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William Bloom Aka Will Anderson, is a phenomenal talent from Brisbane, Australia. Check out ‘Lionheart’ and the On Song interview to discover more about Will.
Will Anderson is not a middle aged Aussie comedian, he’s an equally talented 19 year old musician who blends modern production with smooth vocals, didgeridoos, guitar and percussion to create a soulful one of a kind sound.
His debut single “Notions” presents a clever mix of acoustic and electronic instruments and was written about shaping your own path. “The song is a conversation about loving someone or something and having influential people around you oppose it and advise against it. Its about saying “fuck it” and letting yourself love who you love and do what you love”
This kid was born with music in his blood. However he didn’t pick up his first musical instrument until age 15 when he was gifted with his dad’s hand-me-down guitar. 4 years on and Will has not only mastered the guitar but can play over 10 different instruments including 3 face melting didgeridoo’s. This guy is the living proof that men can multitask playing most of these instruments live, at once.
After countless hours of practice and under the guidance of local aboriginal and non-aboriginal mentors, the 19 year old now carves his own didgeridoos from the tree’s in his hometown. “I have always wanted to share and in the incredible aboriginal culture and bring people together with my music, these didgeridoos have let me do that”- Will Anderson.
While still at school, he gained national recognition in 2015 by winning the Peoples Choice Awards at Australia’s largest singer/songwriter program Telstra’s Road to Discovery and was named runner up in Queensland Music’s Most Promising Male Songwriter competition in 2016.
This was followed by several festival appearances such as Caloundra Music Festival, Caxton Street Festival and Byron Bay Bluesfest Busking in 2016 as well as supports slots with The Cat Empire, Busby Marou and Kingswood.
With a polished live show and a clear musical vision Will Anderson relocated from Mackay to Gold Coast at the beginning of 2017 to focus solely on music and is set to make a serious impact on the scene with the release of “Notions”.
“I wanted to create something new, something fresh, something that has never been done before” – Will Anderson on Notions.
Poet. Writer. | Poetry editor @MuzzleMagazine | Author of The Crown Ain’t Worth Much & They Can’t Kill Us Until They Kill Us. | Ohioan
Much like last year, I have decided on a somewhat random number of albums. I do appreciate how the list format can be equal parts exciting and somewhat exhausting during this time of year. But for me, it’s a good place to mention a lot of albums that I loved but didn’t always get to write about or talk about a lot this year. In 2017, I went from (arguably) writing too much about music to not having nearly as much time to write about music as I wanted to. I hope to strike a balance in 2018. In the meantime, here are my 39 favorite albums of the year. Like last year, if there was good writing on the artist or album, I’ll link that as well.
If anything, though, the BPI is actually underplaying the success of streaming, as it relies on data from the Official Charts Company, which does not currently count music played on YouTube towards its figures.
It has been estimated that if YouTube was included, the number of streams accessed by music fans in the UK would double.
Most-streamed artists of 2017
1) Ed Sheeran
3) Little Mix
5) The Weeknd
6) Calvin Harris
8) Kendrick Lamar
10) Post Malone
Overall, sales of music generated £1.2 billion for the UK economy last year, according to the Entertainment Retailers Association.
At the opposite end of the technological scale, sales of vinyl continued to grow, with 4.1 million LPs purchased in 2017.
Again, Ed Sheeran was the most popular artist on the format – closely followed by Liam Gallagher and Amy Winehouse’s Back To Black, which featured in the top five vinyl albums for the third year in a row.
CD sales down
However, vinyl only accounts for 3% of the overall music market, and its success is in stark contrast to the decline in CDs and downloads.
CD sales, which peaked at 162.4 million in 2004, now languish at 41.6 million.
Digital downloads are also on the way out, with just 13.8 million albums bought on stores like iTunes and Amazon last year, a drop of 23%.
Overall, music consumption was up by 8.7% – the fastest rise since 1998.
Sales and streams contributed £1.2 billion to the UK economy, according to the Entertainment Retailers Association (ERA).
Apart from Sheeran, the UK’s biggest artists included Rag N Bone Man, whose album Human shifted more than 885,000 copies by the end of the year.
Little Mix’s Glory Days continued to sell well, while Pink and Drake were the best-selling international artists.
It was also a better year for new artists after a dismal 2016, where only one British debut album (Bradley Walsh’s Chasing Dreams) went gold.
