa)


Obituary for Ken Hensley – The Sound Painter – Culture

Ken Hensley started out as a guitarist. This is seldom good news for an organist; in his case it was very lucky. For the music. And for Uriah Heep, the band he was one of the founders of 1969 and for which he wrote the most important songs for ten years. After all, the guitar is so quickly the poser’s weapon. The organ is for painters. Timbre. Quite garish sometimes, yes, but at least in pop and rock something for people who can artistically merge. Who want to become part of a whole – and, at best, make it something bigger, something more complete.

Hensley, born 1945 in Plumstead, UK, was a wonderful music painter. Not a very subtle one – more oil than watercolor. Often impasto application of paint. He was that much guitarist after all. You can hear “Easy Livin ‘”, that bitchy shuffle piece in which the organ changes so casually between groove driver and wing that keeps everything floating. Or “Gypsy”, with its poisonous distorted keys that all the neo-blues rockers of Wolfmother until Jack White still steal clock for clock and frequency for frequency.

One of the most beautiful “aaaahs” in music history

And then you hear, of course, “Lady In Black”, Hensley’s over-hit from 1971. He sings it himself – David Byron he was too “banal”. Damn singers. So this time Hensley painted with his voice. The refrain consists of only one loud: one of the most beautiful “aaaahs” in music history.

Hensley died on Wednesday – after a short illness, as his brother wrote on Facebook. He was 75 years old.