2017 saw the likes of Dua Lipa, Stormzy, Harry Styles and J Hus achieve the 100,000 sales milestone.
Top 10 albums of 2017 (combined sales and streams)
Music Theory seems to divide opinion more than any other subject in music. “It will ruin my creativity!” “I don’t like rules! It’s too complicated!” “Unless you know music theory you can’t be a real musician!”, etc.
To a certain extent I agree with the above. I don’t like rules, but rules are there to be broken. If you don’t know the rules you don’t even know you’re breaking them. It’s much more fun when you know you’re being subversive!
“It will ruin my creativity!” Well, music theory actually serves various purposes. One of the most important is that it gives us a set of terms that allows us to write things down (I forget loads!) and also allows us to communicate effectively with other musicians so we all know what we are taking about. After all, saying ‘play a G chord’ is music theory!
Music theory is changing all the time as we adapt to new forms of music that break the previous set of rules, theory in the 16th Century would be very different compared to today! It is the cumulative effort of lots of people analyzing music and trying to work out what ‘sounds’ good and why (rather than having to do it yourself!!).
We can take advantage of the work that has already been done to help us work out what to do or play next, what will sound right. You could just keep experimenting, looking for the next chord that sounds right, but usually that chord turns out to be the one that music theory says would sound right anyway! So music theory saves time and hassle, double win!
“It’s too complicated!” Yes, I agree that the way it is usually taught or written about is over the top. Music theory actually is relatively straightforward when you understand the concepts. There are some terms that seem particularly archaic but having a knowledge of them will help you understand some of the music books you may come across in your travels.
On the flip side of all of this are the music theorists who believe that unless you know music theory, you aren’t a real musician. This is also a misnomer. There have been many talented musicians over the years who have only played by ‘feel’. I suppose the unfortunate thing is we aren’t all blessed with this innate ability, although it can be learned through a lot of trial and error.
Some fundamentals in music theory can help anyone, as it forms a common language for us all. But, if someone doesn’t know the ‘correct’ terms, it is up to each of us to find another way of communicating what we mean.
Last gig of 2017. Special performance at Bandung Creative Hub Festival opening.
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Last gig of 2017. Special performance at BCH Fest opening.Stay tune for the full version on my YouTube & West Java Syndicate YouTube channelhttp://youtube.com/DedeSPhttp://youtube.com/westjavasyndicate
With the release of their networking app for musicians and in house independent record label FFM Records, Freedom for Musicians are going to become a major player in 2018.
An international cooperative of musicians that is free from exploitation, FFM are a unique organisation that has the interests of its members at the heart of everything they do.
They provide a free marketing service to its members around the world as well as raising funds for music projects, supporting music related charities and creating a real sense of community for ordinary musicians worldwide.
Membership is completely free and simplicity itself. To join FFM, all you do is join the Facebook group and you have access to all their services.
Born in Madrid, 1952. His musical training took place at the conservatories of Barcelona and Madrid, as well as in many master courses (Vilaseca-Salou, Granada, Santiago de Compostela), mainly in Piano(Manuel Carra), Violín (Hermes Kriales), Harpsichord(Genoveva Gálvez), Harmony(José Olmedo), Counterpoint and Fugue (Francisco Calés), Orchestral conducting(Enrique García Asensio and Jacques Bodmer) and Composition(Antón García Abril, Román Alís, Rodolfo Halffter and Carmelo Bernaola). In 1979 he received a grant from the Spanish Ministry for Foreign Affairs, for studying at the Spanish Fine Arts Academy in Rome, where he attended the classes in Composition given by Franco Donatoni at the Santa Cecilia Academy.
En 1981 he won the First Prize in the Internacional Composition Contest First Centennial of the Orchestra of the Valencia Conservatory with the work Meeting Point. In 1986. In 1986 he won the First Prize of the Musical Composition Contest Queen Sofía, from the Ferrer Salat Foundation, with Ocnos (Orchestral Music on Poems by Luis Cernuda).
He has been commissioned by different official national and international institutions, as Spanish National Radio, Ministry for Culture, Spanish Society for Broadcasting (SER), Spanish National Orchestra, Madrid’s Cercle for Fine Arts, Cuenca’s Week of Religious Music, Community of Madrid’s Autumn Festival, Alicante’s Contemporary Music Festival, Rencontres Internationales de Musique Contemporaine de Metz (France)), Tenerife’s Symphonic Orchestra, Canarias’ Festival, Juan March Foundation, Community of Madrid’s Department of Culture, Spanish Radio Television Symphonic Orchestra, Music at Compostela, Colgate University (Hamilton, New York), Expo’ 92, Caja Madrid Foundation, Soria’s Musical Autumn, Segovia’s Chamber Music Weeks, Madrid’s Symphonic Orchestra, Galicia’s Symphonic Orchestra, Mexico’s Ministry for Culture, San Sebastian Music Festival, Community of Madrid’s Symphonic Orchestra, as well as by many national and international soloists and chamber music groups.
His works have been played in many important festivals, such as Cuenca’s Week of Religious Music, Lisbon’s Contemporary Music Meetings, La Rochelle’s International Music Festival, Cuenca’s Chamber Opera Meetings, Prix Italia 1983, International Platform of Composers (UNESCO, Paris, 1984), Alicante’s Contemporary Music Festival, Strasbourg’s Music Festival, Barcelona’s International Music Festival, Vicenza’s Music Festival(Italy), Madrid’s Autumn Festival, Madrid- Burdeos’ Biennal, Metz’s Rencontres Internatinales de Musique Contemporaine (France), Zagreb’s Musical Biennal, Granada’s International Musica and Dance Festival, Geneve’s Spanish Music Festival, Rome’s Italy-Spain Festival, La Habana’s festival, Canarias’ Festival, Oporto’s Days of Contemporary Music, Seville’s EXPO’92, Milan’s Antologia di Musica Spagnola contemporanea, the cycle A series of 20th century Spanish music at Almeida Theatre (London), Soria’s Musical Autumn, Santander’s Music festival, and the Festival COMA of the Association of Madrid’s Composers, among others. In january 1992, his Violin Concerto was played in the inaugural concert of Madrid, Cultural capital of Europe.
Likewise, he has taken part in many juries of different national and international composition and performance contests (Madrid –SGAE, Queen Sofía- Oviedo, Granada, Alcoy, Valencia, Las Palmas de Gran Canaria, La Coruña, México –Rodolfo Halffter Prize-, among others).
From 1981 to 1985 he was teacher of Harmony, Counterpoint and Composition in the Conservatoy of Music at Cuenca, where he also was Secretary and, later, Director. From 1985 he was teacher of Harmony in the Royal Conservatory of Music at Madrid and, from 1992, of the Conservatory of Music Arturo Soria, also at Madrid. Between 1991 and 1993 he was chairman of harmony and Counterpoint in the High Music School Queen Sofía , of the Isaac Albéniz Foundation. In september 1991 he led the course of Composition and Analysis of the International Contemporary Music festival at Alicante, and in october 2001, along with Cristóbal Halffter, the course devoted to contemporary opera in the Conservatory of Music at Zaragoza. From 1998 he is teacher of Analysis in the High Musical Studies School at Santiago de Compostela.
In 1986 he was designated Correspondent Member of the Royal Academy of Fine Arts Santa Isabel de Hungría (Sevilla), and in 1997, of that of Granada.
In 1989 and 1992 he was invited by different USA universities (Colgate University –Hamilton, N.Y.-, Oneanta University, Cornell University and Hunter College of N.Y.), to pronounce and introduce a series of conferences and concerts about contemporary spanish music, taking place in september 1992 the world premiere of his work Three Sonnets, commissioned by the Department of Roman Languages of Colgate University. In 1996 he was invited by the Spanish Consulate in New York and the General Spanish Society of Authors and Publishers to give master classes in the Manhattan School at New York.
In 1995 he was commissioned by the Cercle of Fine Arts of Madrid, in cooperation with the Department od Education and Culture of Madrid’s Community, to write the musical-scenic work The Strike on the Water, performed in the re-opening of the Theatre Fernando de Rojas, in september 1996.
From 1993 to 1996 he was Technical Advisor for Music and Scenic Arts of the General Subdirection of Artistic Teachings of the Ministry for Education and Science, with the aim of participating in the ellaboration of the normative developpement of the reformation of the teachings of music, dance and drama in the frame of the new Organic Law of General Regulation of the Educative System. In october 2008 he came back to this same work, and in february 2001 was designated Artistic Director of The National Youth Orchestra of Spain (JONDE), until nowadays. From 2005 to 2015 he was president of the Spanish Association of Youth Orchestras.
In december 2007 he led the seminary Youth Orchestras and Social Task , joining Piadeia Galiza Foundation and Spanish Association of Youth Orchestras, around the National System of Youth Orchestras of Venezuela, with the presence of its founder, Dr. José Antonio Abreu.
In november 1996 he was awarded with the National Prize of Music of the Ministry for Education and Culture. Since october 2001 until october 2008 he was member of the Music Council of the National Institute for Music and Scenic Arts (INAEM). In 2007 he was designated member of the Artistic Council of the National Auditory of Musica of Madrid.
In january 2000, his Piano Concerto was performed for the first time in the 16th Canarias’ Music Festival. In october of the same year his opera D.Q. (Don Quijote in Barcelona), with libretto by Justo Navarro, scenic direction by La Fura dels Baus and scenography by Enric Miralles, had its world premiere in Barcelona’s Liceo Great Thatre. In may 2001, its DVD recording was awarded with the 16th Prize to the best DVD of an opera production by the magazine CD Compact. In november 2001, D.Q. was awarded with the Prize Daniel Montorio of the Spanish General Society of Authosr and Publishers to the best score of a lyric work first peformed in Spain during the year 2000.
In november 2001, the Tokyo String Quartet performed, in the Chamber Hall of Madrid’s National Auditory, the world premiere of his string quartet Clémisos y Sustalos, commissioned by that chamber group. In may 2003 the sopranist version of Four Sonnets by Shakespeare, commissioned by Madrid’s Symphonic Orchestra, had its world premiere in Madrid.
In may 2003, Sevilla University and the Central Theatre devoted him their Concert à la carte, including the world premiere of the soprano version of Four Sonnets by Shakespeare, and the definitive instrumentation of Ocnos.
In may 2004 he finished the composition of the string quartet The seven last words of Jesus Christ in the Cross, commissioned by Caja Madrid Foundation for the cycle Haydn at Cádiz, where it was performed by the Brodsky Quartet. In october 2004, the Sonata for violin and piano, commissioned by the Spanish Embassy at Bulgary in commemoration of the Hispanity Day, was performed for the first time in the Bulgarian Hall, at Sofia.
In january 2006, Málaga’s Filarmonic Orchestra devoted him its 12th Cycle of Contemporary Music, made up with nine symphonic and chamber concerts, in which 18 works by him were performed, including the premiere of Sleeping Notes, for harp, and the Violin Concerto, with Ara Malikian as soloist, along with the release of an ample biographical study written by José Luis Temes, as well as a monographic CD with five orchestral works.
In may 2006 he was part of the jury of the 2nd Iberoamerican Composition Prize Rodolfo Halffter, which took place in Mexico D.F., along with Mario Lavista, Mario Davidovsky, Roberto Sierra and Tristan Murail.
In december 2006, the Community of Madrid’s Orchestra and Choir, conducted by José Ramón Encinar, performed in Madrid the premiere of Three Carols.
In july 2008 the monographic CD José Luis Turina. A Portrait opened the Collection “Contemporary spanish and lationoamerican composers” of the BBVA Foundation and the label Verso.
In august 2008, in the María Pita Square at La Coruña and before an audience of over 5.000 people, the brass and percussion section of the Galicia’s Symphonic Orchestra conducted by Victor Pablo Pérez performed the premiere of Hercules and Cronos, written in commemoration of the 800th anniversary of the granting of the title of City to La Coruña.
In april 2009 he is appointed to collaborate with Maestro José Antonio Abreu for the creation of Iberoamerican Youth Orchestra, which, conducted by Gustavo Dudamel, gave its first concert in Estoril in december 2009, during the 19th Summit of Iberoamerican Chiefs of State and Government.
In january 2010, the Madrid Community Choir gives the world premiere of Ritirata notturna, written for its 25th anniversary.
In october 2012 he is object of a homage for his 60 anniversary, at the Royal Conservatory of Music of Madrid.
In January 2013 the label Verso releases the CD José Luis Turina. Chamber music, second monographic recording devoted to his music in the collection “Contemporary spanish and latinoamerican composers” of the BBVA Foundation, including six chamber pieces performed by Plural Ensemble conducted by Fabián Panisello.
In June 2014 the label Verso releases a CD including Exequias (In memoriam Fernando Zóbel) and the Violin concerto, performed by the Córdoba Orchestra, the Ziryab Choir and Ara Malikian, conducted by José Luis Temes.